Movie Review ~ Peter Rabbit


The Facts
:

Synopsis: Feature adaptation of Beatrix Potter’s classic tale of a rebellious rabbit trying to sneak into a farmer’s vegetable garden.

Stars: James Corden, Rose Byrne, Domhnall Gleeson, Sam Neill, Daisy Ridley, Elizabeth Debicki, Margot Robbie

Director: Will Gluck

Rated: PG

Running Length: 93 minutes

TMMM Score: (8/10)

Review: As I hunkered down on a chilly Saturday for an early morning screening of Peter Rabbit there were a few thoughts going through my head. The first was a silent prayer that Hollywood didn’t take Beatrix Potter’s beloved characters and turn them into grating kooky animations. The second musing I found myself pondering was what took so long for Potter’s creations to make their way to the screen in the first place? Plenty of small screen animation adaptions featuring Peter Rabbit, Jemima Puddle-Duck, Mrs. Tiggy-Winkle, Squirrel Nutkin, and more have popped up throughout the decades and a fond memory of my youth was going to see Beatrix Potter’s Christmas (think The Avengers, just with Potter’s most famous critters) over several years at MN’s Children’s Theater Company. Yet aside from a Potter biopic (the largely forgotten Mrs. Potter), there’s been little love for the woodland creatures themselves.

What a pleasure it was, then, to find that Peter Rabbit is a real delight, a rare family film that’s truly something the whole family can get something out of. For kids there’s plenty of slapstick comedy that doesn’t involve farts or other rude nonsense and for adults there are a bevy of laughs that will easily sail over the heads of tykes too young to get the humor.

In the English countryside, Peter Rabbit (voiced by James Corden, Into the Woods) is fond of making his way into the garden of Old Mr. McGregor (Sam Neill, Jurassic Park) and filling up on his plump vegetables. Pulling his cousin Benjamin Bunny (Colin Moody) in on his schemes and being cheered on by rabbit triplets Flopsy (Margot Robbie, I, Tonya), Mopsy (Elizabeth Debicki, The Great Gatsby), and Cottontail (Daisy Ridley, Murder on the Orient Express), days are just a series of adventures that usually end with Peter being chased by the annoyed farmer into the loving arms of his caretaker Bea (Rose Byrne, Insidious). One day, the antics go too far and Old Mr. McGregor has himself a heart attack leaving his garden and home to be overrun by animals.

In London, tightly-wound Thomas McGregor’s (Domhnall Gleeson, Goodbye Christopher Robin) OCD ways have gotten him the heave-ho from his job at Harrod’s department store. Informed of his inheritance of a house from an uncle he’s never met and without much to keep him in the city, he treks out to see his new property in the country. Once he arrives and cleans up the place, he sets his sights on ridding himself of the vermin problem…but also starts to fall in love with Bea. The latter half of the film focuses on Thomas and Peter’s escalating war, fighting for their territory and over the lovely woman that cares for both of them.

Director and co-screenwriter Will Gluck (Annie) has crafted a film that’s quite charming from the get-go. There’s sentiment for the origin of the stories (Bea is a painter that creates bizarre modern art but sketches her forest friends in intricate details, ala Beatrix Potter) but keeps enough pep in its step to not feel like a staid transfer of the books to the screen. The humor is broad and fast-paced but with a sly wink to always let the audience in on the joke. Sure, there’s a few questionable bits of mayhem (such as one moment where Peter briefly considers sticking a carrot into Old Mr. McGregor’s plumber butt crack) but the overall joy the film brings outweighs a few of these catering to the masses missteps.

Sprinkled with a soundtrack of familiar songs reimagined not to mention a few tunes Gluck penned himself and using Australia’s picturesque countryside as a stand-in for the English village of Windermere, this is a valuable film for parents to keep in their back pocket.  I found the 90 minute run time flew by and there are some nice touches from Gluck and company, such as having the live-action leads also provide voices for a few of the animals.  Along with Paddington 2, it represents a step above the usual family fare that blends live-action with animation (the result is dazzlingly seamless) and offers sure-fire matinee potential for the whole gang.

Movie Review ~ I, Tonya


The Facts
:

Synopsis: Competitive ice skater Tonya Harding rises amongst the ranks at the U.S. Figure Skating Championships, but her future in the activity is thrown into doubt when her ex-husband intervenes.

Stars: Margot Robbie, Sebastian Stan, Allison Janney, Mckenna Grace, Bojana Novakovic, Julianne Nicholson, Bobby Cannavale, Paul Walter Hauser

Director: Craig Gillespie

Rated: R

Running Length: 120 minutes

Trailer Review: Here

TMMM Score: (7.5/10)

Review:  As I triple-axel my way ever closer to middle age, I’ve started to notice something all-together irritating.  Recently I’ve begun to see that movies based on real events have become less of an educational opportunity for me but more of a memory-jogging excursion into my teenage years.  Yes, I’m getting so old that I can actually remember where I was when Princess Diana died, when O.J. Simpson took that famous joyride in the white Bronco, and I definitely, 100% remember where I was during the 1994 Lillehammer Winter Olympics. Like most of America, I was glued to the tube watching not just the stunning athleticism on display but wondering how the drama of the previous months was going to play out.  We’ll get back to that because while ardent fans will remember who skated their way to the gold, silver, and bronze this is, after all, a spoiler-free blog and the events leading up to these Olympic games are the climax of I, Tonya.

I’ll admit going into I, Tonya with a little prejudice not just toward its subject but also it’s star.  Over the years the name Tonya Harding was equated with the horrible attack on her colleague and competitor Nancy Kerrigan.  While the tabloids were busy painting Harding as an evil conspirator, the makers of I, Tonya (including star and executive producer Margot Robbie) are more interested in showing the genesis of the famed figure skater, her struggle to the top, and her mighty (and maybe ultimately unjustified) fall from grace.

Framed by a series of interviews inspired by the words of the actual people involved, I, Tonya takes a while to stand on its own.  At first the narrative device gives the film a cheapness that isn’t helped by stars Robbie (as Harding) and Sebastian Stan (as her ex-husband Jeff Gilloly) laboring under some troublesome make-up, wigs, and facial hair to age them into their early ‘40s.  It’s when writer Steven Rogers (Love the Coopers) and director Craig Gillespie (The Finest Hours) do away with the tell vs. show method and cease with the random breaking of the fourth wall that the movie scores major points and takes on a life of its own.

Skating through Harding’s early years as a child phenom pushed by her chain-smoking foul-mouthed domineering monster mother LaVona (Allison Janney, The Way Way Back) into her adolescence and early marriage to the abusive Gilloly, all of the standard biopic bases are covered.  Harding comes from less than ideal circumstances and soon learns that handmade costumes and skating programs set to rock music aren’t going to win her a place in the hearts of the judges.  Looking for a more wholesome specimen to represent the world at the Olympics, the judges score Harding lower than her peers even though it’s well known she could skate rings around them.  There’s two great scenes where Harding confronts the judges, one ends with Harding hurling a gem of vulgarity and the other that makes you feel even more sorry for the young woman that just wants to be recognized for her ability, not her perceived personality shortcomings.

Harding was surrounded by people that wanted her to succeed not for her benefit but for theirs above all else.  LaVona looks to her daughter to be the bread-winner and save her from her life as a waitress, Gilloly obsessively loved his wife but couldn’t handle her need for independence after being brow-beaten by her mother and abandoned by her father.  Then there’s Gilloly’s friend and Harding’s bodyguard Shawn (Paul Walter Hauser) who hatches a jokey plan for psychological warfare on Harding’s foes that ultimately became the plot to injure Kerrigan.

I’ve struggled mightily with Robbie ever since she broke onto the scene in The Wolf of Wall Street and there’s always a feeling of potential that’s never fully embraced.  While she received much attention for her role as Harley Quinn in the odious Suicide Squad and biffed it earlier in 2017 with Goodbye Christopher Robin, here she made me a believer in the accolades she’s garnered for playing Harding.  Early scenes feel awkward as the Australian Robbie adopts a trailer trash slack drawl but she eventually finds her groove, leading to a supremely satisfying turn in the final ¼ of the movie.  There’s a short scene with her attempting to put on her game face (literally) in a mirror that alone should get her an Oscar nomination.

Robbie’s ably supported by Stan (Captain America: The Winter Soldier) and Janney, the latter of which goes all out as a nightmare of a woman that doesn’t have a motherly instinct in her body.  Her justification of why she behaves the way she does toward her daughter is hysterical, enlightening, and very very sad.  Playing her first coach and one of her only true allies, Julianne Nicholson (August: Osage County) is also a strong presence in the film.  Though Robbie and Janney are getting the awards attention, for my money Hauser’s dimwit bodyguard is the one that needs a bigger spotlight for his deliriously droll performance.  It may look easy to do but his excellent timing and perfectly pitched physicality is more memorable for me than anything else.

It’s not all rosy for I, Tonya though.  Relying on some wince-inducing soundtrack choices that are far too on the nose, Gillespie throttles into his audience with too many asides to cameras and leaps back and forth in time.  While Robbie can skate, the scenes where she’s recreating Harding’s famously difficult performances are done using a double with Robbie’s face unconvincingly digitally inserted over the stand-in.  This never, ever, looks good and too often produces laughs as it seems Robbie’s face and the skater’s body are playing two different emotions.

Yet for all its wobbly construction issues I was left reeling by the committed performances and that’s what pushes this one ahead into something worth seeking out.  I’m almost positive this is the best we’ll see Robbie for a while so I’d advise to strike while the iron’s hot and see what all the fuss is about.  While Janney is wonderfully acerbic, I’d favor Laurie Metcalf’s equally troubling mother in Lady Bird over this performance if I was forced to choose in an Oscar pool.  This one might not get a perfect score, but in uncovering more about Harding than most people have seen, it gets top marks.

The Silver Bullet ~ I, Tonya

Synopsis: Competitive ice skater Tonya Harding rises amongst the ranks at the U.S. Figure Skating Championships, but her future in the activity is thrown into doubt when her ex-husband intervenes.

Release Date: December 8, 2017

Thoughts: Well this looks like a wild ride. The brouhaha surrounding the infamous conspiracy involving figure skater Tonya Harding’s involvement in the injury of her competitor Nancy Kerrigan was the stuff of tabloid dreams.  Over the years Harding has faded from the public eye but  I, Tonya aims to drudge up events that have been on ice for some time.  Directed by Craig Gillespie (The Finest Hours), while the movie looks like a black comedy at its bleakest and darkest (I get shades of Gus Van Sant’s To Die For, no?), I’ve already heard buzz that it’s one you’re either going to get a huge kick out of or feel like you need a shower after to wash away the mean grime the film leaves on you.  I’m still nowhere near sold on the overall impact of Margot Robie (Exhibit A: Goodbye Christopher Robin) but if the Oscar rumors are true about co-star Allison Janney (Minions) then all shall be forgiven…for now.

Movie Review ~ Goodbye Christopher Robin

1


The Facts
:

Synopsis: A behind-the-scenes look at the life of author A.A. Milne and the creation of the Winnie the Pooh stories inspired by his son C.R. Milne.

Stars: Domhnall Gleeson, Margot Robbie, Kelly Macdonald, Will Tilston, Stephen Campbell Moore, Alex Lawther, Richard McCabe, Nico Mirallegro, Geraldine Somerville, Phoebe Waller-Bridge

Director: Simon Curtis

Rated: PG

Running Length: 107 minutes

TMMM Score: (5/10)

Review: Lord, do I love Winnie the Pooh. A longtime fan of that honey-loving bear, I admit that I first came to the Hundred-Acre wood via the now-frightening live-action television series that first aired on the Disney Channel. Remember that one? The one with the puppets that rarely blinked and sometimes talked without moving their mouths? I watched a few minutes of an episode recently and was aghast at how scary it was to me as an adult, obviously I was much less critical (and less easily terrified) when I was six or seven. Anyway, I digress. What I mean to say is that it was only as I became an adult that I went back to the works of A.A. Milne and read the source material that served as a jumping off point for Disney animators and Imagineers.

So that’s all a preface to say that I had high hopes for Goodbye Christopher Robin, a look into the life of the famous author and his family and how he created the world of a hungry bear and his forest dwelling friends. While the early previews promised a heart-tugging drama (don’t worry, hearts are tugged are tears are shed) it didn’t hint that the film winds up to be pretty boring in its heavy first half before finally finding its footing nearly an hour into its runtime.

Coming back from the first World War, playwright Alan Alexander Milne (Domhnall Gleeson, About Time) struggles to adjust back to civilian life. His socialite wife Daphne (Margot Robbie, Suicide Squad) not so much longs for a child but thinks that it will do her marriage good. The arrival of Christopher Robin Milne (first played by Will Tilston, then by Alex Lawther) is a rough one, mostly because it’s hinted that Daphne wasn’t aware exactly where babies come from…literally. Quickly hiring a nanny nicknamed Nou (Kelly MacDonald, Brave), the parents resume their showbiz lifestyle, often leaving their son for weeks on end as they travel.

It’s only when Milne grows tired of “making people life” and after he moves his family to a beautiful estate in the English countryside that the father is forced to get to know his son. With his wife flying the coop back to London after becoming exasperated at his sluggish ways and Nou off to care for her ailing mother, Milne starts to explore the woods and that’s when the stories are born. First as a play-game and then put to paper and illustrated, the tales of Christopher Robin and his woodland friends become a sensation, blurring the lines between the real boy and the boy featured in his father’s books. This creates a growing resentment from Christopher Robin that permeates his entire childhood, a childhood that may have been stolen away by a limelight he didn’t ask for.

Director Simon Curtis (Woman in Gold) along with screenwriters Frank Cottrell Boyce and Simon Vaughan front load the movie with too much Milne moping. A.A. and Daphne are painted as such neglectful ninnies that your heart goes out to their son that can’t find a way into their social circle. Raised to be caring and compassionate by his adored nanny, his life is ultimately sheltered which makes the instant celebrity he achieves so difficult to deal with. Excellently played by young Tilston, the movie takes off when he’s center stage and the same goes for anytime MacDonald is onscreen (why people aren’t mentioning her for an Oscar nom is beyond me) as the sole voice of reason.

I’m not sure if it’s because Robbie is so painfully miscast that her character comes off so horribly but it’s got to factor into the equation. Robbie is a bit of a puzzle actress, she’s never great but seems to be given the benefit of the doubt in Hollywood more often than she should. She’s certainly terrible here, botching her accent and aging too gracefully as the years pass by. When Gleeson ditches his eternal scowl he becomes a tolerable presence but both A.A. and Daphne were so clueless to the pain they were causing their son that it’s a hard thing for an actor to overcome without some blowback.

Goodbye Christopher Robin’s middle section that explains how these fondly remembered characters were created is the best part while it’s poor opening and rushed closing provide an imbalance that the movie can’t recover from. Truth be told it has some emotional heft as it nears the conclusion, but it doesn’t feel totally earned and the tears are delivered via a fairly manipulative plot device that might put some audience members off. I for one was a little miffed at the game that was being played, I just wanted to know more about why the characters were playing it to begin with.

Movie Review ~ Suicide Squad

suicide_squad_ver24

The Facts:

Synopsis: A secret government agency recruits imprisoned supervillains to execute dangerous black ops missions in exchange for clemency.

Stars: Will Smith, Jared Leto, Margot Robbie, Joel Kinnaman, Viola Davis, Jai Courtney, Jay Hernandez, Adewale Akinnuoye-Agbaje, Ike Barinholtz, Scott Eastwood, Cara Delevingne, Adam Beach, Karen Fukuhara

Director: David Ayer

Rated: PG-13

Running Length: 123 minutes

Trailer Review: Here

TMMM Score: (2/10)

Review: About halfway through Suicide Squad, a dejected looking Deadshot (Will Smith) remarks “For a few seconds there, I had hope”…and he’s on to something. The pre-credit studio/production company logos have a dirty neon sheen to them and I felt the briefest tingle of excitement, some eager optimism that the last big film of the summer would be swooping in to save an otherwise lackluster season of good but not great entertainment. Instead of saving the day this stinker of a superhero film winds up burning down the house in a most spectacular fashion.

Warner Brothers and DC Comics continue to have a major identity problem, which is causing a sizable rift in their plans to build up a superhero universe franchise to rival Marvel Studios. Though they possess the most recognizable caped characters of them all (Batman and Superman) they haven’t yet been able to deliver a fully satisfying entry, or at least one that pleases both the critics and the audiences. Man of Steel was too dark, unwisely going the route of The Dark Knight’s gloom and doom and while I wasn’t as out for blood as the majority of critics were, Batman v Superman: Dawn of Justice had such significant structure problems that it wound up collapsing under its own turgid weight.

It’s easy to imagine that with BvS underperforming all eyes turned to Suicide Squad to right a listing ship and it’s not hard to see that this film has been heavily fussed with…to the point where it’s plot is almost completely incomprehensible. I’ve no doubt that writer/director David Ayer (End of Watch, Fury) had a plan going into production but wound up bowing down to the studio heads and compromising his vision for the sake of the franchise, not to mention watering down the violence/language to fit into an ill-advised PG-13 rating.

There are a lot of characters to introduce and the movie is a herky jerky stumble through of brief origin stories, none of which feel long enough or inspire any sort of investment of interest for the next two hours. Deadshot (Smith, Winter’s Tale) is shown as both a family man and top-priced assassin, captured by a cameo-ing crusader in front of his young daughter. Harley Quinn (Margot Robbie, The Legend of Tarzan) turns to the dark side after playing head games with her former patient, The Joker (Jared Leto, Dallas Buyers Club) while inner-city gangbanger Diablo (Jay Hernandez, Bad Moms) spews flames whenever his temper gets the better of him. Rounding out the group is Boomerang (Jai Courtney, The Water Diviner), Killer Croc (Adewale Akinnuoye-Agbaje, Trumbo), and Enchantress (Cara Delevingne, Paper Towns). The lone squad member given zero introduction is Slipknot (Adam Beach) in appearance so brief I’m shocked he wasn’t edited out completely.

All of these rogues were rounded up by Amanda Waller (Viola Davis, Prisoners) a morally stunted government agent that sees using bad guys to do good as a way to get in front of the new meta-human uprising. It’s never clear why Waller is as hard-nosed as she is, Ayer gives her no backstory or even a kernel of a hint as to her motivation and Davis plays her with uncharacteristic vacancy. Assisting Waller in keeping the rag tag team in line is Rick Flag (Joel Kinnaman, RoboCop), Lt. Edwards (Scott Eastwood, The Longest Ride) and the ghost-blade wielding Katana (Karen Fukuhara).

Bringing the team together occupies the first hour while the second is filled with their first mission when they learn to stop thinking about escaping and start working together. When the Enchantress goes all magically evil, Waller sends the Suicide Squad in to stop her, leading to low stake fights on dark soundstages with poor CGI creations and terrible dialogue of quippy one-liners that fall flat. Throwing in some twists that lazily wriggle more than they interestingly tangle, the picture sputters through its overblown finale before giving up the ghost and paving the way to Wonder Woman and Justice League in 2017.

Smith and Robbie are interesting enough in their roles, though to call Robbie a breakout star based on her performance here is not that accurate. Sure, she’s probably the flashiest thing about the film but when it’s based purely on sexuality instead of characterization you have to wonder who the role is ultimately in service to. Much has been made of Leto’s wild methods in his creation of a new Joker but he’s in so little of the film that whatever impression he was supposed to make is likely on the cutting room floor…which is fine because when he does show up he’s so terrible that the less you see him the better. It’s fitting that Delevingne and Kinnaman’s characters are linked by love because they’re both dreadful, with Delevingne working her eyebrows and lisp into a frenzy whenever she’s threatened. Courtney and Akinnuoye-Agbaje barely register while Hernandez is the only vaguely root-able character in the whole bunch.

Now that Suicide Squad is open and will likely make a killing at the box office this weekend, on Monday morning I’d expect some heads to roll over at Warner Brothers as a way to exorcise the demons that the studio simply can’t shake. There needs to be a bit of cleaning the slate if there is any hope of saving future installments in this DC Universe. Hopes are high that Wonder Woman can give critics and audiences what they want, a decently composed intelligent adventure that’s not so damn dark.

Movie Review ~ The Legend of Tarzan

1

tarzan_ver3

The Facts:

Synopsis: Tarzan, having acclimated to life in London, is called back to his former home in the jungle to investigate the activities at a mining encampment.

Stars: Alexander Skarsgård, Margot Robbie, Samuel L. Jackson, Christoph Waltz, Djimon Hounsou

Director: David Yates

Rated: PG-13

Running Length: 109 minutes

Trailer Review: Here

TMMM Score: (8/10)

Review: Two full months into the summer season and we finally have a blockbuster worth talking about. Don’t get me wrong, strong entries have been made with Captain America: Civil War, Finding Dory, and X-Men: Apocalypse but The Legend of Tarzan represents everything a popcorn film should be. It’s an exciting, action-packed thrill ride that’s been given grand treatment not only from its director and cinematographer but from it’s surprisingly nimble cast. I went into the film being mildly interested in another retelling of the classic Tarzan tale and left with the kind of energized good-will that made me feel like swinging from vine to vine singing its praises.

Thankfully, The Legend of Tarzan isn’t merely an origin story of how young John Clayton lost his parents to the wilds of Africa and was raised by a caring ape before joining society after falling in love with Jane. This story is there but it’s interspersed throughout the first half of the picture as well-timed glimpses into a past Clayton both longs for and recognizes he needs to move forward from. Married to his love and living in his Greystoke estate, Clayton is asked back to Africa under false pretenses and becomes the victim of a villainous power-hungry jewel smuggler.

What sets The Legend of Tarzan apart from similarly styled blockbusters is that it has an actual plot at its core.  Screenwriters Craig Brewer (Hustle and Flow) and Adam Cozad (Jack Ryan: Shadow Recruit) ping off of the stories laid out by Edgar Rice Burroughs as they craft a story around Tarzan returning to his roots and saving the people and land he loves from mercenaries, slave traders, and land developers. It’s not heavy-handed stuff but it feels like it means something, much more than a superhero going after a stone with special powers.

As Tarzan, Alexander Skarsgård (The East) is the true vison of what his creator must have had in mind. In impeccable shape but still bearing the signs of a life in the wild, Skarsgård Tarzan is soft-spoken and curious, only jumping into action when he or his family is threatened. He’s matched nicely with Margot Robbie (The Wolf of Wall Street) as Jane, still plucky and headstrong but perhaps a tad bit on the underdeveloped side. While she’s given some swell heroine moments, I still felt like she was given less important hurdles to navigate than her male counterparts.

At first I was scratching my head at the presence of Samuel L. Jackson’s (The Hateful Eight) supporting turn as a Civil War veteran sent by the US President to England in hopes of exposing slave trade in the Congo. Jackson’s cooler-than-you swagger is kept at bay here, with the actor getting mighty physical as he tries to keep pace with Tarzan. Even if he uses a few too many modern turns of phrase (was “screwed” a popular term in the late 1800s?), he easily gets the most positive audience reaction and seems game for whatever Yates and company throws his way.

I’ve about had it with Christoph Waltz (Big Eyes, Django Unchained) playing a soft-spoken smarmy villain outfitted in pristine attire. The two-time Oscar winner feels like he’s coasting on his initial popularity but is managing only to lull us into slumber. Feeling like a half-hearted extension of his Spectre bad guy, Waltz never grooves with the other actors and feels miscast. It’s always nice to see Djimon Hounsou (Furious 7) in anything and he’s utilized well as the chief of a tribe with a personal vendetta against Tarzan.

On the production side, the score from Rupert Gregson-Williams (Winter’s Tale) is tone appropriate whether it be a full-throttle action scene or a more somber moment between Tarzan and his ape brethren. Cinematographer Henry Braham’s stunning vistas are a seamless blend of live-action and CGI that make quite the impact when seen in 3D (note that the 3D adds appropriate depth for items that appear to extend past the screen).

No matter how well The Legend of Tarzan does, director David Yates is bound to have a great 2016 overall. With Fantastic Beasts and Where to Find Them arriving November, Yates is at the helm of two potential franchise starters after lovingly guiding the last four Harry Potter films to their conclusion. Even if you aren’t swayed by the actors or the story, Yates has brought forth a sharp looking film that looks like an old-fashioned epic.

Movie Review ~ Whiskey Tango Foxtrot

1

whiskey_tango_foxtrot
The Facts
:

Synopsis: A journalist recounts her wartime coverage in Afghanistan and Pakistan.

Stars: Tina Fey, Margot Robbie, Martin Freeman, Alfred Molina, Billy Bob Thornton

Director: Glenn Ficarra, John Requa

Rated: R

Running Length: 112 minutes

TMMM Score: (7.5/10)

Review: I believe we’ve reached a point in our culture where it seems downright unpatriotic not to like Tina Fey. There’s something about the funny lady that just rubs us the right way, even if her style of comedy isn’t everyone’s cup of tea. A star on Saturday Night Live before launching a successful prime time television career writing/starring in 30 Rock and eventually making the transition to film, Fey relied on her charming inoffensiveness, quick wit, and pointed observations to carve out a niche for herself as a performer and successful awards show host. It seemed like there was nothing she couldn’t do…except drama.

Now I realize that 2014’s This is Where I Leave You had problems way more severe than Fey being miscast as the caustic sister to Jason Bateman’s harried brother. Still, there was something about how out of place she seemed that just cut deeper than that film’s total lack of drive or point. Wisely, Fey retreated back to her comfy comedic shores and scored in December in Sisters with her frequent co-star Amy Poehler. The first time I saw the preview for Whiskey Tango Foxtrot I got this terrible pit in my stomach that another dramatic debacle was on the horizon.

Thankfully, I can write off my tortured stomach to a bad burrito because Fey hits a solid bulls-eye as a journalist that leaves the safety of her office writing copy for newscasters to become a war correspondent stationed in Afghanistan. Inspired by Kim Barker’s book ‘The Taliban Shuffle: Strange Days in Afghanistan and Pakistan’, the auto-biography has been adapted by longtime Fey collaborator Robert Carlock and produced by Fey’s former SNL boss Lorne Michaels into a veritable star vehicle. And it’s right up her alley.

I’ll admit to being more than a little overdosed on the mortar blasts, dusty locales, and terrorists in turbans found in the recent slate of war films so I was pleasantly surprised that Whiskey Tango Foxtrot was able to hold my attention the way it did. Telling a war story from a journalistic angle rather than a military one, the film succeeds best when it puts Fey on the frontlines bravely stepping into a firestorm of bullets to get a video clip for the evening news. As Fey/Carlock will have you believe, Barker surprised even herself in the gung-ho way she threw herself into the work and our star never treats it as an opportunity to mine for toothy comedy.

Eschewing the fish out of water approach that could have been taken, the film follows Barker over the four years she was stationed in the Middle East and episodically recounts the situations she encounters and the people she meets along the way. There’s a beautiful Lara Logan-esque blonde bombshell reporter (Margot Robbie, The Wolf of Wall Street, reteaming with her Focus directors Glenn Ficarra and John Requa), given more depth than the character probably calls for, a surly general (played by a wigged man that looks like Billy Bob Thornton, The Judge…because it is) that’s given less depth than the character calls for, and a kindly local driver (Christopher Abbott, A Most Violent Year) that forms a bond with Barker even though societal norms keeps him from expressing his feelings of friendship.

Barker had several men in her life that cause the only real trouble the film has to offer. She starts off the in a long distance relationship with Josh Charles (Freeheld), is pursued by her Australian bodyguard (Stephen Peacocke, Hercules), wooed by a top Afghan official (Alfred Molina, Monsters University), and eventually warms to a hotshot photographer (Martin Freeman, The World’s End). Only Molina and Freeman register any kind of chemistry (romantic or not) with Fey and in particular it must be noted that Freeman gives one of his best performance, free of any of his heretofore constant nebbish line readings and meek demeanor.

In the end it’s Fey that really sells the film. It was nice to see the actress leave some of her trademark tics back in the US. Gone are the clipped one liners, anguished eye rolls, winking asides to the camera. If some of her lines are delivered with just a hint of her classic smirk, it’s easy to forgive seeing that it feels right in the context of the character.

Carlock’s script leaves a lot unexplained, fails to fully flesh out some of the supporting players, and there’s really no third act to speak of, but the film plays nicely with audiences and doesn’t overstay its welcome. Going in I wasn’t sure I’d like Fey’s further attempts at drama, coming out I was wishing this had come out later in the year so she’d be included in some end of the year recognition. It isn’t unheard of that it could happen seeing that it’s a worthy performance in a decent film.

The Silver Bullet ~ The Legend of Tarzan

tarzan

Synopsis: Tarzan, having acclimated to life in London, is called back to his former home in the jungle to investigate the activities at a mining encampment.

Release Date:  July 1, 2016

Thoughts: Fans of 1984’s Greystoke: The Legend of Tarzan, Lord of the Apes that have been waiting for a sequel for these past three decades, I have some sad news for you.  Edgar Rice Burroughs classic vine swinging hero is getting a reboot with two sexy stars as Tarzan and Jane along with some Academy Award nominated/winning character actors playing various allies and foes. Before you write this one off as another CGI-heavy trifle, keep in mind that David Yates is at the helm of it all and having shepherded four handsome looking Harry Potter films (the most difficult ones, no less), he sure knows how to keep the humanity of characters that are put into perilous computer rendered worlds.  Alexander Skarsgård (The East), Margot Robbie (The Wolf of Wall Street), Samuel L. Jackson (Django Unchained), Christoph Waltz (Big Eyes), & Djimon Hounsou (Furious 7) will head into the jungle next July.

The Silver Bullet ~ Suicide Squad

Squad2

Synopsis: A secret government agency recruits imprisoned supervillains to execute dangerous black ops missions in exchange for clemency.

Release Date: August 5, 2016

Thoughts: One thing that’s always bothered me about the slate of Marvel movies released over the past several years is that they’ve all been so damn sunny. Sure, they’re fighting some pretty bad baddies and lives are certainly lost…but there’s a particular lack of edge that can sometimes result in the stakes being a little lowered. I’ve always leaned toward the darkness of the DC Comics world through outings with Batman and Superman…but next summer DC takes it a step further with Suicide Squad.

Our first look at the highly anticipated flick may clock in over three minutes but it seems to only skim the surface at director David Ayer’s vision of the bad side of justice. Ayer has delivered the goods in films like End of Watch and Fury so I’m especially excited to see him put those talents to work on this franchise starter. Jared Leto (Dallas Buyer’s Club) is getting the major press for his nightmare inducing take on The Joker but don’t forget that the film also stars Margot Robbie (The Wolf of Wall Street), Will Smith (Winter’s Tale), Viola Davis (Prisoners), and a few other not-so-surprise cameos that live within this universe.

 

Movie Review ~ The Wolf of Wall Street

1

wolf_of_wall_street_ver2

The Facts:

Synopsis: Based on the true story of Jordan Belfort, from his rise to a wealthy stockbroker living the high life to his fall involving crime, corruption and the federal government.

Stars: Leonardo DiCaprio, Jonah Hill, Margot Robbie, Matthew McConaughey, Jon Favreau, Kyle Chandler, Rob Reiner, Jean Dujardin, Pj Byrne, Kenneth Choi

Director: Martin Scorsese

Rated: R

Running Length: 179 minutes

Trailer Review: Here

TMMM Score: (6/10)

Review:

Review:  After making a brief detour to PG-rated family friendly fare with 2011’s wondrous Hugo, director Martin Scorsese (Cape Fear) makes up for lost time with the ribald and very R rated The Wolf of Wall Street, a film arriving with much buzz due to the pedigree of the director, its starry cast, and its butt-numbing running length that will test the bladders of even the strongest leg crossers amongst us.

When asked by a few friends what my initial opinion of the film was, I responded with “it’s an entertaining 135 minute movie that unfortunately runs for 179 minutes” and that’s probably the most succinct review I can offer for Scorsese’s excessive and excessively long opus looking into the boom of Wall Street in the late 80’s/early 90’s.

Let’s start with the good, shall we?  That would be Leonardo DiCaprio (Titanic), an actor I usually have little patience for due to his penchant for playing variations on the same role.  With 2012’s Django Unchained, however, the actor showed some sinister dexterity that was appealing to watch and which should have netted him an Oscar nomination.  Though earlier in 2013 audiences and critics were divided on Baz Lurhman’s 3D take on The Great Gatsby, it was generally agreed that DiCaprio’s vulnerability in the leading role was one of its saving graces.

So it’s nice to see that DiCaprio once again shines as Jordan Belfort, an upstart stockbroker that easily is sucked into the dizzying world of money and all the trappings (booze, drugs, women, etc) that seemed to go with it.  The layers DiCaprio adds in addition to Terrence Winter’s hefty dialogue are admirable and more than a few times I found myself getting lost in the film thanks to the conviction and brio DiCaprio brings to the role.

Also making a good showing is Margot Robbie (About Time) as Belfort’s second wife that isn’t much of a pushover.  It’s nice to see a female character in a Scorcese film portrayed as more than just a wife or sex object (though Robbie is one of many, many, many actresses in the film that is seen fully nude) and there’s a dynamic chemistry between Robbie and DiCaprio that gives the film some extra oomph when needed.

In addition to DiCaprio and Robbie I also enjoyed some comically dry turns from Matthew McConaughey (Dallas Buyers Club, Mud), Kyle Chandler (The Spectacular Now), Rob Reiner (The Mystery of Belle Isle), and Oscar winner Jean Dujardin (The Artist)…actors that Scorsese uses to his advantage whenever the movie needs a boost of energy (which happens quite often in the bloated second and third acts).

I’m leaving Jonah Hill (This Is the End) for last because now we’re into the elements of the movie that didn’t work for me.  Hill’s puffy stockbroker colleague of DiCaprio is nearly governed by his costume choices (day-glo sweaters, loafers, large glasses), his impeccably white teeth that give him a beaver-esque quality, and a nasally New Yah-k whine that started to give me stroke symptoms as the move droned on.  The early word was that Hill was set for another Supporting Actor Oscar nomination (after 2011’s Moneyball) and if that’s the case then I’m clearly missing something because I found Hill to be drastically out of place, however believable his connection to DiCaprio’s character was.

Then there’s the length…good lord the film is overlong.  Even the casual moviegoer would have been able to edit at least 30-35 minutes off of this monster and I’d challenge anyone to sit through the film twice and not find the exact moments where Scorsese and longtime editor Thelma Schoonmaker should have excised large passages of dialogue and story that had no bearing on what happens later in the film.  I don’t mind long movies…but they have to have a reason for being long and there’s absolutely no rationale for the movie to lumber on as long as it does.  And keep in mind the film was already edited down from an even longer cut…a task that moved the original release date from its original Thanksgiving release schedule.

Scorsese is truly one of the most legendary filmmakers out there and while The Wolf of Wall Street isn’t a turkey, it’s not one of the director’s best thanks to a curious lack/slack of pace.  I’ve always found Scorsese’s films to be taut experiences, no matter the genre but I get the feeling Scorsese couldn’t come to a decision on what he was trying to reveal in the life story of Belfort so he simply left in most everything that he captured during filming.  Removing 30 minutes would have made Scorsese’s film truly howl and been an even better showcase for DiCaprio’s well thought out performance.  It also would have monumentally reduced Hill’s role which is what the film very much needed…a sacrificial lamb for this Wolf to be a winner.