Second Act

One of the perennial favorite film plots is that of the underdog, or as aptly put, "everybody loves the underdog". We've seen it in many genres: "Rocky", "Working Girl", "Maid in Manhattan", "Legally Blonde", even the animated "Cinderella", and they get the audience on their feet to cheer. So, with all this popularity, Hollywood had to offer us yet another one in the form of "Second Act".

 

This is a comedy in the vein of "Working Girl" and :Maid in Manhattan". Jennifer Lopez stars as Maya, a 40-year-old woman struggling with frustrations from unfulfilled dreams. Until, that is, she gets the chance to prove to Madison Avenue that street smarts are as valuable as book smarts, and that is never too late for a Second Act.

Through her people, Joan (Leah Remini), Big Ant (Dierdre Friel) and Suzi (Lacretta), she decided to apply at a prestigious firm to test the waters. After Anderson Clarke (Treat Williams) gave her the job as a consultant, Maya, being shocked she even got the job, preceded to go into the position head first and working with Clarke's daughter, Zoe (Vanessa Hudgens), she was beginning to prove herself until things started to get out of hand. Can she cut it or will she be able to prove herself before all realizes that she doesn't have all the credentials she claims she has?

 

Others to round out the cast are Milo Ventimiglia as Trey, Maya's boyfriend, Annaleigh Ashford as Hildy Ostrander, Charlyne Yi as Ariana, Alan Aisenberg as Chase, Freddie Stroma as Ron Ebsen, Dave Foley as Felix Herman and Larry Miller as Weiskopf.

 

This was wittingly directed by Peter Segal ("The Road Warriors" (TV movie) '92, "Naked Gun 33 1/3: The Final Insult" '94, "Tommy Boy" '95, "My Fellow Americans" '96, :Nutty Professor II: The Klumps" 2000, "Anger Management" '03, "50 First Dates" '04, "The Longest Yard" '05, "Get Smart" '08, "Grudge Match" '13) plus others, TV and shorts. This filmmaker is the quintessential comedy director that knows and does what he knows and does best. He even gravitates to the same caliber of projects--safe, predictable and fun. While I would like to see any filmmaker think outside of the box, I certainly can understand why one would hover on that safe limb. His direction isn't cutting edge, however he is an accomplished director--look at his resume. So it is no surprise to see that he has yet another film in post-production for a 2019 release titled "My Spy".It was adequately written by Elaine Goldsmith-Thomas and Justin Zackham ("Going Greek" '01, "The Fastest Man in the World" (Documentary) '03, "The Bucket List" '07, "The Big Wedding" '13, "One Chance" '13) plus TV and a short. Interesting that Zackham received second billing on the writing credit with Goldsmith-Thomas having no feature film experience. Not sure what that's about unless he was attempting to giving the other writer a chance. However the writing was palatable and showed its audience that journey one must go through to get that second chance, it simply suffered a little from a lack of cohesiveness and it was a bit choppy. Mind you, these are only structural issues, whereas the idea and the follow through with it was admirable and the audience could definitely feel the pain that Maya went through on several levels. Maybe there were too many levels Maya was having to deal with. Not sure, but it is still a film with heart done in an entertaining way.

 

This was certainly better than the trailer which didn't really sell it to me, but after viewing it, I felt it was worthy of others viewing it. The ensemble cast was endearing and had their funny moments, the script just needed more polish structurally. This was definitely one of Lopez's better efforts along with "Monster-In-Law".

 

Out of 4 Stars: 2.5                               Rated: PG-13                                   103mins.

 

Bumblebee

What would the end of the year film season be without a well-known movie franchise to entice those 18-34 year-old single males in those theater seats--cha-ching? Pretty empty, since so many of this demographic are fairly free during this time. Hollywood isn't stupid for yhey know who will like whatever the films they are attempting to push. The film offered is that of "Bumblebee"--you know, the next installment of that "Transformers" franchise.

 

On the run in the year 1987, Bumblebee finds refuge in a junkyard in a small San Francisco bay area beach town. Charlie (Hailee Steinfeld), on the cusp of turning 18 and trying to find her place in the world, discovers Bumblebee, battle-scarred and broken. When Charlie revives him, she quickly learns this is no ordinary yellow VW bug.

The problem in keeping a 25 foot robot is that others are looking for him, namely Agent Jack Burns (John Cena), Dr. Powell (John Ortiz) and others. So Charlie;s next door neighbor, Memo (Jorge Lendeborg Jr.) inadvertently helps her help Bumblebee in combatting Transformer foes attempting to kill Bumblebee so they can take over the Earth.

 

Others to round out the cast are Jason Drucker as Otis, Charlie's younger brother, Pamela Adlon as Sally, Charlie's mom, Stephen Schneider as Ron, Charlie's stepdad, Ricardo Hoyos as Tripp, Glynn Turman as General Whalen, Len Cariou as Uncle Hank and Kollin Holtz as Craig.

 

This was effectively directed by Travis Knight ("Kubo and the Two Strings" '16) plus a ton of animation experience, Considering the amount of animation work this filmmaker has been involved with, it is surprising that the producers would've been comfortable in Knight helming this. Although this film is somewhat like an animated film--the Transformers are cartoonish like, it is still surprising that they would've been given Knight the responsibility to direct a film that would profit considering the price tag of this. Well, all that animation work must have paid off, because the characters were effective and well thought out. He should receive more work. It was well written by Christina Hodson ("Shut In" '16, "Unforgettable" '17) based on her story, which is based on the Hasbro Transformer Action Figures. As with many other franchises, we find this film introducing Bumblebee's origins. After we've gotten to know a character well enough, it becomes high time that we know where this character came from and more about them as individuals. Hodson does an effective job of allowing us to see that in this installment replete with befriending a young earthling and the pitfalls of attempting to coexist with the military. When this franchise started back in 2007 with "Transformers", I really thought this wasn't going very far since it was actually based on a toy--wow, I was way off! This was certainly as well pulled off as its predecessors and with that, it will definitely profit well so we can come back in 2-3 years and see another installment. It did get a bit bogged down, script-wise, where there was a bit too much going back and forth, but all in all, this storyline was a fun ride. Obviously, the visual effects predominantly designed by ILM (Industrial, Light & Magic), Scanline VFX and Rodeo FX were seamless and gave an incredible look.

 

As aforementioned, the visual effects were grandiose, so if you have any plans to see this, you've got to see this on the large screen, otherwise it will be lost on a 50 incher. In fact if big-budget films are your thing, this has an impressive IMAX format to really take it in.

 

Out of 4 Stars: 3                                      Rated: PG-13                                 114mins.

 

 

                                                                      

Vice

Of all the biopics that Hollywood has tackled throughout the years that depicts any individuals that have been considered world leaders, I feel that there hasn't been any that has been as aloof, quiet, yet powerful enough to sustain an effect on our country then that of Dick Cheney. I thought I'd seen it all--biopic wise--until I saw "Vice".

 

This explores the epic story about how a bureaucratic Washington insider quietly became the most powerful man in the world as Vice-President to George W. Bush during the 2000 presidential election.

Although Cheney (Christian Bale) is extremely reluctant to be Gov. Bush's (Sam Rockwell) running mate, Bush was only able to convince him after Cheney said he would do it assuming he could make some changes to the otherwise 'figure only' position that it is. No stranger to politics, Cheney's resume includes stints as White House chief of staff, House Minority Whip and defense secretary. Through his years in politics, it is his wife, Lynne (Amy Adams) that is tenacious in making sure her husband obtains the power that he wants and feels he deserves. When Bush wins by a narrow margin (537 votes), Cheney begins to use his newfound power to help reshape the country and the world in ways we still feel today.

 

Others to round out the cast are Steve Carell as Donald Rumsfeld, Alison Pill as Mary Cheney, Dick and Lynne's daughter, Lily Rabe as Liz Cheney, Dick's and Lynne's other daughter, Eddie Marsen as Paul Wolfowitz, Tyler Perry as Colin Powell, Jesse Plemons as Kurt, LisaGay Hamilton as Condoleezza Rice, Justin Kirk as Scooter Libby, Bill Camp as Gerald Ford and Shea Whigham as Wayne Vincent.

 

This was superbly directed by Adam McKay ("Anchorman: The Legend of Ron Burgundy" '04, "Talladega Nights: The Ballad of Ricky Bobby" '06, "Step Brothers" '08, "The Other Guys" '10, "Anchorman 2: The Legend Continues" '13, "The Big Short" '15) plus TV and shorts. I haven't been a huge fan of McKay until he directed "The Big Short". I felt that he had grown as a director, and a writer for that matter, since he also wrote it. His prior films were written and directed well, but nothing like with Big Short. The character development in this film as with Big Short was amazing delineated, so much so that it seems like another filmmaker wrote and directed these films. He simply captured the proper staging and pacing and a steely sense of realism as these characters came alive. One can tell that McKay centered on perfecting the gut-wrenching performances of his actors, specifically Bale. However Bale is an accomplished actor in his own right, McKay's direction was spotlighted. It was also written by McKay (all the above films plus "Ant-Man" '15) plus TV and shorts. The script was solidly written, however there were some places of lack of continuity. There were scenes where a character in it was narrating, but it isn't explicitly detailed about his importance in the story, so it seemed a bit confusing. There was a lot going on here, so I can see how difficult it would be to keep certain areas of script in check. If you like the directing here, McKay's "Bad Blood" has been announced. What can I say about this ensemble cast but they were perfect in their respective roles, especially Bale. He carried the look, the tonality and the mannerisms of Cheney down cold, but considering Bale is the quintessential method actor, it should come as no surprise. He and the film will undoubtedly be nominated for Academy Awards.

 

If you yearn for biopics, you will revel with this depiction, but even if not, the fact that this is an incredibly well acted and directed film should more than compensate. This is one of those films one expects to see at this time of year, when Hollywood brings out the big guns for those films under consideration.

 

Out of 4 Stars: 3.5                                       Rated: R                                      132mins.

 

Welcome to Marwen

So much of the time, Hollywood has produced films in which lavish visual effects are implemented and those that are 'smaller' films using only actors and set design for the final product. Then occasionally, we are offered a film in which the makers of the film insert visuals, cutting edge photography, unique editing, odd sound effects to create something new and challenging for an audience looking for something different. So Robert Zemeckis has offered us "Welcome to Marwen".

 

No one expects Mark Hogancamp (Steve Carell) to recover from a devastating assault that wipes away most, to all his memories prior to the attack. Putting together pieces from the past and present, Mark meticulously creates a Belgian town called Marwen and becomes an heroic World War II fighter pilot. His astonishing art installation soon comes to life with breathtakingly realistic dolls--a testament to the most powerful women he knows including Nicol (Leslie Mann), Deja Thoris (Diane Kruger), Caralala (Eiza Gonzalez), Anna (Gwendoline Christie), Roberta (Merritt Weaver), GI Julie (Janelle Monae) and others. Through this fantasy world, Hogancamp finds the strength to triumph in the real world and face his attackers.

 

Others to round out the cast are Leslie Zemeckis as Suzette, Siobhan Williams as Elsa, Stefanie von Pfetten as Wendy, Neil Jackson as Kurt, Matt O;Leary as Benz and Conrad Coates as Darius Johnson, Mark's attorney.

 

This was extravagantly directed by veteran Robert Zemeckis ("Back to the Future" '85, "Who Framed Roger Rabbit" '88, "Death Becomes Her" '92, "Forrest Gump" '94, "Contact" '97, "Cast Away" 2000, "The Polar Express" '04, "A Christmas Carol" '09, "Flight" '12, "The Walk" '15) plus many others and TV. Truly, a Zemeckis film means something different yet entertaining, especially if his resume indicates anything. His use of photography, editing, visuals and music transforms the story into an intriguing, different approach that only Zemeckis can do so well. If you like his kind of directing, his "The King" has been announced. It was written well by Zemeckis ("1941" '79, "Used Cars" '80, "Back to the future" '85, "The Polar Express" '04, "A Christmas Carol" '09, "The Walk" '15) plus TV and videos, and Caroline Thompson ("Edward Scissorhands" '90, "The Addams Family" '91, "The Nightmare Before Christmas" '93, "Black Beauty" '94, "Corpse Bride" '05, "City of Ember" '08) plus others and a video short. If there was a more difficult screenplay to write, this would be the one, considering how many times the story would have to weave in and out from the real world to that of Mark's fantasy world through his town and doll characters. And other than a couple of small places of lack of cohesiveness, this was a solid, tight and interesting tale, especially with the fact that it's based on a true story. I never tire of seeing a Zemeckis film, because when I do see one, I leave the theatre feeling like I was truly entertained which is something I can't say for most films out there today. Between the amazing miniatures designed by Creative Consultants and the visual effects predominantly created by Atomic Fiction and Framestore, this film was a visual feast for the eyes.

 

I'll tell you, for this being the Christmas season, this is a film that would be fitting to watch considering the shear creativeness involved. This has adventure, fear, excitement, hope and redemption all rolled up in one movie that has a definite message. It leaves one with a bittersweet ending, but one that is palatable which gives it that realistic approach. Considering all this film has to offer, this needs to be seen on the large screen. This is a film where one individual was beaten and he gave us a glimpse of how he was to overcome the horrific event. We can all learn from this film whether we've been attacked or not, but even with that, hopefully we can reach out to someone that needs our help.

 

Out of 4 Stars: 3.5                                     Rated: PG-13                                116mins.

 

Aquaman

As we continue with the Christmas film season, or sometimes called the end of the year movie season, we are offered a comic book film that is actually not a Marvel film but a DC comic film. With "Batman", "Superman" and "Venom" are dealt with, DC then offers us an origins film of "Aquaman", the newest jewel in their crown, and I must say, jewel is the perfect word.

 

This is an action-packed adventure that spans the vast, visually breathtaking underwater world of the seven seas, "Aquaman" with Jason Momoa in the title role. The film reveals the origin in story of half-human, half-Atlantean Arthur Curry and take him on the journey of his lifetime--one that will not only force him to face who he really is, but to discover if he is worthy of who he was born to be...a king.

As the war between his half brother, Orm (Patrick Wilson), who is the King of the sea for now, ignites, Mera (Amber Heard) and Arthur's mentor, Vulko (Willem Dafoe) swim along side of him to combat Arthur's foes so they can overt the war that Orm is attempting to start with the people on land and those under the sea.

 

Others to round out the cast are Nicole Kidman as Atlanna, Arthur's mother, Dolph Lundgren as King Nereus, Yahya Abdul-Mateen as Manta, Arthur's nemesis, Temuera Morrison as Tom Curry, Arthur's father, Ludi Lin as Captain Murk, Michael Beach as Jesse, Manta's father, Randall Park as Dr. Stephen Shin, Graham McTavish as King Atlan, Leigh Whannell as Cargo pilot and Kekoa Kekumano as Young Arthur (16yrs old).

 

This was effectively directed by the horror/action king, James Wan ("Stygian" 2000, "Saw" '04, "Dead Silence" '07, "Death Sentence" '07, "Insidious" '10, "The Conjuring" '13, "Insidious: Chapter 2" '13, "Furious 7" '15, "The Conjuring 2" '16) plus TV and shorts. One of my least favorite genres is that of the horror one, which is why I probably hadn't seen a lot of Wan's work, but after I viewed "Furious 7", I felt that I had missed a great deal, because this filmmaker is truly effective. so when I prepared to see this film, I felt that it would be directed with that one two punch that "Furious 7" gave us. He was able to convey to us Momoa's ability to come across as this 'regular guy' that's flawed and down-to-earth. Certainly Momoa did his homework, but his presence on the screen has to go to the direction. It was thoroughly well thought out by writers David Leslie Johnson-McGoldrick and Will Beall, based on a story by Geoff Johns, James Wan and Will Beall. "Aquaman" is created by Mort Weisinger and Paul Norris. Usually when a film exceeds a 2 hour running time, I have a tendency to get very fidgety, however this reaching close to a 2 hour and 25 minute running time, this storyline simply moved right along. What really kept this story moving was not only the cohesive, tight script, but Jason Momoa as well. His presence as this confident yet flawed individual with many issues was real as it was entertaining. These writers should collaborates on other films. And the visual effects predominantly designed by ILM (Industrial Light & Magic), MPC (Moving Picture Company) and Framestore, not only enhanced the story, but were absolutely seamless.

 

If this rocked for you as much as for me, not to worry, there will be a next installment. I know, what a shock, but with a story and cast as this had, I yearn for another one. And make sure you see this on the large since it's in a nifty IMAX and 3D format as well.

 

Out of 4 Stars: 4                                          Rated: PG-13                                    143mins.

 

 

 

Mary Poppins Returns

When I saw "Mary Poppins" back in 1964, little did I know that 54 years later a sequel would be produced, but then again, back then I had no idea how many sequel, remakes and reboots would ever be produced to the number that they are today. Certainly waiting this long to release "Mary Poppins Returns" not only works, but makes this film fresher and a delight in every sense of the word.

 

In 1930's depression-era London, now an adult with three children, bank teller Michael Banks (Ben Whishaw) learns that his house will be repossessed in five days unless he can pay back a loan. His only hope is to find a missing certificate that shows proof of valuable shares that his father left him years earlier. Just as all seems lost, Michael and his sister, Jane (Emily Mortimer) receive the surprise of a lifetime when Mary Poppins (Emily Blunt)--the beloved nanny from their childhood--arrives to save the day and take the Banks family on a magical, fun-filled adventure with the aid of her friend Jack (Lin-Manuel Miranda).

 

Others to round out the cast are Pixie Davies as Anabel, Nathanael Saleh as John, Joel Dawson as Georgie, Julie Walters as Ellen, Colin Firth as Wilkins, Meryl Streep as Cousin Topsy, Dick Van Dyke as Mr. Dawes Jr., Jeremy Swift as Gooding, Kobna Holbrook-Smith as Frye, David Warner as Admiral Boom, Angela Lansbury as Balloon Lady and Jim Norton as Binnacle.

 

This was directed by the consummate showman himself, Rob Marshall ("Chicago" '02, "Memoirs of a Geisha" '05, "Nine" '09, Pirates of the Caribbean: On Stranger Tides" '11, "Into the Woods" '14) plus TV. Because of his impressive resume, he is basically the Broadway director of Hollywood. Through the years, he hasn't helmed a plethora of films, but those he's done have amazing quality. He simply makes his characters come alive, and the audience is given a Broadway performance that can be seen in a movie theater. If you like his brand of directing, his "The Little Mermaid" has been announced. It is equally well written by David Magee ("Finding Neverland" '04, "Miss Pettigrew Lives for a Day" '08, "Life of Pi" '12), based on a screen story by Magee, Marshall and John DeLuca, which is based on the "Mary Poppins" stories by P.L. Travers. The transition from the last film and this one was incredibly spot on, however the only thing wrong with this is that it is just a bit long-in-the-tooth. It was just a wee bit slow in a couple of places, but otherwise it was amazing. Of course, this, as with most musicals, was made more for the production numbers and its music more than the storyline, so this didn't have to be necessarily well written to win its audience. Between the musical songs by Marc Shaiman and Scott Wittman, the costumes by Sandy Powell and the visuals, this was quite the enjoyable ride.

 

Certainly if musicals are your thing, this will be the film for you, but even if you're not, the nostalgic feel with this will definitely win you over. The songs were so well created, that you'll find yourself humming along with them. Not many musicals can say this. Grab your family and head to the multiplex, because this is one you'll want to see on the large screen in all its grandiose.

 

Out of 4 Stars: 3.5                                    Rated: PG                                       130mins.

 

Spider-Man: Into the Spider-Verse

Through a plethora of years, we have see a gazillion of live-action films based on comic books, or what I call, comic book films. Now we have one of the many franchises that has been produced in the animated version, "Spider-Man: Into the Spider-Verse", which is actually in its truest format since it was animated from its origins.

 

Phil Lord and Christopher Miller, the creative minds behind "The Lego Movie" and "21 Jump Street", bring their unique talents to a fresh vision of a different Spider-Man Universe, with a groundbreaking visual style that's the first of its kind. "Spider-Man Into the Spider-Verse" introduces Brooklyn teen Miles Morales (Shameik Moore), and the limitless possibilities of the Spider-Verse, where more than one can wear the mask.

The story chronicles Peter B. Parker (Jake Johnson) mentoring Miles after Miles was bitten by a radio-active spider. Once Miles came to this realization, he came upon Parker to help him out. Along the way, they came across other 'Spider' people, Gwen Stacy (Hailee Steinfeld), Spider-Ham (John Mulany), Peni Parker (Kimiko Glenn) and Spider-Man Noir (Nicolas Cage). As a team, they must defeat and destroy enemies, Wilson Risk (Liev Schreiber) and Doc Ock (Kathryn Hahn).

 

Others to round out the cast are Mahershala Ali as Uncle Aaron, Brian Tyree Henry as Jefferson Davis, Lily Tomlin as Aunt May, Chris Pine as Peter Parker, Luna Lauren Velez as Rio Morales, Zoe Kravitz as Mary Jane and Natalie Morales as Miss. Calleros.

 

This was directed with an electric pulse by Bob Persichetti, Peter Ramsay ("Rise of the Guardians" 12) plus TV and Rodney Rothman. Even though there were three directors to helm this, there was certainly enough segments of this production to warrant the number of these filmmakers, especially considering that two of them have virtually no feature directing experience. All the Spider people definitely had their own personality and owned their individual presence in this. It was surely written well by Phil Lord ("Extreme Movie" '08, "Cloudy with a Chance of Meatballs" '09, "The Lego Movie" '14) plus TV and Rodney Rothman ("$5.15 Hr. (TV movie) '04, "Early Bird" (TV movie) '05, "Grudge Match" '13, "22 Jump Street" '14) plus TV, based on a story by Lord, which is based on the Marvel comics. When I saw the trailer of this, it did not sell it to me--it was only after I watched it did I really appreciate the fresh originality of it. This being a franchise that has been repeated enough times, I was impressed with this one. Other than a couple of small places of slowness, this new version of the franchise truly rocked! The imagery and animation designed by Sony Pictures Imageworks (SPI) was not only seamless but gave that feel of the comic book back in the day that it was at its popularity.

 

This production of the Spider-Man franchise soared in its visual imagery, and at the same time, impressed me with a concept that worked. I'm not particularly a Spider-Man fan, but after viewing this, it not only put my faith back into the franchise, but in the comic book films, at least to a degree. You gotta see this--and it's also in a nifty IMAX and 4DX format as well. Grab the popcorn and enjoy this ride.

 

Out of 4 Stars: 3.5                                   Rated: PG                                       117mins.

 

The Mule

As Hollywood has produced many times over, we are offered yet another based-on-a-true-story film. But instead of the movie centering on a well known figure in history, it's about a character we barely have heard of, much like the character Robert Redford played in :The Old Man and the Gun" released recently. With that said, we have "The Mule" in the offing about an old man that unwittingly becomes involved being a driver for a Mexican Cartel.

 

Earl Stone (Clint Eastwood), a 90-year-old man who is broke, alone and facing foreclosure of his business as a horticulturalist is offered a job that simply requires him to drive. Easy enough, but, unbeknownst to Earl, he's just signed on as a drug courier for a Mexican Cartel. He does well--so well, in fact, that his cargo increases exponentially, and Earl is assigned to a handler, Julio (Ignacio Serricchio). But he isn't the only one keeping tabs on Earl; the mysterious new drug 'mule' has also hit the radar of hard-charging DEA agent Colin Bates (Bradley Cooper) and his assistant (Michael Pena). And even as his money problems become a thing of the past, Earl's past mistakes start to weigh heavily on him, so he must decide whether to right those wrongs before law enforcement and cartel thugs catch up to him.

 

Others to round out the cast are Laurence Fishburne as DEA special agent, Dianne Wiest as Mary Stone, Earls's ex-wife, Alison Eastwood as Iris, Jill Flint as Pam, Taissa Farmiga as Ginny, Robert LaSardo as Emilio, Andy Garcia as Cartel leader, Eugene Cordero as Luis, Katie Gill as Sarah, Manny Montana as Axl and Noel Gugliemi as Bald Bob.

 

This was solidly and boldly directed by consummate veteran Clint Eastwood ("Play Misty for Me" '71, "The Outlaw Josie Wales" '76, "Sudden Impact" 83, "Unforgiven" '92, "True Crime" '99, "Mystic River" '03, "Flags of our Fathers" '06, "Gran Torino" '08, "American Sniper" '14, "Sully" '16, "The 15:17 to Paris" '18) plus many others. Every film that Eastwood directs simply showcases his ability to bring the characters involved to life. His cohesiveness, pacing and staging are flawless, not to mention the emotions he is able to extract from his actors. Is this film as caliber as some of his past films? No, but it is still a solid film and his performance has the impact that one would expect from his films. What's amazing is how Eastwood is still able to direct and star in his films at his age! It is solidly written by Nick Schenk ("Gran Torino" '08, "The Judge" '14) plus TV, a short and a video, and is inspired by the New York Times Magazine Article "The Sinaloa Cartel's 90-Year-Old Drug Mule" by Sam Dolnick. Even though this writer has a good deal of TV under his belt and the two films he has written are both written well, this film was a bit choppy in places and there were a couple of slow places in script, otherwise this was a gripping storyline. The intense build-up of plot was enough to put its audience on the edge of their seats, all the while wondering what is going to happen in Earl's situation. As with a number of Eastwood films, this is not a warm and fuzzy feeling film so one would not be seeing this for the entertainment factor as much as for the well-made crafted film that it is. The ensemble cast is believable and the characters they play are well delineated. The feat of directing and starring in a film is almost more that a much younger actor could endure, however for this 88-year-old veteran pro, he certainly makes it look effortless.

 

When one believes that Eastwood has completed his last film, just because of the shear age, he astounds us all and cranks out yet another one. He's like the Eveready bunny where he just keeps going on and on. This is a tight, intense thriller that will leave you intrigued at every turn.

 

Out of 4 Stars: 3.5                                       Rated: R                                        116mins.

 

The Wife

As we continue to see films at this strategic time of year--you know, those for your consideration come Oscar nominations, we are barraged with extremely well-crafted, entertaining and messaged films. With film companies vying for coveted Academy Awards, we, as the audience, get to reap with the enjoyment of quality films. Which brings us to "The Wife", an amazingly well-crafted character study of a great novelist and his ever-sacrificing wife.

 

After nearly forty years of marriage, Joan and Joe Castleman (Glenn Close and Jonathan Pryce) are complements. Where Joe is casual, Joan is elegant. Where Joe is vain, Joan is self-effacing. And where Joe enjoys his very public role as Great American Novelist, Joan pours her considerable intellect, grace, charm, and diplomacy into the private role as Great Man's Wife. Joe is about to be awarded the Nobel Prize for Literature for his acclaimed and prolific body of work. Joe's literary star has blazed since he and Joan met in the late 1950's. "The Wife" interweaves the story of the couple's youthful passion and ambition with a portrait of a marriage, thirty-plus years later--a lifetime's shared compromises, secrets, betrayals and mutual love. This is the perfect example of the old adage, "behind a great man is a greater woman".

 

Others to round out the cast are Max Irons as David Castleman, Joe and Joan's son, Christian Slater as Nathaniel Bone, Harry Lloyd as Young Joe Castleman, Annie Starke as Young Joan Castleman, Elizabeth McGovern as Elaine Mozell, Johan Widerberg as Walter Bark, Karin Franz Korlof as Linnea and Richard Cordery as Hal Bowman.

 

This was poignantly directed by Bjorn L. Runge ("Harry och Sonja" '96, "Raymond - sju resor varre" '99, "Daybreak" '03, "Mouth to Mouth" '05, "Happy End" '11) plus TV. I say poignant since this was presented in such subtle ways. The characters simply come to life without being over-the-top to give that sense of realism. This is fine directing that is delineated with incredible precision. It was equally well written by Jane Anderson (" It Could Happen to You" '94, "How to Make an American Quilt" '95, "The Baby Dance" (TV movie) '98, "When Billie Beat Bobby" (TV movie) '01, "The Prize Winner of Defiance, Ohio" '05, Packed in a Trunk: The Lost Art of Edith Lake Wilkinson" (documentary, co-writer) '15) plus TV, based on the novel, "The Wife" by Meg Wolitzer. Talk about subtlety. Assuming that the writing of this was executed in a common way, it would've been trite and banal, but Anderson took a somewhat familiar territory and with the subtlety she incorporated in this, it became the fresh and original screenplay it was. Another film that comes to mind in the subject matter having a common theme, but was written with subtlety with interesting nuances was that of Robert Benton's "Kramer vs. Kramer" '79. With this Nobel Prize ceremony looming, the dysfunction between these family members come to life which all tie into this award and was Joe worthy of it. This could garner possible Oscar nods for Close, Pryce, Anderson for writing and Runge for directing. Time will certainly tell. Close absolutely shines in this.

 

Is this film a crowd pleaser? Probably not, but suffice it to say, even though most people won't grasp this because of the subtle nuances, those that are into fine acting, writing and directing will have a treat waiting for them.

 

Out of 4 Stars: 4                                           Rated: R                                       100mins.

 

 

Schindler's List

One of the most anticipated re-released films in film history has got to be that of "Schindler's List". This is the 25th anniversary of its release in 1993 which is director, Steven Spielberg's most personal film to date. It was so personal that it was reported that before principal photography was to begin, the cast would be required to, in full costume, break bread together. Spielberg mentioned, where else would one ever see SS Nazi officers and Jewish people breaking bread? Excellent point.

 

Based on a true story, Steven Spielberg's "Schindler's List" stars Liam Neeson as Oskar Schindler, a greedy German businessman in Poland who sees an opportunity to make money from the Nazi's rise to power. He starts a company to make cookware and utensils, using flattery and bribes to win military contracts, and brings in accountant and financier Itzhak Stern (Ben Kingsley) to help run the factory. By staffing his plant with Jews who've been herded into Krakow's ghetto by Nazi troops, Schindler has a dependable unpaid labor force. For Stern, a job in a war-related plant could mean survival for himself and the other Jews.

Through these events, Schindler becomes an unlikely humanitarian amid the barbaric German Nazi rein, who manages to save approximately 1100 Jews from being gassed at the Auschwitz concentration camp. The message to this is that even though Schindler was a shrewd businessman, this story is a testament to the good in all of us.

 

Others to round out the cast are Ralph Fiennes as Amon Goeth, Caroline Goodall as Emilie Schindler, Oskar's wife, Jonathan Sagalle as Poldek Pfefferberg, Embeth Davidtz as Helen Hirsch, Malgoscha Gebel as Wiktoria Klonowska, Shmuel Levy as Wilek Chilowicz, Mark Ivanir as Marcel Goldberg, Beatrice Macola as Ingrid, Andrzej Seweryn as Julian Scherner, Friedrich Von Thun as Czurda, Krzysztof Luft as Herman Toffel, Harry Nehring as Leo John and Norbert Weisser as Albert Hujar.

 

This was brilliantly directed by veteran Steven Spielberg ("Duel" (TV movie) '71, "Jaws" '75, "Raiders of the Lost Ark" '81, "The Color Purple" '85, "Empire of the Sun" '87, "Jurassic Park" '93, "The Lost World" Jurassic Park" '97, "Saving Private Ryan" '98, "The Terminal" '04, "Munich" '05, "War Horse" '11, "Lincoln" '12, "The Post" '17, "Ready Player One" '18) plus many more. Every time I watch a Spielberg film, I feel like I'm watching people living their lives instead of a film, because the characters simply come to life and the realism of the characters are amazing. What amazes me is that this filmmaker is a natural, especially since his earlier films have been directed with such delineation that he was born to direct. I'm truly excited to see his version of "West Side Story" which is in pre-production at this present time. It was equally well written by Steven Zaillian ("The Falcon and the Snowman" '85, "Jack the Bear" '93, "Clear and Present Danger" '94, "A Civil Action" '98, "Gangs of New York" '02, "All the King's Men" '06, "Moneyball" '11, "Exodus: Gods and Kings" '14) plus others, based on the book by Thomas Keneally. Even though this writer only had three films to his credit before this film was released, his ability to transcribe this incredible story to the screen was accomplished with such painstaking realism along with poignancy that it made it a tough film to get through. Of course, Janusz Kaminski's cinematography certainly helped create that stark reality, but it was only able to be done considering the consummate script Kaminski had to work with. With this film, Zaillian certainly has proved himself time and again if his resume means anything. In fact, his "The Irishman" is in post production as I'm writing this. Cinematically, this film was amazing: the powerful direction and writing, Kaminski's crisp photography, John Williams haunting score, even Michael Kahn's well-crafted editing, not to mention amazing visual effects by ILM (Industrial, Light & Magic), this film has got to be one of the 20th century's best films.

 

This film should be taught in high schools as a history lesson of how we can be so callous to our fellow men and women and not even realize we are. This is a tough film to watch, but a much needed one for anyone past the age of 17. It is rated R mostly for the incredible point blank gun shots in the head and other violence, but these are all there because this is how hateful and violent bigotry can be and is. This is not a warm and fuzzy feeling film and was not meant to be, but rather an expose of how we, as a society, are not to be like. This is a limited release, so try and see this ASAP and bring a half a box of Kleenex with you.

 

Out of 4 Stars: 4                                    Rated: R                                          190mins.

 

 

 

 

 

Ralph Breaks the Internet

As the end of the year film season continues, we are offered yet another animated film which is a continuation of "Wreck-It Ralph" '12 appropriately titled "Ralph Breaks the Internet". Considering this is nothing more than an animated cross between a Disney travelogue and a Disney infomercial plugging just about everything they've made, this still is a well made film as far as the visuals and animation is concerned.

 

Taking place six years after saving the arcade from Turbo's vengeance, the "Sugar Rush" Arcade cabinet has broken, forcing Ralph (John C. Reilly) and Vanellope von Schweetz (Sarah Silverman) to travel the internet via the newly-installed Wi-Fi router in Litwak's Arcade to retrieve the piece capable of saving the game.

In this installment, video-game bad guy Ralph and Vanellope leave the comforts of the arcade in order to save Sugar Rush. Their quest takes them to the vast, uncharted world of the internet where they rely on the citizens of the internet--the Netizens--to help navigate their way. Lending a virtual hand are Yesss (Taraji P. Henson), the head algorithm and the heart and soul of the trend-making site "BuzzzTube", and Shank (Gal Gadot), a tough-as-nails driver from a gritty online auto-racing game, "Slaughter Race".

 

Others to round out the cast are Jack McBrayer as Felix, Jane Lynch as Calhoun, Alan Tudyk as Knowsmore, Alfred Molina as Double Don, Ed O'Neill as Mr. Litwak, Sean Giambrone as Eboy, Flula Borg as Maybe, Timothy Simons as Butcher Boy and Ali Wong as Felony.

 

This was directed with the expertise we've come to expect from Disney by Phil Johnston (two shorts) and Rich Moore ("Wreck-It Ralph" '12, "Zootopia" '16,) plus video shorts and TV. For the limited experience these two filmmakers have in the director's chair, I'm amazed that these characters came across with the realism they obtained, especially it being animated. More work should come their way. Where the problem lies with this film, is with the writing by Johnston ("Cedar Rapids" '11, "Wreck-It Ralph" '12, "Zootopia" '16, "The Brothers Grimsby" '16) plus shorts and TV, and Pamela Ribon ("Moana" (story) '16, "Smurfs: The Lost Village" '17) plus TV, based on a story by Moore, Johnson, Jim Reardon, Ribon and Josie Trinidad. First of all, this film was truly too long-in-the-tooth. It could've easily gotten its point across minus 10 minutes. Secondly, the story meandered a bit, and thirdly, it was slow in places, then it picked the pace and became interesting, only to become slow again. These two writers certainly have enough experience to create something with more polish and creativity. The premise was an interesting one, however the execution need a shot in the arm. This does leave the story either closed or open ended, but if I know Disney--the marketers of the planet, there will be another installment, especially since this is making a profit. And, of course, the best thing about this is the animation and visuals, but Disney is famous for that.

 

Certainly if you're a Disney fan, you'll revel, and if you have kids, they will definitely love this, since this is a great family film with a good message. Since there are so few films out there for kids and their families, it is nice that Hollywood can and does still make films for this demographic.

 

Out of 4 Stars: 2.5                                    Rated: PG                                     112mins.

 

 

 

Free Solo

This being the holiday film season including Thanksgiving and Christmas we see a plethora of well-crafted dramas and high end action films hopefully to be considered come Oscar time. Now we are offered a documentary titled "Free Solo" about the trek of Yosemite's El Capitan. I truly love well-made documentaries, and there have been many worthy of renting: "The Corporation" '03, "Murderball" '05, "Capitalism: A Love Story" '09, "Fed Up" '14, "Life Itself" '14, the very recent "Won't You Be My Neighbor?" '18 and the like. So when I read about this documentary, it sounded intriguing and it was in spades.

 

From award-winning documentary filmmaker Elizabeth Chai Vasarhelyi and world-renowned photographer and mountaineer Jimmy Chin comes National Geographic Documentary Film's "Free Solo", a stunning, intimate and unflinching portrait of the free soloist climber Alex Honnold, as he prepares to achieve his lifelong dream: climbing the face of the world's most famous rock...the 3,000ft El Capitan in Yosemite National Park...without a rope or safety gear. Celebrated as one of the greatest athletic feats of any kind, Honnold's climb set the ultimate standard: perfection or death. Succeeding in this challenge, Honnold becomes the first person to scale El Capitan free solo. As he's out in the elements, he's followed by Jimmy Chin who directs and photographs the events as are fellow rock climbers, Peter Croft, Tommy Caldwell and Journalist Mark Synnott overseeing his trek. Before his climb, his girlfriend, Sanni McCandless supports him, although is afraid for him as well.

 

This was stunningly and painstakingly directed by Elizabeth Chai Vasarhelyi ("A Normal Life" '03, "Youssou Ndour: I Bring What I Love" '08, "Touba" '13, "Meru" '15, "Incorruptible" '15--all documentaries) plus TV and Jimmy Chin ("Meru" '15) plus a video short. This film was a stunning and thrilling feast for the eyes. Chin's field directing was comprehensive and was willing to obtain shots in places that had angles where one wouldn't know which end was up, because the shear side of El Capitan was so larger-than-life and so vertical that unless you saw Honnold in the films' frame, you wouldn't be able to distinguish which was up or down in the films' frame. Just the sheer intensity of these filmmakers and their ability to keep you on the edge of your seat was pure genius. Even though you know that Honnold accomplishes the climb, it was still a nail-biter watching him attempt his journey and practically worrying for him. This is pure filmmaking as its finest. As with the aforementioned documentaries, this too, is one of the best documentaries I've seen, and I've seen a plethora of them. This could be nominated come Oscar time and certainly goes down into the annals of fine documentaries.

 

If you're a documentary junkie, you'll get your fix with this film, and even if not, one can't help but be enamored by the grit that Honnold goes through. The rock-climbing scenes are painstakingly edited and photographed and the scenery is breathtaking. The selling slogan of the film says it all: "love beyond fear". If you love something that intently, fear has a difficult time adhering itself to the climber.

 

Out of 4 Stars: 4                                       Rated: PG-13                                  100mins.

 

Green Book

Road trip films are typically fraught with fine acting, writing and directing, and however the plots may not be as honed, they are usually well-crafted. "Green Book" is a road trip film that is like a combination of "The Odd Couple" '68 and "Driving Miss Daisy" '89, whereas the two lead actors have nothing in common--both opposite ends of the pole and the film combines these two, who are at odds with each other, together where they must put aside their differences in order to survive an unforgiving world.

 

In 1962, Tony 'Lip' Vallelonga (Viggo Mortensen), a tough bouncer, is looking for work while his nightclub is closed for renovations. The most promising offer turns out to be the driver for African-American classical pianist Don Shirley (Mahershala Ali) for a concert tour which leads into the deep south states. Although hardly enthused at working for a black man, Tony accepts the job and they begin their trek armed with The Negro Motorist Green Book, a travel guide for safe travel through America's racial segregation. Together, the snobbishly erudite and the crudely practical bouncer can barely get along with their clashing attitudes to life and ideals. However, as the disparate pair witness and endure America's appalling injustices on the road, they find a newfound respect for each other's talents and heart to face them together. In doing so, they would nurture a friendship and understanding that would change both their lives.

 

Others to round out the cast are Linda Cardellini as Dolores Vallelonga, Tony's wife, Sebastian Maniscalco as Johnny Venere, Dimiter D. Marinov as Oleg, Mike Hatton as George, P.J. Byrne as Record Exec, Joe Cortese as Gio Loscudo, Maggie Nixon as Copa Coat Check Girl and Von Lewis as Bobby Rydell.

 

This was directed by the goof-ball directing king, Peter Farrelly ("Dumb and Dumber" '94, "Kingpin" '96, "There's Something About Mary" '98, "Me, Myself & Irene" 2000, "Shallow Hal" '01, "Stuck On You" '03, "Fever Pitch" '05, "The Heartbreak Kid" '07, "Hall Pass" '11, "The Three Stooges" '12, "Dumb and Dumber Too" '14, "Cuckoo" (TV movie) '15) plus others, TV and video shorts. Even though this film is considered a comedy-drama, it is still a far cry from Farrelly's typical fare--see above resume. Interesting that he decided to work without his brother Bobby Farrelly, but maybe the difference in this film wouldn't have been as evident given both behind the camera--not sure. The emotions he was able to extract from these two lead actors was near perfection--either actor could be nominated come Oscar time, and even though these actors are consummate, it still takes fine directing in order for these actors to shine as they did. It's as though Farrelly re-invented himself since he went from directing goofy comedies to a dramedy that is as interesting as it is entertaining just for the character study of these individuals. It was equally well written by Nick Vallelonga, Brian Hayes Currie and Farrelly. This script was cohesive, tight and flowed effortlessly from scene to scene. Surely, between these seasoned writers there is a plethora of fine writing, but I must say they definitely raised the bar on themselves. I would love to these filmmakers collaborate on another film if this is their outcome.

 

This film has it all: humor, drama, fear, respect and redemption all crafted in an entertaining way with a great message that in 1962 would've been an important message, but even today is still a gripping message as well. There is something for everyone in this and with the film the way it is, one doesn't always get this many aspects that work this well together.

 

Out of 4 Stars: 4                                     Rated: PG-13                                        130mins.

 

 

Robin Hood

Remakes and reboots of films have certainly become a Hollywood staple--so much so that original films are practically considered a surprise. The list of films that have been rehashed time and again are too numerous to list, suffice it to say that surely they will continue as long as there is a market for them. This version of "Robin Hood" is the newest of one of the oldest franchises that have been remade.

 

Robin of Loxley (Taron Egerton), a war-hardened Crusader and his Moorish commander, Little John (Jamie Foxx) mount an audacious revolt against the corrupt English crown in a thrilling action-adventure packed with gritty battlefield exploits, mind-blowing fight choreography, and a timeless romance with Marian (Eve Hewson).

Between the Church of England headed up by the Cardinal (F. Murray Abraham) and the Sheriff of Nottigham (Ben Mendelsohn) and the political manipulation of the two toward the people, it's no wonder there is a revolt to put an end to the tyranny. Will Robin learn his craft from John in order to thwart the evil deeds of the sheriff?

 

Others to round out the cast are Jamie Dornan as Will Scarlet, Tim Minchin as Friar Tuck, Paul Anderson as Guy of Gisbourne, Ian Peck as Arch Deacon, Cornelius Booth as Lord Pembroke, Kane Headley-Cummings as Stoker, Scot Greenan as Clayton and Lara Rossi as Evelyn.

 

This was directed with rollicking action by Otto Bathurst ("Shoreditch Twat" (TV movie) '02, "Guardian of the Amazon" (TV movie documentary) '02, "Margot" (TV movie) '09) plus tons of TV. Surely this was as well directed as it was because of all the TV experience this filmmaker has under his belt, otherwise this would've been suspect. Gnawing ones' teeth on enough TV can potentially be a leg up for someone wanting to branch out, and considering this was Bathurst's first feature film in the directing realm, proves that practicing on other medias will give you that expertise. It was written by Ben Chandler and David James Kelly ("Straw Man" (short) '10), based on a story by Chandler. What is even more remarkable is that this was written by one writer with absolutely no experience--Chandler, and the other with only a short to his credit--Kelly. Was this writing Academy Award worthy? Not really, but it certainly kept me riveted for the 116 minute running time. The biggest flaw here was that after a strong opening and starting to the film, the plot started slowing down to where the writers were having a problem continuing the storyline. But then after that lull in script, the story, all of a sudden, took off and then became the story these writers were trying to convey to their audience. The intriguing part of this film was the original idea of the plot. It basically tells us how Robin of Loxley becomes Robin Hood. Other incarnations have done this, however not in the original way as this one. The first film was 1938's "The Adventures of Robin Hood" with Errol Flynn with others, "Robin Hood: Prince of Thieves" '91, "Robin Hood: Men in Tights" '93, and "Robin Hood" '10. With this being one of the oldest franchises, certainly more incarnations will be developed for future generations.

 

With yet another "Robin Hood" produced for the new generation of moviegoers, it will be interesting to see what is offered us in say, approximately ten years from now. The treatment of character development in this was original and the stunts by Simon Crane were amazing. Even though it was a bit slow in the middle, it was still the quintessential popcorn film for all to enjoy.

 

Out of 4 Stars: 3                                     Rated: PG-13                                      116mins.

 

Widows

With all the franchises, remakes, sequels and prequels out there, it's certainly nice to see that Hollywood can produce a film that is different and original to woo us at this time of year. Thrillers can be an interesting genre, but throw in a number of twists and turns and viola, you are offered "Widows".

 

This is the story of four women with nothing in common except a huge debt left behind by their dead husbands' criminal activities. Set in contemporary Chicago, amid a time of turmoil, tensions build when Veronica (Viola Davis), Alice (Elizabeth Debicki), Linda (Michelle Rodriguez) and Belle (Cynthia Erivo) take their fate into their own hands and conspire to forge a future on their own terms. Couple this with political corruption between rivals Jack Mulligan (Colin Farrell) and Jamal Manning (Brian Tyree Henry) battling it out in an eminent election, and this is friction with shattering effects, replete with twists and turns aplenty. This is a blistering, modern-day thriller set against the backdrop of crime, passion and corruption that will have you wondering what's around the next corner.

 

Others to round out the cast are Robert Duvall as Tom Mulligan, Jack's father, Liam Neeson as Harry Rawlings, Manuel Garcia-Rulfo as Carlos, Jon Bernthal as Florek, Coburn Goss as Jimmy Nunn, Lukas Haas as David, Jacki Weaver as Agnieszka, Daniel Kaluuya as Jatemme Manning, Jamal's brother, Garrett Dillahunt as Bash, James Vincent Meredith as John, Kevin J. O'Connor as Bobby Welsh and Michael J. Harney as Fuller.

 

This was directed with well-delineated clarity by Steve McQueen ("Hunger" '08, "Shame" '11, "12 Years a Slave" '13) plus TV and a ton of shorts. This is one of those filmmakers that come along rarely with minimal feature film experience and prove themselves as a consummate director with as little as a couple of films to their credit. Because of his ability to convey amazing emotions from the characters in each movie, his films become captivating as the film unfolds. One can't wait to see what he does next. It was written well by Gillian Flynn ("Gone Girl" '14) plus novels and TV, and McQueen ("Hunger" '08, "Shame" '11) plus TV and shorts, which is based on "Widows" by Lynda La Plante. As with McQueen's directing, Flynn's writing is so polished that one yearns to see more films written by her. Her "Gone Girl" was one powerfully written film, but considering it was based on her novel, that might make the screenplay more powerful. This script took a little time getting going--it seemed a bit slow, but once it got going, it was an incredibly cohesive, well thought out plot that kept its audience on the edge of their seats. The twists and turns simply hit you right in the face and the character develop, especially that of Veronica, played by the consummate Viola Davis, was delineated with perfection. The script of "Gone Girl" was a bit more polished, but this wasn't too far behind. Couple that of McQueen's input and this film gave you that one two punch. It would be interesting to see these two filmmakers in another collaboration.

 

Like "Shutter Island", "No Way Out", "Prisoners'", "Gone Girl" and the like, the thriller genre can be riveting especially with twists and turns you just don't see coming. This film is no exception to that rule, so if you want to be sitting on the edge of your seat as the film journeys, you don't want to miss this--just be patient, because before you realize it, it punches you right in the face.

 

Out of 4 Stars: 3                                   Rated: R                                       129mins.

 

Creed II

There are many films out there today: independent films, message films, commercial films, obscure films, foreign films and good 'ol well-crafted American films. Well, this review of "Creed II" definitely has an emphasis on the latter. Who knew that when Sylvester Stallone re-invented this franchise with "Rocky Balboa", that it would be the quality we've seen since?

 

Life has become a balancing act for Adonis 'Johnson' Creed (Michael B. Jordan). Between personal obligations and training for his next big fight, he is up against the challenge of his life. Facing an opponent with ties to his family's past, namely Ivan Drago (Dolph Lundgren), father of Viktor Drago (Florian "Big Nasty" Munteanu), only intensifies his impending battle in the ring. Rocky Balboa (Sylvester Stallone) is there by his side through it all and, together, Rocky and Adonis will confront their shared legacy, question what's worth fighting for, and discover that nothing's more important than family. "Creed II" is all about going back to basics to rediscover what made you a champion in the first place, and remembering that, no matter where you go, you can't escape your past history.

 

Others to round out the cast are Tessa Thompson as Bianca, Adonis' girlfriend, Phylicia Rashad as Mary Anne Creed, Adonis' mother, Russell Hornsby as Buddy Marcelle, a fight promoter, Wood Harris as Tony 'Little Duke' Burton, Milo Ventimiglia as Robert Balboa, Rocky's son, Robbie Johns as Logan Balboa, Rocky's grandson and Brigitte Nielsen as Lumilla Drago.

 

This was directed by a virtual newcomer to feature films, Steven Caple Jr. ("The Land" '16) plus TV and many shorts. Although cutting his teeth on the amount of shorts he's been involved in, the characters in this were staged and paced effortlessly. Truly, he could be a natural, but considering that Ryan Coogler, who directed "Creed" '15 and who was one of the executive producer's of this film, would lead one to wonder if the influence of Coogler might have been present, since he is the consummate director as he is. It was as effortlessly written as well as the original by Sylvester Stallone ("Rocky" '76, "F.I.S.T." '78, "Rocky II" '79, "Rocky III" '82, "First Blood" '82, "Rocky IV" '85, "Rambo III" '88, "Rocky V" '90, "Driven '01, "Rocky Balboa" '06, "The Expendables" '10, "Homefront" '13) plus others, TV and videos and Juel Taylor (TV short "Riotville"-completed), which is based on a story by Stallone, Sascha Penn and Cheo Hodari Coker, which is also based on characters created by Stallone. Surely Stallone, by shear experience in the writing realm, has learned his craft the more he writes, but this screenplay is definitely one of his best. I'm sure Taylor had pivotal input with this film, however this was Stallone's baby and the well thought, tight, cohesive storyline proved it. Sure, Stallone doesn't venture too far from his comfort zone, but why should he when his stories have evolved to the point of amazing stories in and of themselves? All the characters were well delineated and no character was wasted or lost in the screenplay. Certainly having Michael B. Jordan in the title role didn't hurt--he is a chameleon of sorts and is willing to play any part, but Stallone has paid his dues. Other than a couple of very small slow areas, this script was spot on! If you like Stallone writing, not to worry, his "Rambo 5" is being filmed at this time for a 2019 release.

 

I was not much of a "Rocky" fan in the past, but as this franchise has grown over this many decades, I've gotten used to the character of Rocky Balboa, mostly because of the ease in which Stallone has pulled this off. This is the quintessential well-crafted American film which will get you on your feet and cheer.

 

Out of 4 Stars: 3.5                                    Rated: PG-13                                     130mins.