Movie Review ~ Birds of Prey

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The Facts
:

Synopsis: After splitting with the Joker, Harley Quinn joins superheroes Black Canary, Huntress and Renee Montoya to save a young girl from an evil crime lord.

Stars: Margot Robbie, Mary Elizabeth Winstead, Jurnee Smollett-Bell, Rosie Pérez, Chris Messina, Ewan McGregor, Ella Jay Basco, Ali Wong

Director: Cathy Yan

Rated: R

Running Length: 109 minutes

TMMM Score: (7/10)

Review: In the summer of 2016, hopes were high that Suicide Squad could help bring back the DC Universe from extinction after the disappointing reception of Batman v Superman: Dawn of Justice, which was released earlier that year.  Seems that critics and audiences that had come to like the flashy spark of the Marvel Cinematic Universe weren’t grooving to the darker tones and turns DC was taking and while I personally thought BvS was far better than it got credit for, even I had to admit that the world needed to snap out of its mellow dankness.  Trouble was, the people behind Suicide Squad (and, likely, studio execs) course-corrected too much (largely after the fact) and delivered an awful tire-fire of a comic book movie…and made it PG-13 on top of it all.

If there was one thing that emerged victorious from the rubble of that failed effort (which is getting an overhaul reboot in 2021) it was Margot Robbie’s take on Harley Quinn, the Joker’s main-squeeze.  Robbie brought just the right amount of self-effacing fun and tongue-in-cheek cheekiness to the film, giving off the impression she was the only one who really understood what kind of movie she was in.  It definitely set the stage for her full-blown arrival to the big leagues the next year with her Oscar-nominated turn in I, Tonya followed by her regal showing for 2018’s Mary Queen of Scots.  After dominating 2019 with lauded parts in Once Upon a Time…In Hollywood and nabbing another Oscar nom for Bombshell, she’s back to make good on a deal that was sealed shortly after Suicide Squad opened to big business and stellar notices for her…a spin-off featuring Harley and a new group of female superheroes.

I admit, I first heard about this sequel while Suicide Squad was fairly fresh in my memory and I just wasn’t on board.  While I liked Robbie in the movie I didn’t find myself eager to revisit this take on Gotham City if it was going to be the same tone and annoying approach.  My dial wasn’t turned any more to the positive side when the full title was revealed: Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn).  I mean…must we?  Thankfully, we aren’t required to use the full title when discussing the film so Birds of Prey this one will be forever more.  Even hearing some decent buzz from those that got an early look didn’t totally convince me.

Well…when I’m wrong I’ll say I’m wrong and I’m wrong…a little bit.  The first ten minutes of Birds of Prey is exactly the kind of obnoxious experience I feared it would be.  Crazy edits, arch characters, voice over narration that felt like it was written by a fourth grader.  Then, just as I was settling in for a rough ride the film, written by Christina Hodson and directed by Cathy Yan, suddenly came alive and decided to find its own voice and that’s when things started to get interesting.  Sure, it maintains most of the elements that make it easily identifiable as a comic book movie but it strips away anything (and anyone) extraneous and focuses simply on the characters.  Don’t worry, this isn’t a Taxi Driver-esque character-study like Joker but it hits many of the same beats…just with more flair.

Harley Quinn (Robbie, The Wolf of Wall Street) has officially broken up with “Mr. J” and does so explosively (literally).  Without his protection she becomes a prime target for members of the Gotham City underworld that have been waiting to get back at her…but catching her is only half the battle.  Roman Sionis (Ewan McGregor, Doctor Sleep) finds this out when he nabs Harley and is about to have his henchman Zsasz (Chris Messina, Live by Night) send her to that great circus in the sky until she sweet talks her way into a deal to get him a priceless diamond from a young  street-wise pickpocket (Ella Jay Basco) in police custody.  Finding that girl is a cinch for Harley (a police station breakout is a highlight of the film, one  many impressive action sequences) but she isn’t the only one with an interest in the teen.  There’s Renee Montoya (Rosie Perez, The Dead Don’t Die) a Gotham City detective working with Sionis’ driver Dinah Lance (Jurnee Smollett-Bell) to get the jewel and save the urchin and the hooded Huntress (Mary Elizabeth Winstead, 10 Cloverfield Lane) whose own vested interest crisscrosses with all involved.

Much like she did with her script for Bumblebee, Hodson injects the film with female empowerment without laying it on thick like you’ve seen it before.  Working in tandem with Yan’s smart visual eye, once Birds of Prey sheds its slimy opening layer and finds its own fun it never stops until the fireball of a finale set at a rundown boardwalk amusement park. Kudos to the production design here…a truly imaginative funhouse was created for the battle royale that closes the picture.  I also appreciated that while the film wasn’t restricted to a PG-13 rating, Yan doesn’t take her R and run with it either…this is a movie that has violence but uses it in wise and, dare I say, fun ways.

Having more time to dig into Harley, Robbie sharpens her rough edges a bit more and that’s sometimes fun, other times a bit grating.  Like I said, it gets better as the movie goes along but the character is inherently meant to be on the insufferable side…but what makes her such a great character is that you still like her even though she’s bad.  And Robbie gets both those sides of the character right.  If there’s one thing Robbie is good at, it’s knowing when to share the spotlight.  It’s the sign of a confident star (and make no doubt about it, Robbie is a bona fine A-list movie star) who can yield the stage to others so they can shine and shine they do.  Perez is in rare form as a dedicated detective who has played by the rules and watched others with less scruples pass her by.  Skilled at comedy, Perez isn’t often asked to be on the more dramatic side and she ably holds up her end of things.  Surprisingly, Winstead’s role is smaller than you’d think, with the Huntress not having much screen time until the final ¼ when her presence is all but required.  I enjoyed Basco’s modern taken on a wide-eyed Artful Dodger and you’re either going to love what McGregor is doing or be completely perplexed.  For me, I loved it in all its slithery nastiness.  I sort of get where Messina was going in his laid back approach to the knuckles and muscle sidekick but think his performance is more Suicide Squad territory.  The one to really look out for is Smollett-Bell who sings up a storm and kicks butt like a pro.  Appearing in film/TV since she was a child, this feels like Smollett-Bell’s true arrival to adult roles and she’s undeniably one of the best things about the film.

It’s already known Robbie will be back for the Suicide Squad reboot next year but we’ll have to wait and see what’s next for the rest of the Birds of Prey.  I think this first outing is absolutely worth the flight time and would welcome another adventure if the same team was brought together again.  It can’t be a coincidence that the most successful DC Comic movies have been female centered and directed by women, right?  With Wonder Woman being the spark that kept the lights on at the studio and this one impressing with its wild style, here’s hoping Wonder Woman 1984 shows everyone that we need to keep letting the women run this world.

Movie Review ~ Doctor Sleep

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The Facts
:

Synopsis: Dan Torrance meets a young girl with similar powers as his and tries to protect her from a cult known as The True Knot who prey on children with powers to remain immortal.

Stars: Ewan McGregor, Rebecca Ferguson, Cliff Curtis, Kyliegh Curran, Zahn McClarnon, Carl Lumbly, Alex Essoe, Bruce Greenwood, Emily Alyn Lind, Jacob Tremblay

Director: Mike Flanagan

Rated: R

Running Length: 151 minutes

TMMM Score: (9/10)

Review:  It’s time to own up to the dark truth that I’ve seen every Stephen King movie but never read a Stephen King book.  I know, it’s a horrible thing to admit and I don’t offer it up with any amount of pride, only to say that I’ve appreciated that King is a writer with work that has provided so many wonderful adaptations.  Way back in 1980 when The Shining first premiered, it’s well known it wasn’t King’s favorite interpretation of his work.  Legendary director Stanley Kubrick took quite a lot of liberties with the source novel, eliminating characters or changing their make-up all together, to say nothing of the reworked ending.  While a TV adaptation hewed closer to King’s original vision, it paled in comparison to what Kubrick had created.   Over the years, King came to some finality with the movie, for better or for worse, and it was generally accepted by all in thinking of King’s novel and Kubrick’s film as two separate entities that shared similarities.

Re-watching The Shining again (released in a spectacular 4K BluRay) for my 31 Days to Scare, I was struck by how little actually happens (in terms of on-screen action at least) in Kubrick’s film up until the final third.  Over the years I’d always remembered the movie to be this non-stop cabin fever scare-fest that was a journey into madness from the start but that’s what a young imagination falsely remembered will do to you.  Seeing it through a more adult eye with a critical angle, I was taken by how well Kubrick turned up the heat on the Torrance family as they came to the Overlook Hotel in Colorado and the horrible fate that befell them.  Jack Nicholson’s performance is legendary to say nothing of Shelley Duvall’s unfairly maligned and unjustly ignored heroic work as his wife who comes apart at the seams on account of her husband’s own mental breakdown.

Kubrick’s The Shining ended (spoiler-alert) with Jack Torrance frozen to death in the Overlook’s hedge maze and his wife Wendy and son Danny high-tailing it down the mountain to safety.  So when King went to write a sequel to the novel years later, he obviously was writing a sequel to his story that ended with the Overlook destroyed.  King’s follow-up, Doctor Sleep, was a well-received best-seller and soon it was time to consider making that into a movie as well.  Yet, how to merge this book with the previous movie?  Enter Mike Flanagan, riding high off of his success with a series of successful genre films Oculus, Hush, Gerald’s Game, and the series The Haunting of Hill House on Netflix. Hired to adapt and direct Doctor Sleep (he also edited the movie), Flanagan worked with King to adjust the novel to fit with Kubrick’s original film and the result is a seamless continuation that’s supremely satisfying and frequently frightening.

Picking up in 1980 where Kubrick left off, Doctor Sleep starts not with the Torrance family but with Rose the Hat (Rebecca Ferguson, The Greatest Showman) and other members of The True Knot.  Surviving on the essence, or “steam”, of those with special powers like Danny has, they move throughout the country hunting children because that is when their “steam” is at its most potent.  The more they feed, the longer they live and the stronger they become.  At the same time, Danny and his mother (Alex Essoe, Starry Eyes) have relocated to Florida where Danny sees visions of a familiar friend from the Overlook.  Jumping ahead 31 years, Danny (Ewan McGregor, Christopher Robin) has dulled the memories of his past and stifled his “shining” with alcohol and drugs and is barely standing when he meets Billy Freeman (Cliff Curtis, The Meg) in a small New Hampshire town.

Finding a new life and sobriety, Danny spends the next eight years working at a hospice and often using his gifts to help patients transition to the other side with peace.  He’s also been communicating telepathically with Abra (Kyliegh Curran) another child possessing the power of the shining equal to Danny who has caught the attention of The True Knot.  When she begins to see visions of Rose the Hat and The True Knot in action, eventually finding a link into Rose’s consciousness, Abra knows she can’t take them on alone.  Asking for Danny’s help, he has to decide if he can open up the door to let his dark past back in he’s worked so hard to keep boarded up for these many years.  With so many ghosts from the Overlook locked away inside their individual Pandoras boxes, if that portal opens Danny isn’t sure what else might return with them.  But does he have a choice when a hungry cult will stop at nothing to get to Abra and now for the first time has also sensed his power and presence?

At 151 minutes, Doctor Sleep outpaces The Shining by 5 minutes but offers more movement and thrills at the outset than Kubrick did in his film.  Now, some may see that as a good thing or it could be a sign of Flanagan not totally trusting the audience to wait for two hours to get to the main event – but I don’t agree with that.  This is a movie that has measured out it’s shocks in just the right places, aiming squarely for maximum impact and not just to goose audiences with short attention spans.  No, Flanagan has previously demonstrated in his projects that he knows just when to push the button on the scare machine and here again he proves his timing is spot-on.  He doesn’t even have to push hard, simple things like music cues or familiar images can get those tingles started in your tailbone and send them upwards fairly quickly.

The references to The Shining are both obvious and sneaky and you’ll have to keep your eyes peeled for some fun ways Flanagan and his production team have tipped their hat to Kubrick’s original design.  While some scenes from the original are recreated in part, I was so glad to see it wasn’t with old footage made to look new or digitally altered to appear as if Nicholson and Duvall had come back for reshoots.  Casting new actors in these roles that aren’t exactly lookalikes but aren’t doing a pronounced impression was a wise choice too – you get the general idea of the previous actors but it’s more the character that’s important above all else.  Someone at my screening whined at the end they wished Nicholson had returned…but that would have been a huge distraction.

As is typical, Flanagan has assembled an interesting array of actors and it’s not just those at the top.  While McGregor is in fine form as the tortured Danny and nicely conveys the sense of loss and ongoing struggle he’s going through, he often takes a backseat when someone like Ferguson is onscreen because she’s such a commanding presence.  Stalking around the movie (and other actors), Ferguson’s character is wicked scary and doesn’t oversell why she’s the leader of this bloodthirsty pack.  There’s no campy acting going on with Ferguson.  Rose the Hat has survived for a number of years doing what she does and she has little qualms about taking the lives of the young — it’s a really evil role and Ferguson is impressively menacing in it.  I also quite liked Curran’s Abra, delighting in her burgeoning powers but also realizing the reality of the terrifying visions she’s seeing.  She ably holds her own against more seasoned performers and does so in the face of some disturbing material.

That’s another thing about Doctor Sleep that got under my skin and I couldn’t shake, it’s a very unsettling film.  Horror movies are meant to jostle you a bit and then let you go on your merry way into the night but Flanagan’s film digs in and sticks with you for a while after the movie is over.  While the imagery might not be all that gruesome, there are some suggestions of terrible acts that are hard to brush off and it adds to the growing sense of dread leading to the climax of the film.  While I won’t say how or where the film ends, speaking for myself I left the movie feeling satiated with where Flanagan (and King) led these characters.

Bound to keep a new generation of viewers up at night by pairing this with the original, Doctor Sleep is another win for Mike Flanagan and well as fans of Stephen King.  It’s a handsome production that provides the requisite shivers and shudders but takes it’s time to find an emotional core beneath it all.  Adding in the strong performances from the leads and supporting players and you have a solid effort worthy of sitting on the shelf next to its predecessor.

Movie Review ~ Christopher Robin


The Facts
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Synopsis: A working-class family man, Christopher Robin, encounters his childhood friend Winnie-the-Pooh, who helps him to rediscover the joys of life.

Stars: Ewan McGregor, Hayley Atwell, Bronte Carmichael, Mark Gatiss, Jim Cummings, Chris O’Dowd, Brad Garrett, Toby Jones, Nick Mohammed, Peter Capaldi, Sophie Okonedo

Director: Marc Forster

Rated: PG

Running Length: 104 minutes

Trailer Review: Here

TMMM Score: (4/10)

Review: A year ago, this Winnie-the-Pooh fan was excited to learn of two upcoming projects. One promised to go deeper into the life of the author A.A. Milne and the other from Walt Disney Studios would bring the famous bear and his friends to life in a live-action/CGI hybrid. Both films had serious potential considering the beloved material and high nostalgia factor. Well…fool me once (Goodbye Christopher Robin), shame on you. Fool me twice (Christopher Robin), shame on me.

Whereas 2017’s Goodbye Christopher Robin was a manipulative mess of a biography, Christopher Robin is a dreary miss that clings too tightly to its wistful moments. The movie is constructed to have you biting your lip and furtively wiping away tears at very specific points but it tries too hard to get you to go that sad place. Maybe I’ve turned into a monster in my old age but I resisted and outright resented the way the film went about its business.

Opening with young Christopher Robin attending a going-away party in the Hundred Acre Wood thrown by his animal friends, we learn he’s off to boarding school and will be leaving his friends far behind. Thus begins a rather long prologue where the lad becomes a man (Ewan McGregor, Beauty and the Beast) and eventually a war veteran. He’s now working for a luggage manufacturer with a wife (Hayley Atwell, Cinderella) and young daughter (Bronte Carmichael, Darkest Hour) he rarely spends time with. It’s a familiar sketch of a child that grows up and forgets what it’s like to conjure the kind of make believe fun that fueled a rich imagination. I mean, we all saw Hook, right?

With his family away for a weekend, Christopher is supposed to be working through the logistics of making cost-saving budget cuts at his job when he meets up with Winnie-the-Pooh. Pooh can’t find his friends but found his way through a magic door that connects the Hundred Acre Wood to the outside world. Christopher follows Pooh back through the door and begins a sentimental journey through his past that connects him back to the likes of Tigger, Piglet, and Eeyore.

Director Marc Forster has been hit or miss in my book for a while. I enjoyed World War Z, am slowly coming around to his James Bond entry Quantum of Solace, and last year’s All I See Is You was pretty underrated in my book. He’s had a diverse range of tones/genres which I respect but there’s this curious heaviness he adds to Christopher Robin that feels wrong. Even though it makes a last ditch effort to zing up the action in the last 20 minutes, the majority of the movie is too somber for young children and far too slow for older kids. Adults are advised to bring a pillow.

The marginal good news is the period film looks amazing and the characters (much closer in design to Milne’s vision) are brought to impressive life through CGI. Whatever crazy subliminal product messages Disney put in the film worked because I left wanting to get a set of the updated Pooh and co. for my very own. The action blends seamlessly with the live actors and McGregor gets a gold star for making me believe he’s interacting with a stuffed bear. The film doesn’t try to hide the fact these animals can talk, nicely avoiding at least one tired plot device hurdle of stories such as this.

With bits and pieces culled from better movies about growing up too soon (add Peter Pan and Mary Poppins to the list while you’re at it), Christopher Robin is a disappointing entry in Disney’s attempt at giving its characters a live-action treatment. The film scores high in production value and is often saved by its CGI creations but it’s too tangled in its gloomy plot and obvious attempts at wringing tears out of you to be more than a summer bummer misfire.

Movie Review ~ Beauty and the Beast (2017)


The Facts
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Synopsis: An adaptation of the Disney fairy tale about a monstrous-looking prince and a young woman who fall in love.

Stars: Emma Watson, Dan Stevens, Sir Ian McKellen, Kevin Kline, Josh Gad, Luke Evans, Gugu Mbatha-Raw, Dan Stevens, Audra McDonald, Stanley Tucci, Ewan McGregor, Emma Thompson, Hattie Morahan

Director: Bill Condon

Rated: PG

Running Length: 129 minutes

Trailer Review: Here

TMMM Score: (7/10, 7.5 on a second viewing)

Review: Let’s start with the truth, the whole truth, and nothing but the truth: I had to see this live-action version of Beauty and the Beast twice before I felt I could really give it a fair shake.  I had been so looking forward to seeing Disney’s classic tale come to life that I perhaps went in with expectations dialed too high, spending much of the first screening feeling a bit, well, let-down.  Not that the production design wasn’t glorious (it is), not that the music wasn’t stirring (Alan Menken’s score still dazzles), and not that the actors giving flesh and bone life to characters crafted in animation studios weren’t up to the task (they are…mostly), but there was something that just didn’t hit my ‘Thrill Me’ button.  Seeing it again two weeks later in 3D accompanied by rich Dolby Atmos sound, I found some magic that wasn’t there before…but many of the problems remained.

Let’s go back to 1991 when Disney hand-drawn animation reached its full renaissance and true zenith with the release of Beauty and the Beast.  A dynamite blockbuster and instant classic, it also became the first animated film to be nominated for Best Picture (other nominees that year? Bugsy, JFK, The Prince of Tides, and the winner The Silence of the Lambs) a title it held for 18 years until the list of nominees was expanded and Pixar’s Up nabbed a nom.  Disney recognized it had a property that could have a life beyond the silver screen and soon Beauty and the Beast became a highly popular and endlessly profitable Broadway musical.  With countless releases on video, DVD, BluRay and a 2012 re-release in 3D, the film is easily Disney’s bread and butter.  It’s no wonder, then, that with the popularity of Disney’s recent slate of live-action adaptations of their classic animated films (Maleficent, Cinderella, The Jungle Book), Beauty and the Beast is swooping back into theaters in a lavish new production.

You know the story, right?  Snooty, spoiled prince angers old beggar woman that’s really an enchantress in disguise.  Prince is turned into a beast and his staff are turned into various objects until the prince/beast learns to love and be loved in return.  Enter headstrong and misunderstood Belle who winds up imprisoned by the Beast but warms his cold heart.  The rest is fairy tale history.

My biggest issue with 2017’s BatB (let’s shorten it, shall we?) is its length.  The original film was a solid 84 minutes with very little in the way of excess plot, characters, or showiness but this film is 129 minutes and feels longer than it had to be.  That’s due to some baffling additions in plot and characters that feel like distractions from the action instead of support for the story.

Take Audra McDonald (Ricki and the Flash) and Stanley Tucci (Spotlight) as the castle entertainment turned into a wardrobe and a cadenza, respectively.  McDonald’s character isn’t new but the role is beefed up to ridiculous proportions, seemingly only to have an excuse to showcase McDonald’s glorious soprano.  Tucci’s piano man adds nothing to the plot and winds up taking time away from established characters Cogsworth (Sir Ian McKellen, The Wolverine, crazily underused) and Lumiere (Scotsman Ewan McGregor, A Million Ways to Die in the West, nearly nailing a French accent).  Emma Thompson’s (Saving Mr. Banks) is no Angela Lansbury but, even though an obvious choice, her warm-hearted Mrs. Potts gets the job done, delivering a sweet interpretation of the title tune.

Screenwriter Stephen Chbosky (The Perks of Being a Wallflower) has made the curious decision to provide a backstory for Belle and her father that involves Paris, a windmill, and the Black Plague.  While it may give more dimension to the character in general, it takes up too much time and again feels like it was added to introduce one of Menken’s new songs.

Ah…the songs.  Three songs from original musical written by Menken and the late Howard Ashman were nominated for an Oscar and hearing them again with a full orchestra it’s not hard to see (or hear) why.  ‘Belle’ is still an energetic introduction not only to our heroine but to her “poor provincial town” as well.  I missed some of the eccentric townsfolk Disney animators dreamed up, they’ve been replaced by bland-ish niceties that strangely seem more sinister than their hand-drawn inspirations ever did.  ‘Be Our Guest’ remains the star centerpiece with McGregor and an entire Crate and Barrel’s worth of kitchen fare going Busby Berkley when serving dinner.  I’ve heard ‘Beauty and the Beas’t a zillion times in a million different versions but it never fails to choke me up with its grand music but tender lyrics.  Surprisingly, the songs Menken and Tim Rice wrote for the Broadway musical are jettisoned for lesser carbon copies.  I can’t quite understand why the Beast’s knock-out Act 1 closing number ‘If I Can’t Love Her’ was replaced by ‘Evermore’ which says nearly the exact same thing.  So, too, for ‘Days in the Sun’, taking the place of ‘Human Again’ without much justification.  The only semi-winner in the bunch is ‘How Can a Moment Last Forever’, sung by Emma Watson and Kevin Kline in the movie and Celine Dion over the closing credits.  It’s a clear bid for an Oscar nomination and never count Menken out to sneak in and win the prize.

Director Bill Condon (The Twilight Saga: Breaking Dawn – Part 2) has never had the lightest touch and it shows in several frenetically edited numbers that cut away when they should be pulling back and showing the choreography.  It’s interesting that the best staged number (‘Be Our Guest’) is the one largely done with CGI and not the otherwise exuberant opening number or villain Gaston’s big boastful number set in a beer hall.  I was worried that the enchanted objects would look odd and they most certainly do.  It takes a good fifteen minutes to adjust to these computer creations which are blended seamlessly into the live-action pieces.  The castle design is gorgeous and the film looks like it spent every nickel of its sizable budget.

In the title roles, Dan Stevens (Night at the Museum: Secret of the Tomb) and Emma Watson (Noah) are just dandy but don’t truly possess the ‘It” factor that would make them feel like the only possible choices.  Watson’s got a good demeanor and knows exactly who Belle is, but her singing voice is AutoTuned to an almost comical level and I so missed hearing the soaring vocals of Paige O’Hara.  Though Stevens feels slightly too old next to Watson (giving further fodder to the whole Stockholm Syndrome debate that’s followed the tale since it’s origins), he manages to create an actual character within the constraints of his motion-captured Beast creation.  He’s got a nice singing voice too.

The best of the non-professionals is Luke Evans (The Raven) as Gaston.  Though he isn’t the ‘size of a barge’ as his character indicates in song, he’s a nicely nasty villain cut-off at the knees by the independent Belle and her protective father (Kevin Kline, The Big Chill).  He’s got a rich voice and makes each of his scenes and interactions count, I like that he didn’t try to excuse Gaston’s actions or show any redeeming qualities that might make us feel sorry for him.  Then there’s Josh Gad (The Wedding Ringer), an actor I just don’t get.  I liked him in Frozen when he was heard and not seen but as Gaston’s sidekick Lefou he’s easily the most grating presence in the film.  Condon gives Gad far too much slack to modernize his character through shamelessly mugging while lip-synching terribly and though his affections for Gaston are plain as day, the “exclusive gay moment” being buzzed about is a blink and you’ll miss it beat most won’t even recognize.

There’s no doubt this is going to make Disney another trillion dollars at the box office and in clever tie-ins but for me this was the least successful live-action update so far.  It wants to have it both ways; being reverential to the original one moment and not quite as precious to it in another.  Condon wraps it up with a terrible final edit that only made me angrier the second time I saw it. Rated PG, it rides the line of being too long for little kids and pretty scary when you throw in two fairly terrifying wolf attacks.  It’s much darker than the animated film so parents should think twice before taking the tots to this – popping in the original would be my suggestion.

The Silver Bullet ~ Beauty and the Beast (2017) – Trailer 2

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Synopsis: An adaptation of the classic fairy-tale about a monstrous prince and a young woman who fall in love.

Release Date: March 17, 2017

Thoughts: No, YOU teared up when you were watching this look at Beauty and the Beast…ok…I did too.  One of Disney’s most beloved animated fairy tales comes to live action life from director Bill Condon (The Twilight Saga: Breaking Dawn – Part 2) in 2017 and it looks like, well, a beauty.  We all know the story so even seeing some spoilerific scenes doesn’t deter me from counting down the days until this one gets released.  Boasting an impressive cast with Emma Watson (The Bling Ring), Kevin Kline (The Big Chill), Emma Thompson (Beautiful Creatures), Sir Ian McKellen (X: Men – Days of Future Past), Josh Gad (Frozen), Luke Evans (The Raven), Stanley Tucci (The Hunger Games), and Ewan McGregor (Salmon Fishing in the Yemen) all signing and dancing up a storm, anticipation is high for Beauty and the Beast to be another jewel in Disney’s recent slate of live action remakes of their cartoon classics.

View the teaser trailer here: Beauty and the Beast – Teaser Trailer

The Silver Bullet ~ Beauty and the Beast (2017)

Beauty-and-the-Beast-2017-logo-beauty-and-the-beast-2017-38814471-1360-572

Synopsis: An adaptation of the classic fairy-tale about a monstrous prince and a young woman who fall in love.

Release Date: March 17, 2017

Thoughts: Gosh darn it, there’s no denying that Disney is sure on a winning streak with re-purposing their animated fairy-tale canon as live action films. After the winning success of 2015’s Cinderella and the eye-popping visuals of The Jungle Book, Disney is unleashing the big guns in 2017 with their production of Beauty and the Beast.  Already well represented in the flesh in a Broadway show and touring companies around the world, the stars are aligning for this to be one beauty of a movie. This first teaser gave me legit goosebumps, mostly due to the creative use of Alan Menken and Howard Ashman’s haunting score and the briefest of first looks at Emma Watson (The Bling Ring) as Belle and the voices of Ian McKellen (The Wolverine) and Ewan McGregor (August: Osage County) as Cogsworth and Lumiere, respectively.  In future trailers I’m sure we’ll see more of Dan Stevens (Night at the Museum: Secret of the Tomb) as Beast, Luke Evans (Dracula Untold) as Gaston, Audra McDonald (Ricki and the Flash) as Garderobe, Emma Thompson (Saving Mr. Banks) as Mrs. Potts, and Kevin Kline (The Big Chill) as Maurice.  Directed by Bill Condon (Mr. Holmes), I’m praying it’s light on gimmicky CGI and retains the heart that made the animated film such an instant classic.

The Silver Bullet ~ Mortdecai

mortdecai

Synopsis: Art dealer Charles Mortdecai searches for a stolen painting that’s reportedly linked to a lost bank account filled with Nazi gold.

Release Date: January 23, 2015

Thoughts: The literary anti-hero Charles Mortdecai makes his long-awaited big screen debut in a film that seems perfectly pitched to be a Johnny Depp (The Lone Ranger) vehicle. My own personal qualms with the intriguing actor taking on some less than worthy projects aside, I have to say that this might be the right balance of quirky comedy and action mayhem that Depp has long sought with frequent collaborator Tim Burton (Dark Shadows). Here he reteams with his Secret Window director David Koepp (Premium Rush) and I hope the results are as promising as they appear to be.

Movie Review ~ August: Osage County

5

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The Facts
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Synopsis: A look at the lives of the strong-willed women of the Weston family, whose paths have diverged until a family crisis brings them back to the Oklahoma house they grew up in, and to the dysfunctional woman who raised them.

Stars: Meryl Streep, Julia Roberts, Ewan McGregor, Chris Cooper, Abigail Breslin, Benedict Cumberbatch, Juliette Lewis, Margo Martindale, Dermot Mulroney, Julianne Nicholson, Sam Shepard, Misty Upham

Director: John Wells

Rated: R

Running Length: 121 minutes

Trailer Review: Here

TMMM Score: (6.5/10)

Review: By the time the stage version August: Osage County premiered to thunderous acclaim on Broadway in 2007, it wasn’t hard to see the possibilities of Tracy Letts’ play making the move from the Great White Way to Hollywood.  I mean, just think of the rich casting potential for the wonderfully complex and flawed characters that Letts created…it was an actor’s feast.  And when Meryl Streep (The Iron Lady, Hope Springs) was announced as playing the matriarch of the Weston clan the only thing I could think was ‘Of course.’.  It made perfect sense for Streep to be attracted to such a whopper of a role and even more sense for producers George Clooney (Gravity) and Grant Heslov (Argo) to lock her in as the star on top of the twisted Christmas tree that is August: Osage County.

Over the next months as more cast members like Julia Roberts (Pretty Woman, Mirror, Mirror), Ewan McGregor (The Impossible, Salmon Fishing in the Yemen), Chris Cooper (The Company You Keep), Abigail Breslin (The Call), Benedict Cumberbatch (Star Trek: Into Darkness, The Hobbit: The Desolation of Smaug), Juliette Lewis (Cape Fear),  Margo Martindale (…first do no harm),  Dermot Mulroney (Stoker),  and Sam Shepard (Out of the Furnace, Steel Magnolias, Mud) were announced the stakes just kept getting higher and higher and the expectations soared through the roof.  After all, with a multi-award winning cast gathered together for some good old fashioned family dysfunction there was no way this could miss, right?

Well…

I’ll say that if you’ve never seen a production of August: Osage County on stage you may like this a little bit more than I did.  Though I enjoyed the film overall based mostly on several key performances/scenes I was more underwhelmed than I thought I’d be because the film version was missing that lightening rod indefinable IT factor that made the stage version pulsate with life.  Whatever magic happened when you saw the dark secrets of this family exposed in the darkness of live theater just didn’t transfer over the same way to film.

Not to give the impression that this cast doesn’t toss themselves whole hog into trying, though.  Streep (sporting an appropriately ratty brown wig and huge sunglasses that make her look like Johnny Depp in Charlie and the Chocolate Factory) gets down and dirty with her eldest daughter played by a refreshingly earthy Roberts who wasn’t vain enough to hide her faded graying roots.  Gathered together in the days following the disappearance of the patriarch of the family (Shepard, who interestingly enough played Roberts boyfriend in The Pelican Brief), the Weston brood return to their dusty hometown toting all kinds of baggage.

While they eat, drink, and avoid being merry, pretty much every kind of family squabble breaks out and usually during a large family meal.  These dining room scenes were quite effective on stage and they work nearly as well on screen with arguments that start small erupting into knockdown, drag out fights.  Audience members that avoided recent holiday arguments with their own families will get their quota of bickering when they sit down to dine with the Westons.

Adapted by Letts from his own Pulitzer Prize winning play, the author finds acceptable ways to open up the cinematic interpretation of his work that allow the characters time away from home.  That’s all well and good but part of why the stage version felt so claustrophobic was the fact that the action took place entirely in the house…so we were as trapped as the family was.  Giving the actors on screen some breathing room winds up taking air out of the tension that Letts attempts to build.

It doesn’t help things that television director John Wells is behind the camera for only his second feature film.  His direction is exceedingly pedestrian, though I can’t imagine these actors needed much help from him.  Still, one wonders what a more seasoned director (like Gus van Sant, for instance) could have done to shape the film better.

I saw the film at a screening back in October and at that time the ending wasn’t set in stone.  I know that two endings exist, one that stays closer to the stage play and another that adds a coda many feel unnecessary.  I saw the second ending and agree totally that the film didn’t need it…it’s only there to placate audiences that need resolution, lessening the overall impact of all the maladies that came before it.  From what I’m hearing the ending I saw is the one that stuck so take stock of when you think the movie should have ended and see if it aligns.

It’s likely that Streep and Roberts will be Oscar nominated for their work here and it wouldn’t be off the mark to say they’ve earned their spot in their categories.  It’s extremely doubtful they’ll win with the quality of the other actresses they’d be competing against but the work here is demonstrative of Streep’s good instincts and that Roberts is more than just America’s sweetheart.  The two make the film worth seeing and the source material itself is brilliant…if you can’t see it onstage then the film version of August: Osage County will have to do.

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The Silver Bullet ~ August: Osage County

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Synopsis: A look at the lives of the strong-willed women of the Weston family, whose paths have diverged until a family crisis brings them back to the Midwest house they grew up in, and to the dysfunctional woman who raised them.

Release Date:  November 8, 2013

Thoughts: An all-star cast has been assembled for the big screen version of August: Osage County, based on the searing Pulitzer Prize winning play.  Seeing the play, I was riveted and while I’m not sure a film version can create that same immediacy there’s a wealth of strength in the material from playwright/screenwriter Tracy Letts.  Meryl Streep (The Iron Lady) is an interesting choice for the boozy matriarch of the troubled Weston family but knowing Streep she’s going to knock this one out of the park and wind up with another Oscar nomination or win for her troubles.  When they announced Julia Roberts (Mirror, Mirror) was to play opposite Streep some turned up their noses but our first look at Roberts in action suggests that the A-List star is readying for a powerhouse performance.  The rest of the cast is top-notch too with some spot-on casting to look forward to.  Unless something goes majorly wrong, this is a film that will factor heavily into the next Academy Awards…I can’t wait to see it.

Movie Review ~ Jack the Giant Slayer

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The Facts:

Synopsis: The ancient war between humans and a race of giants is reignited when Jack, a young farmhand fighting for a kingdom and the love of a princess, opens a gateway between the two worlds.

Stars: Nicholas Hoult, Eleanor Tomlinson, Stanley Tucci, Ian McShane, Bill Nighy, Ewan McGregor, Ewen Bremner

Director: Bryan Singer

Rated: PG-13

Running Length: 114 minutes

TMMM Score: (7/10)

Review

Even though the efforts thus far haven’t proven wholly satisfying, Hollywood is still in love with revisionist special effects laden films based on popular fairy tales.  In the last few years we’ve had new takes on Alice in Wonderland, Little Red Riding Hood, and two tales about Snow White (Snow White and the Huntsman and Mirror, Mirror) yet none have captured the kind of magic that would make them memorable classics.

Now along comes the much delayed (and twice retitled) Jack the Giant Slayer with its magic beans and scary giants and y’know what…it’s not half bad.  Director Singer (The Usual Suspects, Superman Returns) wisely makes this a darker/more violent picture and this works wonders in setting a tone quite different than you might have originally expected.

Get ready for a lot of “Fee-Fi-Fo-Fum”-ing as the tale of the land of giants is relayed several times before the magic beans smuggled out of a kings tomb have sprouted a giant beanstalk up to the heavens.  Launched into the sky with it is a king’s daughter (Tomlinson) running from an arranged marriage to an arrogant knob (Tucci, who never met an arrogant knob he couldn’t turn with verve) and it’s up to a band of king’s men plus our title hero to save her. 

The film does take a little too long to get moving but the time taken for some often-ignored character development turns out to be a value add later in the picture.  Once the beanstalk has put down roots and the men start the climb upwards, the movie takes off with a nice zip and doesn’t stop until the credits roll.  In between you have loads of complicated effects-heavy action sequences (the supposed cause of the film being delayed from its planned June 2012 opening) and plenty of bloodless but surprisingly scary violence. 

Heading the cast is Hoult as young Jack and it’s thanks in part to Hoult’s nicely colored performance that the movie succeeds.  After playing a love-sick teen zombie in February’s modest hit Warm Bodies, Hoult has started 2013 off with a bang and I’m hoping that these two performances get him more noticed in Hollywood because he’s truly someone to watch.  Agreeable performances from McGregor and Tucci add some class to the joint and though Tomlinson’s princess isn’t the toughest girl on the block, she makes a believable love interest for Hoult.  Only Bremner as Tucci’s goofball assistant seems to have ventured in from a Benny Hill sketch so it’s a blessing when he makes an early exit after losing his head (whoops, spoiler alert).

Saying that Jack the Giant Slayer is probably the best of the fairy-tale-askew bunch isn’t really saying a whole lot because the rest have been so lousy — but thanks to strong visual effects and fresh performances it climbs its way to the top of the modest heap with ease.