Who doesn’t love Denzel Washington right. We all do and here he teams up again with director Antoine Fuqua once again as Robert McCall in the third film of this series.
This time they head to Italy where McCall goes to “find peace”. It isn’t long till the mafia shows up with one of the best looking mafiaoso’s I’ve ever seen in Marco(Andrea Dodero), & his brother Vincent (Andrea Scarduzio), but they are there to make life messy for this little Italian town.
Robert McCall (DENZEL WASHINGTON) takes out Marco (ANDREA DODERO) in Columbia Pictures THE EQUALIZER 3. Photo by: Stefano Montesi
Equalizer 3 isn’t an overly original story and while Denzel tries his best to keep this formulaic film from completely failing..he succeeds at that, but not much more. Dakota Fanning is thrown in as Emma Collins a CIA agent – but her story thread is barely noticed.
Mind you the violence is high so be prepared for that. I wanted so much more than what I got, but it wasn’t terrible as is sure to entertain some.
Grade: C-
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“EQUALIZER 3” FROM SONY PICTURES IS OUT IN THEATERS FRIDAY, SEPTEMBER 1, 2023
Review Screening: Monday, August 25,2023 ~ Courtesy of Sony Pictures
Unfortunately, if you’re a fan of racing “GRAN TURISMO” from director Neill Blomkamp will probably not be your film as you can see the glaring holes in this too-good-to-be-true story of a gamer who becomes a race car driver overnight by winning a contest. Now I don’t mind liberties taken with films, but outright untruths are ridiculous. Things like no practice, no qualifying, how many clutch gear-changes were shown when these haven’t been used in race cars for decades! Again, don’t try to fool real race fans this badly.
The real Jann Mardenborough (Archie Madekwe), wasn’t from the first class of GT Academy SIM winners to have gone from gamer to actual racing and he was not part of the Nissan team to get a podium win. Lucas Ordóñez from Spain was – and he raced for Nissan in 2009, as well as secured a podium win on his first ever event competition. In reality – Mardenborough was one of the winners of the GT Academy competition in 2011 and that same year, became eligible to race on actual cars. He had already competed in seven professional events so by that time, so he joined the Nissan team in 2013. Essentially, the entire movie’s emphasis on raw talent making it big overnight makes you feel like some random kid can win a game and become a pro-race driver – something that takes years of hard work and yes, loads of time and money. But those are the pesky facts and the issue for me personally as a Formula 1 racing fan with the taking of such dramatic license is that the viewer shouldn’t be this mislead that a video game simulator player can just transition so quickly to real life racing when in factual life, it would be completely unsafe and unrealistic.
Now that that my pesky facts are out of the way, let’s get into the film itself. A lot of the action sequences in the first half were disappointingly brief. The entirety of the first act and parts of the second seemed somewhat disorganized, transitioning quickly from scene to scene, giving the impression that they were rushing through story elements, almost as if they were trying to quickly check off various plot points to hurry towards the uplifting part of the narrative. The racing was a mixed bag, at times absorbing you in how intense it was but often it felt like some races ended too abruptly. Of course, it’s impossible to show an entire race within a movie’s scope, yet for the pivotal races, the execution was still fairly good and it got better by the end. Once the movie finds its heart and essence, you’re drawn in more, not just the thrill of the action but also the emotional resonance. As for the CGI, the intention is clearly behind giving it a gaming vibe, but still a little unsure about it for the racing as other films have done it better.
David Harbour as Jack Salter brings to the table his best Christian Horner (Red Bull) & Toto Wolff (Mercedes Benz), impersonations here and delivers a fairly strong performance, with the interactions between him and Jann standing out more than the racing scenes in some parts. Although David’s acting was good throughout, Madewake was his best when they were sharing the screen at the middle point of the film – in the beginning, his gaming acting was on the cheesy, annoying side, but he picked it up as the character became more rounded out. Djimon Hounsou as Jann’s dad Steve Mardenborough is sadly lackluster throughout, but to be honest, he wasn’t given the proper material. The character of Danny Moore – team executive/recruiter is played by Orlando Bloom – and while Bloom has never been Oscar worthy, this performance is a new low and brings the film down another grade notch to film adding to a few other lackluster performances within it. A few of highlights were none other than Ginger Spice herself, Geri Halliwell aka Geri Horner – yes, that Christian Horner’s real-life wife and here she plays wife/mother Lesley Mardenborough. A few other notables supporting roles are Takehiro Hira, Darren Barnet, and Daniel Puig as Jann’s brother Colby.
Josha Stradowski as racing rival Nicholas Capa, was decent enough, seemingly tailor-made for the role of an egotistic douchebag. Apart from David Harbour, much of the cast seemed to be underused, particularly Bloom and Hounsou. Djimon, a good actor, could have been better utilized if the father character had been more effectively written, allowing for a deeper dive of the family dynamic. The film touches on a few things but only scratches the surface; like the beef with the rich guys portrayed as the story’s antagonists, although the film really wasn’t the kind of film that truly needed an outright villain so another failed dramatic license taken. Without all this, it could have freed up more time to concentrate on aspects like the father-son relationship, which had a pivotal moment that didn’t have the desired impact due to insufficient emotional buildup.
The movie as well, does take a while to establish its rhythm and pacing but once it finds its footing, it can be enjoyable at moments. Despite solid performances, the movie lacks conviction and feels like an overblown ad for PlayStation and/or Gran Turismo games It’s a shame the producers decided to also mish mash the true events and true racing talents to give us this composite. And yes, the film does feel a bit like a ‘Rocky-on-the-racetrack kinda movie – only ‘Rocky’ was Oscar worthy.
Grade: C-
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“GRAN TURISO” FROM SONY PICTURES IS OUT IN THEATERS FRIDAY, AUGUST 25, 2023
Review Screening: Monday, August 7,2023 ~ Courtesy of Sony Pictures
Strays is everything you didn’t know you needed for a weekend film watch.
Coming out Friday, August 18th, 2023 from @universalpictures with a great cast including #WillFerrell #JamiFoxx #IslaFisher #RandallPark as the rauchiest pups in town. Yet so completely adorably sweet as well. #WillForte is the main ‘human’ here that you honestly just want to punch in the face..and well deserves his comeuppance here at the end – which you will never forget!
(from left) Maggie (Isla Fisher), Reggie (Will Ferrell), Bug (Jamie Foxx), and Hunter (Randall Park) in Strays, directed by Josh Greenbaum.
Is it a perfect comedy? no..as it has a few ‘yikes’ moments and let’s be real – a french Bulldog that’s worth around 3.5K is not ever going to be a stray..as well it’s full of raunch humour..but it’s raunch humour done right.
It also is completely adorable at times and has an definitive underlying sweetness that will touch you. But don’t do what I almost did and take the kid..because this is most definitely R-rated as was pointed out to my by said 10 yr old. “The “R” is right there in the dogs mouth on the poster” 😂
So my advice..skip the Marvel’ing and get some good animalistic humour with this one!
With Oppenheimer, Christopher Nolan’s twelfth film, story-telling comes brilliantly alive as he triumphs here with a story exploring the actual prophets of science in the twentieth century with his aptly titled character study of the brilliant physicist, J. Robert Oppenheimer. Nolan doesn’t just stop at the assembly and discovery of science though. He uncovers the consequences of Oppenheimer’s innovation and what some would call ‘genius insight’ into the man himself. There might be other words one could use to describe him as well – but for this film, Dr. Oppenheimer might have been the man who knew too much and arguably that cost him quite a bit personally. Additionally, the so-called lab rat of his atomic bomb, namely the planet Earth, suffered the expense of it at the time and of course we all know how troubling it all still is in present day with an unpredictable future as well.
But that’s another story, and the one here opens many years pre-detonation and several after, with timelines zoning back and forth without losing the audience in doing so. As much as the switch between black & white and colour shots. It’s done for relevance and tonal quality and works throughout. But what we see most apparent is the foreboding guilt of it all arises early as we watch a young Robert J. Oppenheimer (Cillian Murphy), leave a poisoned apple for a university professor, and we watch in almost horror as he almost wipes out the Nobel Prize winning physicist Niels Bohr (Kenneth Branagh). From here, we follow Oppenheimer’s rise to the upper echelons of contemporary theoretical physics, which he single-handedly introduces to an at-war America. When talk of the weaponization of nuclear power crosses the Atlantic from war torn Europe, it is to Oppenheimer that the US Army turn to and one man in particular who leads this charge, General Leslie Groves (Matt Damon). The film is based on the Pulitzer Prize-winning book ‘American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer’ by Kai Bird and Martin J. Sherwin and learns much of its politics from within these pages. However not completely.
L to R: Matt Damon is Leslie Groves and Cillian Murphy is J. Robert Oppenheimer in OPPENHEIMER, written, produced, and directed by Christopher Nolan.
This movie seems to start right in the middle of its story and as a viewer you need to claw your way through the dense foliage to find its beginnings and what comes afterwards. The first two scenes of the movie are titled “Fission” and “Fusion.” And there are no time periods specified by the font caption however, the differences in various points in history are distinguished by where J. Robert Oppenheimer is located during select points in his life. For seconds at a time, the film will change its photography from vibrant color to black and white, for example. The characters will either look more aged with grey hair and older or at others, during a younger time in their lives. At one point Oppenheimer is being recruited by Lewis Strauss (Robert Downey, Jr), to head the department of a new kind of weapons development. There is another time period where he is being interrogated in a small room by a governmental suit and tie committee whose name is never mentioned. Another storyline has him in his classroom or debating and working with colleagues or yet another he is shown observing his progress with building the atomic bomb among a collection of other engineers and scientists in the desert town that was specifically built under his request – Los Alamos, New Mexico. The place that we now know housed the now infamous “Manhattan Project” under the order of Colonel Groves, to conduct his work and research while in plain sight.
The film also covers Oppenheimer’s association with possible suspects of the Communist Party during the stressful pre-cold war era of McCarthyism. Questions arise if his reliable brother Frank (Dylan Arnold), is a communist or even asking this of his mistress Jean Tatlock (Florence Pugh), while begging the question of does that in turn make Oppenheimer a communist as well and possibly sharing top secret information with the Communist Party. Those are some of the many things explored in this film – yet instead of being all over the place and scattered – Nolan puts it together in a way we never lose track of who’s who. And there is a lot of moving parts here. Nolan’s film gets easier to watch as it moves along, but you either be familiar with or get used to his pattern of filmmaking as its fast-paced edits of different time periods and conversations must be followed closely to keep on top of the subject matter at hand. There is much information to decipher as well, there is a very large collection of welcome characters to sort through, who worked with or against Oppenheimer.
Robert Downey Jr is Lewis Strauss in OPPENHEIMER, written, produced, and directed by Christopher Nolan.
The quick edits while working beautifully against the soundtrack orchestrations of Ludwig Göransson, happen a mile a minute. Whether you appreciate this method or not, it does enhance the urgency of Dr. Oppenheimer in the eyes of the world, first as the ‘savior’ so to speak, of the united Allies against the last remaining superpower countries that the US is at war with after the Nazi’s have surrendered: Japan. While some have pointed out about how they know the ending to Oppenheimer. a.k.a. they drop the bomb – twice actually – it can be said they do not know the entire story adaptation that Christopher Nolan as director and screenwriter presents, though markedly it isn’t a completely factual turn either. So be sure to read your history books as well.
As with the military and scientific leaders who end up achieve the impossible, like splitting the atom, while also admiring peers and mentors like Niels Bohr and Albert Einstein (Tom Conti), essentially these men are interested only in what can be accomplished. The superpowers that fight in war though, are interested in how these accomplishments of modern science can be used to their advantage at a cost of collateral damage. It is these conflicts of interests that Nolan admirably demonstrates over the course of the film. A telling scene is when Robert Oppenheimer meets Harry Truman (Gary Oldman). As the physicist exits the Oval Office, having shared his concerns and scruples with the Commander in Chief, Nolan includes a throwaway line delivered by the President, that you don’t soon forget and it will not be spoiled here. Yet, the dialogue speaks volumes of what the United States held important regarding the servants who did the country’s bidding. The scene closes like a stab in the heart, and suddenly science is no longer just facts within our planet. Science is now questioned on whether it should ever be acted upon. Those questions certainly have remained even today and the blatantness of overlooking Hiroshima and Nagasaki were also irritating to watch happen. Questioning that is if men and women’s recklessness with science doesn’t destroy the Earth before then is one that should have been more at the forefront instead of just being tossed off to an once scene deal as at one point, Oppenheimer shares a small fraction of possibility for the end of the world when they activate and test their first atomic bomb as we watch as Colonel Groves’ asks for a reiteration of that observation.
OPPENHEIMER, written and directed by Christopher Nolan
Oppenheimer is a three-hour film, and it demands its running time. There are so many angles to the man that few really know about. Many know it was he who instrumentally built the atomic bomb that to date has only been used twice within a period of four days and thankfully never since. The emphasis of how unaware we are of how carefree the doctor’s government supervisors performed with the weapon he agreed to build. The scenes of “Don’t just drop the bomb once – send a message to Japan by dropping it twice” so they know to no longer engage in this ongoing war. Choose the area where an army/government official didn’t honeymoon though because it’s too beautiful a region. Tens of thousands of men, women and child civilians perished immediately following the strikes. Many others died weeks later following exposure to the nuclear effects that followed. All issued as a horrifying cost to end a war that was already being won now that Hitler was dead. All this just let us us know how callous war really is.
As for the acting, Oppenheimer marks Cillian Murphy’s sixth turn under Nolan’s direction, but only the first front where he is front and center. And yes, it has been worth the wait as simply put, Murphy has never been better. It’s an all-encompassing performance Murphy captures the mind, the thinker, the philanderer, the dreamer, the doom monger and so many more facets of Oppenheimer the man. There are many scenes to well showcase Murphy’s skill here but few hit home like that in which a moment of triumph is unsettled by existential self-questioning and the horrific realization of guilt. No man is an island, however, and Murphy’s film carrying is well met in an astonishingly starry ensemble. Robert Downey Jr. gifts Nolan his best performance in years telling us that he isn’t Iron Man anymore, he is the actor’s actor of decades past and my goodness, he’s still got it here as businessman Lewis Strauss, with Emily Blunt who does well with what she is given as Oppenheimer’s disparaging, lonely alcoholic wife Kitty. Her grand moment arrives during an interrogation scene close to the end of the film, and it was worth the wait though this is by far not Blunt’s best role, because it is rather limited within crux of the film. In more fleeting appearances, the likes of Florence Pugh, Benny Safdie, Rami Malek and Gary Oldman do much to prove indefinitely that there is no such thing as a small part. Josh Harnett startles us all putting juice into his role as Ernest Lawrence. Jason Clarke as suit & tie agent Roger Robb per earlier mentioned and his cohort Gordon Gray (Tony Goldwyn), are just a few of the big names and it is a testament to Nolan’s magnetism as a director that such talent can meld into a single film. Again, it can’t be said enough how Murphy is perfectly cast and has Oscar nomination written all over this role. Matt Damon might just be up against himself in the Best Actor/Best Supporting Actor categories now. But it would be remiss of me to let go by some also rather damaging notes of the film. My biggest beef with it and what brought this film down for me was the female characters. They were few and not fleshed out at all in the slightest of who they really were and meant in Oppenheimer’s life and to The Manhattan Project as a whole. Florence Pugh was just basically thrown in here as a sex object, when in real life, she almost derailed the entire thing. Emily Blunt does well with what she’s given – even if it was just scraps. But there were moments of watching where I was just angry at this. I realize this is a movie about Oppenheimer, but Nolan did the female characters dirty here. Not only were they integral, but there were many more of them there and the complete overlooking of this irked me while watching.
OPPENHEIMER, written and directed by Christopher Nolan
Oppenheimer is so dense in the scope of science and the scientist behind it. That’s a huge compliment. It’s an engaging film with much to tell, and a lot more to think about afterwards. It accomplishes what the best movies do. It leaves you thinking long after the film has ended. More importantly, it will leave you frightened for the future based on the behavior of this planet’s past. All in all, Oppenheimer was a master class of intrigue. Deft defying in its story, with tension building throughout with phenomenal sound and production. But some of it left me cold and a lot of it left me uneasy. Adding that to the scraps given to the female characters knocks it down some but not out.
Grade: B
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“OPPENHEIMER” FROM WARNER BROS. PICTURES IS OUT IN THEATERS FRIDAY, JULY 21, 2023
Review Screening: Tuesday, July 18, 2023 ~ Courtesy of Warner Bros. Pictures
The plot of Disney’s latest foray into a ride re-do is “HAUNTED MANSION” featuring a single mom Gabbie (Rosario Dawson), and her young son Travis (Chase Dillon), who move into a new ‘old’ house in New Orleans. Once there, they hire grieving tour guide Ben Matthias (LaKeith Stanfield), a dubious psychic Harriet (Tiffany Hadish), a shady priest Father Kent (Owen Wilson), and an unhinged historian Bruce Davis (Danny DeVito), to help exorcise her newly bought mansion after discovering it is inhabited by ghosts.
So, it goes with this new attempt at a movie based on a popular Disney ride. It’s chock-a-block full of inside jokes and references to the ride, some in plain sight, some tucked away in the corners of the screen. As a big fan of the ride, one can only enjoy the little Easter eggs presented throughout and enjoy them a lot. Big fun highlights were the chair shaped like a Doom Buggy; and the room that stretches; and the hitchhiking ghosts, and on and on. If you’ve been on it, you get it. While the film tries to utilize the setting of New Orleans in some decently authentic ways, the rest of the plot and character development is so generic that they fail to make viewers more engaged in the setting. The film’s attempts at both humor and scares fall flat, as the jokes are formulaic and corny while the attempts at more frightening moments fail to elicit any tension or suspense, and are quite repetitive and CGI-heavy.
But aside from all the cool references, there is not much else to recommend, especially not for those few poor souls who are not as thoroughly familiar with the Disney ride as I and many others are. There’s a heart-tugging sub-plot about the grieving tour guide, Ben and while it’s not meant to be comical, Stanfield’s wooden straight face playing the absurd material, trying to pull out the emotional stops for a touching moment as he describes his late wife, is almost painful to watch. It’s also one that pushes an absolute scene-stealing button from Danny DeVito. Then there is Travis, son of single mom Gabbie, who has problems with bullies at school, even when he isn’t troubled by the ghosts who have latched onto him like lice. Another is the issue of who all the resident ghosts are REALLY afraid of a big-bad ghost entity known only as the Hatbox ghost (Jared Leto). But we the audience are not. Jamie Lee Curtis steps in for a bit as Madame Leota, and she brings some decent comedic timing to this sorely lacking comedic film. Dan Levy is Vic – the new owner of the house and then there is a super surprise from Winona Ryder in a flash part as ghostly Pat. And one of my favourite little guest appearances is at the very beginning where Marilu Henner is part of a tour group. She is a wonderful flashback to the old Taxi days with DeVito.
Acting ranges from good all the way down to…well…lackluster. Most of the cast does an okay job with what they were given. The high-end example is Danny DeVito. The man never seems to put less than 110% into whatever he does. At the lows is Rosario Dawson, an otherwise fine actress who looks like she just doesn’t want to be in this particular film. She shows little to no emotion even as her world is falling apart. Who knows, maybe that’s a directorial decision. LaKeith is a wonderful drama actor, but is sorely mis-cast here as he lacks the most basic of comedic timing. Dawson saves a few of scenes with the two of them, even though you know where they are headed together as character. Haddish, well she does Haddish. Nothing more, nothing less…
The movie has all the requisite creepy hallways and creaking doors and one or two iffy jump-scares, but everything is done so tongue-and-cheek that it’s never truly horrifying…which is what can be confusing. Is this meant to be scary, funny or what was the aim of the filmmakers. Certainly, you don’t want to make a film, based on a jaunty fun theme park ride, as scary as The Exorcist. So, to that end, the filmmakers succeeded. The movie is harmless, even a little fun at times, Owen Wilson gets to deliver some of his trademark dry observations, and DeVito gets to play some notes that I haven’t seen him play in a very long time. If pressed, I would be forced to conclude that, for non-fans of the ride, this movie would most likely be a bit of a slog. At over two hours long, the film also runs for too long, especially given the plot has limited resolution or payoff – but again, it has it’s ‘cute moments,’ despite missing that one leg so to speak.
Grade: C-
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“HAUNTED MANSION” FROM WALT DISNEY PICTURES IS OUT IN THEATERS FRIDAY, JULY 28, 2023
Review Screening: Monday, July 24, 2023 ~ Courtesy of Walt Disney Pictures
So it was actually Tuesday night when I saw #JasonStatham be completely ridiculous in #TheMeg2 but honestly it is so bad..it might be good.
There is no acting here by anyone from #JingWu #CliffCurtis #SiennaGuillory and even the villain #SergioPerisMencheta is hilariously bad.. #ShuyaSophiaCai is the young teen star and it was a toss up between her and #PageKennedy – who thought he was in his own Fast n Furious sideshow film here (thx Kolby Mac for that comment), of whom annoyed me more and I wanted to see eaten first. And what is he doing back in a film..honestly. no.
This whole movie was a mess from start to finish and yet..I laughed and so did my theater..throughout it all. You can’t help yourself. Plus it was #indictmenttuesday so we all probably needed a break from the papa orange sideshow. So we laughed.
There are a lot creatures being thrown in besides the Megalodon or Megs as they are called, which was strange.and the complete rip-off #JAWS scenes were a bit much..but if you’re looking for something really dumb to just blow by two hours with and have seen everything else..have at it.
Grade: D+
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“THE MEG 2: THE TRENCH” FROM WARNER BROS. PICTURES IS OUT IN THEATERS FRIDAY, AUGUST 4, 2023
Review Screening: Tueday, August 1, 2023 ~ Courtesy of Warner Bros. Pictures
Having watched one of the greatest car-chase in the history of cinema… and it still wasn’t even the best scene in the movie gives you just a small idea of how good “MISSON: IMPOSSIBLE – DEAD RECKONING PART ONE” is. From the pre-opening credits scene to the final act, if you’re like me, you will be on the edge of your seat for almost the entirety of the film – most especially during any of the truly defying fight scenes – and while there are a few moments that the tempo of the film slows down to enough to let you catch your breath and let the story advance, it is still always completely captivating.
The challenge in continuing the “Mission: Impossible” franchise is that fans expect each entry to be “bigger” and more awe-inspiring than the last. With the seventh film in the series, and the third straight he has directed, writer-director Christopher McQuarrie and actor/stuntman (honestly credit here for where it’s due), Tom Cruise have managed to accomplish what seemed unlikely … they have delivered another fantastic Ethan Hunt mission. Prepare to be awed.
But he doesn’t do it alone as his supporting cast here is once again, incredible, and charismatic to boot.
You should also be aware that this is just “Part One” and yes, it runs a lengthy 163 minutes, which is a full hour longer than most movies and that’s saying a lot considering movies are getting longer and longer – and exponentially more expensive to produce. But as good as this one is – time passes without you even realizing it has been that long. And think about it, all this during an age when ultra-high-budget blockbusters are being rumored to be fading from public interest. Of course, we are only one year removed from Cruise’s TOP GUN: MAVERICK being hailed as ‘saving cinema’ – so this just might be coming at the perfect moment and bring people back to the box office. As well, with all of us supporting the WGA/SAG/AFTRA strike, production has stopped on Part Two and while we all hope it will be rectified soon – if it’s one person that can bring cinema back – it is Tom Cruise standing in solidarity with his fellow actors. In the meantime, with McQuarrie co-writing the script with Erik Jendresen, they remain faithful to the characters and storylines established by the TV series creator, Bruce Geller.
And with that, it must be said, there may never have been an actor more suited to this role than Tom Cruise is as Ethan Hunt. He truly embodies this character, and makes it his all his own. The story itself is fairly straightforward even though you might be questioning of how a ‘simple’ spy-thriller can be effective is understandable. Yet it’s completely fascinating to watch as Ethan Hunt’s mission in life as an agent is evaluated, as is the cost he’s paid as a man. Providing a more modern theme here, the obscure object of desire is an all-powerful key which comes in two parts and is based on controlling an all-encompassing Artificial Intelligence (AI), that of course, if it falls into the wrong hands… well we know how that would go. Once the movie begins, you are strapped in with these characters, and it’s impossible not to be invested in the mission. The action set pieces swiftly move from one to the other, and it is non-stop action. Rather than explaining a lot of what’s happening with the AI, it’s clever and subtle in its execution so the audience can form the story. The beauty of this franchise is that the audience is always in with Hunt and his team, and there is no way of being confused with the mission. Visual storytelling is the driving force here because AI challenges each character. The computer becomes the enemy, which affects the communication between Benji, Luther, and Ethan. It’s heartbreaking to see moments of helplessness between them because it is a much darker storyline than others. You feel the love and respect they have for each other in this film which grounds the madness of the AI.
In a twist on a familiar theme (and a certain classic Thanksgiving comedy film), we have Airports, Trains, and EVs, the latter being one of the funnier sides of the film featuring tiny Fiat with handcuffs. Still, the car chase is everything we might hope, while the high-tech facial tech search in the airport sequence delivers the thrills for viewers and sadly also gives us a peek into how dangerous AI can truly be. The train sequence of sparring all happens inside as well as on top of an actual moving train. And lest you be worried, there are enough Cruise sprint scenes here that it feels like he might just be giving Carl Lewis a run for his money.
Shea Whigham and Greg Tarzan Davis in Mission: Impossible Dead Reckoning Part One from Paramount Pictures and Skydance.
The now familiar faces include Ethan Hunt’s team of Luther (Ving Rhames), Benji (Simon Pegg), and Ilsa Faust (Rebecca Ferguson). It’s nice to again see Henry Czerny as Kittridge, and Vanessa Kirby back as European arms dealer Alanna Mitsopolis aka The White Widow. Esai Morales steps in as Gabriel, the shadowy villain in search of the same key as Hunt’s team is. New faces include Grace (Hayley Atwell), a master pickpocket, whose soul may or may not be beyond salvation; Denlinger (Cary Elwes), the agency director; Briggs (Shea Whigham), and Degas (Greg Tarzan Davis), are fellow agents who just can’t seem to get their hands on the slippery Hunt and last but not least, Paris (Pom Klementieff), who is a silent but deadly, hired assassin.
The stunt work here is outstanding, and of course, Tom Cruise is renowned for personally handling many of the most breathtaking acts himself, which just make them all the more mind-blowing. As I’ve noted before, who needs CGI when you have Tom Cruise – and that statement could not be more true here. Probably the piece-de-resistance is the motorbike off the cliff into a base jump is something else. The fact Cruise did it for real, multiple times, is crazy and inspiring but I will not spoil this majestic scene for you completely as it must be seen. And yes, the stunt is so truly mind-blowing that it has a ‘making of’ video that has been available for a while. As movie goers, we’ve never seen anything like it.
Tom Cruise plays Ethan Hunt in Mission: Impossible Dead Reckoning – Part One from Paramount Pictures and Skydance.
As well, Part One was originally scheduled for release in 2021 (thanks a lot, COVID), and now Part Two is set for 2024. It’s also wild to think it has been 27 years since the MISSION: IMPOSSIBLE (1996), and that Cruise was mere 34 years old in that one, and yet here he is and it seems like time just hasn’t passed for him. Lucky! But this mission is clearly the biggest yet, and it’s a mission that will be closed out in Part Two, and possibly simultaneously bring an end to Cruise’s amazing run as Ethan Hunt.
Putting forth a story line that is oh-so-very good. The film was very cleverly written in a way that it is a very complex plot device they’ve chosen to use, however they found a way to keep it extremely simple and easy for the audience to follow with the two keys concept. After the fantastic underwater opening, and introduction of what the next Impossible Mission will be – the rest of the film is essentially just four huge action set-pieces. Except these set-pieces are like nothing you have ever experienced on screen before. The pacing is quite unique – it almost feel like four short thrilling films, while still working as a whole narrative. And more to come in Part Two leaves us all waiting with baited breaths even as we now know Production has shut down for the time being.
Esai Morales and Pom Klementieff in Mission: Impossible Dead Reckoning Part One from Paramount Pictures and Skydance.
And yes, we do have to talk about the performances. Tom Cruise, Ving Rhames, and Simon Pegg were like a family already and i’m pretty sure they did not need any rehearsal as their chemistry was already there since the fifth one. Rebecca Ferguson and Vanessa Kirby returning performances were shorter here, but as always, wonderful, Shea Whigham and Greg Tarzan Davis get more than expected and their buddy cop antics are a lot of fun. Pom Klementieff gave a very interesting performance as a character and she was amazing in terms of action sequences – there is an alleyway fight that is nothing short of a masterpiece of work between her and Cruise. Esai Morales was a good intense villain, and last but not least Hayley Atwell at possibly her best performance she’s ever in and I think she might get to the top of a lot of lists a favorite Ethan Hunt’s sidekicks besides his own team. She was incredible and her presence was lovely every single second of her performance. Her character and dynamic with Cruise were fresh in comparison to everyone who has come before and their chemistry is magnetic.
Hayley Atwell and Tom Cruise in Mission: Impossible Dead Reckoning Part One from Paramount Pictures and Skydance.
Lorne Balfe does the music once again and yet again it’s a highlight of the film, he knows how to elevate everything so well and really hammers home the emotional beats.
If I were looking for faults, and they are so nominal to be frank, but the second act drags a little to the extent that it felt like they were repeating themselves. Although even then they are stylishly filmed – the Dutch-angles never got old. The single, solitary, disappointment comes as the credits roll, and you remember you’re going to have to wait until next year to see how it all end.
‘Mission: Impossible – Dead Reckoning Part I is another strong entry in the action/spy series, with Cruise looking slightly older, but not less determined to save the world. Will the sequel to this film will be his last outing – who knows but I do know we will all be there for Part Two..and after that…well we’ll see.
And lastly, it is truly a cinematic experience that needs to be seen on the biggest screen possible.
Grade: A
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“MISSION: IMPOSSIBLE – DEAD RECKONING PART ONE” FROM PARAMOUNT PICTURES IS OUT IN THEATERS FRIDAY, JULY 14, 2023
Review Screening: Tueday, June 27, 2023 ~ Courtesy of Paramount Picture
Okay everyone – time to buckle up, stay alert, and try not to spit out your cocktails while watching because writer/director Adele Lim is bringing ‘it’ to you with “JOY RIDE.” The film is packed with raunchy jokes and more than one decadent conversation about intimate body parts, felines, substances, Cardi B, and even exploring the distinctions among various Asian ethnicities. I mean who says a buncha guys can be the only ones with the corner market on this genre as ‘Joy Ride’ is sprinkled with some spicy moments and includes some great incorporation of Chinese and Korean elements, which adds a cool touch to it all. This raunchy comedy follows the standard 2010’s raunch-com template, with four big glaring differences – it brings four bad-ass female Asian-American leads to the table bringing East Asian female representation to the comedy world first and foremost.
The tone of ‘JOY RIDE,’ is set within the first 15 minutes as we watch as a young white couple Joe (David Denman), and Mary Sullivan (Annie Mumolo), approach a perplexed-looking Asian family on the playground. The couple awkwardly ask the painfully out of place parents Wey (Kenneth Liu), and Jenny Chen (Debbie Fan), if they’re Chinese, to which Jenny defensively affirms the assumption, adding with distinction that they are American and have moved to White Hills from California. In a sweet moment, their child peeks from behind and reveals that the white couple have an adopted daughter from China, and the two young daughters go off to play as their parents look on in relief that they found each other. When a naughty little boy launches a racist insult their way, he’s met with a vulgarity and punch to the face from Lolo. ‘Best friends forever’ is sealed right then and there. As they get older, Audrey becomes a lawyer and Lolo an artist-with eccentric tastes in art. Audrey must travel to China for a business deal and Lolo tags along as her translator because Audrey speaks very little Chinese. While in China, they decide to look up Audrey’s birth mother and hook up with Kai, an old college friend that is now an actress, and Deadeye, a friend of Lolo’s. Hi-jinks ensue on their road trip like meeting a drug dealer on a train, a meet up with a basketball team, and impersonating a K-pop band (think BlackPink), being just some of their adventures. It is very graphic humour, but it IS funny-and there are lessons to be learned concerning friendships along the way.
Each of the wonderful Asian-American leads here is a fairly-typical character model for this brand of comedy – but it’s all in how it is done and here it is done right. There is Audrey (Ashley Park), who plays the straight, professional girl of the group; Lolo (Sherry Cola), is the best friend – laid back, no shame, free spirited artist not afraid to show her nasty side. They are joined by Kai (Stephanie Tsu), who is a celebrity actress and just might be the real breakout character of the film. And lastly, Deadeye (Sabrina Wu), another contender for best breakout character, who is the weird, socially awkward, but the endearing and sympathetic cousin to Lolo, who manages to bring some of the biggest heart and laughs to the film. And you’ll have to wait to watch it to find out her real name and why she is called Deadeye. Every single cast member is fantastic and manages to bring their own emotional weight to the movie that makes you genuinely feel for them, while also providing laugh out loud moments. The movie is brimming with personality because of them and their personal cultural/identity battles that are sympathetic and make for the both the best jokes and the most heartfelt moments of the film. There is a mom moment that got me hard as they always do – but it’s also a beautiful moment and probably the most touching moment of the film of which there are some doozies in there.
Stephanie Hsu as Kat, Sabrina Wu as Deadeye, Ashley Park as Audrey, and Sherry Cola as Lolo in Joy Ride. Photo Credit: Ed Araquel
Befittingly so, this is a strong R rated comedy (so take note – no kids) starring Asian-American actors-kind in the vein of Bridesmaids, Neighbors or The Hangover was so it should come as no surprise that Seth Rogan, Annie Mumolo, Evan Goldberg JamesWeaver, and Cherry Chevapravatdumrong are attached as producers with Cherry being part of the writing team as well along with Teresa Hsiao.
And I would be completely remiss to not talk about the guys here. And I mean wowsa. So yes guys, please forgive this paragraph and just scroll by because I can factually say that as this one is for the ladies. You won’t want to miss out on the eye candy here and that might sound so…déclassé’ – but it’s worth it to talk about as we rarely get this so let me have this one, will you? Desmond Chiam comes in playing Clarence in a role so against type, you can’t help but laugh. Chris Wongas a villain in the TV show that Tsu’s character stars in. And the basketball team of Alexander Hodge as Todd, Chris Pang as Kenny, Rohain Arora as Arvind, Victor Lau as Jiaying and Baron Davis as…Baron Davis. And that’s just naming a few. Trust me – it’s all worth it.
So again, get ready to experience a wild and comedic journey of self-discovery, filled with explicit sexual and racial jokes as this hilarious ride does not hold back. However, it’s not just about the laughs; it also delves into personal growth, intersecting identities, and the power of friendship. It doesn’t achieve perfection or greatness, but it wasn’t reaching for that either. If this genre is your thing, you’ll have a wonderful time.
Grade: B+
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“JOY RIDE” FROM LIONSGATE IS OUT IN THEATERS FRIDAY, JULY 9, 2023
Review Screening: Friday, June 30, 2023 ~ Courtesy of Lionsgate
“INDIANA JONES AND THE DIAL OF DESTINY” faces the daunting task of living up to its legendary name and the infamous Indiana Jones trilogy, which as we know is regarded in some circles as one of the greatest film series of all time. Then there is this. “They look like snakes.” It’s such a simple line of dialogue, yet after 42 years and four previous movies, we know exactly what that means to retiring archaeology professor, Dr. Henry Jones (Harrison Ford), best known to all as our infamous adventurer Indiana Jones.
As the final chapter of the beloved franchise comes to and end with “Dial of Destiny,” this entry is the first one not directed by the legendary Steven Spielberg (listed here as an Executive Producer). Instead, director James Mangold takes the reins, and shares writing credit with his frequent collaborators Jez Butterworth and John Henry Butterworth, as well as “Indiana Jones” veteran David Koepp. Of course, George Lucas and Philip Kaufman receive credit for their original characters.
With Harrison Ford donning the now familiar hat and whip at 80 years old, yet he still possesses some of the screen persona and magnetism that first won us over in “Raiders of the Lost Ark”. The extended and frenetic opening sequence finds a young Indy (Ford is digitally de-aged for the sequence), at the tail end of WWII fighting Nazis over what else, a prized ancient artifact. I’ll leave the specifics to those who watch the film, but just know that it’s an interesting historical choice, as there is always one thing these films have done well – give you an input into just an inkling of how horrid the Nazi’s really were and are.
Working alongside Indy in the opening sequence is his friend and fellow archaeologist, Basil Shaw (Toby Jones). However, the fun part might just be seeing Nazi Col. Weber (Thomas Kretschmann) and Dr. Voller (Mads Mikkelsen), as they share their diabolical scenes respectively along with a good helping of Nazi punches. Although Mikkelsen’s character gets significant screen time and plays a crucial role in how the story unfolds and concludes – he is also digitally de-aged for the opening sequence.
The story picks up with modern day Dr. Voller and his band of deviant Nazi’s with Klaber (Boyd Holbrook), being his right-hand man, as they are tracking down the relic and disturbing Dr. Jones’ retirement party. It’s at this point where Indy’s god-daughter Helena (Phoebe Waller-Bridge), pops up creating a three-way battle for the priceless relic. This sets off a chain of events that leads them on a global trek to desert, sea, and hallowed cities of antiquity. Helena’s partner in crime is young Teddy (Ethann Isidore), who is clearly the scrapper of the bunch. Dr. Voller’s troupe includes the misguided Mason (Shaunetta Renee Wilson), the sleazy Klaber, and Hauke (Olivier Richters), as one of the largest bodyguards you’ve ever seen.
Not to be overshadowed, John Williams’ timeless score sweeps through the film with an air of grandeur, resonating with audiences from the first iconic notes. The music effortlessly transports viewers into the adventurous world of Indiana Jones, sending chills down their spines and setting the stage for a captivating journey. Fans of the franchise know that the story is secondary to the characters and action, and there is no shortage of action on speeding trains, galloping horses, motorcycles, tuk tuks, vintage airplanes, and scuba dives. Antonio Banderas shows up in a beautiful little role, (reminiscent of the old boat capitan in “The Old Man and The Sea), as Renaldo, a boat-owning old friend of Indy, but it’s the appearance of series favorites John Rhys-Davies as Sallah, and still beautiful and wonderful, Karen Allen as Marion, that generates the loudest cheers from the audience.
Waller-Bridge starts off pulling a Bryce Dallas Howard in Jurassic Park by leaping New York City apartment rooftops in heels – come on, no one does that or can do that. She does end up growing on you a bit more as the film moves along, but honestly the duo of her and Ford lack the real chemistry he has had with so many of his other co-stars of the franchise. She isn’t terrible at all; you just never buy their relationship for entirely. Mads Mickelson is well… Mads. As always, he is the perfect villain and as reliable as ever. He always delivers, so no complaints at all on his delicious performance here that is maybe, and this is a big maybe, only secondary to Ethann Isadore’s – who quite literally steals every scene he is in. His scrappy character is loveable and humorous, as well as the sturdy side-kick that surpasses his accomplice in crime – Waller-Bridges, at all times here.
What is seen here is a film made by a director who understood the what he was going into, as well as respects, and enjoys this character. He crafted a hearty adventure story that adds depth to Jones and sends him off fondly althought not perfectly, which is just what maybe we all needed. The story’s ambition requires a LOT of CGI, and it’s more noticeable than it should be at times. You do realize as well that at times that you are watching an 80-year-old man run, and you again realize maybe it is, maybe it isn’t, but there are just the right number of jokes made about said age to make it not to be taken seriously.
At times this feels like a live action cartoon, and that’s not meant as criticism. It’s pure fun, fantasy, and adventure cloaked in nostalgia; and the film is a fitting conclusion to a world class franchise. “Indiana Jones and the Dial of Destiny” serves as a bittersweet but delightful swansong for Harrison Ford’s iconic hero. While not without its flaws, the film embraces its imperfections and delivers an enjoyable experience that fans will appreciate. It often feels like a lovingly crafted “greatest hits” compilation, featuring familiar set pieces and relationships with a fresh twist. And you know what? That’s perfectly fine.
Grade: C+
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“INDIANA JONES AND THE DIAL OF DESTINY” FROM DISNEY PICTURES IS OUT IN THEATERS FRIDAY, JUNE 30, 2023
Review Screening: Wednesday, June 14, 2023 ~ Courtesy of Disney/Lucas Film.
Warner Bros. and DC Studios have faced a long and challenging road in bringing “THE FLASH”to the big screen. With various director dropouts, multiple production delays, and some shocking headlines about the film’s lead, the film hasn’t had what you would call an easy journey. And yet, here we are. Rather here I am talking about a film that did something not many films have been able to do – it made me cry at the end.
Directed by Andy Muschietti, “THE FLASH” follows Barry Allen (Ezra Miller), as he travels back in time to change the events of the past and this time, they are twice the trouble. However, when that attempt, made with nothing but the best intentions, to save his family inadvertently alters the future, he becomes trapped in a reality in which General Zod (Michael Shannon), has returned, threatening world annihilation. With no other superheroes in this new timeline to turn to, Flash/Allen looks to coax a very different than the one he is used to (Ben Affleck) Bruce Wayne/Batman (Michael Keaton), out of retirement. The new/old Batman has stark reservations over Barry’s idea, despite sharing childhood tragedies. This is all to rescue an imprisoned Kryptonian — albeit not the one he’s looking for.
The Flash manages to balance a lot of elements, including a large cast of characters, with nods to the comic-book storyline, and a bunch of complex multiverse elements. Giving us enough background here and there to remember where we last left off and despite all of the goings on in the background, Muschietti manages to deliver a decent cohesive story that never feels overwhelming or disjointed. Despite the movie’s high-octane action sequences and fast-paced storyline, the emotional aspects are never overlooked. Humour, drama, and heart, are neatly balanced making the audience invested in Barry’s journey and maybe even rooting for him along the way.
Moving on to the cast, Ezra Miller’s performance as Barry Allen/The Flash is quite good. There are moments when you feel “Damn he is so good here right now” but it’s also hard at those exact moments to not experience all his personal real-life problems enter your thoughts as well. Maybe that’s just me, I don’t know. Doing my best to separate the two while watching as Miller breathes new life into this iconic character, giving him with a sense of relatability and vulnerability that makes the character, not the actor, more likeable than one would think. Playing not one but two versions of Barry Allen with distinct personalities and character arcs, Miller delivered completely different performances for each of them. The ability to differentiate and bring unique traits to each side of the characters so that they never felt like the same person, and each added something key to the film. Being tasked with playing an alternate, younger Barry for much of the movie isn’t an easy thing to do, and Miller truly does well at this playing well into his endearing awkwardness and bumbling charm. Despite Miller’s disturbing string of personal scandals, you will find he’s possibly one of the best things about the film – that is – if you can separate the art from the artist.
As for the supporting cast, Michael Keaton’s return as The Batman is undoubtedly a highlight. The actor delivers a darker look at the Batman we all remember as an older Bruce Wayne/Batman, and he’s clearly having a lot of fun with his return as the caped crusader. I think almost anyone who sees this film can agree, when he utters the words “I’m Batman;” there is a chill sent down your spine to be had. Sasha Calle is more than impressive as Kara Zor-El/Supergirl, although we don’t spend as much time with the character as one would’ve liked, she is hypnotizing in her portrayal. As well as being a total badass, Calle brings a level of vulnerableness and sensitivity to the character that makes her instantly captivating, and she shares some touching moments with Miller’s Barry Allen character. Oddly, the least compelling character here is Michael Shannon as Zod. As much I as I j’adore Shannon and pretty much everything he has ever done in his career, this felt like a phoned in performance. Almost like he clearly didn’t want to be there and his character arc as the villain was the least impressive thing about this film. Your villain can make or break a movie and he made barely did it adequately here so maybe it’s lucky he isn’t featured as a main character.
So, while Shannon’s performance as the villain doesn’t knock you out, The Flash does do a good job of showcasing Barry’s powers, with action sequences highlighting the powers in creative ways, from dodging bullets and phasing through walls to simply punching bad guys and saving lives. All the while ‘teaching’ the other Barry how to use these same powers offers the films moments of comedy as well. While the action scenes are slightly let down by some messy cheap looking CGI, by 2023 standards at least some of the computer graphics in here look a bit phony and almost cartoon-like at times. Even with all that, there are more than a few sequences in here that might just leave you on the edge of your seat.
With some great action sequences and relentless narrative, The Flash can be a fast-paced, exhilarating ride. However, the film could’ve benefited from slowing down in certain moments to allow the audience to fully appreciate the character development and emotional beats. Certain scenes or plot points fly by too quickly, leaving little time to at moments to connect with the characters or fully grasp the weight of the situation. Had the film taken a bit more time to slow down and explore these moments in greater detail, it could have elevated the depth of the story and made for a more well-rounded and probably for many, a more satisfying watch.
Going back to the CGI briefly as although the film is one of the biggest and most expensive of the year, a lot of the CGI falls short in a very noticeable way. While certain scenes are nicely done with the CGI working alongside the camera to create the visuals, others look like video game cutouts or effects from the early 2000s. It’s a shame that it does fall as short as it detracts from the overall watch and prevents the audience from fully immersing themselves in the story.
It would also be remiss to not mention all the cameos – of which there are so many some just aren’t meant to be spoiled – though that seems to be de rigueur amongst the haters on social media. Even if you hate it, don’t spoil films for others – it’s not a good look. Ever. And while some made me gasp, and some made me smile – however you feel about it all is up to each individual. For me, the reveal at the end of Barry with his mother Nora Allen (Maribel Verdú) was the one that broke me. If you’ve lost your mother – than this too will probably resonate and hit you as well.
Despite a few pacing issues and some of the not so good CGI for a movie of this size, The Flash delivers a decent watch experience that with more heart than expected and balances the humour and action. BUT… it also falls into many time travel, multiverse formulas that can drag the rather predictable story at times. Overall, it’s a mixed bag that was enjoyable enough – if you can separate the art of film from the lead actor of the film.
Stay for the end credits.. and by end..I mean all the way through all of it.
Grade: B-
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“THE FLASH” FROM WARNER BROS PICTURES IS OUT IN THEATERS FRIDAY, JUNE 16, 2023
Review Screening: Tuesday, June 13, 2023 ~ Courtesy of Warner Bros.
Peggy at the Movies ~ Film Critic | Movie Maven | Reviews & More"
Peggy at the Movies 