Synopsis: Now a detective-for-hire, Enola Holmes takes on her first official case to find a missing girl as the sparks of a dangerous conspiracy ignite a mystery that requires the help of friends – and Sherlock himself – to unravel Stars: Millie Bobby Brown, Henry Cavill, Louis Partridge, Susie Wokoma, Adeel Akhtar, Helena Bonham Carter, David Thewlis, Sharon Duncan-Brewster Director: Harry Bradbeer Rated: PG-13 Running Length: 129 minutes TMMM Score: (8/10) Review: In early 2020, things could have turned out quite differently for the first Enola Holmes adventure. Initially set to be distributed theatrically by Warner Brothers, when the global pandemic’s lasting impact was just being understood, the studio quickly saw the writing on the wall and sold off the property to Netflix. The streaming service then sat on the movie through the summer and packaged it up to deliver it in August, riding the wave of star Millie Bobby Brown’s success coming from Stranger Things. The resulting success of the film was due not just to that timing but also to its overall quality and care for its characters. Based on a series of books by Nancy Springer, with Netflix now owning the rights to future sequels and interested in maintaining a good relationship with star/producer Brown, a sequel was planned and shot in short order.
The resulting film, somewhat uncreatively titled Enola Holmes 2, is again debuting during the fall season at the perfect moment between the finality of summer hits and the onslaught of fancy-schmancy Oscar bait. Reuniting the entire original cast (minus unavailable Sam Claflin, whose Mycroft is barely mentioned) and director Harry Bradbeer, it’s mostly more of the same in this follow-up, and that’s good news for everyone involved, including the viewers. Jettisoning an established Springer manuscript in favor of an original tale, writers Bradbeer and Jack Thorne (How I Live Now) drew inspiration from actual events, giving the film a slight edge over the more rambunctious plot of the first.
Shortly after we last saw Enola Holmes (Brown, Godzilla: King of the Monsters), the teenage sister of world-famous detective Sherlock Holmes (Henry Cavill, Zack Snyder’s Justice League), she set up her detective agency but hasn’t had nearly the same success as her more famous brother. She’s about to close her doors when a young factory girl knocks and asks for assistance in finding her “sister,” who has gone missing. Tracking down the girl will lead Enola into a web of blackmail and schemes involving members of high society and crisscross with a case that Sherlock has been working on. Together, they uncover a sinister new opponent with their sights set on Sherlock, who doesn’t mind leaving a clue or two for his sister.
In addition to Brown and Cavill and the always clever Helena Bonham Carter (The Lone Ranger) as their rabble-rousing mother, Bradbeer has brought back fun supporting players Susie Wokoma as jujutsu teacher Edith and Louis Partridge (Paddington 2) as Tewkesbury, a potential love interest for Enola. New cast members fit in nicely, including David Thewlis (Wonder Woman) calling on his nasty side to pursue the Holmes siblings, and Sharon Duncan-Brewster (Dune) as an “inside woman” helping Enola solve her case.
You’d rarely want to mash two sequels together to be one long movie, but the two Enola Holmes films (so far) would make a tremendous four-hour-long sit some cozy Sunday. As we head into the Thanksgiving weekend, consider Enola Holmes 2 and its predecessor as the perfect combo to relax with after that big turkey dinner.
Synopsis: Determined to ensure Superman’s ultimate sacrifice was not in vain, Bruce Wayne aligns forces with Diana Prince with plans to recruit a team of metahumans to protect the world from an approaching threat of catastrophic proportions.
Stars: Ben Affleck, Henry Cavill, Gal Gadot, Jason Momoa, Ezra Miller, Ray Fisher, Amy Adams, Jeremy Irons, Connie Nielsen, Diane Lane, J.K. Simmons, Ciarán Hinds, Amber Heard, Joe Morton, Ray Porter, Jesse Eisenberg
Director: Zack Snyder
Running Length: 242 minutes
TMMM Score: (9/10)
Review: Has there ever been a more bizarre and divisive situation of nerdom than the one surrounding the twisted tale of Zack Snyder’s Justice League? By his own request, the director was replaced during the final weeks of production on the 2017 release (including editing and reshoots) so he could deal with the emotional recovery of the death of his daughter. It was the right choice for Snyder but it left the film in the hands of Joss Whedon, the Marvel marvel who couldn’t find the same tone Snyder was going for and leaned into a more studio and populous theater friendly piece that didn’t serve the darker storyline that was imagined. Not unexpectedly, though the film was ultimately credited to Snyder it bore little resemblance to his original vision and was hampered by many of Whedon’s trademarks, down to cringy bits of humor that didn’t work and a stupefying amount of bad special effects.
With Warner Brothers and the DC Universe riding high off the phenomenal success of Wonder Woman released earlier that year, the dismal failure (and tepid reception) of Justice League put a nail in the coffin for Henry Cavill’s Superman and encouraged Ben Affleck to exit a solo Batman project that was in the works. It also derailed a planned film for The Flash and bumped the Wonder Woman sequel out, not to mention leading to some troubling accusations from co-star Ray Fisher on how the studio treated him after voicing concerns about unprofessionalism on set. All in all…a big mess. While a subsequent Aquaman film performed well and looked encouraging for Jason Momoa’s future as a box office star, Wonder Woman 1984’s bow in late 2020 was met with true vitriol (all very unfair in my eyes) so the shaky ground remained.
While all of this was going on, though, a strange groundswell was starting that began almost as a joke but started to catch on before turning into a full-blown movement by comic book and franchise fans. This was of course the birth of the # phenomenon and it was hard to avoid the #ReleaseTheSnyderCut pandemonium that took over Twitter. Everyone knew that Snyder had expressed some displeasure that his vision wasn’t seen through to the end and that so much of what he shot wasn’t included or scenes he had wanted to shoot weren’t shot at all. What people were clamoring for was to see Warner Brothers to hand the movie back to Snyder and let him re-edit the movie into the “Snyder Cut”… which is not exactly unheard of. They’ve done it before with 1980’s Superman II, replacing director Richard Donner before filming was over but releasing his (not as good) version decades later. Director’s cuts are fairly standard for releases now but there was something about this particular movie that kept both sides tight-lipped, with Warner Brothers even claiming at one point that there would definitely be no Zack Snyder’s Justice League.
Here we are, though, and HBOMax is releasing a four-hour cut of Snyder’s reassembled film that aligns with his original plan. Running a full two hours longer than the 2017 release, Snyder used material that Whedon chose not to go with and also shot quite a lot (a lot!) of new footage – so much so that this feels almost like a remake of the film everyone thumbs down-ed four years ago. We all know that longer doesn’t equal better but in the case of Zack Snyder’s Justice League, it most certainly does. My original review of Justice League pointed out that the film’s introductions to the new characters felt rushed and not a lot of the movie felt cohesive due to the streamlined runtime. With four hours to work with, Snyder is able to give each character their due and then some, providing more than enough character building to have the head spinning finale actually mean something this time around.
By and large, the story is mostly the same. After burying Superman at the end of Batman v Superman: Dawn of Justice, Batman/Bruce Wayne (Ben Affleck, Live by Night) begins to assemble a team of other individuals with superpowers while Wonder Woman/Diana Prince (Gal Gadot, Ralph Breaks the Internet) returns to her civilian life with the occasional crime fighting break now and again. Batman has a sense that a darkness is coming and the need for a team of united strength is important and it’s only after Wonder Woman gets a desperate sign from her homeland with the key to a hidden message that she joins him in the recruitment process. Together, they seek out Aquaman (Momoa, The Lego Movie 2: The Second Part) who has remained a mystery man in the waters off Iceland, The Flash (Ezra Miller, Fantastic Beasts and Where to Find Them) a kind-hearted social outcast that can run faster than the speed of light, and Cyborg (Fisher) a former high school football player saved from death by his scientist father (Joe Morton, Godzilla: King of the Monsters) now struggling to adjust to his altered appearance and overwhelming technological access.
Their combined powers will be needed to defeat Steppenwolf (voiced by Ciarán Hinds, Closed Circuit) a ghastly beast that has arrived on earth searching for three boxes that, when united, will call forth a dangerous entity that will destroy Earth. As he travels around the globe gathering the pieces of the puzzle from clans that have an impact on Wonder Woman and Aquaman, the group realizes that the box possesses multiple powers. (Yes, you’re correct in thinking this is all hokey pokey stuff and it’s just as absurd as it was the first time around…but with more time to add in context and backstory, it goes down just a little easier.) In addition to vanquishing all life, the “unity” can also restore it and bring the dead back to existence. A fairly good tool to have when you’re down one superhero and know where he’s buried…
Like I said before, everything about Zack Snyder’s Justice League, is just…more. There’s more story, more action, more blood (when people get thrown against walls, their heads tend to explode quite messily), and more gritty language than what you’ve come to expect. It isn’t anything gratuitous and only adds to the all-encompassing feeling that Snyder has returned to the film. I couldn’t shake off the feeling while watching it that it was the kind of event entertainment that back in the day networks would have shown once a year and the entire family would watch as a group. Could the film have been trimmed down a bit – absolutely – but I was fairly enraptured with it all from the moment it started until it ended. It may run 240ish minutes but it definitely doesn’t feel that long.
Not to say there weren’t some clunkier moments along the way. At times, when the action dips you start to try to pick out which scenes were new and which ones were previously shot and it’s fairly obvious by tracking Affleck’s face which switched between expertly chiseled and comfortably fuller throughout. Several scenes were clearly filmed on a soundstage that doesn’t match the rich detail of the other production design so one moment you’re with Diana as she’s traveling through a cave, Indiana Jones-style, and the next you’re watching a random actress silently acting out an overly cliché scene that’s there to show Cyborg’s softer side. There’s more than a handful of effects which come off like a video game or Saturday morning animation than the polished inspired moments they could be.
Speaking of the effects and visuals, aside from the occasional sketchy etching a great effort has clearly been made to right some terrible wrongs seen in the original, namely the horrible job done on Cavill’s (Enola Holmes) face to digitally remove a mustache he had while filming reshoots. Either those scenes were jettisoned completely, or the hundreds of digital techs credited at the end had their work cut out for them because by and large the movie looks sharp and excellent. A number of action sequences have been restored and they haven’t been carelessly re-inserted – they’ve all been smoothly incorporated into the rest of the movie. An early sequence of Wonder Woman stopping a bank robbery/bombing has been elongated and made it far more intense, visceral, and displays more of Wonder Woman’s abilities. I went back and watched the same scene from the original and its so watered down and brief that it barely registers as a bout of action for the heroine. Now it’s suspenseful and doesn’t feel like it minimizes the superhero or the plot.
Divided into six parts and an epilogue (which has about three or four endings within and several whopper surprises), Zack Snyder’s Justice League, is big big BIG and doesn’t quit until it’s good and ready to. Its release renders the previous version totally obsolete in my book and this will be the only Justice League that I’ll recognize for future rewatches because it appears to tell a full story with a better overall picture of where these characters are headed. Or were headed. Last time I checked Cavill and Affleck were out and a new Batman movie is due out soon with Robert Pattinson in what looks to be the darkest take on the Caped Crusader yet. Who knows what will come of this group for future outings but we do know that another Aquaman is swimming into production and due in 2022, the same year as The Flash movie which is rumored to have Affleck in it as well. Despite those off-the-mark reviews for the recent sequel, a third Wonder Woman film has thankfully been greenlit. Perhaps we’ll get a Cavill appearance in one of those films…or maybe Snyder will benefit from another Twitter grassroots campaign and a Justice League II will come to pass. No matter what, Snyder’s vision is finally out there and whether you were a strong supporter of this cut being released or think the studio caving to fan demand is the most terrible thing ever (um, why?) this a film that demands some attention and a little admiration as well. It’s goes for the brass ring with bold gusto.
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.
Review: With the rousing success of Wonder Woman this summer, you had high(er) hopes for Justice League too, didn’t you? After the gloominess of Man of Steel, the critical drubbing lobbed at Batman v. Superman: Dawn of Justice, and the just plain awful debut of the Suicide Squad, the first solo outing of the Amazon princess made a huge splash with a snazzy film that signaled the floundering DC Universe might be getting back on track. Alas, it was not meant to be because five short months later Justice League arrives with a huge thud, halting any momentum Wonder Woman had kicked off.
The problems are evident from the beginning. It should be noted that original director Zack Snyder had to be replaced shortly after filming ended while the movie was in post-production due to a family crisis. Joss Whedon (The Avengers) was brought it to touch up the script, and handle reshoots. Huge mistake. Whedon did good work with his involvement in the Marvel Universe but his humor doesn’t translate to the DC world that’s far darker and leaves itself less open for flights of fancy. His attempts to inject jokey humor crash and burn, especially seeing that they are awkwardly inserted into sequences already filmed by Snyder.
Another elephant in the room to discuss is Henry Cavill (The Man from U.N.C.L.E.), or, more to the point, Cavill’s mustache. After wrapping his scenes for Justice League, Cavill had grown a mustache to film a role in the next Mission: Impossible film and when he was called back for reshoots Paramount wouldn’t allow him to shave it. So he filmed his new scenes with facial hair that was then digitally removed…badly. Cavill comes off looking like a creepy puppet, with the bottom half of his face strangely not in communion with the upper. He’s in the first shot of the movie and it’s a jarring image that sets the tone for the rest of this schizo outing.
The first half of the film is occupied by a bewildering series of episodic vignettes where we meet characters that the movie treats us as if we already know but in reality have never seen before. We’re plopped right into the stories of Aquaman (Jason Momoa), The Flash (Ezra Miller, The Perks of Being a Wallflower), and Cyborg (Ray Fisher) without much in the way of introduction or origin, almost like these were clips from a previous entry that was never released. We’re supposed to know and care about these characters instantly, but their arrivals are treated with such little fanfare it’s hard to warm up to any of them. Miller winds up being the most intriguing; his loner character is secretly desperate for friends and is brought into the fold by Batman (Ben Affleck, Gone Girl, checking out so much I can see why he’s trying to get excused from The Batman, a planned solo shot for the Caped Crusader) and Wonder Woman (Gal Gadot, Keeping Up with the Joneses).
What I always enjoyed about the previous incarnations of Batman and Superman was how they were up against villains that seemed somewhat plausible…at least for a comic-book foe. From the Penguin to Lex Luthor, the heroes were battling adversaries that sought awesome power, not ones that already had other-worldly talents. The villain in Justice League is Steppenwolf, a poorly rendered CGI baddie voiced by Ciarán Hinds (Frozen) that’s as generic as they come. This is a bad guy that might have worked better as a Marvel rival but definitely not one the Justice League should be working to thwart. Steppenwolf is on the hunt for three Mother Boxes that form a trinity that can, snooze, give him power over all earth. Yawn, boring, wake me when it’s over.
Poor Wonder Woman. That’s what I kept thinking throughout Justice League. Gadot looks miserable having to carry this film, it’s clear the plot was tweaked at some point to give her character more to do and capitalize on the success of Wonder Woman. Her ascension to co-lead comes at the sacrifice of a bunch of familiar faces that get sidelined. Diane Lane (Inside Out) and Connie Nielsen pop up in brief cameos as the mothers of Superman and Wonder Woman, J.K. Simmons (The Snowman) doesn’t even have to glue down his toupee, and Amy Adams (Her) wears multiple bad wigs but does get the most unintentionally funny line of dialogue in the film: “I’m no longer Lois Lane, dedicated reporter”.
The effects of the hand-off between Snyder and Whedon really sink the film in its last ¼, when the Justice League works together to stave off Steppenwolf before he can unite the Mother Boxes. There are a few decent action sequences but they’re so darkly lit it all becomes a blur, especially when you add in Steppenwolf’s drone warriors that fly around in a head-spinning frenzy like wasps. It’s a blessing the movie is as short as it is, but it still feels pretty long when the content is as forgettable as this. You keep wanting to find something, anything to root for but no one seems interested in being memorable in any way shape or form. It’s like everyone was forced into making this and are waiting for their final scene to be shot.
There’s a post-credit scene that does nothing to get you excited for the future, it feels like it was shot last week with the actors involved under duress. Based on his performance here, I shudder to think about Momoa’s Aquaman film coming in 2018, wish that Wonder Woman 2 wasn’t two years away, and am intrigued at a chance to get more info on The Flash in 2020’s Flashpoint. At this point, whatever the creative team behind these DC films are doing, it’s not working. Not only do audiences deserve better, but so do the actors locked into contracts for future films.
Synopsis: Fueled by his restored faith in humanity and inspired by Superman’s selfless act, Bruce Wayne enlists the help of his newfound ally, Diana Prince, to face an even greater enemy.
Release Date: November 17, 2017
Thoughts: With Wonder Woman becoming the top-earning movie at the summer box office, the producers behind the DC Comics franchise are riding a wave of positivity right now. Let’s hope they can keep that goodwill going strong as the November release of Justice League draws near. I didn’t mind Batman vs. Superman: Dawn of Justice nearly as much as my colleagues did but the unrelenting darkness of this franchise has kept it from truly taking off. Wonder Woman was a nice reminder of what these films could be while director Zac Snyder deals with a family tragedy, Avengers mastermind Joss Whedon was brought in to oversee postproduction so I’m hoping Whedon can bring a little Marvel spark to the DC Universe. This extended look at Justice League gives a few more clues for audiences to decipher and one cliffhanger that already has the internet abuzz.
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.
Traditionally, August is the month when the wind-down begins. It never has any of the big tent pole pictures featured earlier in the summer and it can be a time when studios try to burn off some troubled pictures or try to skillfully position a sleeper hit. This August for sure had its share of high and low points, much like the summer that it capped off. I was still in frolic mode so didn’t get to as many reviews as I had wanted but sitting here now, in still sunny September, it’s time to review the movies I missed!
Movie Review ~ Shaun the Sheep Movie The Facts: Synopsis: When Shaun decides to take the day off and have some fun, he gets a little more action than he bargained for. A mix up with the Farmer, a caravan and a very steep hill lead them all to the Big City and it’s up to Shaun and the flock to return everyone safely to the green grass of home. Stars: Justin Fletcher, John Sparkes, Omid Djalili, Kate Harbour, Tim Hands, Andy Nyman, Simon Greenall, Emma Tate Director: Mark Burton, Richard Starzak Rated: PG Running Length: 85 minutes TMMM Score: (7/10) Review: I’m not saying that the U.S. doesn’t churn out a fine slate of family friendly films…but there’s a certain aura around the British imports that seem to work time and time again. Like Paddington earlier this year, Shaun the Sheep Movie was an unexpected delight, 85 minutes of smart comedy that’s deep enough for adults to not need a lobotomy to enjoy and zany enough to keep the attention of young tykes. Remarkable when you consider there’s not any dialogue in the movie aside from some rumbles and grumbles from human and animal characters, it’s a big screen adventure adapted from a popular television show. I wasn’t sure what to expect but I was surprisingly entertained and quite impressed by the stop-motion animation. The film didn’t have great marketing so it slipped by most people but if it’s at your bargain movie theater, pack those kids up in your minivan and get to it…or treat yourself to a solo show.
Movie Review ~ Dark Places The Facts: Synopsis: Libby Day was only seven years old when her family was brutally murdered in their rural Kansas farmhouse. Twenty-five years later, she agrees to revisit the crime and uncovers the wrenching truths that led up to that tragic night. Stars: Charlize Theron, Drea de Matteo, Nicholas Hoult, Christina Hendricks, Chloe Grace Moretz, Corey Stoll, Sterling Jerins, Tye Sheridan, Shannon Kook Director: Gilles Paquet-Brenner Rated: R Running Length: 113 minutes TMMM Score: (3/10) Review: With the huge success of Gillian Flynn’s third novel Gone Girland seeing how fast the movie rights were snapped up, it’s only natural that her other two other books would take a similar path. Dark Places is the first of these to hit theaters (Sharp Objects is arriving as a television movie) and it shows one of two things, either the third time was the charm for Flynn or something was lost in translation. Full disclosure, I haven’t read the book but I’m inclined to think that it’s the fault of the screenwriter because there are so many hazardous movie mistakes only a Hollywood writer could make. Though the mystery of a decades old killing spree coming back to haunt the sole survivor is initially intriguing, it quickly dissolves into a sticky mess that makes less sense the more secrets are revealed. It also doesn’t help that it’s badly miscast, with the usually impressive Charlize Theron relying on her ever-present trucker hat to do most of the acting for her…or maybe to hide her embarrassment at being looped into this turkey. Though it boasts a cast that typically gets the job done, no one quite seems to know what they’re doing…as if they hadn’t read the book before undertaking their scenes. The only worthwhile performance is Christina Hendricks as Theron’s murdered mom, bringing some dignity to a role that, as written, doesn’t earn it.
Movie Review ~ Fantastic Four The Facts: Synopsis: Four young outsiders teleport to an alternate and dangerous universe which alters their physical form in shocking ways. The four must learn to harness their new abilities and work together to save Earth from a former friend turned enemy. Stars: Michael B. Jordan, Miles Teller, Kate Mara, Jamie Bell, Toby Kebbell, Tim Blake Nelson, Reg E. Cathey Director: Josh Trank Rated: PG-13 Running Length: 100 minutes TMMM Score: (4/10) Review: Well, what can I saw bout the Fantastic Four that hasn’t been said (loudly) already? Is it a lousy movie? Yeah, probably. Could it have been better? After two attempts to bring these characters to the big screen I’m not sure we’ll ever get a decent adaptation. What went so wrong? If you believe the outspoken director, it was studio interference that took his movie from a rich origin story to an overstuffed thundercloud of action movie clichés and fairly terrible special effects. If you are to believe the studio, it was that director Josh Trank (who debuted with the surprise hit Chronicle) disconnected from the material, a development that was costing time and money. Watching the film with this knowledge you can see the moment that something went awry. Because the thing is, the first 20-30 minutes of Fantastic Four is quite good, sensitive even. It’s a slow start and, let’s face it, audiences these days don’t want a slow start. They want their action and they want it now. The studio was happy to oblige and when it becomes a standard summer superhero movie my interest took a nosedive and it became a waiting game of the good guys defeating the bad guys so I could go home. I think the colossal outcry from fans and critics was a little on the dramatic side, even for a superhero film, but it’s not wholly unwarranted.
Movie Review ~ Ricki and the Flash The Facts: Synopsis: A musician who gave up everything for her dream of rock-and-roll stardom returns home, looking to make things right with her family. Stars: Meryl Streep, Kevin Kline, Sebastian Stan, Mamie Gummer, Audra McDonald, Rick Springfield Director: Jonathan Demme Rated: PG-13 Running Length: 102 minutes Trailer Review:Here TMMM Score: (6.5/10) Review: So we’ve all long agreed to the fact that Meryl Streep can do no wrong. You can love her for it or hate her for it, but she never fails to impressive me with each new role she takes on. From starring in The Iron Lady to taking a supporting role (cameo, really) in The Homesman, Streep seems to take a role if it speaks to her, no matter the size or commitment. It’s not hard to see why she was attracted to the rough rocker Ricki with her tattoos and braided hair, here was another opportunity for Streep to strip away the classical actress aura and go barefoot into the wild. She’s ably aided by Diablo Cody’s middling script, Jonathan Demme’s careful direction, and a supporting cast that don’t just play second fiddle to Streep’s lead guitar. I think there’s one too many musical numbers allowed to play longer than they should and Cody’s dialogue doesn’t have the snap that it used to. The whole thing is worth it though for a stellar scene between Streep and Audra McDonald, the new wife of Streep’s ex-husband. A sparring match spoken with calm and some care, the two women have an electricity between them that the film needed more of. It falls apart swiftly in its second half, but it’s not a totally out of tune affair.
Movie Review ~ The Man from U.N.C.L.E. The Facts: Synopsis: In the early 1960s, CIA agent Napoleon Solo and KGB operative Illya Kuryakin participate in a joint mission against a mysterious criminal organization, which is working to proliferate nuclear weapons. Stars: Henry Cavill, Armie Hammer, Alicia Vikander, Elizabeth Debicki, Jared Harris, Hugh Grant Director: Guy Ritchie Rated: PG-13 Running Length: 116 minutes TMMM Score: (7.5/10) Review: I never watched the television series on which this cool-as-can-be spy movie was based on but I’m pretty sure there weren’t the same amount of homoerotic jokes during the weekly adventures of Solo and Kuryakin. While I feel that director Guy Ritchie relied a bit too heavily on his similar experience at the helm of two Sherlock Holmes films, he brings his A game to this big screen adaption, sparing no expense when it came to production design. And that’s a good thing because though it’s never truly predictable, the plot is pretty thin. So it’s up to Ritchie and his cast to sell the film and they are more than up for the challenge. Henry Cavill (Man of Steel) is perfectly cast as the smooth Solo and he’s well matched with Armie Hammer’s (Mirror Mirror) simmering Kuryakin. The two trade barbs rich with double entendre while protecting Alicia Vikander (The Danish Girl) from falling into the hands of a sinister villainess (the scene stealing Elizabeth Debicki, The Great Gastby). The film looks and sounds amazing, here’s hoping costume designer Joanna Johnston gets an Oscar nomination for her impeccable suits and stunning dresses.
Movie Review ~ End of the Tour The Facts: Synopsis: The story of the five-day interview between Rolling Stone reporter David Lipsky and acclaimed novelist David Foster Wallace, which took place right after the 1996 publication of Wallace’s groundbreaking epic novel, ‘Infinite Jest.’ Stars: Jesse Eisenberg, Jason Segel, Joan Cusack, Mamie Gummer, Anna Chlumsky, Mickey Sumner Director: James Ponsoldt Rated: R Running Length: 106 minutes TMMM Score: (8/10) Review: I never thought I’d say the words “potential Oscar nominee Jason Segel” in a work of non-fiction…but then again I didn’t think two-time Oscar nominee Jonah Hill was possible either and look what happened there. Yes, Segel’s work as tormented writer David Foster Wallace is worthy of acclaim as the actor digs deep within and bypasses his comedic instincts to find the truth of the man behind the epic novel Infinite Jest. Jesse Eisenberg (who also pops up in American Ultra) turns in strong work as well, though he’s really just a prop for Segel to react off of. Their five day road trip interview for Rolling Stone is the basis for the movie and it leads the men and the audience into interesting territory. It’s a movie you watch once, appreciate, then file away as something you can recommend to people and feel like you’ve done them a favor. One thing that must be said…Eisenberg needs to learn how to smoke a cigarette. Here and in American Ultra he looks a child does when they are mimicking their parent. Many things about Eisenberg annoy me and this is just another thing to add to the list.
Movie Review ~ The Diary of a Teenage Girl The Facts: Synopsis: A teen artist living in 1970s San Francisco enters into an affair with her mother’s boyfriend. Stars: Bel Powley, Alexander Skarsgård, Christopher Meloni, Kristen Wiig Director: Marielle Heller Rated: R Running Length: 102 minutes TMMM Score: (7.5/10) Review: It’s nice to go into a movie with only a basic logline and a list of the actors featured. I didn’t know what to expect from The Diary of a Teenage Girl but whatever I thought, the movie surprised me in the best ways. The story of a young girl’s sexual awakening in San Francisco is gloriously set in the mid ‘70s, an era of freedom and discovery. While some may be off put by the relationship between an older man and an underage girl (star-in-the-making Bel Powley is older than she looks, thankfully), they’d be missing the point of Phoebe Gloeckner’s autobiographical graphic novel on which the film is based. It’s a frank flick that frequently finds its actors in the buff but doesn’t feel gratuitous because these characters are coming into themselves, marveling at a new experience they never knew existed. I appreciated that the film pulled no punches in showing nudity and discussing sexual situations and director Marielle Heller shows respect for all people involved. It’s a bold film with animated sequences, a killer soundtrack, and splendid performances.
The dog days of summer brought three other notable releases to theaters, though I’m guessing by the poor box office returns of two of them that the studios (and actors) wish the films had just quietly gone away.
I hadn’t heard a thing about American Ultra until two weeks before it was due to arrive, strange considering it starred Kirsten Stewart and Jesse Eisenberg. The two aren’t serious box office draws but they do have a fanbase that might have helped build more buzz for the stoner comedy. Not that it would have made the film any better because at its best it was a mildly diverting mix of comedy and gratuitous violence and at its worst it was a merely the thing you watched because you’d seen everything else at the theater and wanted some time in the air conditioning. It’s bad when you don’t know what the movie is about, but it’s worse when it feels like the filmmakers don’t have a clue either.
I’ve gone on record as no fan of director Noah Baumbach and very on the fence for actress Greta Gerwig so I wasn’t at all looking forward to their latest collaboration, Mistress America. Once again, the universe has a way of loving to see me humbled and I emerged from the screening not only in a damn fine mood but the desire to see it again. That rarely happens with any movie, let alone a Baumbach/Gerwig joint so that should tell you something about the quality of this movie that is firmly in a New York state of mind. Sure, it has its share of problems but they don’t ultimately detract from the overall enjoyment the film brings.
Finally, there’s the sad, sad case of We Are Your Friends, Zac Efron’s latest attempt to be a serious dramatic actor. While I think it’s Efron’s best dramatic performance to date and didn’t totally hate the film, audiences sure did and it became the third biggest box office failure of all time…pretty stunning considering how many other bad movies have been released and made at least a few million during its opening weekend. I think the film got a bum rap and just was released at the wrong time, but it should hopefully send a message to Efron that he needs to spend some time figuring out exactly where his place is in Hollywood because he is, like his character here, totally lost.
Synopsis: Fearing the actions of a god-like Super Hero left unchecked, Gotham City’s own formidable, forceful vigilante takes on Metropolis’ most revered, modern-day savior, while the world wrestles with what sort of hero it really needs
Release Date: March 25, 2016
Thoughts: As I mentioned in my review of the first teaser for Batman v Superman: Dawn of Justice I wasn’t a huge fan of Man of Steel and was pretty reticent that we needed another Batman entry so soon after Christopher Nolan’s quite satisfying trilogy wrapped up. Well, an extended trailer released at the 2015 Comic-Con convention in San Diego has got my attention and while I’m still iffy on this sequel to a sub-par Superman reboot there’s a growing kernel of anticipation for this one that I can’t totally ignore. Like the recent preview for Suicide Squad, I was a little taken aback that the trailer was so long but while it shows audiences what they can expect from the March 2016 release, thankfully not every plot development has been laid out for us. Give it a look…I think, like me, you’ll like what you see.
Synopsis: On the heels of the worldwide success of Man of Steel director Zack Snyder is bringing together the two greatest Super Heroes of all time – Batman and Superman for the first time on the big screen.
Release Date: March 25, 2016
Thoughts: I still think 1979’s Superman: The Movie is one of the best all around “comic-book” origin movies to be made and I was more than willing to give director Zack Snyder’s reboot a fair chance. After all, look what Christopher Nolan did with his reinvention of Batman in three films about the caped crusader. Sadly, Superman’s return in 2013 was a glum bummer, and a movie that took way too long to come out (how can a new Star Wars movie be filmed and come out in a little over a year but Snyder takes almost three years for his meal to cook?). Disappointments aside, the film made good on its franchise starter nature at the box office yet it’s a little surprising that Warner Brothers decided that the sequel should merge its flying superhero with The Dark Knight – the poor guy was enjoying a well-deserved retirement. Feeling the heat from Marvel’s unstoppable films, I’m sure that DC Comics was more than happy to bring their Justice League dreams to light…why else would this Superman sequel feature not only the Man of Steel and Batman but Wonder Woman and Aquaman as well? I hope the film isn’t merely a bridge to a bigger idea, but from the looks of this impressive teaser Snyder may be borrowing a page from Nolan and going ultra-dark.
Synopsis: A young itinerant worker is forced to confront his secret extraterrestrial heritage when Earth is invaded by members of his race.
Stars: Henry Cavill, Amy Adams, Michael Shannon, Kevin Costner, Diane Lane, Laurence Fishburne, Antje Traue, Ayelet Zurer, Christopher Meloni, Russell Crowe, Michael Kelly, Harry Lennix, Richard Schiff
Review: I love 1978’s Superman: The Movie. I figured I’d get that out of the way off the bat so you know where I’m coming from. Richard Donner’s big budget epic was bolstered by the tagline: “You’ll Believe a Man Can Fly”…and audiences did…in droves. Capturing the all-American charm of one Clark Kent aka Superman, Donner’s film successfully moved characters that had long lived on the pages of comic books and a television show to the silver screen with impressive results.
So perhaps it was a bit too much to hope that 2013’s Man of Steel could provide some of that same magic in kicking off yet another reboot of the superhero with a giant S on his chest. The trouble is that this updated hero is too aloof, too troubled a searching soul to mine any joy out of the proceedings. It’s a chilly film with precious little in the way of true blue charm and moxie. Instead, it’s largely a showcase for director Zack Snyder (Sucker Punch, Watchmen) to puff his special effects chest out and screenwriter David S. Goyer (Batman Begins, The Dark Knight, The Dark Knight Rises) to put a Bruce Wayne-style glum-ness on the picture.
Perhaps that solemnity also comes courtesy of producer Christopher Nolan who successfully reshaped the Batman franchise into a lean and mean money making machine. What worked for Nolan and Goyer on the Batman films unfortunately doesn’t work here and mores the pity because several other key elements of the film are strikingly on point.
Take Henry Cavill for instance. The Brit is possessing of a well toned eight pack to go along with his All-American features and cheekbones that could cut kryptonite. The script never allows him to emerge too far from his gloomy gus hole but there are moments especially near the end where we can see a glint in Cavill’s eye that brings a little Christopher Reeve to mind. In his newly redesigned suit, which does look better than the near neon colors in previous Superman films, Cavill is a convincing hero that has real potential.
I also found a lot to like about Kevin Costner and Diane Lane as refreshingly earthy incarnations of Jonathan and Martha Kent, Superman’s earth bound adoptive parents that provide stability even when his powers threaten to overwhelm their found child. Most of their performances are relegated to flashbacks and much of the film is presented in a non-linear fashion as Clark wanders from job to job, only moving on when his powers put him in danger of being discovered.
Costner has some of the best scenes in the film as he alternatively counsels his son and quietly fears for him if the outside world knew what he can do. I’ve often found Costner to be too mannered of an actor, always holding back what he’s really feeling but here he’s given nice material that helps him shine.
The same can’t be said for poor Amy Adams (The Master) who is terribly miscast as ace reporter Lois Lane. Though it’s well documented she has auditioned/lobbied for this role on three occasions, it’s a shame she didn’t do more with the role when she finally got a crack at it. I missed the plucky verve that Margot Kidder to the role and it’s something I’m disappointed Adams didn’t tap into more – that being said she’s light years more interesting than Kate Bosworth was in 2006’s Superman Returns.
I’m still not totally sure how I feel about Michael Shannon (The Iceman) as Superman’s main nemesis Captain Zod. Talking out of the side of his mouth and sounding like he has a Lifesaver he wants to keep under his tongue, Shannon is an unlikely choice for the role and even wearing a costume that looks like a hand me down from KISS he manages to give the character more depth than was probably necessary. Russell Crowe’s (Les Miserables) Jor-El can’t hold a candle to the “I can’t believe this works as well as it does” casting of Marlon Brando in Donner’s film but there’s a solid whiff of nobility given off by Crowe…and thank the Lord he doesn’t sing in this one.
Snyder is known for putting a rich visual spin on his films and that’s what almost saved his disastrous Sucker Punch from being totally relegated to the waste bin. In Man of Steel the special effects gets the better of him though with too much of the film looking more cartoony than visually impressive. Sure, the flying sequences are solidly entertaining and some of the larger action sequences (including a much too long go-for-broke finale) look mighty fine but it only adds to a strange hollowness to the entire film.
I may be a bigger fan of Superman than any other comic book character so I was very much looking forward to seeing where the next generation of Superman movies will take us. This wasn’t the movie I really wanted to see and that’s a bummer…but then I remember that I wasn’t totally taken with Batman Begins either when I first saw it. Time will tell if Cavill and company will find a way to truly take flight in their next outing but it’s possible that with more focus on the good and less on the glum a better franchise starter will emerge.
Synopsis: An alien infant is raised on Earth, and grows up with superhuman abilities. He sets out to use these abilities to guard his adopted world.
Release Date: June 14, 2013
Thoughts: As a huge fan of the original Superman and a nicely developed origin story, this new trailer for June’s surefire blockbuster delivers the goods with a taste to whet the whistle of rabid Superman fans and even the most casual of movie-goers. After the modest morsel of a teaser, I was already excited for what lies ahead in Man of Steel. I only hope that director Zack Snyder can restrain himself enough to let the story tell itself rather than bombard us with his trademark eye-popping visuals. Not that there isn’t a place for that…but with a Superman reboot I want to see the humanity more than just impressive flying effects. With The Dark Knight Rises director Christopher Nolan on board as a producer, I think we’re in good hands.