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.