A Journal for Jordan

The more Hollywood produces biopics, the more we are offered films about the everyday person being put in an amazing and impossible situations. It was common--and still is--to see films based on true stories about famous people, but now, the importance of witnessing true stories about everyday people in all walks of life in difficult situations has practically become vogue. Films like "The Impossible", "Lion", "The Butler", and the like were all about people that we had never heard of, but seeing what events they persevered through were captivating. Now we have "A Journal for Jordan" to add to that ever growing list. 

This is based on the true story of First Sergeant Charles Monroe King (Michael B. Jordan), a soldier deployed to Iraq who begins to keep a journal of love and advice for his infant son. Back at home, senior New York Times editor Dana Canedy (Chante Adams) revisits the story of her unlikely, life-altering relationship with King and his enduring devotion to her and their child. Before he is killed in action in Baghdad, he authors a sweeping account of a once-in-a-lifetime love for his son Jordan (Jalon Christian) so he can refer to it through life to show him how to live a decent life despite growing up without a father. The film is a powerful reminder of the extreme importance of family and the the realization that besides faith, family is, or at least should be, what life is all about. 

Others to round out the cast are Robert Wisdom as Sgt. T.J. Canedy, Tamara Tunie as Penny Canedy, Jasmine Batchelor as Gwen Canedy, Marchant Davis as Mike Canedy, Susan Pourfar as Miriam, Vanessa Aspillaga as Robin, Grey Henson as Ciro/friend, Johnny M. Wu as Manny, David Wilson Barnes as Schaefer and Spencer Squire as Rosenblum.

This film was incredibly well detailed in its direction by Denzel Washington ("Antwone Fisher" '02, "The Great Debaters" '07, "Fences" '16) plus TV. Although Washington doesn't have a plethora of theatrical film experience in the director's chair, what he misses in quantity, he more than makes up for quality. Assuredly, the reason for this is that he is an actor's director, especially since he is an accomplished actor himself. He truly knows what it takes to empathize with an actor to know what it takes to get them to emit that certain emotion that needs to happen to convey to the audience what's definitely happening given a certain scene. His "Fences" was not only well acted by him and Viola Davis, it was brilliantly helmed by him as well. This was crafted well by writer Virgil Williams ("Mudbound" '17) plus a ton of TV, based on the personal journey by Charles Monroe King and the book by Dana Canedy. This was told by Dana as a series of flashbacks detailing her meeting Charles, their dating, and subsequently baring a child, whose name is Jordan. It goes from present, then goes back to the past, and then back again to present, etc. In creating this writing, which is not totally a new concept, there were a couple of very small issues with continuity within the scope of the script, otherwise this screenplay was spot on. The performances by both Michael B. Jordan and Chante Adams were strong with great chemistry. With this being the only feature this writer has under his belt, I am amazed that this displayed the quality that it did, and with this he will certainly receive more work. 

This is an amazingly well crafted film about love, family, sacrifice and compassion all with a military backdrop. Washington shows us how important family is, or certainly should be. In this day and age, family has become not as important as it used to be, but after watching this, it should give anyone a shot in the arm convincing them how imperative the family unit actually is. 

Out of 4 Stars: 3.5                                               Rated: PG-13                                              131mins.

American Underdog

As I've mentioned in several reviews prior, we have seen many biopics on the silver screen, but even more to the point, there have been many sports biopics in which to ponder over, i.e. "Knute Rockne All American" '40, "Brian's Song" (TV movie) '71, "Remember the Titans" 2000 "Invincible" '06, to mention a few. Now, we have the quintessential underdog film appropriately called "American Underdog". 

"American Underdog" tells the inspirational true story of Kurt Warner (Zachary Levi), who went from a stockboy at a grocery store to a two-time NFL MVP, Super Bowl champion, and Hall of Fame Quarterback. The film centers on Warner's unique story and years of challenges and setbacks that could have derailed his aspirations to become an NFL player--but when his dreams seemed all but out of reach, it is only with the support of his wife, Brenda (Anna Paquin) and the encouragement of his family namely Zack, his son (Hayden Zaller), coaches, namely Jim Foster (Bruce McGill) and Dick Vermeil (Dennis Quaid), and teammates, namely Mike Hudnutt (Ser'Darius Blain) that Warner perseveres and finds the strength to show the world the champion that he already is. 

Others to round out the cast are Chance Kelly as Coach Mike Martz, Cindy Hogan as Sue Warner, Adam Baldwin as Terry Allen, Danny Vinson as Larry, McKylin Rowe as Marshall and Brett Varvel as Steve "Mooch" Mariucci.

This was delineated with clarity by directors Andrew Erwin ("The Cross and the Towers" (documentary) '06, "Alumni" (TV movie) '09, "October Baby" '11, "Moms' Night Out" '14, "Woodlawn" '15, "I Can Only Imagine" '18, "I Still Believe" '20, "The Jesus Music" (documentary) '21) plus TV and videos, and Jon Erwin (the above resume plus "Fully Alive" '12). Whether these two brothers direct films based on true stories or are fiction, they are able to clearly demonstrate the emotion of the characters they are having their actors to emit--this film is absolutely no exception. I always know that when I see one of their films, it will be an incredibly well crafted film. It was heart-wrenchingly written by Jon Erwin, David Aaron Cohen and Jon Gunn, based on the inspirational book "All Things Possible" by Kurt Warner with Michael Silver. It was written with such pathos, grit, determination and heart that it will leave you cheering for this football player. The script was concise, cohesive and tight while tugging on the audiences' hearts without getting mired down with sentimentality. These writers having the amount of feature film experience as they had certainly helped in this screenplay being the film it wanted to be. These directing and writing brothers simply rock!

Whether football films are your thing or not, this film will captivate your attention as we learn that much more of this football legend. Zachary Levi as Kurt and Anna Paquin as Brenda were amazingly believable in their respective roles. This is a great family film, because of the values, compassion and redemption this story exudes. Go see this film--you won't be disappointed!

Out of 4 Stars: 4                                        Rated: PG                                                     113mins.

The Matrix Resurrections

Who knew that when the Wachowskis wrapped up the "The Matrix" trilogy in 2003, we would see yet another 'Matrix' to offer us? After all, the trilogy neatly summed up the films by the end of the last film of the trilogy. But, I guess that the Wachowskis had more to say with a new film of the franchise, so they gave us "The Matrix Resurrections". 

To find out if his reality is a physical or mental construct, Mr. Thomas Anderson aka Neo (Keanu Reeves) will have to choose to follow the white rabbit once more. If he's learned anything, it's that choice, while an illusion, is still the only way out of--or into--the Matrix. Because of what Neo has gone through since, mentally and psychologically, at the end of "Matrix Revolutions", he is under a psychologist care (Neil Patrick Harris), and then Morpheus (Yahya Abdul-Mateen II) reenters Neo's life to confront him in order for him to choose: the blue or red pill. Morpheus' crew including Bugs (Jessica Henwick), Sequoia (Toby Onwumere), Sheperd (Max Riemelt), Berg (Brian J. Smith), and others, help Neo to seek out Trinity (Carrie-Anne Moss) in order to fulfill what they need to combat the 'agents', one named Smith (Jonathan Groff). Neo already knows what he has to do, but what he doesn't yet know is that the Matrix is stronger, more secure and far more dangerous than ever before.

Others to round out the cast are Jada Pinkett Smith as Niobe, Priyanka Chopra Jonas as Sati, Christina Ricci as Gwyn de Vere, Lambert Wilson as the Merovingian, Andrew Lewis Caldwell as Jude, Joshua Grothe as Punktlon, Brenda Ibarra as Lexy, Michael X. Sommers as Skroce and L. Trey Wilson as Hanno. 

This was directed with the same intensity and fervency as with the trilogy by Lana Wachowski (Bound" '96, "The Matrix" '99, "The Matrix Reloaded" '03, "The Matrix Revolutions" '03, "Speed Racer" '08, "Cloud Atlas" '12, "Jupiter Ascending" '15) plus TV, video games and a video short documentary. This wasn't as much of a stretch for this filmmaker, since when the trilogy was produced and the Wachowskis were then male and since are female, so he merely relied on the format of the past trilogy to make this film work as well as it did in the directing. Why another Matrix? Not sure, except maybe since they had such a success with the trilogy and haven't been as profitable since, it's called 'let's do it again'. Certainly the actors were effective, especially since both Reeves and Moss were reprising their roles. It was effectively written by Lana Wachowski, David Mitchell and Aleksandar Hemon, based on characters created by the Wachowskis. Since the Wachowskis wrote the trilogy, and only one of them co-wrote this with two relative newcomers to feature film writing, this had a tendency to get bogged down with some choppiness and lack of continuity. After about two-thirds the way through, the story started picking up and the story then started to fall into place. It was a bit long-in-the-tooth to convey what was going on--about 10 minutes plus could've been cut. It did have some interesting twists in it which did add to the interest, but I feel both Wachowski siblings should write the next one. And, oh yes, not to spoil, but it does leave it open-ended for yet another installment assuming this makes money. And, of course, the visual effects,predominantly created by Framestore, Double Negative and One of Us were seamless and definitely one could get that 'Matrix' feel as with the past films. 

Certainly if you're a 'Matrix' fan, the sheer nostalgic feeling this gives which can take you back to 1999 when "The Matrix" was released,  you'll be in Matrix heaven. If you like your film up, close and personal, this is also presented in an IMAX format. This does look like it would be killer in that format. 

Out of 4 Stars: 3                                               Rated: R                                                       158mins.

Sing 2

Being in the middle of the end of year film season, there usually is, at least, one animated film in the offing. And with that, Hollywood has offered an amazing follow up to the original "Sing" by giving us "Sing 2" to sink our teeth into. Usually sequels are not as well crafted as its predecessor, however in this case, the opposite has definitely occurred.

This holiday season, the new chapter in Illumination's smash animated franchise arrives with big dreams and spectacular hit songs as the ever-optimistic koala, Buster Moon (Matthew McConaughey), and his all-star cast of performers including Rosita (Reese Whitherspoon), Ash (Scarlett Johansson), Meena (Tori Kelly), Johnny (Taron Edgerton), Gunter (Nick Kroll), plus others, in the glittering entertainment capital of the world. There's just one hitch: They first have to persuade the world's most reclusive rock star, Clay Calloway (Bono) to join them. 

Others to round out the cast are Bobby Canavale as Jimmy Crystal, Adam Buxton as Klaus Kickenklober, Garth Jennings as Miss Crawley, Nick Offerman as Norman, Halsey as Porsha Crystal, Jimmy's daughter, Chelsea Peretti as Suki, Jennifer Saunders as Nana and Julia Davis as Linda Le Bon. 

This was electrifylingly well crafted by director Garth Jennings ("The Hitchhiker's Guide to the Galaxy" '05, "Son of Rambow" '07, "Sing" '16) plus video shorts, TV and a ton of music videos. As with "Sing" Jennings was able to entertain his audience with a show that was funny, entertaining and heartfelt all in one. He knows how to get his actors in that frame of mind when it comes to telling a story. It was also equally well written by Jennings ("Son of Rambow" '07, "Sing" '16) plus TV, a video short and a short. Even though this film and its predecessor were basically referenced to the show "America's Got Talent" along with the background of the show, it was still written with an electrifying, but whimsical element. "Sing" introduced us to the characters, whereas this film dwelled more on bringing these characters to an all new level. The characters are delineated with such individualized personalities, whether they be main characters or those that don't have a huge role. This is writing at its best. And the animation by Illumination Mac Guff was simply superb. Kudos to them!

If you're looking for a great Christmas, family film that's fun for all that's well written and directed all with a great message, this will be the film to see. It is also presented in an IMAX format as well. Grab the popcorn and enjoy this gem. I certainly did!

Out of 4 Stars: 4                                              Rated: PG                                               110mins.

The King's Man

There are American films, and then there are English films, and not that it's unlike seeing a Brit film in the U.S., but this is the "The Secret Service" franchise that has spanned over the last five years. What's more is that "The King's Man" is basically the prequel to the other two previous films of the franchise. 

One man, Orlando Oxford (Ralph Fiennes) must race against time to stop history's worst tyrants, including Grigori Rasputin (Rhys Ifans) and Kaiser Wilhelm (Tom Hollaner), and criminal masterminds as they get together to plot a war that could wipe out millions of people and destroy humanity. Oxford decides to work with King George (Tom Hollander) in order to convince the American president, Woodrow Wilson (Ian Kelly) who actually didn't want to enter WWI. So, between Oxford's son Conrad (Harris Dickinson), Polly (Gemma Arterton) and Shola (Djimon Hounsou), concoct a plan to overthrow a devious plot implemented by Rasputin of Russia. 

Others to round out the cast are Matthew Goode as Morton, Charles Dance as Kitchener, Alexandra Maria Lara as Emily Oxford, Orlando's wife, Daniel Bruhl as Erik Jan Hanussen, Alexander Shaw as young Conrad, Todd Boyce as Dupont and August Diehl as Vladimir Lenin.

This was equally directed as tight and slick as the preceding films of this franchise all by Matthew Vaughn ("Layer Cake" '04, "Stardust" '07, "Kick-Ass" '10, "The Debt" '10, "X-Men: First Class" '11, "Kingsman: The Secret Service" '14, "Kingsman: The Golden Circle" '17). As opposed to many other directors, this filmmaker certainly can't be pigeon-holed if his resume says anything. This film, being the third installment of the franchise, is directed with the same flair and panache as with the previous films where it's easy to be able to recognize that the the same director helmed them all. He has an uncanny ability to get his actors to emit that droll, British presence and humor that has become the trademark of this franchise. If you like his brand of directing, his "Argylle" is being filmed now and will have a 2022 release date. It was certainly effectively written by Vaughn ("Stardust" '07, "Kick-Ass" '10, "The Debt" '10, "X-Men: First Class" '11, "Kingsman: The Secret Service", '14, "Kingsman: The Golden Circle" '17) and Karl Gajdusek ("Trespass" '11, "Oblivion" '13, "The November Man" '14, "Blood Brother" '18, "The Last Days of American Crime" '20) plus TV, based on a story by Vaughn which is based on the comic book "The Secret Service" by Mark Millar and Dave Gibbons. Even though this film was based in several locales,it was written in a tight and cohesive way. Other than a couple of very small slow places in story as the story builds, this script was spot on and both Vaughn and Gajdusek deserve kudos for their ability to produce a story that is as riveting as this was. 

With all the films that Hollywood is throwing at the multiplex at this time, there are almost too many films to choose from, but this film is certainly worthy of viewing on the large screen. In fact, it is also presented in an IMAX format if you like that up, close and personal feeling. Enjoy this nice escapism film which we all could use today. 

Out of 4 Stars: 3.5                                            Rated: R                                                131mins.

Spider-Man: No Way Home

Marvel Studios is practically in a world all their own with a plethora of franchises culminating in a multitude of films--too numerous to name all of them. Just the Spider-Man franchise alone covers many films which, like many other Marvel characters meld into one another. So, now we have "Spider-Man: No Way Home" which continues where "Spider-Man: Far from Home" left off at. 

For the first time in the cinematic history of Spider-Man/Peter Parker (Tom Holland), our friendly neighborhood hero's identity is revealed, bringing his Super Hero responsibilities into conflict with his normal life and putting those he cares about, including his girlfriend MJ (Zendaya), his aunt May (Marisa Tomei) and friends Happy Hogan (Jon Favreau) and Ned (Jacob Batalon), most at risk. When he enlists Doctor Strange's (Benedict Cumberbatch) help to restore his secret, the spell tears a hole in their world, releasing the most powerful villains, including Max Dillon (Jamie Foxx), Dr. Otto Octavius (Alfred Molina), Norman Osborn (Willem Dafoe) and others, who've ever fought a Spider-Man in any universe. Now, Peter Parker will have to overcome his greatest challenge yet, which will not only forever alter his own future but the future of the Multiverse. 

Others to round out the cast are Benedict Wong as Wong, Tony Revolori as Flash Thompson, J.K. Simmons as J. Jonah Jameson, Angourie Rice as Betty Brant, Arian Moayer as Agent Cleary, Charlie Cox as Matt Murdock, Andrew Garfield as Peter Parker/Spider-Man, Tobey Maguire as Peter Parker/Spider-Man, Thomas Haden Church as Flint Marko/Sandman and Rhys Ifans as Dr. Curt Connors/The Lizard. 

This was effectively directed by Jon Watts ("The Scariest Show on Television" (TV movie) '08, "Eugene!" (TV movie) '12, "Our RoboCop Remake" (segment "Scene 06") '14, "Clown" '14, "Cop Car" '15, "Spider-Man: Homecoming" '17, "Spider-Man" Far from Home" '19) plus TV, shorts and music videos. Certainly this filmmaker knows his way around a big-budget film hence his resume, and with that, he simply just carried the character development, which is already established, and staged and paced his actors accordingly. This doesn't mean that his job was easy--he's over every aspect of the film which covers many people and units, but he simply carried that similar style of directing he brought from the past films he had already completed. It was adequately written by Chris McKenna ("Igor" '08, "The Lego Batman Movie" '17, "Spider-Man: Homecoming" '17, "Ant-Man and the Wasp" '18, Spider-Man: Far from Home" '19) plus TV and Erik Sommers ("Cuz-Bros" (TV movie) '14, "The Lego Batman Movie" '17, "Spider-Man: Homecoming" '17, "Jumanji: Welcome to the Jungle" '17, "Ant-Man and the Wasp" '18, "Spider-Man: Far from Home" '19) plus TV, based on the Marvel comic book by Stan Lee and Steve Ditko. Even though there is a plethora of information in which to implement in any of the Marvel 'comic book films', repeatedly, the films can and do get mired down with enough of inconsistencies and meandering because they've created stories that end up splitting into so many tributaries. I could go into the choppiness and what's meandering, however it would then approach a spoiler alert. Suffice it to say, the script became bogged down at about two-thirds the way through, then, all of a sudden, the pace and continuity picked up and it became the film that the writers truly meant it to be. Certainly these writers are honed artists--their "The Lego Batman Movie" was uproarious and well written, but other than maybe comedy being more their genre, I'm not sure what happened--bad day at the laptop? Not sure, but maybe their "Bermuda" that is in preproduction will be a better effort. And, as usual with these big-budget films, the visual effects predominantly designed by SPI (Sony Pictures Imageworks), Digital Domain and Framestore were seamless, but one has to recognize this before walking in the door. 

Certainly if one is a Marvel geek, they will be in Marvel heaven, However if you're looking for something a bit meatier, you might want to pass on this. If this type of film isn't the genre you're into, just by the title it should keep that particular demographic away. It's not terrible--certainly the visual effects look amazing on the large screen, but there are parts where it jumps around too much and then becomes frustrating until it picks up then is very interesting. It is also presented in an IMAX format as well.

Out of $ Stars: 2.5                                            Rated: PG-13                                           148mins.

Nightmare Alley

As with the 1947 original of "Nightmare Alley" with Tyrone Power and Joan Blondell, this version of the same name with Bradley Cooper and Cate Blanchett is simply a much different film, mostly because of the extreme wide years between films when the societal culture was definitively different. 

When charismatic but down-on-his-luck Stanton Carlisle (Bradley Cooper) endears himself to clairvoyant Zeena (Toni Collette) and her has-been mentalist husband Pete (David Strathairn) at a traveling carnival, he crafts a golden ticket to success, using this newly acquired knowledge to gift the wealthy elite of 1940's New York society. With the virtuous Molly Cahill (Rooney Mara) loyally by his side, Stanton plots to con a dangerous tycoon Ezra Grindle (Richard Jenkins) with the aid of a mysterious psychiatrist (Cate Blanchett) who might be his most formidable opponent yet. 

Others to round out the cast are Willem Dafoe as Clem Hoatley, Ron Perlman as Bruno, Mary Steenburgen as Mrs. Kimball, Peter MacNeill as Judge Kimball, Holt McCallany as Anderson, Tim Blake Nelson as carny boss and Mark Povinelli as the major. 

This was crafted well by director Guillermo del Toro ("Cronos" '93, "Mimic" '97, "The Devil's Backbone" '01, "Blade II" '02, "Hellboy" '04, "Pan's Labyrinth" '06, "Hellboy II: The Golden Army" '08, "Pacific Rim" '13, "Crimson Peak" '15, "The Shape of Water" '17) plus TV, shorts and a video game. What is odd is that when I mention del Toro's name, the response I receive is one of 'who's that?' What's ironic is that his name is as A-list as Spielberg or Hitchcock or Ridley Scott. I guess that because he does so many independent films, word doesn't get out as much. Trust me, this filmmaker is amazing in how he's able to extract just the right emotion out of his actors for any scene that comes along. If you like this director's dark approach to directing, his "Pinocchio", which he also writes is in post production for a 2022 release. It is also equally well written by Guillermo del Toro ("Cronos" '93, "Mimic" '97, "The Devil's Backbone" '01, "Hellboy" '04, "Pan's Labyrinth" '06, "Hellboy II: The Golden Army" '08, "Don't Be Afraid of the Dark" '10, "The Hobbit: An Unexpected Journey" '12, "Pacific Rim" '13, "The Hobbit: The Desolation of Smaug" '13, "The Hobbit: The Battle of the Five Armies" '14, "Crimson Peak" '15, "The Shape of Water" '17, "Scary Stories to Tell in the Dark" (screen story) '19, "The Witches" '20, Trollhunters: Rise of the Titans" '21) plus TV, video games, video shorts and shorts, and Kim Morgan ("The Forbidden Room" (additional writer) '15) plus a short, based on the novel by William Lindsay Gresham. As with all of del Toro's scripts, this screenplay was concise, cohesive, tightly written all with a great story that the audience can simply escape into. With all the plot twists and turns, this story will keep you riveted to your seat. Obviously del Toro had the lion's share of the experience here, but Morgan certainly had pivotal input toward the script. Usually after a film runs for a two hour period, I'm starting to become frustrated and impatience, however this two and a half hour running time sailed right along, and this is a sign of talented writing and directing. The cast was consummate: Cooper, Blanchett, Collette, Dafoe, Jenkins, Mara, Strathairn; I was riveted. 

If Guillermo del Toro isn't nominated come Oscar time, there's something seriously wrong. This was every bit as compelling as his "Pan's Labyrinth". With so many big-budget, visual effect ridden films out there at this time of year, it's certainly refreshing to see something that is as original as "Nightmare Alley" is. 

Out of 4 Stars: 4                                             Rated: R                                                        150mins.

Being the Ricardos

Hollywood has produced many remakes of older films and TV shows, and while most of them have been a sorry representation of the original, some simply shine and belong in that category of well crafted films. "Being the Ricardos" certainly makes the grade of a well-hewned remake on many levels.

Lucille Ball (Nicole Kidman) and Desi Arnaz (Javier Bardem) are threatened by shocking personal accusations, a political smear and cultural taboos in this behind-the-scenes drama. A revealing glimpse of the couple's complex romantic and professional relationship, the film takes audiences into the writer's room with writers, Madelyn Pugh (Alia Shawkat) and Bob Carroll (Jake Lacy), onto the soundstage and behind closed doors with Ball and Arnaz during one critical production week with co-stars Vivian Vance (Nina Arianda) and William Frawley (J.K. Simmons), of their groundbreaking sitcom "I Love Lucy".

Others to round out the cast are Tony Hale as Jess Oppenheimer, Linda Lavin as older Madelyn Pugh, Ronny Cox as older Bob Carroll, John Rubinstein as older Jess Oppenheimer, Clark Gregg as Howard Wenke-CBS, Nelson Franklin as Joe Strickland-CBS and Jeff Holman as Roger Otter- Phillip Morris. 

This was well directed by Aaron Sorkin ("Molly's Game" '17, "The Trial of the Chicago 7" '20). Where Sorkin lacks in experience behind the camera, he more than makes up for quality. Not only was he able to extract that right emotion out of his actors, but also the movements and tonality of each character had that was a subtle nuance of those characters we loved seeing them on that iconic sitcom. It was also well written by Aaron Sorkin ("A Few Good Men" '92, "Malice" '93, "The American President" '95, "Charlie Wilson's War" '07, "The Social Network" '18, "Moneyball" '11, "Steve Jobs" '15, "Molly's Game" '17, "The Trial of the Chicago 7" '20) plus a ton of TV. Where Sorkin is much newer to the directing field, he is a seasoned veteran when it comes to writing-- his "A Few Good Men" was based on his play by the same name. This film was presented by chapters--each working production of the five day week, telling the audience what transpired each day as it was delineated with meticulous detail. I never tire of a Sorkin screenplay which is always a cohesive, concise and well thought out script. Truly, the only small obstacle of this is that, even though Kidman is an extremely talented actor, there were a few times that she didn't carry off that look and presence that is definitely Ball, otherwise most of the time, she is spot on. Bardem's Ricky, Simmons' Fred and Arianda's Ethel were all amazing in their respective roles. Also, as to be expected with most period films, the production values, i.e. production design, costume design and photography were painstakingly well delineated. 

If you loved the sitcom, "I Love Lucy"you will love this. Both Lucille Arnaz and Desi Arnaz Jr were so impressed of this biopic of their mother and father, they decided to be two of the executive producers of this film. This was well written, directed and acted, and if Oscar is friendly it could garner a number of nods.

Out Of 4 Stars: 3.5                                          Rated: R                                                    131mins.

West Side Story

As far as films go, remakes are made by Hollywood probably more than, if not as much as original films. And while some remakes are redone in a fairly short amount of time, "West Side Story" took a lengthy 60 years. Certainly waiting that long only helped this version which was as brilliantly crafted as the original...maybe better. 

Love at first sight strikes young Tony (Ansel Elgort) as he spots Maria (Rachel Zegler) at a high school dance in 1957 New York City. Their burgeoning romance helps to fuel the fire between the warring Jets and Sharks--two rival gangs vying for control of the streets. It turns out that Tony is, or at least was, the leader of the Jets, and Maria, who is the sister of the leader of the Sharks, Bernardo (David Alvarez) end up in the middle of this difference of ethnicity--the Jets are white while the Sharks are Puerto Ricans. 

Others to round out the cast are Ariana DeBose as Anita, Rita Moreno as Valentina, Brian d'Arcy James as Officer Krupke, Corey Stoll as Lieutenant Schrank, Mike Faist as Riff, Josh Andres Rivera as Chino, Iris Menas as Anybodys, David Aviles Morales as Anibal and Sebastian Serra as Braulio. 

This was crafted brilliantly by veteran director Steven Spielberg ("Duel" (TV movie) '71, "The Sugarland Express" '74, "Jaws" '75, "Close Encounters of the Third Kind" '77, "1941" '79, "Raiders of the Lost Ark" '81, "E.T. the Extra Terrestrial" '82, "The Color of Purple" '85, "Empire of the Sun" '87, "Hook" '91, "Jurassic Park" '93, "Schindler's List" '93, "Saving Private Ryan" '98, "Minority Report" '02, "The Terminal" '04, "Munich" '05, "The Adventures of Tintin" '11, "War Horse" '11, "Lincoln" '12, "The BFG" '16, "Ready Player One" '18) plus many others, TV, shorts and a video game. Spielberg just simply has the ability to be able to extract that specific emotion from his actors that astounds. He knows people and what it takes to grow into character. If this director's style in intriguing, his "The Fabelmans" is in post production for a 2022 release. It was equally well written by Tony Kushner ("Angels in America: The Opera" (TV movie) '04, "Munich" '05, "Lincoln" '12) plus TV and a video, based on the stage play and book by Arthur Laurents. Ernest Lehman wrote the original "West Side Story", however this was equally well written, if not better. Kushner had the ability of recreating the original where each scene seamlessly melded into the songs so effortlessly. The character development was amazing and crisp. The continuity, cohesiveness and conciseness was absolutely spot on. All the actors were an amazing ensemble, but Mark Faist as Riff simply shined. He was every bit as talented as his counterpart as Riff in Russ Tamblin's role in the 1961 original. Even Ansel Elgort's Tony was every bit as good as Richard Beymer's Tony in the 1961 original. And the photography by Janusz Daminski and edting by Michael Kahn ace and Sarah Broshar was stunning and definitely enhanced the feel of the film. Typically Spielberg is a filmmaker that has an amazing eye for detail, and it definitely shows here. Any Oscar nods here? Absolutely! Possibly for direction, film and maybe photography. 

Whether you are a musical fan, a nostalgia fan or a Spielberg fan, this film will please on all counts. It was an amazing remake of an incredible original. I certainly felt that if anyone could recreate such an already amazing film, Spielberg could, and he did in spades. It was wonderful to see Rita Moreno in this since she was in the original. And certainly Leonard Bernstein recreating his score from the original was consummate. And what a tribute to Stephen Sondheim who created the lyrics, since he passed recently. 

Out of 4 Stars: 4                                                     Rated: PG-13                                          156mins.

C'mon C'mon

At the end of the year, when big-budget, commercial films are the mainstay of this season, it's refreshing to see a small independent film nestled in the midst of these films. While there's nothing wrong with commercial films necessarily, it's certainly a welcome change to see a film like "C'mon C'mon", especially when it's crafted as well as it is. 

A radio journalist embarks on a cross-country trip with his young nephew. Johnny (Joaquin Phoenix) and his young nephew, Jesse (Woody Norman) forge a tenuous but transformational relationship when they are unexpectedly thrown together in this delicate and deeply moving story about the connections between adults and children, the past and the future. It turns out that Johnny's sister, Viv (Gaby Hoffman) has to go take care of her ex-husband, Paul (Scoot McNairy) who is going through a mental breakdown. So as Johnny is traveling--because of his job, Viv coaches him on how to be an effective parent via phone since Johnny has never been a parent. 

Others to round out the cast are Molly Webster as Roxanne, Jaboukie Young-White as Fern, Deborah Strang as Carol, Sunni Patterson as Sunni, Jenny Eliscu as waitress, Mary Passeri as behavioral center nurse, Brandon Rush as ER nurse and Brey'on Shaw as Brey'on.

This was stunningly directed with such detail by Mike Mills ("Thumbsucker" '05, "Does Your Soul Have a Cold?" (documentary) '07, "Beginners" '10, "20th Century Women" '16) plus shorts and videos. Watching this was almost like watching people simply live there lives somewhat like a documentary setup. Mills is definitely an actor's director in that he knows how to extract just the right emotion from his actors so one feels like they're viewing real people as opposed to actors. The detail is painstaking. This being an indie film, he certainly didn't go too much out of his comfort zone since most of his experience is in the indie arena, but given that, we are the victors for it. It was also equally well crafted by writer Mills ("Thumbsucker" '05, "Beginners" '10, "20th Century Women" '16) plus shorts. The premise of this film wasn't necessarily original (an estranged 'parent' figure attempting to reunite with his nephew after being thrown together), however, the way this was written with so many nuances of believability between this uncle and his nephew was so amazing that even though the idea of the film wasn't original, the acting, directing and the style of the writing allowed the audience to forgive all else. Also effective was the fact it was shot in black and white by Robbie Ryan ("How to Cheat in the Living Certificate" '97, "Large" '01, "This is Not a Love Song" '02, "Isolation" '05, "Red Road" '06, "Brick Lane" '07, "Patagonia" '10, "Wuthering Heights" '11, "Philomena" '13, "I Am Not a Serial Killer" .16, "The Favourite" '18, "The Roads Not Taken" '20). The crispness of the photography was amazing while that process absolutely solidified the feel in which Mills was attempting to convey. Other than a couple of very small places in the story, this was spot on.

If you like indie films that are well directed, acted and written, this will be the film for you. The acting by Phoenix was amazing and could receive an Oscar nod. But even the supporting cast was very effective, i.e Hoffman as the sister, Viv and even the young nephew, Jessie played by Norman. They were incredible in their respective roles. While this is not a film that is for the large audience appeal, it will be one that will leave you thinking by the time the credits end. 

Out of 4 Stars: 3.5                                                Rated: R                                                  110mins.

House of Gucci

As we continue with the end of year holiday film season, after reviewing one biopic, "King Richard" we go to another, "House of Gucci", which isn't a biopic on any particular individual as much as it centers around the Gucci family. While viewing this film, the old adage comes to mind, "Oh what tangled web we weave, when first we practice to deceive". 

This film is inspired by the shocking true story of the family behind the Italian fashion empire. When Patrizia Reggiani (Lady Gaga), an outsider from humble beginnings, marries Mauricio Gucci (Adam Driver) of the Gucci family, her unbridled ambition begins to unravel the family legacy and triggers a reckless spiral of betrayal, decadence, revenge, and ultimately...murder. Because of Patrizia's unfamiliarity with fame and fortune, she cannot harness the responsibility that comes with notoriety nearly as well as the Gucci family including Aldo Gucci (Al Pacino), Rodolfo Gucci (Jeremy Irons) and Paolo Gucci (Jared Leto). So, with this newfound wealth that quickly comes Patrizio's way, she soon begins to pit the family members against one another to appease her power and control, only for this to become her undoing. 

Others to round out the cast are Jack Huston as Domenico De Sole, Salma Hayek as Pina Auriemma, Alexia Murray as Silvanna Reggiani, Vincent Riotta as Fernando Reggiani, Gaetano Bruno as Franco, Camille Cottin as Paola Franchi and Reeve Carney as Tom Ford. 

This was delineated extremely well by director Ridley Scott ("The Duelists" '77, "Alien" '79, "Blade Runner" '82, "Black Rain" '89, "Thelma & Louise" '91, "White Squall" '96, "Gladiator" 2000, "Black Hawk Down" '01, "Matchstick Men" '03, "American Gangster" '07, "Prometheus" '12, "Exodus: Gods and Kings" '14, "The Martian" '15, "All the Money in the World" '17, "The Last Duel" '21) plus many others, TV and video shorts. Every time I see a film where Scott helms the picture, I can always be guaranteed that the direction will be consummate. He is an actor's director in that he can simply bring the characters written about to life through his actors. He has a massive resume and knowing this, any film he's involved with will assuredly be a winner, even if other aspects aren't as honed. If you like this filmmaker's brand of directing, his "Kitbag" is going through the filming process at this time. It was subtly, but intensely written by Becky Johnston ("Under the Cherry Moon" '86, "The Prince of Tides" '91, "Seven Years in Tibet" '97, "Arthur Newman" '12) and Roberto Bentivegna (shorts), based on a story by Johnston, which is based on the book by Sara Gay Forden. After viewing the trailer on this film, I was not wowed into seeing this, but considering Ridley Scott directed and the cast was unbelievable, I decided, reluctantly, to view it. As I was viewing this with great trepidation, I kept waiting for the other shoe to drop, and, although it wasn't perfect by any stretch of the imagination, it was exceedingly better than I could've dreamt. The film sequence was spot on as was the cohesiveness. Really, other than a few places of choppiness and some areas of continuity issues, this expose of the Gucci family was certainly worthy of the price of admission. 

Trust me, the trailer of this film doesn't sell it. It goes deeper and definitely shows the insecurities of this family far more than the trailer depicts. And, how bad can a film be with actors like Pacino, Irons, Driver and Leto; in fact Driver or Leto could end up with an Oscar nod. Message here? Money, power and notoriety can't buy happiness. 

Out of 4 Stars: 3                                             Rated: R                                                157mins.

Encanto

During this holiday season, there will be several animated films for audiences to choose from. "Sing 2" is released soon and now "Encanto" is offered to us from the Disney studios. While Disney has tackled many different forms of producing films, their animation, which they are world-known for, cannot be beat.

"Encanto" tells the tale an extraordinary family, the Madrigals, who live hidden in the mountains of Colombia, in a magical house, in a vibrant town, in a wondrous , charmed place called an Encanto. The magic of the Encanto has blessed every child in the family with a unique gift from super strength to the power to heal every child except one, Mirabel (Stephanie Beatriz). But when she discovers that the magic surrounding the Encanto is in danger, Mirabel decides that she, the only ordinary Madrigal, might just be her exceptional family's last hope. The patriarch, Abuela Alma (Maria Cecilia Botero), her sister Isabella (Diane Guerrero) and others seem to feel the need to suppress Mirabel considering her limitations of having a gift, but Mirabel ultimately realizes that she must find the 'black sheep' of the family, Bruno (John Leguizamo) in order to connect any reasoning of how the Encanto is beginning to lose its magic.

Others to round out the cast are Mauro Castillo as Felix, Jessica Darrow as Luisa, Angie Cepeda as Julieta, Carolina Gaitan as Pepa, Wilmer Valderrama as Agustin, Rhenzy Feliz as Camilo, Ravi Cabot-Conyers as Antonio, Adassa as Dolores and Maluma as Mariano.

This was whimsically directed by Jared Bush ("Zootopia" (co-dir.) '16) plus a music video, Byron Howard ("Tangled" '10, "Zootopia" '16) plus a music video and shorts, and co-directed by Charise Castro Smith. This was directed with such pathos and compassion that one felt as though you knew these people extraordinarily better than when the film started. Even though these directors haven't garnered a tremendous amount of experience in the director's chair, their quality speaks for itself. It was equally and creatively written by Charlise Castro Smith ("The Death of Eva Sofia Valdez" (TV movie) '16) plus TV and Jared Bush ("Zootopia" '16, "Moana" '16) plus TV and a video game, based on a story by Jared Bush, Byron Howard, Charise Castro Smith, Jason Hand, Nancy Kruse and Lin-Manuel Miranda. Again, with the collective, limited writing experience, this script was spot on! It was easy to follow, concise and cohesive in their ability to convey this story to the audience. It was based on a story by six artists and with this, it was truly smart to have only two of them to write the screenplay, otherwise it could've been convoluted with so many writers. And what can I say about Lin-Manuel Miranda? His music was remarkable and definitely enhanced this production. Coming off his music he created for "Hamilton", "In the Heights" and extra music for "Mary Poppins Returns", he is incredibly talented with every project he touches. 

If you like an amazing animated film from the king of animation, Disney, and great music from Lin-Manuel Miranda, you will love this. It is also presented in a 3D format for your viewing pleasure, however, seeing this on the large screen, I believe you don't need to see this in that format to get that grandiose feeling. This is a charming and great family film for all. The animated short at the beginning, "Far from the Tree" was charming with a great message.

Out of 4 Stars: 4                      Rated: PG                        102mins., animated short, 8mins.

                                                                                              

King Richard

With the many films that Hollywood has produced, biopics have certainly become a common genre that has graced the silver screen for a number of decades. I believe what makes "King Richard" a bit different than most is the fact that it's more about the father of two famous tennis players than it is about the tennis players themselves. 

Armed with a clear vision and a brazen 78-page plan, Richard Williams (Will Smith) is determined to write his daughters, Venus and Serena (Sanlyya Sidney and Demi Singleton) respectively, into history. Training on Compton, California's neglected tennis courts--rain or shine--the girls are shaped by their father's unyielding commitment and their mother's, Brandy (Aunjanue Ellis) balanced perspective and keen intuition, defying the seemingly insurmountable odds and prevailing expectations laid before them. Knowing they need a coach to sponsor Venus so the expenses won't overcome Richard and Brandy, they ultimately hire Rick Macci (Jon Bernthal). Based on the true story that will inspire the world, "King Richard" follows the uplifting journey of a family whose unwavering resolve and unconditional belief ultimately delivers two of the world's greatest sports legends. 

Others to round out the cast are Tony Goldwyn as Paul Cohen, Mikayla Lashae Bartholomew as Tunde Price, Daniele Lawson as Isha Price, Kevin Dunn as Vic Braden, Noah Bean as PV CC tennis pro and Josiah Cross as TD. 

This was brilliantly directed by Reinaldo Marcus Green ("Monsters and Men" '18, "Joe Bell" '20) plus TV and shorts. Although this filmmaker doesn't have a plethora of feature film experience, what he does have is quality. This is truly an artist who dwells on his craft instead of just cranking out money makers, and I have a tremendous amount of respect for that. The characters in his films simply come to life, as with this film as well. His directing of Smith will undoubtedly garner Smith an Oscar nod, and with that, this director will go far. It was equally written well by a virtual unknown, Zach Baylin. This writer is obviously a natural which is rare since most writers that start with feature film screenplays are typically choppy and questionable at best. This was cohesive, concise, well sequenced all with a tight script. He does have a film that has been announced for a 2022 release which is "Creed III" which he writes. If that film is anything as well thought out as this, it should be a want-to-see film. Jon Bernthal as the coach also gave a stunning performance and also could garner him a supporting Oscar nod as well. Smith's rendition of Richard went back and forth between protectiveness of his daughters and the realization that they ultimately had to make their decision of what they really wanted to do with their future in tennis. So, one minute the audience is cheering for him, and then another minute, you wonder what he's thinking. This is compelling acting.

Whether you are a tennis fan or not, this is a compelling expose of one family's determination to triumph in spike of any obstacles involved. Considering I'm really not a fan of tennis, the almost two and a half hour running time sailed right along, and that's the sign of a well crafted film. The acting, directing and writing will astound.

Out of 4 Stars: 4                                                    Rated: PG-13                                             144mins.

Ghostbusters: Afterlife

Ever since the original "Ghostbusters" premiered back in 1984, the franchise has carried a rather obtuse legacy since. What with "Ghostbusters 2" in 1989, which didn't fair well, and then a female version in 2016 was released with less than impressive reviews, it has had a varied existence. Now, with "Ghostbusters: Afterlife" premiering as a continuation of what happened to Dr. Spengler--one of the original ghostbusters, we are offered a new story filled, once again, with several ghosts to conquer.

When a single mom, Callie (Carrie Coon) and her two kids Trevor (Finn Wolfhard) and Phoebe (Mckenzie Grace) arrive in a small town in Oklahoma, they begin to discover their connection to the original Ghostbusters and the secret legacy their grandfather left behind. As the kids ultimately befriend their school instructor, Gary Grooberson (Paul Rudd), Phoebe's classmate Podcast (Logan Kim) and a coworker of Trevor's Lucky (Celeste O'Connor), they soon help Trevor and Phoebe in uncovering a hidden cave where the Ghosts dwelled. 

Others to round out the cast are Bokeem Woodbine as Sheriff Domingo, Bill Murray as Dr. Peter Venkman, Dan Aykroyd as Dr. Ray Stantz, Ernie Hudson as Dr. Winston Zeddmore, Annie Potts as Janine Melnitz, Sigourney Weaver as Dana Barrett and Oliver Cooper as Elton.

This was directed with wit and thoroughness by Jason Reitman ("Thank You for Smoking" '05, "Juno" '07, "Up in the Air" '09, "Young Adult" '11, "Labor Day" '13, "Men, Women & Children" '14, "Tully" '18, "The Front Runner" '18) plus TV and shorts. This is a director who seems to direct somewhat odd or quirky films which has to be more fulfilling as a filmmaker, but since his dad, Ivan Reitman directed the original "Ghostbusters", I can certainly understand that it would be so appropriate for him to be behind the director's chair for this, even though this is basically a commercial film. This director definitely gave the same feel of this as his dad outlaid in the original, and seeing, not only some original cast members, i.e. Bill Murray, Dan Aykroyd, Ernie Hudson and Annie Potts, but the old Cadillac vehicle used in the original allowed the audience to walk down memory lane. It was effectively written by Gil Kenan ("A Boy Called Christmas" '21) and Jason Reitman ("Thank You for Smoking" '05, "Up in the Air" '09, "Labor Day" '13, "Men, Women & Children" '14, "The Front Runner" '18) plus shorts, based on the 1984 film "Ghostbusters", an Ivan Reitman film by Dan Aykroyd and Harold Ramis. Certainly, Jason Reitman gave this script a thorough continuation of the original's story and I even wonder how thorough it would've been if there wasn't a family tie with Ivan Reitman. One thing that caught my eye is that instead of the Pilsbury dough boy being huge--like in the original, he was small and there were many of them. It was a nice detail and connection. Was this film flawless? No, however, other than a couple of small places of the need for more clarity, this was spot on. And, as usual, the visual effects predominantly designed by MPC (Moving Picture Company) and Double Negative were seamless and truly added to the story. And the cinematography by Robert Elswit asc was amazing as well. 

If you're a Ghostbusters freak, you'll love this, and seeing all the connections with the original film only help the film be the film we all were waiting for. I can't help but think that this would've been killer in IMAX which is also formatted in. This is a fun, and great escapism film which we all could use today.

Out of 4 Stars: 3.5                                           Rated: PG-13                                               124mins.

Clifford the Big Red Dog

As we all have gone through the ringer with this pandemic in the past year and a half plus, it's been a while since we've seen a really heartwarming family film. Families have been the brunt of all that has caused hardship, what with mandates, supply chain issues, vaccines, death, sickness, financial difficulty, and the like. So, by now we sincerely need a film like "Clifford the Big Red Dog" to be able to attempt to diffuse all the problems we have encountered out there.

When middle-schooler, 12-year-old Emily Elizabeth Howard (Darby Camp) meets a magical animal rescuer Bridwell (John Cleese) who gifts her a little red puppy, she never anticipated waking up to find a giant ten-foot hound in her small New York City apartment. While her single mom Maggie (Sienna Guillory) is away for business, Emily and her fun, but impulsive and irresponsible uncle, Casey (Jack Whitehall) set out on an adventure attempting to stop one Zac Tieran (Tony Hale) from kidnapping Clifford for nefarious reasons that will keep you on the edge of your seat as our heroes take a bite out of  the Big Apple. Based on the Scholastic book character, Clifford will teach the world how to love big!

Others to round out the cast are Izaac Wang as Owen, David Alan Grier as Packard, Russell Peters as Malik, Paul Rodriguez as Alonso, Horatio Sanz as Raul, Russell Wong as Mr. Yu and Kenan Thompson as a vet.

This was whimsically directed by Walt Becker ("Van Wilder" '02, "Buying the Cow" '02, "Wild Hogs" '07, "1321 Clover" (TV movie) '07, "Old Dogs" '09, "Alvin and the Chipmunks: The Road Chip" '15) plus TV. Although this filmmaker doesn't escape from his comfort zone with this, we are all the recipients of the positive feel of this heartwarming story. The expressiveness of Emily, Casey and especially Clifford is undeniably attractive to its target audience: the family. If this kind of directing pleases, his "Tradeshow" is in pre-production. This was effectively written by Jay Scherick, David Ronn and Blaise Hemingway, based on a screen story by Justin Malen and Ellen Rapoport, which is based on the beloved Scholastic Book Series "Clifford the Big Red Dog" by Norman Bridwell. This was well written in the fact that it followed the book series well, it was cohesive, concise all with a tight script. Now, did this have a somewhat predictable premise? Sure, but it is based on a child's story and with this, the predictability is definitely permissible. As I've mentioned in previous reviews, typically, if there are more than two writers involved with a screenplay, it has a tendency to become bogged down with choppiness and meandering, however, this having three writers didn't cause those situations to occur. In fact, because there was such a meaty source of this screenplay, they were able to pull it off. Of course, both Scherick and Ronn, who have collaborated on many films, and having the lion's share of the experience here didn't hurt. 

If you have a family, or know many families, this is a film for you. This has so many positive attributes imbued within the script: discovery, love, compassion all with an amazing message for all actually. And in a day where we could use more love and compassion, this film has spoken in volumes!

Out of 4 Stars: 3.5                                             Rated: PG                                               97mins.

Belfast

There are several filmmakers out there that I would deem as talented in their field in the entertainment business. Throughout the past we've seen the likes of Alfred Hitchcock, Sidney Lumet, Steven Spielberg, David Lean, Spike Lee, Clint Eastwood, Wes Anderson, Ridley Scott and the like, but now I believe I can add Kenneth Branagh to that ever growing list with "Belfast".

This is a poignant story of love, laughter and loss in one boy's, Buddy (Jude Hill) childhood, amid the music and social tumult of the late 1960's. The backdrop to this story was the Catholic/Protestant civil unrest in the 1960's which caused all in that community to endure having to walk on eggs just to live or co-exist with each other. Buddy and his family, Pa (Jamie Dornan ), Ma (Caitriona Balfe), Pop (Ciaran Hinds), Granny (Judi Dench) and Will (Lewis McAskie) all, in their own lives, have to be able to endure the times of the riotous Belfast civil unrest with passion, compassion, endurance and strength at a time when those attributes are difficult to hold on to when one needs them the most. 

Others to round out the cast are Josie Walter as Auntie Violet, Freya Yates as Cousin Frances, Nessa Eriksson as Cousin Vanessa, Charlie Earnard as Cousin Charlie, Frankie Hastings as Auntie Mary, Michael Maloney as Frankie West and Ian Dunnett Jr. as Uncle Tony. 

This was brilliantly and poignantly directed by veteran Kenneth Branagh ("Henry V" '89, "Dead Again" '91, "Much Ado About Nothing" '93, "Mary Shelley"s Frankenstein" '94, "Hamlet" '96, "As You Like It" '06, "Sleuth" '07, "Thor" '11, "Jack Ryan: Shadow Recruit" '14, "Cinderella" '15, "Murder on the Orient Express" '17, "All Is True" '18, "Artemis Fowl" '20) plus other films and shorts. Considering the resume this filmmaker has, I feel he is today's William Shakespeare with the films that are either based on his work or certainly has that similar feel. he simply knows how to bring his characters to life with passion and pathos unlike a lot of directors are unable to pull off. If you like the crispness and clarity of this director, his "Death on the Nile" is completed for a 2022 release. It is equally well written by Branagh ("Henry V" '89, "Much Ado About Nothing" '93, "A Midwinter's Tale" '95, "Hamlet" '96, "Love's Labour's Lost" 2000, "As You Like It" '06, "The Magic Flute" '06) plus a short. Although he doesn't have a tremendous amount of writing experience, for what he has is quality and is spot on. He truly captured the essence of these different characters and their distinctive attributes, and truly knows his way around a script. He can take a minimal amount of running time and bring his audience into a world that isn't, in and of itself, is a complex storyline, but the way he pens his screenplays he can take an otherwise common story and, all of a sudden, it truly sings and grips the audience. This could easily pick up some Oscar nominations including best picture, Branagh as director, Haris Zambarloukos bsc/csc for cinematography and possibly Judi Dench for supporting actress. 

If artfully well crafted films are your type thing, this will delight. This is not for the mass audience appeal, specifically if explosive films are more your desire. It does have some explosive moments--it  does take place in a civil unrest, but this is more than a backdrop to the film being more about life through the perspective of this small boy and his family and his neighborhood. This is a must see simply because of the sheer quality of how this was crafted.

Out of 4 Stars: 4                                          Rated: PG-13                                              97mins.

Eternals

The MCU or Marvel Cinematic Universe has produced a plethora of films whether it be "Ironman", "Captain America", "Guardians of the Galaxy", "Deadpool", etc, and although each and every one of them are visually stunning, not all of them are particularly original or penned expressly well, especially this film from the MCU corral titled "Eternals'.

This film centers on ancient aliens called Eternals including Sersi (Gemma Chan),  Ikaris (Richard Madden), Thena (Angelina Jolie), Ajak (Salma Hayek), Kingo (Kumail Nanjiani), Sprite (Lia McHugh), Phastos (Brian Tyree Henry), Druig (Barry Keoghan), Ma dong-Seok (Don Lee) and Makkari (Lauren Ridloff), who have been living on Earth in secret for thousands of years. Following the events of "Avengers: Endgame", an unexpected tragedy forces them out of the shadows to reunite against mankind's most ancient enemy, the Deviants, which were supposedly eliminated by the Eternals approximately 5,000 years ago. The story unfolds and spans, not only different eras in time, but many locales as well in searching out the Deviants in order of terminating them to save mankind.

Others to round out the cast are Kit Harington as Dane Whitman, Harish Patel as Karun, Haaz Sleiman as Ben, Alan Scott as Patrick, Hannah Dodd as Sandra and Esai Daniel Cross as Jack.

This was brilliantly directed by Chloe Zhao ("Songs My Brothers Taught Me" '15, "The Rider" '17, "Nomadland" '21) plus shorts. As with "Nomadland", this filmmaker has proven she knows her way around the director's chair. The pathos, intense emotions and staging is absolutely amazing. What's more amazing is that with the limited theatrical film experience she has, with each film, she proves she is a natural which, in this day and age, they don't come by very often. She will continue to be offered more work. This was written by Zhao, Patrick Burleigh, Ryan Firpo and Kaz Firpo, based on a story by Ryan Firpo and Kaz Firpo, which is based on the Marvel comics by Jack Kirby. Where the direction was extremely spot on, the writing, however, was not. It was an effective effort, but the story kept jumping around and became choppy in several places. I've mentioned prior, and I'll say it again, typically, when there is more than two writers involved on any given film, there's a great propensity of it becoming bogged down with choppiness, becoming inconsistent in script and sequentially mismanaged. This wasn't a total wash--it was visually stunning by ILM (Industrial Light & Magic) and Weta Digital, and the directing and even acting were enough to keep one attentive, however, no one could really save the writing from itself. They really shouldn't have allowed any more than two writers to pen this--too many hands in the pot, if you will. 

If you are a Marvel and/or Eternals fan, you'll love this regardless of the writing, or lack thereof, but even if one isn't a fan, the directing and visual effects are worthy of the price of admission. There will be another "Eternals". I know, what a shock, since the MCU are all about sequels and their franchise. Hopefully the writing will be better--maybe one or two less writers? We can only hope for the best. 

Out of 4 Stars: 2                                            Rated: PG-13                                            156mins.

The French Dispatch

When it comes to independent films, Wes Anderson is probably at the top of the list. He is the quintessential artist of quirky and extremely different. Most of Anderson's films are formatted in a droll and satirical way and while they are dramatic, they are laced with extremely powder dry comedy, and "The French Dispatch" is no exception. 

This is a love letter to journalists, including Lucinda Krementz (Frances McDormand), J.K.L. Berensen (Tilda Swinton), Roebuck Wright (Jeffrey Wright) and Herbsaint Sazerac (Owen Wilson), set in an American newspaper in a fictional twentieth century French city that brings to life a collection of stories published in "The French Dispatch". This film is presented in a series of vignettes covering the different sections of the newspaper such politics, arts and entertainment, cooking, etc. These different writers tell their stories to their editor, Arthur Howitzer, Jr. (Bill Murray), so they can figure out what to leave in the story and what to eliminate. The stories are as diverse as they are creative in that the characters are amazingly problematic and insecure, and is a wonder how these characters can figure anything out in their lives. 

Others to round out the cast are Benicio Del Toro as Moses Rosenthaler, Adrien Brody as Julian Cadazio, Lea Seydoux as Simone, Timothee Chalamet as Zeffirelli, Lyna Khoudri as Juliette, Steve Park as Nescaffier, Mathieu Amalric as The Commissaire, Bob Balaban as Uncle Nick, Henry Winkler as Uncle Joe, Lois Smith as Uphur 'Maw' Clammette and Tony Revolori as Young Rosenthaler.

This was directed by the indie filmmaker of them all, Wes Anderson ("Bottle Rocket" '96, "Rushmore" '98, "The Royal Tenenbaums" '01, "The Life Aquatic with Steve Zissou" '04, "The Darjeeling Limited" '07, "Fantastic Mr. Fox" '09, "Moonrise Kingdom" '12, "The Grand Budapest Hotel" '14, "Isle of Dogs" '18) plus shorts and a video short. This director is the actors' filmmaker, which is probably why he uses a certain number of the same actors in many of his films. He truly knows how to extract that droll, almost deadpan quality from his actors. All of his films are similar in that element he uses of being droll--it's almost become his trademark. It was also well written by Anderson (see above list), based on a story by Anderson, Roman Coppola, Hugo Guinness and Jason Schwartzman. When watching this, it can come across as confusing as the different sections don't seem to connect, but if you keep yourself attentive to the story, there is a subtle connection. Many of Anderson films are shot in similar ways replete with similar photography, Robert Yeoman asc., he has used many times, the sets in certain scenes are almost theater set looking and, of course, the satirical, droll powder dry comedy is evident in the films as well. If you like this director's brand of writing and directing, his "Asteroid City" is is post production for a 2022 release. 

Certainly if you are an Anderson die-hard fan, you will love this since it is golden Anderson, but even if not, this is a well crafted film. Don't get me wrong, this film isn't for the mass audience appeal, but if a powder dry, droll humor type of film is something you can sink your teeth into, you might give this a try.

Out of 4 Stars: 3.5                                          Rated: R                                                  108mins.

Last Night in Soho

We've all seen films centered on time travel, but what if that film is based on an individual who dreams in real time, but sees an unsolved murder from the 1960's? Well, you have the film, "Last Night in Soho" which chronicles a young English woman who, through dreams, is haunted about a murder that happened in the 1960's that is wrecking her world in real time.

In this psychological thriller, Eloise (Thomasin McKenzie), an aspiring fashion designer, is mysteriously able to enter the 1960's through dreams where she encounters a dazzling wannabe singer, Sandie (Anya Taylor-Joy). But the glamour is not all it appears to be and the dreams of the past start to crack and splinter into something darker. Many people she knows including her mother, (Aimee Cassettari), a friend, John (Michael Ajao) and her boss, Carol (Pauline McLynn), attempt to allay her fears when she's in real time, but after a point, she starts seeing visions even when not sleeping. Will she unravel the mystery and get her life back?

Others to round out the cast are Matt Smith as Jack, Diana Rigg as Ms. Collins, Rita Tushingham as Peggy, Terence Stamp as Silver Haired Gentleman, Synnove Karlsen as Jocasta, Jessie Mel Li as Lara, Kassius Nelson as Cami, Rebecca Harrod as Ashley and Colin Mace as Taxi Driver #1.

This film was brilliantly directed by veteran Edgar Wright ("A Fistful of Fingers" '95, "Shaun of the Dead" '04, "Straight 8" (TV movie) '04, "Hot Fuzz" '07, "Scott Pilgrim vs. the World" '10, "The World's End" '13, "Baby Driver" '17, "The Sparks Brothers" (documentary) '21) plus TV, video shorts and shorts. Even though Wright doesn't have a plethora of experience in feature films, the quality of them is evident enough to call him a veteran. This film was delineated with such in-depth study of different characters, that it is amazing how he was able to bring these characters to life by the proper staging and pacing. If his brand of directing appeals to you, his "The Running Man" has been announced which he will direct and write. It was equally well written by Wright ("A Fistful of Fingers" '95, "Shaun of the Dead" '04, "Straight 8" (TV movie) '04, "Hot Fuzz" '07, "Spaced" (TV movie) '08, "Scott Pilgrim vs. the World" '10, "The Adventures of Tintin" '11, "The World's End" '13, "The Ant-Man" '15, "Baby Driver" '17) plus TV, video documentaries and shorts and Krysty Wilson-Cairns ("1917" '19) plus TV, shorts and a video, based on a story by Wright. As this film evolved from real time to the 1960's and then back again, and, at times, the two different time periods melded was not only effective, but was difficult if the writer isn't as seasoned as Wright. But since Wright is the consummate writer that he is, he was able to pull this off in spades. Wilson-Cairns certainly didn't have the lion's share of experience, but had pivotal input. Other than a couple of very small places of slowness, this script simply rocked. It seems at times that the storyline is slow and not adding up, however, be patient with this--this is intentional, because all of a sudden the story starts picking up and starts to congeal. 

If one can appreciate a suspenseful thriller, this will treat and be a riveting story to sink your teeth into. This film will keep you guessing, because the end you will not see coming! It's such a joy to see a film that is as original as this, which Wright is a consummate pro when writing. Why can't we see more films out there that aren't reboots, remakes, sequels, prequels, franchises, continuations and the like?

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

Dune

Hollywood has produced many different genres in their history, and sci-fi is certainly one of the oldest and most popular of them. Between "Star Wars", "Star Trek", "Alien", "Event Horizon", all the 'comic book films' and the like, we've seen a plethora of them. Now we have "Dune" to gnaw our teeth on.

A mythic and emotionally charged hero's journey, "Dune" tells the story of Paul Atreides (Timothee Chalamet), a brilliant and gifted young man born into a great destiny beyond his understanding, must travel to the most dangerous planet in the universe to ensure the future of his family including his father Duke Leto Atreides (Oscar Isaac) and his mother Lady Jessica Atreides (Rebecca Ferguson) and his people including Duncan Idaho (Jason Momoa) and Gurney Kalleck (Josh Brolin). As Malevolent forces explode into conflict over the planet's exclusive supply of the most precious resource in existence--a commodity capable of unlocking humanity's greatest potential--only those who can conquer their fear will survive. 

Others to round out the cast are Zendaya as Chani, Stellan Skarsgard as Baron Vladimir Harkonnen, Stephen McKinley Henderson as Thufir Hamat, Javier Bardem as Stilgar, Sharon Duncan-Brewster as Dr. Liet Kynes, Chang Chen as Dr. Wellington Yueh, Dave Bautista as Beast Rabban Harkonnen, David Dastmalchian as Piter de Vries and Charlotte Rampling as Reverend Mother Mohiam.

This was incredibly well paced and staged by director Denis Villeneuve ("August 32nd on Earth" '98, "Maelstrom" 2000, "Un cri au bonheur" (documentary) '07, "Polytechnique" '09, "Incendies" '10, "Prisoners" '13, "Enemy" '13, "Sicario" '15, "Arrival" '16, "Blade Runner 2049" '17) plus TV and shorts. Although this filmmaker doesn't have an extensive resume, like other directors have, still the quality in which this director has is amazing. His ability to enable his actors to extract the emotions they exude, whether over-the-top or subtle, is unlike other directors with his experience. If you like his style, his "Dune: Part Two" is in pre production. It was effectively written by Jon Spaihts, Villeneuve and Eric Roth, based on the novel, "Dune" by Frank Herbert. As I've mentioned on other reviews, usually when there is more than two writers on any given film project, the script has a tendency to become bogged down with inconsistencies and choppiness- too many hands in the pot, if you will, however since these writers have a combined impressive resume of accomplished films to their credit, this certainly helped with the script structure. This is the first installment-the second being "Dune: Part Two" completing the story. Whereas this film is written by Spaihts, Villeneuve and Roth, the second installment will be minus Roth. Other than a couple of very small places of sequence issues and the fact that it was just a bit long-in-the-tooth, this story simply soared. The visual effects predominately designed by Double Negative were seamless and enhanced the weight of the film. 

If you are a sci-fi fanatic and enjoy seeing any sci-fi novels come to life on the screen, you'll definitely love this. This is the third remake of this, one in 1984 and 2000, and I did see the 1984 version and was less than impressed. This is a much better crafted film in that it's better written, directed, and obviously, the visual effects are exemplary. If you want to see this up, close and personal, it's also shown in an IMAX format as well.

Out of 4 Stars: 3                                               Rated: PG-13                                                155mins.

The Last Duel

Films about the dark ages or the knights of the round table type films have been around for decades, and although they are gruesome on the most part, they are also a perennial favorite of the stanchest fan. "The Last Duel". although being based on true events, is one of the most graphic, intense films of the genre that has come along in years. 

This story is a cinematic and thought-provoking drama set in the midst of the Hundred Years War in the 1380's, that explores the ubiquitous power of men, the frailty of justice and the strength and courage of one woman willing to stand alone in the service of truth, based on actual events, the film unravels long-held assumptions about France's last sanctioned duel between Jean de Carrogues (Matt Damon) and Jacques Le Gris (Adam Driver), two friends turned bitter rivals. Carrogues is a respected knight known for his bravery and skill on the battlefield. Le Gris is a Norman squire whose intelligence and eloquence make him one of the most admired nobles in court. When Carrogues' wife, Marguerite (Jodie Comer) is viciously assaulted by Le Gris, a charge he denies, she refuses to stay silent, stepping forward to accuse her attacker, an act of bravery and defiance that puts her life in jeopardy. The ensuing trial by combat, a grueling duel to the death, places all three in God's hands. What makes this even more political, is that of the presence of Pierre d'Alencon (Ben Affleck), who is France's king who supports Le Gris. Since Le Gris has helped d'Alencon so much, there is a huge conflict of interest. 

Others to round out the cast are Harriet Walter as Nicole de Carrogues, Alex Lawther as King Charles VI, Marton Csokas as Crespin, William Houston as herald at the duel, Oliver Cotton as Jean de Carrogues III, Aurelien Lorgnier as Carrogues' priest, Nathaniel Parker as Sir Robert de Thibouville, Tallulah Haddon as Marie and Bryony Hannah as Alice.

This was extremely and intensely directed by veteran Ridley Scott ("The Duelists" '77, "Alien" '79, "Blade Runner" '82, "Legend" '85, "Black Rain" '89, "1492: Conquest of Paradise" '92, "White Squall" '96, "Gladiator" 2000, "Hannibal" '01, "Black Hawk Down" '02, "American Gangster" '07, "Bodies of Lies" '08, "Prometheus" '12, "Exodus: Gods and Kings" '14, "The Martian" '15, "All the Money in the World" '17, "House of Gucci" '21) plus others, TV, shorts and video shorts. Ever since I saw "Alien", I was hooked on the incredible ability that Scott has in the director's chair. He directs with grit, cohesiveness, and conciseness. This film was amazingly well paced and followed the storyline effortlessly. With his body of work, one can see how he has evolved as one of the greatest directors we have today. It was well crafted by writer Nicole Holofcener ("Walking and Talking" '96, "Lovely & Amazing" '01, "Friends with Money" '06, "Please Give" '10, "Enough Said" '13, "Every Secret Thing" '14, "Can You Ever Forgive Me?" '18, "The Land of Steady Habits" '18) plus TV and a short, Ben Affleck ("Good Will Hunting" '97 "Gone Baby Gone" '07, "The Town" '10, "Live By Night" '16) and Matt Damon ("Good Will Hunting" '97, "Gerry" '02, "Promised Land" '12), based on the book by Eric Jager. This film is formatted in a series of flashbacks starting with the duel and before it continues with the duel, it takes the audience back 17 years in order to delineate how these once friends, turned to attacking each other. It's not an original way to structure a script, however, the way these writers unfolded the story, it allowed its audience a look into the strengths, weaknesses and insecurities of the two who ultimately dueled, not to mention others around them. What does make this format original is that it is written in three chapters giving three different perspectives of what happened to Marguerite. Holofcener wrote the chapter of Marguerite, Affleck wrote the chapter of Le Gris and Damon wrote the chapter of Garrogues' perspective. This gave an interesting aspect to the story as it unfolded. Other than this being a little long-in-the-tooth--it could've been cut about 5 minutes, this was a spot on film on every level. The supervising sound editing by Oliver Tarney and re-recording mixing by Paul Massey, David Giammarco and William Miller was so over the top that you would cringe when you'd hear a knight stab someone or clang one of their swords. It was amazing! 

Certainly if you like knights of the round table, dark ages type of films, you will revel with this film. It was brilliantly directed, cleverly written and wonderfully acted by Damon, Driver, Comer and Affleck and the fact that this is the second collaboration of writing between Damon and Affleck makes it that much more appealing. 

Out of 4 Stars: 3.5                                               Rated: R                                               153mins.