Rated R, 106 minutes
**Full review coming February 11th**
The latest superhero film, "Deadpool," arrives in theaters next weekend, and I'll say, it's not your typical superhero film. A spinoff in the "X-Men" universe, the dark movie is loaded with blood, guts and a slew of profanity and one-liners from star Ryan Reynolds (who is perfectly cast here), and while some may not care for the graphic violence, it should please those who have been eager to see the movie. 2016 is going to be filled with superhero movies, and "Deadpool" gets it started with a bang. Brimming with a dark intensity and filled with bad language, I wouldn't recommend it for younger kids, but it's sure fun for everyone else.
movies
Sunday, February 7, 2016
Friday, February 5, 2016
The Lady in the Van - B
Rated PG-13, 104 minutes
The charming, well-acted new British dramedy "The Lady in the Van" is a loosely-based true story of a homeless woman who lived in a van in the driveway of a famous playwright for a number of years. The narrative falters a bit, especially in the later acts, but it's held together by the usually fantastic Smith, in fine, cantankerous form as the homeless woman. In 1974 London, playwright Alan Bennett (Alex Jennings) develops an unlikely friendship with Miss Shepherd (Maggie Smith), a homeless woman who lives in a van in his driveway for the next 15 years. Directed by Nicholas Hytner and written by Bennett ("The History Boys") himself, the enjoyable "The Lady in the Van," based on Bennett's 1999 play of the same name starring Smith and which actually happened, it's unconventional and often very funny, thanks to the superb (albeit hammy) Smith, who rides off with the movie in her freshly painted yellow van. When Smith isn't onscreen, the film is less successful and somewhat confusing, as Bennett (the real Bennett cameos at the end of the movie) has long conversations with himself, or another part of his mind, about what to do with Miss Shepherd, an artsy technique that likely would've worked better on stage than on film. Of course, he ends up taking care of her, something he's hesitant to admit to, in spite of throwing out her trash and stepping in her feces. Smith, in a more unsympathetic, physical role than usual (this isn't "Downtown Abbey"), can do this sort of part in her sleep, and she handles it with her typical charm and grace, and even if you don't like her at first, she'll win you over by the end of the movie. The ending for "Lady in the Van," an uneven one geared more toward fantasy, doesn't really work, and doesn't seem to fit with the rest of the character-driven movie, but overall it's an entertaining, uplifting look at an unusual relationship that blossomed over the years. Definitely worth a look for Smith.
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| Maggie Smith |
The charming, well-acted new British dramedy "The Lady in the Van" is a loosely-based true story of a homeless woman who lived in a van in the driveway of a famous playwright for a number of years. The narrative falters a bit, especially in the later acts, but it's held together by the usually fantastic Smith, in fine, cantankerous form as the homeless woman. In 1974 London, playwright Alan Bennett (Alex Jennings) develops an unlikely friendship with Miss Shepherd (Maggie Smith), a homeless woman who lives in a van in his driveway for the next 15 years. Directed by Nicholas Hytner and written by Bennett ("The History Boys") himself, the enjoyable "The Lady in the Van," based on Bennett's 1999 play of the same name starring Smith and which actually happened, it's unconventional and often very funny, thanks to the superb (albeit hammy) Smith, who rides off with the movie in her freshly painted yellow van. When Smith isn't onscreen, the film is less successful and somewhat confusing, as Bennett (the real Bennett cameos at the end of the movie) has long conversations with himself, or another part of his mind, about what to do with Miss Shepherd, an artsy technique that likely would've worked better on stage than on film. Of course, he ends up taking care of her, something he's hesitant to admit to, in spite of throwing out her trash and stepping in her feces. Smith, in a more unsympathetic, physical role than usual (this isn't "Downtown Abbey"), can do this sort of part in her sleep, and she handles it with her typical charm and grace, and even if you don't like her at first, she'll win you over by the end of the movie. The ending for "Lady in the Van," an uneven one geared more toward fantasy, doesn't really work, and doesn't seem to fit with the rest of the character-driven movie, but overall it's an entertaining, uplifting look at an unusual relationship that blossomed over the years. Definitely worth a look for Smith.
The Choice - D
Rated PG-13, 111 minutes
Nicholas Sparks has made it bad for both couples (at least for guys) and moviegoers, having to suffer through an annual attempt to imitate his greatest hit, "The Notebook," which feels like ages ago now. The latest icky eye-rolling love fest is the by-the-numbers and stale adaptation of his novel, "The Choice," an effort so contrived and calculated it makes previous dreadful attempts "The Last Song" and "Safe Haven" look like masterpieces. Veterinarian Travis Shaw (Benjamin Walker) is a ladies' man who thinks a serious relationship would cramp his easygoing lifestyle. Gabby Holland (Teresa Palmer) is a feisty medical student who's preparing to settle down with her long-term boyfriend. Fate brings the two together as Gabby moves next door to Travis, sparking an irresistible attraction that upends both of their lives through good times and bad. Note to Nicholas Sparks: we don't care about your latest bland couple going through the usual romantic notions just to make a buck or two, you've become the Stephen King of romance films, churning out films annually regardless of quality. The sluggish, silly and badly executed "The Choice" will please only his most die-hard of fans, who'll turn out to shed a tear or two at this dreck about what happens to pretty people. It has all the usual Sparks elements: set in the South, near water, with two people who initially hate each, fall in love, only to have tragedy or some sort of challenge befall our lovely pairing. This time it's the handsome Walker and Palmer, both decent actors who should know better what they're getting into, and I had a hard time believing any part of it: Travis is a tool, while Gabby is a nagger, it's a miracle the two fall in love at all without killing each other (which would've made things far more interesting), though in Sparks' universe, one or both will undergo some sort of difficulty that becomes the arc of the movie. I hated the fact that a great actor like Oscar-nominee Tom Wilkinson is wasted in such lightweight material, and I also didn't understand why he makes no attempt a Southern accent, while Walker's is so distinct. The last act is as dreadful and painful as they come, with a predictably sweet ending that'll make you long for something much better. Everything about it rings false, fake and so dumb I just couldn't buy it, but that's typical Nicholas Sparks. "The Choice" is all about making the right choices, and the best choice you can make is not to see it.
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| Teresa Palmer and Benjamin Walker |
Nicholas Sparks has made it bad for both couples (at least for guys) and moviegoers, having to suffer through an annual attempt to imitate his greatest hit, "The Notebook," which feels like ages ago now. The latest icky eye-rolling love fest is the by-the-numbers and stale adaptation of his novel, "The Choice," an effort so contrived and calculated it makes previous dreadful attempts "The Last Song" and "Safe Haven" look like masterpieces. Veterinarian Travis Shaw (Benjamin Walker) is a ladies' man who thinks a serious relationship would cramp his easygoing lifestyle. Gabby Holland (Teresa Palmer) is a feisty medical student who's preparing to settle down with her long-term boyfriend. Fate brings the two together as Gabby moves next door to Travis, sparking an irresistible attraction that upends both of their lives through good times and bad. Note to Nicholas Sparks: we don't care about your latest bland couple going through the usual romantic notions just to make a buck or two, you've become the Stephen King of romance films, churning out films annually regardless of quality. The sluggish, silly and badly executed "The Choice" will please only his most die-hard of fans, who'll turn out to shed a tear or two at this dreck about what happens to pretty people. It has all the usual Sparks elements: set in the South, near water, with two people who initially hate each, fall in love, only to have tragedy or some sort of challenge befall our lovely pairing. This time it's the handsome Walker and Palmer, both decent actors who should know better what they're getting into, and I had a hard time believing any part of it: Travis is a tool, while Gabby is a nagger, it's a miracle the two fall in love at all without killing each other (which would've made things far more interesting), though in Sparks' universe, one or both will undergo some sort of difficulty that becomes the arc of the movie. I hated the fact that a great actor like Oscar-nominee Tom Wilkinson is wasted in such lightweight material, and I also didn't understand why he makes no attempt a Southern accent, while Walker's is so distinct. The last act is as dreadful and painful as they come, with a predictably sweet ending that'll make you long for something much better. Everything about it rings false, fake and so dumb I just couldn't buy it, but that's typical Nicholas Sparks. "The Choice" is all about making the right choices, and the best choice you can make is not to see it.
Thursday, February 4, 2016
Hail, Caesar! - B-
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| George Clooney |
"This is bad for movie stars everywhere," says one movie star after another is kidnapped in the new Coen Bros' new mystery comedy, "Hail, Caesar!" The opposite may be true for appearing in a Coen Bros' movie, even one that won't rank as their best. Part mystery and part homage to old Hollywood filmmaking, the uneven but fun comedy works far better as the latter, featuring a gallery of contemporary stars, the highlight of which is a homoerotic song-and-dance routine from Channing Tatum. The movie follows a day in the life of Eddie Mannix (Josh Brolin), a Hollywood fixer for Capital Pictures in the 1950s, who cleans up and solves problems for big names and stars in the industry. But when studio star Baird Whitlock (George Clooney) disappears, Mannix has to deal with more than just the fix. Directed, written, produced and edited by Joel and Ethan Coen, the modestly enjoyable "Hail, Caesar!" is best when it pokes fun at Old Hollywood, with great turns by Brolin (whose character is more studio head than low-level "fixer," just saying), a scene-stealing (as always) Tilda Swinton as twin-Hollywood Gossip-columnist sisters and newcomer Alden Ehrenreich ("Beautiful Creatures") as a seemingly dim cowboy star who's thrust into some major drama on and off-screen - and also has one of the film's funniest scenes with Ralph Fiennes as his long-suffering director working on a particular line of dialogue. Some of "Caesar" works better than others, interestingly the kidnapping angle with Clooney is the movie's biggest weakness, a muddled aspect of the movie lacking the same quick flow the studio scenes have, and the ending in particular is disappointing. If it weren't for Ehreneich and Swinton, Tatum, in a small part, would walk - or dance - off with the movie - in one of the movie's memorable and glamorous Old Hollywood movie-in-a-movie sequences. Tatum's scene pays tribute (somewhat) to Gene Kelly, while it also has fun with big-budget 1950s Biblical epics, loopy Westerns and a particularly elaborate Esther Williams-style sequence with Scarlett Johansson. On the downside, the Coen's have packed in too many unnecessary characters to provide small parts to some big-name actors: Johansson and Fiennes have minimal impact, while Jonah Hill and Joel Coen's wife, Oscar-winner Frances McDormand, are seen only very briefly in cameos, in spite of what the posters and trailers might have you believe. "Hail, Caesar!" isn't the Coen's best and the last act in particular is a little off, but there's enough inspiring moments to still check it out, and after maybe re-watch one of their classics like "Fargo" or "Raising Arizona."
Pride and Prejudice and Zombies - C
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| Bella Heathcote and Lily James |
We've seen plenty of version of Jane Austen's "Pride and Prejudice," though never with zombies attached to it. The unevenly slow mashup, "Pride and Prejudice and Zombies" (or "PPZ" as some call it for short), based on Seth Grahame-Smith's 2009 parody novel of the same name, has a handful of fun moments in spite of a painfully talky, lugubrious narrative that's too self-aware and lacking in vigor. A mysterious plague has fallen upon 19th century England, the land is overrun with the undead and feisty heroine Elizabeth Bennet (Lily James) is a master of martial arts and weaponry. Casting aside personal pride and social prejudices, Elizabeth and Mr. Darcy (Sam Riley) must unite on the blood-soaked battlefield to rid the country of the zombie menace and discover their true love for one another. Directed and written by Burr Steers ("Igby Goes Down"), "Pride and Prejudice and Zombies" is a mildly entertaining, handsome production that uses Austen's "Pride and Prejudice" universe to battle the undead. Unsurprisingly, as with many mashups such as this, not everything works well with the draggy "PPZ" in spite of a few energetic fight scenes; the comedic wink-wink moments, especially with the subplot of attempting to marry the sisters off, falls very flat. Grahame-Smith's novel (who also wrote the parody mashup novel "Abraham Lincoln: Vampire Hunter" that was turned into a better handled 2012 film) steered from the Austen narrative considerably, and Steers veers it off even further, and fans of the novel will notice that much has changed in the film version. "PPZ" isn't designed for purists, who should stay away, but for zombie lovers, who'll likely be disappointed there isn't enough of the undead and its associated graphic violence; it's peppered with a few good moments (a few heads roll but that's about it), but an extremely sluggish middle act and a very messy last act and climax don't help things, not to mention James and Riley are the blandest Elizabeth and Darcy in any Austen universe, with a little bit (and just a very small amount) of "Game of Thrones" Lena Headey, as a very odd Lady Catherine de Bourgh. In spite of its kick-butt appeal, "Pride and Prejudice and Zombies" is a mixed bag, and I'll strive not to judge too much - it is what it is - but what is there could've had much more bite.
Friday, January 29, 2016
Kung Fu Panda 3 - B
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| Po and friends |
Just when you though Inner Peace had been achieved, once more the most improbable Dragon Warrior you can think of, Po, steps up to be Master Teacher. "Kung Fu Panda 3," the latest installment in the animated kung fu comedy franchise, is remarkably nimble as you remembered and still fun for the whole family. Familiar but filled with colorful zest, it's as safe and predictable as your favorite Chinese buffet. Po (Jack Black) realizes that he has a lot to learn if he's going to fulfill the next challenge from his beloved instructor (Dustin Hoffman). After reuniting with his long-lost father (Bryan Cranston), Po must transition from student to teacher to train a group of fun-loving, clumsy pandas to become martial-arts fighters. Together, the kung-fu brethren unite to take on the evil Kai (J.K. Simmons), a supernatural warrior who becomes stronger with each battle. Directed by Jennifer Yuh Nelson ("Kung Fu Panda 2") and Alessandro Carloni and scripted by Jonathan Aibel and Glenn Berger (writers of all the "Kung Fu Panda" films), is still zany fun, especially for the young set, who'll still get a kick out of the huge, high-kicking panda with an even bigger heart, who discovers his real Dad (voiced by "Breaking Bad's" Cranston) as he must master his chi and regain his standing as the Dragon Warrior, fighting against the evil Kai (Oscar-winner Simmons, superbly cast as the heavy here). Po's pals are all back too to help him in his latest "adventure of awesomeness," including Tigress (Angelina Jolie), Mantis (Seth Rogen), Monkey (Jackie Chan), Viper (Lucy Liu) and Crane (David Cross), so expect hijinks, laughs and pratfalls aplenty, some of which fills like filler to get to the final showdown. Except for the colorful portrayal of the battle between the spirit and mortal worlds, not much is new here, but the familiar formula that worked in the first two "Kung Fu Panda's" work in Po's latest adventure to greatness, and for a sequel, it holds up enjoyably well. If the winter blues have you down, then let the predictably entertaining "Kung Fu Panda 3" get your kicks and spirits up.
Jane Got a Gun - C-
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| Natalie Portman |
See Jane get a gun. Set Jane shoot a gun. See Jane kill a bad guy. But first, Jane must stop and ponder all she's been through. The sluggish, slow-as-molasses new Western "Jane Got a Gun" starring and produced by Oscar-winner Natalie Portman has been riddled with more problems than you can shake a stick at, with a bevy of directors and leading actors in and out of the movie since it started production nearly three years ago, then being delayed by the bankruptcy of its studio at the time, Relativity Media. Unfortunately, some of these problems seemed to have spilled onto the screen, as the pseudo pro-feminist, revenge theme (written and rewritten several times during the process) is hampered by clunky and uninvolving plotting that doesn't really pick up some energy until the last act. With help from her ex-fiancé Dan (Joel Edgerton), Jane (Portman) must defend her husband (Noah Emmerich) and family from a vengeful outlaw (Ewan McGregor) and his gang of killers in the Old West. "Jane Got a Gun" ended up with a decent director, Gavin O'Connor ("Warrior") and a talented cast that includes Portman, Emmerich, Edgerton and McGregor, though they're wasted under a ponderous tone never really takes full shape, as much of the backstory is revealed through some confusing flashbacks from each of the main characters. The familiarity of it all, not to mention that much of it's simply not all that interesting, adds up to a big disappointment, though Portman and Edgerton make for a solid pairing, too bad they don't have better material to work with. "Jane Got a Gun" reminds of the far more memorable (and not to be confused with) Aerosmith classic tune "Janie's Got a Gun"; the lyrics to that song include: "Janie got a gun Janie got a gun whole world's come undone..." Too bad the same couldn't be sad for the dull Western "Jane Got A Gun," as it would've been far more entertaining to watch had she, or anything in the movie, come undone.
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