Movie Review ~ Mary Poppins Returns


The Facts
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Synopsis: Decades after her original visit, the magical nanny returns to help the Banks siblings and Michael’s children through a difficult time in their lives.

Stars: Emily Blunt, Lin-Manuel Miranda, Ben Whishaw, Emily Mortimer, Julie Walters, Colin Firth, Meryl Streep, Dick Van Dyke, Pixie Davies, Nathanael Saleh, Joel Dawson

Director: Rob Marshall

Rated: PG

Running Length: 130 minutes

TMMM Score: (9/10)

Review: The journey to make Mary Poppins in 1964 was so fraught with tension and hard feelings that it’s no wonder it took 54 years for a sequel to make its way into theaters. If you don’t believe me, check out the entertaining Saving Mr. Banks for a little history lesson…however revisionist it may seem to be.  What child didn’t grow up seeing the titular magical nanny educate the Banks children and bring order to their family while teaching the biggest lesson of all to their workaholic father? I vividly remember seeing it not only in my house but at school on special occasions when they’d get out an old reel-to-reel projector and gigantic screen.

Over the years the popularity of P.L. Travers creation never really went away, even inspiring a long-running West End and Broadway musical that’s now making the rounds in a community theater near you. You can’t keep the old girl down and in 2018 she’s returned in an all new sequel that’s a surprisingly spry near-equal to its half-century old predecessor. The Walt Disney Company took a huge gamble in dusting off this treasured property and turning it over to director Rob Marshall and it has paid off handsomely; Mary Poppins Returns is a true movie event, a hard-working winning combination of fantasy, music, and heart-tugging emotion.

It’s been thirty years since Jane and Michael Banks spent a wondrous few weeks with Mary Poppins but life at #17 Cherry Tree Lane has moved on. Having recently lost his wife, Michael (Ben Whishaw, Skyfall) now lives in his family home with his three children and gets the occasional visit from Jane (Emily Mortimer, Hugo) who has followed in her mother’s footsteps and continued the fight for equality for all. When the bank threatens to foreclose on his house and gives them less than a week to come up with the money all hopes seems lost…until a familiar figure appears from the sky.

Making her grand entrance clutching a kite, Mary Poppins (the divine Emily Blunt, A Quiet Place) has lost none of her dry wit and charming aloofness. She soon sets up shop with the new generation of Banks children while keeping her eye on Jane and Michael as they scramble to find a lost set of bank bonds that could get them out of debt. While their father worries about their future, Mary Poppins helps his children adjust to the present through adventures in undersea realms, at the upside-down dwelling of Mary’s cousin Topsy (a wack-a-doodle Meryl Streep, Hope Springs), and in the painting on a porcelain pot.

Having directed the film versions of Chicago, Nine, and Into the Woods, Marshall knows his way around a movie musical but this is far and away his most accomplished and polished work to date. With the old-school appeal of a Hollywood song and dance spectacular, Mary Poppins Returns is the kind of throwback everything-including-the-kitchen-sink experience they just don’t bother to make anymore. Disney and Marshall had the good sense to give audiences exactly what they want in a sequel to a cherished classic…and then some. While not a remake of Mary Poppins per se, it does seem to hit the same beats as that earlier film even down to a splendid animated sequence and a visit to one of her zany relatives.

Even if Marc Shaiman’s songs don’t stay in the brain quite as well as the tunes created by the Sherman Brothers, they feel like they exist within the same universe and are performed with exuberance by Blunt and company. There’s no ‘Feed the Birds’ level accomplishment here but ‘The Place Where Lost Things Go’ stirs the right amount of feelings and ‘A Cover Is Not The Book’ is a clever bit of wordplay that the Sherman Brothers would get a kick out of. Streep’s oddball ‘Turning Turtle’ is something only she could pull off and Whishaw’s plaintive ‘A Conversation’ gives the actor a nice jumping off point early on in the film. Marshall and his co-choreographer John DeLuca also nicely avoid the trappings of filming huge musical numbers for the screen by letting the audience see the entire company dancing rather than always cutting into close-ups. ‘Trip a Little Light Fantastic’ arrives late in the game but is a true show-stopper.

If the film makes one miscalculation, it’s in the misappropriation of time given to Lin-Manuel Miranda (The Odd Life of Timothy Green) as Jack, a lamplighter friend of Mary’s that’s a stand-in for Bert the chimney sweep from the first film. Whereas Dick Van Dyke’s Bert was someone that occasionally popped up in the action, it feels like Jack is shoehorned into the plot at every turn and it begins to take away from the time we want to spend with Mary and the Banks family. At times, Jack becomes the driving force of play and that made the movie feel like it was veering too far in the wrong direction.

Still, it’s hard to argue that Blunt commands the movie in no uncertain terms whenever she’s even close to the screen. I personally think Blunt is the perfect choice for any part she turns up in but here there’s a real chemistry between actress and role that is rarely seen. No one is going to erase the performance of Julie Andrews from our memory and Blunt doesn’t even try to recreate that particular take on the role. Smartly choosing to give Mary an updated look that sets her apart from her 1964 appearance, Blunt’s Mary is just as staunch as Andrews but doesn’t soften quite as easily. She’s also riotously funny with her droll line readings and incredulity at the state of affairs she encounters upon her return. Andrews won an Oscar for her work and I expect Blunt will get a nomination as well.

Filling out the cast is Colin Firth (Mamma Mia! Here We Go Again) playing a rare villain role as a bank manager eager to claim the Banks house, Julie Walters (Paddington) as put-upon maid Ellen, David Warner (Waxwork) as Admiral Boom, and Angela Lansbury (Beauty and the Beast) as a wise Balloon Lady with a magical touch of her own. Then there’s Van Dyke (Alexander and the Terrible, Horrible, No Good, Very Bad Day) dancing up a storm and keep your eyes out for the original Jane Banks, Karen Dotrice, making a cameo outside of Cherry Tree Lane.

Bound to rake in some serious money this holiday season, Mary Poppins Returns is that rare sequel that feels like it wasn’t done for the money but for the greater good. I know it’s all about the bottom line but this is one film that feels like it could heal what ails you…even if just for two and a half hours.

Movie Review ~ Mamma Mia! Here We Go Again

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The Facts
:

Synopsis: Five years after the events of Mamma Mia!, Sophie will find out more about her mother’s past, including how she fronted The Dynamos, started her villa on the island from nothing, met each one of Sophie’s dads, and raised a daughter.

Stars: Meryl Streep, Julie Waters, Christine Baranski, Amanda Seyfried, Dominic Cooper, Pierce Brosnan, Stellan Skarsgård, Colin Firth, Lily James, Alexa Davies, Jessica Keenan Wynn, Jeremy Irvine, Josh Dylan, Hugh Skinner, Cher

Director: Ol Parker

Rated: PG-13

Running Length: 114 minutes

Trailer Review: Here

TMMM Score: (6/10)

Review: I happened to be in London in January of 2000 and was able to catch the original London cast of the smash hit, Mamma Mia! It was one of the most exciting nights I’ve had in the theater, not just because the show was enormously entertaining but because the audience just went absolutely nuts for it. I was in the highest point of a steep balcony and watching grown men and women shaking their groove thing to the finale megamix without fear of falling was a sight to behold. In touring productions over the past 18 years I’ve seen the same effect, audience members that came in looking glum but leaving with a crazed look in their eyes.

2008’s Mamma Mia! was a surprise hit, though anyone that didn’t expect a global phenomenon starring one of Hollywood’s most A-list stars to rake in some kind of cash likely isn’t still working in the industry today. Released in the summer months when people were tired of explosions and CGI, it was a perfect (if slightly underwhelming to me) summer antidote to the loud and noisy fare ticket buyers were bombarded with. If anything, it showed us how star Meryl Streep (Hope Springs) could turn even the silliest project on paper into a fully-formed performance with feeling.

When a sequel was announced, I was fairly surprised. After the box office success of the first one, it’s not that a sequel was unheard of, just unexpected. Hearing the gang was getting back together again with a few new additions was interesting and with new songs from the ABBA catalog being added the stage was set for a repeat of the fun frivolity the original almost outright encouraged.

Look, times are hard enough as it is so when movies like Mamma Mia! Here We Go Again are released there’s a certain amount of goodwill restraint I believe critics should utilize because while this is far from an equal, this prequel sequel has its heart and, often, voice in the right place.

So now we reach the point where we can’t go on without a few spoilers, but nothing that hasn’t already been hinted at by the trailers.

It’s been five years since about-to-be-wed Sophie (Amanda Seyfried, Love the Coopers) invited three men she thought might be her father to a taverna on a remote Greek island without telling her mother they are on their way. Comic and musical hijinks were the result and the film, like the stage musical it was based off of, ended with a spandex and platform heeled finale set to ABBA’s Waterloo. Now, Sophie is re-opening the hotel one year after her mother’s death while harboring a growing secret of her own. As the guests arrive, the film bounces back and forth between the present and 1979 to see how Donna (Lily James, Cinderella) came to the Greek fantasy island and made a life for herself.

It’s rough going for the first twenty minutes or so as the film dives headfirst into exposition and a few lesser known ABBA songs. A strange musical opening set at Oxford has valedictorian Donna doffing her cap and gown for a lycra bodysuit to bump and grind through the sunny but silly When I Kissed the Teacher along with her fellow Dynamos, Rosie (Alexa Davies) and Tanya (Jessica Keenan Wynn). It’s an off-kilter and gangly way to introduce us to Donna and the film stays safely in idle mode until she lands in Paris and meets young Harry (Hugh Skinner, Les Miserables) before heading off to Greece where she’ll sail away with young Bill (Josh Dylan), and fall in love with young Sam (Jeremy Irvine, The Woman in Black 2: Angel of Death).

While we’re getting this backstory, the events taking place in the present aren’t always as sunny. Sophie and Sky (Dominic Cooper, Dracula Untold) are halfway around the world from eachother and experience the stress of a long-distance romance (explained in a sketchily sung One of Us) and other dads Harry (Colin Firth, Magic in the Moonlight) and Stellan Skarsgård (Avengers: Age of Ultron) can’t make the re-opening due to business commitments. Tanya (Christine Baranski, Into the Woods) and Rosie (Julie Walters, Film Stars Don’t Die in Liverpool) do arrive and try to brighten Sophie’s spirits when a storm threatens to derail the proceedings.

It’s all set to a songlist from the ABBA canon, many repeated from the original film to lesser results. The old songs new to the sequel are clearly B-sides for a reason, though Baranski and Walters have fun with Angel Eyes. The biggest success is likely Dancing Queen, a highlight here just as it was in the first outing. It’s a huge production number set on land and sea, you’ll wish all boat rides had such excellent choreography.

The overall problem I had with the movie is that it feels like a project crafted around the availability of its returning cast. The movie was shot in London and plenty of it is done on green screen to recreate the Greek setting. Add to that a handful of cast members that feel like they filmed their scenes in several days (no surprise many did) and the film feels a bit clunky and unkempt. That being said, it takes about 90 minutes for the film to find any kind of rhythm or shape and that just happens to be the time that Cher (Mermaids) stops by.

It’s widely known Cher turned down the role of Tanya when produces approached her about it but we should all be glad she signed up to play Ruby, Sophie’s grandmother (try not to do the math when you consider Cher is only three years older than Meryl Streep), a Las Vegas entertainer not much for family gatherings. Not long after Cher shows up and sings a bang-up version of Fernando, none other than Streep herself appears in a scene/song you’ll need some tissues for. It shouldn’t have, but it honestly caught me off guard how moving her performance was and it serves as a wistful reminder of the below the surface heart the rest of the movie was missing.

Writer/director Ol Parker (The Best Exotic Marigold Hotel) might not improve on the formula introduced in Mamma Mia! in terms of cleverly blending songs in with the action but his film marks a vast improvement visually. He lets the camera take in more of the large action and dancing scenes, instead of quick cuts around the dancing he makes good use of the widescreen vistas. Like the first film, expect Greek tourism to get a bump from the lovely displays here.

 

The Silver Bullet ~ Mamma Mia! Here We Go Again

Synopsis: The film will go back and forth in time to show how relationships forged in the past resonate in the present.

Release Date:  July 20, 2018

Thoughts: It has been a decade since the boffo stage hit Mamma Mia! danced its way to the big screen and made millions but it was a bit of a puzzlement when this sequel was announced.  Where did the film have to go and how many more ABBA tunes could be culled from their catalog for the characters to sing?  This first look at Mamma Mia! Here We Go Again (ugh, that title!) has arrived and, I warn you, it’s fairly alarming.  The sun drenched Greek setting is back as are most of the buoyant cast members…but someone is noticeably absent from most of the merriment.  Meryl Streep…or to be more specific, Streep’s character.  Sure, Streep (Hope Springs) is present in flashes but she’s not front and center like the original film and that’s inspired people to ask if the filmmakers killed her character off.  Not sure how I feel about that and even more unsure if it’s wise to make this a prequel when the back story was such a flimsy throwaway in the first place.  Director Ol Parker (The Best Exotic Marigold Hotel) has brought on Lily James (Darkest Hour) to play Streep in her twenties and landed Cher (Mermaids) to play her mother (!!!).  No question I’ll be lining up to see this but if it’s going in the direction I think, I’m already blue since the day I first saw this trailer.

The Silver Bullet ~ Bridget Jones’s Baby

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Synopsis: The continuing adventures of British publishing executive Bridget Jones as she enters her 40s.

Release Date:  September 16, 2016

Thoughts: Though it (wisely) eschews the plot from Helen Fielding’s third Bridget book, it does feel a bit like the Bridget Jones train has been at the station for perhaps a tad too long.  I guess I’ll choose to believe that it’s been so long since the disastrous 2004 sequel to 2001’s splendid Bridget Jones’s Diary audiences will likely be more than ready to spend some time with our titular character and her many romantic entanglements.  Thankfully, returning stars Renee Zellweger and Colin Firth (Magic in the Moonlight) look positively charming and new addition Patrick Dempsey (X) should make a believable foe for Firth in the quest for Bridget’s affections.

The Silver Bullet ~ Before I Go To Sleep

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Synopsis: A woman wakes up every day, remembering nothing as a result of a traumatic accident in her past. One day, new terrifying truths emerge that force her to question everyone around her.

Release Date: September 12, 2014

Release Date: October 31, 2014

Thoughts: Were it not for co-star Colin Firth dropping out as the voice of the holiday release Paddington, Before I Go to Sleep would be the third movie the actor appeared in with Nicole Kidman in less than a year. After teaming on The Railway Man, Kidman (Stoker) and Firth (Magic in the Moonlight) are featured in this thriller adapted from a novel that feels like the female answer to Memento. As much as I love a good suspense film, too much of the preview hints at the twists and turns in store for audiences, never a good sign for a genre that benefits from genuine surprise. Still…even though she makes some strange choices in projects I can’t help but enjoy Kidman and no one does wide-eyed terror/confusion quite like she does.

The Silver Bullet ~ Kingsman: The Secret Service

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Synopsis: A veteran secret agent takes a young upstart under his wing.

Release Date: October 24, 2014

Thoughts: This adaptation of the comic book “The Secret Service” looks fairly interesting based on this trailer I originally saw way back in May with X-Men: Days of Future Past. Sure, we’ve been inundated with countless big screen treatments of books focusing on seemingly ordinary teens that are tasked with saving the world…but something about this reminds me of a working class James Bond and that’s intriguing. Though I’ve grown weary of Samuel L. Jackson (RoboCop) popping up in every movie, I’m even more concerned about the recent overexposure of Colin Firth (Magic in the Moonlight). Kingsman: The Secret Service will mark the sixth film of his to be released in 2014…thank heaven he dropped out as the voice of December’s Paddington! Directed by Matthew Vaughn (Kick-Ass 2), this potential franchise starter could be a nice film to take in during the crisp autumn season.

Movie Review ~ Magic in the Moonlight

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magic_in_the_moonlight

The Facts:

Synopsis: A romantic comedy about an Englishman brought in to help unmask a possible swindle. Personal and professional complications ensue.

Stars: Eileen Atkins, Colin Firth, Marcia Gay Harden, Hamish Linklater, Simon McBurney, Emma Stone, Jacki Weaver, Erica Leerhsen, Catherine McCormack, Paul Ritter, Jeremy Shamos

Director: Woody Allen

Rated: PG-13

Running Length: 97 minutes

Trailer Review: Here

TMMM Score: (7/10)

Review: If Magic in the Moonlight had been made by anyone other than Woody Allen I think I would have scored it lower because ultimately the movie is very simple, inconsequential, light entertainment that once seen quickly evaporates like a summer breeze as you exit the theater.  Still, it’s an Allen film through and through so I find myself giving the prolific director a great deal of slack because while it may not be as layered with dramatic nuance as 2013’s Blue Jasmine, it does find the director working comfortably in his element.

The period comedy set in the 20s is as light-hearted as they come, with a plot that feels straight out of a thin paperback novel that itself is part of a larger series of adventures.  An English magician (Colin Firth, Devil’s Knot) in Berlin, performing under the un-PC moniker Wei Ling Soo, is tempted to the French Riviera by a colleague (Simon McBurney) to help prove a young psychic (Emma Stone, The Amazing Spider-Man 2) is a fake.  The psychic has convinced a wealthy woman (Jacki Weaver, Stoker) of her gifts and caught the eye of her ukulele playing love struck son (Hamish Linklater) while staying at their gossamer villa with her mother (Marcia Gay Harden) and conducting the odd séance in between high tea and scones.  Into the mix comes the doubtful magician and before you know it, he too is wrapped up under her spell…but is it all just an elaborate ruse?

Going down like a chilled glass of champagne, Magic in the Moonlight is mostly bubbles, only going flat in the far reaches of its last act when the charm starts to wear off.  Explanations always ruin an illusion so the more the characters talk, the less interesting they all become.  Still, it takes a while to get to that place so it’s best to put your feet up and let Allen’s comedy wash over you.

As Allen (Radio Days, Fading Gigolo) nears his fiftieth feature film, it’s truly amazing how he’s able to churn out a movie year after year.  True, they may not all be winners but he’s moving away from his pattern of having solid gold with every third film.  Yes, Magic in the Moonlight lacks the depth of Blue Jasmine but who really cares?  The two films couldn’t be more different, just as Blue Jasmine was different from the film that it followed (To Rome With Love).  Allen’s filmmaking style is instantly recognizable and goes by the old adage that if it ain’t broke, don’t fix it so production design, costumes, and musical cues are all keeping with Allen’s eye for detail.

Already working on her next Allen film set for release in 2015, Stone may be Allen’s new muse (replacing Scarlett Johansson) and her crisp delivery meshes well with Allen’s dialogue.  Though her possible romance with Firth seemed a little too May-December for my tastes, the two actors chum it up well in their scenes together, with Firth thankfully unwinding a bit from his more serious roles as of late.  As Firth’s aunt, Eileen Atkins (Beautiful Creatures) gets some nice zingers in and seems to be enjoying herself quite a lot.

It’s a bauble of a film that serves as nice counterprogramming for those exhausted from a summer of explosions, aliens, lizards, and transforming robots.  Yeah, it’s easily forgotten but it could be just the laid-back kind of entertainment you’re looking for.

The Silver Bullet ~ Magic in the Moonlight

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Synopsis: A romantic comedy about an Englishman brought in to help unmask a possible swindle. Personal and professional complications ensue.

Release Date: July 25, 2014

Thoughts: My thoughts and feelings about writer/director Woody Allen’s personal troubles aside, it’s hard to deny that he had a most impressive 2013 with the slam-dunk of Blue Jasmine. Not only was Cate Blanchett’s performance of the Oscar she was awarded, Allen’s script (a veiled re-working of A Streetcar Named Desire) was sparkling and en pointe. Now Allen (who is in front of the camera on the recently released Fading Gigolo) takes a page from Noel Coward in the Blithe Spirit-y comedy Magic in the Moonlight which seems to be the traditional lightweight comedy he typically follows a more dramatic film with. Emma Stone (The Amazing Spider-Man 2) and Colin Firth (Paddington) seem right at home with the period and while it’s true that any bad movie can be made more interesting with a well-cut trailer, I have my eye on this one as a late summer refresher.

The Silver Bullet ~ Paddington

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http://www.youtube.com/watch?v=olf4StiBnmY

Synopsis: PADDINGTON follows the comic misadventures of a young Peruvian bear with a passion for all things British, who travels to London in search of a home.

Release Date:  December 14, 2014

Thoughts: It seems a true miracle that it has taken so long for literature’s favorite bear to make his big screen debut. Arriving in 1958 and appearing in 20 books and several animated TV series, the bear from darkest Peru will be popping up for a Christmas-timed origin story. Voiced by Colin Firth (), I’m hoping that Paddington keeps its British sensibilities firmly in tact because that happens to be what has drawn me to the books over the years. I’d hate to see the polite bear of my youth be upended/updated to attract modern audiences. In addition to Firth, Nicole Kidman (Stoker), Hugh Bonneville (The Monuments Men), Sally Hawkins (Blue Jasmine), Julie Walters (Billy Elliot), and Jim Broadbent (Closed Circuit) will all be on hand to usher in Paddington’s first trip to the cinema.

The Silver Bullet ~ Devil’s Knot

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Synopsis: The savage murders of three young children sparks a controversial trial of three teenagers accused of killing the kids as part of a satanic ritual.

Release Date:  TBA 2014

Thoughts: Aside from a Broadway musical, I’m not sure if any visual art hasn’t taken a stab at the crime saga surrounding the West Memphis Three.  After the three landmark Paradise Lost documentaries and one recent feature documentary (West of Memphis) the story has now been adapted into a film starring two Oscar winners under the direction of an Oscar nominated director.  So why doesn’t the first trailer for the big screen treatment of Mara Leveritt’s well-researched investigative novel land better?

For me, it’s because I feel it’s all been done before using the real life players that have been involved in the tragedy.  We’ve seen the faces of the murdered children and the three young boys that were targeted as their killers.  We’ve followed their families, seen the pain of loss, and the gnawing feeling that the real person or persons responsible remain unpunished.  Can good actors like Reese Witherspoon (This Means War, Mud) and Colin Firth (Arthur Newman) get across that same emotion?

Originally positioned as an awards contender, after some early screenings the buzz is considerably lower and who knows how large of a release this will even get.  That’s too bad because this has a fantastic cast…however I think they’re simply stuck in a re-telling of events we’re familiar with.