Synopsis: After suffering a near-death experience as a child, Darby Harper is granted the ability to see ghosts. To combat the existential boredom of high school, she runs a side business counseling local spirits in her spare time. When an unexpected occurrence happens between Darby and Capri, the most popular girl at school, Darby reluctantly agrees to help her and, in the process, learns how to fit in with the living world again. Stars: Riele Downs, Auli’i Cravalho, Chosen Jacobs, Asher Angel, Wayne Knight, Derek Luke, Tony Danza Director: Silas Howard Rated: PG-13 Running Length: 108 minutes TMMM Score: (6/10) Review: Here’s why a movie like Darby and the Dead should have attracted more attention when it was released in early December. It was one of a select few films released aimed at the teen crowd which didn’t originate from a YA novel, comic book, or other existing IP. That may not sound like a huge event, but with the lack of new content coming out of Hollywood, finding a movie made from an original script by a major studio in 2022 was something we should have celebrated much more.
Of course, as lovely as that is to report, that’s not to say Darby and the Dead is the most original teen afterlife comedy you’ll ever see. It’s almost astonishing how it references countless other films that have come before it. Whether intentionally or subconsciously, there are bits sprinkled throughout Wenonah Wilms and Becca Greene’s script that reference supernatural comedies from Topper to Ghost to even the Reese Witherspoon comedy Just Like Heaven. It’s all in lighthearted fun, and while I fully recognize I’m not the target audience for the film (and have thus fairly reviewed it keeping that in mind), it gives me hope that screenwriters are looking to the past to spur ideas for the future.
A typical high-school set-up (mean popular girl vs. shy special girl) is turned on its head when the popular girl (Auli’i Cravalho, Ralph Breaks the Internet) dies and finds out that shy girl (Riele Downs) has a talent for talking to the dead, helping the recently deceased finalize any unfinished business. It turns out the popular girl had a birthday coming up, and throwing one last bash might be the closure she needs to walk into the light. Of course, alive or dead, it’s not as simple as that, and when the shy girl gets a taste of the cool side of the lunch table, our dead girl makes plans to reclaim her throne.
The latest addition to the slumber party fare that parents don’t have to fret over, Darby and the Dead has some flash in filmmaking (director Silas Howard helmed many terrific episodes of Dickinson on AppleTV+) and above-average performances from all. It’s bound to go in one ear and out the other for adults, but I feel that teens will latch onto a few life lessons learned here about embracing individuality and living for today.
Synopsis: An extremely wealthy man dying from cancer undergoes a radical medical procedure that transfers his consciousness into the body of a healthy young man. But all is not as it seems when he starts to uncover the mystery of the body’s origin and the organization that will kill to protect its cause.
Release Date: July 31, 2015
Thoughts: Here’s something interesting, a futuristic sci-fi yarn that isn’t based off an idea that sprang from the mind of genre favorites Philip K. Dick or Robert A. Heinlein. I must admit I’m a sucker for these kinds of far out fantasy films that pose questions about where our technology and scientific advances are taking us, exploring how each new boundary broken carries its own set of disadvantages. I’m a fan of director Tarsem Singh (his visually arresting but otherwise wretched Mirror, Mirror notwithstanding) but find it curious this is being deposited smack dab in the middle of a highly anticipated summer season. Perhaps it will provide a nice bit of brainy counter-programming to the bombastic sure-fire blockbusters headed our way.
Synopsis: After being deemed unfit for military service, Steve Rogers volunteers for a top secret research project that turns him into Captain America, a superhero dedicated to defending USA ideals.
Stars: Chris Evans, Tommy Lee Jones, Hugo Weaving, Hayley Atwell, Sebastian Stan, Dominic Cooper, Toby Jones, Neal McDonough, Derek Luke, Stanley Tucci
Director: Joe Johnston
Running Length: 123 minutes
TMMM Score: (8/10)
Review: When Captain America: The First Avenger came out, I was feeling all together ho-hum about the Marvel franchise so far. Full disclosure, I was more of a DC Comics fan growing up and the Avengers universe was a bit of a foreign entity to me. That being said, I always had an appreciation for Captain America…even allowing myself to like (just a little!) the disastrous 1990 failed attempt to bring the character back to the big screen.
In July of 2011, audiences had already met Iron Man (twice!) and Thor and while I liked the initial Tony Stark adventure way more than I liked the muddled snoozer centered on the Norse warrior, I wasn’t totally sold that Captain America would live up to my expectations. So it was a nice surprise to find that not only was Captain America: The First Avenger a hugely entertaining film but that it achieved this by relying on an old-fashioned style of filmmaking that put the characters first and the special effects second.
Beginning in the present with the discovery of a familiar calling card, the film jumps back in time to the early 40’s when America was in the early stages of World War II. Looking for a few good soldiers, the US recruited an entire generation of men and women to serve their country overseas. Longing to be of service to Uncle Sam, scrawny Steve Rogers (a digitally wimp-ized Chris Evans) can’t make it past the medical exam after half a dozen attempts. His passion catches the eye of a German scientist (Stanley Tucci, The Hunger Games: Catching Fire) and Rogers is soon in basic training as a candidate to create a new soldier.
Under the watchful eye of a grumpy Colonel (Tommy Lee Jones, Lincoln) and pretty but tough Peggy Carter (dynamite Hayley Atwell), it isn’t long before Rogers is beefed up and buffed out thanks to a procedure concocted by Howard Stark (Dominic Cooper, Need for Speed, as Iron Man’s pappy) that makes him a freedom fighting machine. As much a piece of pro-America propaganda as was produced in the same time period, Captain America: The First Avenger occupies the rest of its run length with Rogers weathering the good and bad of his newfound power and a deadly battle with the Red Skull (Hugo Weaving, Cloud Atlas) a nasty Nazi with a typically nasty Nazi plot for world domination.
With his all-American looks, Evans (The Iceman) is the perfect figure to play such an all-American hero…even though the effect to make him look small at the beginning of the film is kinda goofy. Though he had to be convinced more than once to take the role, he’s the right man for the job. Weaving is appropriately frightening as the red-faced terror and Jones hrumphs with the best of them. I still feel that Atwell’s plucky heroine is the best female character to date in the Marvel franchise…here’ s hoping the rumored television series based on her Agent Carter comes to life.
A worthy origin story, the film reminded me a lot of The Rocketeer, Disney’s notorious 1991 flop that coincidentally was also directed by Joe Johnston. I liked The Rocketeer, flaws and all, and Johnston seems to be trying to redeem himself in the eyes of comic book aficionados everywhere. Unlike Iron Man and Thor, I never felt like Captain America: The First Avenger existed only to bridge the gap to the film that would become The Avengers a year later in 2012. It does supply the last bit of info before that movie arrived but is still enjoyed on its own merit.
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Review: There are two large shadows that loom mightily over this remake of the 1976 film of the same name. The first is the obvious comparison to that other musical centering on a Supremes-like girl group in the 60’s: Dreamgirls. If you look at the timeline carefully you’ll note that the original Sparkle came out a full four years before Dreamgirls opened on Broadway…thereby making it the first on the scene. The parallels between the two are more than a little coincidental but Sparkle takes a harder edge in its latter half that would have seemed out of place in Dreamgirls. Also, I’d say that Dreamgirls is an outright musical while Sparkle is a drama with the occasional musical number delivered from a stage, nightclub, or church. The two may be similar in story but their paths diverge, making Sparkle less obviously about The Supremes.
The second shadow is more of a ghost like presence concerning co-star Houston who passed away in February just as the film was moving into post production. It’s hard to say what kind of press the film would have received had Houston not died but it was her return to the screen after more than 15 years so a lot of attention would have been focused on this project anyway. Houston also acted as executive producer of the film, having acquired the rights back in early 2000 with the intention to star alongside Lauryn Hill and Aaliyah. When Aaliyah herself passed away the project was put on hold until now.
Both of these shadows don’t sink the film that winds up being surprisingly pleasant even though it drifts a bit in the latter half. It’s a fairly predictable flick and if you can’t see the pieces falling into place long before they do then you need your eyes checked. Even with its telegraphed plot there is a winning quality to the film that keeps you invested based on the strength of the performances, production design and strong direction.
Like Dreamgirls, the star of the film is another American Idol alum making her screen debut and Sparks is mostly up to the challenge though she won’t be winning an Oscar for her efforts. It’s not a star-making turn like Jennifer Hudson had in Dreamgirls but Sparks doesn’t embarrass herself, even if the role doesn’t quite fit her like a glove. With her mega-watt smile the camera loves her and she fits the era well in terrific costumes by Ruth E. Carter. Her Idol-tuned voice doesn’t truly fit the period (1968) however her vocals near the end have a rousing power to them.
Speaking of the soundtrack, aside from music cues from actual popular music of that time none of the music sounds remotely late 60’s which is a shame. Much of the new material was written by R. Kelly and its feet are firmly planted in contemporary pop music. The music isn’t bad (especially the great “Running” sung by a secondary character played by musician Goapele) but authenticity flies out the window whenever the music starts to play. Also, I would have bet the ranch that several of the actors had their vocals dubbed but careful inspection showed that everyone was doing their own singing…so basically they were just lyp-synching badly in the film. Houston even struggled with matching her pre-recorded vocals when filming…which is surprising coming from an artist who famously perfectly lyp-synched The Star Spangled Banner at The SuperBowl.
While watching Houston onscreen I started to miss her presence all over again. Yes, she struggled with addiction but there was no denying she had a voice that wouldn’t quit. Her acting was spotty in her limited film career and had she made more films I believe she would have evolved…sadly it wasn’t meant to be. In Sparkle, she’s the mom to the trio of girls that form Sister and Her Sisters and she takes care of business easily. She’s the stereotypical single mom who has been-there, done-that and doesn’t want her daughters to follow in her footsteps. At times, Houston plays the role a bit too nasty which makes the inevitable softening of her resolve at the conclusion harder to fully buy. While Houston works through the material well she appears tired with her eyelids often at half mast and more than a few scenes played with her eyes totally closed. Who knows what was going on during that period but for a highly hyped return to the screen (and as it turns out her final performance) she’s serviceable but doesn’t ace it.
Brit Ejogo looks great and sings well as the lead singer of the group. Without Sparks in the mix she would have (and probably should have) been the star of the show as most of the film revolves around her and the choices she makes as her star rises. Ejogo has a pretty voice and at times looks an awful lot like Michelle Pfeiffer so you know my attention was rapt when she was onscreen. Sumpter is probably the best actress of the group and gets to deliver some of the funnier lines as the worldly-wise sister that isn’t afraid to tell it like it is.
The men in the film are a mixed bag and play their broad characters in support of the females – which is exactly what they should have done. Epps and Luke play love interests to the Ejogo and Sparks characters and if neither actor gets to dig in deep they make consistent choices throughout. If you’re going to see Green you’ll be in for a let-down as his appearance is strictly limited to the opening five minutes. It’s nearly a walk-on role as he opens the movie with a song and then disappears.
Director Akil works from the screenplay his wife Mara Brock Akil updated and for the most part he’s delivered a good-looking, well-formed picture that should please fans of Sparks and Houston. While some of the plot’s turning points are more convenient than believable (such as Bible-thumping Houston providing Sparks with the lowest cut Jezebel looking red dress this side of Mae West), it all somehow adds up to a harmless watch.