Movie Review ~ Lady Bird


The Facts
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Synopsis: The adventures of a young woman living in Northern California for a year.

Stars: Saoirse Ronan, Laurie Metcalf, Tracy Letts, Lucas Hedges, Timothée Chalamet, Beanie Feldstein, Lois Smith, Stephen McKinley Henderson, Odeya Rush, Jordan Rodrigues, Marielle Scott

Director: Greta Gerwig

Rated: R

Running Length: 93 minutes

TMMM Score: (7/10)

Review: There was a time in the not so distant past when Greta Gerwig and I weren’t on speaking terms.  I know when the rift started: Frances Ha.  While Gerwig’s collaboration with writer/director Noah Baumbach became an indie twee delight, it didn’t bowl me over in the slightest.  Finding Gerwig’s titular character vapid, vain, and selfish, I just couldn’t get into the film and struggled to even finish it.  Gerwig’s popped up here and there in the following years, to better results, in Mistress America, Jackie, and 20th Century Women but it’s Lady Bird where our fences can be considered mended.

A thinly veiled but admittedly autobiographical look at Gerwig’s years as a teen in Sacramento in the late ‘90s, Lady Bird is going to be compared to Juno and with just cause.  Both are female led films that find a truth to their portrayal of adolescence and an authenticity in how teens and adults struggle to find common ground while just trying to make it through the day.  The difference between the two is that looking back at Juno it seems like it arrived from another wacky dimension while Lady Bird is already a period piece so there’s less chance of it becoming rapidly dated.

About to enter her senior year of high school, Christine McPherson (Saoirse Ronan, How I Live Now) demands that her family and friends call her Lady Bird and wants to attend college as far away from her Northern California town as possible.  She dreams of a life surrounded by arts and artists, while her mother (Laurie Metcalf, Uncle Buck) wants her daughter to come down from the clouds and understand that community college may be the best she can do.  With a father (Tracy Letts, The Post) that just lost his job and a brother living at home with his goth girlfriend, there isn’t much space for Lady Bird to breathe.

A small chance at happiness shows up in the drama department’s production of Stephen Sondheim’s Merrily We Roll Along.  Cast in the ensemble, she falls for the leading man (Lucas Hedges, Manchester by the Sea) who is both her first love and first heartbreak.  Feeling like she has to climb higher socially than she can sticking by her best friend (Beanie Feldstein, who was wonderful in Broadway’s Hello Dolly!) she ingratiates herself with the popular girl (Odeya Rush, Goosebumps) and takes up with an alt-emo boy (Timothée Chalamet, Call Me By Your Name).  As the school year draws to a close and the great unknown future awaits, Lady Bird will learn tough lessons about finding one’s place and making a unique path toward happiness.

As she did in Brooklyn, Ronan is able to find a mainline to your heart without making it seem like a huge effort.  That’s surprising because her Brooklyn character was warm and selfless, and Lady Bird is anything but that.  Constantly sucking the air from any room she’s in and preventing others from finding their own orbit, Lady Bird is a force of nature and while it can be easy to get frustrated with her it’s just as easy to feel her pain as dreams she makes for herself vanish just as fast as they take shape.  If you’ve ever heard Gerwig talk it’s instantly clear that her voice comes through loud and clear not only in Ronan’s performance (Ronan channels Gerwig in eerie ways) but in the thoughts and ideas expressed by other characters.

Ronan isn’t the only star of the show here, though.  She gets the movie stolen away from here more than a few times by Metcalf as her steely mother.  Though the movie opens with mother and daughter waking up staring into each other’s eyes, both women soon wind up in an argument that bursts whatever peaceful bubble they had formed.  Scene after we scene we see Metcalf deliberately divert attention away from her daughter if she feels she’s getting too big for her britches or cast a spotlight on her when she makes the wrong move.  It sounds bad, but she’s doing what every parent tries to do but doesn’t always succeed in…help their child see that life is tough with the least amount of outside pain as possible.  It’s easy to see part of oneself in these moments when a child will push their parent’s buttons or the parent cuts their teen down just to prove their point.  I know I winced a few times when I recognized actions I’ve had in my own life.

If you’re already a fan of Gerwig’s, you’re going to get a lot of satisfaction out of her directorial debut which will likely earn her a place on the shortlist for Best Director and Best Original Screenplay.  Expect Ronan and Metcalf to earn nominations as well for their deeply felt and carefully layered performances. If you’re just coming around to Gerwig like I am you’ll find it easier than ever to use Lady Bird to fly back into the fold.

Movie Review ~ The Florida Project


The Facts
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Synopsis: Set over one summer, the film follows precocious 6-year-old Moonee as she courts mischief and adventure with her ragtag playmates and bonds with her rebellious but caring mother, all while living in the shadows of Disney World.

Stars: Willem Dafoe, Brooklynn Prince, Bria Vinaite, Caleb Landry Jones, Macon Blair, Karren Karagulian, Jim R. Coleman

Director: Sean Baker

Rated: R

Running Length: 115 minutes

TMMM Score: (7/10)

Review: In 2015 director Sean Baker made quite a splash on the indie circuit with Tangerine, a film about a trans woman working the streets to survive in California on Christmas Eve.  The film was notable not only in the urgency of its performances but for it being filmed entirely on an iPhone.  I’ve regrettably not seen Tangerine yet but I did catch Baker’s follow-up which switches coasts to Florida for a rough, raw look at children and adults that reside in a Disney-adjacent motel.  It’s title, The Florida Project, has a triple meaning but its message is crystal clear.

Taking place over the summer months when children roam free around the The Magic Castle Motel, The Florida Project plays like a series of vignettes that don’t have the clearest through line.  There are several stories fighting for the spotlight here and while some characters overlap or disappear completely, our main focus is on six year old Moonee (Brooklyn Prince), her mom Halley (Bria Vinaite), and Bobby (Willem Dafoe, The Fault in Our Stars) the manager of the motel.  Moonee runs around with several other children while Halley only makes the most basic attempt to keep their heads above water.  Halley is feisty and averse to authority and it looks like Moonee is heading down that same path.  Bobby has to watch out not only for the up-keep of the motel but for it’s denizens that run afoul of each other and the law at regular intervals (Bobby’s argument with a washed-up stripper intent on tanning topless is a riot).

As the months go by we never learn too much about Moonee and Halley’s backstory because the film wants to stay in the moment like its main characters.  Bobby has some sort of paternal fondness for both girls, perhaps to make up for some suggested failings with his own child (Caleb Landry Jones, Contraband) that are only hinted at.  When Halley’s income dries up she embarks in increasingly dangerous behavior that leads the film to its emotional, impactful conclusion.

I’m going to be honest, The Florida Project isn’t for everyone and right up until the end I wasn’t even sure it was for me either.  The acting (I use that term very lightly) is amateur at best, with Baker plucking most of the cast out of obscurity (leading lady Vinaite was recruited from Instagram) and the pacing grows repetitive at nearly two hours in length.  Yet there is so much life on display here, so much devil-may-care attitude from those on screen and that helps to keep these characters alive long after the credits roll.

Dafoe’s performance is pretty remarkable too, largely because as the only truly experienced actor in the main mix he never makes it feel like he’s working with first-timers.  Often in these situations you can easily pick out the newbies but Dafoe keeps those dividers down, instilling even more realism to an already authentic-feeling movie-going experience.  Everyone else on screen is going on pure instinct and Dafoe meets them where they are to blend right in.

While overall I would suggest that you get The Florida Project on your list, I caution again that it’s not an easy film to take.  The ending especially is hard to sit through yet the final minutes are a surprisingly effective gut-punch I just wasn’t expecting in the slightest.  Baker already had good credit as an independent filmmaker and he’s captured lightening in a bottle again with The Florida Project.

 

 

Movie Review ~ A Ghost Story

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The Facts:

Synopsis: In this singular exploration of legacy, love, loss, and the enormity of existence, a recently deceased, white-sheeted ghost returns to his suburban home to try to reconnect with his bereft wife.

Stars: Casey Affleck, Rooney Mara, Will Oldham, McColm Sephas Jr., Kenneisha Thompson, Grover Coulson, Liz Cardenas Franke, Barlow Jacobs

Director: David Lowery

Rated: R

Running Length: 92 minutes

TMMM Score: (4/10)

Review:  I guess the synopsis should have tipped me off that A Ghost Story was going to be a tough one.  Billed as a “singular exploration of legacy, love, loss, and the enormity of existence” sure sets a high bar for movie filmed with no fanfare in a tiny Texas town.  I’m sure art-house audiences will gobble this one up as their latest existential exercise for bragging rights to their friends that chose to see Spider-Man: Homecoming instead.  Still, with its maudlin musings and one endless shot of pie consumption A Ghost Story might have something to say but it takes literally forever to do it.

The first half of A Ghost Story centers on C (Casey Affleck, The Finest Hours) and M (Rooney Mara, Side Effects), a young couple that doesn’t have much or say much.  Still, when C dies in a car accident just outside their house, Affleck and Mara have given us more than a general idea of the depth of their connection.  M arrives at the hospital to identify the remains and after the sheet is lifted stares in shock at the body of her husband. Shortly after she pulls the sheet over C’s face and leaves the body rises and hops off the gurney, with the sheet cleverly falling into place thus creating the ghostly figure seen in the poster and trailers.

Strangely tied to the house once called home, the ghost remains through the years long after M has moved on with her life.  A host of different people live in the house over time. A single mother.  A flock of hipsters.  When the house is destroyed there’s a brief passage of interest where the ghost travels forward and then back in time, folding back on itself to see previous scenes from a different perspective.

It would be easy to say I was in a funk the day I screened this or even easier to just claim general stupidity but it just wouldn’t be true.  This is a hard movie to sit through, much less love or even like.  There’s literally a scene where the ghost watches paint dry, not to mention the never-ending take of Mara eating the majority of a pie someone brought over to comfort her.  The moment you feel like the scene can’t possibly continue, it goes on for another six minutes.  The significance of Mara having the house to herself and gorging herself on food until she’s sick isn’t lost on me…but why keep audiences at bay long after the message has been received?

Director David Lowery used the money he made from the remake of Pete’s Dragon to fund this long gestating project and I wish he would have just bought his mom a house like other directors who hit the big time have done.  I loved what Lowery did with Pete’s Dragon and the charming characters that sprang forward fully formed but A Ghost Story feels like a deliberate step back, suggesting a director desperately trying to remind us of his indie roots.

Movie Review ~ Swiss Army Man

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The Facts:

Synopsis: A hopeless man stranded in the wilderness befriends a dead body and together they go on a surreal journey to get home.

Stars: Paul Dano, Daniel Radcliffe, Mary Elizabeth Winstead

Director: Daniel Kwan, Daniel Scheinert

Rated: R

Running Length: 95 minutes

TMMM Score: (7.5/10)

Review: Bound to be remembered as “that movie where Daniel Radcliffe played a farting corpse” than for all its inherent creativity, I’ve actually been suggesting Swiss Army Man to people with that same flatulent logline.  This is the type of movie that doesn’t have much of an impact when released in theaters but is bound to find its audience through streaming and home rentals.  Starring Paul Dano (Prisoners) and Radcliffe (What If), the flight of fancy with a morbid streak is a never predictable tiny gem that shines nicely once you get past some hard edges.

Dano stars as a man who opens the film literally at the end of his rope.  An island castaway with no hope for survival, he’s about to take proactive action on his fate before nature does when he sees the body of a young man (Radcliffe) wash ashore.  Using the gaseous corpse as a jet-ski (stay with me here), Dano hitches a ride on the body thus beginning his quest to find a way home.  This leads to an adventure through the wild and showcases the relationship between the living and the dead, finally arriving at a poignant conclusion that feels well-earned.  Co-starring Mary Elizabeth Winstead (10 Cloverfield Lane) as a fantasy girl from Dano’s past, Swiss Army Man is an elaborately designed film that shows how far directors Daniel Kwan & Daniel Scheinert (aka The Daniels) can go with a small budget.  Worth letting ‘er rip and taking a chance on.

The Silver Bullet ~ The Monster

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Synopsis: A mother and daughter must confront a terrifying monster when they break down on a deserted road.

Release Date: November 11, 2016

Thoughts: After making the nifty home invasion thriller The Strangers in 2008, writer/director Bryan Bertino has kept a fairly low profile.  Though Bertino’s Mockingbird failed to take flight in 2014, the filmmaker hopes to have another sleeper hit in 2016 with The Monster from rising studio A24.  These compact, one-setting creature features are always intriguing to me and as The Shallows showed earlier this year, you don’t need a huge budget or multiple locations to give audiences one good scare after another.  Starring Zoe Kazan (What If), Scott Speedman (The Vow), and what looks to be a nasty beast, I’m getting some nice vibes from this one.  I’m also cancelling any road trips on deserted roads…

The Silver Bullet ~ 20th Century Women

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Synopsis: The story of three women who explore love and freedom in Southern California during the late 1970s.

Release Date: December 25, 2016

Thoughts: If Annette Bening (Girl Most Likely) were to write an autobiography at this point in her career (which is far from it’s expiration date, btw) she might think about titling it “Always an Oscar Bridesmaid” because she’s been runner-up four times now.  Looking over who she’s lost to (Whoopi Goldberg, Hilary Swank {twice!}, Natalie Portman), I feel the right person always won…but it’s gotta be Bening’s time sometime…right?  Her latest bid arrives (with already good buzz for her nomination chances) with 20th Century Women, a 70s set drama about a trio of women and how they affect a young boy growing up in California.  Director Mike Mills guided Christopher Plummer to an Oscar win for Beginners — might he work the same magic for Bening?  Hope so.

Movie Review ~ Green Room

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The Facts:

Synopsis: After witnessing a murder, a punk rock band is forced into a vicious fight for survival against a group of maniacal skinheads.

Stars: Patrick Stewart, Anton Yelchin, Imogen Poots, Alia Shawkat, Joe Cole, Callum Turner, Mark Webber, Eric Edelstein, Macon Blair, Kai Lennox

Director: Jeremy Saulnier

Rated: R

Running Length: 95 minutes

TMMM Score: (8/10)

Review: This is how I know I’m getting old. When I watch America’s Funniest Home Videos, I cringe when people fall down instead of rolling on the ground laughing like I used to. At amusement parks, I think about hurting my back when considering a towering rollercoaster. And overly gory films cause me to yelp and cover my eyes as I squirm in my seat instead of satisfying the demented cinematic bloodlust that drove me directly to the horror section of any video store I ever entered as a youth.

So you have to understand why Green Room was such an uncomfortable, yet thrillingly visceral, experience for me. Following a punk rock band of stoned out millennials into a backwoods neo-Nazi bar where they find themselves targeted for extermination, Green Room is one of those films you must steel yourself up for. The violence is shocking and sickening, not just because it comes out of nowhere but because it feels like some taboo boundaries of taste are being broken. Stomachs are slit open, throats are mangled, limbs nearly severed…and that’s just the tip of the bloody iceberg director Jeremy Saulnier has in store for audiences that dare to enter.

It’s safe to say that any film that boasts Patrick Stewart (The Wolverine) as its headline star has some level of sophistication and for all the entrails spilled and bones broken it’s a handsomely made picture, well-designed to feel contained yet not claustrophobic. Dimly lit interiors go nicely with the stark solemnity of the northwest forest that surrounds the club and the band as they spend a night trying to survive Stewart and his gang of skinheads.

With a breaking voice that sounds like he’s just getting it back, Anton Yelchin (Only Lovers Left Alive) is a gangly hero that spends the first twenty or so minutes in a quiet daze only to be jolted into the present by the very unfortunate circumstance he finds himself in. Alia Shawkat (The To Do List), Joe Cole (Secret in Their Eyes), and Callum Turner (Victor Frankenstein) are his bandmates, all distinctly written by Saulnier even without an excess of defining dialogue.

Who lives and who dies isn’t as clearly telegraphed as you may think, with allies popping up in unlikely places only to not be the saviors we think they are. Sporting a new wave mullet, Imogen Poots (That Awkward Moment) glums around the perimeter of the action and is barely a presence until she’s called into action. Saulnier isn’t afraid to dispatch characters with little fanfare or reverence, yet the sadness of their violent deaths weighed heavily on my mind for days after.

It’s a fairly haunting film overall, with no real satisfaction gained when the credits roll. What gratification is present is seeing a director making the most out of his remaining time helming indie-ish projects. After the success of Blue Ruin and now this razor sharp crime thriller, it’s clear that while the characters he writes go down hard, Saulnier is only going up.

Movie Review ~ Room

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The Facts:

Synopsis: After 5-year old Jack and his Ma escape from the enclosed surroundings that Jack has known his entire life, the boy makes a thrilling discovery: the outside world.

Stars: Brie Larson, Jacob Tremblay, Joan Allen, William H. Macy

Director: Lenny Abrahamson

Rated: R

Running Length: 118 minutes

Trailer Review: Here

TMMM Score: (9/10)

Review: You know those times in movies when the tears come more from relief than sadness?  Room has one of those moments where the tears just sprang from my eyes without much warning.  Up until that moment we’ve been so invested in the two main characters that the threat against them and the possibility of denied salvation just gets to be too much.  I’m getting ahead of myself, though…and dangerously close to spoiler territory (not that the trailer didn’t give away several key developments already).

Adapted by Emma Donoghue from her 2010 bestseller, Room is narrated largely by young Jack (brilliant newcomer Jacob Tremblay) who has only known life with his Ma (Brie Larson, The Spectacular Now) inside what he calls ‘room’.  ‘Room’ is a securely locked tiny living quarters with a bed, a makeshift kitchen, a small bathtub, and a wardrobe where Jack sometimes sleeps when a man he calls Old Nick visits.  As audience members, we gradually learn that Old Nick took Jack’s Ma when she was a teenager and has been holding her captive for years.

Being stowed away for all that time, Ma has given up hope of ever being released and has created a world inside ‘room’ where she and Jack can make it through day in and day out.  Ma cares deeply for Jack and keeps the dark crime surrounding their imprisonment a secret from him…even though he’s a daily reminder of the violations inflicted on her.  When an opportunity arises for escape, the mother and son must overcome their own fears of the life outside to make the moves necessary to secure their freedom.

It’s no secret that Ma and Jack are liberated from their confines but the story is far from over as both have a major adjustment to make back in the real world outside of ‘room’.  Jack is experiencing a life of wide-open space and new knowledges denied him until that point.  Ma works through her painful realizations of the true effect the lost time has had on her emotionally as well as physically.  Living with her mother (a stoic, supportive Joan Allen, The Bourne Legacy) and stepfather, Jack and Ma take divergent paths toward redemption that brings them closer to each other as a unit and as individuals.

Larson’s portrayal of Ma is one of the best performances you’ll see all year, resisting the urge to elicit pity and opting instead for finding renewed strength as she goes along.  She takes you on a journey through the mind of someone that was caged and then set free…what that does to a psyche and how to move forward is a difficult internal thread to show externally but Larson somehow manages to do it.  Tremblay, too, is a marvelous presence of the film as a representation of pure innocence.  Tremblay and Larson form a symbiotic, cohesive partnership to such an extent that I’m not sure either performance could have existed without the other.

Director Lenny Abrahamson opts for a decidedly non-flashy execution, letting Donoghue’s script play out with honesty.  Room is in intense watch, there’s no getting around it.  When you step back and think of the kidnapping, repeated molestation, and confinement for all these years you wonder how anyone could have survived that alone.  Larson and Tremblay show you how they got through it together.

Hasta La Vista…Summer (August)

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We did it! We made it through another summer and while the outdoor heat wasn’t too bad (in Minnesota, at least) the box office was on fire.

I’ll admit that I indulged in summer fun a bit more than I should, distracting me from reviewing some key movies over the last three months so I wanted to take this opportunity to relive the summer of 2015, mentioning my thoughts on the movies that got away and analyzing the winners and losers by month and overall.

So sit back, relax, and enjoy the ride read.

August

Traditionally, August is the month when the wind-down begins.  It never has any of the big tent pole pictures featured earlier in the summer and it can be a time when studios try to burn off some troubled pictures or try to skillfully position a sleeper hit. This August for sure had its share of high and low points, much like the summer that it capped off.  I was still in frolic mode so didn’t get to as many reviews as I had wanted but sitting here now, in still sunny September, it’s time to review the movies I missed!

                                                Movie Review ~ Shaun the Sheep Movie
shaun_the_sheep_ver2The Facts
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Synopsis: When Shaun decides to take the day off and have some fun, he gets a little more action than he bargained for. A mix up with the Farmer, a caravan and a very steep hill lead them all to the Big City and it’s up to Shaun and the flock to return everyone safely to the green grass of home.
Stars: Justin Fletcher, John Sparkes, Omid Djalili, Kate Harbour, Tim Hands, Andy Nyman, Simon Greenall, Emma Tate
Director: Mark Burton, Richard Starzak
Rated: PG
Running Length: 85 minutes
TMMM Score: (7/10)
Review: I’m not saying that the U.S. doesn’t churn out a fine slate of family friendly films…but there’s a certain aura around the British imports that seem to work time and time again.  Like Paddington earlier this year, Shaun the Sheep Movie was an unexpected delight, 85 minutes of smart comedy that’s deep enough for adults to not need a lobotomy to enjoy and zany enough to keep the attention of young tykes.  Remarkable when you consider there’s not any dialogue in the movie aside from some rumbles and grumbles from human and animal characters, it’s a big screen adventure adapted from a popular television show.  I wasn’t sure what to expect but I was surprisingly entertained and quite impressed by the stop-motion animation.  The film didn’t have great marketing so it slipped by most people but if it’s at your bargain movie theater, pack those kids up in your minivan and get to it…or treat yourself to a solo show.

 

                                                            Movie Review ~ Dark Places
dark_placesThe Facts
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Synopsis: Libby Day was only seven years old when her family was brutally murdered in their rural Kansas farmhouse. Twenty-five years later, she agrees to revisit the crime and uncovers the wrenching truths that led up to that tragic night.
Stars: Charlize Theron, Drea de Matteo, Nicholas Hoult, Christina Hendricks, Chloe Grace Moretz, Corey Stoll, Sterling Jerins, Tye Sheridan, Shannon Kook
Director: Gilles Paquet-Brenner
Rated: R
Running Length: 113 minutes
TMMM Score: (3/10)
Review: With the huge success of Gillian Flynn’s third novel Gone Girl and seeing how fast the movie rights were snapped up, it’s only natural that her other two other books would take a similar path.  Dark Places is the first of these to hit theaters (Sharp Objects is arriving as a television movie) and it shows one of two things, either the third time was the charm for Flynn or something was lost in translation.  Full disclosure, I haven’t read the book but I’m inclined to think that it’s the fault of the screenwriter because there are so many hazardous movie mistakes only a Hollywood writer could make.  Though the mystery of a decades old killing spree coming back to haunt the sole survivor is initially intriguing, it quickly dissolves into a sticky mess that makes less sense the more secrets are revealed.  It also doesn’t help that it’s badly miscast, with the usually impressive Charlize Theron relying on her ever-present trucker hat to do most of the acting for her…or maybe to hide her embarrassment at being looped into this turkey.  Though it boasts a cast that typically gets the job done, no one quite seems to know what they’re doing…as if they hadn’t read the book before undertaking their scenes.  The only worthwhile performance is Christina Hendricks as Theron’s murdered mom, bringing some dignity to a role that, as written, doesn’t earn it.

 

                                                           Movie Review ~ Fantastic Four
fantastic_four_ver3The Facts
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Synopsis: Four young outsiders teleport to an alternate and dangerous universe which alters their physical form in shocking ways. The four must learn to harness their new abilities and work together to save Earth from a former friend turned enemy.
Stars: Michael B. Jordan, Miles Teller, Kate Mara, Jamie Bell, Toby Kebbell, Tim Blake Nelson, Reg E. Cathey
Director: Josh Trank
Rated: PG-13
Running Length: 100 minutes
TMMM Score: (4/10)
Review: Well, what can I saw bout the Fantastic Four that hasn’t been said (loudly) already?  Is it a lousy movie? Yeah, probably. Could it have been better? After two attempts to bring these characters to the big screen I’m not sure we’ll ever get a decent adaptation. What went so wrong? If you believe the outspoken director, it was studio interference that took his movie from a rich origin story to an overstuffed thundercloud of action movie clichés and fairly terrible special effects.  If you are to believe the studio, it was that director Josh Trank (who debuted with the surprise hit Chronicle) disconnected from the material, a development that was costing time and money.  Watching the film with this knowledge you can see the moment that something went awry.  Because the thing is, the first 20-30 minutes of Fantastic Four is quite good, sensitive even.  It’s a slow start and, let’s face it, audiences these days don’t want a slow start.  They want their action and they want it now. The studio was happy to oblige and when it becomes a standard summer superhero movie my interest took a nosedive and it became a waiting game of the good guys defeating the bad guys so I could go home.  I think the colossal outcry from fans and critics was a little on the dramatic side, even for a superhero film, but it’s not wholly unwarranted.

 

                                                           Movie Review ~ Ricki and the Flash
ricki_and_the_flashThe Facts
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Synopsis: A musician who gave up everything for her dream of rock-and-roll stardom returns home, looking to make things right with her family.
Stars: Meryl Streep, Kevin Kline, Sebastian Stan, Mamie Gummer, Audra McDonald, Rick Springfield
Director: Jonathan Demme
Rated: PG-13
Running Length: 102 minutes
Trailer Review: Here
TMMM Score: (6.5/10)
Review: So we’ve all long agreed to the fact that Meryl Streep can do no wrong.  You can love her for it or hate her for it, but she never fails to impressive me with each new role she takes on.  From starring in The Iron Lady to taking a supporting role (cameo, really) in The Homesman, Streep seems to take a role if it speaks to her, no matter the size or commitment.  It’s not hard to see why she was attracted to the rough rocker Ricki with her tattoos and braided hair, here was another opportunity for Streep to strip away the classical actress aura and go barefoot into the wild.  She’s ably aided by Diablo Cody’s middling script, Jonathan Demme’s careful direction, and a supporting cast that don’t just play second fiddle to Streep’s lead guitar. I think there’s one too many musical numbers allowed to play longer than they should and Cody’s dialogue doesn’t have the snap that it used to.  The whole thing is worth it though for a stellar scene between Streep and Audra McDonald, the new wife of Streep’s ex-husband.  A sparring match spoken with calm and some care, the two women have an electricity between them that the film needed more of.  It falls apart swiftly in its second half, but it’s not a totally out of tune affair.

 

                                             Movie Review ~ The Man from U.N.C.L.E.
man_from_uncle_ver2The Facts
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Synopsis: In the early 1960s, CIA agent Napoleon Solo and KGB operative Illya Kuryakin participate in a joint mission against a mysterious criminal organization, which is working to proliferate nuclear weapons.
Stars: Henry Cavill, Armie Hammer, Alicia Vikander, Elizabeth Debicki, Jared Harris, Hugh Grant
Director: Guy Ritchie
Rated: PG-13
Running Length: 116 minutes
TMMM Score: (7.5/10)
Review: I never watched the television series on which this cool-as-can-be spy movie was based on but I’m pretty sure there weren’t the same amount of homoerotic jokes during the weekly adventures of Solo and Kuryakin.  While I feel that director Guy Ritchie relied a bit too heavily on his similar experience at the helm of two Sherlock Holmes films, he brings his A game to this big screen adaption, sparing no expense when it came to production design.  And that’s a good thing because though it’s never truly predictable, the plot is pretty thin.  So it’s up to Ritchie and his cast to sell the film and they are more than up for the challenge.  Henry Cavill (Man of Steel) is perfectly cast as the smooth Solo and he’s well matched with Armie Hammer’s (Mirror Mirror) simmering Kuryakin.  The two trade barbs rich with double entendre while protecting Alicia Vikander (The Danish Girl) from falling into the hands of a sinister villainess (the scene stealing Elizabeth Debicki, The Great Gastby).  The film looks and sounds amazing, here’s hoping costume designer Joanna Johnston gets an Oscar nomination for her impeccable suits and stunning dresses.

 

                                                         Movie Review ~ End of the Tour
end_of_the_tourThe Facts
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Synopsis: The story of the five-day interview between Rolling Stone reporter David Lipsky and acclaimed novelist David Foster Wallace, which took place right after the 1996 publication of Wallace’s groundbreaking epic novel, ‘Infinite Jest.’
Stars: Jesse Eisenberg, Jason Segel, Joan Cusack, Mamie Gummer, Anna Chlumsky, Mickey Sumner
Director: James Ponsoldt
Rated: R
Running Length: 106 minutes
TMMM Score: (8/10)
Review: I never thought I’d say the words “potential Oscar nominee Jason Segel” in a work of non-fiction…but then again I didn’t think two-time Oscar nominee Jonah Hill was possible either and look what happened there.  Yes, Segel’s work as tormented writer David Foster Wallace is worthy of acclaim as the actor digs deep within and bypasses his comedic instincts to find the truth of the man behind the epic novel Infinite Jest.  Jesse Eisenberg (who also pops up in American Ultra) turns in strong work as well, though he’s really just a prop for Segel to react off of.  Their five day road trip interview for Rolling Stone is the basis for the movie and it leads the men and the audience into interesting territory.  It’s a movie you watch once, appreciate, then file away as something you can recommend to people and feel like you’ve done them a favor.  One thing that must be said…Eisenberg needs to learn how to smoke a cigarette.  Here and in American Ultra he looks a child does when they are mimicking their parent.  Many things about Eisenberg annoy me and this is just another thing to add to the list.

                                             Movie Review ~ The Diary of a Teenage Girl
diary_of_a_teenage_girl_ver2The Facts
:
Synopsis: A teen artist living in 1970s San Francisco enters into an affair with her mother’s boyfriend.
Stars: Bel Powley, Alexander Skarsgård, Christopher Meloni, Kristen Wiig
Director: Marielle Heller
Rated: R
Running Length: 102 minutes
TMMM Score: (7.5/10)
Review: It’s nice to go into a movie with only a basic logline and a list of the actors featured.  I didn’t know what to expect from The Diary of a Teenage Girl but whatever I thought, the movie surprised me in the best ways.  The story of a young girl’s sexual awakening in San Francisco is gloriously set in the mid ‘70s, an era of freedom and discovery.  While some may be off put by the relationship between an older man and an underage girl (star-in-the-making Bel Powley is older than she looks, thankfully), they’d be missing the point of Phoebe Gloeckner’s autobiographical graphic novel on which the film is based.  It’s a frank flick that frequently finds its actors in the buff but doesn’t feel gratuitous because these characters are coming into themselves, marveling at a new experience they never knew existed.  I appreciated that the film pulled no punches in showing nudity and discussing sexual situations and director Marielle Heller shows respect for all people involved.  It’s a bold film with animated sequences, a killer soundtrack, and splendid performances.

The dog days of summer brought three other notable releases to theaters, though I’m guessing by the poor box office returns of two of them that the studios (and actors) wish the films had just quietly gone away.

I hadn’t heard a thing about American Ultra until two weeks before it was due to arrive, strange considering it starred Kirsten Stewart and Jesse Eisenberg.  The two aren’t serious box office draws but they do have a fanbase that might have helped build more buzz for the stoner comedy.  Not that it would have made the film any better because at its best it was a mildly diverting mix of comedy and gratuitous violence and at its worst it was a merely the thing you watched because you’d seen everything else at the theater and wanted some time in the air conditioning.  It’s bad when you don’t know what the movie is about, but it’s worse when it feels like the filmmakers don’t have a clue either.

I’ve gone on record as no fan of director Noah Baumbach and very on the fence for actress Greta Gerwig so I wasn’t at all looking forward to their latest collaboration, Mistress America.  Once again, the universe has a way of loving to see me humbled and I emerged from the screening not only in a damn fine mood but the desire to see it again.  That rarely happens with any movie, let alone a Baumbach/Gerwig joint so that should tell you something about the quality of this movie that is firmly in a New York state of mind.  Sure, it has its share of problems but they don’t ultimately detract from the overall enjoyment the film brings.

Finally, there’s the sad, sad case of We Are Your Friends, Zac Efron’s latest attempt to be a serious dramatic actor.  While I think it’s Efron’s best dramatic performance to date and didn’t totally hate the film, audiences sure did and it became the third biggest box office failure of all time…pretty stunning considering how many other bad movies have been released and made at least a few million during its opening weekend.  I think the film got a bum rap and just was released at the wrong time, but it should hopefully send a message to Efron that he needs to spend some time figuring out exactly where his place is in Hollywood because he is, like his character here, totally lost.

SO THERE YOU HAVE IT!  THE SUMMER OF 2015!

CHECK OUT MAY & JUNE & JULY

The Silver Bullet ~ The Witch

witch

Synopsis: New England, 1630: William and Katherine lead a devout Christian life, homesteading on the edge of an impassible wilderness, with five children. When their newborn son mysteriously vanishes and their crops fail, the family begins to turn on one another. ‘The Witch’ is a chilling portrait of a family unraveling within their own fears and anxieties, leaving them prey for an inescapable evil.

Release Date:  TBD 2016

Thoughts: Looking like a nice mix of The Crucible and the finer points of The Village, this first trailer for The Witch is damn creepy.  Even pushing 2 ½ minutes the preview keeps the movies secrets close to its chest, relying on visuals and a creepy voice over narration to grab the viewer and induce a nice trill of goosebumps up your spine.  Admittedly, even the worst movie can look great based on the trailer and it seems nearly every non franchise horror film bears the “scariest movie of the year” moniker…but I’m hoping that The Witch lives up to the hype and good buzz it found at the Sundance Film Festival.