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.

 

 

 

Fantastic Beasts: The Crimes of Grindelwald

When it comes to franchises, Hollywood has cornered the market. Seemingly, every other film is that of part of a franchise. Don't believe me? "Star Wars", "The Avengers", "Harry Potter", "The Twilight Saga", "Indians Jones", "Jaws", etc. It all started with "Airport" back in 1969. After that made a truck load of money, Hollywood jumped on the band wagon and started producing more. So now we have the second installment of the "Fantastic Beasts" franchise entitled "Fantastic Beasts: The Crimes of Grindelwald".

 

At the end of the first film, the powerful Dark wizard Gellert Grindelwald (Johnny Depp) was captured by MACUSA (Magical Congress of the United States) with help of Newt Scamander (Eddie Redmayne), But, making good on his threat, Grindelwald escaped custody and has set about gathering followers, most unsuspecting of his true agenda: to raise pure-blood wizards up to rule over all non-magical beings. In an effort to thwart Grindelwald's plans, Albus Dumbledore (Jude Law) enlists his former student Newt Scamander, who reluctantly agrees to help, unaware of the danger that lies ahead. Lines are drawn as love and loyalty are tested, even among the truest friends and family including Jacob Kowalski (Dan Fogler), Seraphina Picquery (Carmen Ejogo), Queenie Goldstein (Alison Sudol), Tina Goldstein (Katherine Waterston) and Arnold Guzman (Cornell S. John), in an increasingly divided world.

 

Others to round out the cast are Zoe Kravitz as Leta Lestrange, Ezra Miller as Credence Barebone, Callum Turner as Theseus Scamander, Newt's brother, Kevin Guthrie as Abernathy, Derek Riddell as Torquil Travers and Wolf Roth as Spielman.

 

This was adequately directed by David Yates ("The Tichborne Claimant" '98, "Harry Potter and the Order of the Phoenix" '07, "Harry Potter and the Half-Blood Prince" '09, "Harry Potter and the Deathly Hallows: Part 1" '10, "Harry Potter and the Deathly Hallows: Part 2" '11, "The Legend of Tarzan" '16, "Fantastic Beasts and Where to Find Them" '16) plus TV and shorts. Considering this filmmaker's resume, it would be interesting to see what he could do with a project if the characters were a totally different type of people. The characters Yates works with are similar on many levels so it causes one to wonder what he could really do given an entirely different film to work with. He's adequate, however he could be more. If you like his brand of directing, not to worry: it has been announced that he will be helming "Fantastic Beasts" 3, 4 and 5 scheduled for release on 2020, 2022 and 2024 respectively. It was written by J.K. Rowling (The entire "Harry Potter" franchise, "Fantastic Beasts and Where to Find Them" '16) plus TV and shorts. Speaking of working with familiar projects, Rowling is a talented writer and it would actually be interesting to see what she could do given a totally different project. She's a consummate pro with this genre and subject matter, but it doesn't showcase what true talent she holds. This installment of this franchise wasn't nearly as fresh and cutting edge as the first installment mostly because in this the storyline simply got bogged down with choppiness and the script meandered too much from one scene to the next. As previously mentioned, she is a talented writer, so I'm not sure what happened--bad day at the laptop? Not sure, but suffice it to say, hopefully the third installment changes and we receive the benefits of a much better script. Don't get me wrong, it wasn't a wash, the characters are as rich as they are eclectic, but where the cohesiveness lacks, it harms the essence of what she is attempting to convey to the audience. As with Yates, she will be writing "Fantastic Beasts" 3, 4 and 5. With this ability to be a talented writer, it would be curious to see what she could do with another genre, say maybe a comedy. Perhaps one day we'll see.

 

If you liked "Harry Potter" or films like those, you'll love this. The makers of this franchise certainly play it safe, but they are definitely in good company. It's easy to stay in ones' comfort zone, whether it be directing or writing, but working outside the box has its benefits if you are willing to take the risk to see what you can accomplish. This is something we all can benefit from in all our lives.

 

Out of 4 Stars: 2.5                                 Rated: PG-13                                   134mins.

 

 

 

Instant Family

In a season when high-profile dramas for the Academy's consideration are the order of the day, we are offered a comedy in the midst of them. Usually I would wonder why a comedy would even be released during this season, until I saw "Instant Family". It definitely helped me trust in the genre of comedy after viewing it.

When Pete (Mark Wahlberg) and Ellie (Rose Byrne) decide to start a family, they stumble into the world of foster care adoption. They hope to take one small child but when they meet three siblings including Juan (Gustavo Quiroz), Lita (Julianna Gamiz) and a rebellious 15-year-old girl, Lizzy (Isabela Moner), Pete and Ellie find themselves speeding from zero to three kids overnight. Now, Pete and Ellie must hilariously try to learn the ropes of instant parenthood from their foster advocates, Karen (Octavia Spencer) and Sharon (Tig Notaro) in the hopes of becoming a family. This story was actually inspired by the real events from the life of writer/director Sean Anders.

Others to round out the cast are Tom Segura as Russ, Allyn Rachel as Kim, Margo Martindale as Grandma Sandy, Julie Hagerty as Jan, Michael O'Keefe as Jerry and Joan Cusack as Mrs. Howard.

This was hilariously directed by Sean Anders ("Never Been Thawed" '05, "Sex Drive" '08, "That's My Boy" '12, "Horrible Bosses 2" '14, "Daddy's Home" '15, "Daddy's Home Two" '17). Certainly this is familiar territory for Anders considering it's a comedy and it stars Mark Wahlberg whom he has worked with on both "Daddy's Home" films. But even though it's territory that he can tread easily, the characters had this certainly element of realism that would be appropriate in most dramas. Although life, in general, has its ups and downs, I feel Anders was attempting to give us the same combination in this film to, again, give it more realism so we can empathize with its characters. It was written surprising better than I ever thought it would be Anders and John Morris. I say better since the trailer did not sell this film. In fact, I came close to not seeing this at all, but considering Wahlberg was in this, how could I resist? Wahlberg truly gets better with every film he does and he has definitely proven his ability with comedy. Since these two writers have a substantial amount of good, solid work, it's no wonder why this story flowed well. Other than a couple of slightly hokey moments in script, this was hilarious and uproarious. The comic timing of both Wahlberg and Byrne was nearly perfect. And this being inspired by the real events from the life of writer/director Anders made this the more funny and poignant.

With the plethora of 'R' rated comedy films out there, it is so encouraging that there can actually be a 'PG-13' comedy that can not only be funny, but also something the whole family can see. In this day and age, how often does this happen? Hardly ever! This is a fun flick that will pull the heartstrings and give us a great message of family unity which we all could use more reminding of.

Out of 4 Stars: 3.5                                 Rated: PG-13                                   118mins.

The Grinch

When it comes to franchise films, there are about as many animated ones as there are of their live counterparts. Those of the "Ice Age", "Toy Story", or even "Snow White" fame have had quite the successful run. Ever since "How the Grinch Stole Christmas" came along in 1966 to TV, this Dr. Seuss gem has had audiences beaming. Then in 2000, it was a live version of it entertaining audiences galore. Now, it's "The Grinch" back in its glorious animated format to enjoy all over again.

 

This film tells the story of a cynical grump who goes on a mission to steal Christmas, only to have his heart changed by a young girl's generous holiday spirit. Funny, heartwarming and visually stunning, it's a universal story about the spirit of Christmas and the indomitable power of optimism.

Benedict Cumberbatch lends his voice to the infamous Grinch, who lives a solitary life inside a cave on Mt. Crumpet with only his loyal dog, Max, for company. For the Grinch's day-to-day needs, he only sees his neighbors in Whoville when he runs out of food. Each year at Christmas they disrupt his tranquil solitude with their increasingly bigger, brighter and louder celebrations. For the Grinch to gain some peace and quiet, he must steal Christmas. To do so, he decides to pose as Santa Claus on Christmas Eve, even going so far as to trap a lackadaisical misfit reindeer to pull his sleigh. Meanwhile, down in Whoville, Cindy-Lou Who (Cameron Seely), a young girl overflowing with holiday cheer, plots with her gang of friends to trap Santa Claus as he makes his Christmas Eve rounds so that she can thank him for the help for her overworked single mother, Donna (Rashida Jones). As Christmas approaches, however, her good-natured scheme threatens to collide with the Grinch's more nefarious one. Will Cindy-Lou achieve her goal of finally meeting Santa Claus? Will the Grinch succeed in silencing the Whos' holiday cheer once and for all?

 

Others to round out the cast are Pharrell Williams as the Narrator, Tristan O'Hare as Groopert, Kenan Thompson as Mr. Bricklebaum, Sam Lavagnino as Ozzy, Ramone Hamilton as Axl, Angela Lansbury as Mayor McGerkle, Scarlett Estevez as Izzy and Michael Beattie as Store Clerk.

 

This was effectively directed by Yarrow Cheney ("The Secret Life of Pets" (co-dir.) '16) plus shorts and Scott Mosier (shorts). The style of this was just as fresh as of the Chuck Jones' TV version in 1966 which is basically considered a classic. The Grinch was still as obnoxious and boisterous--a true Grinch by the definition of the name. and even though Cindy-Lou is a bit sassier as her 1966 counterpart, she surely fits today's standards. Max, my favorite character looked and acted like he's never aged a year. He is the same 'ol Max as in the 1966 version. These filmmakers we'll continue getting more work. It was written with freshness and deftness by Michael LeSieur ("You, Me and Dupree" '06, "The Maiden Heist" '09, :Keeping Up with the Jones" '16) and Tommy Swerdlow ("Cool Runnings" '93,"Little Giants" '94, "Bushwhacked" '95, "Snow Dogs" '02, "A Thousand Junkies" '17) plus TV and a short, which is based on the book "How the Grinch Stole Christmas" by Dr. Seuss. Even though both writers here didn't have a plethora of work to their credit, this storyline basically played a homage to the 1966 version. It wasn't a word-for-word version--there was some parts that were original and worked with the section that we know so well, but it was just as heartwarming and funny as its animated predecessor. Obviously Boris Karloff was brilliant casting for the 1966 version--that version being the last project before Karloff's death, however Cumberbatch was every bit as effective as that of Karloff. Cumberbatch gave the Grinch that despicable appeal that shined in this version

 

Certainly, if you liked the 1966 version or even the 2000 version, you will be in Grinch heaven in watching this. It was funny, heartwarming and slickly written and it was 90 minutes of pure joy. This is one for the whole family, so grab the popcorn and enjoy this gem! I know I did!

 

Out of 4 Stars: 4                                       Rated: PG                                        88mins.

 

Beautiful Boy

The film going audience out there must be fascinated with biopics--so much so that Hollywood has heaped a plethora of them on us for many years now. I can remember back in the 1960's, '70's and even 80's where the number of biopics was extremely small as compared by today's standards. Many of them are quality films which is why I don't mind seeing them, but anything good can wear on someone. So now we have "Beautiful Boy" in the offing to learn, once again, about an individual ,and in that, be better people for it.

 

Based on the best-selling pair of memoirs from father and son David and Nic Sheff respectively, this story chronicles the heartbreaking and inspiring experience of survival, relapse and recovery in a family coping with addiction over many years.

Nic Sheff (Timothee Chalamet) had it all: good health, popularity, was on the polo team, has loving parents. So why did this seemingly intelligent, well-rounded individual even attempt to try meth? This 18-year-old simply started deteriorating before his family including father David Sheff (Steve Carell), stepmother Karen Barbour (Maura Tierney), Jasper Sheff (Christian Convery) and Daisy Sheff (Oakley Bull) and his family was at odds to what to do with him. Once he agrees to get into rehab, he's back and forth with sobriety which compounds the family's frustration. However, even though the family goes through their own hell along with Nic, they still support Nic as much as they can which ultimately brings hope to the troubled youth.

 

Others to round out the cast are Amy Ryan as Vicki Sheff, Nic's mother, Kaitlyn Dever as Lauren, Andre Royo as Spencer, Ricky Low as Destiny, Amy Forsyth as Diane, Julian Works as Gack and Stefanie Scott as Julia.

 

This was intensely and brilliantly directed by Felix Van Groeningen ("Steve + Sky" '04, "With Friends Like These" '07, "The Misfortunates" '09, "The Broken Circle Breakdown" '12, "Belgica" '16) plus a short. Obviously both Carell and Chalamet are talented actors, but it takes a truly gifted director to be able to showcase the emotions, whether over-the-top or subtle, of these characters through his actors. Family dysfunction is something Hollywood has delved into before, however this filmmaker brought out the nuances needed to make this film painstakingly realistic. It was equally well written by Luke Davies ("Candy" '06, "Reclaim" '14, "Life" '15, "Lion" '16) plus a short and Van Groeningen ("With Friends Like These" '07, "The Misfortunates" '09, "Belgica" '16) plus a short, which is based on the books "Beautiful Boy" by David Sheff and "Tweak" by Nic Sheff. Again, the nuances that were used, made this subject matter, usually tritely written, fresher and original. I remember watching 1979's "Kramer vs. Kramer" and being in awe of it because of its writing. That film was about a subject matter that had been represented in numerous of films, but the writing made it the film it was. This is the sign of talented writing when the subject matter has been written about many times and it doesn't appear that way. I see Academy Award nominations written all over this one: best film, writing, actor and supporting actor. Only time will tell.

 

Truly we are in the end of the year film season where Hollywood brings out the big guns with their best of the best of films, and with this, we are the victors for it. Will this film win any awards? Not sure, but it will certainly give its competition a run for their money.

 

Out of 4 Stars: 4                                      Rated: R                                       120mins.

 

The Nutcracker and the Four Realms

Of all the genres Hollywood has offered us since the creation of the moving picture--otherwise known as movies, is that of the fantasy film. Oh, there have been many of them, but not quite as many as, say comedies, war, or even musicals. Even though "The Nutcracker" is not a unique subject matter, "The Nutcracker and the Four Realms" certainly has a different twist to an old story.

 

All Clara Stahlbaum (Mackenzie Foy) wants is a key--a one-of-a-kind key that will unlock a box that holds a priceless gift from her late mother, Marie (Anna Madeley). A golden thread, presented to her at godfather Drosselmeyer's (Morgan Freeman) annual Christmas party, leads her to the coveted key--which promptly disappears into a strange and mysterious parallel world. It's there that Clara encounters a soldier named Phillip (Jayden Fowora-Knight), a gang of mice and the regents, Sugar Plum (Keira Knightley), Hawthorne (Eugenio Derbez) and Shiver (Richard E. Grant) who preside over three realms: Land of Sweets, Land of Flowers and Land of Snowflakes. Clara and Phillip must brave the ominous Fourth Realm, home to the tyrant Mother Ginger (Helen Mirren), to retrieve Clara's key and hopefully return harmony to the unstable world.

 

Others to round out the cast are Matthew McFadyen as Mr. Stahlbaum, Clara's father, Ellie Bamber as Louise Stahlbaum, Clara's sister, Tom Sweet as Fritz Stahlbaum as Clara's brother and Jack Whitehall as Harlequin.

 

Instead of only one director of this film, it has two in the form of seasoned veteran Lasse Halstrom ("ABBA: The Movie" '77, "Tuppen" '81, "My Life as a Dog" '85, "What's Eating Gilbert Grape" '93, "The Cider House Rules" '99, "Chocolat" 2000, "An Unfinished Life" '05, "Dear John" '10, "Salmon Fishing in the Yemen" '11, "The Hundred-Foot Journey" '14) plus others, TV and video shorts and Joe Johnston ("Honey, I Shrunk the Kids" '89, "The Rocketeer" '91, "Jumanji" '95, "Jurassic Park III" '01, "Captain America: The First Avenger" '11, "Not Safe for Work" '14) plus others and TV. With the amount of experience represented here, I'm not sure why Disney felt as though the needed two directors especially with the expertise these filmmakers carry. Certainly they were able to get their actors to extract those emotions that were needed to convince their audience that these characters were believable, but couldn't it have been created with the typical one director? In any rate, these directors will continue to make many more films to enchant their audiences. Where Disney exceled in the directing, the question with this film is actually with the writing. It was adequately written by Ashleigh Powell who also was the creator of the screen story as well. It was a suggested short story "The Nutcracker and the Mouse King" written by E.T.A. Hoffmann and suggested by "The Nutcracker Ballet" by Marius Petipa. Powell virtually has no other film experience to her credit which is evident with this. The premise is extremely intriguing, however the execution needed more polish. First of all, it needed more cohesiveness--it had a tendency to meander a bit, and secondly, it was too slow in getting itself going and become the fun it could've been. Once it got going, it actually was very interesting and entertaining. With the lack of experience, Powell was attempting to find her film, and then, all of a sudden, she found it and then started producing a script that we, and her for that matter, captured the twist of this story. She has a couple more films which will be released in the near future. So with these, we will see how is performs. Production value wise, the best thing about this was the costume design by Jenny Beavan and the music which housed excerpts of Pyotr Ilyich Tchaikovsky's classic "The Nutcracker Suite". And I would be remiss in not mentioning the slick visual effects predominantly designed by MPC (Moving Picture Company) which were seamless.

 

If fantasy films with lavish production values are a favorite for you, you'll love this, however if a cohesive, tight script is more your liking, this needed some polish. Certainly, because of the grandiose of the production, this has to be seen on the big screen. And what a better way to see it than also in a 3D format.

 

Out of 4 Stars: 3                                   Rated: PG                                    99mins.

 

Bohemian Rhapsody

We have seen a plethora of biopics in recent years, and since there have been some iconic entertainers in our past, biopics chronicling different musicians have been quite popular. With films such as "Cabaret" '72, "Beyond the Sea" '04, "Ray" '04, "Love & Mercy" '14 and the like, We are due for another gem in the form of "Bohemian Rhapsody".

 

This story is a foot-stomping celebration of Queen, their music and their extraordinary lead singer Freddie Mercury (Rami Malek). This spans a 15 year collaboration starting in 1970. Freddie defied stereotypes and shattered convention to become one of the most beloved entertainers on the planet. The film traces the meteoric rise of the band including Brian May (Gwilym Lee), Roger Taylor (Ben Hardy) and John Deacon (Joe Mazzello), through their iconic songs and revolutionary sound. They reached unparalleled success, but in an unexpected turn Freddie, surrounded by darker influences, shuns Queen, however Freddie manages to reunite with his bandmates just in time for Live Aid in 1985. While bravely facing a recent AIDS diagnosis, Freddie leads the band in one of the greatest performances in the history of rock music. Queen cements a legacy that continues to inspire outsiders, dreamers and music lovers to this day.

 

Others to round out the cast are Lucy Boynton as Mary Austin, Freddie's girlfriend, Aiden Gillen as John Reid, the band's manager, Allen Leech as Paul Prenter, Tom Hollander as Jim Beach, Mike Myers as Ray Foster, Aaron McCusker as Jim Hutton, Meneka Das as Jer Bulsara, Freddie's sister and Ace Bhatti as Bomi Bulsara, Freddie's brother.

 

This was delineated brilliantly by director Bryan Singer ("Public Access" '93, "The Usual Suspects" '95, "Apt Pupil" '98, "X-Men" 2000, "X-Men 2" '03, "Superman Returns" '06,  "Football Wives" (TV movie) '07, "Valkyrie" '08, "Jack the Giant Slayer" '13, "X-Men: Days of Future Past" '14, "X-Men: Apocalypse" '16) plus TV and a short. As a veteran in directing films, this filmmaker showcases his direction as though its an effortless task. Certainly his resume has given him that ability to use his actors in the best possible way anywhere from staging to a very effective script that punches you in the face. If you like this filmmaker's brand of directing, his "Broadway 4D" is in post production for a 2018 release. It was well written by Anthony McCarten ("Death of a Superhero" '11, "The Theory of Everything" '14, "The Darkest Hour" '17) plus TV, based on a story by McCarten, and Peter Morgan. Even though McCarten doesn't have a lengthy resume, what he has tackled is nothing less than perfect. This starts with Freddie and his band walking out to a packed stadium of fans only to take us back to the year 1970 when Mercury had met the guys of the band. And from there, the script simply pulled off a tight, concise, cohesive storyline that keeps us riveted. Although Malek's performance as Freddie is incredible--he will certainly garner a nomination for best actor, the supporting cast was carefully and brilliantly chosen.

 

Musical biopics are typically well thought-out, but this is an exception since it was amazingly well written, directed and acted better than most. I see Academy Award nods for several here--for your consideration. As for Malek, he definitely went out on that limb and pulled off an incredible performance--none like he's done. Enjoy this gem!

 

Out of 4 Stars: 4                                    Rated: PG-13                                        134mins.