Knives Out

Of all the genres Hollywood has to offer, one of my favorites has got to be mysteries, but more to the point, the 'whodunit' film. Film wise, I have always enjoyed films based on an Agatha Christie novel. It was just a great way to escape all the while trying to figure out whodunit. Well this is what we've been offered with "Knives Out".

 

Acclaimed writer and director Rian Johnson, pays tribute to mystery mastermind Agatha Christie in "Knives Out", a fun, modern-day murder mystery whodunit where everyone is a suspect. When renowned crime novelist Harlan Thrombey (Christopher Plummer) is found dead at his estate just after his 85th birthday, the inquisitive and debonair Detective Benoit Blanc (Daniel Craig) is mysteriously enlisted to investigate. 

From Harlan's dysfunctional family including Linda Drysdale (Jamie Lee Curtis), Walt Thrombey (Michael Shannon), Richard Drysdale (Don Johnson), Ransom Drysdale (Chris Evans) and Joni Thrombey (Toni Collette), to his devoted staff including Marta Cabrera (Ana de Armas) and Fran (Edi Patterson), Blanc sifts through a web of red herrings and self-serving lies to uncover this truth behind Harlan's untimely death.

 

Others to round out the cast are LaKeith Stanfield as Lieutenant Elliott, Katherine Langford as Meg Thrombey, Jaeden Martell as Jacob Thrombey, Frank Oz as Alan Stevens, K Callan as Greatnana Wanetta, Noah Segan as Trooper Wagner, E. Emmet Walsh as Mr. Proofroc and Marlene Forte as Marta's mom.

 

This was brilliantly written and directed by Rian Johnson ("Brick" '05, "The Brothers Bloom" '08, "Looper" '12, "Star Wars: Episode VIII-The Last Jedi" '17) plus TV, shorts and a video short. Johnson is a filmmaker to contend with seeing as how he has not only the ability to write and direct a commercial film, but an independent one as well. Usually most filmmakers gravitate to one or the other, but this guy can do it all. Ever since I saw his first feature film, "Brick" in 2005, I was convinced that this filmmaker was going places, assuming Hollywood gave him a chance. As Hollywood has let'me down many times, they actually acknowledged this guy's true potential. The characters in this simply came to life through his innate ability work along side of his actors to get as real a response from them depending on the scene. His writing is as delineated with creating a plot and storyline that seems complex, however as it is conveyed to the audience, it is a honed, tight, and cohesive script that includes twists and turns aplenty. As soon as you think you've figured it out, you'll soon realize you're wrong. This was definitely a homage to mystery writer Agatha Christie and it also has a "Clue" feel to it probably because it's written as a dry comedy. This ensemble cast is amazing and comes across like they truly love this production and gives the appearance that they wouldn't want to be doing anything else but this film. If you like Johnson's work, an untitled 'Star Wars Trilogy: Episode I' has been announced.

 

If you like the work of Rian Johnson or of Agatha Christie, you will in sleuth heaven. Like other whodunits, this has it all: intrigue, mystery, doubt, fear and even humor all rolled up in a fun, interesting and rollicking film that will keep the audience on their toes wondering, whodunit!

 

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

 

Frozen II

Sequels in Hollywood is as prevalent as rain in Seattle. Every other film that is released any more is a sequel, prequel, remake, reboot, franchise or continuation. So Disney, being a company that certainly knows how to market films, hands us yet another sequel in the form of "Frozen II". It's not that they make great films necessarily as much as they know how to market them.

 

Why was Elsa (Idina Menzel) born with magical powers? What truths about the past await Elsa as she ventures into the unknown to the enchanted forests and dark seas beyond Arendelle? The answers are calling her but also threatening her kingdom. Together with Anna (Kristen Bell), Kristoff (Jonathan Groff), Olaf (Josh Gad) and Sven, she'll face a dangerous but remarkable journey. In "Frozen", Elsa feared her powers were too much for the world. In "Frozen II", she must hope they are enough. Will Elsa find answers to the questions she so desperately needs to save her kingdom, or will she fail in her attempts to take care of her sister and to make things right?

 

Others to round out the cast are Sterling K. Brown as Mattias, Evan Rachel Wood as Queen Iduna, Alfred Molina as King Agnarr, Martha Plimpton as Yelena, Jason Ritter as Ryder, Rachel Matthews as Honeymaren and Jeremy Sisto as King Runeard.

 

This was effectively directed by Chris Buck ("Tarzan" '99, "Surf's Up" '07, "Frozen" '13, "Zootopia" (story) '16, "A Wrinkle of Time" '18) plus video games and a short, and Jennifer Lee ("Frozen" '13) plus a short. Considering these two directors directed the original, it was not a stretch of work for them to effectively direct this sequel. Certainly Buck has the lion's share of the experience, however Lee was an integral part of this team. Lee's experience is more in the writing arena, however I'd love to see her direct more than this fare. Truly if given the opportunity, she could direct more with the caliber I feel she has. Whereas Lee just needs more work, Buck needs to be given more live-action films to delve into--this would certainly showcase his true potential. It was effectively, yet predictably written by Jennifer Lee ("Wreck-It Ralph" '12, "Frozen" '13, "Zootopia" (story) '16, "A Wrinkle in Time" '18) plus video games and a short, based on a story by Lee, Buck, Marc E. Smith, Kristen Anderson-Lopez and Robert Lopez, which is based on the story, "The Snow Queen" by Hans Christian Andersen. Like the original, one could ascertain that this was written by the same writer as the original. There's certainly nothing wrong with this detail, except that, like the original, this is predictable and unoriginal in its plot and conveyance toward its audience. The aspect of Elsa's powers saving Arendelle from destruction in this and those powers almost destroying the kingdom in the original is an interesting and admiral approach, but the familiarity of storyline leaves the audience without a truly challenging plot. As with the original, the best thing about this was the new songs by Kristen Anderson-Lopez and Robert Lopez, who wrote the songs for the original, and the animation, which better be executed well considering that Disney Animation Studios designed it.

If you're either a Disney or "Frozen" fan, you will cherish this, but even not, this looks great on the large screen--it's presented in a nifty optional IMAX and 4DX format. This is a film all little girls will love as they did with "Frozen", but not much here for their parents. But hey, Disney's not concerned since this grossed a hefty 127 million bucks in its first weekend of release. Can you say cha-ching!?

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

 

Honey Boy

There are films based on true stories, and then there are films executed by a writer who writes and acts in a story based on his experiences with his father. The latter description is "Honey Boy", which makes this a whole new turn on the film based on a true story concept. Could  this be art imitates life? Possibly, but this is certainly an original way of conveying it.

 

From a screenplay by Shia LaBeouf on his own experiences, filmmaker Alma Har'el brings to life a young actor's stormy childhood and early adult years as he struggles to reconcile with his father through cinema and dreams. Fictionalizing his childhood's ascent to stardom, and subsequent adult crash-landing into rehab and recovery, Har'el casts Noah Jupe as young Otis Lort and Lucas Hedges as adult Otis, navigating different stages in a frenetic career. LaBeouf takes on the daring and therapeutic challenge of playing a version of his own father with the name James Lort, an ex-rodeo clown and a felon. Artist and musician FKA Twigs makes her feature-film debut, playing a shy neighbor and kindred spirit to the younger Otis in their garden-court motel home. Har'el's feature narrative debut is a one-of-a-kind collaboration between filmmaker and subject, exploring art as medicine and imagination as hope.

 

Others to round out the cast are Laura San Giacomo as Dr. Moreno, Clifton Collins Jr. as Tom, Martin Starr as Alec, Byron Bowers as Percy, Mario Ponce as Tiny and Maika Monroe as Sandra.

 

This was brilliantly directed by, of all filmmakers, a documentarian, Alma Har'el ("Bombay Beach" (documentary) '11, "LoveTrue" (documentary) '16, "11/8/16" (documentary) '17) plus video shorts. What's incredibly interesting is that a documentarian, who is usually concerned about facts and research, would be able to delineate such a riveting expose into LaBeouf's family history. The emotions she was able to extract from her actors, LaBeouf included was defined with pathos and grit. I would certainly like to see her delve more into feature films if this is what is the outcome of her work. It was brilliantly written by Shia LaBeouf (2 shorts and a video short). Considering this actor has never written a feature film before, this was incredibly delineated with cohesiveness, tightness and thoughtfulness. It was well structured in where he was able to incorporate his earlier and adult years to where the audience could understand where he ended up when he was an adult. I truly believe that if LaBeouf wanted to step away from acting, he could continue to write films and we would be a better people for it. LaBeouf might have steered from the biz for a while being the bad boy of Hollywood, but since he's been back, he has been re-inventing himself. His starring role in "The Peanut Butter Falcon" was brilliant acting and could be nominated come Oscar time. If he doesn't get recognized for that, this could hold a nod for him in the acting or writing category. The only thing one must keep in mind, is that this is not a warm and fuzzy feeling film, but considering LaBeouf's background, it's no doubt that it would be a rough ride.

 

If you're a LaBeouf fan, you'll love this, but even not, the writing, directing and acting, especially by LaBeouf, Lucas Hedges and Noah Jupe was consummate. It's an artistically well done film that comes across depressing, but if one is patient, it culminates into a bittersweet ending, and isn't that the way life is sometimes?

 

Out of 4 Stars: 4                                     Rated: R                                         94mins.

 

A Beautiful Day In The Neighborhood

So much of the time Hollywood produces more films that are intense, war-based, political or based on depressed, unscrupulous individuals all based on true events. It's truly refreshing to see a film based on true events that is as inspirational and uplifting as "A Beautiful Day In The Neighborhood". In this day and age of a torn society, this was a joy to sit back and take it in.

 

This is a timely story of kindness triumphing over cynicism, based on the true story of a real-life friendship between Fred Rogers aka Mr. Rogers (Tom Hanks) and journalist Tom Junod. After a jaded magazine writer, Lloyd Vogel (Matthew Rhys) is assigned by his editor, Ellen (Christine Lahti), a profile of Fred Rogers, he ultimately overcomes his skepticism, learning about empathy, kindness, and decency from America's most beloved neighbor. It seems to be that for every question Vogel has for Rogers, Rogers has this innate ability to see through the pain Vogel is experiencing. Through Vogel's pain and cynicism, he is amazed how Rogers can do his show and when it's over, his demeanor doesn't change at all from his program to afterwards when the camera is off--his humility is something that Vogel truly stumbles around on.

 

Others to round out the cast are Chris Cooper as Jerry Vogel, Lloyd's estranged father, Susan Kelechi Watson as Andrea Vogel, Lloyd's wife, Maryann Plunkett as Joanne Rogers, Fred's wife, Enrico Colantoni as Bill Isler, Wendy Makkena as Dorothy, Tammy Blanchard as Lorraine, Kelley Davis as First AD, Carmen Cusack as Margy, Daniel Krell as Mr. McFeely and Maddie Corman as Lady Aberlin.

 

This was mesmerizingly directed by Marielle Heller ("The Diary of a Teenage Girl" '15, "Can You Ever Forgive Me?" '18) plus TV. This is certainly a newer director, however the work she has helmed is definitely quality. Although Hanks is a consummate actor, it still took a talented filmmaker to give the audience the feeling of seeing Fred Rogers up on that screen without it being the actual person. With the obvious expertise shown here, I will be waiting to see what she does next. It was equally well thought out by writers Micah Fitzerman-Blue and Noah Harpster ("Maleficent: Mistress of Evil" '19) plus a TV short. As Heller is as new to directing as she is, these writers are even newer and they produced an original and fresh screenplay I really haven't seen in any other film based on a true story. The film goes back to 1998 where Rogers already had established fame and was in the middle of his long running TV show based at WQED TV in Pittsburgh, Pa. Where his show with showing the audience a scale model of 'the neighborhood', every time this film would change locations, they would show the audience a scale model of that city, i.e. New York, Pittsburgh, etc. And there were other things that were as unique as the models. The story was cohesive, tight and concise. When I first saw the trailer of this film, I felt then that Hanks would be nominated at Oscar time, and afterwards, I am confirmed. Will he win? Not sure, but he will be nominated deservedly. The look, tonality and nuances he emulated were incredible.

 

I'll tell you, this is a film all can and should be see by all, especially with the barrage of media woes, i.e. politics, natural disasters, murders and the like. It is simply a pleasure to sit back and see a film that will warm your heart, but also one that causes one to think about who we are and how are we treating each other.

 

Out of 4 Stars: 4                                     Rated: PG                                      108mins.

 

Playing with Fire

One segment of films that never seem to be produced enough is that of the family film fare. Sure, there have been these films in the past, however clearly not enough. And since I've been told that I don't review enough family oriented films, I felt that "Playing with Fire" would fit the bill. First of all, it's geared toward kids/families, and secondly, after watching the trailer several times, I felt it would be a fairly funny film.

 

When straight-laced fire superintendent Jake Carson (John Cena) and his elite team of expert firefighters, Mark (Keegan-Michael Key), Rodrigo (John Leguizamo), and Axe (Tyler Mane) come to the rescue of three siblings Brynn (Brianna Hildebrand), Will (Christian Convery) and Zoey (Finley Rose Slater) in the path of an encroaching fire, they quickly realize that no amount of training could prepare them for their most challenging job yet-- babysitters. Unable to locate the children's parents, the firefighters have their lives, jobs and even their fire depot turned upside down and quickly learn that kids--much like fires--are wild and unpredictable.

 

Others to round out the cast are Judy Greer as Dr. Amy Hicks, Dennis Haysbert as Commander Richards and Lynda Boyd as Patty Welch.

 

By his very resume, this was directed by the family film king, Andy Fickman ("She's the Man" '06, "The Game Plan" '07, "Race to Witch Mountain" '09, "You Again" '10, "Wright vs. Wrong" (TV movie) '10, "Parental Guidance" '12, "Paul Blart: Mall Cop 2" '15) plus TV. As with his other films, this is familiar territory and with that, he effectively, yet easily pushed his way through this project. Everyone in this was credible in their roles and emitted the emotions that was needed given the situation at hand. His staging and pacing with was spot on. It will be interesting to see what he does with his "The Tale of the Allergist's Wife" which is in pre-production. It was written in a cute way by Dan Ewen and Matt Lieberman ("The Christmas Chronicles" '18, "The Addams Family" '19). Certainly Lieberman has the brunt of the experience here, although I'm sure Ewen had pivotal input. As I mentioned, this was a very cute film in that it was about a hardened firefighter ultimately being softened by these kids, which becomes heartwarming. Was this Academy Award caliber? No. Was it well written? Not expressly, but I believe it delivered what it was meant to deliver: and that's a kid/family oriented film that is funny, heartwarming, exciting and carries an effective message. It was formulaic and predictable, however allowing it to be able to talk to its audience--in this case kids and their parents, it brought home a film the entire family can enjoy and have fun with.

 

I'm very perplexed, however not surprised that this has received poor critiques. If one can be objective and realize why this was made and to what audience it was attempting to reach, then this should've received a more fair write-up. Although it wasn't perfect, this was still fairly humorous and heartwarming. And hey, it's just nice to see films that anyone can see and not have to wonder if they're going have four-letter words, gratuitous sex and plenty of drugs thrown in their face.

 

Out of 4 Stars: 3                                            Rated: PG                                          96mins.

 

Ford v Ferrari

Ever since the advent of the race car, Hollywood has had a fascination with this concept. Certainly since Cinerama's 1966 premiere of "Grand Prix", audiences have been glued to the screen. Films like "Driven", "Death Race" and "Rush" has furthered this fascination. So when "Ford v Ferrari" was to be released, I felt it would a winner, and it certainly was.

 

This film is based on the remarkable true story of the visionary American car designer Carroll Shelby (Matt Damon) and the fearless British-born driver Ken Miles (Christian Bale), who together battled corporate interference, namely Henry Ford II (Tracy Letts), Lee Iacocca (Jon Bernthal) and Leo Beebe (Josh Lucas), the laws of physics, and their own personal demons to build a revolutionary race car for Ford Motor Company and take on the dominating race cars of Enzo Ferrari (Remo Girone) at the 24 Hours of Le Mans in France in 1966.

 

Others to round out the cast are Caitriona Balfe as Mollie Miles, Ken's wife, Noah Jupe as Peter Miles, Ken and Mollie's son, Ray McKinnon as Phil Remington, one of the designers for Shelby and Miles, JJ Feild as Roy Lunn and Jack McMullen as Charlie Agapiou.

 

This was directed with fervor by veteran James Mangold ("Heavy" '95, "Cop Land" '97, "Girl, Interrupted" '99, "Kate & Leopold" '01, "Identity" '03, "Walk the Line" '05, "3:10 to Yuma" '07, "Knight and Day" '10, "The Wolverine" '13, "Logan" '17) plus TV. Not only was this director able to encourage his actors to emit the emotions that delineated the scene well, but he certainly worked magic coordinating the amazing photography and editing which added as much toward the story as the story itself. It will be interesting to see how his "Juliet" works which is in pre-production. It was rivetingly well written by veteran writers Jez Butterworth, John-Henry Butterworth and Jason Keller. Jez Butterworth has the lions share of the experience here, however the other two writers are talented in their own rights. This had a running time of 2-1/2 hours and it simply moved right along. Usually if a film exceeds a 2 hour running time, I get very fidgety, but the fluidity here was well honed. Also when a film encumbers more than 2 writers, it can turn into a mess--too many hands in the pot, but because these writers were consummate pros, they were able to obviously work together as a true team.

 

I've always liked automotive design and car races, so this film rang true to me, but even if one isn't a staunch admirer of cars, the acting, writing and directing were incredible. Really, everything about this film was stunning including the photography and editing. It's thrilling, action-packed and all with a good story. It's even in a nifty IMAX and 4DX  format if you prefer. You must see this on a large screen, otherwise you'll lose the full impact.

 

Out of 4 Stars: 4                                    Rated: PG-13                                  152mins.

 

 

 

The Good Liar

Out of all the different types of storylines films can offer is that of the cat-and-mouse. It is intriguing to see a couple of people attempt to 'one up' each other for a specific reason. This is the premise of "The Good Liar" which works for these consummate pro actors. Although this isn't a spy film, many spy flicks carry a cat-and-mouse idea to them, which, in my opinion, makes this a worthy watch.

Career con artist Roy Courtnay (Ian McKellen) can hardly believe his luck when he meets well-to-do widow Betty McLeish (Helen Mirren) online. As Betty opens her home and life to him, Roy is surprised to find himself caring about her, turning what should be a cut-and-dry swindle into the most treacherous tightrope walk of his life. As Roy imposes himself even more into her life, Betty's grandson, Stephen (Russell Tovey) increasingly becomes more and more skeptical of Roy's intentions, and decides to do his own research on his guy when they all have a vacation in Berlin. Piece by piece, Stephen attempts to open his grandma's eyes, so little by little Betty wonders about Roy, although not totally convinced. This is a suspenseful drama about the secrets people keep and the lies they live all in a cat-and-mouse yarn with the ultimate stakes.

Others to round out the cast are Jim Carter as Vincent, an associate of Roy's, Mark Lewis Jones as Bryn, another associate of Roy's, Laurie Davidson as Hans Taub (1948), Phil Dunster as Roy Courtnay (1948), Lucian Msamati as Beni, Johannes Haukur Johannesson as Vlad and Tunji Kasim as Michael.

This was rivetingly directed by Bill Condon ("Sister, Sister" '87, "White Lie" (TV movie) '91, "Deadly Relations" (TV movie) '93, "Candyman: Farwell to the Flesh" '95, "Gods and Monsters" '98, "Kinsey" '04, "Dreamgirls" '06, "The Twilight Saga: Breaking Dawn- Part 1" '11, "Tilda" (TV movie) '11, "The Twilight Saga: Breaking Dawn- Part 2" '12, "The Fifth Estate" '13, "Mr. Holmes" '15, "Beauty and the Beast" '17) plus TV and shorts. As opposed to many other directors, this filmmaker cannot be pigeon-holed. Not only has he ventured into multiple genres, but different subject matter as well, and that is very respectful. Certainly keeping to what one does best makes them more effective in what they know, however going out on a limb definitely can make a film cutting edge in the approach of the director, and this is the case with Condon. He simply made the characters come alive, especially with Mirren and McKellen in their subtlety subdued performances. It's a joy to see direction by a consummate veteran as with Condon. It was effectively written by Jeffrey Hatcher ("Murder at the Cannes Film Festival" (TV movie) 2000, "Casanova" '05, "The Duchess" '08, "Coco Chanel" (TV movie) '08, "Mr. Holmes" '15) plus TV, based on a novel by Nicholas Searle. When viewing this, it seemed to unfold extremely slowly, however if one is patient with this, it starts to create a life of its own, and, all of a sudden, hits you square in the face. The premise creeps along where the audience will think it's going nowhere, and I believe this is purposed, and then it becomes a true roller coaster ride. The surprises become aplenty.

Whether or not you like this kind of story, the performances by both Mirren and McKellen are worth the price of admission alone. These consummate pros are amazing with every film they do, and since this is their first film together, one would think they've been in other films than just this one.

Out of 4 Stars: 3.5                                    Rated: R                                       109mins.

Last Christmas

Hollywood has produced a plethora of romantic comedies and dramas since films have existed. And with this aspect, they are typically the most formulaic and predictable of the genres. Don't get me wrong, there have been some interesting films of this genre that have surprised me after I've viewed them, but not too many. As I was watching "Last Christmas", I thought this was going to be yet another dry rom-com until the tables were turned and then actually surprised me.

 

Kate (Emilia Clarke) harrumphs around London, a bundle of bad decisions accompanied by the jangle of bells on her shoes, another irritating consequence from her job as an elf in a year-round Christmas shop owned by Santa/Huang (Michelle Yeoh). Tom Webster (Henry Golding) seems too good to be true when he inadvertently walks into her life and starts to see through so many of Kate's barriers. As London transforms into the most wonderful time of the year, nothing should work for these two. Nothing seems to be working between Kate and her family, her mom, Petra (Emma Thompson), dad (Boris Isakovic) and sister Marta (Lydia Leonard), but Tom, as he and Kate are getting to know one another, seems to be the only stable ground for Kate. But even with the problems in her life, sometimes, you gotta let the snow fall where it may, you gotta listen to your heart...and you gotta have faith.

 

Others to round out the cast are Patti LuPone as Joyce, Peter Mygind as The Dane aka 'Boy', Ben Owen-Jones as Danny, Calvin Demba as Nathan, David Hargreaves as Arthur, Ritu Arya as Jenna, Ansu Kabia as Rufus, Fabien Frankel as Fabien, Rob Delaney as Theater Director and Jade Anouka as Alba.

 

This was wittily directed by veteran Paul Feig ("Life Sold Separately" '97, "I Am David" '03, "Bridesmaids" '11, "The Heat" '13, "Spy" '15, "Ghostbusters" '16, "A Simple Favor" '18) plus TV and shorts. Whether one loves or hates this director's brand of comedy, he is incredibly prolific. in this, he knows how to get his actors to extract the correct emotion at the right time. Certainly being an actor himself gives him certain insight of what it takes to be directed. It was cleverly written by Emma Thompson ("Sense and Sensibility" '95, "Wit" (TV movie) '01, "Nanny McPhee" '05, "Nanny McPhee Returns" '10, "Effie Gray' '14, "Bridget Jones' Baby" '16) plus TV, and Bryony Kimmings, based on a story by Thompson and Greg Wise. I knew that Thompson had written some films before, however I that no idea how long she had been writing them and the number in which she has been in this endeavor. This writer is a veteran and she has proven herself many times over including with this film. I actually found this somewhat predictable and slow as it was unfolding, but then the story simply turned on a dime and went from slow and predictable to quicker and original. I won't say how this originality came across lest it would ruin it for the filmgoer, but suffice it so say that it certainly gave its audience some freshness it sorely needed. Also it had a great message nearing the end, and even though other rom-coms can and do have messages, the way this storyline played out, it made the message that much more poignant. Even though Kimmings has only this film to her credit, she certainly had a pivotal amount of input to this script.

 

If you like rom-coms or dramedies you'll love this, but even if you don't, this truly turned around and became the film I believe most filmgoers were hoping it would be. I typically do not like this particular genre, however all of a sudden this story picked up and then I really started appreciating it. You've gotta have patience with this story, because it will create the interest you're looking for.

 

Out of 4 Stars: 3                                      Rated: PG-13                                     103mins.

   

Midway

Of all the genres Hollywood has produced since the beginning of films, one of the oldest and prevalent is that of the war genre-it has been around since the silent film era. And because of this aspect, these films have garnered quite the fan base. "All Quiet on the Western Front" '30, "Glory" '79, "Saving Private Ryan" '98, "Pearl Harbor" '07,"War Horse" '11 and even the upcoming "1917"--these films show us what it is like behind enemy lines and what kind of nightmare it is. So, it should be no surprise that "Midway" would give us that same feel.

 

"Midway" centers on the Battle of Midway, a clash between the American fleet and the Imperial Japanese Navy which marked a pivotal turning point in the Pacific Theater during WWII. This film, based on the real-life events of this heroic feat, tells the story of the leaders and soldiers who used their instincts, fortitude and bravery to overcome the odds. At a time when the relationship of Japan and the US was deeply strained, even before Pearl Harbor, the horrific act of Pearl Harbor sparked the US military to find a way to retaliate since the security of the west coast of the US was otherwise at risk.

The USS Enterprise was approximately 170 miles off the west coast of Hawaii, so it wasn't affected by the tragedy. Intelligence officer, Edwin Layton (Patrick Wilson) warned the military of an upcoming attack of Pearl Harbor which afterward were willing to listen to him about when and where another attack from Japan would happen. So the President, FDR ordered Adm. Chester W. Nimitz (Woody Harrelson) to lead the efforts of an impending attack, and he consulted with the admiral of the Enterprise, William 'Bull' Halsey (Dennis Quaid). Through Halsey's crew including Dick Best (Ed Skrein), Wade McClusky (Luke Evans), Clarence Dickinson (Luke Kleintank), Bruno Gaido (Nick Jonas) and others, they masterminded an attack whereas the US had to win lest Japan be able to launch rockets toward the US west coast.

 

Others to round out the cast are Mandy Moore as Ann Best, Dick's wife, Aaron Eckhart as Jimmy Doolittle, Keean Johnson as James Murray, Etsushi Toyokawa as Isoroku Yamamoto, Tadanobu Asano as Tamon Yamaguchi, Darren Criss as Eugene Lindsey, Brandon Sklenar as George 'Tex' Gay, Jake Manley as Willie West and Jun Kunimura as Chuichi Nagumo.

 

This was directed in an epic way by veteran Roland Emmerich ("Franzmann" '79, "Making Contact" '85, "Stargate" '94, "Independence Day" '96, "The Patriot" 2000, "The Day After Tomorrow" '04, "2012" '09, "White House Down" '13, "Stonewall" '15) plus others, a TV movie and shorts. Emmerich had to have yawned through this production considering this is definitely familiar territory. And although it being a film he's used to helming, it certainly was a monumental project logistically. The different units, editing, photography, production design, visuals, etc, had to be a major headache. Why else would Lionsgate have taken a chance with him? All characters came across as real as they could be, and with this being his bazzilionth film, he is busy and has two films that have been announced--"Stargate" and "Moonfall". It was written by a relative newcomer, not only to the industry, but his first feature film, Wes Tooke (TV). Certainly for being this writer's first film, it was as cohesive as it possibly could've been. The issues are there--it was a bit choppy as the story went from the Pearl Harbor attack to the Battle of Midway, and there were a couple of other places of lack of continuity. This writer has the potential of being a fine writer--he just needs more work. Given the chance, his next few screenplays should indicate his talent or not. The TV experience hasn't been aplenty, but surely has served him. But, if he can acquire possibly another project that's not too large, it might just fit him better. And the visual effects predominantly designed by Pixomondo were captured well.

 

If this genre is a favorite of yours, you'll revel with this. It starts with the Pearl Harbor attack and goes into the other battles leading up to the Battle of Midway, so it will be a feast for the eyes. If you want to experience it in an interesting way it will be also shown in a 4DX format.

 

Out of 4 Stars: 3                                         Rated: PG-13                                  138mins.

 

Jojo Rabbit

Hollywood produces commercial films and independent films as well. And while commercial films can be fun, fluffy and thrilling to watch, independent films have more of a tendency to be crafted better with better directing, writing and even acting. "Jojo Rabbit" is an independent film which takes a premise which could be totally factual, but in a quirky way shows us how eclectic and bizarre this story can be and is.

 

This is a World War II satire that follows a lonely German boy named Jojo (Roman Griffin Davis) whose world view is turned upside down when he discovers his single mother, Rosie (Scarlett Johansson) is hiding a young Jewish girl, Elsa (Thomasin McKenzie) in their attic. Aided only by his idiotic imaginary friend, Adolf Hitler (Taika Waititi), Jojo must confront his blind nationalism. After joining a Nazi young boys training group headed up by Captain Klenzendorff (Sam Rockwell), and assistants, Finkel (Alfie Allen) and Fraulein Rahm (Rebel Wilson), Jojo is then ridiculed by the group and subsequently decides to stop going due to an explosion. Soon afterwards, he then realizes about the young girl and now he must decide what to do about his fervent stance with Nazism after getting to know Elsa. What is a 10-year-old boy to do?

 

Others to round out the cast are Stephen Merchant as Deertz, Archie Yates as Yorki, a friend of Jojo's, Luke Brandon Field as Christoph and Sam Haygarth as Hans.

 

This was quirkily and eclectically directed by Taika Waititi ("Eagle vs. Shark" '07, "Boy" '10, "What We Do in the Shadows" '14, "Hunt for the Wilderpeople" '15, "Thor: Ragnarok" '17) plus TV, shorts and video shorts. Certainly, Waititi stays in his comfort zone, but what an amazing comfort zone it is. His characters are usually over-the-top as they play out, but considering many of his films are conducive to including these types of characters, then it should no surprise. If this quirky directing style is something you can sink your teeth into, his "Next Goal Wins" is being filmed and "Thor: Love and Thunder" has been announced. It was also oddly written by Waititi (above list excluding "Thor: Ragnarok" '17) plus TV and shorts, based on the book "Caging Skies" by Christine Leunens. Again, the writing is about as quirky and bizarre as the directing. It was concise, cohesive and well thought out, and other than a couple of small areas of slowness, this storyline soared. I don't know where Roman Griffin Davis came from, because I've never heard of him, but he was a very convincing Jojo, and Waititi as Hitler was simply a hoot--he practically stole the show. The writing and directing definitely had the feel of a Wes Anderson film replete with quirky characters, dry humor and a bizarre storyline, but this was almost a homage to that filmmaker. I mentioned it in past reviews and I'll mention it again, the originality of this premise was certainly refreshing in a world of a plethora of remakes, reboots, sequels, prequels, franchises and continuations.

 

If you like the films of Anderson or maybe Paul Thomas Anderson, you will like this. But more to the point, Waititi is a clever and talented writer and director that always gives his audiences something different and eclectic. I will be interested in seeing his next project "Next Goal Wins" if it's anything of the caliber of this film.

 

Out of 4 Stars: 3.5                                      Rated: PG-13                                   108mins.

 

Harriet

Message films have been produced for a number of decades, but not like there has been in the last 15 years or so. We've seen films professing messages of racial/slave issue films, women's rights, gay rights, political, inspirational, environmental, etc. What makes "Harriet" a bit different from other message films is that it's not only a message film, but is also an inspirational one too.

 

Based on the thrilling and inspirational life of an iconic American freedom fighter, "Harriet" tells the extraordinary tale of Harriet Tubman's (Cynthia Erivo) escape from slavery and transformation into one of America's greatest heroes. Her courage, ingenuity and tenacity freed hundreds of slaves and changed the course of history. She and her family, father, Ben Ross (Clarke Peters) and mother, Rit (Vanessa Bell Calloway) were slaves in Maryland. The son of the slave owners, Gideon Brodess (Joe Alwyn) constantly berated Harriet and her family to the point that Harriet simply had to escape with hopes that she could make it to Pennsylvania where slaves are free. Through her visions she claimed were from God and  through others including Reverend Greene (Vondie Curtis-Hall), she made it to Philadelphia. There, she found assistance from Marie Buchanon (Janelle Monae) and an underground railroad activist, William Still (Leslie Odom Jr.), where she grew as a confident, and passionate conductor (those that help to get slaves to the north), that she became infamous and a person the south now had to contend with.

Others to round out the cast are Omar J. Dorsey as Bigger Long, Henry Hunter Hall as Walter, Tim Guinee as Thomas Garrett, Zackary Momoh as John Tubman, Nick Basta as Foxx, Joseph Lee Anderson as Robert Ross, Antonio J. Bell as Henry Ross and C.J. McBath as Junyan Ross.

This was passionately and intensely directed by Kasi Lemmons ("Eve's Bayou" '97, "The Caveman's Valentine" '01, "Talk to Me" '07, "Black Nativity" '13) plus TV. Obviously, being an actor helps this filmmaker be the director she is, since she knows what it's like to act and have the ability to emit the correct emotion when needed. She was truly able to bring these characters to life. She has other projects in the works which doesn't surprise me. It was solidly written by Gregory Allen Howard ("Remember the Titans" 2000, "Ali" (story) '01) plus TV, and Lemmons ("Eve's Bayou" '97, "Black Nativity" '13) plus a short, based on a story by Howard. This was grippingly, passionately and compassionately written in a way that shows the audience that, not only how suppressed it was in the mid 1800's, but also to show us how far we have come, with more improvement undoubtedly. And even though these two writers don't have a ton of experience, they were able to convey the incredible racial intensity in a way that was totally unapologetic. Other than a couple of places of continuity issues, this script was cohesive, tight and extremely riveting and compelling. I typically like to see films that are entertaining and allow me to simply escape into another place or time through different characters, but there are definitely times where a more serious film--one that teaches us and talks to us, is needed to be a more well-rounded individual, and this film does this in spades.

Racial messaged films are certainly a hot-button type of film, i.e. "12 Years a Slave", "Selma", "The Butler", so I feel that if more people watch these films and other message films, maybe, just maybe we can and will want to be more tolerable and forbearing toward one another instead of spewing hate and bigotry, which can be a lesson for all races.

Out of 4 Stars: 3.5                                        Rated: PG-13                                     125mins.

 

Terminator: Dark Fate

There are sequels that typically continue with a similar storyline, and then there are films that are sequels, but don't necessarily follow in a strict order, hence "Terminator: Dark Fate". This story actually picks where "Terminator 2" or "T2" leaves off at. This, like the last Terminator films, are pre-apocalyptic, as opposed to most of these type of films that are post apocalyptic.

 

More than two decades have passed since Sarah Connor prevented Judgment Day, changed the future, and re-wrote the fate of the human race. Dani Ramos (Natalia Reyes) is living a simple life in Mexico City with her brother Diego (Diego Boneta) and father when a highly advanced and deadly new Terminator--a Rev-9 (Gabriel Luna)--travels back through time to hunt and kill her. Dani's survival depends on her joining forces with two warriors: Grace (Mackenzie Davis), an enhanced super-soldier from the future, and a battle-hardened Sarah Connor (Linda Hamilton). As the Rev-9 ruthlessly destroys everything and everyone in its path on the hunt for Dani, the three are lead to a T-800 Terminator (Arnold Schwarzenegger) from Sarah's past that may be their last best hope.

 

Others to round out the cast are Ferran Fernandez as Flacco, Tristan Ulloa as Felipe Gandall, Tom Hopper as William Hadrell, Alicia Borrechero as Alicia and Tommy Alvarez as Lucas/Floor Guard.

 

This was intensely and grittily directed by Tim Miller ("Dead Pool" '16) plus shorts. Although this filmmaker has only one feature film to his credit, he is obviously a natural to helm such a huge production. Sure, there are many people to assist him being the undertaking it is, however it is ultimately the director's responsibility to make sure the project is finished on time and is the film that he or she is hoping it will be. Larger productions seem to be what Miller is a specialist at considering he brilliantly directed "Dead Pool". And so with this he was able to, not only keep this large production intact and concise, but was able to persuade his actors to emit the emotions that were needed to convey realism to his audience. He will undoubtedly receive more work. It was effectively written by David S. Goyer, Justin Rhodes and Billy Ray, based on a story by James Cameron, Charles H. Eglee, Josh Friedman, Goyer and Rhodes, which is based on characters created by James Cameron and Gale Anne Hurd. Between all these writers, there is a powerhouse of experience covering many genres. So, with this, there are seasoned writers to culminate many different ideas. Certainly this is based on others' storyline, but it takes talented screenwriters to take an idea and produce a storyline that actually works. This is concise and thrilling in its storyline, and other than a couple of places of jumpiness and places where, even though it is sci-fi and still has a sort of plausibility to it, the situation simply couldn't have happened. But then how would the story continue? There were some similarities between this and "T2", but that's the feel I'm sure was purposed. And what can I say about the visual effects? They were seamlessly designed predominantly by ILM (Industrial, Light & Magic). The scenes that show the lethal Terminator liquefying is absolutely incredible.

 

Certainly if you're a Terminator fan, you'll be in that heaven, but even if not, this is the quintessential popcorn flick replete with incredible stunts, explosions, all dealing with a time paradox. If you'd like, this is presented in a nifty IMAX or 4DX format. I should've seen this in one of these formats, because I believe it would've rocked!

 

Out of 4 Stars: 3                                    Rated: R                                       128mins.

  

Motherless Brooklyn

The mystery genre is probably about as old as movies themselves, and when they are released, they often have a popular following. Whodunit films are notoriously popular, especially from those that exceed the age of early 40's. "Motherless Brooklyn" isn't actually a whodunit, however it is a mesmerizing mystery replete with private detectives, political intrigue and many clues.

 

Set against the backdrop of 1950's New York, this story follows Lionel Essrog (Edward Norton), a lonely private detective living with Tourette Syndrome, as he ventures to solve the murder of his mentor and only friend, Frank Minna (Bruce Willis). Armed with only a few clues and the engine of his obsessive mind, Lionel unravels closely-guarded secrets that hold the fate of the whole city in the balance. In a mystery that carries him from gin-soaked jazz clubs in Harlem to the hard-edged slums of Brooklyn and, finally, into the gilded halls of New York's power brokers, Lionel contends with thugs, corruption and the most dangerous man in the city, building magnate Moses Randolph (Alec Baldwin). With the help from colleague, Tony Vermonte (Bobby Cannavale), person of interest, Laura Rose (Gugu Mbatha-Raw) and the Trumpet Man (Michael Kenneth Williams), Lionel can circumvent the twists and turns of a political machine set up for the rich and not for the poor.

 

Others to round out the cast are Cherry Jones as Gabby Horowitz, Willem Dafoe as Paul, Ethan Suplee as Gilbert Coney, Josh Pais as William Lieberman, Robert Ray Wisdom as Billy Rose, Peter Lewis as Mayor, Dallas Roberts as Danny Fantl and Fisher Stevens as Lou.

 

This was brilliantly directed by Edward Norton ("Keeping the Faith" 2000). The nuances of these diverse characters were delineated with amazing expertise, and considering this filmmaker only has one other film behind the camera under his belt, this amazes me that much more. I've seen seasoned directors that weren't as talented with encouraging their actors to emit the emotions that would be needed as much as this pro. He undoubtedly will receive more work, and when, not if, when his next film is released, I will be there. What's more remarkable is that this is Norton's first theatrical film he has written! It was well thought out and concise, and even though it is based on Jonathan Lethem's novel, his recreation of Lethem's novel was delineated and scripted well. Other than a couple of very small places of choppiness--I won't go into what they were lest it spoiling the plot, this storyline soared. With all the remakes, reboots, sequels, prequels, franchises and continuations, this is an incredible breath of fresh air. Without looking at my research, I assumed that Norton had several films in which he had written to his credit. So it was a shock, albeit a pleasant one, to find out that this is his first feature he has written. Certainly him being a passionate and talented actor has given him an edge in the directing and writing realm, but I had no idea that he was this talented. As long as he desires to continue writing and directing, he will create more films.

 

Whether you are a Norton fan or not, this film is an amazingly well crafted American film. Surely, it will be honored with an Academy Award nomination or two. It is even one of Norton's finer performances to date, and that's high praise considering this actor is a consummate pro with a ton of acting experience to his credit.

 

Out of 4 Stars: 3.5                                  Rated: R                                       144mins.