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Split

January 20, 2017 (updated February 24, 2017) Published by Shari K. Green

I didn’t know what to expect from “Split”. I was very nervous about it and I’m very pleased to announce it was very good. I can’t say enough about it, in fact. More to the point, I can’t say enough about James McAvoy’s performance. If his talents were ever in doubt, they certainly will not be now. His work has to have been extremely difficult, yet he made it seem completely effortless. I’ll explain. The trailer for this film doesn’t actually show, a nice change might I add, the fact that the main character McAvoy plays someone in such deep mental distress that he has literally shattered. It reveals a touch of the fact that this person has split personality disorder but doesn’t give away how bad it is and to the extent that the original personality, Kevin, is controlled. The reason for the the personality splitting is revealed but I don’t want to give away too many details.

In the film, Dennis, who is often “in the light” or the one in charge at the moment, decides to kidnap two girls he had been following. A third is a victim of circumstance and is grabbed, as well. She, Casey (Anya Taylor-Joy), has a past to her that is divulged in flashbacks and when Casey addresses the situation she’s in with shock but not with terror, you understand why. You wonder what’s inside her as well and Taylor-Joy, with her large eyes that penetrate you through the screen, does a fantastic job of keeping you guessing.

That’s the true premise and brilliance of the film. This is an excellent vehicle for Shyamalan to prove he’s an actors director. Is it the perfect film? Not by a long shot but you cannot miss these performances. If you are into acting or performance art in any fashion, you have to study what Shyamalan has achieved, especially with McAvoy. They work beautifully together, actor trusting director, and McAvoy gives everything he has to not only be more than one person on screen but twentry-three different personalities. He shows, continually, that he is a magnificent actor when at one point the camera is on him and he’s one person, then it pans to a mirror and he’s another, it pans back again and he’s another and back again. It’s fascinating. Several times he turns these people on and off. It’s riveting. He is, frankly, amazing in this juicy role.

Shyamalan couldn’t have picked better. And that goes for the rest of the cast as well. Everyone was quite good… except Shyamalan himself, who always likes to find a part in his movies somewhere where he can tinker with his love of the profession. However, he makes a bad choice for himself. He has ten acting credits to his name and has fourteen director credits. He obviously likes to act. In the scene he has injected himself into in “Split”, he’s not bad, per se, he’s just not at all necessary. The scene does nothing for the film and in fact, distracts his audience from what’s exciting them up to this point.

There are a few convenient set ups but they in no way take away from the film. Buckley, as the therapist, is sweet and caring and shows intelligence but when she wanders where she shouldn’t have, you wish Shyamalan hadn’t gone there but that’s okay. You’ll be on the edge of your seat, consumed by what you’re seeing. And as I already do, you’ll be setting up a time to go and watch this movie again.

Trespass Against Us

January 20, 2017 (updated February 24, 2017) Published by Shari K. Green

Set in the countryside of Britain, we are introduced to the Cutler crime family which is run by Colby played by a coarse Brendan Gleeson; who, interestingly enough just played Fassbender’s son in “Assassin’s Creed.” Colby’s reputation precedes him for a reason as he’s not a very charming fellow and not many challenge him. The Cutler’s look like a band of misfits or perhaps something you would have spotted in a scene from the movie “Deliverance.” Even though they have been somewhat successful criminals up to this point, they live in trailers and practically in poverty which finally hits Colby’s son Chad, (Fassbender). Not that Colby minds what he does for a living. He has fun when cops chase him through the streets but he’s starting to realize the impact his actions are having on his children and his wife and is struggling with a decision. He has to break away. His son Tyson (Smith) is starting to rebel and verbally spar with his dad, spouting exactly what Chad usually hears coming from his father Colby and this doesn’t sit well with him. Being uneducated, Chad has allowed his father to lead him through his life. He has always done as ordered but he sees the writing on the wall and waking up to what his and Colby’s limitations truly are, he decides he doesn’t want that for Tyson. The police are onto his every move but when he wants to try and leave his father’s shadow, he is, too.

Director Adam Smith, who’s more known for his work on “Doctor Who”, has had mixed reviews on the film festival circuit but having assembled an excellent cast and creating a unique blend of chaos and calm in a crazy world, I think he has a hit on his hands not matter the venue. There’s something fascinating about Chad and his family that, as the film goes on, you almost catch… like a cold. At first you’re not sure you have it but when you do, it really ensnares you. Perhaps it’s the fact that Smith didn’t try to play to the American audience. It’s authentic in that he doesn’t drop the local, incredibly thick accent, nor does he remove the British jargon that’s in use. We are in their world. Luckily for us, we view this world from the extremely gifted lens of Eduard Grau, (“Suffragette”, “The Awakening”, “Buried” and “A Single Man.” He takes you incredibly deep into the story, bringing you into it by using intimate shots that make you feel like you’re peeking around a corner… hiding where you shouldn’t be; surveying where you have no business. The scenery is beautiful so there’s no chance you’re looking away.

Shining are the performances. Lyndsey Marshal is magnificent as Kelly, Chad’s wife, who, through it all, pulls a Tammy Wynette and stands by her man. Fassbender, though his Chad is raging with testosterone and as tough as nails, is almost sweet at times. The moments where he’s not fulfilling an illegal act or behaving like a hoodlum, he shows how at peace his character is with the final decision he has made. A quite difficult one but, as Christ did, he must sacrifice himself for the sake of all of his children. If you can get through the accents, I’d have to suggest you see this in the theatre if it’s near you but if not, see it as soon as possible, in whatever form possible.

Patriots Day

January 18, 2017 (updated February 24, 2017) Published by Shari K. Green

Peter Berg, the director of films such as “Friday Night Lights,” “The Kingdom,” “Lone Survivor” and “Deepwater Horizon,” knows how to draw the truth out of a story and present it in an entertaining, authentic yet sometimes unpleasant way without pulling you too far in or out without questioning his skill and intentions. Often taking on the challenge of telling true life events, he handles these subjects with great care. He has proven over and over that he doesn’t exploit people and that he’s legitimate and capable and now with “Patriots Day”, he does so again.

Here, he brings us to April of 2013 and the events that occurred at the Boston Marathon. Sensitively, he introduces many of the characters slowly, leaving you to wonder their position in the chronicled narrative when see them pop up next. Some characters are going to participate in the marathon and others come in and out for awhile before you are shown their role. Two stand out right away; the bombers themselves.

Seeing them sends you back to the day of the attack and not in a positive way. Anger wells up from somewhere and you’re not exactly sure of what to do with it. Everyone is set up perfectly by Berg, these two especially. Tommy (Wahlberg) is a police officer working the Marathon, a duty that he’s given because he is working off a suspension and is now part of crowd control, something he deeply despises. After the explosions, he steps up to help Special Agent Richard DesLauriers (Bacon) with the investigation. Knowing Boston better than an agent from out of town, he is desperately needed in finding the perpetrators. I’m sure anyone of the Boston police offers present could do this job but we have to make Wahlberg the hero somehow so this works. After a command center is set up, video surveillance finds the man who leaves one of the bombs to explode where he set it and they use footage from all the stores in the area to trace is steps. This is how they discover he didn’t act alone.

The bombings themselves are a ballet of both the cinematography of Tobias A. Schliessler, who often works with Berg, and real footage. When the runners are rounding the finish line and the explosions occur you practically jump from your seat. Your heart beats faster, your face turns red and your blood boils. If you’re on the slightly emotional side, you’ll weep. If not, you’ll at least have a massive lump in your throat to swallow down. It’s one thing to see the footage on the news but once he introduces you to people who are about to be the victims of this horrendous act, you find yourself pushing away from the screen and wishing you could warn them to get away from the area. In this respect he did a very good job of bringing the audience into the story.

When the Tsarnaev brothers are cornered in a town outside of Boston, it gives Berg a chance to play with the action part of the film and we take a break from the heavy drama its been. Berg is at his best when he’s re-enacting everything from the bombings to the capture of Dzhokhar Tsarnaev. He also unveils that the Tsarnaev brothers had more than just the city of Boston in mind to terrorize. He does take certain liberties but you desperately need him to at this juncture. You want and need to cheer what happens to the people who are killing innocent men, women and children and would have continued had it not been for the quick responses of investigators and the Boston Police. It feels good to see them get their man who’s now on death row.

Overall, the film is incredibly dramatic and suspenseful, especially when Katherine Russell (Benoist), the wife of Tamerlan Tsarnaev (Melikidze), is interviewed. Berg plays to your emotions and your sense of pride when she’s interrogated by using dialogue given by a character you wish you could be.
This is a see at the theatre this weekend movie. I highly recommend it. After you do, stay seated. You get to meet a few people through pictures and recorded interviews talking about their experiences and your chest will swell again when the reason Boston Strong was so prevalent is revealed.

Live By Night

January 18, 2017 (updated February 24, 2017) Published by Shari K. Green

I love a lot of Affleck’s work. In fact, it’s safe to say I like most of his work. This one… not so much. This confounds me because it’s Affleck! He’s responsible in one way or another for “Good Will Hunting”, “Gone Baby Gone”, “Argo” and “The Town”. Great films. He usually has a firm grasp of story but that’s not the case here. “Live By Night” is more or less all over the place. To be completely honest, it doesn’t feel like his voice at all. It can’t sit still so neither can you. So I wonder… just went wrong? I can indicate to you a few culprits. It’s too slow and there are too many plot lines and both are working in concert to single handedly ruin this film. It feels as if you’re watching a series of different films in one yet starring the same characters. It’s a mobster/gangster picture but not. There are moments when it is but, well, not to confuse you, these moments are few and far between. It’s hard to even categorize this film.

I’ll try and explain the premise. To start, in voice over, Affleck introduces his character, Joe Coughlin. He’s a soldier. He was miserable as a soldier. The spoiled boy, yes it feels that way, was being told to do terrible things on the battle field and decides that being told what to do wasn’t for him. He will forever be his own boss so he gathers two friends and they become bank robbers. We learn that when it comes to Boston, there are two gangs it’s run by; the Irish and the Italians. Not wanting to become involved with either, for some reason he doesn’t consider himself gangster material but is a criminal… okay, Coughlin, thinks it a good idea to become involved with the girlfriend of the head of the Irish gang, Albert White. They even appear in public together. Immediately, you can see that Affleck didn’t think this through.
You know what’s going to happen and it does. Along with a butt kicking, he gets set up and spends a few years in prison. Now hating White, we have a revenge film where he’ll do anything to work against Albert White. The man who said he’d never work for anyone again is working for the Italians to take over White’s rum distribution… in Florida. We change again. Coughlin enlists the help of the Cubans who were once stealing and instead turns them into assets, who now are happy working with him instead of against.

There are several people trying to take him down but obstacles are easily overcome and Coughlin becomes the king of Tampa. He also has a new woman, Graciela (Saldana), for whom he has absolutely no chemistry. God I wanted to buy into this working for him. It may actually be the worst part of the film.

So moving beyond that, it does, eventually, become a gangster picture again when a double-cross or two are shed and the movie gets exciting. This is what the film had promised to be and it’s nice that it gets back to its roots but it’s not enough and it’s too little too late.
However, what’s also good about “Live By Night”, and I’d say what makes it a worthwhile watch for anyone who wants to study good character actors are some of the performances. Matthew Maher as a member of the KKK is outstanding. Elle Fanning is memorable as a victim of circumstance. Also worth mentioning is Robert Glenister as Albert White and Remo Girone as Italian leader Maso Pescatore. When they’re on screen, you are lost in their performances. They evoke “The Godfather” when they’re present and are quite impressive. More of them would have improved the movie but for some reason we’re spread thinly over a few storylines and you become disinterested in everyone entirely. So, check this out on DVD or wait for VOD, however you get your entertainment these days, but going to the theatre, my preferred outlet, is not my recommendation.

The Bye Bye Man

January 18, 2017 Published by Shari K. Green

“The Bye Bye Man” may as well be called The Night Night Man because watching it is probably going to put you to sleep. There’s not much substance here and as original of an idea I had thought it was, it was a huge let down.

In the opening scene, we go back to 1969 in Madison, Wisconsin. We see a terrified man killing family and friends, asking them if they had told anyone his name. Having watched the trailer, you can deduce who he’s referring to; “The Bye Bye Man.” This sets us up for some real terror. That was a good intro and you’re certain this will only get better.

Cut to outside of Madison. We’re in Sun Prairie, WI (a place I once lived as a matter of fact) where some young students, Elliot (Smith), Sasha (Bonas) and John (Laviscount) are renting a big creepy house. Who couldn’t see that coming? Well, that’s predictable but that’s okay. Creepy houses are the center pieces of many a fine horror flick. Elliot and Sahsa are lovers and John is a childhood friend so they’re doing this together to better afford it.

Right away something sets off Sahsa’s distress meter but this, of course, doesn’t hit her until after the ink is dry on the lease so she enlists her friend Kim (Kanell) to perform a spiritual cleansing and also a séance to be certain the house is evil spirit free.

As can be forecast by you at this point, let’s be honest, you could write the rest of the script, Kim feels a wicked soul and no one obeys the warning signs.

There are a few good shots here like when his name is first said at the séance but for the most part, you’re never frightened in this horror film. The Bye Bye Man himself has gone bye bye. I think he forgot he was part of the film, actually, showing up every now and again, doing just enough to keep the director happy and to collect his check. You want him to appear more because what you see of him early is creepy but it stops rather abruptly.

We discover, with Elliot, that you aren’t supposed to think of him or say his name. The more you do, the closer he gets. Elliot becomes the sleuth for the group and tracks down who the Bye Bye Man is but is often fooled by tricks, as are the others, into thinking what’s not real, is. There are a few scenes of the dangers they fall into by believing the visions are real but beyond that, we’re left hanging. I’ve come to see a horror flick, not a guy running around trying to solve a case! Regardless, he’s being driven mad by a cloaked figure with long boney fingers and scars all over his face that you barely get to see. He’d most likely chill you to your boney fingers if they’d have concentrated more time on him and if the effects were better than those of any fan of the genre who engages in recreating a scene from their favorite horror film on their cell phones for their Twitter followers.

The Bye Bye Man is hardly the focus and this will disappoint you highly. Faye Dunaway was phenomenal as the widow of the man from the beginning of the film so if you’re a fan of hers maybe watch when VOD becomes available. Please tell me she did this as a favor to someone! Anyway, this movie is just filled with too much ridiculous to recommend you watch it. Dunaway, Smith and Cleo King are convincing with the material they’re working with but the rest of the cast, overall, are rather weak. My final thoughts on this film are simple. There are no scares. There is no horror. There’s no originality. There’s no real reason to invest your time.

20th Century Women

January 13, 2017 (updated January 12, 2017) Published by JMcNaughton

“20th Century Women” is a movie about a middle-aged woman with a teenage son, and the trials and tribulations of living in 1979. They live in Santa Barbara during a time of social change and upheaval. With some close friends, they all try to come to accept the changes in life.

A Monster Calls

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

“A Monster Calls” is a heart-wrenching yet artistic view into a 12-year boy and his troubled life. With a slowly dying Mom, a divorced dad who lives far away, and a grandmother with a gruff and unemotional manner, he is dealing with quite a lot. Also, his time in school is marred by a group of bullies who confront him every day. If only he had the size and strength and courage of a Monster…

Conor O’Malley (Lewis MacDougall) lives in a small rural town in the English countryside. His life is in turmoil because his Mom, Lizzie (Felicity Jones) is getting worse with a terminal illness. It is difficult at school, because there are boys that bully Conor, mostly because he has a sick mom and he is a good artist. Mom and Dad (Toby Kebbell ) are divorced, and he lives in California. Dad comes to visit, but he again shows that he is not part of Conor’s life.

When Lizzie gets so bad that she needs to be in the hospital, Conor must stay with his grandmother (Sigourney Weaver). She is strict with Conor, and she cares more about cleanliness and keeping order in her house than she does about Conor. Conor has dreams of being big and strong and getting his way. He wants to set things right, and to get his Mom back. Then one night, something strange happens.

Out on the distant hill, there is an old church and a still older yew tree. The anxiety and pain in Conor’s life is felt by the yew tree. It comes to life, and it comes to visit Conor. The immense humanoid tree seems very scary, yet he speaks with a gentle but authoritative voice. The Monster (voiced by Liam Neeson) has three stories to tell Conor, and when he is done, Conor must tell him one story.

The stories that the Monster tells are illustrated with a beautiful watercolor animation sequence. The first story is about a magical kingdom that has kings and queens. The second story is about a pastor who shames an old man who sells roots and herbs that can cure people. The third is about an invisible man and a monster that helped him. Conor hears the stories, but they do not work out the way that he thought they would.

Conor hears the stories, but he overreacts. He drives away his father and becomes more distant to his grandmother. He goes overboard and destroys everything precious in his grandmother’s living room. He is overcome with rage and fights back against the bully, but sends him to the hospital. In each of these cases, even when he has done something outrageous and destructive, he does not receive any punishment. Conor is simply dealing with too much stress, they all say.

But nobody knows about the Monster, and nobody knows about the stories. They surely don’t know that Conor now has to tell his story, and Conor is very afraid. The Monster said that he was sent for healing, but Conor’s mom is still in bed at the hospital. Conor is sad, angry and confused. Exactly why did the Monster come to visit with Conor?

The story of “A Monster Calls” is very simple and direct. It focuses on Conor and what he is going through. He feels alone and powerless until the Monster calls upon Conor. But the final story reveals the full sadness in Conor’s life and what he truly wants. He is ashamed to have the Monster know what he feels inside. The dread and sadness of the story are then lifted up by the artistic beauty of the story sequences and the emotional release at the end.

Lewis MacDougall is a major young actor who can handle the tricky role of Conor. He is well cast and performs in a very believable way. Felicity Jones does ok with the Lizzie role. However, not a great deal is asked of her in the role, and she fades out near the end. Sigourney Weaver does a sturdy job as the grandmother, who at first seems very mean and harsh, but she learns that Conor is more important than just things in the house.

The Monster is voiced by Liam Neeson, who has a very distinct quality of overwhelming scariness in his tone, but has a soft and comforting aspect as well. The Monster design is very well-done CGI. It has the unfortunate tendency of bringing to mind a similar character from the movie “Guardians of the Galaxy”. So the Monster is a huge giant, and he is a big tree. This movie might be called “The BFG 2: The Big Friendly Groot”.

Hidden Figures

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

In the early days of the Space Race, when the USA and the USSR both worked to be the first in space, there was limited technology. The only ‘computer’ available was a person who excelled in math and could handle very complex calculations. The math experts and engineers who ran NASA in the early 1960’s were brilliant people. Almost all of then were men, and even more were White. That’s why this true story of three Black women is so outstanding.

When a Black person (‘Negro’ was the phrase used back then) was the best ‘computer’, and that person was also a woman – well that could lead to whole lot of trouble. Katherine Johnson (Taraji P. Henson) was a complete master of math, and could calculate complex re-entry points down a few hundred yards. She was needed for her skills in doing the computations, but the NASA engineers all looked down on her. She was not like them, so they did not think she was quite as good…

Katherine also had two good friends at the NASA facility, Mary Jackson (Janelle Monáe) and Dorothy Vaughan (Octavia Spencer). Mary had the skills and the desire to become an engineer, but the schooling was not available to ‘colored folks’. That is, until she challenged the local rulings and was permitted to take night classes at the all-White school. Dorothy was the leader of several talented Black women who were on staff at NASA. Yet she was not permitted to have the title of Supervisor. The White office manager Vivian (Kirsten Dunst) would not help Dorothy to advance, because she was Black, and therefore, unqualified.

Katherine had to face countless times when bigotry and low expectations hindered her progress. The chief of the lab was Paul Stafford (Jim Parsons). He would give Katherine work to review that was incomplete because sections had been removed, since she did not have the security clearance. But when the Manager of the NASA facility Al Harrison (Kevin Costner) found out how smart Katherine was, he made sure she got all the information that she would need. He even removed the limitations of ‘Colored’ bathrooms, so that Katherine would not need to run across the campus.

Also, the lab obtained its first IBM mainframe computer system, and Dorothy Vaughan had been teaching herself how to code programs on the new device. She became an expert and she was in charge of several other women and became a real Supervisor. Mary Jackson earned her degree in engineering and also continued to work at NASA on the space program.

Seeing that this is a true story of real people involved at the early stages of NASA, this movie shows the struggles that many of these women had to overcome. Before any Equal Rights laws were passed, these smart and powerful women showed that they were equal to the White men. They did that just by being able to perform at their highest levels. They did not allow the racism and sexism to fester and make them bitter. The fought back in the best way they knew how – they excelled at what they did.

The three main characters are played by three fantastic actresses: Janelle Monáe, Octavia Spencer and Taraji P. Henson. They all handle the character with grace and with dignity, even when the White world around them is harsh and cruel. They all show a deep courage and persistence to achieve great things. Also, Kevin Costner is a great addition, because he shows an understanding that success shows no ‘Color Line’. His character would not allow bigotry to stand in the way of getting the best results.

“Hidden Figures” does a terrific job in bringing to light a little-known aspect of the early days of NASA. The social norms of that era were broken so that some very talented Black women could have a chance to make a big difference in the success of the program. It is great story to tell, and it does it in a quiet, dignified manner.

Silence

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

Sometimes, movies need to be more deeply emotional and have the epic grandeur of a sweeping historical look at Western and Eastern cultures as they clash over religion and basic tenets of faith. Or you could just see “Rogue One” again. Your choice…

But in “Silence”, the passionate work of Martin Scorsese, the story of ancient Japan is brought to life. It is viewed through the eyes of two Portuguese Jesuit priests; Padre Rodrigues (Andrew Garfield) and Padre Garrpe (Adam Driver). In the late 1600’s, the missionary work to Japan had been met with fierce resistance by Japan’s rulers.

Rodrigues and Garrpe plead with the head of the order (Ciarán Hinds) to make a journey to Japan. They have learned that a close mentor and fellow priest named Father Ferreira (Liam Neeson) had been tortured to the point of rejecting the One True Faith. They want to travel to Japan and find Ferreira, so they can learn the truth.

They make it to China, and they are paired up with a Japanese fisherman named Kichijiro (Yōsuke Kubozuka). He agrees to lead them back to his homeland to find the “Hidden Christians”. These are converts created by the prior missionaries. But all the priests and Jesuit brothers have been expelled or killed. Father Ferreira also faced torture and perhaps wound up instead becoming a Buddhist.

Rodrigues and Garrpe get separated and both eventually are captured. Rodrigues has an interpreter (Tadanobu Asano) who can speak both Japanese and very good English. He explains that any foreign religion can never take root in Japan, because the outsider cannot see the island kingdom has a culture that will never believe as the Westerners.

So it is a clash of Western ideas, thought and religion against the history of Japanese culture and upbringing. Rodrigues will face losing the very one thing that he took vows to honor and protect, or he will see many of the village Christians tortured and killed because of his stubbornness.

The movie that Scorsese has made is a long, slow exposure to the wearing down of the human soul. The Japanese officials do not hate Rodrigues, Garrpe or Ferreira. They do not hate Christians or those who deliver the Gospel, the Jesuits and the missionaries. But they demand conformity and order. So they root out Christians and put them to death. So it sure seems like they hate them…

Andrew Garfield does a heart-wrenching job as Padre Rodrigues. He thinks himself as a humble and holy man, yet he borders on arrogance because he thinks only he can know the Truth. Adam Driver and Liam Neeson have much smaller roles, but they seem to be sincere in their own beliefs.

The visual imagery is fantastic, with the wide sweeping vistas of a shoreline, or mountainside or a steamed-up area of hot springs. Clouds and fog and haze are in many scenes. This brings to mind some the animated movies of Hayao Miyazaki, or the epic films from Akira Kurosawa. Scorsese can borrow the beautiful look of the movie from the best Japanese directors.

However the storyline is so morbid and predestined that the extended run time hurts the picture. Rodrigues is put into a no-win situation, and there are only two possible outcomes. He will either renounce his Faith, or he will die. But to get to that end, the movie seems to drag on and on. More tortures, more denials, more angry outbursts, more slow panoramic shots that lead to the next one…

So be forewarned. If you do not want to see some nasty things done to people in captivity, you might not like the movie. If you do not want to know in great detail about the difficult spread and quick demise of Christianity in Japan, you might not like the movie. If you do not think that Andrew Garfield, Adam Driver and Liam Neeson are fine capable dramatic actors, you might not like the movie.
In other words, if you would rather go and see “Rogue One” again, but you see this movie instead, you might suffer in “Silence”.

Sing

December 24, 2016 (updated February 24, 2017) Published by Shari K. Green

No matter what an adult thinks of a film like “Sing”, it’s going to do well because of what it is. It’s a not half bad movie made for kids that has cute and amusing animals singing their hearts out. It’s colorful and silly and this, as we all know, is a combination that spells success. There have been many animated films released in 2016 that have done incredibly well but this one is lucky it’s being released right before Christmas or it might not have done quite as well; it’s probably at the bottom of the list of the animated films this year. However, that said, if you’re looking for frivolous, it’s still eager and zippy.

“Sing” has a few problems with being a tad over the top too often which will annoy the parents of the kids sitting in the audience but the songs will ultimately win them back. The tunes played throughout the film are great and the chosen numbers sung by characters during the auditions near the beginning of the film are good and the way their presented are very creative. I wish they could have gone on longer, as a matter of fact.

The auditions I’m talking about are given because a koala bear, Buster Moon (McConaughey), the main character, needs money to keep his theatre afloat. He loves the theatre and isn’t about to lose his. Someone suggests to him that a singing competition is a good idea and he agrees that it should get his theatre back in good working order. He decides to give a thousand dollar prize to the winner of the competition believing this will bring the customers back once again to his beat up and neglected old theatre. As things do, something goes wrong when Miss Crawly, (played by Jennings who also wrote the film), Buster’s ancient and possible old age home bound secretary, is put in charge of the flyers. She accidentally releases the flyers with a much, much larger sum promised as the prize. That’s a mess. Everyone in the city who can or thinks they can sing flocks to have a chance at being on stage in front of a large audience and winning the prize money.

Here is where you meet the main characters and a few you wish you’d see again but, sadly, will not. Some of the singers chosen are a gorilla named Johnny (Egerton), who has a gangster as a father but wants a crime free life and a mouse named Mike played by Seth McFarlane, who gets a chance to really show off his pipes, worth the price of admission alone. Mike loves jazz and poker and is a bit squirrly for kids, to be honest. There’s also an elephant named Meena (Kelly) who could be a heavyweight in the competition, as beautiful and powerful her voice is, but is paralyzed with stage fright; and a pig named Rosita (Witherspoon) who is burdened with a husband who doesn’t know she’s alive any more and twenty-five piglets to take care of but doesn’t see how they can stop her dreams from being fulfilled. I’m sure you can see where this is headed. Conquer your fears and quell any voice on the inside or outside that tries to crush the ambition and desire within you.

If you like animated family films, I’d recommend taking the family to see this at a matinee. The kids will have a good time, even if the messages get lost. It does have dazzle at its core. With the combination of fast action, cute animals and songs, especially with such talented stars singing them, the mix works. However, as I stated at the beginning, you’ll take the kids and they’ll be happy you did but I’m of the opinion that Santa won’t be putting it under the tree so they can add it to their home DVD collection because it’s a one time watch at best.

Category: Reviews

Split

Trespass Against Us

Patriots Day

Live By Night

The Bye Bye Man

20th Century Women

A Monster Calls

Hidden Figures

Silence

Sing

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