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On the Basis of Sex Movie Review

December 25, 2018 (updated December 25, 2018) Published by Shari K. Green

‘On the Basis of Sex’ is the story of, the ‘Notorious RBG,’ or Ruth Bader Ginsburg. As I’m sure you know, she’s the Supreme Court Justice who just had a documentary made about her exceptional career and the incredible things she’s accomplished throughout her life. Since being seated, she’s become quite the idol of unity for pop culture, most especially recently. She’s eighty-five! Her presence on the court has been awe-inspiring of late as she battles through broken ribs and cancerous nodules being removed from her lungs. Though ill, she still casts her vote on meaningful bills. Playing RBG in this film is Felicity Jones who does a remarkable job driving home the fact that Ginsburg has always had a passion and a drive to do what’s right for people. She could never be bought to back down on a fight… and never has been. She was in law school when being a female in class, instead of the kitchen, was frowned upon and she vowed to change that.

The film starts by informing us that it’s 1956 and its only been a few years since ‘girls’ were allowed to join the Harvard Law School program. In fact, quite rudely, she’s asked why she’s taking the class when, by being in the room, she was stopping a more capable man from having a seat. Aware of her own capabilities, the sexism frustrates her, but she uses her educated mind to ignore the bigotry and chauvinism and to fight back using knowledge rather than anger. After attending Harvard, she moves on to graduate top of her class at Columbia. She’s uncommonly intelligent and not only completes her own class assignments but when her husband falls ill, she finishes his, too. Wanting every possible advantage a man has, she does what it takes to prove herself. After graduation, she procures employment but isn’t hired as a lawyer as she’d hoped. Aware of the fact that it’s because she’s a woman, she’s crestfallen but refuses to surrender. She finally accepts a job she feels is beneath her, becoming a professor at Rutgers Law. There, she passes on her opinions of civil and Constitutional rights. This is when the film gets really weighty. We move into the 1970s where she litigates a tax case with her husband, Marty (Hammer), and students. It’s during his time she cements her legacy of fighting for equal rights.

‘On the Basis of Sex’ is entertaining and meaningful. The script is written to show us not only the roots of how she became the cult icon she is but to reveal why it was necessary that a vocal advocate of civil rights needed to exist. Even though the tax case where she ultimately makes a name for herself is for a man, she sets a precedent that gender shouldn’t apply. The line mentioning that John Adams forgot the ladies in the Constitution sums up the movie rather well. The script is impressive, Felicity Jones is inspiring and displays tremendous acumen and gumption. Her relationship with Hammer is believable as a couple in full support of one another. I feel I have to urge you to watch this motivating story of success because of who RBG is. At a time when women weren’t desired in the system, it wasn’t easy for her, but she fought that system and won. Luckily for you, she still fights for us all today. Seeing where it all began was uplifting and serves as a reminder of what we could be without.

Welcome to Marwen

December 21, 2018 (updated December 21, 2018) Published by Shari K. Green

A quick synopsis of ‘Welcome to Marwen’ could be that the movie is an unusual but inspiring story about an unfortunate situation that happened to an exceptional illustrator turned famous photographer. However, it’s much more. Why he became a photographer is where the heart of the story lies. The film, directed by Robert Zemeckis of ‘Back to the Future’ fame, is based on the true story of Mark Hogencamp (Carell), who was beaten severely by five men. He was attacked after drinking too much, at the bar he frequented, led to his talking too much. To these strangers he had just met he mentions a little something he likes to do to be closer to women, or as he put it, feel their essence. He admits to wearing high heels. Shocking the men, they call him queer and assault him, each delivering punches that cause severe trauma to his body, most importantly to his head. The blows were so distressing to him that Mark no longer has a memory of anything before the attack… not even of who he was. To handle what it went through, his brain dumped everything that wasn’t essential to survival. Because of this, Mark can no longer draw as he had before or even function normally. A nurse has to go to his residence to check up on him because he has no true sense of how to care for himself properly.

Seemingly wanting to work through the worst of it in some capacity, he still practices art but now it’s more cathartic for him. Instead of paper and pencil, Mark uses dolls and a camera. He’s turned his backyard into the imaginary town of Marwen in Belgium during WWII. In this town he’s built a world where he, or the doll of himself named ‘Hogie,’ is in peril. He photographs the dolls making real-life movements, not unlike what you’d find in a stop-motion film. And in Marwen, unlike in the bar where he was jumped, he gets to stage his rescue. He controls it all. Catching onto this, it doesn’t take long for you to notice that the five men who attacked him are represented here, as well, as five Nazi’s constantly running him down. His eventual salvation always comes by way of female dolls that are characterizations of real women in his life. These women have encouraged or enlightened Mark in some way. Most of them anyway. Enter a new neighbor, Nicol (Mann), who moves in across the street. When she shows up, his depiction of perfection gets shaken up.

When she enters the picture is also when the movie gets a bit strange. Strange could be either good or bad depending on how you look at things. Dolls are creepy, to begin with, so there’s that, but to be honest, how they’re used here is rather benign. Though the female dolls are exceptional beauties, until Nicol comes along he doesn’t pose them romantically or sexually at all. Well, there is one topless scene but it’s not to satisfy any lust within him. A doll named Deja and the Nicol doll that he creates immediately after meeting her are particularly important. They’re used by Zemeckis to reveal that through them he’s more comfortable communicating what he wants of or what he thinks is the reality in his life. Mark desperately needs someone to remind him that the fiction he has created isn’t real. Art may imitate life to a degree, but it can’t take over or you’ll miss out on genuine opportunities… which Mark almost does. Luckily for him, not everyone feels the need to placate his inner child. The film is heavy at times but very creative and imaginative. Carrel has incredible depth in his performance of this trauma victim. If you enjoy films that carry you away from your daily burden’s, ‘Welcome to Marwen’ will accommodate you quite nicely.

Second Act Movie Review

December 21, 2018 (updated December 20, 2018) Published by JMcNaughton

“Second Act” is attempting to be some things that it is not. It is sold as a Romantic Comedy, just without the romance. It is supposed to be a positive feel-good story of a woman who can make it on her own merits. Yet her credentials are made up from whole cloth and are fake, phony and non-existent. There is an encouraging message on adoption, but the lead up to the reunification of mother and adopted out daughter seem contrived. But is does have Jennifer Lopez as the charismatic engine in this ‘Little Engine That Could”, so it is able to climb that hill and make it to the top. She brings all of her energy, and there is a cast of supporting characters that gives this movie a little zest.

Maya (Jennifer Lopez) is a 40-year old with a job in a big box retail store in Queens. She has been building up the local store for many years, yet she is passed up for a Manager position. She is feeling down, and her boyfriend Trey (Milo Ventimiglia) attempts to cheer her up. But they have a major fight over getting married and having kids. She is not ready for that, so soon she is staying at her best friend and co-worker’s house. Joan (Leah Remini) has sympathy for Maya, but she gets her son to give Maya a professional Social Media makeover. Maya becomes Maria, who has graduated from Wharton Business School, served in the Peace Corp, and climb Kilimanjaro. Maya (as Maria) gets a very lucrative job offer from a Wall Street business that is into skin care products.

Maria (actually Maya) really impresses the owner and founder of the company, Anderson Clarke (Treat Williams). She has less of an impact on his daughter Zoe (Vanessa Hudgens). Maya BS’s her way into a corporate position and finds herself in a showdown with another group inside the company. There are two groups that will attempt to make a fully organic skin care product, and the other group will take an existing product and make it eco-friendlier. Maya has only a few folks with her side, including Hildy (Annaleigh Ashford). They face off against a group led by Ron (Freddie Stroma). Ron is running circles around Maya, and Hildy also dumps Maya to work instead with Ron. There are some social events for the company that end in disaster because Anderson believes that Maya has done all the things that are listed on the (fake) resume.

But a dark secret that Maya has from her past caused her breakup with Trey, because she could not bear to tell him the truth. That youthful mistake that created Maya’s hidden secret comes back to her in a big and substantial way. Maya develops a much closer relationship with Zoe because of this past incident. But Maya still attempts to keep up the fake facade that got her this new position and all the luxuries that come with it. But will her moments of dishonesty lead Maya to some unfortunate circumstances? Is her trouble with the past really over, or is it just now starting again?

“Second Act” is a big underachiever, in that it starts up with too many ideas that never get fully developed. The writing has some pretty funny lines, but the overall idea is dreadful. Don’t like your current job? Then make up all sorts of wild things about your professional past to make you look like a Real Pro. I’m sure you won’t get caught. Jennifer Lopez never did! But hand it to Lopez, because she takes the old rusty Chevy Chevette of a story and makes it purr like a Corvette.

There are a handful of really funny lines, most delivered by Leah Remini (as her best friend Joan). Vanessa Hudgens has a nice performance as person who has more in common with Maya than she knows. Milo Ventimiglia is seen a short time and retuns at the end, so not much is there for him. All the other actors are respectable, but nobody stands out.

Only because Jennifer Lopez stars in this movie, “Second Act” deserves a second look.

Aquaman Movie Review

December 21, 2018 (updated December 19, 2018) Published by JMcNaughton

“Aquaman” is another in the DC Comics ‘Extended Universe’ of movie adaptations. But this one hits on some strong notes, as opposed to the other DCEU ones they have created. “Wonder Woman” was an exemption and a template for doing this right, and they have (mostly) followed along in a similar way. It is not dark and brooding like the recent DCEU movies were dark and (mostly) humorless. But with help from director James Wan, this new movie does not jump the shark – it uses the shark as a friggin’ undersea taxi service. If you don’t tip well enough, the driver might eat you…

Since every superhero needs a back story, Aquaman becomes a love child between a lighthouse keeper from Maine, and the Queen of Atlantis. Atlanna (Nicole Kidman), escapes to the Earth’s surface. She meets and falls in love with the keeper and they have a child. The little boy has unusual powers (being half-human and half-Atlantean). Atlanna is forced back to again be Queen of Atlantis, and there she and King have another boy child. Arthur Curry (Jason Momoa) is the half-breed, and his younger (fully Atlantean) brother is Orm (Patrick Wilson). Arthur is named after a king, because, well – you know…

Arthur is fine with staying on land, and getting some good things done – under the name ‘Aquaman’. He works to save a Russian sub from a band of pirates. But one of these bad guys is named David Kane (Yahya Abdul-Mateen II) and he blames Aquaman for his father’s death. Kane is working secretly with Orm, to try and make the sea-people rise up and fight the land-people. Aquaman is staying out of this fight, until he gets visit from Mera (Amber Heard), an Atlantean princess and warrior. She knows that something bad is going to happen, and she is soon to be married to Orm, Aquaman’s half-brother. Awkward!

Mera’a father is King Nereus (Dolph Lundgren), an ally of Orm. As a child Arthur was being trained by Vulko (Willem Dafoe). Vulko and Mera both convince Aquaman that he the only one with the special powers to challenge his brother Orm. Aquaman is brought to Atlantis and there is a challenge to the death. It is between him and his brother Orm, and he must fight in the “Ring of Fire”. But Johnny Cash does not show up to save him. Mera helps to get him out so they both can go on a world-wide quest to find the lost Trident of the First Atlantean King. They go to sandy African deserts and scenic islands off of Sicily. David Kane (I’m sure you all remember him) shows up with some modified Atlantean technology and calls himself Black Manta.

Aquaman fights Black Manta and throws him off a cliff, where he surely dies (unless they want another villain for ‘Aquaman 2’). Aquaman and Mera escape and they know the location of the special Trident. It is hidden in a dreadful placed called ‘The Trench”. It is where Aquaman’s Queen mother was brought years ago and sentenced to die (for treason, after the King found out about the ‘Arthur Curry incident’)

But you still need to strap in at this point, because you have much more to see. There is much more in the story, including scary ugly monsters that look like sea monkeys on steroids. There is a Lost Kingdom with secret hiding places for a special Trident. There is Arthur who pulls the Sword Excalibur from the stone… No – I mean, Aquaman who takes the Golden Trident from the guardian hands of the dead King.

There is a major underwater battle that is brewing when Orm and his minions decide to destroy any resistance in the other Kingoms, and then take the fight to the land-dwellers. Only the One True King would be able to prevent Orm from taking over and proclaiming himself and the Ocean Master. Can’t have that now, can we?

Other than a slightly too-long run time, this movie is a fine example of a fun and adventure-filled comic book turned into the visual treat. A lot of the visual effects are like cotton candy for the eyes. The actors cast in the movie do a credible job at making a fantastic display of an interesting world come to life. The sub-plot with David Kane and the Black Manta could have been cut and it would be perfectly fine. There are shades of the classical saga stories in the plot and the final battles are epic.

Wan directs this comic book classic with zeal, and Jason Momoa takes the lead role and makes it his own. An adventure story with lot of spectacle and a lot of humor. Definitely ‘see’ worthy!

Bumblebee Movie Review

December 21, 2018 (updated December 19, 2018) Published by JMcNaughton

Face the facts. Since 2007, Michael Bay has delivered “Transformers” movies that have assaulted the audience. Each movie being bigger and louder and dumber and more visually CGI-infected than the prior version, it was like an evil Decepticon plot to torture humanity. But the Torture-bots have been defeated. The newest “Transformers” movie is like a breath of fresh, clean air from back in 1987. “Bumblebee” is a movie that gives the viewers plenty of robot action, but it transforms into a human-centric exploration of a young kid who finds a close buddy. Of course, the buddy is a 12-foot yellow robot that turns into a 1967 Volkswagen Beetle. Sort of like “The Iron Giant” with wiper blades.

In a faraway universe, Autobots fight against Decepticons on the planet Cybertron. Their leader, Optimus Prime (voiced by Peter Cullen) sends a young B-127, later renamed Bumblebee (voiced by Dylan O’Brien), to Earth. The robot from space arrives on Earth, and a soldier named Jack Burns (John Cena) thinks he is an evil out to destroy the planet. Bumblebee escapes an evil Decepticon that followed him to Earth, but in a battle loses his voice box technology. He kills the Decepticon robot and saves Burns, but then Bumblebee malfunctions and turns into the last thing that he saw, a 1967 Volkswagen Beetle. He winds up in a junkyard in a small California coastal town.

Also living there is Charlie Watson (Hailee Steinfeld), a young girl who is troubled by the sudden death of her father. Her family seems to be adapting and moving on with life, but Charlie broods and spends a lot of time working on her dad’s old car. She finds a cute yellow VW Bug in the junkyard. The owner gives Charlie the car on her 18th birthday, and she later finds it is actually Bumblebee. But he has lost his memory and can’t talk, so he cannot communicate with Charlie. She tries to keep Bumblebee a secret from her family, but it gets hard when he accidentally wrecks the house. Her next-door neighbor Memo (Jorge Lendeborg Jr.) has a crush on Charlie and he also finds out the big yellow secret. Bumblebee regains his memory and figures out that Optimus Prime has sent him here to Earth to protect the people and the planet.

But there are two Decepticon robots that come to Earth to search for Bumblebee. These two evil giant robots (voiced by Angela Bassett and Justin Theroux) meet up with Sector 7 Agent Jack Burns, and with a researcher named Dr. Powell (John Ortiz). Powell is misled by the Decepticon robots to believe Bumblebee is a rogue robot who must be captured and interrogated. Burns is not so sure, because the robots want to plug into the military satellite system to search for Bumblebee. This will lead to a big robot battle, and Charlie being put into danger. But Bumblebee has the smarts to defeat the evil robots, if he can get some help from Charlie. Burns and Memo are close to the action, but they are not front and center for the major battle.

“Bumblebee” does have a bunch of giant robot battles and clashes, but it also offers something different. There is bit of light sweetness and some human emotions that were usually missing from earlier ‘Transformer’ movies. The struggle is still there in the background, and it seems important. But there is an emphasis on how a young woman in California in the late 1980’s can rise above pain and sorrow and find a true friend. True, that friend happens to be an Autobot that can change from a VW Bug into a very large robot. But it still does something very special, as compared to the other movies. It does not make the audience feel dumb for watching it. It creates an interesting fantasy world and invites us into to explore with the characters.

Hailee Steinfeld does a very decent job in the role of a downcast young woman with a big yellow secret. John Cena adds some helpful light comedic lines where they are needed. Dylan O’Brien adds a tenderness to the voice of Bumblebee (until his voice box gets maimed). Peter Cullen (as usual) returns to voice the Autobots fearless leader, Optimus Prime. I wonder if he is related to Amazon Prime? Travis Knight has directed this with a sense of wonder and awe for the big metal monsters that turn out to be some of the good guys. The soundtrack has a spot-on selection of songs that you may remember from the 80’s, or just songs you can now hear on the Spotify ‘oldies’ playlist.

“Bumblebee” – This is the first Transformer movie that will get good ‘buzz’.

Mary Poppins Returns Movie Review

December 19, 2018 (updated December 19, 2018) Published by Shari K. Green

‘Mary Poppins Returns’ is a marvelous, mystical, magical musical that revolves around the same siblings, Michael (Whishaw) and Jane Banks (Mortimer), from the story within the original Mary Poppins. There are three children in this rendition. The youngsters are, Anabel (Pixie Davies), John (Nathanael Saleh) and little Georgie (Joel Dawson). Their father is Michael who’s now widowed. Not long after we meet him, Michael, missing his wife Kate terribly, sings a song called ‘A Conversation.’ In the song he asks Kate where she is. It’s depressing but quite moving. The lyrics at the end of it are, ‘But still, one question fills my day dear. The answer I’ve most longed to know. Each moment since you went away, dear. My question, Kate, is… Where’d You go?’ Heavy lyrics for a ‘family movie.’

This moment in the film is very different from the opening number that has Lin-Manuel Miranda’s, Jack the Lamplighter, singing and dancing while extinguishing the street lamps in, ‘(Underneath the) Lovely London Sky.’ You’ll be impressed with both numbers and already fully invested in this film. The score is gorgeous. The songs are passionate, and you’ll be ecstatic you made the choice to see this at the theatre rather than waiting. Trust me on that. And not only will you love it but it’s for everyone of all ages so bring the whole gang!

Something you’ll likely appreciate most is that some of the animation goes back to old-style Disney. It’s nostalgic, for certain, but its color is vibrant and brings about a feeling of happiness as you watch. It’ll also force smiles on every face in the audience. Color, cheer, happiness and smiles. Not a bad night out. This perfect recipe is a rare find in movies these days.

Set in Depression-era London, or the Great Slump of the 1930’s, Michael and the kids still live in the home that he and his activist sister, Jane, grew up in. Only now, he’s without his wife Kate who used to take care of the finances. Unfortunately, he’s having some money trouble of late, a lot of money trouble, and is about to lose their cherished home on Cherry Tree Lane. In fact, he has until midnight to pay a loan to the evil banker, William Weatherall Wilkins (Firth), that he took out against the house or they’re out in the streets. Seems there’s always an evil banker somewhere, doesn’t it? This one is particularly cruel and not so innocent. Think Potter from, ‘It’s a Wonderful Life.’

Enter the somewhat self-centered, Mary Poppins. Well, why not be at least moderately egotistical? After all, you can float down on an umbrella and change the lives of everyone you come into contact with. I think that deserves a little puffing of the chest. Yes. From up above, Mary Poppins, attached to the children’s kite, descends upon them once again. Jane and Michael admit to thinking she wasn’t ever real. Grown-ups, am I right? After an outstanding bathtub scene, a bowl is broken in the kids’ room. When this happens, the children are whisked away onto the bowl and begin to see fully what and who Mary Poppins is. There is a rather dark part here full of warnings and strong messages as they try to fix the bowl. The graphics during all of this is eye-popping, to say the least. They’re now in a fascinating world, being taught lesson after lesson. One of those lessons is to beware of what you only think you know… to never judge a book by its cover. This comes by way of the song ‘A Cover is Not the Book,’ which has some amusing lines. Here’s a peek. ‘A cover is not the book. So, open it up and take a look. ‘Cos under the covers one discovers. That the king may be a crook. Chapter titles are like signs and if you read between the lines. You’ll find your first impression was mistook. For a cover is nice but a cover is not the book!’ Each song of the soundtrack is easy to learn, and you’ll be singing along in the theatre before you know it!

I could go on forever, but I may as well just review by saying this… GO SEE THIS ASAP! The costumes, animation and the sets are unbelievable. Sensational! And certainly, you don’t want to miss seeing Dick Van Dyke singing and dancing again. Then there’s Julie Walters and Angela Lansbury in the cast. One of my favorite parts is Meryl Streep singing ‘Turning Turtle.’ It’s unbelievably good! This scene is delightful and quite peppy!

Look, whatever you do, don’t worry that you won’t like it. No one is going to forget Julie Andrews, and no one involved in making this film wants them to forget her or her performance. Most of all, Emily Blunt. This is simply her take on this beloved character. After you see her performance, I think you’ll agree she was the perfect choice to play the role. That said, her Mary Poppins is a bit stricter than the character was in the original. She doesn’t put up with any shenanigans. No ‘Spoonful of Sugar’ for the kiddies here which more resembles the P.L. Travers’ books.

This beautiful, glorious and extremely charming movie is entrancing, especially during certain musical numbers. I’ll leave you with this. I beg you to see ‘Mary Poppins Returns’ on the big screen. If you do, you’ll be fully aware that you’re watching another classic as it was meant to be seen. So, listen to Shari and go see it today. Then go see it again… and again… and again. The ‘Balloon Lady’ insists.

Mortal Engines Movie Review

December 14, 2018 (updated December 14, 2018) Published by JMcNaughton

Gentlemen, start your “Mortal Engines”! This movie is a bit like a NASCAR race; it has a whole lot of characters, they all move at breakneck speed, they all go around and around in circles and with loud volume – but never seem to get anywhere. When the whole thing is finished, there are no Winners. Especially not the viewer. It has a visually stunning design, with a good number of images that are intricate and precise. It is based on a novel that has a unique concept, where a post-apocalyptic world has huge cities that move and rumble around a barren future landscape.

The ‘city on wheels’ idea shows us a large city that can only sustain and grow by searching out and taking over many smaller cities. The Big City takes over all of the resources, and assigns all the new people to hard labor. There are battles between the little guys and the ‘City of London’, and the big city always wins. This movie has many twists and turns, so there is a lot of potential for an exciting and well-defined film. There is also potential for a big sloppy mess…

Many centuries after the Sixty Minute War, all the people of Earth live in the ‘Traction’ Cities in the Wastelands. Or people lived behind a Shield Wall (in what is now China). The huge, mobile cities are places where remnants of the past remain. in the ‘City of London’, the large number of people are there hoping that the Energy Project that Engineer Thaddeus Valentine (Hugo Weaving) will finally be working to give them unlimited power. Valentine is thinking of a different type of ‘unlimited power’, but in a different sense.

He works with an historian of the City named Tom (Robert Sheehan). Tom is from the lower class, and he needs Valentine’s help to rise in the ranks. But there is a woman named Hester Shaw (Hera Hilmar) who has a personal goal to kill Thaddeus Valentine. She almost succeeds, but Hester and Tom both are thrown out of the moving ‘City’. Now they are trapped on foot in the No-Mans-Land. They are picked up for a ‘rescue’ by a nice couple out in the desert in a weird vehicle. But then get taken to Scavenger city to be auctioned off.

Thaddeus Valentine is still in the ‘City’ and he is cooking up some big plans, including finder Hester and killing her. These plans involve a reanimated cyborg named Shrike. This metal monster machine has a death wish for Hester Shaw. Shrike can’t be bargained with. Shrike can’t be reasoned with. Shrike doesn’t feel pity, or remorse, or fear. And Shrike absolutely will not stop… ever, until you are dead! No, sorry — that’s the Terminator. Well, close enough. So Hester has everyone looking for her and she could be in deep trouble.

Tom and Hester find that the Scavenger auction was interrupted by Anna Fang (Jihae). She is a well-known rebel and the leader of the Anti-Traction League. She hates the moving cities and fights them in every way possible. Anna finds Hester, along with Tom. She rescues the two of them, just as Shrike finds Hester and announces that he will kill her for running away. Because, you see – Hester was raised by the undead cyborg monster man when her mother was killed by Thaddeus Valentine. It’ a complicated relationship… So there is more that happens, and just as scattered and confusing.

This movie ought to have a Bingo card that will allow the viewer to match each scene or idea with another movie. Main villain is actually the Father of the main character? Yup, that would be “Star Wars: The Empire Strikes Back”. High-speed chases and battles as shown in a bleak landscape? “Mad Max: Fury Road”. A deadly cyborg who is conducting an unstoppable quest to find and kill a young woman? “The Terminator”, of course. Far future technology that looks like mid 1890’s Steampunk? How about “The Golden Compass”.

There are some wonderful ideas that could be developed for “Mortal Engines”. The biggest problem is that too much world-building and idea development and background exposition entirely drowns out the main story and any feeling that these are actual people. There is way more emphasis on action than there is on acting. Plus a total overload of motion and just a passing glace to human emotion. This might have worked out quite well as a limited series TV show, say on HBO or Netflix.

But this is big-budget stand-alone movie – perhaps ready to spur on the other movie adaptations of other books. Maybe so, but this first ‘Engine’ has seized up and it is not working…

Ben is Back Movie Review

December 14, 2018 (updated December 14, 2018) Published by JMcNaughton

“Ben is Back” is a family’s personal trip into the nightmare of addition, and how it destroys that family. The screenplay is written by Peter Hedges, and he is also the movie’s director. Plus, on top of that, he directs his own son, Lucas (who plays the aforementioned Ben). This is heavy lift, and the topic is dark and moody. But the acting and direction is very realistic, so it makes for an unsettling experience. The movie takes place right at Christmas time, but it is not filled with joyous Christmas spirit.

Holly Burns (Julia Roberts) has two children with her first husband, who is now out of the picture. Her children are Ben (Lucas Hedges) and Ivy (Kathryn Newton). Nice Christmas pairing, Holly and Ivy – right? However, with her new husband African-American Neal (Courtney B. Vance), he is bringing his two much younger children into the family. But the family unit has been fractured. Ben has a severe addition to drugs and he fell into a group of very unsavory characters. Ben got his girlfriend hooked, and she died of an overdose. So now Ben has been shipped away to a rehab center far away.

Except on this Christmas Eve day, Ben is back – meaning he left the rehab center to come home for Christmas. Holly is pleased, but she is also very wary about what Ben might be up to – or what trouble he might cause. Neal’s two younger kids love seeing the older brother whom they love. But Neal has many misgivings, seeing what happened with Ben in the recent past. Also, his sister Ivy is pissed off, because she feels that Ben has come back to ruin it for everyone, like he has done in the past.

Holly sets up some stringent rules for Ben. She takes him to the mall to get new clothes, and they even get to a recovery meeting. Ben does seem to be making progress fighting off the addition urges, but Holly is still suspicious at anything that is out of the ordinary. Ban has made some enemies in the town, so there might be some blowback to his return. The family goes to church that night and all is merry and bright. Except when they get home and find that their home has been ransacked and their little family dog has been dog-napped.

Holly heads out with Ben to try and find out what is going on. The two of them are stuck together in a desperate search of the ghosts in Ben’s past. They must confront the demons of his addictive nature, and the scummy people who had dealt with in the bad old days. Ben is pushed to do things that his old nature would do in a heartbeat. But he has made it to 70 plus days of recovery, and he does not want to endanger his future. Holly sees that her son is in his element dealing with the seedy side of life. Can he fight off the evil addiction devils that are pursuing him? Can Holly make a leap of faith that Ben is really turned around in his life?

“Ben is Back” is a movie that keeps people aware of the destructive nature of addiction. The family unit is portrayed wonderfully by Julia Roberts and Lucas Hedges playing as the hopeful mother (but wary) and her son who has strayed off the path one too often. Roberts puts in a moving performance, and the depth of her despair is tangible. Lucas likewise has many powerful scenes, and he is very believable. Kathryn Newton does another job as the younger sister of Ben who suspicious of his motives for coming back.

Peter Hedges has done decent job in creating this movie, and in being able to direct is own son as the character Ben. The movie hold together really well, but in the second half there are some areas where the plot slows down and turn into more of a by-the-book whodunit. The special relationship is broken when Holly and Ben go two different ways, and resulting scenes are not as strong.

However, there could be some Award nominations on the horizon for Julia Roberts and for Hedges, perhaps for both of them (Peter and Lucas).

In the Phoenix area, opens exclusively at Harkins Camvelview at Fashion Square.

Once Upon a Deadpool

December 12, 2018 Published by Shari K. Green

With the title and the time of its release, did expect to get something relating to Christmas in the film. This did not happen unless you count a Santa hanging on the wall as Christmas. That said, I guess to fans of the film, and of the genre, it’ll be seen as a Christmas gift. But if you want to see it, you better hurry! It’s only playing in theatres starting today December 12th until Christmas Eve. You have twelve days to see this present from Deadpool (Ryan Reynolds) to You.

What you’re getting is a bedtime story being read to actor Fred Savage. Savage awakens, essentially on the set of the film ‘The Princess Bride.’ In that film, he’s a child who spends his time in bed listening to the tale of an adventure that’s being read to him by his grandfather. This time he’s tied up in that same bed, or a reasonable facsimile, being forced to lay there and hear a Deadpool narrative delivered to him by Deadpool himself. The story is a PG-13 version of ‘Deadpool’ and ‘Deadpool 2,’ concentrating more on ‘Deadpool 2’ where he, creates his own team of rogue mutants to save a young mutant from himself and from Cable (Josh Brolin) who has come from the future to end his terror before it can begin. The film expands on the Deadpool character and introduces several cherished Marvel superheroes and villains who every comic fan will remember.

In ‘Once Upon a Deadpool,’ the Fred Savage scenes more than makeup for what Fox had to do to keep it feature length after gutting and removing what made it Rated R in the first place. The F-bombs and the extreme violence are replaced with acceptable words and with story time explanations as to what is missing. At this time, Deadpool reveals to Savage that he’s unable to cuss and why. That in a PG-13 film, you’re only allowed one F-word, 2 shits and one glass of wine. As he discloses more of the rules and continues on with the story, there’s some hysterical back and forth, as I’m sure you had no doubt there would be. You’re essentially seeing ‘Deadpool 2’ with interjections of hilarity.

So why do this? Reynolds would only agree to it if one dollar from every ticket sold went to the charity, ‘Fuck Cancer,’ or to keep it family friendly, ‘Fudge Cancer.’ When you’re choosing a movie to see, keep that in mind. But why restructure a successful film and retell it as a PG-13? The simple answer is, so you can take your children to see one of your favorite superheroes! The character is foul-mouthed, and the violence is over the top in this franchise but with this version, Fox proves that it doesn’t need to be. However, I wouldn’t worry that they’ll change Deadpool if a third film is made. It took a lot of convincing to get Reynolds to agree to this in the first place.

*Stay through to the very end because, after the credits roll, there’s a loving tribute to Stan Lee.

Roma Movie Review

December 7, 2018 (updated December 7, 2018) Published by Shari K. Green

‘Roma’ is sensational. It’s also Mexico’s official submission for the category of ‘Best Foreign Language Film’ at the Academy Awards® for 2019. It’s also the kind of film that sneaks up and grabs you when you least expect it. It’s an unforgettable and breathtaking tale of love from the director, Alfonso Cuarón (Y Tu Mamá También, Harry Potter and the Prisoner of Azkaban, Gravity), to his family’s domestic assistant, Libo, that the main character was based on. Working as his own cinematographer, Cuarón captured the beautiful imagery of his past that no one else could have had access to. He forces your imagination back in time to experience what he recalls and to walk through the life of someone he dearly cared for during some of her most blessed and most tragic moments.

Shot in black and white with perfect set and costume designs of the time period, you can’t help but feel as if you’ve stepped back in time with him.

Right away and throughout the movie, Cuarón uses long sequences to get you into the proper frame of mind to watch this ‘love letter’ to the woman who raised him. Cleo is this woman. She’s a very young woman who’s missing out on partying, creating her own dreams and having fun. Instead, she does everything around her employer’s house. What’s made most clear is that she takes care of the children as any mother would, quite honestly, disregarding her own personal experiences for theirs. She’s always scrubbing the floors, picking up dog waste, washing the dishes and doing the laundry as well as seeing to it that the children are woken up, fed and put to bed. She takes the responsibilities involving the children most serious. When they’re in her charge she handles them with love and showers them with attention. She does eventually find time to squeeze in a date or two during at which time she gets pregnant. When this happens, Cuarón shows genuine affection for her and the plight she next finds herself in, just as his family did back then. This leads to one of the most heartbreaking scenes and a strong message to women who feel that they’re alone in moments of crisis. Outside of this, something I found extremely provocative was Pepe throwing hints out of the possible existence of reincarnation. I liked that Cuarón threw it in but this was not the film to explore those thoughts.

‘Roma’ may move too slow for some but if you let go and let the director take you through these occurrences, truly live in the moments you’re witnessing on screen, you’ll be diverted from reality for a while and appreciate the efforts he took to pull you into his memories. Little things in the background of our daily lives are shown here from great perspective, especially when you consider it’s a child’s point of view. He took the time to show them, I hope you give him that time and watch with patience. This film is an artist painting a masterpiece to its most perfect. At times he concentrates on the mundane but while you watch you realize you’re watching life. It’s happening right before you and you can’t turn away. What makes it more special is his way of giving you so much in the most unconventional way he could have found.

Anyway, see this in a large theatre with spectacular sound to get the most out of it. Yalitza Aparicio’s performance of Cleo will move you more when you can feel what she’s going through as well as see it play out. I realize it’s being released on Netflix but do try and catch its theatrical run. I can’t say enough about it. ‘Roma’ is a beautiful film in every possible way and Cuarón was brave to have shot it the way he did with no score. When you think about it, do we have music following us everywhere we go? No. And neither does Cleo. That said, I hope Cuarón gets everything he deserves during Oscar season.

*In Phoenix, you can find ‘Roma’ at HarkinsCamelview Fashion Square on 12/7 and it will be released globally on Netflix on 12/14 and expanded Theatrically.

Category: Reviews