Reviews – Page 112 – tmc.io 🍿 watch movies with friends

The Shape of Water

December 8, 2017 Published by Shari K. Green

This film is, essentially, a sonnet. A sonnet to love that bursts to life with a breathtaking opening. It’s presented to you with intricate imagery and topped with a poem at the end to nicely complete the fable. ‘The Shape of Water’ is called a fairy tale and from the poster, you can see it certainly looks like one. Director Guillermo del Toro (Pan’s Labyrinth, The Devil’s Backbone) was quite obviously inspired by ‘The Creature from the Black Lagoon.’ Regardless of what it’s labeled, a love story, a fairy tale, a thriller, it’s hard to really describe it as any one thing in particular. That task seems better left for the individual viewer of this magnificent work of art. At one moment you’ll see it as a thriller where you’re biting your lip, filled with anxieties, another you’ll feel the anguish that makes it a drama but there’s no doubt it’s a brilliant fantasy.

The plot of the story is a woman falling in love with an amphibian. We see beauty in all things. She most certainly does. The movie is an ode to love, for people and for other creatures no matter who or what they are, and that’s the strong central message del Toro makes very clear. That and how important the color green is to him. Everything is green. The start of the film is waterlogged and wonderful and you’ll appreciate how green lends to the temperature of the film as a whole. As we begin the story in the apartment (above a theatre) that belongs to our protagonist, Eliza Esposito (Hawkins), we are swept away to another time and place. Eliza is a perfect damsel in distress. She’s short, mute and low on friends but appreciates everything she has, especially a little alone time in her bathtub where she relieves herself from the tensions of the day.

The year is 1962, right before the death of Kennedy and the death of what people considered to be their hope for their country… did I mention the film gets political at times? Eliza works with Zelda (Spencer) in a secret government laboratory. They’re cleaning women and generally keep to themselves but due to a wrong place, wrong time situation, are one day pulled into something they weren’t expecting. Asked to clean up a bloody mess after Mr. Strickland (Shannon) gets a horrific injury, the women are privy to more information than they care to be. For Zelda, it’s just, ‘do the job, move on and forget it happened.’ For Eliza, very curious by nature, it’s a matter of finding out the ‘why’s’ of the bigger picture. She sees a creature, known as only the asset, wrongly imprisoned and feels sorry for it as it’s tortured by cold, heartless men. When next she sees the creature, not intimidated by it, she gives it part of her lunch. A bonding begins.

The creature is possibly going to be used for space exploration and the lab Eliza works is not the only research facility that wants him. She tells her friend and neighbor Giles, played magnificently by Richard Jenkins, about the creature who is intrigued but when she speaks of a plot to rescue her new charge, he’s more than concerned. Sadly, you’ll grow concerned, too, as the film nears its conclusion. Up to the point where her plot to remove the asset from his imprisonment ends, it’s a well-structured, beautifully formed and stunningly shot film. It’s a fascinatingly violent film with peculiar lusts along with joy and guilt hidden in dark places BUT the end seems rather flat. Be that as it may, don’t be deterred from seeing it.

Afterall, it’s not as if your imagination can’t move beyond what del Toro does on screen and fill in a few blanks… it’s a shame that it must.

Wonder Wheel Movie Review

December 8, 2017 (updated December 6, 2017) Published by JMcNaughton

“Wonder Wheel” is a new movie from Woody Allen full of drama and dialogue, Allen’s favorite topics. However, in this case the drama is weak and the dialogue is ponderous and overblown. Woody Allen is not devoid of talent, but in this case, he seems to have misplaced his writing skills. They were replaced with a first-year college student attempt at writing ‘serious’ drama. The story is very slim and the characters are two-dimensional at best. The actors are giving it their best shot, but it’s hard to make an impact with such light-weight material.

In 1950 at Coney Island, there is a large Ferris wheel ride called (strangely enough) “Wonder Wheel”. Ginny (Kate Winslet) is a failed actress with a young son, and her first husband left her. She is now married to Humpty (Jim Belushi), an easy-going guy who works at the merry-go-round in the amusement park. Humpty and Ginny, who works as a waitress at a bar in the park, both live with her son in a tiny apartment next to the Wonder Wheel. They have little money, and things are usually tense between them. But it is about to get worse.

Humpty has a grown daughter from his first marriage, named Carolina (Juno Temple). She had left and gotten married to a gangster, and Humpty was not pleased. But her marriage went bad, and she left the mob life, and then talked with the FBI. Carolina is now a marked woman, and she is being chased by some thugs who want to kill her. But Carolina goes back to the one place that she knows will have someone to take her in. She goes back to Humpty and his meager life. But she will now share a space with Humpty and Ginny and her son, and this makes everyone feel on edge. She also has dangerous thugs coming after her, so everyone is also very nervous.

Ginny destroyed her first marriage by being unfaithful, and she is again falling into this same pattern this time. She is sneaking away to make time to be with Mickey (Justin Timberlake). He is a grad student and works as a summer lifeguard in the park. Mickey also acts a narrator during the entire movie, which makes his character seem even more awkward. He talks a good game to Ginny, so much so that she thinks he is truly in love with her. Mickey then meets Carolina, so his infatuation is torn between the two women. Ginny is furious and makes several bad decisions that will affect everyone involved.

There are numerous loose ends and unanswered plot points. Ginny takes a lot of money that Humpty had saved, and she spent it on Mikey. Ginny’s son has a habit of starting fires and causing destruction. Ginny’s first husband was a drummer and she was an actress, but all of these things are mentioned and appear to have some deeper meaning. But nothing becomes of any of the things that get mentioned and discussed. So why bring any of these up at all? No answer…

There is something very odd about the screen images at some points. There are times when the screen is awash in a garish reddish-orange color, but it slowly turns into a dark blue tint. Sometimes a character is in a harsh bright light, and then other times when they are hidden in shadow and darkness. Part of this is supposed to reflect living under the lights of the Ferris wheel next door. But it is not a good look for the movie. The characters are subject to a weird pattern of lighting that does not look realistic.

The screenplay is a major sticking point. The dialog seems very ‘theater’ based, and not so much prepared for a cinematic experience. The script feels very full of high ideals and expectations. But it fails to deliver on any of it. There is talk of metaphors and allusions to great theater works, but it just shows how weak this story line is compared to those major works. The actors are doing a admirable job putting their best effort into the movie. However, the result is off-the-mark because the story and the dialog lets them down. Woody Allen has made some very memorable movies. This is not one of those movies.

Coney Island is probably a great place to visit in real life. The actual Wonder Wheel looks very impressive and must be a fun ride. But the Woody Allen treatment of “Wonder Wheel” is not all that good. His version goes around and around, but it never gets you anywhere. This one from Allen is not worth the ride.

Roman J. Israel, Esq. – Movie Review

November 22, 2017 (updated November 22, 2017) Published by Shari K. Green

Another fabulous film coming at you before we close out 2017 is Roman J. Israel, Esq. If you love Denzel Washington, see it now because in this film you’ll see him, simply put, in a way you’ve never seen him before. His character Roman is a criminal attorney with a civil-rights background who has been working for low wages for thirty-six years. Instead of becoming a lawyer to get what he can out of people who hurt for his expertise those most, he became one because he’s passionate about helping those individuals who are in desperate need. He fights for those who have been wronged and despairs when he sees the lawyers of the day allow their first-time offenders to receive sentences of ten years in prison rather than spending the time to go to bat for their clients as they should.

Roman J. Israel, Esq., so named for the dignity the title possess, is a bit of an egghead and a savant, with a photographic memory. He believes in social justice and wants to do the right thing as did his mentor and his hero’s but as it becomes harder to be an idealist in a world who’ll fight you tooth and nail for their right not to be protected, Roman feels the earth his career was based on begin to shift out from under his feet. That earth is not as steady as it once was.

Washington brings Roman to life so convincingly that you wonder if this wasn’t the real Washington all along. Going through the loss of all that is dear to him, Roman gets upset and nervous and it shows. When he’s most troubled, Washington gives him ticks such as playing with his glasses, pulling at his hair. He displays other behavioral abnormalities that ultimately sell the role. His performance is magnificent and as the story builds to its inevitable conclusion the more you’re lost in this character and feel for his circumstances. We learn he’s a forceps baby which tells Roman that he’s fully aware of this world not being one he wanted to enter, especially since he sees what others choose to ignore but in a city that has hardened from corruption, his heart has remained in the right place… until now, that is.

His partner and owner of the law practice, a well-known civil-rights litigator by the name of William Jackson, falls very ill. While he’s in the hospital, Roman, who has always been the brains behind the operation doing a lot of the grunt work, takes on the cases. He’s only to go to court and get continuances for the cases but due to his strong beliefs, he can’t help but get involved to try and right what he sees is wrong and fight against the racism, greed and authoritative tendencies of society in the United States and its court system.

George Pierce (Farrell), who was a former student of Jackson’s, handles the liquidation of the company after Jackson’s death and has to let Roman go. Aware of his intelligence, George hires him for his company and the story picks up speed. A lot of the dialogue here seems very deliberate, to speak of what is going on in the country today which, if you’re following politics at all, you could find very engaging and appreciate hearing. It isn’t tedious and it doesn’t assault you but watching an optimist become a realist the way writer/director Dan Gilroy (Nightcrawler) shows Roman slowly become is both heartbreaking and frightening. Working for George isn’t easy for him because he’s forced to do what he hates and he metamorphoses into what he ultimately despises. He also becomes ‘Tired of doing the impossible for the ungrateful.’ However, as Roman loses himself, we see who he is turning around and that is someone with the power and control to achieve what Roman sadly never could.

I recommend Roman J. Israel, Esq. for anyone who likes a powerful story with characters driven not by lust or ambition but by the dedication and the commitment to do what’s right. This is a heavy drama that requires your full attention and once you give it you’ll applaud what you get in return.

The Man Who Invented Christmas Movie Review

November 22, 2017 (updated November 21, 2017) Published by JMcNaughton

“The Man Who Invented Christmas” is a spritely look at the creation of a small book in 1843 that led to a revival and appreciation for the Christmas holiday. Charles Dickens came up with “A Christmas Carol” a couple of months before Christmas in that year. It was major effort on his part, but he felt inspired to create a book that would counter his critics. They had called him out after poor reviews on his recent books. This is a fanciful retelling of how Dickens came up with the ideas for “Carol”, and how he got inspirations to write the characters of the novella. In this version, the actual characters of the book become real to Dickens and lead him on to finish the book.

Charles Dickens (Dan Stevens) is a popular author in London who has had a major hit with ‘Oliver Twist’. But his recent work has been lackluster and the public is less than enthused. Dickens needs to create a new book and do it soon, and it must be a smash hit. His agent, John Forster (Justin Edwards) tries to get the publishers to advance Dickens money to create a new book. Dickens wants to do a book about Christmas, and he decides to handle it all himself. He will write and book in two months’ time, get it illustrated, published and into the stores by Christmas time. Too bad he is suffering from major writer’s block…

Dickens starts to come up with a way to tell the story of a miserly old man and how three Christmas spirits visit him one Christmas Eve and change his life. The old penny-pinching scoundrel is named Scrooge (Christopher Plummer) and that character comes alive in Dickens’ real world. Scrooge, and many other fanciful characters from “A Christmas Carol”, join with Dickens on his quest to write the book. His wife (Morfydd Clark) thinks that Charles is acting a little funny, but that is par for the course. His father, John Dickens (Jonathan Pryce), also comes to stay for a few months and that adds to the commotion. John had been an uneven influence on Charles growing up. John had spent time in the Debtors Prison, which caused Charles to be put into a terrible workhouse environment.

As Dickens becomes more obsessed with getting the book out in time, the figure of Scrooge and others from the book haunt him all the time. In his first draft, he decides to let Tiny Tim perish from illness. But his agent and his wife overrule the cruel outcome that would have pleased Scrooge. Scrooge’s delight at the little Tim’s passing makes Dickens change the story and makes Scrooge change his mind. The story gets completed and the illustrator gets the pictures done. The final book gets into bookstores before Christmas and soon everyone loves “A Christmas Carol”. The book is resounding success, and it has never been out-of-print, beginning in 1843

The idea to delve into the back-story of how the influential book was created is a fresh approach to the Christmas classic. Luckily, the story behind the story is enthralling and it is filled with as many interesting people as the book. Charles Dickens life and times growing up in London and becoming a famous author is a fun and uplifting story. Dan Stevens does wonderful job with such an expressive face and knowing eyes. His portrayal is also balanced with Christopher Plummer as Scrooge. It is a role that is comfortable for the experienced actor and he nails it.

The movie moves quickly into a world filled with Dickens’ imagination and his literary friends. The soundtrack, by Mychael Danna, is bright and gives an appropriate bounce to the proceedings. The story gets into a somewhat dark area right near the end, but it rebounds again into a light and breezy ending. The treatment of the events that surround the creation of “A Christmas Carol” can make even a Scrooge be thankful for the holiday spirit.

Coco Movie Review

November 22, 2017 (updated November 22, 2017) Published by JMcNaughton

“Coco” is a wonderful new movie from some really talented people at Pixar. These are the folk who make the refreshing and creative movies there, not the ones who toil in the Pixar ‘sequel’ division. This is a bright and colorful celebration of Mexican traditions and culture, especially the ‘Día de los Muertos’ (Day of the Dead). That is when family members who have passed away are remembered, a time when music and rejoicing fills the air.

Young Miguel Rivera (Anthony Gonzalez) is from a poor village, but his family has banished music for generations. Ever since his great-grandmother, named Coco (Ana Ofelia Murguia) had her father disappear into the world of a musician. He left to make a name for himself, but he never returned. Mamá Imelda (Alanna Ubach), who was Coco’s mother forbade any more music, and instead made shoemaking the family business. Now Coco is very frail and invalid, but she still dreams of her ‘Papa’.

Miguel has hidden love of music, and of a long-dead musician named Ernesto de la Cruz (Benjamin Bratt). He was a famous artist who had starred in movies and had many hit songs. But he died young and never knew if he had any family. Miguel thinks that he could be related to de la Cruz and that maybe he could have some of his songwriting talent. Miguel ‘borrows’ the famous de la Cruz guitar from the superstar’s shrine.

Miguel finds himself in the Land of the Dead, with all of his dead relatives around him. He must get a blessing from a family member to ever get back to the normal world. And he better hurry, because at sunrise it will be the end of ‘Día de los Muertos’ and Miguel could find himself stuck on the wrong side forever. It is lucky that he also has hus adopted street dog named Dante to guide him in there.

He meets Hector, another deceased musician who claims to know Ernesto de la Cruz, If Hector can bring Miguel to de la Cruz, and perhaps he can get his famous relative to give a blessing and get Miguel back home. But things in the spirit world, as well as in the real world, are not always as they seem. When secrets are revealed and mistaken identities are finally known, then everyone involved can all be at peace.

Every actor doing a voice role has been cast with perfect care. Every major part is played by a Mexican or Hispanic artist. This really adds to the authentic nature of the movie and also shows the respect given to that culture. The design of the movie gets right to the heart of Mexican love of color and vibrant music. Each image is a beautiful nod to the style and classy nature of Hispanic art.

The movie is also available in 3-D, and this does two things. First it does add some depth to the look and feel of the design features, but it can also add a small layer of darkness to a film that should be seen on a large screen and with the brightest image. So it cuts both ways for the 3-D aspect, and is not a required thing to enjoy the movie.

Yes, it must be said that couple of years ago, the movie came out called “The Book of Life”. This movie also did a terrific job with the similar theme of ‘Día de los Muertos’. But I would say that “The Book of Life” hit a home run, but it was an inside-the-park type. “Coco”, on the other hand, hits a full Grand Slam…

THREE BILLBOARDS OUTSIDE EBBING, MISSOURI

Three Billboards Outside of Ebbing, Missouri – Movie Review

November 17, 2017 (updated November 17, 2017) Published by Shari K. Green

Do not, under any circumstances, miss this movie. It’s 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 don’t 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 Mildred’s, 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 daughter’s death to go unsolved any longer. Fearing they’re 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, ‘Raped While Dying,’ ‘And Still No Arrests?’ and ‘How Come, Chief Willoughby?’

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 don’t appreciate her attacking and questioning him the way that she has. It’s at this point we learn more about his current situation and suddenly a suspect list begins to emerge; so do outstanding performances.

Every word McDormand’s 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. You’ll 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 mama’s boy of a police officer who’ll 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, you’ll not only be happy you saw this movie this weekend but you’ll 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.

*Exclusively at Harkins Camelview at Fashion Square

Wonder Movie Review

November 17, 2017 (updated November 15, 2017) Published by JMcNaughton

“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 Master’s 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…

Dealt Movie review

November 10, 2017 (updated November 10, 2017) Published by Shari K. Green

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.
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.
The incredibly likable, energetic and humorous Richard can trick the best of them and with only what he’d 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. It’s said even Harry Houdini couldn’t 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 wasn’t 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 didn’t 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 couldn’t 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, they’d always equate them with the fact that he couldn’t 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 it’s 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.

Daddy’s Home 2

November 10, 2017 Published by Shari K. Green

If you’ve been burned by a sequel you thought would be amusing and it didn’t deliver, don’t let that experience keep you away. If you liked Daddy’s Home, be on the lookout for more of the same here. More of the same isn’t a bad thing. It’s the holiday’s and there’s 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 dad’s 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 children’s mother, has learned to cope with them but it wasn’t easy at times. Now that it’s Christmas the men, who have worked out a pretty good system themselves, have decided that instead of dividing the children, they’ll have a ‘together Christmas.’ This decision is made after young daughter Megan, played by the ever-adorable Scarlett Estevez from TV’s Lucifer, says she doesn’t like Christmas because it’s not normal for her as it is for friends who don’t have to bounce from house to house.

The holiday also brings visits from grandpa’s Kurt (Gibson) and Jonah (Lithgow), who resemble one another as much as Dusty and Brad do. A suggestion is made to rectify this imbroglio they’re 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.

Brad’s 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 isn’t 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 ‘fiddling with the thermostat’ which sends all the men in the house into hysterics. Laughs were plentiful and I heard many an, ‘I’ve been there!’ 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 wouldn’t work, but I’d sign up to find out. His presence is strong and as the alpha male he’s used very well.

Though Daddy’s Home 2 has its downsides and moments that make you roll your eyes, it’s hard not to enjoy a Sean Anders film, even when he has Lithgow using silly terms such as ‘buttquack.’ 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 you’re not will end up costing you in the end.

Murder on the Orient Express Movie Review

November 10, 2017 Published by Shari K. Green

This film is about detective Hercule Poirot and his train ride into hell. Actually, that might make for a more pleasing introduction, but it doesn’t really fit here. Poirot isn’t the sort of character the underworld would have their sights on. That aside, he’s just short of irritating, as a matter-of-fact. His mustache is way over the top and I couldn’t help but think of Peter Seller’s incredible ‘Inspector Clouseau’ when he spoke. The comparison didn’t help matters as I often found myself drifting and wishing I was watching a Seller’s classics instead. They entertained me much more.
Also, if you’ve read the book this is based on or seen the original film, you might not want to grab a seat on this train as there’s no station it could pull into that you haven’t already dropped your bags. It’s really that simple. It’s ‘Clue’ (the mystery, thriller based on the popular game), on a train only it’s not as much fun.

Poirot tells is that he’s 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 can’t so much as have a conversation with somewhat that he isn’t 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.
His character isn’t set up anymore beyond this. You know he’s a detective but what you don’t 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 don’t 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 you’re not going to use them better? I digress. My original point is that it is quite obvious who the killer is. I won’t tell you but when our master detective finds the victim, the ‘whodunit’ of it all isn’t too hard to figure out. For me, this meant the film wasn’t as engaging as I had hoped it would be.
Maybe I expected too much. I’ve enjoyed most of Kenneth Branagh’s work but this one misses the mark. I’m all for interesting camera angles but some overhead shots seemed unnecessary and useless. He continued using perplexing and erratic camerawork throughout which didn’t 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 that’s the case, I hope he learns from his mistakes with this one.

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