Synopsis: Now a detective-for-hire, Enola Holmes takes on her first official case to find a missing girl as the sparks of a dangerous conspiracy ignite a mystery that requires the help of friends – and Sherlock himself – to unravel Stars: Millie Bobby Brown, Henry Cavill, Louis Partridge, Susie Wokoma, Adeel Akhtar, Helena Bonham Carter, David Thewlis, Sharon Duncan-Brewster Director: Harry Bradbeer Rated: PG-13 Running Length: 129 minutes TMMM Score: (8/10) Review: In early 2020, things could have turned out quite differently for the first Enola Holmes adventure. Initially set to be distributed theatrically by Warner Brothers, when the global pandemic’s lasting impact was just being understood, the studio quickly saw the writing on the wall and sold off the property to Netflix. The streaming service then sat on the movie through the summer and packaged it up to deliver it in August, riding the wave of star Millie Bobby Brown’s success coming from Stranger Things. The resulting success of the film was due not just to that timing but also to its overall quality and care for its characters. Based on a series of books by Nancy Springer, with Netflix now owning the rights to future sequels and interested in maintaining a good relationship with star/producer Brown, a sequel was planned and shot in short order.
The resulting film, somewhat uncreatively titled Enola Holmes 2, is again debuting during the fall season at the perfect moment between the finality of summer hits and the onslaught of fancy-schmancy Oscar bait. Reuniting the entire original cast (minus unavailable Sam Claflin, whose Mycroft is barely mentioned) and director Harry Bradbeer, it’s mostly more of the same in this follow-up, and that’s good news for everyone involved, including the viewers. Jettisoning an established Springer manuscript in favor of an original tale, writers Bradbeer and Jack Thorne (How I Live Now) drew inspiration from actual events, giving the film a slight edge over the more rambunctious plot of the first.
Shortly after we last saw Enola Holmes (Brown, Godzilla: King of the Monsters), the teenage sister of world-famous detective Sherlock Holmes (Henry Cavill, Zack Snyder’s Justice League), she set up her detective agency but hasn’t had nearly the same success as her more famous brother. She’s about to close her doors when a young factory girl knocks and asks for assistance in finding her “sister,” who has gone missing. Tracking down the girl will lead Enola into a web of blackmail and schemes involving members of high society and crisscross with a case that Sherlock has been working on. Together, they uncover a sinister new opponent with their sights set on Sherlock, who doesn’t mind leaving a clue or two for his sister.
In addition to Brown and Cavill and the always clever Helena Bonham Carter (The Lone Ranger) as their rabble-rousing mother, Bradbeer has brought back fun supporting players Susie Wokoma as jujutsu teacher Edith and Louis Partridge (Paddington 2) as Tewkesbury, a potential love interest for Enola. New cast members fit in nicely, including David Thewlis (Wonder Woman) calling on his nasty side to pursue the Holmes siblings, and Sharon Duncan-Brewster (Dune) as an “inside woman” helping Enola solve her case.
You’d rarely want to mash two sequels together to be one long movie, but the two Enola Holmes films (so far) would make a tremendous four-hour-long sit some cozy Sunday. As we head into the Thanksgiving weekend, consider Enola Holmes 2 and its predecessor as the perfect combo to relax with after that big turkey dinner.
Synopsis: Before she was Wonder Woman she was Diana, princess of the Amazons, trained warrior. When a pilot crashes and tells of conflict in the outside world, she leaves home to fight a war to end all wars, discovering her full powers and true destiny.
Stars: Gal Gadot, Chris Pine, Robin Wright, David Thewlis, Danny Huston, Connie Nielsen, Lucy Davis, Elena Anaya, Saïd Taghmaoui, Ewen Bremner, Eugene Brave Rock
Review: As a child, every few weeks my parents and I would travel 115 miles south to visit my mom’s family. Getting up early and missing Saturday morning cartoons wasn’t that big of a deal to me…it was the Sunday return trip that caused great anxiety in our car. You see, Sunday afternoon at 4pm is when reruns of Wonder Woman were on. Capping off a block of programming that included The Six Million Dollar Man followed by The Bionic Woman, Wonder Woman was Must See TV for this fella and my parents came to the understanding that come hell or high water, we had to be home by four. Now, several times this didn’t happen and let’s say…things got messy.
That context is helpful to you, dear reader, in understanding why this long planned big screen adaptation of Wonder Woman was more than just another anticipated summer blockbuster for me. This was the arrival of a character I truly grew up with, maybe more so than Batman or my ultimate favorite, Superman. I came to Wonder Woman via the Lynda Carter television show and not like many did by way of DC Comics. Created by William Moulton Marston, the Amazonian Princess first appeared in 1941 and quickly became a popular symbol not only of strength but of a woman with the ideals to be a natural leader of all.
A reboot of the TV show was attempted but failed at the pilot stage several years back and while Wonder Woman was hinted at being a part of the planned Warner Brothers DC Universe at some point, it wasn’t until the character was a surprise addition to 2016’s Batman vs Superman: Dawn of Justice that fans finally saw the light at the end of a long dark tunnel. While many (including me) had their own issues with BvS, most agreed that Gal Gadot’s Wonder Woman was a memorable highlight of that film and looked forward to the stand-alone movie that would be released before Justice League later in 2017. Then the deplorable Suicide Squad was released late summer 2016 and people began to worry that Wonder Woman’s bright beacon of hope would be unfashionably oppressed by DC Universe’s strangely dark style.
Fear not, though, because not only does Wonder Woman make a most excellent showing in her first solo big-screen adventure, but it’s by far the best comic book adaptation in almost a decade. Besting the best of the boys club that came before her, this heroine has brains and brawn in addition to her beauty. It’s more entertaining than you can possibly imagine and would make even the hardest non-fan of comic book movies buckle in their resolve.
While longtime fans may be bug-eyed that the screenplay by Allen Heinberg from a story by Zac Snyder, Heinberg, and Jason Fuchs moves the action from WWII to WWI, it plays into the overall success of the picture by showing Wonder Woman’s superhero emerge at the same moment that war-time weapons took a strikingly modern leap forward. Why wouldn’t a solider be just as amazed at a woman deflecting bullets as they would be by the automatic machine gun that’s firing them at her?
Wonder Woman is a classic origin story that manages to breeze quickly through the lore while satisfyingly hitting all the right notes at the same time. Living among the Amazon women on Themyscira (Paradise Island), young Princess Diana is a force of nature ready to learn to fight but kept at bay by her overprotective mother (Connie Nielsen, Gladiator). Secretly trained by her aunt (Robin Wright, Everest, buff as hell) over the ensuing years, her skills are put to good use when a plane carrying U.S. spy Steve Trevor (Chris Pine, Into the Woods) crash lands in the sky blue waters off the coast. Soon, Diana is accompanying Steve back to jolly old England (“This place is hideous”, exclaims Diana upon seeing the gloomy London harbor) and embarking on a quest to stop a crazed General (Danny Huston, Big Eyes) and his evil scientist comrade (Elena Anaya, The Skin I Live In, frightening in a Phantom of the Opera-esque ceramic mask) from releasing a chemical weapon onto their enemies.
Proving that maybe more females should be in charge of high caliber action films, director Patty Jenkins should be lauded for crafting one of the best entries in recent memory. Not only does she stage her battle scenes with grand flare but she manages to never over sexualize her star as I fear her male colleagues would have. There’s no gratuitous shots looking up at Wonder Woman (and up her skirt in the process), no scenes framed with her cleavage taking center stage, no temptation to give fanboys an opportunity to linger too long on the exposed skin. Instead, she presents Wonder Woman and all of the characters (male and female) as equals in the eyes of the camera. In fact, the most skin on display here is from Pine as he emerges from a healing spring on Themyscira, providing for some fun dialogue between Diana and Steve.
Gadot (Keeping Up with the Joneses) was a star on the rise going into this film but she firmly cements her justified ascent with a fully layered flesh and blood performance. Her delightful naiveté when entering the modern world reminded me of Daryl Hannah’s fish out of water exuberance as a mermaid on dry land in 1984’s Splash. We’ve seen this stranger in a strange land done before but never with such charm. As she grows to see that humans are deeply flawed, Gadot admirably portrays the disappointment of someone learning the truth after realizing they had believed too long in fiction.
Though he already has a strong foothold in the Star Trek franchise, Pine turns in one of his best performances as the American solider striving to do what’s best for his country. Pine and Gadot have excellent chemistry and when the inevitable sparks begin to fly, it turns into a courtship during combat that feels well earned. As for the bad guys and gals, Huston is his typical smarmy villain while Anaya memorably makes for a more interesting foe to our heroes.
The film has a lot packed into its 141 minute run-time but never feels long or taxing. Yes, the last half hour delves into the kind of special effects heavy finale that tends to assist my eyes in glazing over at double speed but so much was excellent up until then that Wonder Woman’s battle royale (with an enemy revealed in a nice twist) managed to hold me at the edge of my seat. While there’s no post-credit scene, the film doesn’t need one because the correct edges have been rounded off and just the right amount of loose ends remain for future installments to easily pick up and run with.
Some say that summer blockbusters begin in May but for me the summer has truly begun in June with Wonder Woman’s much appreciated arrival. There’s no regret to be had for seeing this one in the biggest theater possible with a packed audience. Enjoy!
Synopsis: An Amazonian princess leaves her island home to explore the world and, in doing so, becomes one of the world’s greatest heroes.
Release Date: June 2, 2017
Thoughts: Wonder Woman’s journey to the big screen has taken a looooooooooooong time. The popular female superhero has had life on the small screen but hasn’t used her lasso of truth to snag a major motion picture until now. While many audiences and critics reviled Batman v. Superman: Dawn of Justice (not me, I thought it was great), the one consensus was that Gal Gadot’s Wonder Woman was the highlight of that film. Gadot (Keeping Up with the Joneses) made good use of her brief screen time and boy does this new trailer for her origin pic look like a winner. Directed by Patty Jenkins and co-starring Chris Pine (People Like Us), June 2017 seems so far away…but it seems like the wait will be worth it. Fingers crossed.
Synopsis: Macbeth, a Thane of Scotland, receives a prophecy from a trio of witches that one day he will become King of Scotland. Consumed by ambition and spurred to action by his wife, Macbeth murders his king and takes the throne for himself.
Stars: Michael Fassbender, Marion Cotillard, Paddy Considine, David Thewlis, Jack Reynor, Sean Harris, Elizabeth Debicki
Review: Everyone has their favorite Shakespeare play (or they should) and while I’ve always gravitated toward the comedies more than the tragedies, if I had to pick one of his darker works I’d go with Macbeth without much hesitation. There’s something so sinister about the plot, something so overtly wicked about it that it has kept me interested in whatever iteration is released. I’ve seen it on film, and onstage as a play and an opera and it’s malicious deeds always give me the chills.
There have been several screen adaptation of Macbeth over the years (as well as some clever twists on it, see Scotland, PA for a fun one) and they’ve all made their own mark. Justin Kurzel’s 2015 Macbeth is the shortest adaptation so far, truncating Shakespeare’s prose down to its barest core and taking some liberties with the action that may have purists sharpening their knives.
While watching the film, I was decadently disengaged. I went in thinking I would instantly love it, especially considering the leads were cast with two of my favorite actors working today. Yet throughout the two hours I wasn’t able to immerse myself in the proceedings like I expected to. It usually takes me a few minutes to acclimate to Shakespeare’s dialogue but I struggled mightily, even knowing the play fairly well. Artfully made and shrewdly performed, it didn’t grab me.
Then I had some time to think about the film and slowly but surely I realized just how effective the piece was. It’s not your typical Macbeth adaptation and more’s the better for it. Sure, it’s been slashed to smithereens but what Kurzel cuts he makes up for with imagery and imagination that fill in the gaps for us.
I’d always considered Macbeth more of a pawn to his wife’s ambition but Michael Fassbender (12 Years a Slave) plays the Thane of Scotland as conflicted yet not contrite. He may have needed the initial push from his significant other but once he gets going he finds that he can’t stop his mission to rise to power. In typical Fassbender form, it’s an all-in approach that gives the character fearsome depth and calculated strength.
Equal to (and possible besting) her co-star, Marion Cotillard (Two Days, One Night) takes on the famous role of Lady Macbeth and chooses to add anxiety into her ambitious ways. Her urging her husband to commit heinous acts comes from a survival instinct…but she realizes too late the machine she’s helped start will bring about their downfall instead of their ascension. Cotillard has a thrilling monologue late in the film that’s simply shot but complex in its delivery.
Not everyone will love this Macbeth…I sure didn’t when it was happening in front of me. However, taking the time to ponder it in the hours/days after I found that my appreciation for the work only grew. It wasn’t what I expected and that wound up working in its favor.
Synopsis: Identical twin gangsters Ronald and Reginald Kray terrorize London during the 1950s and 1960s.
Release Date: September 11, 2015
Thoughts: Here in the U.S. we have our share of famous gangsters. From Al Capone to Lucky Luciano to John Dillinger, the roster of rouges leaves a colorful trail of crime that’s been brought to the big screen in a number of varied films. For UK audiences, mention The Kray Twins and the same sort of name recognition and interest will arise. A story already brought to the screen in 1989’s The Krays, in 2015 writer/director Brian Helgeland (42, L.A. Confidential) and star Tom Hardy (Mad Max: Fury Road, Child 44, The Dark Knight Rises) will give the organized crime twins new life. Despite a yawn inducing title, Hardy’s rising star should give this one a little extra boost.
Review: At the center of The Theory of Everything is a Hallmark Hall of Fame film just dying to get out. It seems to have all the ingredients of those celebrated television movies that pile on the need for Kleenex with each successive commercial break. You have the story of resilience against all odds, the power of love against all odds, and the will to effect positive change…against all odds. Each of these pieces is covered at some point or another in Anthony McCarten’s workmanlike script and while less cynical audiences will easily gobble up this bit of fluff, I found it hard to let myself get sucked into that blackhole of saccharine.
So why the relatively high rating, you may ask? Well, it’s because what The Theory of Everything has (in addition to a parade of scenes that feel as if they should end with the populace onscreen starting a slow-clap that ends in a rousing furor of applause) is not one but two award-worthy performances that easily make the film worth recommending.
As physicist Stephen Hawking, Eddie Redmayne (Les Miserables) takes us from the wallflower schoolboy with a knack for solving impossible mathematical equations all the way through to the man that battles a degenerative nerve disease that leaves him unable to walk or talk. It’s a tricky performance that Redmayne carefully navigates, giving us a look at not only the effect the disease has on Hawking’s body but on his spirit. Twisted limbs and a skewed stance was likely murder on Redmayne’s body but the effect is totally believable on screen.
Though she has no physical ailments to portray, as Jane Hawking young Felicity Jones (The Amazing Spider-Man 2) has possibly an even more difficult character to bring to life. I think it’s easy for audiences to see a disability on screen and be cued into what’s happening under the surface but Jane’s resolve to stand by her man is colored with sacrifice but never resentment. Take an early scene where Jane makes it clear that she expects the boy she loves to not give up in the face of his diagnosis and play, of all things, croquet. In one powerhouse shot we see her see him as he struggles but soldiers on and her face tells us she knows what the years to come will bring…and the precise moment when she goes all-in for her love. It’s maybe one of the best scenes in any movie from 2014.
Even with these two wonderful performances the film never strikes a deep chord, though it does manage to pack in quite a lot concerning the lives of the couple in less than two hours. Depending on how you look at it, the film has either a happy or a sad ending and being the glass half full kinda guy I am I chose to see the moments that book-end the biopic as a mature, honest, realization of the Hawkings. I just wish as a whole the film was as complete as the performances from Redmayne and Jones.
Synopsis: A look at the relationship between the famous physicist Stephen Hawking and his wife
Release Date: November 7, 2014
Thoughts: A film about the life of Stephen Hawking and his wife could, in the wrong hands, be the stuff of gauzy melodrama, the kind of film you’d see during the Hallmark Hall of Fame presentations on a rainy fall night (note: I do love the Hallmark Hall of Fame). Viewing the trailer for The Theory of Everything it appears that director James Marsh and screenwriter Anthony McCarten have taken Jane Hawking’s book and brought it to the screen with gentle care for its emotional core. Eddie Redmayne (Les Miserables) is generating serious Oscar buzz for his performance as the brilliant astrophysicist diagnosed with an ALS-like motor neuron disease. Felicity Jones (The Amazing Spider-Man 2) is his wife Jane who accompanies him on his journey to a new understanding of life and how far love can take you. Though it must be noted Hawking and Jane divorced in 1995 (the same year he remarried…) I can see audiences being swept away by the overarching themes of love being the greatest victory.
Synopsis: A computer hacker’s goal to discover the reason for human existence continually finds his work interrupted thanks to the Management; this time, they send a teenager and lusty love interest to distract him.
Release Date: TBA 2014
Thoughts: Say what you will about the deeper meaning of many of Terry Gilliam’s films but it’s hard to deny that the director doesn’t have a style that’s instantly recognizable. Even if I didn’t know that this first look at The Zero Theorem was the newest entry of Gilliam’s colorful oeuvre, I’d have come away thinking it very Brazil-esque. Starring two time Oscar winner Christoph Waltz (Django Unchained), The Zero Theorem’s trailer isn’t one I’ll be craving to watch over and over again without an Aleve handy but I’ll keep my peepers open for the finished product.