Tag Archives: Rita Moreno

Movie Review ~ Fast X

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The Facts:

Synopsis: Dom Toretto and his family are targeted by the vengeful son of drug kingpin Hernan Reyes.
Stars: Vin Diesel, Michelle Rodriguez, Tyrese Gibson, Chris “Ludacris” Bridges, Jason Momoa, Nathalie Emmanuel, Jordana Brewster, John Cena, Jason Statham, Sung Kang, Alan Ritchson, Daniela Melchoir, Scott Eastwood, Helen Mirren, Charlize Theron, Brie Larson, Rita Moreno
Director: Louis Leterrier
Rated: PG-13
Running Length: 141 minutes
TMMM Score: (8/10)
Review:  After a four-year gap between the eighth and ninth entries (partly because of the pandemic), it’s great to be back behind the cinematic wheel of the Fast and Furious family saga for their tenth time around the track, barely twenty-fourth months after the last breathless conclusion. Plenty has happened during that time, with Fast X’s initial director (and long-time franchise helmer/writer) Justin Lin exiting due to conflict with star Vin Diesel and announcing that the series was headed for its final laps. Set to conclude with a 12th film that gives audiences plenty of time to gear up their goodbyes and the filmmakers to go out with a sonic boom…it all starts with the uproariously entertaining Fast X.

This series has always rewarded fans deeply entrenched in the films, so the more you know about the previous installments, the better. That’s particularly beneficial for Fast X, which begins with the heist finale of 2010’s Fast Five that ended the life of drug lord Hernan Reyes (Joaquim de Almeida). A little ret-con work has been done to insert new shots of Hernan’s son, Dante (Jason Momoa, Aquaman), who witnesses his father’s death and vows pain and suffering on all involved.

A decade later, Dom (Diesel, Riddick) and his wife Letty (Michelle Rodriguez, She Dies Tomorrow) are again adjusting to a quieter life living under the radar and staying out of trouble. Raising Dom’s son (Leo Abelo Perry) in the stable family environment Dom and his siblings Mia (Jordana Brewster, Furious 7) and Jakob (John Cena, Vacation Friends) didn’t have is the priority. However, it becomes tricky to do so when the past doesn’t leave them alone. An unexpected visit from nemesis Cipher (Charlize Theron, Bombshell), who turns up on Dom and Letty’s doorstep bruised and bloodied, warns of the danger heading their way.

That deadly threat is Dante Reyes, seeking costly revenge on Dom and others that played a part in his father’s death. A flashy big baddie with a bark as bad as his bite, Dante plays a ruthless game with Dom and his gang introduced with a mission in Rome that goes awry for Roman (Tyrese Gibson, Fast & Furious 6), Tej (Chris “Ludacris” Bridges, End of the Road), Han (Sung Kang, Raya and the Last Dragon), and Ramsey (Nathalie Emmanuel, Army of Thieves) and culminates with a high-speed chase through Portugal’s highways, tunnels, and over a dam. In between, we visit Rio de Janeiro and Antarctica and get a few excellent surprise appearances along the way I wouldn’t dare spoil for you. 

While it sets the stage for Fast 11 in 2025 (which will probably feel like a bridge to Fast 12 shortly after), there’s an undeniable surge of power in Fast X that hasn’t been felt in a few chapters of this saga. Maybe it’s new director Louis Leterrier (Now You See Me) bringing his typically breathless directing pace out in full force, or it could be that the cast is just primed and ready to party, but Fast X is in a constant state of motion that never lets up.

Let’s talk about that cast, shall we? While Diesel is an immovable object at this point (the voice is so low I had to take a lozenge halfway through in solidarity) who never, not once, gets his white shirt dirty, he surrounds himself with a splendid supporting troupe that continues to hone their characters to a fine polish. Rodriguez is the consistent MVP of the group, bringing more pathos to a once-throwaway role than it initially deserved. I still am crossing my fingers for some one-off installment for Gibson, Bridges, and Emmanuel – all three have demonstrated they are a terrific trio that could hold their own like Jason Statham (Spy) and Dwayne Johnson (Jungle Cruise) did in Fast & Furious Presents: Hobbs & Shaw. A brief cameo from Helen Mirren (Hitchcock) as Statham’s mum is about on par with the early appearance of Rita Moreno (West Side Story) as Dom’s grandmother, who pops in to talk about, what else? family.

Newcomer Alan Ritchson (Ghosts of War) as a gruff agent now in charge of calling the shots, taking over for Mr. Nobody (Kurt Russell) and Little Nobody (Scott Eastwood, The Longest Ride), has the appropriate muscle-bulk to play Gun Show Grunt with the gang but can be a bit one note. Daniela Melchoir (Guardians of the Galaxy Vol. 3), as a new racer that crosses paths with Dom and Dante, feels a bit shoehorned in, but not as much as Oscar-winner Brie Larson (Captain Marvel) does in a head-scratcher of a role. Playing another government agent that feels like she’s there only to solve some script problems, Larson also doesn’t seem to understand what she’s there to do either. It’s a strange appearance.

Strange doesn’t even begin to describe what Momoa is doing…but it works much better for his job. Momoa is by far the best villain yet in these films and almost instantly becomes a character you’re desperate to see more of, even if you know his presence means terrible news for our good guys. Choices that wouldn’t work on any other actor work brilliantly in Momoa’s large, capable hands, and there’s not one frame of the film where he isn’t in complete command of the proceedings. It’s such a scene-stealing role that I’m shocked Diesel let him get away with it, knowing how Diesel likes to be the center of attention. The one-liners and line readings are perfectly molded to the character, and if the role weren’t written with Momoa in mind, I’d love to know who else was considered for the part.

True, Fast X doesn’t have as high an incredulity factor as previous installments (spoiler alert: no one goes into orbit), but that doesn’t mean the stunts performed are any less jaw-dropping. Our audience still whooped and clapped throughout and appropriately went nuts for a finale (and post-credit sequence) that will send you out of the theater buzzing on a “did they just do that to us?” high. Buckle up for this one because it is an adrenaline-fueled ride that doesn’t bother ever to hit the brakes on its audience. 

Movie Review ~ 80 for Brady

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The Facts:

Synopsis: Four old female friends travel to Houston to watch their hero Tom Brady and the New England Patriots play in Super Bowl LI
Stars: Lily Tomlin, Jane Fonda, Rita Moreno, Sally Field, Tom Brady, Billy Porter, Rob Corddry, Alex Moffat, Guy Fieri, Harry Hamlin, Bob Balaban, Glynn Turman, Sara Gilbert, Jimmy O. Yang, Ron Funches, Matt Lauria
Director: Kyle Marvin
Rated: PG-13
Running Length: 98 minutes
TMMM Score: (6/10)
Review: The moment I got into my car after the 80 for Brady screening, I sent my mom this text:

“You are going to LOVE 80 for Brady.”

She replied:

“Glud to his it.” (which I know translates to “Glad to hear it!”)

When it came time to sit down and write this review, I had a sinking realization. I didn’t love 80 for Brady. But I want my mom and her friends to see it because I know they will. This is another one of those movies that must be taken with a certain grain of salt and an understanding that perhaps when the filmmakers of this good-natured comedy got together to create this project, they didn’t have my demographic in mind. And that’s OK.  In my book, it didn’t need to be a touchdown to be a home run for someone else (see what a did there?).

I could say that I wish the talents of the celebrated stars (three Oscar winners and one Oscar nominee) had been used in a tighter script and a production that didn’t feel so inexpensive and tacky. One that didn’t rest on jokes about retirement homes, broken bones, senility, and getting randy after 70+ years. I long for a movie about older people that won’t use terminal illness as a Sword of Damocles-ish way to get them out of their houses and live their lives. And I really could do with less of the lusty single octogenarians who have been divorced multiple times but still somehow need to be shamed about their late-in-life romantic foibles.

80 for Brady has all of that, which was a bummer for me and why I didn’t enjoy it as much as I could have. I’m grading it for what it could have been because that’s my job here. If we look at it from the view of people excited by the prospect of seeing the likes of Lily Tomlin (Grandma), Jane Fonda (Book Club), Rita Moreno (West Side Story), and Sally Field (Spoiler Alert) hitting the road for comic shenanigans as they try to get into the 2017 Super Bowl, the outlook is far sunnier.

Fans of these pros will undoubtedly be swept away (as was the audience I saw it with) by the story, inspired by a true tale of four women so enamored with their love of football and one particular team/player that they trekked to Houston to see the big game. Elements of the story have been changed for the movie, and screenwriters Sarah Haskins and Emily Halpern crafted more personal backstories for each.

Tomlin’s Lou is a cancer survivor and de facto leader of the group, bringing them all together in football during her treatment. Trish (Fonda) loves a wig and falls head over hairpiece for any handsome man that comes her way. Still adjusting to being a widow, Maura (Moreno) can’t give up her apartment or the room in the senior living center she’s been keeping at the ready. Then there’s Betty (Field), an empty nest-er that finds herself having to play mother to her needy husband (Bob Balaban, Fading Gigolo). 

All the women are ready for this road trip, and while the details of how they get on the road are sketchy (don’t even get me started on how three of them “break” Maura out of her elder care), arriving in Houston poses another set of problems. An admittedly funny romp at a mansion where all four unknowingly get stoned adds some zip at the midway point. Still, aside from a brief bit of zing from the appearance of Billy Porter (Like a Boss) as a choreographer with connections, unnecessary drama threatens to derail what, up until then, had been a mild and cheery outing. 

Director Kyle Marvin makes his feature film directing debut, and it shows. While the sets don’t look nearly as sound stagey as they did on Tomlin and Fonda’s Netflix series Grace & Frankie, most of them appear like the paint is still wet or a strong gust of wind could knock them over. Continuity is a problem, as is general logic throughout. Technical nitpicks are largely thrown out the door when you are being stared down by any of the imposing stars. All four exude such bright light that it makes 80 for Brady almost impossible to dismiss entirely. One thing is for sure. If you can’t get in touch with your mom/grandmother this weekend – check your local listing for the showing of 80 for Brady closest to them, and you’ll know where they are.

Movie Review ~ West Side Story (2021)

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The Facts:

Synopsis: An adaptation of the 1957 Oscar-winning musical explores forbidden love and the rivalry between the Jets and the Sharks, two teenage street gangs of different ethnic backgrounds.

Stars: Ansel Elgort, Rachel Zegler, Rita Moreno, Ariana DeBose, David Álvarez, Josh Andrés Rivera, Corey Stoll, Brian d’Arcy James, Mike Faist, Ana Isabelle, Jamila Velazquez, Paloma Garcia Lee, Maddie Ziegler, Talia Ryder, Ben Cook, Kevin Csolak, Annelise Cepero, Kyle Allen, Kyle Coffman, Kellie Drobnick, Brittany Pollack, Yurel Echezarreta, Curtiss Cook, Jamie Harris

Director: Steven Spielberg

Rated: PG-13

Running Length: 156 minutes

Trailer Review: Here

TMMM Score: (10/10)

Review: Much like movie fans are oft-asked what their favorite movie is, musical theater aficionados get put in the difficult position of having to select their most beloved work from the stage and let me tell you…it does get hard to choose at times.  Any number of landmark pieces can be put into the top slots but in all fairness to the modern greats like Hamilton, RENT, HAiR, and yes, even London invasions like The Phantom of the Opera and Les Misérables, there’s nothing quite like what I feel are the crown jewels: 1959’s Gypsy and 1957’s West Side Story.  It’s no coincidence that both share several of the same creative minds, both were directed and choreographed by Jerome Robbins and had lyrics by Stephen Sondheim and a book by Arthur Laurents.  It’s the music that sets them apart, though, and while Jule Styne’s tunes for Gypsy have stood the test of time, it’s impossible to imagine a world without the gorgeous West Side Story compositions from Leonard Bernstein.

The 1961 film version of West Side Story was a boffo hit, nominated for a mother-lovin’ load of Oscars (11) and winning 10, including Best Picture.  While it hasn’t aged the best in certain areas (some of the Puerto Rican characters were played by white actors in brown face), much of the movie remains a high-water mark in movie musical history for many film and musical fans alike.  Though it was itself a retelling of Shakespeare’s Romeo and Juliet, set in the streets of what was then considered a gritty take on New York, sequences and images from the movie have been lifted in whole or in part for other projects over the years.  Revivals have even borrowed some elements but from what everyone reports, the magic of that original production (which actually lost the Best Musical Tony Award to The Music Man, another finely crafted work) has never been matched. 

Leave it to what many consider the best director working today to give modern audiences, really a new generation, their own version of West Side Story that isn’t a remake and isn’t a revisionist take on what has come before.  Oscar-winner Steven Spielberg has long wanted to direct a musical and the dream is fulfilled for him and us with this absolutely glorious re-interpretation of West Side Story that breathes new life into a show that’s well over 60 years old.  With a new script from Pulitzer Prize winning playwright Tony Kushner (Lincoln) that fleshes out characters that once were barely one dimensional, the film is deeper, more dangerous, and therefore more courageous in its risks and greater in its ultimate reward for the viewer.

I must admit I was more than a little dubious when I heard Spielberg and Kushner were taking this on as a project, for a few reasons.  Why, of all the films to remake, would Spielberg (JAWS) want to go down this route and take Kushner along for the ride?  I’m to the point where I think the best case for a remake is only where the original was left lacking in major areas and therefore a fresh set of eyes/ears/hands could function as a way to fix it.  Admittedly the ’61 film lived in a kind of patina of my memory and I didn’t want anyone (even one of my favorite directors) to mess around with it. So…perhaps I was being a bit precious with it. Then again, it’s West Side freaking Story!

Why did I ever doubt that Spielberg had this type of movie in him?  From the moment (the very moment) the movie begins, with that shiver-inducing whistle, I felt something release inside me and I knew instantly this West Side Story was something special.  Kushner’s script doesn’t just improve upon the original screenplay, it enhances it to the point where it could function wonderfully independent of the songs that have had their Bernstein orchestrations masterfully retained.  Yet musically it remains tied intrinsically as a star-crossed tale of two sweethearts from opposite sides that meet by chance, fall in love by fate, and are united by the power of those that oppose their union.

In the Upper West Side of New York (given even more clever specificity by Spielberg, Kushner, and production designer Adam Stockhausen, The Grand Budapest Hotel), the Jets and the Sharks are gangs of hothead teenagers in a constant battle for ownership of their neighborhood.  The white American Jets don’t like the Puerto Ricans Sharks moving in with their families and taking over the shops that once belonged to theirs.  Systemic racism, likely passed down by their parents and reinforced by daily life, have developed the boys from both sides into hard-nosed youths forced to take on problems that far exceed their age.  According to Lieutenant Schrank (Corey Stoll, First Man), most of them will end up dead or in prison…but if this is the neighborhood where they will spend their days, both gangs want to be in control.

Reformed Jet Tony (Ansel Elgort, The Fault in Our Stars) has seen the worst of himself and vowed not to follow that path. Working for Valentina (Rita Moreno, Rio 2, an Oscar-winner for the first movie now playing a role created by Kushner, replacing the former one known as Doc), his focus is to get good, make right, and leave his former life behind.  Easier said that done.  When he’s convinced to join his friend and current Jet leader Riff (Mike Faist) at a mixer with a promised heavy Shark presence, he can’t know he’s about to meet a force that will change his life in unexpected ways. 

Maria (Rachel Zegler, making one of the more impressive debuts in memory) is a recent arrival to America, living with her brother Bernardo (David Álvarez) and his girlfriend Anita (Ariana DeBose, the role for which Moreno won her Oscar), a seamstress.  She’s tagging along to the dance with her date, Chino (Josh Andrés Rivera), but locks eyes with Tony in one of the musical’s more famous moments and what Spielberg turns into a real stunner.  That electricity the two feel seems to crackle right off the screen, making it easier for us to understand what’s happening for the soon-to-be-couple.  Of course, a boy from the Jets loving a girl from the Sharks is not acceptable and the consequences for such a choice extend far beyond the simple street brawls the teens have been used to.

Those that know the show won’t have to worry about their songs being messed around with too much.  Only several have been altered in any major way and I think the effect is more positive than blasphemous.  I won’t spoil it for you but one of the most famous numbers in the show, always a huge dance performance, has been given to a totally different character with their own agenda and it works so well because Kushner and Spielberg have done their work setting it up before we get there.  America, Gee, Officer Krupke, I Feel Pretty, etc, all are performed beautifully by a cast that vibrates with energy and freedom of spirit, and it doesn’t hurt they are easy on the eyes as well. 

Having seen the film often and even taken in the controversial Broadway revival back in 2020 (which, side note, I thought was incredible and should have re-opened in NYC so more people could have experienced its risk-taking changes), I was still an emotional wreck not just at the end but throughout the film.  Even knowing what will transpire I remained on the edge of my seat at all times, and I can’t remember the last time that happened while watching West Side Story.  What Spielberg and this extraordinary company of actors, musicians, and technicians have done is one for the record books.  I’m excited to see this one again with a larger audience to hear how it goes over and I have a feeling it could be a solid winner when awards are handed out – possibly even snagging the most Oscar nominations of the year.  How wonderful would it be for Moreno and the film to again take Best Picture.  And you know what?  They’d both deserve it.

The Silver Bullet ~ West Side Story (2021) 

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Directed by Academy Award® winner Steven Spielberg, from a screenplay by Pulitzer Prize and Tony Award® winner Tony Kushner,
“West Side Story” tells the classic tale of fierce rivalries and young love in 1957 New York City.

Synopsis: An adaptation of the 1957 musical, West Side Story explores forbidden love and the rivalry between the Jets and the Sharks, two teenage street gangs of different ethnic backgrounds. 

Release Date:  December 10, 2021 

Thoughts: While Oscar night was abuzz with much anticipation over who would win, when the news leaked the teaser trailer for Steven Spielberg’s much-anticipated remake of the 10-time Oscar-winning musical West Side Story would premiere sometime during the ceremony, movie fans and Broadway nerds alike were dancing on their respective fire escapes. Delayed a full year due to the pandemic and the director’s desire for audiences to experience the film in a theater, up until our first look the jury was still out as to how much the world needed a remake of what many considered a treasured classic. True, looking back at the 1962 film there were some odds and ends that don’t sit quite right when viewed through a lens of racially sensitive casting and a number of the leading actors were dubbed when they began to sing. Still, it’s hard to argue that the legendary dances and indelible images were burnt into many cinema-lovers memories.
While a radically revisionist Broadway revival that barely got a chance to open before the health crisis shuttered theaters is likely to return sometime in 2021 (I was lucky enough to see it and it was goosebump-stunning excellent), Spielberg’s version appears to keep to the original and I think that’s wise. With just a little tease of singing (from Rita Moreno, an Oscar-winner for playing Anita in the original film, an executive producer of this version and appearing in a newly created role by screenwriter Tony Kushner), it’s a mostly visual preview and it achieves exactly what it should in the short span of a preview. If anything, I’m fairly certain it was able to create the kind of excitement that shows audiences who loved the movie that this isn’t straying far while at the same time hinting at a more visceral take on the musical update of Romeo and Juliet. I know I’m more comfortable with it all after seeing this…are you?

Movie Review ~ Rio 2

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The Facts:

Synopsis: It’s a jungle out there for Blu, Jewel and their three kids after they’re hurtled Rio de Janeiro to the wilds of the Amazon.

Stars: Anne Hathaway, Jesse Eisenberg, will.i.am, Jemaine Clement, Tracy Morgan, George Lopez, Leslie Mann, Rodrigo Santoro, Jamie Foxx, Andy Garcia, Rita Moreno, Bruno Mars, Kristin Chenoweth

Director: Carlos Saldanha

Rated: G

Running Length: 101 minutes

TMMM Score: (6/10)

Review: I’m fighting against the grain and resisting the urge to heed the old adage that there comes a time to put away childish things. For me, that means not seeing every single animated film released in theaters. For a time, the market was on an even keel of producing one stellar film after another…until lesser studios took it upon themselves to insert themselves into the market, sullying it with cheap looking entries that shouldn’t be mentioned in the same breath as something coming from Pixar or Dreamworks Animation. See The Nut Job if you don’t believe me…or better yet, don’t.

I think we’re nudging into a new standard of animation and audiences are starting to convey that message with their money if you look at the diminishing returns on lackluster sequels (Monsters University) and the popularity of new specimens like The LEGO Movie. Also, you can’t just tack “in 3D” on to any old film because people don’t want to pay for something that won’t give them their money’s worth.

So where does that leave a sequel like Rio 2? A continuation of the story that started in 2011 right as the animation horizon was starting to shift, this is an overall workmanlike second chapter of a novel that wasn’t that original to begin with. It is, however, better than the first film and works a kind of magic that turns an entire cast of usually obnoxious performers into an appealing band of colorful characters by letting us only hear them, not see them.

It helped me in some small way to have watched the first Rio in the wee hours of the Saturday I caught an early morning screening of Rio 2. Picking up shortly after the first film ended, Blu (Jesse Eisenberg, Now You See Me) and Jewel (Anne Hathaway, Les Miserables) are still in Rio with their three growing chirpers living the laid-back life that only animated birds could make acceptable. Originally thought to be the last group of blue macaws, when Blu’s owner (Leslie Mann, This is 40) finds a flock of macaws on an Amazon research trip the family packs up for a vacation to meet more of their kind.

Meanwhile, the now flightless Shakespearian bad bird from the first film (Jemaine Clement, Men in Black III) toils away the day as a pier side show attraction. A chance glimpse of Blu and Co. on the wing to the Amazon boils his bad blood and before you can say “extraneous subplot #1” he breaks free of the chains that bind him, taking a mute anteater and operatic poisonous frog (Kristin Chenoweth, Hit and Run) in his pursuit of revenge.

What Blu and Jewel find in the depths of the Amazon will feel mighty familiar and truth be told the entire film suffers from the same lack of originality that plagued the first one. Still, something about the earnestness of the performances, the tuneful music (I enjoyed Chenoweth’s goofy aria about Poisonous Love), and the eye-popping visuals won me over more than I thought it ever would.

Though the film does delve into more blatant themes of conservationism (ala Ferngully: The Last Rainforest), the message isn’t delivered with any real agenda so it remains benign. Returning director Carlos Saldanha keeps things moving even though the film stretches past 100 minutes, further making my point that no animated film should keep you in the theater for over an hour and a half. If there is to be a Rio 3, let’s hope the filmmakers push things forward so this pleasant series doesn’t turn into a turkey.