The Silver Bullet ~ 1917



Synopsis
: Two young British soldiers during the First World War, are given an impossible mission: deliver a message, deep in enemy territory, that will stop their own men, and Blake’s own brother, from walking straight into a deadly trap.

Release Date:  December 25, 2019

Thoughts: Every year around this time it becomes pretty clear who the Oscar front runners are and the pundits start to put their ballots together with ballpoint pen.  There’s always those last slots they keep open, though, for the movies that don’t screen until very late in the season and that’s where a movie like 1917 will play a big factor.  Last time I checked, no one had seen this World War I film from Oscar-winning director Sam Mendes (Skyfall) yet and that’s fairly unheard of in mid-November.  That creates a bit of an electric excitement because there’s hope this could be a game changer and knock a few sure things off their paths to Oscar gold.  Paired again with the legendary cinematographer Roger Deakins (who finally won an Academy Award for Blade Runner 2049) and supposedly shot to look like it was filmed in one continuous take, Mendes appears to have something fairly mighty on his hands and history buffs are hoping 1917 can succeed where another anticipated war film like 2017’s Dunkirk couldn’t and snag some top prizes come year end.

The Silver Bullet ~ The Invisible Man (2020)



Synopsis
: When Cecilia’s abusive ex commits suicide and leaves her fortune, she suspects his death was a hoax. As a series of coincidences turn lethal, Cecilia’s works to prove she is being hunted by someone nobody can see.

Release Date:  February 20, 2020

Thoughts: In 2017, Universal Studios had big plans to create their own tentpole franchise by resurrecting their classic monsters in a new Dark Universe where stories/characters could crossover.  Announcements were made with A-list stars signed on and release dates staked out – this sounded like it could be something to get excited about and a nice alternative to the superhero series that had been dominating the box office.  Then, The Mummy starring Tom Cruise came out and completely tanked…uh oh.  As expected in this risk-averse era, everyone got cold feet and all the grandiose plans for the Dark Universe were scrapped.

It’s interesting, then, to see this first trailer for The Invisible Man make its debut.  Written and directed by Leigh Whannell (Insidious: Chapter 3) and starring Elisabeth Moss (Us), it appears this was made by Universal Studios without any restriction on future sequels or how it might fit into larger plans for existing projects.  That means it could be a nice little mystery building off of the name of the novel by H.G. Wells, though it doesn’t seem to share many similarities to 1933’s The Invisible Man.  I worry the trailer is a tad too long and wish it left a little more to the imagination…but there’s something intriguing about this concept and it makes me think of those slick ‘90s thrillers we don’t seem to get on the big screen anymore.

Movie Review ~ Last Christmas


The Facts
:

Synopsis: When Kate, a cynical Christmas store worker who has been continuously unlucky, keeps running into an overly cheerful man and begins to fall for him, her life takes an unexpected turn.

Stars: Emilia Clarke, Henry Golding, Michelle Yeoh, Emma Thompson, Lydia Leonard, Boris Isakovic, Rebecca Root

Director: Paul Feig

Rated: PG-13

Running Length: 102 minutes

Trailer Review: Here

TMMM Score: (6.5/10)

Review: A few months back, the Hallmark Channel announced it had smashed their own record for original seasonal films by offering up a whopping 40 holiday movies that would arrive between October and December.  Now, I’m not above spending a day (or two, or three) in front of the television partaking in their programming while wrapping presents or trimming the tree because they tend to be films that don’t require a ton of commitment.  There’s a specific guidebook to the way these little larks are crafted where you know going in that the woman who moves back to her hometown to (insert save family business or refurbish inherited money pit) and falls for the local (insert widower, handyman, or widowed handyman) will wind up happy and fulfilled.  I got a similar feeling of familiarity while watching Last Christmas but the difference here was that I couldn’t watch this one in my pajamas.

What’s surprising about Last Christmas is just how many talented individuals are involved with what is a fairly standard-fare offering from a major studio.  Inspired by and taking its name from the 1984 song from Wham! written by George Michael (when was the last time you saw a movie credited to a song?), the film was developed by Emma Thompson and her husband Greg Wise, with Thompson going on to write the screenplay with performance artist Bryony Kimmings. While it’s exactly the type of mid-budget romantic comedy I’ve often bemoaned the lack of in theaters, it’s often decidedly slight but makes up for that with strong, quirky performances that commit fully to the material that doesn’t always rise to meet them in the middle.  Thompson and Kimmings have a knack with introducing a few out of left field characters and ideas but just as soon as they’re established they drop them for something different.

Working as an elf at a Christmas store in London’s Covent Garden selling tacky ornaments, Kate (Emilia Clarke, Terminator Genisys) couch hops amongst her friends instead of living at home with her immigrant parents (Thompson, Late Night and Boris Isakovic).  Wearing out her welcome quickly because she tends to act like a human wrecking ball, she has dreams of becoming a musical theater performer but only half-heartedly purses it.  She’s more into late nights and a free wheeling attitude, though this being a PG-13 film the worst we see Kate is with tousled hair and streaked eyeliner.  After a health scare a year ago, her family and boss (Michelle Yeoh, Crazy Rich Asians) urge her to be kinder to herself but it doesn’t deter Kate from continuing with an unhealthy lifestyle.

That all changes when she spots Tom (Henry Golding, A Simple Favor) outside the shop and strikes up a conversation with him.  A man almost too happy-go-lucky but with an air of mystery about him, Kate’s intrigued by Tom but can’t quite put her finger on why.  As they get to know each other better, he inspires her in small ways to treat herself with a little more consideration, which leads to Kate finding new passions she can focus on.  Several subplots emerge, though none are truly fleshed out by director Paul Feig (Spy) and that’s a disappointment because it feels there are ample opportunities to give a few of the minor characters more of a boost.  In the past, Feig has excelled with making stars of of supporting players and while the cast is an appealing mix of different looks, they aren’t fully tapped to step into the spotlight.  Instead, too many machinations are put into place in order for Thompson and Kimmings to get to a pivotal turning point in the movie that some will see coming from a mile away.  I get why that wrinkle is there but it’s such a minor point you can almost see where the filmmakers tried to parse it down and switch the attention elsewhere after the movie was shot — maybe I’m off base but it sure seems like they did.

Though popular from her time on Game of Thrones, I’m still not quite on the Clarke train yet, but Last Christmas helped get me closer to buying a ticket.  She’s a bit more grounded here than her last romantic outing (Me Before You) and you can see the change her character goes through from the start of the movie to the end.  Plus, she shows off a sweet singing voice chirping through a few George Michael tunes (the singer’s music is used almost exclusively throughout) and acquitting herself nicely doing so.  Golding continues to charm, even if his character is a bit of an enigma most of the time.  Thompson gave herself a nice role as Kate’s Yugoslavian mother still worried the KGB is looking for her and Yeoh is a lot of fun as Kate’s spiky boss.  Her strangely funny romance with a German man is so odd and inconsequential to the movie as a whole, I was surprised it made the final cut even if it was fairly amusing.

This is making it sound like Last Christmas is a tough movie to sit through and it’s not – it’s more enjoyable than I’m making it out to be.  While watching the movie, I was quite taken by it’s brisk pace and ability to bounce forward without getting too tangled in plot developments that would drag other similar movies down.  The script eliminates the usual entanglements often present in romantic comedies and clears the way for Kate to be center stage.  It helps that Clarke is at her most likable and that she’s not such a disaster we don’t want to see her pick herself up and succeed.  It’s a very timely movie as well, with newsworthy discussions of Brexit of all things coming into play (albeit briefly) and using that as another way for Kate to connect not just with her family but with other people in her city.  It’s a bit shoehorned in and a rather obvious statement moment, but it’s valuable nonetheless.  The only thing that truly bothered me is that Feig didn’t know how the end the movie.  There’s at least one scene too many at the end, maybe two depending on how tidy you like your edges when a movie wraps up.

Like those schmaltzy Hallmark movies, Last Christmas is arriving well ahead of the Christmas rush in order to beat the crowded boon of films vying for your attention as we head into a busy December.  It’s a smart move because there’s not a whole lot else like it out there right now.  At times it gets to feel like it’s moving through a checklist of people and situations required to be in these movies but somehow I went along with it without much fuss.  I recognize the movie can often be like one of those gaudy ornaments Kate is selling (and of which I own a few of).  You know it’s not the greatest, the prettiest, or the most expensive but you still like to look at it for what it means to you.  You’ll definitely put it on your tree…but maybe it will go closer to the bottom or toward the back.  I don’t think it’s destined to be a new Christmas classic but neither are any of those Hallmark movies that come out every year.

The Silver Bullet ~ Last Christmas



Synopsis
: A young woman, who has been continuously unlucky, accepts a job as a department store elf during the holidays. When Kate meets Tom on the job, her life takes a turn.

Release Date: November 8, 2019

Thoughts: There are certainly many reasons why Last Christmas checks off a number of boxes on my list.  There’s its holiday theme, its London setting, the involvement of director Paul Feig (Spy), not to mention it’s written by Oscar-winner Emma Thompson (Late Night) who also has a co-starring role.  Feig’s casting of his A Simple Favor star Henry Golding (Crazy Rich Asians) is a nice bonus and I’ll never turn my nose up at a movie that proudly touts that it is “featuring the music of George Michael”.  However…I’m not totally sold on it…at least not yet.  Why?  I’m just not on the Emilia Clarke train yet.  Though she’s gained a lot of press for her work on Game of Thrones as well as nabbed starring roles in Me Before You, Terminator: Genisys, and Solo: A Star Wars Story, I’ve yet to be convinced she’s the next big thing.  Perhaps this will be the holiday romance to convince me.

The Silver Bullet ~ Queen & Slim

Synopsis: A couple’s first date takes an unexpected turn when a police officer pulls them over.

Release Date: November 27, 2019

Thoughts: There are so many interesting cooks in the Queen & Slim kitchen, I didn’t even need to see a preview to know it was something to take notice of.  This extremely timely tale was written by Emmy award winner Lena Waithe (Ready Player One) from an idea by infamous author James Frey (you know, the one that embarrassed Oprah) and directed by Melina Matsoukas who was a creative force behind many of Beyoncé’s most prolific music video experiences.   Matsoukas has put together a dynamite cast led by Daniel Kaluuya (Widows) and relative newcomer Jodie Turner-Smith (The Neon Demon) as a star-crossed Bonnie & Clyde for the modern age.  I’m quite looking forward to this one…and to the inevitable important discussions it will provoke.

Movie Review ~ Yesterday

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The Facts
:

Synopsis: A struggling musician realizes he’s the only person on Earth who can remember The Beatles after waking up in an alternate timeline where they never existed.

Stars: Himesh Patel, Lily James, Kate McKinnon, Ed Sheeran, Joel Fry

Director: Danny Boyle

Rated: PG-13

Running Length: 116 minutes

TMMM Score: (4/10)

Review: It’s not like we haven’t had a movie featuring the music of The Beatles before. Starting with A Hard Day’s Night in 1964 starring the quartet from Liverpool themselves followed by 1965’s Help! and 1968’s Yellow Submarine, the songs lived on in more films. There was the infamous Sgt. Pepper’s Lonely Hearts Club Band released in 1978, the same year future Oscar-winning director Robert Zemeckis made the underrated comedy I Wanna Hold Your Hand. Along with the various biopics and documentaries, I can’t forget 2007’s powerhouse but eternally divisive Across the Universe which found director Julie Taymor incorporating the music of The Beatles into an original story within a full blown movie musical.

What would happen, though, if The Beatles never became famous and their music never heard? What if only one person remembered their songs and claimed them as his own, riding their timeless sincerity and undeniable musicality to potential fame and fortune? That’s the set-up promised by the supposed romantic comedy Yesterday and judging from the trailers and promos I was expecting a light musical fantasy positing an intriguing question to a summer audience. Halfway through the summer, a movie free of exploding planets and avenging superheroes was a tune I was interested in hearing.

How strange, then, to find Yesterday one of the more heavy-handed films so far this summer. There are many elements of the movie that work fairly well independently of each other but put them all together and there is a perplexing discord no one can overcome. Looking at the pedigree of those involved, including an Oscar winning director, a much-lauded screenwriter known for making his comedic romances float without being fluff, and two appealing leads, this should have been a slam dunk sleeper summer hit. Instead, it just becomes a snooze.

Struggling musician Jack Malik (Himesh Patel) is getting ready to hang up his guitar for good. Living with his parents after quitting job as a teacher, he’s been trying to make it as a singer-songwriter while working a part time job at a local superstore. The gigs organized by his childhood friend and manager Ellie (Lily James, Mamma Mia! Here We Go Again) aren’t leading to anything of substance and though his friends are loyal supporters, the work he’s putting out into the world isn’t catching fire. The night of his last gig, after telling Ellie he’s quitting, he’s struck by a bus during a worldwide blackout, losing two teeth in the process. It’s not the only thing lost when the lights go out.

Shortly after he recovers, he’s plucking out the notes to ‘Yesterday’ for Ellie and his friends and discovers not only do they not know the song, they’ve never heard of the men that wrote it or the famous band they were a part of. Searching the internet for John Paul George Ringo only brings back the page for Pope John Paul II and looking for The Beatles keeps directing him to the Wikipedia page for insect. Could it be that the entire world had forgotten…or that they never existed at all? At first, Jack is reluctant to use the music to his advantage but the more positive responses he gets the more emboldened he becomes to “write” more and more of the back catalog for The Fab Five. The only trouble he faces is remembering the lyrics to several key songs…after all, if the songs only exist in his head the lyrics aren’t scribbled down anywhere for him to reference.  That’s why he struggles mightily with the complex ‘Eleanor Rigby’ and mixes up the order of ‘For the Benefit of Mr. Kite.’

As Jack starts to skyrocket to fame, his relationship with Ellie changes from chums to maybe something more. All these years they have been best friends…but were both hoping for love to blossom and waiting for the other to make the first move? With Jack’s path taking him away from home and keeping the two apart, the movie unfortunately tries to shoehorn in a romance that doesn’t feel like it wants to be there. Part of that problem is that, for as likable as Patel and Collins are individually, they generate absolutely no romantic chemistry at all. In the friends department, they are believable as pals but every time they are supposed to be pining for each other there are no sparks created.  I get that Yesterday is first and foremost supposed to wear its romance on its sleeve but that the movie keeps returning to this plot that utterly halts any and all forward progress is a major failure.  Without any true pull for the audience to root for Jack and Ellie to be together, I was left wondering if they were meant to be a couple at all.  Why?  Because the movie laws say they should be?  It’s not like either make any huge sacrifice (save for a hammy grand gesture near the climax) for the other…I just couldn’t understand why we should care.

Some of that is the fault of the script from Curtis (About Time) which is uncharacteristically free of heart. What I’ve always appreciated about the way Curtis fashions a screenplay is the way he is able to bring not only the two leads together in a witty way but in the method he involves the supporting players as well. Think about the ensemble casts of Four Weddings and a Funeral and Notting Hill. Yes, the stars stick in your mind but so do the nicely drawn people surrounding them. That’s another problem here. Aside from Patel and Collins, the supporting cast in Yesterday are completely forgettable. The ones that stick out do so for the wrong reasons. As Jack’s annoying friend and roadie Rocky, Joel Fry (Paddington 2) is basically the exact same character Rhys Ifans played much better (and to 100% more laughs) in Notting Hill. Treating her performance like an extended SNL sketch, Kate McKinnon (Ghostbusters) squares herself as Jack’s Los Angeles manager to be so nasty that what is supposed to be funny just comes off as mean-spirited and, ultimately, exasperating. McKinnon started as such a breath of fresh air but her act is stale.  Playing himself in an extended cameo, Ed Sheeran shouldn’t quit his day job.

The biggest issue with the movie is the director. At the end of the day Danny Boyle (Trance) was just, I think, not the right director for this film. Though he’s shown an agility with movies that have a bit of a fantastical edge to them (go watch Millions if you don’t believe me), he seems totally lost at how to keep Yesterday from dragging almost from the beginning. The movie should have a snap to it, especially considering the numerous up-tempo numbers sung by Patel who has quite a lovely singing voice. Instead, these musical moments feel cold and unwelcoming. For a movie with so many magical points of interest there is little whimsy to be had. Curtis introduces an extra twist to the circumstances where we find out that it’s not just The Beatles that were erased from existence and Jack isn’t the only one that remembers how things once were…but Boyle never takes those ideas further so they become footnotes to the unexplained phenomena instead of additional clues.

In some ways I wonder if this wouldn’t have worked better as part of some sort of Black Mirror-ish type of show. Pushing up against the two-hour mark, the film struggles to justify that length and stretches on longer than it has to. One thing I will say that it has going for it (aside from the soundtrack which I secured fairly quickly) was that I didn’t quite know what to expect from the ending and what I thought would happen didn’t. There was an easy way to end the movie and a more complicated resolution and the film took the road less traveled.  I don’t think it will satisfy the average movie-goer, though the woman next to me was bouncing around in her seat throughout and practically dancing during the hummable closing credits.  Under the watchful eye of a director less interested in reality and the recasting of McKinnon’s character, Yesterday would be an improvement.  Right now, it’s helter skelter.

Movie Review ~ Glass

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The Facts
:

Synopsis: Security guard David Dunn uses his supernatural abilities to track Kevin Wendell Crumb, a disturbed man who has twenty-four personalities.

Stars: Bruce Willis, Samuel L. Jackson, James McAvoy, Anya Taylor-Joy, Sarah Paulson, Spencer Treat Clark

Director: M. Night Shyamalan

Rated: PG-13

Running Length: 129 minutes

TMMM Score: (5/10)

Review: Seeing that this is a spoiler-free zone I have to say up front that while you’re not going to get much in the way of big reveals when it comes to Glass, it’s impossible to talk about the movie at all if you haven’t seen the two films that came before.  So if you haven’t seen Unbreakable or Split and don’t want to know key plot points, now is the time to turn back.

We good?

Okay…let’s get on with it.

Director M. Night Shyamalan is famous for his twist endings that send the movie and audience into a tail spin right at the conclusion, calling into question everything we’ve been watching for the previous two hours.  At first, it was a fun parlor game to predict what he had up his sleeve until it became evident that the twist was both the most interesting thing about the film and its downfall.  At the end of Split, Shyamalan lobbed a soft curveball at us before the credits but then laid out a whopper when he brought back Bruce Willis’ character from Unbreakable for a brief scene that suggested the two movies had a common bond that would become evident in a future film.

With the unexpected success of Split (not to mention 2015’s scary romp The Visit) Shyamalan was able to parlay his renewed good standing in Hollywood and his hefty profits into capping off a trilogy supposedly always at the back of his brain.  That seems like a convenient way to pat yourself on the back in hindsight but, okay, let’s just go with the claim that Shyamalan always imagined he’d make Unbreakable, Split, and Glass as a trio of films that suggested real life superheroes and mega villains truly did walk among us.

So where did we leave off with the previous films?  At the end of Unbreakable, David Dunn (Willis, Looper) had just accepted his developing powers that gave him the ability to see the bad deeds of others just by touch while his body proved to be indestructible.  At the same time, the mysterious Mr. Glass, (Samuel L. Jackson, The Hateful Eight) with a rare disorder that caused his bones to break with the greatest of ease, showed his true colors as a master criminal that orchestrated multiple catastrophic events in an attempt to find a man like Dunn to be his foe.  Shyamalan’s late-breaking twist gave way to an abysmal wrap-up via on screen text that did no one any favors.

The last time we saw Kevin, James McAvoy’s (Trance) disturbed Split character with dissociative identity disorder, he had transformed into a 24th personality known as The Beast.  Though his kidnapping victim Casey (Anya Taylor-Joy, The VVitch) managed to escape, The Beast has joined with the rest of the angrier personalities within Kevin to form The Horde and has continued to hunt young girls that are “unbroken”.  Casey’s recovery has included fleeing her abusive uncle, taking up residence with a foster family, and attending the same school as Dunn’s son, Joseph ( Spencer Treat Clark, The Town that Dreaded Sundown)

The movie begins with Dunn doling out vigilante justice as The Overseer in a very Michael Myers stalker-ish way, with his ultimate goal to hunt down The Horde and find a new batch of missing girls.  When Dunn and Kevin are captured by the ambitious Dr. Ellie Staple (Sarah Paulson, 12 Years a Slave) and brought to a remote psychiatric hospital for testing, Dunn is reunited with Mr. Glass who has been waiting over a decade to initiate the next phase in his evil plan.

I wish I could say that Glass is the amped-up finale it’s being advertised as but sadly it’s a movie that coasts instead of soars.  While the first third of the film creates some genuine interest as we see the characters from previous films crossover, it quickly devolves into talky repetition that feels indulgent on several levels.  Shyamalan can’t quite get out of his own way where the crux of the story lies, falling into a black hole of superhero mythos he can’t adequately tie into the action onscreen.  The finale especially feels like a convergence of so many ideas that aren’t fully realized, making it all feel slightly half-baked and not as satisfying as I would have liked.

While I genuinely like all the actors in the movie, I struggle with praise for any of them here.  McAvoy has the showiest role…and he knows it.  Wheras in Split the shifts between Kevin’s multiple personalities seemed like an actor exercising considerable control in delineation of characters, in Glass we get to meet even more of the alters and that starts to trip up McAvoy early on.  With Shyamalan giving him far too much room to play, the performance feels overworked.  You’d be forgiven if you forget Willis is in the movie, he’s so low-key Paulson practically has to shake him awake in their scenes and he outright disappears for a long stretch in the middle section of the film.  Jackson seems to having more fun than the rest, if only Mr. Glass had been giving any new defining character trait in this film…but it’s just a repeat of work that’s been done 19 years ago.

This is all too bad because the film is rather well made thanks to thoughtfully constructed scenes by cinematographer Mike Gioulakis.  Let it also never be said that Shyamalan doesn’t fill the screen with visual clues for audiences to pick up on along the way.  Even working with a smaller budget, Shyamalan has stretched his coin with intelligence, spending the money on important visual effects and keeping the location shooting to a minimum.  What they didn’t spend money on?  A decent make-up artist.  Poor Charlayne Woodard looks like she’s melting under her old-age make-up as Jackson’s mother – we never forget the actress is five years younger than that actor playing her son.

As with most Shyamalan films, the filmmaker rounds out Glass with a coda to send audiences out with more to think about and I have to give some credit to the director for finding a way to get us back in his corner right at the very end.  It’s not quite enough to make the movie a true success but it doesn’t shatter the film experience completely.

Movie Review ~ Green Book


The Facts
:

Synopsis: A working-class Italian-American bouncer becomes the driver of an African-American classical pianist on a tour of venues through the 1960s American South.

Stars: Viggo Mortensen, Mahershala Ali, Linda Cardellini, Don Stark, P.J. Byrne, Sebastian Maniscalco

Director: Peter Farrelly

Rated: PG-13

Running Length: 130 minutes

TMMM Score: (6.5/10)

Review:  Sometimes when reviewing a movie it’s hard to wear two hats.  I know that one part of me needs to retain a critical eye and hold a film accountable for its strengths and weaknesses but then there’s also a personal side that speaks to me as that movie-goer who has just come to be entertained.  Green Book represents an odd mix of conflicts in both sectors; it’s not a movie without it’s missteps or passages that work like gangbusters but there’s a undercurrent in the way it guilelessly aims to entertain that, considering its subject matter, didn’t ultimately sit well with me.  It’s a movie I enjoyed but also has me questioning if I shouldn’t be holding it more accountable to be more than it was.

In 1962 New York City, Tony Vallelonga (Viggo Mortensen, A Dangerous Method) is about to start a layoff from his job at the Copacabana while the famed nightclub undergoes renovation.  Looking for a job to support his wife (Linda Cardellini, Daddy’s Home) and children as the holidays approach, he’s called in by Dr. Don Shirley (Mahershala Ali, Moonlight) a famed black jazz pianist who needs a driver for his tour of the Deep South.  While Don could easily stay in the North and make a good living playing concerts far from the danger of the Jim Crow South, he chooses to take his trio (there’s two other white men traveling separately) to a place where segregation and racism runs rampant.

Essentially a road-trip movie, screenwriters Nick Vallelonga  (Tony’s son), Brian Hayes Currie , Peter Farrelly (who also directed), fill the film with vignettes that illustrate over and over the differences between how the North and South treated black people.  As expected in this type of formula, tough, street-wise Italian-American Tony and the refined, buttoned-up Don mix like oil and water at first with both men taking time and many miles to adjust to the others way of thinking.  Both contain certain prejudices about the other (not always presented in the way you’d expect) and over the next eight weeks through the Christmas holiday the men will have their eyes opened to seeing more of the world they are living in.

Let’s start with the bad news first, and that is that this 2018 film seems awfully like the kind of movie you’d have seen the ‘90s where racism, segregation, and overall prejudice is seemingly solved in two hours.  Many of the characters onscreen are stock character stereotypes of the people you’d expect to see in a film about the south in the ‘60s.  You have your obvious redneck racists the deeper south Tony and Don travel, you have your affluent members of society that harbor whispered racism behind closed doors, and you have the people like Tony and some members of his extended family who have just never taken the time to get to know any person of color but when they do find out that they aren’t so bad.  Then there’s Tony himself who is the epitome of every Italian goombah you’ve seen, never without a cigarette in his mouth or chowing down on some messy red sauce-d dish.  Everyone is drawn with such exaggerated, bold lines that it’s a credit to the actors who have taken the time to find different ways to shade their roles with characteristics that are more human and less cartoon…though wait until you see Tony fold an entire pizza in half and try to eat it.

The good news here is most of our time is spent with Mortensen and Ali and this absolutely makes the film worth your time.  Though Mortensen is constantly battling with the major constraints of his tough-guy (the accent and the potbelly physicality), he’s never mean-spirited and seems open-minded enough to be able to look within himself when challenged.  Whatever racism he may harbor feels like it was something he was brought up to never question because he hasn’t had exposure to another race and the more time he spends with Don gives him a different perspective.  While I still raise my eyebrows a bit at the speed of Tony’s reconsideration, recognizing that we’re looking at a Hollywood take on a true life story I appreciated that Mortensen at least shows us how he got there.

The most complex role is Ali’s as a pianist bravely venturing into the territory of his enemy as a way to experience something his life in NYC hasn’t afforded him.  Surrounding himself with mostly white culture up until that point, the trip down south is an eye opening experience for Don as well, mostly reconfirming his beliefs of the hatred and injustices that were present (and in some cases still are) in that part of America.  There is more to Don than meets the eye, giving Ali yet another layer of prejudice to play with and he does masterful work here.  There’s talk that Ali will net his second Oscar for the film and with a performance as strong as his, I can see why.  (Though, it must be said he’s absolutely a lead of the film with Mortensen and for him to campaign in Best Supporting Actor is total category fraud).

After spending his career in comedy and turning in work like Dumb and Dumber To and The Three Stooges, director Farrelly takes his first stab at drama and has made a more than serviceable movie.  While the script has some questionable areas to it, it’s a finely made film with all the period elements (costumes, sets, cars, props) all fitting well into the mix.  Though the film was an entertaining watch and I liked the performances of our two lead actors, I do wish it had something more to say about the overall tone of that era.  When the credits rolled it felt like the filmmakers were saying “and they lived happily ever after” and that just rang false to me.

Movie Review ~ Welcome to Marwen

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The Facts
:

Synopsis: A victim of a brutal attack finds a unique and beautiful therapeutic outlet to help him through his recovery process.

Stars: Steve Carell, Leslie Mann, Janelle Monáe, Eiza Gonzalez, Diane Kruger, Gwendoline Christie, Merritt Weaver

Director: Robert Zemeckis

Rated: PG-13

Running Length: 116 minutes

TMMM Score: (2/10)

Review: We’re often asked to provide our instant reactions to movies on our way out of advanced screenings.  This can be a good way to get some off the cuff remarks or quick takes to bring back to the studios as to what audiences felt the moment the lights come up and the credits start to roll.  I struggle in these moments to come up with two to three sentences that summarize two hours of thoughts, preferring to let the feeling marinate for a while until I can let it flow out here.  My overall opinion of the film rarely changes, it just solidifies as my mind works on detailing why I feel the way I feel.

With Welcome to Marwen, I knew leaving the theater it was one of the most troubling movies I’d seen all year but the way the movie nagged and gnawed at me in the days since I saw it was truly something to behold.  Hailing from a major studio with a well-liked star and Oscar-winning director, it’s a drastically misguided misfire that has no clue who it’s audience is or how to balance its technically impressive effects with a dramatically inert narrative.

Based on the 2010 documentary Marwencol, director Robert Zemeckis (Flight) and co-screenwriter Caroline Thompson (The Secret Garden) turn the doc into a narrative feature starring Steve Carrell (Beautiful Boy) as Matt Hoagancamp, an artist recovering from a brutal beating that has found a most unique coping outlet.  Creating a WWII-set world of his own in his backyard, he photographs dolls inhabiting his town of Marwen in various adventures featuring Cap’n Hogie, a stand in for Matt himself.  While Cap’n Hogie is the bomber jacket wearing tough guy in the group, he often needs to be saved by an assembly of leggy female figures that are modeled after various women in Matt’s own life.

This is where the movie starts to provide some extremely problematic issues it can just never recover from.  The real-life women in Matt’s world are his Russian caretaker (Gwendoline Christie, Star Wars: The Force Awakens), a war veteran we briefly see in flashbacks (Janelle Monáe, Hidden Figures), a friendly worker at his local hobby shop (Merritt Weaver, Signs, by far the best performance in the film), his co-worker at a local diner (Eiza Gonzalez, Jem and the Holograms), and most disconcerting of all, a sexy French maid inspired by a nameless woman Matt sees in an adult film (played by Leslie Zemeckis, the directors real-life wife…yuck).  In reality, the women are portrayed as normal human beings but in Matt’s fantasy world their sexuality is heightened, their cleavage is on display, their skits are hiked up to crotch level, and they exist only to serve and protect Cap’n Hoagie’s wishes.  Basically, they are sex figurines.  Which would be fine if the movie ever acknowledged that this is odd and oddly disrespectful…which it never does.

When Nicol (‘I spell it with no “E” ’) moves in across the street, Matt becomes infatuated by the woman who seems to understand his quirks, especially as it relates to his penchant for wearing women’s high heels.  That Matt has a shoe fetish is but one of several of his eccentricities the film introduces only to never fully explore to any kind of satisfactory degree.  Though not gay, Matt finds that while wearing a woman’s shoe he can more easily get at the ‘essence’ of women (or, “dames” as he calls them) and, bless her heart, Nicol barely bats at eye when he delivers this corker of a revelation.  As played by Leslie Mann (This is 40) Nicol has a restrained charm that suggests she’s put up walls to guard her own emotional sensitivities.

Aside from it’s odious devaluation of nearly every female character that walks across the screen (Christie and Monáe are barely in the film in human form), the movie also has a rather large blind spot when it comes to talking about PTSD and the lasting effects of mental illness.  Clearly, Matt is suffering from major mental health problems brought on by his vicious attack and Zemeckis and Thompson don’t seem the slightest bit interested in presenting Matt with any kind of support outside of his made-up world of Marwen.  His interactions with people outside of Marwen are either comedic fodder or humiliating emotionally – it’s no wonder he’d rather spend time all alone with his dolls.  The one solution presented is in the form of a blue pill medication that no so subtly takes the form of another “doll” named Deja (Diane Kruger) who doesn’t seem to have a real-world counterpart but obviously has a huge hold over Matt’s psyche.

I have absolutely no idea who the audience would be for this movie.  It’s not a family film, it’s not a film an older adult audience will find much value in, and it’s certainly not a movie for the mid-range crowd who have a plethora of better choices this holiday season.  It literally has no target audience and I am mystified at whoever would have thought this would have made for a good feature film.  Carrell seems uncomfortable, and not just in the heels but as this is a Zemeckis film, it’s technical merits are first-rate.  Zemeckis is like a dog with a bone where motion-capture animation is concerned but here the technology works well in making Carrell, Mann, Monáe, and company all realistically doll-like when they are in Marwen.  It’s a good-looking movie, even if it’s rather ugly on in the inside.

Movie Review ~ Mortal Engines

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The Facts
:

Synopsis: In a post-apocalyptic world where cities ride on wheels and consume each other to survive, two people meet in London and try to stop a conspiracy.

Stars: Hugo Weaving, Hera Hilmar, Robert Sheehan, Frankie Adams, Colin Salmon, Stephen Lang

Director: Christian Rivers

Rated: PG-13

Running Length: 128 minutes

TMMM Score: (5.5/10)

Review:  In my review of the recently released Spider-Man: Into the Spider-Verse I bemoaned the turgid same-ness that is starting to torpedo genre films.  With most superhero movies following the same mold, it takes an outside of the box approach to make the film truly memorable and one that will keep it in your memory long after you leave theater.  The same rule applies to adaptations of YA novels.  While the Harry Potter films kicked off the current generation of lucrative franchise pictures based on popular novels for young adults, the genre really took off with the success (and superiority) of movies that were made out of The Hunger Games series.  With many imitators along the way (Divergent, The Maze Runner, Mortal Instruments: City of Bones), nothing has met the success or longevity of the Harry Potter or Hunger Games films and sadly the latest entry Mortal Engines joins that list of non-starters.

After a devastating event that caused much of the world to become unstable and uninhabitable, mankind has taken to living in cities on wheels that routinely swallow up smaller communities and use their resources for fuel.  The opening of Mortal Engines plunges us right into such a hunt, when the mobile city of London goes after a tiny salt mining town that’s no match for the former UK’s massive (and massively impressive) super metropolis.  It’s a jarring start to the movie and, without much context, leaves audiences to find their own bearing in a sea of character names and made-up terms.  It actually feels like the opening of a second or third film in an already established series, which has the effect of keeping the viewer at an outsider’s arm’s length from the outset.

On the confiscated town is Hester Shaw (Hera Hilmar, Anna Karenina, an Icelandic actress playing American not totally succeeding in losing her Nordic accent), a scarred young woman that has hoped for exactly this outcome.  She wants to gain access to London because that’s where Thaddeus Valentine is.  Valentine (Hugo Weaving, The Dressmaker) and Hester’s mother had a complicated history and Hester has come to settle a longstanding score.  When ambitious Londoner and historian Tom (Robert Sheehan) intercepts her attempt to assassinate Valentine only to then find himself on the run with Hester, the two are soon at the center of a plot that threatens any city in Valentine’s path.  At the same time, a resurrected creature (voiced by Stephen Lang, Don’t Breathe) relentlessly pursues Hester with his own agenda that Valentine uses to his larger advantage.

Based on the first of four novels in author Phillip Reeve’s bleak version of the future, Mortal Engines has been adapted for the screen and produced by Peter Jackson (The Hobbit: The Battle of the Five Armies).  It’s interesting to note that while Jackson wrote the script, produced the film, and had his Oscar-winning special effects WETA workshop design the impressive visuals, he left the directing duties to first-timer Christian Rivers, his long-time story boarder and protégé.  Rivers is no Jackson, though, and while his work assembling a visually appealing movie is impressive there is little in the way of emotional heft to make the film more than just an excuse for special effects and rousing soundtrack cues.

The movie also has a strong sense of post-production tinkering.  Why else would characters that seem to be of greater importance vanish for long stretches of time only to return when necessary or not at all?  Valentine has a spunky daughter (Leila George) that feels like she’s getting her own B-storyline but aside from a few quick intercuts of her in London while Hester and Tom are dodging steampunk kidnappers (in a nicely bizarre nod to a New Zealand-y Mad Max: Fury Road) she’s largely absent from the proceedings.  Then there’s a band of outlaws led by Anna Fang (Jihae, delivering her lines with dramatically committed sincerity) set to protect Hester who are barely-there sketches of your standard rouge gallery of grunts.

Though it boasts an impressive team behind the scenes, Mortal Engines doesn’t have enough gas to make much of a fire.