IF THEY CANâT HEAR YOU, THEY CANâT HUNT YOUâŚ
“A QUIET PLACE”
STARRING
EMILY BLUNT
JOHN KRASINSKI
NOAH JUPE
MILLICENT SIMMONDS
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Do not, under any circumstances, miss this movie. Itâs one of the most unique and highly entertaining films of the year. Written and directed by the skilled and very distinguished Martin McDonagh (In Bruges, Seven Psychopaths), whose work never fails to impress, bewilder and engage you, likewise, Three Billboards will surprise you, shock you, delight you as well as alarm you. I donât know what I was expecting going in but what I got was purely visceral and elicited, more than once, a stirring of genuine discomfort for what Mildred (McDormand) was going through.
Important to pull you in, all characters in the film are rich in tone and have strong personalities. From the target of the Billboards, chief of police Willoughby (Harrelson), to his hotheaded underling, Dixon (Rockwell), the players of the narrative are well developed and entrenched within a captivating and engrossing story about despair and hopelessness. The film is beautifully shot with fitting music to accompany the actors who are expertly cast for each role. All things considered, this is easily one of the best films of the year.
A tragedy happened in Ebbing, almost an entire year previous, that changed Mildredâs, an independent and strong divorced mother of two, life forever; her teenage daughter, Angela (Kathryn Newton), was raped and murdered.  In a flashback scene, we learn that Mildred has every reason to feel a little guilty for it happening. Though Mildred has a son to live for, she has been devastated by her loss and refuses to let the police sit and allow her daughterâs death to go unsolved any longer. Fearing theyâre not doing as much as they should and that Angela’s death is turning into a cold case, she rents Three Billboards and posts messages to Chief Willoughby, reminding him that he has an unsolved murder on his hands, lest he had forgotten. In a deep red with black lettering the signs read, âRaped While Dying,â âAnd Still No Arrests?â and âHow Come, Chief Willoughby?â
After the billboards, with their very potent and direct messages of what happened to her daughter and who it is not doing anything about her murder, go up, Mildred draws unwanted attention from everyone in town. She finds that Willoughby has many admirers and that the citizens of Ebbing donât appreciate her attacking and questioning him the way that she has. Itâs at this point we learn more about his current situation and suddenly a suspect list begins to emerge; so do outstanding performances.
Every word McDormandâs Mildred utters is done so with such diligence and precision that the anguish Mildred is suffering through practically assaults you as the characters in the film assault one another. Youâll agree that McDormand will be a strong contender for an Academy Award this year but so might Sam Rockwell be with his turn here as the slightly deranged mamaâs boy of a police officer whoâll stop at nothing to support his boss. With these two actors at the helm, and an almost muted offering by Harrelson who is carrying the weight of the world on his shoulders, youâll not only be happy you saw this movie this weekend but youâll get back in line to watch it again. The end leaves the audience to guess what ultimately happens so what better way to solve a mystery than to watch more closely and research everything once again for anything you may have missed.
“Wonder” is based on a popular book by the same name that deals with a young boy with a severely deformed face. Due to some genetic trait, the youngster was born with many medial issues and has undergone 27 surgeries to make him inch toward being normal. He has a close-knit family, with a loving mother and father a slightly older sister. His world is about to radically change, because mom will no longer home-school the boy and he will attend fifth grade with all other kids his age. It will be a world of ‘Wonder’.
Auggie Pullman (Jacob Tremblay) is the boy with a medically-corrected face and a huge heart. Isabel (Julia Roberts) is his mom and will no longer put her life on hold to home-school Auggie. She was close to getting a Masterâs degree and wants to pursue that once more. His dad, Nate (Owen Wilson) is always very supportive, but he knows to let mom have her way. His sister Olivia (Izabela Vidovic) – called Via – is about to start high school. So, there are many changes in the Pullman household.
Auggie is very shy and awkward with people that he meets. They usually stare at him because of his face, and knows it make them uncomfortable. He tries to downplay that it makes him feel a little weird about himself, because he wants to expand his world. He normally loves to run around with a space helmet and pretend he is an astronaut, because that makes him feel better. But when he goes to school, he will need to fend for himself. He meets the principal named Mr. Tushman (Mandy Patinkin). There is also a kid in his class that seems to like him named Jack Will (Noah Jupe). But there will also be some people there who will snub Auggie and some who will bully him.
The movie follows the school year for Auggie and for Via. They both have some challenges, but then they both meet some new good friends. For Auggie, there is the new routine of a middle-school, and for Via it is learning to branch out into theater and a new romance. Their time in school has its ups and downs, but with help from mom and dad, they seem to work out the issues. There is a school play, a science fair, an overnight field trip – all the usual things to school-age kids. The most troubling event that happens is when the family dog gets ill.
Each of the main characters gets a little mini-chapter in the movie, where they get to tell more of what they think of the whole thing. It works out ok for most of the characters, even when it retreads a couple of scenes over and over (from a different perspective). There is no great revelation, other than to choose to ‘be kind’. There are some valiant attempts to give this movie more meaning than just a different type of kid that goes to a new school.
But this resembles the 1985 movie “Mask” which was a true story of a young boy with a similar problem. That movie did a good job to make an awkward kid feel ok about a facial deformity. It turned out to be very popular and won quite a few awards. So perhaps “Wonder” is destined to join in that exclusive club. But it will all depend on the acting and the story. In this case, the acting is superb, but the story is very ho-hum.
Jacob Tremblay and Noah Jupe (in a smaller role) are both incredibly good in their roles. Tremblay has the added weight of facial prosthetics to give him the look of Auggie. But they are terrific in this movie and make a very good impression. Izabela Vidovic as Via also does a great job to play the sister that tends to be ignored by mom and dad always giving time to the younger, sicker brother. Julia Roberts and Owen Wilson do a fine job as the mom and dad, but their story is not one that is front and center. Mandy Patinkin plays his role like a favorite uncle at a family reunion.
The biggest issue is that there is not all that much going on. The movie stretches over a year period, but the characters do not seem to grow at all. There is no big hurdle to get over, nor any major issue to tackle. It is all just there, going on from one day to the next. The level of bullying is not all that major, and the difficulties adjusting to the new school come and go quickly. So there is not any tension built up or any big outcome that you look forward to…
UNTITLED DEADPOOL SEQUEL
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SYNOPSIS:
After surviving a near fatal bovine attack, a disfigured cafeteria chef (Wade Wilson) struggles to fulfill his dream of becoming Mayberry’s hottest bartender while also learning to cope with his lost sense of taste. Searching to regain his spice for life, as well as a flux capacitor, Wade must battle ninjas, the yakuza, and a pack of sexually aggressive canines, as he journeys around the world to discover the importance of family, friendship, and flavor – finding a new taste for adventure and earning the coveted coffee mug title of World’s Best Lover.
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Dealt is a fascinating documentary about an extraordinary individual who overcame tremendous odds to become, not only a black belt in karate but an award-winning Mechanic Magician. Every goal he set for himself was met and sometimes exceeded.Â
At an early age, an unlikely event befell him, and he felt he had no choice but see the mountain on top of him as something to climb rather than to simply lay under and do nothing to get it to move. A lesser person may have faced this with great contempt but Richard Turner ignored the weight that had just been dropped on top of him and found a way to adjust it to suit him. How? With loving support, the strength of character and a deck of cards.Â
The incredibly likable, energetic and humorous Richard can trick the best of them and with only what heâd call one small roadblock in his life, Richard is blind.
The film is magnificent as it goes through his life in sections, when he lost his sight and what brought him to meet the magician that turned his life around. That magician was Dai Vernon, one of the most important figures in magic ever. Itâs said even Harry Houdini couldnât figure out his tricks. Vernon taught Richard, who started his interest in cards from watching westerns, how to properly handle a deck, starting with how to hide a trick from your audience. From that moment on, there wasnât a time when he was without a deck in his hands. He became so close with Vernon that he was even told some of his secrets which have never been shared.
Visually, to get the point across as to what life was like for Richard, director Luke Korem shows us what he experienced as his vision started to go but quickly refocuses attention on the fact that for most of his life he refused to live as a blind man. Teased as a young boy, when he grew up and had more control over his life, he examined his circumstances and didnât see being blind as a disability but as a challenge, one he accepted without fear as some might choose to. He and his wife had a son and named him Asa, his middle name is Spades, who he loved very much and who assisted him but no one other than those two individuals has ever really helped him. Even so, he all but hid the fact that he couldnât see from anyone who didn’t need to now that about him, even from a live audience. Soon with his tremendous experience came success and with success came attention but whenever people mentioned his abilities and skill with cards, theyâd always equate them with the fact that he couldnât see which upset him greatly. This became a hurdle that was difficult to jump.
The documentary is over an hour long and in that time, we see Asa leave for college and though he tries to suppress it, Richard crumbles. The boy who has been by his side since he was old enough to peek over a card table is gone. The mighty and impenetrable Richard Turner, maybe the first time, now realizes how much he truly has depended on someone other than just himself. This is how the documentary ends, with Richard finally admitting to himself that itâs okay to accept your weaknesses and the generosity of others. Perhaps the healthiest thing he did was see the loss of his visions as a blessing in disguise. He would have never accomplished what he had otherwise. Similarly, you wouldn’t have known about this had I not told you about it. Since I did, do something for YOU and see this over the weekend!
*In Phoenix at Harkins Shea 14 or a theatre near you.
If youâve been burned by a sequel you thought would be amusing and it didnât deliver, donât let that experience keep you away. If you liked Daddyâs Home, be on the lookout for more of the same here. More of the same isnât a bad thing. Itâs the holidayâs and thereâs nothing like a festive holiday comedy to share with the gang, or if your case happens to be that a film gives you a little break from that reality, that works, too.
In the first film, we meet the very epitome of cool, in dad Dusty (Wahlberg), and the easygoing, cordial stepdad to his children by the name of Brad (Ferrell). What unfolds is the story of two dadâs showing the difference in being a more confident and masculine male as opposed to being more modest or in touch with your famine side. The struggle is more within Brad as one might imagine. Immediately upon seeing Dusty, he feels as though he has already lost the fight.
Sara (Cardellini), the childrenâs mother, has learned to cope with them but it wasnât easy at times. Now that itâs Christmas the men, who have worked out a pretty good system themselves, have decided that instead of dividing the children, theyâll have a âtogether Christmas.â This decision is made after young daughter Megan, played by the ever-adorable Scarlett Estevez from TVâs Lucifer, says she doesnât like Christmas because itâs not normal for her as it is for friends who donât have to bounce from house to house.
The holiday also brings visits from grandpaâs Kurt (Gibson) and Jonah (Lithgow), who resemble one another as much as Dusty and Brad do. A suggestion is made to rectify this imbroglio theyâre in by renting a vacation home away from home for a few days. Not only do they all have to continue being nice to one another up close but so do their fathers. For extra kicks, Kurt is negative and seems hellbent on causing problems, starting with asking Dusty how could he stand asking permission from another man to see his own children.
Bradâs father is the complete opposite. He’s supportive of everyone and gets all the love and attention a grandfather could want⌠deservedly so since Kurt isnât the loving sort though Dusty has tried his best.
The family retreat creates many a hysterical scene from the actors, especially little Scarlett who knocks it out of the park whenever she interacts with anyone. This is also when the macho between the four men jettisons to eleven. In the audience, both men and women alike, will chuckle and truly appreciate the humor of a scene involving one of their other daughters âfiddling with the thermostatâ which sends all the men in the house into hysterics. Laughs were plentiful and I heard many an, âIâve been there!â comment from where I was sitting.
John Cena Makes an appearance near the end as another dad. Every time I see him in a comedic role I hope he gets one with of larger significance. However, maybe what makes it so striking is that he says something uncharacteristic of what he looks like and who he seems to be that it wouldnât work, but Iâd sign up to find out. His presence is strong and as the alpha male heâs used very well.
Though Daddyâs Home 2 has its downsides and moments that make you roll your eyes, itâs hard not to enjoy a Sean Anders film, even when he has Lithgow using silly terms such as âbuttquack.â Anders, who wrote Sex Drive, Hot Tub Time Machine and We’re the Millers, knows his way around a joke and how to deliver it. He directed and helped write the first Daddy’s Home and you’ll be glad it stayed in his hands this time around, too. He creates opportunities for the main cast to strut their stuff. He most likely told all involved that they could use his film as a vehicle to frolic, let loose and rejoice. That advice clearly worked from what they showed us in their performances.
Daddy’s Home 2 was quite good comparing it to other comedies this year. I rather liked it. This testosterone-filled comedy is, for the most part, is one to take your family to the movies to see this holiday season. Not only for the comedy but for the reason it shows you how far acting like someone youâre not will end up costing you in the end.
This film is about detective Hercule Poirot and his train ride into hell. Actually, that might make for a more pleasing introduction, but it doesnât really fit here. Poirot isnât the sort of character the underworld would have their sights on. That aside, heâs just short of irritating, as a matter-of-fact. His mustache is way over the top and I couldnât help but think of Peter Sellerâs incredible âInspector Clouseauâ when he spoke. The comparison didnât help matters as I often found myself drifting and wishing I was watching a Sellerâs classics instead. They entertained me much more.
Also, if youâve read the book this is based on or seen the original film, you might not want to grab a seat on this train as thereâs no station it could pull into that you havenât already dropped your bags. Itâs really that simple. Itâs ‘Clue’ (the mystery, thriller based on the popular game), on a train only itâs not as much fun.
Poirot tells is that heâs good at what he does because he always sees things as they should be. This is both a blessing and a curse for him as he canât so much as have a conversation with somewhat that he isnât sniffing out their every flaw. Having the shade his mustache affords him for cover and being the straightforward man, he is, he also has no trouble pointing these flaws out to the person on the opposite side of his spyglass. When Poirot lands on the train he quickly begins meeting his fellow passengers. All of them open up to him who is, as I mentioned, sizing them up while conversing with them.Â
His character isnât set up anymore beyond this. You know heâs a detective but what you donât understand is why you need other characters literally telling you that for the entire opening of the film. As far as the setup, not much is known about any of the other characters in the film either, which is a big loss with a cast such as this. The elements are in place for this to be a massive success but it fails to deliver which ultimately falls on Branagh’s shoulders. I think most of his attention went to his acting instead of on the rest of the film.
All in all, the actors did a fine job portraying their characters but as the story moves forward you donât find them very memorable. They remain nothing more than background in a mystery that you have already solved, except for the puzzle in your head that’s still unworking. It stares up at your asking why have the amazing cast if youâre not going to use them better? I digress. My original point is that it is quite obvious who the killer is. I wonât tell you but when our master detective finds the victim, the âwhodunitâ of it all isnât too hard to figure out. For me, this meant the film wasnât as engaging as I had hoped it would be.Â
Maybe I expected too much. Iâve enjoyed most of Kenneth Branaghâs work but this one misses the mark. Iâm all for interesting camera angles but some overhead shots seemed unnecessary and useless. He continued using perplexing and erratic camerawork throughout which didnât win him any favors, however, the performances and music might make it worth the trip for you. There is a slight hint that there could be another film with Poirot on the way so, if thatâs the case, I hope he learns from his mistakes with this one.
The movie “Last Flag Flying” is a somber reflection of the human costs of war, and it just happens to have a wild and raucous fun side. It deals with the start of the Iraq war, when a man loses a son in combat, but then calls on old Viet Nam war buddies to help him out. The result is a quiet declaration that war is never good, but that the military way of life is required (and preferred) in a dangerous world. And that patriotism is more than flying flags, it is being ready to defend your way of live and your beliefs.
Larry “Doc” Shepherd (Steve Carell) seeks out an old friend in Portsmouth named Sal Nealon (Bryan Cranston). Sal runs a run-down bar and grill (with no grill). They both served in Viet Nam many years ago. There is some unspoken reason that Doc spent a couple of years in the brig. But they brush that off and go to find one other pal from that old war. Richard Mueller (Laurence Fishburne) is now a Baptist pastor and is happily married. When they were back in the war zone, the former Marines were not holy, but a Holy Terror.
Doc reveals that his reason to seek out his buddies is that could help him bury his son. Larry Jr. was also a new Marine who went over to Iraq in 2003, but he returned in a military casket. Doc needs the help of Sal and Mueller so that he can cope with the loss of his only son. Also, on top of that is the death of his wife earlier that year. So, the aging crew gets on the road to travel first to Arlington, then to Dover – to where his son is delivered from overseas.
They meet a young Marine named Washington (J. Quinton Johnson) who was a close friend of Larry Jr. and he tells them how he was killed. Doc refuses to have his son buried in Arlington, instead he wants to transport his body to his home in New Hampshire. The initial thought is to rent a U-Haul truck, and that has limited success. The Marine corporal in charge will help in getting the body and casket to Doc’s hometown. But he ordered Washington to take the train and stay with the old fogeys and with the casket as a moving Honor Guard.
There is not a huge action-packed sequence that happens, and most activity happens in cars, trucks and trains. But the amazing thing to watch is not the events or action, but the perfectly cast actors in each role. They each have a very distinct character and they interact with a wit and sparkle that brings each to life. The old war dogs have a deep secret that they eventually talk about, and they do everything that they can to right an old wrong.
All the acting of Steve Carell, Bryan Cranston and Laurence Fishburne is excellent. Cranston has the most frantic and watchable role. But Carell does an incredible job with the role as a broken man. Fishburne is a middle-ground of dignity and reason between the other actors. They have a very observable way of making the old friends who have not met in over twenty years look believable and natural. Also, Richard Linklater style of direction fits the story well, as it flows and meanders to the conclusion.
This movie will not ask you to stand up and cheer for foreign wars, whether they be in the South Asian Pacific or in the Middle East. It will ask you to silently bow your head to honor those whom have made great sacrifices to ensure Americaâs freedom. HoorahâŚ
Movie Screening Summary: THREE BILLBOARDS OUTSIDE EBBING, MISSOURI is a darkly comic drama from Academy Award winner Martin McDonagh (IN BRUGES). After months have passed without a culprit in her daughterâs murder case, Mildred Hayes (Academy Award winner Frances McDormand) makes a bold move, painting three signs leading into her town with a controversial message directed at William Willoughby (Academy Award nominee Woody Harrelson), the town’s revered chief of police. When his second-in-command Officer Dixon (Sam Rockwell), an immature motherâs boy with a penchant for violence, gets involved, the battle between Mildred and Ebbing’s law enforcement is only exacerbated.
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