Movie Review ~ Girls Trip


The Facts
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Synopsis: When four lifelong friends travel to New Orleans for the annual Essence Festival, sisterhoods are rekindled, wild sides are rediscovered, and there’s enough dancing, drinking, brawling, and romancing to make the Big Easy blush.

Stars: Regina Hall, Jada Pinkett Smith, Queen Latifah, Tiffany Haddish, Larenz Tate

Director: Malcolm D. Lee

Rated: R

Running Length: 122 minutes

TMMM Score: (6.5/10)

Review: The latest in a long line of Women Can Be Raunchy Too comedies (like Bad Moms and Rough Night), Girls Trip is better than you or I thought it would be.  Maybe it was wrong to doubt it in the first place, though, because it stars four actresses who could each easily headline their own film and is the kind of free-for-all extravaganza of ribald humor rarely seen anywhere in film lately.  Better still, it winds up touting a message of acceptance of oneself from within instead of opting for an easier and more expected takeaway.

The members of the Flossy Possy are four friends that grew up together, went to college together, lived together, but then forged their own paths in varied directions.  Sasha (Queen Latifah, Joyful Noise) is a gossip blogger nearly bankrupt, divorced mom Lisa (Jada Pinkett Smith, Magic Mix XXL) hasn’t had a fun night out in years, man-loving Dina (Tiffany Haddish) just got fired from another job, while Ryan (Regina Hall, Vacation) is reaching the pinnacle of her career as an Oprah-esque self-help guru that seems to have it all.

When Ryan is asked to be the keynote speaker at the Essence Festival in New Orleans, she decides to make it a (ta-da!) Girls Trip and invites her three best friends that she hasn’t seen in years.  Over the next several days the women party, play, fight, dance, take absinthe, and a whole host of other NSFW activities that can only be appreciated when experienced with friends.

The four women elevate the material to something better than it ever was intended to be.  I’d bet dollars to doughnuts that Latifah was originally approached to play Hall’s part and vice-versa.  Both actresses have done those types of characters before and it’s nice to see them take on something different, especially Latifah who’s taken some pretty bland roles lately.  Pinkett Smith seems at home in the mother hen role but let’s loose when she’s good and ready.

Truly, though, the star of the show is Haddish as a wise-cracking, foul-mouthed broad that owns her sexuality and honesty like a badge of honor.  Impossible to embarrass, Dina will say anything and do anything to get a reaction out of her friends and Haddish goes to the same lengths to set herself apart from her costars who all have more experience on the big screen.  What Haddish does with a banana and a grapefruit at one point should earn her some sort of special medal for bravery.

Sure, the movie feels cheaply made with an abundance of “group” shots that look like they were filmed at different times and badly photoshopped at that.  Then there’s the supporting cast that seemed to be comprised of actors that would work for scale just to keep their health insurance going.  I’m not saying that Kate Walsh (The Perks of Being a Wallflower) is in it just for the money but she does subject herself to some pretty embarrassing “I’m so WHITE!” dialogue and one whopper of a sight gag when she drunkenly grabs the wrong cocktail glass.

This is one that would be best to see with a large audience and if they are anything like the people I screened this with, it will only add to the ‘if you can’t beat ‘em, join ‘em’ feeling.  There’s a bit of graphic nudity early on in the film that elicited screams of laughter from the audience, screams that remained going strong for a solid minute.  Then there was the projectile urination scene…but I’ll let you see for yourself what that’s all about.  While it frustratingly bottoms out several times, it sticks its ending with a fresh message of be your best self that feels genuine in its delivery.

The script from Kenya Barris and Tracy Oliver and direction from Malcolm D. Lee are, to be honest, nothing special.  Most of the jokes are telegraphed in advance and even some of the tackier vulgarity feels also-ran.  The movie heads in exactly the direction you think it will and rarely strays off course.  Allowing his movie to go on too long by a good 15 minutes, Lee seems beholden to give each actress the exact same amount of screen time, whether we like it or not.  This creates a Girls Trip that overstays its welcome at times but ends with a bang.

Movie Review ~ The Mummy (2017)

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The Facts
:

Synopsis: An ancient princess is awakened from her crypt beneath the desert, bringing with her malevolence grown over millennia, and terrors that defy human comprehension.

Stars: Tom Cruise, Sofia Boutella, Annabelle Wallis, Jake Johnson, Courtney B. Vance, Russell Crowe

Director: Alex Kurtzman

Rated: PG-13

Running Length: 110 minutes

Trailer Review: Here

Review: You’re going to hear from a lot of people that The Mummy, Universal’s first entry in their new Dark Universe franchise, is a baffling bomb.  Those people aren’t totally wrong but they’re not completely off the mark either.  The worst thing a movie can be is neither good nor bad but just mediocre and too much of this new take on The Mummy straddles that fence, stubbornly refusing to slump into schlock or get its ass into a higher-quality gear.  It’s not a total wash but the potential was there to take a fun step forward and the studio is too, uh, wrapped up in their quest for a new charter film series that they’ve lost sight of the here and the now.

As most of these creature-features often do, The Mummy opens with a little history lesson concerning an ambitious Egyptian princess (Sofia Boutella, Kingsman: The Secret Service) seduced by evil forces that promise her eternal life.  Clearing her way to the throne in a bloody rampage, she’s eventually captured and buried alive in a deluxe sarcophagus within an ultra-complex underground prison.  Remaining hidden for thousands of years, she’s unearthed by two unscrupulous soldiers (Tom Cruise, Oblivion and Jake Johnson, Safety Not Guaranteed) looking for antiquities to sell on the black market in modern day Iraq.  Once released from her prison, she wastes little time in bringing down a plane transporting her to London and proceeding to suck the life out of anyone that gets in her way, turning them into the walking dead for good measure.  It’s up to Cruise and a pretty prehistorian (Annabelle Wallis, Annabelle) to end the madness, a task made more difficult when our Mummy Princess sets her sights on making Cruise her eternal mate.

The framework of plot supplied by a screenplay written by David Koepp (Jurassic Park), Christopher McQuarrie (Edge of Tomorrow), and Dylan Kussman (Flight) has potential to it but director Alex Kurtzman (People Like Us) never fully trusts the material, opting instead to let Cruise take up too much space and pushing others to the sidelines.  Let’s not forget that in addition to the above brief outline, Cruise is introduced to the Prodigium, a secret group dedicated to hunting supernatural baddies and beasties.  Led by Dr. Henry Jekyll (yep, the one and only), look closely during a visit to Prodigium’s lab for a few familiar creatures that may pop up in future Dark Universe entries.

I get the feeling that when the script for The Mummy was sent to Cruise, it was with the intent he consider taking on Dr. Jekyll (played here by a twinkle-eyed Russell Crowe, The Water Diviner) but Cruise missed the memo and just assumed he’d be the lead.  Clearly written for a younger actor, everyone in the film at one time or another looks at Cruise (who’s still in fine shape and loves a good stunt sequence) and clearly is thinking, “You’re too old for this role!”  His chemistry with both of his leading ladies is strained and it becomes the Cruise show the moment he arrives onscreen with the titular character taking a frustrating back-seat to the A-list star.

Crowe seems keen on having some fun and while his storyline could be excised from the film entirely, he at least has the right idea of what his contributions are.  Knowing that Universal plans to craft a new franchise from their Stable of Scary, I wonder if the whole Prodigium business was folded in late in the game to tee up the Dark Universe.  Poor Wallis has a role that is entirely exposition, I don’t think she’s given one line that isn’t specifically meant to explain or clarify so the performance feels like the appendix it was written to be.  The true star here is Boutella and whenever she’s onscreen the film starts to crackle and pop only to be muffled by Cruise’s overbearing presence.  I like Cruise quite a lot but even I must admit he’s been given too much room to play.

Amidst a bunch of hokum happenings and a screenplay that’s pretty pokey, there are a handful of slick moments of fun that hint at what the movie could have been had it found a better focus.  A mid-air disaster is staged with edge-of-your-seat excitement and an underwater chase managed to make me hold my breath as Cruise and Wallis try to outswim a horde of the undead.  Being released in 2D and 3D formats, I caught it in 3D and since so much of the film is set at night or in dark underground lairs I’d advise going for a 2D screening which might produce clearer visuals.

There’s nothing I look forward to more than a good old-fashioned monster movie.  I don’t need flashy special effects or 3D gimmickry to get on board, just give me a good creature, a decent plot, and invested performances and I’m happy.  While Universal’s reboot of The Mummy doesn’t consistently hit any of the above specifications, it grazes them long enough to produce a somewhat enjoyable but ultimately misguided first step into a new franchise involving their classic catalog of monsters.

Movie Review ~ Split

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The Facts
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Synopsis: After three girls are kidnapped by a man with 24 distinct personalities they must find some of the different personalities that can help them while running away and staying alive from the others.

Stars: James McAvoy, Anya Taylor Joy, Betty Buckley, Jessica Sula, Haley Lu Richardson

Director: M. Night Shyamalan

Rated: PG-13

Running Length: 117 minutes

Trailer Review: Here

TMMM Score: (6.5/10)

Review:  I hate to say it, but M. Night Shyamalan brought it all on himself.  With a succession of movies, the writer/director (producer, cameo, etc.) introduced sophisticated ideas wrapped in a mystery to less and less fanfare.  Known more for his twist endings than the sum total of his accomplishments, the director of The Sixth Sense, Unbreakable, and Signs began to lose himself in the inner-workings of his storytelling. Sacrificing plot, good dialogue, and characterization for that one moment, “the twist”, that would entice an audience into sticking with the film despite the absurdity of it all, it wasn’t long before Shyamalan’s name stopped being the selling point and instead became an Achilles Heel.

Laying low for a few years and producing the occasional movie or TV show, Shyamalan emerged from the shadows with 2015’s The Visit, a tight little scare fest made for a small fee which wound up doing surprisingly good business.  Showing he wasn’t entirely beholden to his twist endings (though that film did have one), good will led Shyamalan back into the conversation and it felt as if his second act in Hollywood had begun.

The first thing I’ll tell you about Shyamalan’s Split, and to keep spoilers squashed I won’t tell you much, is to do your best to go in without thinking of this as the horror film its being falsely marketed as.  True, the film boasts a few nerve jangling moments and an overall sense of dread usually reserved for films with a high body count, but I made the mistake of expecting a thrill ride when in reality Split is more like an uncomfortable Sunday drive.

A trio of girls celebrating a birthday at a local mall are abducted in the parking lot and held captive in an underground compound by a man (James McAvoy, Trance) with dissociative identity disorder (DID).  While two of the girls (Jessica Sula & Haley Lu Richardson, both largely forgettable) plot a way of escape, the third (Anya Taylor Joy, Morgan & The Witch) takes a different approach, recognizing their captor could be manipulated depending on which of his 23 personalities they are talking to.  Time is running out, though, for several of the identities talk of a 24th personality, The Beast, that’s “on the move.”  Meanwhile, the man’s psychiatrist (Betty Buckley, Carrie), disturbed by a concerning change in demeanor for her patient, attempts to lure out the new personality that’s been causing trouble.

To me there are two short films going on here with overlapping ideas that Shyamalan couldn’t quite stretch to feature length.  The first is the kidnapping plot with its increasingly desperate attempts at escape from the teenagers and the second is a film centered on the psychiatrist exploring the inner workings of DID.  Both have some value and are staged nicely by Shyamalan with tight close-ups that give the film a claustrophobic feeling but to really take on discussions of mental illness Split needed to choose which story to tell and it never can decide.

Taylor Joy’s saucer-eyes look great in a Shyamalan close-up and the actress keeps a sense of mystery along the way that’s as interesting as it is slightly creepy.  Through flashbacks we see her as a child spending time with her father and uncle; there’s something off about these memories and as the film progresses, we begin to see why.  Shyamalan throws a lot of unspoken feelings at Taylor Joy and asks her to fill in the blanks which she winds up conveying quite convincingly.

Surprisingly, it’s Buckley that nearly steals the show…though considering her storied history on stage and screen it’s not that surprising at all.  Her therapy sessions with McAvoy’s character(s) give the film it’s most crackling edge and I kept wondering if these intimately crafted scenes hadn’t originally been written for the stage.  Buckley doesn’t appear on screen as often as she should but her performance here makes you wish she would.

At the end of the day, though, this is McAvoy’s picture and he walks away with the whole kit and caboodle.  There’s such a very fine line between honest and camp when it comes to playing a character with multiple personalities but McAvoy approaches each with a level of dignity and respect.  True, there are some moments McAvoy got too actor-y for my taste but overall it’s a dynamic, full-bodied performance that goes far beyond simply changing his voice or how he holds himself.  With each new personality introduced, McAvoy seems to change appearance entirely which makes the impending arrival of the feared 24th identity even  more ominous.

Audiences familiar with Shyamalan have been well trained to prepare for a twist but my advice would be not to look too hard.  There are a few late-breaking turns that won’t come as a total surprise and one big shocker at the end you’re either going to love or hate (the audience at mine was an audible mixture of both) but Split is less concerned with fooling its audience and more interested in bringing them into the mind of trauma victims coping with their past in the present.  It’s not an entirely successful film (and at nearly two hours, a too long one at that) but it’s stuck with me just like Shyamalan’s earlier work did.

31 Days to Scare ~ Nightmare (1964)

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The Facts:

Synopsis: Janet is a young student at a private school; her nights are troubled by horrible dreams in which she sees her mother haunting her. Expelled because of her persistent nightmares, Janet is sent home where the nightmares continue.

Stars: David Knight, Moira Redmond, Jennie Linden, Brenda Bruce, George A. Cooper, Clytie Jessop

Director: Freddie Francis

Rated: NR

Running Length: 82 minutes

TMMM Score: (7/10)

Review: As a life-long fan of scary films and all things that go bump in the night, I frequented the horror sections of local video stores in search of something to give me the shivers.  No matter what I saw from hungry piranhas to red-coated killer dwarves, my favorites were always the vampire movies.  That dates back to the first movie I ever rented (back when you rented the movie AND the VHS player at the same time!) which was Hammer Studios production, Horror of Dracula.  An ever-so slight re-working of the classic Bram Stoker story, this Dracula re-telling had Christopher Lee and Peter Cushing in roles they would return to in the ensuing years.

I give that context because aside from Horror of Dracula and several of its sequels, I’m not as familiar with the Hammer Stuidos catalog as I should be.  Not just focused on vampires, mummies, creatures, or monsters, the studio also produced a range of thrillers where psychotic men and women were the ones to be feared.  I recently picked up an 8-film collection with an assortment of offerings from Hammer Studios and Nightmare was the first film I gave some attention to.

Directed by Oscar winning cinematographer Freddie Francis (who would film Cape Fear for Martin Scorsese late in his career) in glorious black and white, Nightmare has some twists that could be considered cliché by today’s standards but still manage to work well thanks to the overall strength of the production. Janet (Jennie Linden) is sent home from her boarding school when her night terrors become too disruptive.  Accompanied by a kindly teacher (Brenda Bruce), Janet arrives back at her stately country manse and is welcomed by her loyal chauffeur (George A. Cooper) and housekeeper (Irene Richmond).  There’s also a new nurse (Moria Redmond) sent by the family lawyer (David Knight) to keep an eye on the unstable Janet who fears she is insane just like her mother was.

A change of scenery doesn’t help things and it isn’t long before Janet begins to see a strange woman in white walking the hallways and beckoning her to follow.  When the woman turns up with a knife in her chest only to disappear again before anyone else can bear witness, the line between nightmares and reality begin to blur as Janet comes to realize she can’t trust herself or her actions.  But is she really losing her mind…or is someone helping her descend into madness?

As is typical of any Hammer production, the production design and costumes are gorgeous and the music loud and dramatic.  While there aren’t any true ‘scares’ in the picture, it’s nicely ominous with above average performances from every single actor – overall, quite enjoyable.  Those that have been around the block with these movies will be able to spot the clues that lead you to solve the mystery long before the characters do, but the ride is brisk and entertaining.

31 Days to Scare ~ Psycho II

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The Facts:

Synopsis: After twenty-two years of psychiatric care, Norman Bates attempts to return to a life of solitude, but the specters of his crimes – and his mother – continue to haunt him

Stars: Anthony Perkins, Vera Miles, Meg Tilly, Robert Loggia, Dennis Franz, Lee Garlington, Claudia Bryar

Director: Richard Franklin

Rated: R

Running Length: 113 minutes

TMMM Score: (7.5/10)

Review: Alfred Hitchcock’s 1960 slow-burn thriller Psycho remains one of the most famous and famously recognizable movies.  With its iconic ‘shower scene’ and last minute twist, the movie was already interred in the Hollywood history books by the time 1982 rolled around.  That was the year that Robert Bloch, author of the novel Psycho was based on, had published a sequel that found escaped madman Norman Bates turning up on the Tinsel Town set of a movie based on his life and eventually getting back to his own tricks.  While this was a surprisingly meta take (and one the Scream sequels would steal) executives over at Universal Studios who owned the sequel rights weren’t thrilled about their town getting skewered and satirized.

Hiring screenwriter Todd Holland and director Richard Franklin, both having had recent successes with horror films of their own, Universal decided to beat Bloch to the punch and draft their own take on the further adventures of Norman Bates.  The resulting film was far removed from the original, more in the slasher vein which was enjoying peak popularity at the time.  That’s not to say it exists without merit because Psycho II is very much its own film, strong enough to withstand ornery critics who grumbled that it sullied Hitchcock’s memory.

Released from a mental hospital when he’s deemed to be harmless, Norman Bates (Anthony Perkins, wisely changing his mind and reprising his role before Christopher Walken could be seriously considered) has only one place to go.  Home.  The house he lived in still stands, as does the motel where guests checked in but didn’t check out…well, at least the ones that showered.  22 years after being apprehended dressed like his dead mother and speaking in her voice, the house brings back bad memories…and maybe his killer instincts.  Not long after he arrives people go missing, dispatched in a variety of gruesome ways.  Is it Norman brandishing the knife or is it someone else with their own motives?

Surprisingly, Psycho II is filled with decent twists and winds up to be quite entertaining.  I somehow get amnesia between viewings and always forget how the pieces fit together.   Aided by Jerry Goldsmith’s (Poltergeist) score that thankfully doesn’t even attempt to top Bernard Hermann’s string heavy orchestrations from Psycho, this has more than its share of spooky moments from toilets overflowing with blood all the way through it’s surprising finale.  Franklin doesn’t try to mimic Hitchcock’s style but cinematographer Dean Cundey (Halloween) does liberally lift familiar camera angles right from the previous film (not to mention Franklin taking a huge risk by recapping the first film in clips before the opening credits).  He even manages to work in a nice tip of the hat to Hitch – try to see if you can spot a recognizable shadow when looking around the room that used to belong to Norman’s mother.

Along with Perkins, Vera Miles (The Initiation) is a returning player from the original as the sister of Janet Leigh’s doomed character leading a one-woman crusade to keep Bates behind bars. Robert Loggia (Jagged Edge) is nicely sanguine as Norman’s psychiatrist and Meg Tilly’s (The Big Chill) waifish waitress cautiously befriends Norman and eventually takes up residence with him in the main house.  Character actors Dennis Franz, Lee Garlington, and Claudia Bryar are all standouts in the well-cast ensemble.

It wouldn’t have been possible to top Psycho but it could have been easy to drag its good name through the mud.  Thankfully Psycho II is elevated from cheap cash-in sequel to respectable continuation thanks to a cast and crew who obviously held the original film in high regard.  Now Psycho III and Psycho IV: The Beginning…those are the sequels you should be worried about.

The Silver Bullet ~ Get Out

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https://www.youtube.com/watch?v=sRfnevzM9kQ 

Synopsis: When a young African-American man visits his white girlfriend’s family estate, he becomes ensnared in a more sinister real reason for the invitation.

Release Date: February 24, 2017

Thoughts: If you were asked to draw a line between Jordan Peele and a selection of movie genres, I doubt that horror would be the first (or second, or third) one you’d select. So I’m fascinated that popular comedian Peele (Wanderlust) wrote and directed Get Out, which sorta plopped in out of nowhere for me.  While this trailer (as so many are nowadays) is way, way too long and curiously spoiler-heavy, it does offer some creepy moments and is more than enough for me to want to keep tabs on it until it’s released in February of 2017.  I’m also excited for this cast: Catherine Keener (Enough Said), Bradley Whitford (Saving Mr. Banks), Daniel Kaluuya (Sicario), Betty Gabriel (The Purge: Election Year), and Allison Williams.

Movie Review ~ My Big Fat Greek Wedding 2

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The Facts:

Synopsis: A Portokalos family secret brings the beloved characters back together for an even bigger and Greeker wedding.

Stars: Nia Vardalos, John Corbett, Michael Constantine, Lainie Kazan, Andrea Martin, Joey Fatone, John Stamos, Rita Wilson, Louis Mandylor, Gia Carides, Elena Kampouris

Director: Kirk Jones

Rated: PG-13

Running Length: 94 minutes

TMMM Score: (6/10)

Review: I actually did something I don’t normally do when preparing for seeing My Big Fat Greek Wedding 2…I didn’t go back and watch the first one until after I had seen the sequel.  It had been well over a decade since I’d seen the out-of-nowhere-blockbuster original (and yes, I saw it twice in the theaters) and since there was such a huge gap between the two films I wanted to see what going into this one a little foggy on details would be like.

It’s been fourteen years since My Big Fat Greek Wedding became the little indie that could, produced for $6 million dollars it wound up grossing around $368 million after the international box office returns were factored in. The film set all sorts of box office records, was nominated for an Oscar for Best Original Screenplay, and inspired a host of similar titles to get the greenlight…as well as an ill-advised sitcom adaptation starring most of the stars of the movie that didn’t make it past a half dozen episodes.  While writer/star Nia Vardalos would show up here and there in awfully familiar romantic comedies over the years, she never tapped into the same kind of fame.

Though it picks up fourteen years after the first film, somehow Toula (Vardalos) and Ian (John Corbett, The Boy Next Door) are the parents of a high school senior, Paris (Elena Kampouris, Labor Day).  Paris is at the age when everything her family does embarrasses her…which would be understandable with a normal family but in the Portokalos family where one goes, dozens follow.  As Paris weighs college choices that could either keep her close or let her roam free, Toula and Ian confront certain realities about how the spark they once had seems to have dimmed at bit.

Next door (the Portokalos family seems to occupy the houses on a complete city block), Gus (Michael Constantine) and Maria (Lainie Kazan, Pixels) are shocked to discover that their marriage license was never officially signed by the priest…so they’ve been living in sin for the past half-decade.  Maria sees this as an opportunity to get Gus to give her the wedding she never had before they came to America so another big fat Greek wedding is orchestrated.

Look, good art this ain’t nor does it try to be.  It’s very much in the same spirit as the original and it doesn’t reek of a desperate cash grab had this arrived two years after the first film.  It has the feeling that producer Rita Wilson and Vardalos were out to lunch reminiscing about the old days and Vardalos jokingly pitched another film that seemed to make sense after a few mimosas.  Sure the story is thin and formulaic, hitting the same beats as the original and Vardalos has made an unwise choice in straying from the central family focus to other marginal familial side-stories (including rather lamely outing one of the relatives as gay) that just weigh down the running time.

I was surprised at how many cast members, down to the smallest part, returned from the original.  People who were little more than background extras in the first one pop up in more visible roles in the sequel and that creates a certain pleasant continuity that you don’t really see that often.  Vardalos and Corbett are able to recapture that same charm that made them appealing while the tough looking Constantine easily wins you over with his tender heart.  Kazan has unfortunately had a great deal of plastic surgery over the years and looks like a jack-o-lantern and Andrea Martin steals the movie whenever she’s onscreen.  Producer Rita Wilson pops up with John Stamos for two of the most awkwardly shoe-horned-in cameos in recent memory.

The film doesn’t put up much of a fight and nor should you.  It’s harmless entertainment, much less obnoxious than I thought it would be.  It’s actually kind sweet when you get right down to it and it’s not short on showing some genuine heart and soul.  There are far worse films you could spend your money and time on…including several that Vardalos starred in after My Big Fat Greek Wedding.  If you’re a fan of the original, you’ll find the same sort of enjoyment in this one.

Movie Review ~ Sisters

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The Facts:

Synopsis: Two sisters decide to throw one last house party before their parents sell their family home.

Stars: Tina Fey, Amy Poehler, Maya Rudolph, Ike Barinholtz, John Leguizamo, Dianne Wiest, John Cena, James Brolin

Director: Jason Moore

Rated: R

Running Length: 118 minutes

Trailer Review: Here

TMMM Score: (7/10)

Review:  We all love Tina Fey and Amy Poehler, right?  I mean, through their celebrated time at Saturday Night Live to their post-late night days with 30 Rock and Parks and Recreation, both have shown themselves to be fun-loving ladies that work well with others.  There’s nothing like it when Fey and Poehler team up, though, so Sisters should have been a slam dunk, right?

If the end result is less of a slam dunk and more of a two-pointer, it’s at least better than their last pairing, the tepid Baby Mama from 2008.  That film was highly anticipated but came off feeling like we were watching an extended SNL sketch with Fey playing her usual nerd-ish but noble lady and Poehler going big as a white trash pseudo-surrogate.  In the ensuing years, Poehler and Fey have been reunited on several small screen occasions leading up to successfully hosting the Golden Globes three times, ruling over the festivities with their sly observances.

And now we have another attempt at striking it rich on the big screen and while Sisters is markedly better than Baby Mama, it still winds up falling short of the packaged potential of its stars.  This time, there seemed to be some real thought put into the piece, with Fey and Poehler wisely playing against type in bringing friend (and former SNL writer) Paula Pell’s sorta biographical screenplay to life.

When Maura and Kate’s parents (Dianne Wiest, Parenthood and James Brolin, The 33) decide to sell the Florida home of their youth and move into a retirement complex, the sisters are tasked with cleaning out their room before the new family moves in.  Maura (Poehler, Inside Out) is the responsible one, the sister that never got into trouble and was an eternal sober cab for her hard partying sister Kate (Fey, Admission).  Upset with their parents for listing the lot without telling them, they decide to host one big party for their friends before they have to pack it in and move on with their lives.  Kate promises to abstain from booze so Maura can let loose but as the night goes on the sisters find themselves plunked back into old habits, not always of their own free will.

The film takes a while to get going and it mostly coasts along nicely.  There’s a charming romantic subplot with Maura romancing a hunky neighbor (Ike Barinholtz, heretofore not hunky) and it gives Poehler some nice moments, comedic and otherwise.  Barinholtz should get some props here for dealing with a fairly nasty gross-out gag, one of several that occur during the night of increasing debauchery.

Director Jason Moore (Pitch Perfect) knows when to let his stars do their thing but manages to keep control of the wild party that takes up the latter half of the film.  Balancing a host of comedic players (like Horatio Sanz as that guy we all hate at parties and Maya Rudolph as a bitchy rival) with some third act emotional resonance is no easy task but Sisters earns its stripes thanks to its game cast and willingness to “go there” for laughs.

Boldly opening the same weekend as Star Wars: The Force Awakens, Sisters is marketing itself as that other movie you can see after your Star Wars fix is complete.  It’s clever #YouCanSeeBoth campaign works in its good-natured favor and audiences should see both films during their theatrical run.

Movie Review ~ The Visit (2015)

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The Facts:

Synopsis: A single mother finds that things in her family’s life go very wrong after her two young children visit their grandparents.

Stars: Kathryn Hahn, Ed Oxenbould, Deanna Dunagan, Peter McRobbie, Olivia DeJonge

Director: M. Night Shyamalan

Rated: PG-13

Running Length: 94 minutes

Trailer Review: Here

TMMM Score: (8/10)

Review: I remember seeing the preview for 2006’s Lady in the Water and when director M. Night Shyamalan’s name appeared the entire audience squealed with terrified delight.  By that time, Shyamalan had become synonymous with twist endings and scary tales more interested in the human side of horror than blood and guts.  After The Sixth Sense, Unbreakable, Signs, and The Village Shyamalan was riding high but he’d wind up drowning with Lady in the Water, a self-serving bit of poppycock that felt more like an ego trip than a fully formed movie (Shyamalan wrote, directed, and had a significant role in the film…an ill-advised move).

It was all downhill from there as Shyamalan followed up Lady in the Water with his first R-rated flick, the hysterically terrible The Happening in 2008 featuring a too-serious Mark Wahlberg having a conversation with a plastic plant he thought was out to do him and his family harm (!).  Things only got worse with 2010’s The Last Airbender before he hit rock bottom in 2013 with After Earth, starring Will Smith and his son Jaden, two actors with possibly even bigger egos than Shyamalan.  In the span of several years, Shyamalan’s name went from being the top selling point of a movie to a moniker that spelled box office poison.

I’m not sure what happened in the last few years but Shyamalan must have taken a long hard look at his career and made some changes for the better.  He scored as the producer and occasional director of Fox’s eerie mystery show Wayward Pines and he’s back in top form with The Visit, a keep-the-lights-on at night thrill ride that could have gone very wrong but winds up hitting (almost) all the right notes.

I must admit that when I heard The Visit was a found footage film my heart sank a bit for Shyamalan…what was he doing tapping into the genre that has two feet, hips, and a chest already in the ground (see the wretched The Gallows if you don’t believe me)? While I still marvel at the fact that even in moments of high horror the person holding the camera manages not only to keep a hold of the device but also frame things like a recent film school grad, I have to say that Shyamalan makes good use of the found footage angle and finds a few new ways to exploit the trope.

Opening with Kathryn Hahn (We’re the Millers) nervously sending her kids off to her estranged parents’ house for a week, Shyamalan offers just enough back story to push off from, choosing not to linger too much in history.  We know that Hahn’s single-mom hasn’t seen her parents in 15 years and her two children have never met them.  They’ve tracked her down and want to meet their grandchildren and, as a way to make-up for her behavior when she left home, she agrees.

That’s fine and dandy for her kids Becca (Olivia DeJonge) and Tyler (Ed Oxenbould, Alexander and the Terrible Horrible No Good Very Bad Day) because they want their mom to spend time with her new boyfriend and also to help build a bridge between the grandparents they’ve never known and their mom who carries a heavy burden of guilt that she won’t speak about.  It’s nice to report that DeJonge and Oxenbould are not only good child actors but that Shyamalan didn’t sketch them in the typical annoying kid kinda way…these are normal, decent kids with big hearts.

Arriving in a rural Pennsylvania town, they’re greeted by Nana (Deanna Dunagan, excellent) and Pop-Pop (character actor Peter McRobbie) and aside from some awkward first meeting jitters, all are soon settled in a quaint farmhouse near a frozen lake.  Nana makes good meals and Pop-Pop seems interested in the kids and what their life has been like.  It all goes swimmingly until…well, things get weird.

Over the next several days and nights red flags start to pop up that give the siblings cause for some concern.  I have to be careful what I say because the last 2/3 of the movie is full of spoiler-heavy turns that keep you on the edge of your seat as you try to figure out what exactly is so off about the grandparents. The “big twist” that Shyamalan is so well-known for is fairly easy to predict, but even if I did have some notion of how it was all going to turn out Shyamalan throws in interesting curveballs that throw you off along the way.

And did I mention it’s scary?  Like, legitimately scary.  I’ll easily jump as much as the next person if there’s a jolt of loud music or something leaps out at you, but Shyamalan has cleverly crafted sequences with the kind of sustained scares rare to not only the found footage genre but the horror genre in general.  More than once I had a rash of goosebumps emerge and felt my cheeks flush with an uneasiness that was exciting/scary/fun all at the same time.  Amidst all the expected shrieks there’s one highly effective scare and another gross out moment that had our audience rightfully speechless.

If the film has some flaws, it’s in a few more light-hearted moments that can throw off the balance of the tone of the film.  I can absolutely see why Shyamalan would want to toss in a few comedic moments to ease some of the tension (Oxenbould’s rapping skills are put to good use…maybe one too many times) but they are oddly placed in the middle of some fairly frightening moments, creating the feeling that it’s all one big joke to the director.

No matter, even these small moments don’t detract from a film that winds up being about more than just scaring you but manages to teach a small (if heavy-handed lesson) before the credits roll.  If this is the new Shyamalan, then I welcome him back with open (and slightly petrified) arms.

Hasta La Vista…Summer (July)

arnold-terminator-almostdidnotstarHasta

We did it! We made it through another summer and while the outdoor heat wasn’t too bad (in Minnesota, at least) the box office was on fire.

I’ll admit that I indulged in summer fun a bit more than I should, distracting me from reviewing some key movies over the last three months so I wanted to take this opportunity to relive the summer of 2015, mentioning my thoughts on the movies that got away and analyzing the winners and losers by month and overall.

So sit back, relax, and enjoy the ride read.

JulyI just wasn’t prepared for July. It hit me like a ton of bricks, a wave of cinematic excursions that made my head spin. So many movies were released that it was hard to keep track from week to week what was arriving and what was still waiting for its release date. As you can see below, I had a lot of catching-up to do

The month began with the disappointment of Terminator Genisys. I’m not sure exactly what I was expecting from the return of Arnold Schwarzenegger but it for sure wasn’t the muddled misfire that was supposed to reboot this franchise. Badly cast with shoddy special effects, this was supposed to be the beginning of something but should likely be the end (though it did do well overseas so we may yet get another one of these in a few years).

A few summers back I lamented how bad the original Magic Mike was. Trading eye candy entertainment for any semblance of watchable narrative, it was another dud (for me) from Steven Soderbergh. So you’d understand why I wasn’t keen on Magic Mike XXL because I felt we’d already been there done that. Much to my delight, the sequel was much better than its predecessor, maintaining the fun frivolity of the world of male strippers while injecting some personality into the proceedings. Quite possible the biggest surprise of the summer for me.

I learned a lot from the wise documentary Amy, chronicling the rise and fall of Amy Winehouse, the singer with the bluesy voice and broken butterfly backstory. She had a lot to overcome and the film made a compelling argument that she would still be here today had she had a better support system.

Though I loved the Minions in the Despicable Me films, I didn’t care for their solo outing with its half-baked story and less that inspired vocal work. It felt like a quick cash-grab and it looks like it accomplished its goal. Hopefully next time they’ll come back with a better story and more convincing actors.

The found footage horror movie had its death knell with The Gallows, a brainless exercise in tedium peppered with cheap scares and lousy acting. Could have (and should have) been much better.

Now we approach a stretch where I checked out for a bit – but I’m atoning for it now with these mini-reviews.

                                                        Movie Review ~ Batkid Begins
batkid_begins_the_wish_heard_around_the_world_ver2The Facts
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Synopsis: On one day, in one city, the world comes together to grant one 5-year-old cancer patient his wish. Batkid Begins looks at the ‘why’ of this flash phenomenon.
Stars: Miles Scott
Director: Dana Nachman
Rated: PG
Running Length: 87 minutes
TMMM Score: (7/10)
Review: Can I admit something to you and not have you hate me?  When I first saw the media frenzy around this back in 2013 I remember rolling my eyes are the saccharine nature of the whole endeavor.  Why would an entire city be brought to a screeching halt because of one kid’s wish to be Batman for a day?  Well, the documentary Batkid Begins showed me why and by the end I was feeling like a lout for my initial feelings and wiping away the happy tears the film easily brings forth from the viewer.  Following the planning and execution by the Make-A-Wish Foundation to give a 5 year old leukemia survivor the day of his dreams, viewers get a glimpse at what goes into even the smallest wish granted by the organization.  While it at times comes off like a big advertisement, it’s heart is most certainly in the right place and I found myself getting choked up with each good deed and promise fulfilled by a host of people involved in making the day come off without a hitch. An audience-pleasing winner.

                                                        Movie Review ~ The Overnight
overnight_ver2The Facts
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Synopsis: A family “playdate” becomes increasingly interesting as the night goes on.
Stars: Adam Scott, Jason Schwartzman, Taylor Schilling, Judith Godrèche
Director: Patrick Brice
Rated: R
Running Length: 79 minutes
TMMM Score: (7/10)
Review: There and gone in an instant, The Overnight is a film better suited for home viewing anyway.  A couple (Adam Scott and Taylor Schilling) new to the area meet Jason Schwartzman at a local playground where both of their children are playing.  Their kids have hit it off so Schwartzmann invites the family over for more fun, but when the kids go to bed Schwartzman and his wife Judith Godrèche have more interesting games to play for the unsuspecting couple.  Saying more would spoil the fun but it’s an adults only evening with oodles of twists and turns as both couples bare their secrets (and their bodies) before the night is over.  Already famous for its full frontal shots of Schwartzman and Scott (sorry, both are wearing prosthetics), at 79 minutes the movie is short but does start to feel long in the middle section.  It helps immensely that all four actors are competent and comfortable with the material…the story doesn’t hold back and neither do they.

                                                              Movie Review ~ Ant-Man
ant_man_ver3The Facts
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Synopsis: Armed with a super-suit with the astonishing ability to shrink in scale but increase in strength, con-man Scott Lang must embrace his inner hero and help his mentor, Dr. Hank Pym, plan and pull off a heist that will save the world.
Stars: Paul Rudd, Michael Douglas, Michael Pena, Evangeline Lilly, Corey Stoll, David Dastmalchian, T.I. , Judy Greer, Bobby Cannavale, Martin Donovan, Wood Harris, John Slattery, Gregg Turkington, Abby Ryder Fortson
Director: Peyton Reed
Rated: PG-13
Running Length: 117 minutes
TMMM Score: (6/10)
Review: Early troubles with the start of production with Ant-Man and some seriously questionable teasers/trailers didn’t get me very excited for this mid-summer superhero movie.  I think Marvel was hoping that Ant-Man would score along the lines of last summer’s Guardians of the Galaxy but it’s sadly missing the humor that made Guardians so much fun.  It’s not a total wash though because for every 10 minutes of standard origin-story developments, there’s a solid 5 minutes of exciting action sequences to wake audiences up from their slumber.  I know that with an origin story you need to cover a lot of ground and Ant-Man, to its additional credit, doesn’t waste much time in getting to the goods…but it’s a cheap-o undertaking and one that feels like a second-string entry in Marvel’s blockbuster universe.  Paul Rudd makes for a surprisingly solid action lead as does Corey Stoll as Rudd’s nemesis, but Evangeline Lilly labors too much under her severe wig (that seems to change lengths multiple times, in the middle of scenes) and isn’t a good enough actress to carry some weighty responsibilities.  A decent entry as far as Marvel films go…but I’m not clamoring for a sequel any time soon.

                                                         Movie Review ~ Irrational Man
irrational_manThe Facts
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Synopsis: A tormented philosophy professor finds a will to live when he commits an existential act.
Stars: Joaquin Phoenix, Emma Stone, Parker Posey, Jamie Blackley, Betsy Aidem, Ethan Phillips, Sophie von Haselberg
Director: Woody Allen
Rated: R
Running Length: 96 minutes
Trailer Review: Here
TMMM Score: (6/10)
Review: It happens every year and every year you never quite know what to expect.  I’m speaking, of course, of the annual Woody Allen release and like many of the directors works, it’s a hit or miss affair.  I’m constantly in awe that Allen has churned out a film a year (sometimes two a year) for the last three decades and even the really bad ones aren’t as terrible as the other dreck dumped on us during the summer.  Last year Magic in the Moonlight was dismissed as too slight even for Allen but I enjoyed its frothy charm…something that was missing from the more serious-minded Irrational Man.  As a boozy professor that gets into hot water in his New England college town, Joaquin Phoenix was perhaps the wrong choice because the actor plagues himself far too much for Allen’s light material. At least co-star Emma Stone helps keep Phoenix from the quicksand of his own creation but she can’t be in every scene and it’s when Phoenix is on his own that the film goes slack.  Then there’s Parker Posey who I’m becoming convinced is simply not of this earth and doesn’t try to hide it anymore.  Bizarre line readings and the tendency to let her mouth hang open are only the tip of Posey’s strange acting iceberg. Very much in line with the dark humor of Allen’s Crimes and Misdemeanors, Irrational Man should hold your interest for a time but it’s quickie ending feels like Allen was ready to move on to his next film rather than put a period at the end things.

                                                            Movie Review ~ Trainwreck
trainwreckThe Facts
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Synopsis: Having thought that monogamy was never possible, a commitment-phobic career woman may have to face her fears when she meets a good guy.
Stars: Amy Schumer, Bill Hader, Brie Larson, Mike Birbiglia, Colin Quinn, Tilda Swinton, Ezra Miller, John Cena, Vanessa Bayer, Jon Glaser, LeBron James, Method Man
Director: Judd Apatow
Rated: R
Running Length: 125 minutes
Trailer Review: Here
TMMM Score: (6.5/10)
Review: One of the true success stories of the summer has to have been Amy Schumer, not so much for writing and starring in Trainwreck but the collective impact she’s had on the comedy scene.  Unapologetic in her crassness and wise in her observations, Schumer is a comic moving like a shooting star and it’s nice to report that I think she’s a pretty decent actress as well. As much as I enjoy Schumer I was nervous that she was attaching herself to director Judd Apatow because Apatow, as we all know, has a way of turning in muddled work.  Unfortunately, Apatow’s influence led the film to be about 20 minutes longer than it needed to be and ultimately overstaying its welcome.  I don’t care what anyone says about the appearance of LeBron James as a bona fide supporting player, his entire storyline should have been excised and the film wouldn’t have suffered at all.  The problems get worse because Apatow likes to cast non-actors in his film and put in cameos when you least expect it…to the detriment of the flow of the narrative.  He stumbles badly in several places here but is saved by Schumer and Bill Hader as the opposites attract duo that confidently lead the film.  Special mention must, again, be made to Tilda Swinton for disappearing within her role as Schumer’s glam yet grim boss.  Worth it for Schumer, Swinton, and Hader…but watch it at home so you can fast forward through the slow Apatow-ish parts.

                                                           Movie Review ~ Mr. Holmes
mr_holmes_ver2The Facts
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Synopsis: An aged, retired Sherlock Holmes looks back on his life, and grapples with an unsolved case involving a beautiful woman.
Stars: Ian McKellen, Laura Linney, Hiroyuki Sanada, Roger Allam, Frances de la Tour, Hattie Morahan, Patrick Kennedy, Philip Davis, Milo Parker
Director: Bill Condon
Rated: PG
Running Length: 104 minutes
Trailer Review: Here
TMMM Score: (8/10)
Review:  In reality, I probably should have given Mr. Holmes a more thorough review than I’m about to give here…but I have a feeling I’ll have a chance to discuss it more over the next few months because if all is right with the world Ian McKellen will find himself nominated in a few Best Actor categories during the end of the year awards round-up.  McKellen plays an aged Sherlock Holmes living in the country, attended to by a no-nonsense housekeeper (Laura Linney) and entertained by her young son. There’s actually three Holmes on display here as the present Holmes recalls two previous cases he was involved with that had an impact on his life.  With a smart script from Jeffrey Hatcher adapted from a popular novel, it’s directed with a mellow grandeur by Bill Condon.  Condon and McKellen scored before with the fascinating Gods and Monsters and here’s hoping they go the distance with this one too.  An interesting tidbit, at one point Holmes ventures out to see a Sherlock Holmes movie…and the actor playing Holmes on screen (Nicholas Rowe) played the detective in 1986’s fun frolic Young Sherlock Holmes.

                                                            Movie Review ~ Paper Towns
paper_townsThe Facts
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Synopsis: A young man and his friends embark upon the road trip of their lives to find the missing girl next door.
Stars: Nat Wolff, Halston Sage, Austin Abrams, Cara Delevingne, Justice Smith
Director: Jake Schreir
Rated: PG-13
Running Length: 109 minutes
TMMM Score: (7/10)
Review:  After The Fault in Our Stars became a runaway hit last summer movie studios were looking for the next big alt-teen romance that could lure YA audiences away from summer action flicks.  Turns out they didn’t have to look far because Paper Towns was adapted from the novel by the same author as The Fault in Our Stars.  While Paper Towns doesn’t center around a disease that threatens to tear our lovebirds apart, it has its own mystery about it as Nat Wolff goes looking for his recently vanished neighbor (Cara Delevingne) that he’s been enamored with (or more like fascinated by) since they were children.  Following the clues she seemingly left for him, Wolff and his friends embark on a journey of discovery where they Learn Life Lessons.  The film kept my interest for most of the running length and it’s only in the final passages when all is explained does it feel a little like a letdown.  Still, there’s a smart air of riskiness that elevates the film and more often than not it lands on the good side of taking that risky step.

 

                                                                 Movie Review ~ Pixels
pixelsThe Facts
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Synopsis: When aliens misinterpret video feeds of classic arcade games as a declaration of war, they attack the Earth in the form of the video games.
Stars: Adam Sandler, Brian Cox, Kevin James, Michelle Monaghan, Peter Dinklage, Josh Gad
Director: Chris Columbus
Rated: PG-13
Running Length: 105 minutes
TMMM Score: (3/10)
Review: A movie where everyone involved should hang their head in shame.  There’s actually some semblance of a good idea here with aliens attacking earth with classic arcade games but unfortunately it gets trampled by Adam Sandler’s lazy acting, Kevin James bad acting, and Josh Gad’s awful everything.  Michelle Monaghan looks positively embarrassed to be sharing scenes (especially romantic ones) with Sandler and only Peter Dinklage comes out relatively unscathed in a campy, mullet wearing performance.  For fans of ‘80s nostalgia there are some pleasant diversions as video game characters pop up in (supposedly) comical ways and I think that director Chirs Columbus really did give the material a chance to be something interesting…but Sandler and his crew suck the life out of everything and are so devoid of any vested interest that you wonder why you should care at all either.

                                                            Movie Review ~ Southpaw
southpaw_ver2The Facts
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Synopsis: Boxer Billy Hope turns to trainer Tick Willis to help him get his life back on track.
Stars: Jake Gyllenhaal, Forest Whitaker, Rachel McAdams, Curtis “50 Cent” Jackson, Clare Foley, Miguel Gomez, Victor Ortiz, Rita Ora, Naomie Harris
Director: Antoine Fuqua
Rated: R
Running Length: 123 minutes
TMMM Score: (6.5/10)
Review: By now, we know that Jake Gyllenhaal is a smart actor.  With role after role from Prisoners to Nightcrawler to End of Watch we’ve seen that he’s up for most any challenge and likes to dive deep into his roles.  So it’s not surprising that he was drawn to this tale of redemption concerning a famous boxer at the top of his game dealt a series of terrible blows (in more ways than one) and his eventual path back to himself. What is surprising is that while the performances are very good you can’t get away from the fact that the story feels recycled and originally intended for a different set of lower string stars.  I’m always on the fence regarding Forest Whitaker but as the wise boxing manager that grudgingly comes to Gyllenhaal’s aid, the actor reminds us why he so deserved his Best Actor Oscar for The Last King of Scotland.  Also turning in a great performance in Rachel McAdams (The Vow) as Gyllenhaal’s high school sweetheart, mother of his daughter, and the only one that seems to have his best interest at heart.

Southpaw was also at the center of some controversy that arose this summer about movie trailers that give away too much of the film.  If you have seen the trailer for Southpaw you know what I’m talking about…if you haven’t, please go into the movie blind.  I had a faint idea what the spoiler was and even that made the first ¼ of the film much less involving.  Worth it for the performances but gets knocked out by an also-ran plot.

                                                              Movie Review ~ Samba
samba_ver7The Facts
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Synopsis: Samba migrated to France ten years ago from Senegal, and has since been plugging away at various lowly jobs. Alice is a senior executive who has recently undergone a burn-out. Both struggle to get out of their dead-end lives. Samba’s willing to do whatever it takes to get working papers, while Alice tries to get her life back on track until fate draws them together.
Stars: Omar Sy, Charlotte Gainsbourg, Tahar Rahim, Izia Higelin, Isaka Sawadogo
Director: Olivier Nakache, Eric Toledano
Rated: R
Running Length: 118 minutes
TMMM Score: (5.5/10)
Review: Of all the movies I’m talking about in this wrap-up this is one I’d bet dollars to donuts that you’ve never heard of.  And you couldn’t be blamed because this barely made a blip on the usually forgiving art-house circuit.  From the star and directors of 2012’s dynamite The Intouchables comes this story of an immigrant man living in France who crosses paths with a burned out executive when the man is discovered to be an illegal alien.  Omar Sy (Jurassic World) and Charlotte Gainsbourg don’t have that much chemistry but in a weird way it works for the oddball romance that develops over the course of the film.  I never could get a real feel if the movie was a comedy, drama, or something in between…and neither could most of the people involved.  Slightly recommended but only if the plot or stars appeal to you.

That almost did it for July…but there was still one weekend to go!  Moving up several months from its planned December release, the fifth installment of the Mission: Impossible franchise had its brains in the right place but at times forgot to bring its brawn.  I still prefer Ghost Protocol to Rogue Nation but as long as star Tom Cruise keeps making these films interesting I’ll keep accepting future missions. Here’s hoping he brings along Rebecca Ferguson again because finally there is a female that is every bit a match to Cruise’s daring agent.

I wasn’t sold at all when I heard that Warner Brothers was planning on remaking National Lampoon’s Vacation but as time went on I heard more that it was more of a sequel than a reboot (resequel?) and I started coming around to the idea of a new Vacation.  I enjoyed Ed Helms and Christina Applegate as the hapless couple traveling cross-country with their children…but audiences and most critics didn’t.  It wasn’t a great movie and was probably too crude to be part of your Vacation marathons…but I have to say the worst part about it was when original stars Chevy Chase and Beverly D’Angelo showed up.  Still, I’m hoping it made enough money to warrant a holiday themed sequel.  In any event…it’s a damn sight better than European Vacation.

Wow – July didn’t skimp on variety, did it?  Arguably the hottest month for releases, it carried over the promise of May and June and laid a path for August to do quite well…but could it top the three months that came before it?

STAY TUNED FOR AUGUST

CHECK OUT MAY & JUNE!