Synopsis: When Enola Holmes-Sherlock’s teen sister-discovers her mother missing, she sets off to find her, becoming a super-sleuth in her own right as she outwits her famous brother and unravels a dangerous conspiracy around a mysterious young Lord.
Stars: Millie Bobby Brown, Henry Cavill, Sam Claflin, Louis Partridge, Helena Bonham Carter, Adeel Akhtar, Fiona Shaw, Frances de la Tour, Susie Wokoma
Director: Harry Bradbeer
Running Length: 123 minutes
TMMM Score: (7.5/10)
Review: I think we can all agree that by this point, that sly detective Sherlock Holmes has had his fair share of the spotlight in movies and television shows. If you run a search for Sherlock Holmes in IMDb you’re going to get a truckload of results…and that’s only those with his name in the title. Think of the all the movies with Holmes as a leading or secondary character that take the Sir Arthur Conan Doyle’s famous creation into numerous different directions, some for the good (1979’s much liked Murder by Decree) and many for the bad (take your pick but 2018’s ghastly Holmes & Watson springs to mind). The brilliant reimagining for the BBC in 2010 made Benedict Cumberbatch a star and the big-budget 2009 film and it’s gargantuan sequel in 2011 solidified Robert Downey Jr.’s A-List status in stone.
So if Sherlock was considered played out, how to further the Holmes lineage in new and interesting ways? The answer came in the form of six books written by Nancy Springer that followed Enola Holmes, Sherlock’s much younger sister. Raised solely by her mother after her father’s death, both Sherlock and his brother Mycroft were out of the house by the time Enola was born, leading the now teenage girl to grow up not really knowing her siblings. Springer’s books were published between 2006 and 2010 and now the first one has been adapted into Enola Holmes, a film originally intended for release by Warner Brothers this past summer that was eventually bought by Netflix on account of the pandemic. If this origin story and initial adventure is any indication, Netflix has scored a win with a promising new franchise on their hands.
On the morning of her 16th birthday in 1884, Enola Holmes (Millie Bobbie Brown) discovers that her ever-present mother (Helena Bonham-Carter, Cinderella) has vanished from their sprawling and overgrown country home outside London, apparently leaving no clue as to where she’s gone. As Enola’s only companion, teacher, and guardian, this is a puzzlement as it’s not like her to just disappear without a trace so Enola sends word to her brothers in the city who arrive in short order. Stodgy Mycroft (Sam Claflin, Me Before You) isn’t surprised their flighty mother took off, begrudgingly accepting the responsibilities for taking in Enola as his ward. The more laid-back Sherlock (Henry Cavill, Justice League) likely has already figured out where she’s gone and how tight her shoelaces were tied when she left but defers to his more tightly-wound brother in the decision-making process.
Enola, however, can’t wait around forever and when Mycroft attempts to ship her off to a boarding school run by a perilous headmistress (Fiona Shaw, Pixels, a brittle riot) she sets off on her own after making a hidden discovery that points her in the right direction. Along the way, she crosses paths with the Lord Viscount Tewskbury, Marquess of Basilwether (Louis Partridge, Paddington 2) , a young runaway she assists in evading a treacherous henchman (Burn Gorman, Pacific Rim) dispatched for murderous purposes by someone close to the boy. Not letting herself be distracted by another mystery when she has her own familial problem to solve, Enola continues to track the disappearance of her mother, which may have ties to the growing women’s suffrage movement.
With Jack Thorne’s (Radioactive) script often episodic in nature, the film tends to resemble the chapter book it’s based off of, with tiny little adventures or plot advances happening in small chunks throughout. It gives the entire film, which is by and large entirely delightful, an ever so slight stutter and never lets it achieve a smooth ride. Director Harry Bradbeer makes his feature film debut after years of building a respected career in television and he uses that history of handling short form storytelling to bring a liveliness throughout, even if it often lacks true connectivity. It’s a handsome production, with the period recreated beautifully in the sets and reflected faithfully by the costumes.
With only Netflix’s Stranger Things and last year’s Godzilla: King of the Monsters as the majorly significant items on her resume, I haven’t yet hopped on the Millie Bobbie Brown train yet but I’m willing to buy a ticket after this. It’s a role perfectly suited for her and she delivers the right amount of spunk and heart, never making Enola too coy or aggravatingly precocious but finding the exact right balance that makes her come alive. Much of the movie involves her speaking directly to the audience and it wouldn’t have worked as well if Brown didn’t have the right attitude, but whether it be a glance at the camera or lines delivered straight out to us, she really commands your attention.
Acting as a producer of the film as well, Brown has wisely surrounded herself with a nice array of talented supporting players, from Bonham Carter playing pitch perfect as her mother with a hidden life we only just start to skim the surface of to Frances de la Tour (Into the Woods) as the Lord’s grandmother who takes a liking to Enola. Claflin’s role is rather humorless so he’s stuck with a bit of a downer part, the most villainous non-villain in the film and he’s playing the brother supposedly seven years older than Sherlock…even though he’s three years younger than Cavill. Cavill is an inspired choice for Sherlock and while the film has made news lately for being named in a lawsuit by the Conan Doyle estate for showing Sherlock as “too emotional”, I didn’t find Cavill to be overtly emo more so than Cumberbatch or Downey, Jr. It’s wholly Brown’s circus, though, and even Cavill playing the world’s leading detective can’t steal her spotlight for any amount of time.
At 123 minutes, this a long film and while it may entice younger viewers and parents might find the opening 80 minutes to be fairly light, there’s a dark turn as we get to the home stretch that I wasn’t quite expecting. It is rated PG-13 and earns it in that final half hour when things get violent and scary in ways I’m not sure were entirely necessary, especially for a movie hoping to build into future installments that parents could confidently leave their children in the care of. That being said, for mystery lovers in general and especially those that like the Sherlock Holmes film adaptations that strayed with cheeky humor from the original Conan Doyle tales, you’ll want to see the first adventure of his sister because Enola Holmes is just getting started.
Synopsis: Dr. John Dolittle lives in solitude behind the high walls of his lush manor in 19th-century England. His only companionship comes from an array of exotic animals that he speaks to on a daily basis. But when young Queen Victoria becomes gravely ill, the eccentric doctor and his furry friends embark on an epic adventure to a mythical island to find the cure.
Stars: Robert Downey Jr., Antonio Banderas, Michael Sheen, Emma Thompson, Tom Holland, Ralph Fiennes, Selena Gomez, Rami Malek, Octavia Spencer, Kumail Nanjiani, John Cena, Marion Cotillard, Craig Robinson, Frances de la Tour, Jessie Buckley, Harry Collett
Director: Stephen Gaghan
Running Length: 101 minutes
TMMM Score: (6/10)
Review: When someone is so closely associated with a role or a franchise, it’s always interesting to see what they will do when they venture out of that safe paycheck cocoon. Will it be something radically different or could it be another project similar in tone, which suggests the star enjoyed being in that comfortable space of little challenge but big reward? I mention this because as the release date of Dolittle (finally) approaches, I’m reminded that this is the first non-Iron Man role Robert Downey Jr. has played since 2014’s The Judge. That’s five movies in a row where he’s been the same superhero, albeit one that he’s had the chance to add some dimension to as the role progressed.
By the time we got to Avengers: Endgame, Downey Jr. had turned Tony Stark/Iron Man into more than just another world savior stock character, giving him the same character development (and, I’d say more) than other roles he played previously. Heck, there was even a concerted effort to get him an Oscar nomination for his efforts until he poo-poo-ed the idea, wishing to just let his involvement end on the high note and not have to make award season schmoozing part of the package deal. Besides, he knew he had Dolittle on the horizon and perhaps he wanted to ensure he had as little time in front of the press as possible.
If you pay attention at all to Hollywood buzz, you’ve likely heard about the tumultuous journey this film has had making it to theaters. A new adaptation of Hugh Lofting’s quirky character first created in the early 20th century (said to have been written in the trenches of The Great War), it finished filming in June of 2018 and after a poor test screening went through an unheard of 20+ days of reshoots in April of 2019. Languishing without a release date for some time, Universal eventually gave it the troubling roll out of January 2020…a notorious month known as a dumping ground for movies that are problematic. Suddenly, this 175 million movie directed by an Oscar winner with a blockbuster star in the leading role and a host of big names providing voices to CGI animals looked like it was confirmed to be the turkey everyone had thought it was.
Yet after seeing the film early on a Saturday morning with a theater full of children I’m sure had been up far longer than I had, I found Dolittle to be not as bad as I would have guessed and not as much of a write-off as many will expect. It’s far from a great film and certainly not the franchise starter I’m positive Universal wanted it to be (hence why it’s been unloaded hastily) but as a 101 minutes of family friendly entertainment, it more than fits the bill.
With narration provided by parrot Polly (Emma Thompson, Late Night), we are introduced to the world of Dr. John Dolittle through an animated prologue showing how he first learned how he could talk to animals. It’s here we also learn why he is so depressed at the beginning of the film, having long since shut himself away from the outside world, content to spend his days with just the company of his animals. He plays chess with gorilla Chee-Chee (Rami Malek, Bohemian Rhapsody) with mice as the pieces and is tended to by wise dog Jip (Tom Holland, Spider-Man: Homecoming) and resourceful duck Dap-Dap (Octavia Spencer, Luce). Years of solitude has left him looking like a wholly mammoth, his hermit-like attitude overtaking every facet of living.
Urged on by his mischievous friends and his own curiosity, local lad Tommy Stubbins (Harry Collett, Dunkirk) sneaks into the walled off grounds of the Dolittle estate on the very day Dolittle is called on by a representative from Queen Victoria’s court. It seems the young Queen (Jessie Buckley, Wild Rose) who took such a liking to Dolittle in his prime has been felled by a strange illness and needs his special expertise to find a cure. After catching Tommy on his property but finding a kindred spirit of sorts within the boy, Dolittle (after a good tidying up, including a haircut courtesy of the beaks and teeth of his animals…ew) brings him to the Queen’s palace where they soon embark on a dangerous mission into unknown territory in hunt of rare fruit from a fabled tree. Their travels will lead them to far off places where Dolittle will need to call on not just his talents but the special skills of his animal friends if they are to save the young royal from a sinister saboteur.
For a movie that has been delayed nearly nine months from its original release date, Dolittle feels like it has arrived at a relatively fortuitous time. There’s not a lot of other solid family options out there presently and perhaps the extra time and reshoots helped give the movie the structure, however lopsided, it manages to construct. Director and co-screenwriter Stephen Gaghan won an Oscar for writing 2000’s Traffic and directed George Clooney to a Best Supporting Actor Oscar in 2005’s Syriana but I doubt there will be the same success for the writing or acting in Dolittle. The bad guys, Jim Broadbent (Paddington 2), Michael Sheen (Passengers), Antonio Banderas (Pain & Glory), are all etched in crayon that’s been pressed hard on the paper. They leave an impression but it’s never quite clear what they set out to create. Thankfully, Collett isn’t one of those effervescently precocious child stars that Hollywood produces by the sackful so he’s a good sidekick but the movie outright wastes Buckley, relegating her to bedrest for much of the movie. The voice talent don’t always feel like they match up well with their animal counterparts, like Selena Gomez (The Dead Don’t Die) lending voice to a lanky giraffe, though I did get a nice laugh out of Ralph Fiennes (Official Secrets) as a short-fused tiger harboring a love-hate relationship with the good doctor.
Credit to Downey Jr. (In Dreams) for not simply sailing through the film on his laurels. Yes, most of the movie he’s definitely flying on cruise control but it never requires more of him in the first place. What he does bring to the event is that ease of emotional access when the laughs stop and its time to get serious. He also never gives off the impression he’s above the material…I mean, at one point he’s shoulder deep in the business end of a stopped-up fire-breathing dragon so there’s little opportunity to maintain a sense of dignity in those situations.
Stick around for a few minutes into the credits, not just to see some colorful paintings of the cast set to a new song from singer/songwriter Sia but for a bit of closure the movie holds back until that point. Aside from that, I’m not sure what else could be done with this new Dolittle beyond what Gaghan has given. At one point my mind drifted to thinking if a sequel to this was possible and while it could definitely be created I’d question if it would benefit any of the characters (or sanity of the actors) to revisit the Dolittle estate and the animals within. I guess I should ask the animals what they’d think of it all…
Synopsis: A man forms an unexpected bond with a transient woman living in her car that’s parked in his driveway.
Release Date: TBD 2015
Thoughts: It’s always tricky to adapt a play for the cinema. The confines of the stage can lead to a very intimate experience but these moments can be lost when the world is expanded to include other characters and settings. I’m not familiar with Alan Bennet’s true story of an elderly woman who lived in a van parked in his driveway for over a decade but I’m sure familiar with the people involved with bringing his 1999 play to life. Dame Maggie Smith (Quartet) created the role onstage and, spry as ever, looks to be an irascible delight in the titular role. She’s joined by the likes of Jim Broadbent (Paddington), Frances de la Tour (Mr. Holmes), Dominic Cooper (Dracula Untold), and James Corden (Into the Woods) under the direction of veteran theater director Nicholas Hytner. Smith can probably play this role in her sleep but I’m not one to begrudge a little resting on laurels when the talent is this good.
We did it! We made it through another summer and while the outdoor heat wasn’t too bad (in Minnesota, at least) the box office was on fire.
I’ll admit that I indulged in summer fun a bit more than I should, distracting me from reviewing some key movies over the last three months so I wanted to take this opportunity to relive the summer of 2015, mentioning my thoughts on the movies that got away and analyzing the winners and losers by month and overall.
So sit back, relax, and enjoy the ride read.
I just wasn’t prepared for July. It hit me like a ton of bricks, a wave of cinematic excursions that made my head spin. So many movies were released that it was hard to keep track from week to week what was arriving and what was still waiting for its release date. As you can see below, I had a lot of catching-up to do
The month began with the disappointment of Terminator Genisys. I’m not sure exactly what I was expecting from the return of Arnold Schwarzenegger but it for sure wasn’t the muddled misfire that was supposed to reboot this franchise. Badly cast with shoddy special effects, this was supposed to be the beginning of something but should likely be the end (though it did do well overseas so we may yet get another one of these in a few years).
A few summers back I lamented how bad the original Magic Mike was. Trading eye candy entertainment for any semblance of watchable narrative, it was another dud (for me) from Steven Soderbergh. So you’d understand why I wasn’t keen on Magic Mike XXL because I felt we’d already been there done that. Much to my delight, the sequel was much better than its predecessor, maintaining the fun frivolity of the world of male strippers while injecting some personality into the proceedings. Quite possible the biggest surprise of the summer for me.
I learned a lot from the wise documentary Amy, chronicling the rise and fall of Amy Winehouse, the singer with the bluesy voice and broken butterfly backstory. She had a lot to overcome and the film made a compelling argument that she would still be here today had she had a better support system.
Though I loved the Minions in the Despicable Me films, I didn’t care for their solo outing with its half-baked story and less that inspired vocal work. It felt like a quick cash-grab and it looks like it accomplished its goal. Hopefully next time they’ll come back with a better story and more convincing actors.
The found footage horror movie had its death knell with The Gallows, a brainless exercise in tedium peppered with cheap scares and lousy acting. Could have (and should have) been much better.
Now we approach a stretch where I checked out for a bit – but I’m atoning for it now with these mini-reviews.
Movie Review ~ Batkid Begins The Facts: Synopsis: On one day, in one city, the world comes together to grant one 5-year-old cancer patient his wish. Batkid Begins looks at the ‘why’ of this flash phenomenon. Stars: Miles Scott Director: Dana Nachman Rated: PG Running Length: 87 minutes TMMM Score: (7/10) Review: Can I admit something to you and not have you hate me? When I first saw the media frenzy around this back in 2013 I remember rolling my eyes are the saccharine nature of the whole endeavor. Why would an entire city be brought to a screeching halt because of one kid’s wish to be Batman for a day? Well, the documentary Batkid Begins showed me why and by the end I was feeling like a lout for my initial feelings and wiping away the happy tears the film easily brings forth from the viewer. Following the planning and execution by the Make-A-Wish Foundation to give a 5 year old leukemia survivor the day of his dreams, viewers get a glimpse at what goes into even the smallest wish granted by the organization. While it at times comes off like a big advertisement, it’s heart is most certainly in the right place and I found myself getting choked up with each good deed and promise fulfilled by a host of people involved in making the day come off without a hitch. An audience-pleasing winner.
Movie Review ~ The Overnight The Facts: Synopsis: A family “playdate” becomes increasingly interesting as the night goes on. Stars: Adam Scott, Jason Schwartzman, Taylor Schilling, Judith Godrèche Director: Patrick Brice Rated: R Running Length: 79 minutes TMMM Score: (7/10) Review: There and gone in an instant, The Overnight is a film better suited for home viewing anyway. A couple (Adam Scott and Taylor Schilling) new to the area meet Jason Schwartzman at a local playground where both of their children are playing. Their kids have hit it off so Schwartzmann invites the family over for more fun, but when the kids go to bed Schwartzman and his wife Judith Godrèche have more interesting games to play for the unsuspecting couple. Saying more would spoil the fun but it’s an adults only evening with oodles of twists and turns as both couples bare their secrets (and their bodies) before the night is over. Already famous for its full frontal shots of Schwartzman and Scott (sorry, both are wearing prosthetics), at 79 minutes the movie is short but does start to feel long in the middle section. It helps immensely that all four actors are competent and comfortable with the material…the story doesn’t hold back and neither do they.
Movie Review ~ Ant-Man The Facts: Synopsis: Armed with a super-suit with the astonishing ability to shrink in scale but increase in strength, con-man Scott Lang must embrace his inner hero and help his mentor, Dr. Hank Pym, plan and pull off a heist that will save the world. Stars: Paul Rudd, Michael Douglas, Michael Pena, Evangeline Lilly, Corey Stoll, David Dastmalchian, T.I. , Judy Greer, Bobby Cannavale, Martin Donovan, Wood Harris, John Slattery, Gregg Turkington, Abby Ryder Fortson Director: Peyton Reed Rated: PG-13 Running Length: 117 minutes TMMM Score: (6/10) Review: Early troubles with the start of production with Ant-Man and some seriously questionable teasers/trailers didn’t get me very excited for this mid-summer superhero movie. I think Marvel was hoping that Ant-Man would score along the lines of last summer’s Guardians of the Galaxybut it’s sadly missing the humor that made Guardians so much fun. It’s not a total wash though because for every 10 minutes of standard origin-story developments, there’s a solid 5 minutes of exciting action sequences to wake audiences up from their slumber. I know that with an origin story you need to cover a lot of ground and Ant-Man, to its additional credit, doesn’t waste much time in getting to the goods…but it’s a cheap-o undertaking and one that feels like a second-string entry in Marvel’s blockbuster universe. Paul Rudd makes for a surprisingly solid action lead as does Corey Stoll as Rudd’s nemesis, but Evangeline Lilly labors too much under her severe wig (that seems to change lengths multiple times, in the middle of scenes) and isn’t a good enough actress to carry some weighty responsibilities. A decent entry as far as Marvel films go…but I’m not clamoring for a sequel any time soon.
Movie Review ~ Irrational Man The Facts: Synopsis: A tormented philosophy professor finds a will to live when he commits an existential act. Stars: Joaquin Phoenix, Emma Stone, Parker Posey, Jamie Blackley, Betsy Aidem, Ethan Phillips, Sophie von Haselberg Director: Woody Allen Rated: R Running Length: 96 minutes Trailer Review:Here TMMM Score: (6/10) Review: It happens every year and every year you never quite know what to expect. I’m speaking, of course, of the annual Woody Allen release and like many of the directors works, it’s a hit or miss affair. I’m constantly in awe that Allen has churned out a film a year (sometimes two a year) for the last three decades and even the really bad ones aren’t as terrible as the other dreck dumped on us during the summer. Last year Magic in the Moonlight was dismissed as too slight even for Allen but I enjoyed its frothy charm…something that was missing from the more serious-minded Irrational Man. As a boozy professor that gets into hot water in his New England college town, Joaquin Phoenix was perhaps the wrong choice because the actor plagues himself far too much for Allen’s light material. At least co-star Emma Stone helps keep Phoenix from the quicksand of his own creation but she can’t be in every scene and it’s when Phoenix is on his own that the film goes slack. Then there’s Parker Posey who I’m becoming convinced is simply not of this earth and doesn’t try to hide it anymore. Bizarre line readings and the tendency to let her mouth hang open are only the tip of Posey’s strange acting iceberg. Very much in line with the dark humor of Allen’s Crimes and Misdemeanors, Irrational Man should hold your interest for a time but it’s quickie ending feels like Allen was ready to move on to his next film rather than put a period at the end things.
Movie Review ~ Trainwreck The Facts: Synopsis: Having thought that monogamy was never possible, a commitment-phobic career woman may have to face her fears when she meets a good guy. Stars: Amy Schumer, Bill Hader, Brie Larson, Mike Birbiglia, Colin Quinn, Tilda Swinton, Ezra Miller, John Cena, Vanessa Bayer, Jon Glaser, LeBron James, Method Man Director: Judd Apatow Rated: R Running Length: 125 minutes Trailer Review:Here TMMM Score: (6.5/10) Review: One of the true success stories of the summer has to have been Amy Schumer, not so much for writing and starring in Trainwreck but the collective impact she’s had on the comedy scene. Unapologetic in her crassness and wise in her observations, Schumer is a comic moving like a shooting star and it’s nice to report that I think she’s a pretty decent actress as well. As much as I enjoy Schumer I was nervous that she was attaching herself to director Judd Apatow because Apatow, as we all know, has a way of turning in muddled work. Unfortunately, Apatow’s influence led the film to be about 20 minutes longer than it needed to be and ultimately overstaying its welcome. I don’t care what anyone says about the appearance of LeBron James as a bona fide supporting player, his entire storyline should have been excised and the film wouldn’t have suffered at all. The problems get worse because Apatow likes to cast non-actors in his film and put in cameos when you least expect it…to the detriment of the flow of the narrative. He stumbles badly in several places here but is saved by Schumer and Bill Hader as the opposites attract duo that confidently lead the film. Special mention must, again, be made to Tilda Swinton for disappearing within her role as Schumer’s glam yet grim boss. Worth it for Schumer, Swinton, and Hader…but watch it at home so you can fast forward through the slow Apatow-ish parts.
Movie Review ~ Mr. Holmes The Facts: Synopsis: An aged, retired Sherlock Holmes looks back on his life, and grapples with an unsolved case involving a beautiful woman. Stars: Ian McKellen, Laura Linney, Hiroyuki Sanada, Roger Allam, Frances de la Tour, Hattie Morahan, Patrick Kennedy, Philip Davis, Milo Parker Director: Bill Condon Rated: PG Running Length: 104 minutes Trailer Review:Here TMMM Score: (8/10) Review: In reality, I probably should have given Mr. Holmes a more thorough review than I’m about to give here…but I have a feeling I’ll have a chance to discuss it more over the next few months because if all is right with the world Ian McKellen will find himself nominated in a few Best Actor categories during the end of the year awards round-up. McKellen plays an aged Sherlock Holmes living in the country, attended to by a no-nonsense housekeeper (Laura Linney) and entertained by her young son. There’s actually three Holmes on display here as the present Holmes recalls two previous cases he was involved with that had an impact on his life. With a smart script from Jeffrey Hatcher adapted from a popular novel, it’s directed with a mellow grandeur by Bill Condon. Condon and McKellen scored before with the fascinating Gods and Monsters and here’s hoping they go the distance with this one too. An interesting tidbit, at one point Holmes ventures out to see a Sherlock Holmes movie…and the actor playing Holmes on screen (Nicholas Rowe) played the detective in 1986’s fun frolic Young Sherlock Holmes.
Movie Review ~ Paper Towns The Facts: Synopsis: A young man and his friends embark upon the road trip of their lives to find the missing girl next door. Stars: Nat Wolff, Halston Sage, Austin Abrams, Cara Delevingne, Justice Smith Director: Jake Schreir Rated: PG-13 Running Length: 109 minutes TMMM Score: (7/10) Review: After The Fault in Our Stars became a runaway hit last summer movie studios were looking for the next big alt-teen romance that could lure YA audiences away from summer action flicks. Turns out they didn’t have to look far because Paper Towns was adapted from the novel by the same author as The Fault in Our Stars. While Paper Towns doesn’t center around a disease that threatens to tear our lovebirds apart, it has its own mystery about it as Nat Wolff goes looking for his recently vanished neighbor (Cara Delevingne) that he’s been enamored with (or more like fascinated by) since they were children. Following the clues she seemingly left for him, Wolff and his friends embark on a journey of discovery where they Learn Life Lessons. The film kept my interest for most of the running length and it’s only in the final passages when all is explained does it feel a little like a letdown. Still, there’s a smart air of riskiness that elevates the film and more often than not it lands on the good side of taking that risky step.
Movie Review ~ Pixels The Facts: Synopsis: When aliens misinterpret video feeds of classic arcade games as a declaration of war, they attack the Earth in the form of the video games. Stars: Adam Sandler, Brian Cox, Kevin James, Michelle Monaghan, Peter Dinklage, Josh Gad Director: Chris Columbus Rated: PG-13 Running Length: 105 minutes TMMM Score: (3/10) Review: A movie where everyone involved should hang their head in shame. There’s actually some semblance of a good idea here with aliens attacking earth with classic arcade games but unfortunately it gets trampled by Adam Sandler’s lazy acting, Kevin James bad acting, and Josh Gad’s awful everything. Michelle Monaghan looks positively embarrassed to be sharing scenes (especially romantic ones) with Sandler and only Peter Dinklage comes out relatively unscathed in a campy, mullet wearing performance. For fans of ‘80s nostalgia there are some pleasant diversions as video game characters pop up in (supposedly) comical ways and I think that director Chirs Columbus really did give the material a chance to be something interesting…but Sandler and his crew suck the life out of everything and are so devoid of any vested interest that you wonder why you should care at all either.
Movie Review ~ Southpaw The Facts: Synopsis: Boxer Billy Hope turns to trainer Tick Willis to help him get his life back on track. Stars: Jake Gyllenhaal, Forest Whitaker, Rachel McAdams, Curtis “50 Cent” Jackson, Clare Foley, Miguel Gomez, Victor Ortiz, Rita Ora, Naomie Harris Director: Antoine Fuqua Rated: R Running Length: 123 minutes TMMM Score: (6.5/10) Review: By now, we know that Jake Gyllenhaal is a smart actor. With role after role from Prisoners to Nightcrawler to End of Watch we’ve seen that he’s up for most any challenge and likes to dive deep into his roles. So it’s not surprising that he was drawn to this tale of redemption concerning a famous boxer at the top of his game dealt a series of terrible blows (in more ways than one) and his eventual path back to himself. What is surprising is that while the performances are very good you can’t get away from the fact that the story feels recycled and originally intended for a different set of lower string stars. I’m always on the fence regarding Forest Whitaker but as the wise boxing manager that grudgingly comes to Gyllenhaal’s aid, the actor reminds us why he so deserved his Best Actor Oscar for The Last King of Scotland. Also turning in a great performance in Rachel McAdams (The Vow) as Gyllenhaal’s high school sweetheart, mother of his daughter, and the only one that seems to have his best interest at heart.
Southpaw was also at the center of some controversy that arose this summer about movie trailers that give away too much of the film. If you have seen the trailer for Southpaw you know what I’m talking about…if you haven’t, please go into the movie blind. I had a faint idea what the spoiler was and even that made the first ¼ of the film much less involving. Worth it for the performances but gets knocked out by an also-ran plot.
Movie Review ~ Samba The Facts: Synopsis: Samba migrated to France ten years ago from Senegal, and has since been plugging away at various lowly jobs. Alice is a senior executive who has recently undergone a burn-out. Both struggle to get out of their dead-end lives. Samba’s willing to do whatever it takes to get working papers, while Alice tries to get her life back on track until fate draws them together. Stars: Omar Sy, Charlotte Gainsbourg, Tahar Rahim, Izia Higelin, Isaka Sawadogo Director: Olivier Nakache, Eric Toledano Rated: R Running Length: 118 minutes TMMM Score: (5.5/10) Review: Of all the movies I’m talking about in this wrap-up this is one I’d bet dollars to donuts that you’ve never heard of. And you couldn’t be blamed because this barely made a blip on the usually forgiving art-house circuit. From the star and directors of 2012’s dynamite The Intouchables comes this story of an immigrant man living in France who crosses paths with a burned out executive when the man is discovered to be an illegal alien. Omar Sy (Jurassic World) and Charlotte Gainsbourg don’t have that much chemistry but in a weird way it works for the oddball romance that develops over the course of the film. I never could get a real feel if the movie was a comedy, drama, or something in between…and neither could most of the people involved. Slightly recommended but only if the plot or stars appeal to you.
That almost did it for July…but there was still one weekend to go! Moving up several months from its planned December release, the fifth installment of the Mission: Impossible franchise had its brains in the right place but at times forgot to bring its brawn. I still prefer Ghost Protocol to Rogue Nation but as long as star Tom Cruise keeps making these films interesting I’ll keep accepting future missions. Here’s hoping he brings along Rebecca Ferguson again because finally there is a female that is every bit a match to Cruise’s daring agent.
I wasn’t sold at all when I heard that Warner Brothers was planning on remaking National Lampoon’s Vacation but as time went on I heard more that it was more of a sequel than a reboot (resequel?) and I started coming around to the idea of a new Vacation. I enjoyed Ed Helms and Christina Applegate as the hapless couple traveling cross-country with their children…but audiences and most critics didn’t. It wasn’t a great movie and was probably too crude to be part of your Vacation marathons…but I have to say the worst part about it was when original stars Chevy Chase and Beverly D’Angelo showed up. Still, I’m hoping it made enough money to warrant a holiday themed sequel. In any event…it’s a damn sight better than European Vacation.
Wow – July didn’t skimp on variety, did it? Arguably the hottest month for releases, it carried over the promise of May and June and laid a path for August to do quite well…but could it top the three months that came before it?
Synopsis: An aged, retired Sherlock Holmes looks back on his life, and grapples with an unsolved case involving a beautiful woman.
Release Date: July 17, 2015
Thoughts: Let’s get excited for this one, shall we? Though Robert Downey Jr. (The Judge) made a lovely Sherlock Holmes in two less than lovely big screen outings and Benedict Cumberbatch (The Imitation Game) has put his quirky stamp on the legendary detective via the BBC series, I’m quite interested to see Ian McKellan (The Hobbit: The Battle of the Five Armies) give his take on an elderly Holmes. McKellan re-teaming with his Gods and Monsters director Bill Condon (The Twilight Saga: Breaking Dawn – Part 2) is exciting enough but this early tease at July’s Mr. Holmes hints at a fine effort and I’m waiting with bated breath for the full trailer.
Synopsis: A modern twist on the beloved Brothers Grimm fairy tales, intertwining the plots of a few choice stories and exploring the consequences of the characters’ wishes and quests.
Stars: Meryl Streep, Chris Pine, Emily Blunt, Tracey Ullman, Frances de la Tour, Johnny Depp, Lucy Punch, Simon Russell Beale, Tammy Blanchard, James Corden, Anna Kendrick, Christine Baranski, Billy Magnussen, Lilla Crawford, Daniel Huttlestone, MacKenzie Mauzy, Richard Glover, Joanna Riding, Annette Crosbie
Review: If there’s one take-away from the big-screen adaptation of Stephen Sondheim & James Lapine’s Into the Woods it would be that director Rob Marshall proves once again that it’s possible to transition a stage-bound work quite nicely to the silver screen. As he did with his Oscar-winning Chicago (which, to be fair, was a far trickier beast to wrangle), Marshall brings a sense of wonderful theatricality to the proceedings that helps keep a saggy second act afloat.
Arriving on the heels of the disappointing remake/reboot of Annie, the first 75 minutes or so of Into the Woods is a gleefully wry take on the fairy tales we all grew up with. There’s Little Red Riding Hood (Lilla Crawford) spunky as all get-out, even when faced with a zoot-suited Wolf (Johnny Depp, The Lone Ranger) intent on making her his next meal. Depp is, pardon the pun, howlingly bad in his brief cameo and you’ll be glad to know that his total screen time amounts to about 5 minutes…which still feels too long.
We also get Cinderella (Anna Kendrick, Pitch Perfect) fresh-faced and clarion voiced even under a pile of soot. Kendrick has true musical theater chops and Marshall gives her a wonderful moment to shine in a delightfully reimagined “On the Steps of the Palace” which takes place in a bit of suspended time as Cinderella ponders her next move.
Then there’s the Baker (James Corden, One Chance) and his wife (Emily Blunt, Salmon Fishing in the Yemen) so desperate for a child they agree to fetch items for a next-door Witch (Meryl Streep, Hope Springs) who promises in return to have the ‘curse reversed’. Venturing into the woods (a-ha!) to find the items they run into Little Red, Cinderella, as well as a pre-Beanstalk Jack (Daniel Huttlestone), Rapunzel (MacKenzie Mauzy), and a variety of other storybook figures.
It’s within the first half of the film that the best scene arrives featuring two puff-chested Princes (Star Trek’s Chris Pine and Broadway newcomer Billy Magnussen) hysterically belaboring their romantic entanglements (one with Cinderella, one with Rapunzel) while traipsing around a waterfall. It’s the crown jewel of a film sparkles quite a lot.
Then something happens…and if we were in a theater I would say it was Intermission.
You see, it’s in the second half of the film that I found the same sort of problems I have with the stage show. I know that the whole point of the second act of Into the Woods is to show what happens “after happily ever after” and that’s all well and good but where the stage show becomes somewhat intriguingly heavy handed the screen musical loses its spark and never fully recovers.
That’s due in some small part to the ‘Disney-fication’ of the film. With the House of Mouse forking over the dough for funding certain adjustments were necessitated and that includes softening of more than a few rough edges that helped define the stage musical. Now, certain tragedies that helped drive the musical to a conclusion onstage are rather toothless here…with some changes downright confusing from a narrative point of view. Even die-hard fans of the show may be left scratching their heads wondering what just happened.
Were the performances not so strong, this type of late in the game mishap may have spelled certain doom for Marshall and company but he’s assembled a frothy cast with several unexpected delights. Streep is, of course, right on the money with her hag witch popping up (and in and out) at just the right moments. She eschews the delivery of any previous Witch and makes the part wholly her own. I question the decision in the second half to give her a peculiar set of buck-tooth veneers that have a worrisome impact on her speech but otherwise she looks and sounds exactly how you’d imagine.
The roly-poly Corden and ethereal Blunt make a nice pair and the two play off of each other quite nicely. Both have pleasant voices with Blunt the real surprise as she tackles the difficult passages Sondheim created. Crawford, Mauzy, and Magnussen acquit themselves nicely but as the film progressed I found that Pine’s bo-hunk royal, with his affected upper-crust accent, didn’t work for me. Pine takes the cartoon-y nature of his character a bit too far and Marshall should have reined him in a bit.
With a gorgeous production design (the majority of the film was shot in a man-made forest) and Colleen Atwood’s trusty duds the film looks like a fairy tale come to life. Even with a slower second half the film doesn’t feel long and breezes by as fast as Sondheim’s score. Worth a trip into the theater.
Synopsis: A witch conspires to teach important lessons to various characters of popular children’s stories including Little Red Riding Hood, Cinderella, Jack and the Beanstalk and Rapunzel.
Release Date: December 25, 2014
Thoughts: Though some have turned their noses up at Stephen Sondheim’s musical being given the big screen treatment by Walt Disney Studios, this final trailer for Into the Woods looks positively charming. Considering the budget was “only” 40 million dollars, I’m happy to see that a lot of that money was seemingly spent on actual sets and not some CGI created world for the impressive roster of actors to play out Sondheim and James Lapine’s sly take on the fairy tales we all grew up with. Meryl Streep (Hope Springs) sounds like a perfect Witch and while I’m not too keen on the notion of Anna Kendrick (Pitch Perfect) as Cinderella or Johnny Depp (The Lone Ranger) as a zoot-suit wearing Wolf, I’ve got a feeling director Rob Marshall will wrangle this into one enchanting evening.
Synopsis: A witch conspires to teach important lessons to various characters of popular children’s stories including Little Red Riding Hood, Cinderella, Jack and the Beanstalk and Rapunzel.
Release Date: December 25, 2014
Thoughts: The anticipation is certainly building for the big screen adaptation of Stephen Sondheim & James Lapine’s 1987 Broadway musical Into the Woods, with Disney carefully releasing nice bits and pieces in recent days. After dropping some dreamy looking pictures earlier this week of the star heavy ensemble all fairy-tale-d up, the first preview is finally at hand and it’s a nifty little teaser that pleasantly keeps some of the bigger names in shadows while predictably avoiding any musical cues hinting that the film is largely sung. No matter, with Meryl Streep (August: Osage County), Johnny Depp (The Lone Ranger), Emily Blunt (Edge of Tomorrow), and Chris Pine (People Like Us) leading the cast the stage is set for a lovely transition from stage to screen.