Movie Review ~ Palmer

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The Facts
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Synopsis: After 12 years in prison, a former high school football star returns home to put his life back together—and forms an unlikely bond with an outcast boy from a troubled home.

Stars: Justin Timberlake, Ryder Allen, Juno Temple, Alisha Wainwright, June Squibb, Dean Winters, Wynn Everett

Director: Fisher Stevens

Rated: R

Running Length: 110 minutes

TMMM Score: (8/10)

Review: When it comes to making the transition from music to movies, looking over the history of Hollywood in the last half century it’s clear that the women have far outshone the men when it comes to getting accolades for their performances.  Stars like Bette Midler, Cher, Diana Ross, Whitney Houston, Jennifer Lopez, Mariah Carey, and Lady Gaga have all starred in critically acclaimed feature films and four of these ladies have even netted multiple Oscar nominations to prove it wasn’t a fluke.  The men haven’t had it quite as easy and audiences just are not nearly as accepting of the gentlemen pop stars dropping their well-honed images to take on polarizing parts.  A number of attempts in recent years (curiously mostly country stars) have simply tried to stick in their comfort zone, which is almost worse because they’ve painted themselves in a safe corner with no movement allowed.

If there’s an exception to this rule it has to be Justin Timberlake but up until now, the one-time *NSYNC star that got his start on the Mickey Mouse Club alongside former flame Britney Spears and Christina Aguilera, has only found mediocre returns on even his best performances.  While he’s chosen good filmmakers to work with and been cast in prestige pictures, his roles haven’t quite fit him, or he hasn’t taken them to the level he could have.  Something has been out of alignment in nearly every feature he’s been a part of, like some diabolical voodoo curse by one of the Backstreet Boys to keep him from having it all.  I just looked over his list of credits on IMDb and it’s true, Timberlake consistently has either a good performance in a bad movie or a so-so showing in a good feature.

Apparently, whatever dark cloud was hanging over Timberlake has lifted because he’s venturing into the acting arena again with Palmer, a new film streaming on Apple TV+ starting January 29th.  Not only is the Fisher Stevens-directed film surprisingly excellent with a sweet heart but it hands Timberlake his best role to date.  Perhaps it’s because the singer-actor had recently become a father (and just became one for a second time) or maybe it was just finally the right part at the right time, but it showcases Timberlake at his most open and vulnerable, demonstrating great range without ever overselling the delicate nuances of drama found in Cheryl Guerriero’s sought-after script. It’s well known that Guerriero’s screenplay for Palmer was included on the 2016 Black List as one of the best un-produced scripts in Hollywood.  Nowadays, enough bad movies have been made of those supposedly excellent scripts but back then, that still meant something, and the Palmer script was obviously one of the good eggs in the Black List basket.  Guerriero’s voice is strong and comes through demonstrating a natural ear for realistic dialogue that could be maudlin and hokey to some outside of the township setting the film takes place in but rings right in the ear of the viewer all the same.

Returning to his small Louisiana hometown to live with his grandmother Vivian (June Squibb, Palm Springs) who raised him, Eddie Palmer (Timberlake, Wonder Wheel) is seen as a pariah by the townspeople thanks to his 12-year prison sentence for aggravated burglary.  While the question of his committing the crime on his own is a bit up in the air throughout the film (it’s suggested he took the rap for his more affluent friends), there’s little question he likely was headed in that direction anyway.  A one-time popular football player that apparently had a bit of an arrogant streak, his friends have stayed local and may have grown up in age but not in overall maturity.  They’re all in the middle of their lives with wives and children while Eddie hasn’t even had the chance to begin.  Tough love Vivian makes Eddie follow rules while living in her house and that includes going to church and helping her with tasks, including helping her care for Sam (Ryder Allen), the young boy living in a camper with his addict mom in the vacant lot next to Vivian’s house.  When Sam’s mom Shelly (Juno Temple, Maleficent: Mistress of Evil) splits for a bender, she abandons her son with Vivian, often for weeks at a time.

It’s during one of these extended absences that life changes for Eddie and he really gets to know Sam better, noticing how different he is from the other boys.  Preferring more feminine looks to wear to school and often adorned with barrettes in his mop of hair, Sam is the definition of young confidence. As is usually the case, instead of recognizing this beam of good-natured sunshine for the joy it is, those those can’t accept someone for being “other” feel threatened by his very existence.  Sam’s sensitive but not impractical and he’s lucky to have support from Vivian, Shelly, and his teacher Maggie (Alisha Wainwright) who all allow him to be whatever he chooses to be.  So he watches television shows about fairy princesses instead of Transformers and dreams of one day being able to join their ranks.  Eddie, on the other hand, isn’t as easily swayed and observes how Sam is treated in class by poorly raised bullies when he finds a job working as a janitor for the local elementary school.

The script developments in the latter half of Palmer aren’t all together unexpected but they are handled in the form of such refreshingly direct conversations that even if the scenes begin predictable, they don’t end that way.  At some point, someone is going to confront the elephant in the room and not let the issue sit until there is resolution through other means.  In so many movies the plot hinges on topics that could be discussed and dealt with were it not for the general unwillingness of people to have these tough exchanges.  Perhaps Guerriero has drawn on some of her own life lessons but she seems to be of the “let’s deal with it and move on” school of living and it creates an electricity around the characters in Palmer that can’t help but make them spring to life.  It does result in some hard to watch scenes of neglect and abuse so while Stevens doesn’t shy away from showing these tough moments he handles them with a gentle hand knowing there is a kind of light around the corner for most of the characters.

I find it so fascinating that Timberlake was drawn to this script and this character in particular.  It’s so far afield from what he’s done in the past and I think its deeper themes will go a long way in opening further dialogue for families that watch the movie together.  There’s little of Timberlake the actor to be found here, he blends into the character seamlessly and you don’t see the Super Bowl performer or teen heartthrob all grown up.  His natural chemistry creates a great connection between himself and Allen and the two form a believable bond as a quasi-father-son combo.  He’s never had a son, the other has never had a father and both conveniently and comfortably fill that blank space in ways that satisfy more than they could have imagined.  I also really appreciated Wainwright’s empowered character, a take-charge teacher that advocates for her students and checks up on them when she feels something isn’t right.  She gets a little broad at times, but Temple has an absolute killer scene near the end that I swear if Apple TV+ sent out a screening link to every Oscar voter on 1/29 she’d wind up a nominee this year.

This one caught me by total surprise.  I didn’t expect to find as much value in Palmer as I did and wouldn’t have guessed it would have the kind of lasting impression it has had on me since I saw it.  Some of the performances, Timberlake, Temple, Allen, have been on my mind quite a lot and probably enough so that I’ll watch it again.  Here’s hoping Timberlake continues to find scripts like this that allow him to uncover characters like Eddie Palmer.  Flawed but redeemable, he’s a man that just wants to start over again.  His opportunity doesn’t come in the exact package he would have guessed, but once he stops and looks at the value instead of the debt it could bring his world-view changes.  It’s a good lesson for us all.  Especially now.

Movie Review ~ Maleficent: Mistress of Evil


The Facts
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Synopsis: Maleficent and her goddaughter Aurora begin to question the complex family ties that bind them as they are pulled in different directions by impending nuptials, unexpected allies, and dark new forces at play.

Stars: Angelina Jolie, Elle Fanning, Michelle Pfeiffer, Ed Skrein, Chiwetel Ejiofor, Harris Dickinson, Sam Riley, Imelda Staunton, Juno Temple, Lesley Manville, Robert Lindsay

Director: Joachim Rønning

Rated: PG

Running Length: 118 minutes

Trailer Review: Here

TMMM Score: (7.5/10)

Review: The spindles of the spinning wheels were poised and ready to strike when Maleficent was released in 2014 to much fanfare.  How would ardent fans of the classic Disney animated feature Sleeping Beauty react to a live-action retelling of the genesis of the evil fairy that cursed the snoozing princess?  Crafting a backstory for the dark fairy that softened her up a bit but still let her sinister side through, the film was saturated with CGI and not all of it looked great.  While it added it’s own twist to the fairy tale, it still felt tied to the source material and lifted large portions of dialogue from the 1959 animated film.  The result was a box-office winner that satisfied but didn’t exactly inspire – there was simply too large a shadow looming over it.

Five years later Maleficent is back and this time she’s free from being moved through the paces recounting a story we already know the end of and more’s the better in my opinion.  While it still relies far too much on CGI (though in a make-believe kingdom stuffed with elves, sprites, and other woodland creations what did you expect?) it’s a more engaging story than the first.  I won’t say the stakes are exactly higher in the sequel but future happiness for more than just Princess Aurora (now Queen of the Moors Aurora) is on the line.  The biggest improvement is that screenwriters Linda Woolverton (Beauty and the Beast), Micah Fitzerman-Blue, and Noah Harpster give star Angelina Jolie a worthy opponent in another high cheekbone-d A-lister.

Living in their happily ever after bliss, Aurora (Elle Fanning, The Neon Demon) and Philip (Harris Dickinson) decide to make it official and get married, much to the dismay of Maleficent (Jolie, Kung Fu Panda 2) who still feels the sting of scorned love and wishes to keep her goddaughter close to her.  Pledging to keep Aurora happy, Maleficent agrees to meet Philip’s parents for a dinner at their castle but doesn’t make a great first impression, living up to her reputation as a temperamental guest.  When the King (Robert Lindsay) falls under a spell before they can have dessert, Queen Ingrith (Michelle Pfeiffer, mother!) accuses Maleficent of resorting to her old tricks to stop the wedding.

Fleeing the castle and Aurora’s suspecting glare, Maleficent is injured and taken in by a horde of Dark Feys, winged creatures like her that possess many of her same powers.  Even without her godmother by her side, Aurora moves forward with her wedding to Philip, unknowingly entering into dangerous territory with Ingrith who has a dark agenda planned for her future daughter-in-law and the land she reigns over.  As a war brews between the human kingdom and the Moor forces, a power struggle emerges between Ingrith and Maleficent that will alter the fate of many of our favorite characters.

What’s surprising to note in Maleficent: Mistress of Evil is how much time Jolie is absent from the film.  It’s not a significant amount of time but there are large stretches when you’ll likely miss her presence because she lends the film (as she did in the first) a certain winking fun.  When she’s not onscreen, the action starts to feel a little melodramatic and silly and even Pfeiffer isn’t immune to some over-the-top bits of camp.  Still, Pfeiffer doesn’t often get to play the heavy like she does here and she looks like she’s having a grand time in her gorgeous costumes by Ellen Mirojnick (The Greatest Showman).  The sparring between Pfeiffer and Jolie is a bit restrained (even the ladies in Downton Abbey got a few more snide jabs in) but they are both strong forces that have a commanding onscreen presence.  Often, the screen is definitely not big enough for the two of them.

While the CGI is still plentiful, it’s smoother looking than the first film so not quite as cartoony this time around.  I enjoyed the aerial views of the two kingdoms resting next to one another and the various creature creations the artists have dreamed up.  I could have done without two gibberish speaking nymphs that get trapped in a dungeon by a fallen pixie (Warwick Davis, Solo: A Star Wars Story) but as a whole the variety of flora and fauna were a wonder to behold.  Director Joachim Rønning (Pirates of the Caribbean: Dead Men Tell No Tales, Kon-Tiki) keeps the movie going full steam ahead, even if it does clock in longer than it should running nearly two hours.  There’s perhaps a bit too much time spent with the Dark Feys Borra (Ed Skrein, Alita: Battle Angel) and Conall (Chiwetel Ejiofor, The Lion King) without giving them more backstory but its in service to getting back to the main action with Maleficent and Ingrith.

While I still find Fanning to be lacking in the total package for a next generation leading lady, she’s improving and shows it here with a more balanced take on a princess coming into her own.  Paired with the cardboard-ish Dickinson, she doesn’t let the script put her into a damsel in distress box and gamely takes action in the super-sized finale.  There’s one line near the end that’s terribly misogynistic that I’ve been stuck over for the last few days and it’s almost enough for me to knock the film a whole star down.  I’ve decided in the end I’m giving it a slight pass seeing the resolution to another storyline that could have gone wrong handled in an unexpected way.

Pairing nicely with the original movie, Maleficent: Mistress of Evil didn’t have a huge hurdle to overcome in living up to its predecessor.  I think it will please fans of the first film and, like me, might serve as an improvement over what came before.  It goes to show you how getting the right combination of people together is worth taking the time for, had this sequel been turned out quickly after Maleficent came out in 2014 it might not have been as polished as this follow-up is.

The Silver Bullet ~ Maleficent: Mistress of Evil



Synopsis
: Explores the complex relationship between the horned fairy and the soon to be Queen as they form alliances and face new adversaries in their struggle to protect the moors and the magical creatures that reside within.

Release Date: October 18, 2019

Thoughts: Though it was inspired by an undying classic and received a prestige release from Disney in 2014, Maleficent still managed to defy some lofty expectations to become a sizable hit.  Retelling the Sleeping Beauty story from the perspective of the supposedly evil protagonist (how very Wicked of them), the film had great visuals and a nice style but suffered from often being a word-for-word remake of the animated film.  It’s taken five years but the studio has enticed Oscar-winner Angelina Jolie (Unbroken) back to play the titular character and expanded her tale in an original story.  This first teaser hints at some interesting new alliances and feels less like a plain cash-grab. Will new director Joachim Rønning (Pirates of the Caribbean: Dead Men Tell No Tales) and the addition of Michelle Pfeiffer (mother!) help to elevate Maleficent: Mistress of Evil from being a sulky sequel?

Movie Review ~ Wonder Wheel


The Facts
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Synopsis: On Coney Island in the 1950s, a lifeguard tells the story of a middle-aged carousel operator and his beleaguered wife.

Stars: Kate Winslet, Juno Temple, Justin Timberlake, Debi Mazar, Max Casella, James Belushi

Director: Woody Allen

Rated: PG-13

Running Length: 101 minutes

Trailer Review: Here

TMMM Score: (5/10)

Review: When I first heard that Woody Allen was setting his new movie (his 48th!) at Coney Island, I was expecting something a bit more…fun.  The first preview set me straight and I’ve spent the last few months waiting for it to arrive and wondering if it was going to be another bump in the downward slant slump or if the director was going to put some cinematic snowshoes on and start to climb back up.  While the shoes are definitely on, Wonder Wheel proves there’s little traction being made by Allen to get back to where he once was.  Perhaps, considering continued allegations against Allen’s personal life, that can never be.

Taking place in the summer months of the waning years of Coney Island’s hey-day, Wonder Wheel opens with an introduction by Mickey (Justin Timberlake, Inside Llewyn Davis), a lifeguard that has a literal birds eye view of the comings and goings of the tourists that visit the beaches and amusement park as well as the people that work there.  One such worker is Ginny (Kate Winslet, The Dressmaker) an unhappy woman approaching 40 raising her son with her second husband, a carousel operator named Humpty (James Belushi, Legends of Oz: Dorothy’s Return).  Humpty’s daughter Carolina (Juno Temple, Maleficent, Cracks) shows up out of the blue looking for a place to hide from her mobster husband that has marked her for death.  Adding another body to an already cramped apartment turns up the heat for the mixed family, bringing out old frustrations.  When Ginny starts up an affair with Mickey who soon becomes enamored with Carolina, the spark is lit for flames on the pyre Allen has built.

Yet…despite some fairly magnetic performances and strong technical merits, the film never manages to catch much heat.  It feels as if Allen (Magic in the Moonlight) had an idea for a beginning but no real inspiration for an ending.  It’s well-known the writer-director has a zillion half-finished scripts he’s hidden away in some old drawer and many of his recent works have been retrieved from the par-baked cave of wonders.  Wonder Wheel has elements to it that make me feel it started in Allen’s mind as a stage-play.  Lengthy scenes in one setting would seem natural for a stage-bound work but on the big screen it feels too claustrophobic and stilted.

While the script may be underdeveloped, the same cannot be said for its production design and cinematography.  Production designer Santo Loquasto (Radio Days) has outdone himself here, beautifully recreating Coney Island in all its swirling technicolor glory.  Rides I’ve long heard about but never seen are digitally recreated in background shots and the central Ferris Wheel from which the movie takes its title is spiffed up…though I was disappointed there are no shots on the actual ride!  Loquasto’s design elements are captured by Vittorio Storaro in a dazzling color palette that gives the film a vibrancy its words sorely lack.  Watching the film on mute wouldn’t be a totally bad way to while away 101 minutes, either.

Another thing that should be mentioned in the music.  Allen’s movies aren’t scored in the traditional sense of the word but instead are comprised of existing songs used in place of instrumental pieces.  That usually works well for me but Wonder Wheel repeats two songs repeatedly to the point that it becomes torturous.  That may be intentional though, as any person that’s worked in a theme park or near one knows the piped in music can cause early-onset madness in even the most milquetoast individual.

It’s a shame the movie isn’t overall a better experience because Winslet’s performance is tremendous.  Ditching her posh accent for the harsh edges of a New York one, Winslet comes alive with a fiery energy that has tinges of Tennessee Williams and Eugene O’Neill. O’Neill is actually referenced several times and Allen clearly is going for another Williams-esque tale, a la, Blue Jasmine.  She has two speeches in the film that are magnificent to watch, especially when you consider they are done in long takes. That doesn’t leave the actress with any room for a false note…and she largely has perfect pitch.

Winslet is surrounded by a crew of supporting players that don’t quite meet her in the middle, though.  Temple fares best as a wounded character that could easily have been sketched with a mean streak but ultimately has a kind heart.  Belushi goes outside of his comedy comfort zone as Winslet’s gruff husband that keeps trying to fall off the wagon before being caught by his beleaguered wife.  The real low point is Timberlake, totally miscast as both the narrator and love interest of the two women.  Timberlake’s line deliveries seem like first tries at the material and Allen does him no favors by not prodding the actor to take more risks.

So in the end, is this nostalgic trip back worth stepping up to the ticket booth for?  Yes and no.  It’s worth a watch for Winslet’s work and the excellent production elements, just don’t be too surprised if you find yourselves divested from interest in the overall plot.

The Silver Bullet ~ Wonder Wheel

Synopsis: On Coney Island in the 1950s, a lifeguard tells the story of a middle-aged carousel operator and his beleaguered wife.

Release Date: December 1, 2017

Thoughts: Round and round he goes and where he stops, nobody knows because there’s a certain element of surprise each year as the release date for the next Woody Allen film draws near.  We’ve been teased on the cast, sometimes given good lead time on a title, but often the plot details are kept under wraps until the film is ready to screen.  Premiering at the New York Film Festival, Allen’s 48th film (!) doesn’t look exactly like I thought it would.  I imagined more of a period memory piece set on Coney Island but this first look at Wonder Wheel suggests more crime drama than family drama so I’m curious how this one will play out.  It’s been a while since Allen (Blue Jasmine) has delivered a full-fledged comedy but with long-time A-listers and first time Allen collaborators like Kate Winslet (The Dressmaker) and Justin Timberlake (Inside Llewyn Davis) in the mix it’s likely this one may attract a different audience than would normally take in an Allen flick.

Hasta La Vista…Summer (May)

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Hasta

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.

May

Though the summer movie season has traditionally been thought of as Memorial Day through Labor Day, in the past several years studios have marked early May as the start of the summer movie wars and 2015 was no different.

Kicking things off on May 1 was Avengers: Age of Ultron and, as expected, it was a boffo blockbuster that gave fans more Marvel fantasy fun. While it wasn’t as inventive as its predecessor and relied too much on jokey bits, the movie was everything a chartbuster should be: big, loud, worth another look.

Acting as a bit of counter-programming, the next week saw the release of two very different comedies, neither of which made much of a dent in the box office take of The Avengers. Critics gnashed their teeth at the Reese Witherspoon/Sofia Vergara crime comedy Hot Pursuit but I didn’t mind it nearly as much as I thought I would. True, it set smart girl power flicks back a few years but it played well to the strengths of its leads and overall was fairly harmless. I hadn’t heard of The D Train before a screening but was pleasantly surprised how good it turned out to be, considering I’m no fan of Jack Black. The movie has several interesting twists that I didn’t see coming, proving that Black and co-star James Marsden will travel out of their comfort zones for a laugh.

Blythe Danner proved she was more than Gwyneth Paltrow’s mom in the lovely, if slight, I’ll See You in My Dreams. It may be too small a picture to land Danner on the end of the year awards list she deserves but the drama was a welcome change of pace so early in the summer.

Another early May drama was a wonderful adaptation of a classic novel…and one I forgot to review when I had the chance…here’s my brief take on it now…

                                         Movie Review ~ Far From the Madding Crowd
far_from_the_madding_crowd_ver2The Facts
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Synopsis: In Victorian England, the independent and headstrong Bathsheba Everdene attracts three very different suitors: Gabriel Oak, a sheep farmer; Frank Troy, a reckless Sergeant; and William Boldwood, a prosperous and mature bachelor.
Stars: Carey Mulligan, Matthias Schoenaerts, Michael Sheen, Juno Temple, Tom Sturridge
Director: Thomas Vinterberg
Rated: PG-13
Running Length: 119 minutes
TMMM Score: (8/10)

Review: This adaptation of Thomas Hardy’s celebrated novel was a moving drama brimming with quietly powerful performances and lush cinematography. It’s a story that has been duplicated quite a lot over the years so one could be forgiven for feeling like we’ve seen this all before. Still, in the hands of director Thomas Vinterberg (The Hunt) and led by stars Carey Mulligan (Inside Llewyn Davis), Matthias Schoenaerts (Rust & Bone), & Michael Sheen (Admission) it stirred deep emotions that felt fresh. Special mention must be made to Craig Armstrong (The Great Gatsby) for his gorgeous score and Charlotte Bruus Christensen for her aforementioned picturesque cinematography. You missed this in the theater, I know you did…it’s out to rent/buy now and you should check it out pronto.

Around mid-May the summer bar of greatness was set with the arrival of Mad Max: Fury Road. The long in development fourth outing (and semi-reboot) of director George Miller’s apocalyptic hero was a movie lovers dream…pushing the boundaries of cinema and filmmaking into new places. A vicious, visceral experience, I can still feel the vibration in my bones from the robust film…a real winner.

The same week that Mad Max came back into our lives, a so-so sequel found its way to the top of the box office. Pitch Perfect 2 was a lazy film that’s as close to a standard cash grab as you could get without outright playing the original film and calling it a sequel. Uninspired and lacking the authenticity that made the first film so fun, it nevertheless made a song in receipts and a third film will be released in the next few years.

Tomorrowland and Poltergeist were the next two films to see the light of day and neither inspired moviegoers enough to gain any traction. Tomorrowland was actually the first film of the summer I saw twice…admittedly because I was curious about a new movie theater with reclining seats that I wanted to try out. As for the movie, the first half was an exciting adventure while the final act was a real mess.

I thought I’d hate the Poltergeist remake way more than I did…but I ended up just feeling bad for everyone involved because the whole thing was so inconsequential that I wished all of that energy had been directed into something of lasting value. While Sam Worthington made for a surprisingly sympathetic lead, the entire tone of the film was off and not even a few neat 3D effects could save it from being a waste.

May went out with a boom thanks to two wildly different films. If you asked me what I thought the prospects were for San Andreas before the screening I would have replied that Sia’s cover of California Dreamin’ would be the only good thing to come out of the action picture starring everyone’s favorite muscle with eyes, Dwayne Johnson. I still feel like Sia came out on top but the movie itself was a more than decent disaster epic, a little too long but made up for it with grand sequences of mayhem and destruction. Can’t imagine it will play nearly as well on a small screen but I wasn’t hating the film when the credits rolled.

A film I wasn’t too thrilled with at all was Aloha, Cameron Crowe’s own personal disaster flick. I still don’t know quite what to say about the movie because it was so dreadful that I’ve attempted to clear it from my memory. What I do remember was that it wasted its strong cast and exotic locale, as well as our time. Truly terrible.

STAY TUNED FOR JUNE, JULY, and AUGUST!

The Silver Bullet ~ Horns

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Synopsis: In the aftermath of his girlfriend’s mysterious death, a young man awakens to strange horns sprouting from his temples.

Release Date: October 31, 2014

Thoughts: I’ve said it before in my reviews of his recent work but I find it quite admirable at how out of his Harry Potter comfort zone Daniel Radcliffe is willing to go to prove that he’s more than the boy wizard. Though he reaches for the stars, too often I find him lacking but when he fails it’s never a total wash as the work itself has more interest that what his performance brings to the project. With Horns, Radcliffe (What If) is under the direction of Alexandre Aja (Piranha 3D) a director known for pushing some American boundaries when it comes to the horror genre. Much of this comes down to graphic violence but there’s a sliver of social commentary in even the gravest of Aja’s works. Co-starring Juno Temple (Cracks), this horror-comedy might not make Radcliffe more lovable but could work in favor of the actor shedding his wizard cloaks for good.

Movie Review ~ Maleficent

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The Facts:

Synopsis: A vindictive fairy is driven to curse an infant princess only to realize the child may be the only one who can restore peace.

Stars: Angelina Jolie, Sharlto Copley, Elle Fanning, Sam Riley, Imelda Staunton, Juno Temple, Lesley Manville 

Director: Robert Stromberg

Rated: PG

Running Length: 97 minutes

Trailer Review: Here

TMMM Score: (7/10)

Review:  Like a hunter circling a hungry lion, I approached the screening of Maleficent with the greatest of quiet care.  See, I’ve been mauled before by revisionist fairy tales that promised big and delivered small so I was cautious to not get my hopes up that Walt Disney Studios would get it right.  Even after seeing the production photos and previews of Angelina Jolie as the horned titular character I wasn’t totally sold that this would be different than the others.

So perhaps the bar was reservedly low enough that Jolie and the team behind Maleficent could easily hop over it.  Actually, that sells the film shorter than it deserves because for the most part it’s a success thanks to a dedicated true star performance and a script that puts the humanity back into the fairy tale we all grew up with.

Not that the film doesn’t start out pretty rough, though.  The first 20 minutes or so had me worried as we were introduced to young Maleficent, a sylvan fairy with horns and a mighty wing span.  Though small of stature she easily keeps the peace in the moors that lie just beyond the realm of a neighboring kingdom.  Colorful but garish CGI creatures float by (and off the screen if you’re seeing it in 3D) as the script by Linda Woolverton (2010’s Alice in Wonderland) lays on a back story of love gone wrong between Maleficent and Stefan, a human who starts off very benign until his royal ambitions turns him very bad.

Betrayed by the man she loves, the adult Maleficent (Jolie, Kung Fu Panda 2) concocts a plan of revenge not toward Stefan (Sharlto Copley, Elysium) but to his newborn daughter, Aurora.  That brings us up to the point where Disney’s 1959 Sleeping Beauty starts off and this new twist on an old classic liberally borrows from the animated film, sometimes verbatim.

Though it does add some interesting layers to the oft-told tale and tosses an ample amount of sympathy toward Maleficent, too often the film loses its focus and retreats into a CGI world of fantasy to distract audiences that nothing really new is happening.  The long prologue and extended ending both are disappointingly CGI heavy…a remnant perhaps of when director Tim Burton was attached to the project around 2010.

What gets the film a recommendation from this critic is Jolie’s lip smacking turn as the not so misunderstood villainess of the title.  While it does take a page from Wicked, the novel turned Broadway smash about the Wicked Witch of the West, it doesn’t weaken her when it shows that there’s a wounded heart underneath the snakeskin wrapped horns and skintight leather ensemble.  Jolie revels in every moment she’s onscreen, letting her blood red lips part to reveal a menacing grin of blindingly white teeth whenever possible.  She’s at her best, though, when she allows the “evil” fairy moments of vulnerability, thanks to Woolverton’s reimagining of Maleficent being seen by Aurora as a fairy godmother, not the conjuror that puts a deadly spell on her.

Copley, on the other hand, would be a reason to stay far away from the film.  Though Stefan and Maleficent are supposedly the same age onscreen, Copley looks like a recently roused Rip Van Winkle and sports the kind of overemphasized Scottish burr usually reserved for animated dogs.  Copley seems to think too hard about his performance, compensating with ACTING so violently that it’s puzzling to know what he wanted to accomplish.  The trio of familiar fairies assigned to protect Aurora suggests more of the dim witches in Hocus Pocus than the loveably dotty ones of the original.  And Elle Fanning (We Bought a Zoo) as Aurora does her best with an accent learned from, no doubt, Downtown Abbey but is found often with a blank stare suggesting she was in the middle of figuring out an algebra equation.

No, it’s Jolie that’s all over the film and deservedly so.   Working with Oscar winning production designer turned director Robert Stromberg, Jolie is instrumental to the success of the film.  Where Mirror Mirror was too much zany comedy and Snow White and the Huntsman was too darkly violent, Maleficent strikes the right balance between the two.  With moments of humor that fit in nicely with its darker edge, the PG rated film is way too scary for young children but is solid family entertainment for children a tad young to take in the latest X-Men adventure or watch Godzilla wreak havoc.

The Silver Bullet ~ Sin City: A Dame to Kill For

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Synopsis: The town’s most hard-boiled citizens cross paths with some of its more reviled inhabitants.

Release Date: August 24, 2014

Thoughts: Not exactly striking while the iron was hot, this sequel to 2005’s technically sound but pretty darn moody Sin City finally makes it to the big screen after almost a decade of false starts and other production delays. Again directed by Robert Rodriguez and graphic novelist Frank Miller (also at the pen for 300 and 300: Rise of an Empire) this looks to have the same dark flash as its predecessor while introducing a new roster of shady characters like Joseph Gordon-Levitt (Don Jon), Eva Green (Cracks, Dark Shadows), and Josh Brolin (Oldboy, Labor Day) along with returning stars Bruce Willis (Color of Night), Mickey Rourke (Iron Man 2), and Jessica Alba. The first film broke new ground with its visuals…but it’s 10 years later and what was one revolutionary is now standard. What more does this film have to offer…and will it be too little, too late?

The Silver Bullet ~ Maleficent

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Synopsis: The Sleeping Beauty tale is told from the perspective of the villainous Maleficent and looks at the events that hardened her heart and drove her to curse young Princess Aurora.

Release Date:  May 30, 2014

Thoughts: In this age of the update, there’s many who feel that this update to Sleeping Beauty isn’t needed.  I’m not usually one to be in favor of revisiting proven classics but there’s something about this first teaser for Maleficent that’s quite encouraging.  First off, I think Angelina Jolie is the perfect choice for the role of the villainess who puts a curse on an innocent princess that only true love’s kiss can break.  I’m hoping the film steers clear from making her too redeemable and instead focuses on just what makes her so dang mean.  With Disney having an update to Cinderella arriving in 2015, Maleficent will be a telling sign of just what the studio has in store for its new takes on old classics.  One can only hope they can avoid the same fate of the Snow White updates of 2012…the heinous Mirror, Mirror and the so-so Snow White and the Huntsman.