All posts by Peggy Marie

Just a Dutch girl living in LA who loves tacos, movies the beach and along with watching movies, loves to watch tennis and soccer. As an ex-talent manager, Peggy turned to reviewing films about 9 years ago and started her own site: Peggyatthemovies.com Taking note from a high school friends dad, who noted that in order to "judge the films you must see them" and instilled in her the fact that you must see every film nominated for an Oscar - this has stuck in Peggy's head since then. Becoming @TheCherryPicks @banana_meter approved, along with being a member a few prestigious organizations: @HCACritics; International Press Academy/@SatelliteAwards @theOAFFC #OFTA - has only furthered her passion for film and being an independent film lover.

REVIEW: “TED K” (2022) Super LTD

One questions always arises as you begin to watch what might seem like another movie about a someone who did so much harm to so many. In essence, Ted Kaczynski was one of America’s first ‘domestic terrorists’. “TED K” is the latest in a slew of films based on one of America’s worst and longest active domestic terrorists. The film by co-writer/director Tony Stone’s biography of Ted Kaczynski, was known during the decades-long manhunt for him as “the Unabomber,” portrays him as a mathematical genius of a man whose idea that the outside world is encroaching on him and he has had enough, a self-perceived righteousness so to speak, to enable him to take action against everything and everyone who contributed to this.

Ted K’ begins with a prologue of basic details, most of what we already know – Kaczynski was a Harvard educated math genius who dropped out of society and moved to the Rocky Mountains in Lincoln, Montana, which as we know, is home to many of these nationalists groups and there has been found evidence that Montana was once selected “for the development of a white Aryan homeland to be used as a base of operation”. So it should come as no surprise this is where Ted picked to live off the grid. Following that, the opening sequence sets the stage as we see Kaczynski hiding in the forest while loggers tear down the forest around him, snow mobiles whiz by with vacationers on them – all feeding his imagination that modern technology, will be the end of humanity as it is and feels this is so wrong, that even though he wants no part of it, he finds himself bowing to it to carry out his ‘ideals’. All the while, trying to convince as many people as he can of the same philosophy.

That’s how the movie’s Ted Kaczynski, is played here by Sharlto Copley. But therein lies the danger here in doing this as Copley is actually so good at points, that the movie approaches the thin line of romanticizing not just the man, but in an odd way, what he stood for as well as you can’t deny some of his predictions ring with a bit of truth in today’s world. So instead of seeing him as the monster he was, you look at him as a flawed human being – when that is just not the case, but it is good acting. The showing of who this man is, how he holds grudges, erupts in rages to everyone from the phone company to verbally abusing his family, all the while begging them to send some money his way. For Ted it seems it was always someone else’s fault for what happens to him in life, and that, more than any of his crazy demands in his 25,000 word manifesto of which this film is based primarily upon, is what defines the man. The deluded thoughts of a man who considered modern technology to be evil and used a hit list to identify the targets for his homemade bombs – bombs by the way, that often injured unintended victims and not his intended targets.

And so it comes to the conclusion that we already know, but that still rings hard with the fact that under the threat bombing of another target, his manifesto makes it to the pages of the Washington Post, therein leading to his downfall after the longest manhunt in history, betrayed I’m sure in his own delusional mind, by his brother who recognized the writings. And so brings us to the end of this long chapter in life, sadly we were to see many more domestic terrorists come to fruition, and even just recently, almost lost our country to them – and maybe that is why it is important to sometimes still watch a film like this. Superbly acted, but also to keep us aware that all amongst us are not with us.

In the end, Ted was just a sexually frustrated misogynist who became a dysfunctional, delusional and dangerous man. Sadly, he won’t be the last.

Grade: C+

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Review Screening ~ Courtesy of Ginsberg/Libby PR

“TED K” premieres exclusively in theaters Friday, February 18, 2022

REVIEW: “MARRY ME” (2022) Universal Pictures

“MARRY ME” is the new rom com directed by Kat Coiro rolling itself out just perfectly for Valentines Day weekend release. All I can say is something has happened to me where I think someone has cast a spell on me as this is the second rom com that I will scream at the top of my lungs “YES! YES! YES!” to in one week. Who am I right now? Someone who loves this movie apparently even though you think it might be cheesy and full of fluff, and it is, but it all works so well.

(from left, center Charlie Gilbert (Owen Wilson) and Kat Valdez (Jennifer Lopez) in Marry Me, directed by Kat Coiro.

The film is about pop singer Kat Valdez (Jennifer Lopez), who together with her singing and real life partner Bastian (Maluma), are about to release their new album called, you guessed it “Marry Me”. With the simultaneous release they will then get married themselves onstage while filming live to an audience of over 20 million people. When Kat learns that Bastian has cheated on her with her own assistant no less, she cancels the wedding plans on the spot and while on film getting ready to married LIVE. While looking out into the audience in pain, she then randomly sees Charlie Gilbert (Owen Wilson), who was bribed into coming by his co-worker Parker (Sarah Silverman), and with his daughter Lou (Chloe Coleman), in tow ends up in the with a sign that says ‘Marry Me and next thing you know, Kat spontaneously asks to marry him instead. With this one singular act, the lives of both Kat and Charlie both change completely, well at least Charlie’s does. With the assumption that Kat now seems a bit desperate by marrying a total stranger, and Charlie finding himself in the world he does not know with publicity he is not used to at all, the two just put on a show of trying to make the best of it together.

Look, we all know where this goes from here as let’s face it, it’s not rocket science. But it all comes down to how the story is told – even if we think we know the ending. And this is one story that is just all goodness, from how Charlie is the awkward math teacher who does Mathalons with his students, or as we watch as Kat basically continues with her life as well with what I’m sure might just be a bit of a glimpse into what Jennifer Lopez’s actual life is like. But it works, it just all works. Whether is be a moment where JLo pops in another amazing outfit, or sings and dances with the mathletes to teach them a whole new way to lose their nervousness in competition, or even when comedic Silverman’s character Parker tries to capitalize on Charlie’s new found fame – which ever it is, it all works.

(from left) Kat Valdez (Jennifer Lopez) and Bastian (Maluma) in Marry Me, directed by Kat Coiro.

Best of all here is the acting in the film is well done whether it be the supporting roles of Kat’s manager Collin (John Bradley), or her social media maven/assistant Melissa (Michelle Buteau). For Maluma, this is his first acting job in a movie, and as he’s really just playing a famous singer, much like his own career, he doesn’t really get the chance to come forward as an actor. But that’s okay, because that voice is heavenly and so is he. (sorry guys-a quick girl thing there). Owen Wilson is well, Owen Wilson. The same character he has played so many times with the exact same facial expressions, tonal quality to his voice and all – which is probably the best thing to say about his performance, other than again, it works as they do have chemistry. But guess who does all the heavy lifting here – Yep, it’s none other than our newly crowned Queen of Rom Coms, Jennifer Lopez! She sings, she dances, she blows your mind with how amazing she looks, she’s funny, and probably the biggest point of all – she gives it her all here by giving us hand down, her best Rom Com performance to date.

All I can do is leave you with these parting words. Say “YES! YES! YES!” to “Marry Me” this weekend as Jennifer Lopez sings and dances herself right into our hearts with this one.

Grade: B-

Follow me on twitter: @pegsatthemovies or Instagram: Peggyatthemovies

Review Screening: Courtesy of Universal Pictures

“MARRY ME” IS NOW IN THEATERS AND STREAMING ONLY ON PEACOCK

REVIEW: “I WANT YOU BACK” (2022) Amazon Studios

Have you ever found yourself in a movie where the surprise of how good it is actually stuns you? Well colour me that person with this wonderful little surprise from director Jason Orley and writers Isaac Aptaker and Elizabeth Berger, with Prime Videos exclusive upcoming release of “I WANT YOU BACK.” It took the rom com cynic in me and turned it upside down and inside out, with this wonderful little switch-a-roo of taking the norms of the genre and well, not just changing them, but owning them and so much more.

It all starts with a little bit less than stellar opening for the first 10 minutes or so, with Emma (Jenny Slate), whose boyfriend Noah (Scott Eastwood), is breaking up with her. All the while Peter (Charlie Day), girlfriend Anne (Gina Rodriguez), is doing the same with him by citing the fact that even though she’s a teacher, she somehow thinks he’s holding her back from her non-existent acting career and life as a worldwide traveler. From there, the two recently dumped strangers stumble upon each other’s breakup anguish in, of all places, the stairwell of the office building where they both work. Terrified at the prospect that, in their 30s they have lost their last shot at love, they each seek some solace in each other and together hatch a desperate plot to win back their ex’s, which ends up turning into a mission to help each other con their respective exes back into their lives. Emma agrees to seduce Peter’s ex Anne’s new boyfriend high school drama teacher Logan (Manny Jacinto), and Peter agrees to become Emma’s ex Noah’s best buddy to distract him from his new pie shop owner girlfriend Ginny (Clark Backo), each in an effort to sabotage their new relationships and remind them of what they’re missing. It’s a setup that can defeat all logic, but as well sets up a classic movie that is a lot funnier than the majority of its counterparts. But what makes it so perfect is everything that happens along the way and boy does a lot happen.

I WANT YOU BACK

Honestly, it’s the fun of watching moments like Emma telling Peter he’s more of a ‘slow-burn attraction’ highlights just one of the many moments of fun in this film that after it’s slightly bumpy beginning that had me wrapped up in it’s palm, in no time at all. Until now, I did not realize that what has been missing from my life is Slate’s character Emma, playing homage to “Little Shop of Horrors” as just one of many hilarious moments in a film packed wall-to-wall with laugh out loud comedy moments. One of complete delights of these moments is when seventh grader Trevor (Luke David Blumm), who is only working on the school’s play to cut some detention points off, becomes friends with Emma, but never in a creepy way, but in like a “I don’t know what platonic means, but you’re my girlfriend now” hysterically funny, but also sweet way.

But it’s truly the chemistry between Charlie Day and the wonderful Jenny Slate that does everything for this movie and when I say everything… I mean EVERYTHING. They are wonderful together and make every little twist believable, laughable or emotionable. The entirety of this supporting cast is so spot on, diverse and wonderful. And I would be remiss to not mention some keep-your-eye-out-for-them-cameos, that will just make you love this movie till it’s very end.

So honestly, take it from a rom-com cynic, this movie will de-ice your heart, make you laugh and maybe…just maybe, you and me both will find our ‘plane mask buddy’.

Grade: B

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Review Screening ~ Courtesy of Ginsberg/Libby PR

“I WANT YOU BACK” premieres exclusively on Prime Video Friday, February 11, 2022

Review: “MOONFALL” (2022) Lionsgate

Going into director Roland Emmrich’s latest film “MOONFALL”, I kept an open mind knowing it was going to be a disaster film of some sort, expecting a dumb fun disaster film with some crazy fun set pieces. What I didn’t expect was it to be the complete disaster that it was.

To be noted, I’m not someone who will intentionally trash a film just for the sake of doing so, but this was just plain bad and there is just no way to sugar coat this plain in-your-face fact. If you go into this movie expecting anything other than cheesy acting and a preposterous story the you will be sorely disappointed.

The film’s premise is simple. The moon’s orbit is changing and making it get closer to Earth, raising the question, can Earth survive? Which doesn’t sound to bad as a whole to make a movie about as we’ve seen it before, but hey, who knows, this might be good right?! But instead the film decides is going to try to offer a cerebral and complex backstory to the moon for some reason, along with at the same time mind you, astronauts Brian Harper (Patrick Wilson), and Jocinda Fowl (Halle Berry), facing an alien while on a space mission singing “Africa” by Toto. Oh and let’s not forget the pill-popping conspiracy theorist KC Houseman (John Bradley), who of course has always wanted to be an astronaut trying to get into NASA and magically does exactly that. Then there is the car chase with Harper’s son Sonny (Charlie Plummer), and him getting thrown in jail, all the while, yes again, all at the same time then they have families that are escaping the imminent demise of Earth with tidal waves and all, mind you they are showing actual real disaster footage of tsunamis along with the inevitable CGI. Not even Michael Peña as step dad Tom Lopez, who is usually a spot on actor, can save this from complete mind numbing disaster. But it hasn’t ended, oh no it hasn’t ended, as a ten minute exposition where Harper ‘learns’ that humans actually originated from a halo ring, but then A.I. rose up and took over nanoparticles to kill humans, so the humans made 1000 moons and flew them to different parts of the galaxy. Say what now?

They literally throw the everything but kitchen sink at you including actual footage of the Endeavor space shuttle supposedly being commandeered out of the California Space Museum so it can be flown to the moon to blow up the bad alien that lives in the middle of it. And don’t get me even started on discussing the lacking of any intelligence dialogue along with just flat out bad bad acting by every single person involved in this film, not even Donald Sutherland coming in for a quick two-liner can help here.

John Bradley as KC Houseman in MOONFALL Directed by Roland Emmerich. Photo Credit: Reiner Bajo/Lionsgate

Of course you know never to take these films seriously, but as well, you do want to have some fun while watching, but instead of even laughing at the absurdity of it all, you will instead just be miserable for two hours and I honestly feel I should award myself, and anyone else points just for making it all the way through this one. I don’t think I could say not worth it in any other way but to simply state “Not Worth It.

Grade: D-

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Review Screening: Wednesday, February 2, 2022 ~ Courtesy of Lionsgate and 42West PR

“MOONFALL” hits theaters Friday, February 4, 2022

REVIEW: “A TASTE OF HUNGER” (2022) Magnolia Pictures

Heading into Danish director Christoffer Boe’s latest film “A TASTE OF HUNGER”, I had more of a picture in my head of the 1990’s film ‘Big Night’ where the focus of the film was basically making food and making the audience drool over it, while having an almost comedic backstory to boot. This film came close in some ways, but not quite in the same manner.

Here in a different take on a chef’s story, Carsten (Nikoaj Coster-Waldau) has been working for 10 years to build up his small restaurant Malus, in Copenhagen with the only goal being that of earning the oh-so-rare and coveted Michelin star. His wife, Maggi (Katrine Gries-Rosenthal), is his partner in life as well as in business. We see how committed to the cause they are, and while they appear to have a solid marriage and are decent parents, it’s clear the kids and the family are not the priority in that as the quest for that rare restaurant star is. Maggi is at the point of looking outside her marriage for affection with another chef from a competing restaurant, which her young daughter Chloe (Flora Augusta) completely notices and their son August (August Vinkel), has an episode where he randomly wanders off and goes missing due to lack of attention from his parents.

A Movie by Hr. Boe Zentropa

All this deflects from the true story at hand here, again, obtaining the Michelin star, and we watch as Carsten goes through some true Ludo Lefebvre type rages that is seemingly popular amongst chefs to do. But instead of following that trend, we get taken into some really delicious and delicate food porn scenery. It’s beautiful to see such flair given here in the details with each dish being shown in it’s carefully arranged and perfectly cooked manner. The acting portrays the deep desire that every chef has to create a dish that the customer would never forget, as one can almost smell all of the delicious food, as if the scent of sautéed oyster, cooked octopus, and fermented lemons are wafting through the screen right into you. It also conveys what it really means to achieve this prized star for your restaurant as a whole. In essence, their entire life rides on it and while some might think it’s just food, it’s clear to not just Carsten and Maggi, but to their friends who join them while waiting to hear – one in particular Torben (Nicolas Bro), shows how important it is even to him.

While the story isn’t perfect here, it is the opening scenes that are truly the most beautiful to set the tone of the movie with the sequence of beautifully presented food and the music create an enthralling introduction to the movie. Yes, the mish-mash of back and forth flashbacks of the family’s decline into unhappiness might not be all that one wants to watch, but it does let you know why things are happening. As with all families, not everything is what it seems on the outside, but it does take away some from the true point of this film.

So while the food portion of this film will definitely cleanse your palette, the story as a whole might lead you straight into dessert, even with all ending as it does. But it’s definitely worth a taste.

Grade: C+

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Review Screening ~ Courtesy of Ginsberg/Libby PR

“A TASTE OF HUNGER” hits theaters and on demand Friday, January 28, 2022

REVIEW: “SCREAM” (2022) Paramount Pictures / Spyglass Media Group

Ring..Ring.. Ring..Ring.. Yes – someone still has a landline and yes, what would “SCREAM” be if they didn’t. I mean they have to follow some traditions and this one is a MUST to have as they can’t deny us, the audience this one major plot point now can they. Well thankfully co-directors Matt Bettinelli-Olpin and Tyler Gillett agree.

The plot is simple and while it’s good to it all keep vague to not spoil it, it’s also exactly what you think it will be with the exception of this time around they’ve brought along with them a new cast of characters. New girls Tara Carpenter (Jenna Ortega), and her older sister Sam Carpenter (Melissa Barrera), as our female leads, essentially taking the spots of Gale Weathers-Riley (Courtney Cox), and Sidney Prescott (Neve Campbell), they have the same chemistry of not really being close at the beginning. And then Ghostface returns to town proving he can still slash with the best of them, and turns everything upside down.

With her own set of suspects…errr… friends, Tara gets attacked by whomever Ghostface might actually be this time around and that list of new suspects is long. There is Sam’s boyfriend Richie Kirsch (Jack Quaid), along with Tara’s group of school friends, Amber Freeman (Mikey Madison), the twins, Chad (Mason Gooding) and Mindy Meeks-Martin (Jasmin Savoy-Brown), Liv McKenzie (Sonia Ammar), and Wes Hicks (Dylan Minnette) – who is none other than Deputy Judy Hicks (Marley Shelton) son. Combining this new cast along with our old favourites – Gale, Sidney and yes, the now “retired” Dewey Riley (David Arquette), makes this film an absolute blast, with a lot of crisp, smart, but alas also cliched writing, that combines the nostalgia of what has come before with the infusion of fresh talent present here. Now this is how you return to Woodsboro.

SCREAM is a fun, intelligent horror film and the fandom should be quite happy here with it as it draws some good laughs for how the writers nail every piece of the dialogue, along with the film’s ability to recognize not only where it came from, but to play with it along the way. You’re along for the jokes as an audience, while it juggles every one of your expectations when it comes to what is on the screen. And while of course it has cliché galore and some cheese is thrown in, but that is sorta what the DNA of the franchise is notorious for now isn’t it?! Truly, what would a ‘SCREAM’ movie be if your characters didn’t get slashed and still be able to get up and walk around like nothing has ever happened. And that’s also what brings the humour – the quick funny one liners about what people “should” be doing in a horror movie is what made the original well.. so original.

And while the new cast is good and pretty solid in their respective new roles with any one of them being able to be and/or suspected of at one time or another, of being Ghostface. Noting that they remind you of characters of old is to be expected as well, but it is Jenna Ortega who is truly amazing here. She brings the solid teen vibes making being stalked by Ghostface seem realistic. But for all that they bring, it’s hands down the old school cast that brings it hard here. Every one of them brings back not just the memories, but their characters are more solid at this point as well. One can’t help but be entertained by it all.

With tons of slasher kills, some are not for the faint of heart, as they try to outdo each other in this area and while fun, the finale seems almost like they were trying a bit too hard to come up with too many twists and turns that are fairly obvious. But again, it’s mostly just some fun with cliché thrown in adding to the good old time slash – all in all – it’s a ..SCREAM!

Grade: B+

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Review Screening: Tuesday, January 11, 2022 ~ Courtesy of Paramount Pictures and Spyglass Entertainment

“SCREAM” IS OUT IN THEATERS THIS FRIDAY, JANUARY 14, 2022

REVIEW: “THE 355” (2022) Universal Pictures

Universal Pictures and director Simon Kinberg brings together an incredible group of women from Jessica Chastain, Lupita Nyong’o, Penelope Cruz, Bingbin Fan and Diane Kruger in it’s latest release “THE 355”.

The film follows CIA spy Mason (Jessica Chastain), as she goes off-grid after a tangled mess up debacle with fellow agent/love interest Nick Fowler (Sebastian Stan). On the hunt for a new mass destruction techno weapon – one that could probably bring World War III about and possibly destroy the world through the power of technology, she teams up with her old friend MI6 cybersecurity expert Khadijah (Lupita Nyong’o). But getting the disk eludes them as they battle as well against German BND Agent Marie (Diane Kruger), as they end up combining forces for the common good. As well, Colombian psychologist Graciela (Penélope Cruz), and Chinese MSS spy Lin Mi Sheng (Bingbing Fan), come into play as well, though Graciela is no spy – she is a mother with a family back home who was thrown into it all when her friend Luis Rojas (Edgar Ramirez) is killed. As well Lin Mi doesn’t join in until they get closer to the asset and expose the corruption that may take them down some paths that lead closer to home than they realize.

Now does this film involve brain surgery – no it does not. It is however full of decent action and can be entertaining for the most part – if it weren’t so darn predictable with the character story lines. It has it’s ups and downs, for the most part getting a bit more exciting in the second half where the device is put up for auction, but again, we are in the predictable ‘bad guys at the auction’ set-up here. And as I always say, you are only as good as your villain, which here is once again, predictable.

However all is not lost as the five leading ladies are all quite superb with their distinctive characters with all of them given a decent amount to do and flesh out their characters, though Fan’s Lin Mi character doesn’t show up till at least two-thirds of the way, she makes her mark. Their dynamics and chemistry are engaging as well though Chastain and Kruger’s respective agents spark off one another throughout with their entertaining, but averse relationship, while Nyong’o brings the ‘heart’ to the film in her role as retired MI6 computer expert. It is however, Penélope Cruz who comes close to stealing the show as Colombian psychologist Graciela, as she brings the much needed fun into the film with a character very much out of her depth in the espionage and action department. And lastly, the character of Marie – with Diane Kruger just bringing the bad-assery with her here every step of the way. She’s the character you love to hate, and then love again.

Again, while entertaining at times, and the bad-assery is quite on par, and ‘Girl Power’ definitely reigns supreme here, unfortunately the end result is a rather mish-mash affair that, while not really ever dull, never really feels all that fully exciting either.

Grade: C-

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Review Screener: Courtesy of Universal Pictures

“THE 355” is out in theaters Friday, January 7, 2022

REVIEW: “DRIVE MY CAR” (2021) Janus Films

Continuing on with some reviews I had in the queue from 2021 and this next one is the incredible “DRIVE MY CAR” from director Ryûsuke Hamaguchi.

If someone had told me that I would be spending three hours watching a Japanese film with sub-titles and actually want more when the film ended, well yes, I would have probably thought you had popped a gummy or two. I mean honestly, when was the last time you saw a three-hour movie you wished could be longer? And trust me when I tell you that “Drive My Car” not only inspires that wish, it grants it along with every other single film wish you ever had. It also has a moment where if ‘fools’ you as the credits roll around the 45 minute mark, which made me stop and think ‘what? what is happening right now, this can’t be over’. Have no fear because it continues to give you another glorious two hours of the world of Ryusuke Hamaguchi’s film, and its wayward characters, that keep unspooling in your head.

Kafuku (Hidetoshi Nishijima), is a Tokyo Theater Director and actor who travels to Hiroshima to be in residency at a local theater group putting on a performance of Uncle Vanya. The production is to be multi-lingual including Korean, Mandarin, Tagalog and even a sign language performer playing the role of Sonja (Yoo-rim Park). Then an arrogant young actor from Kafuku’s past, Koji (Masaki Okada), appears for the auditions to the everyone’s surprise. Mostly because the recently widowed Kafuku is overly obsessed over why, before her death, his wife had an affair with the young, famous actor, whose intelligence and lifestyle seemed, well, to put it nicely, beneath her. Is there something more sinister at hand here? Well stay tuned as it will all unfold before you in glorious fashion.

As one of the stipulations of this residency though is that Kafuku has to have a driver at all times. And that driver arrives in the form of the quiet and introspective Misaki (Toko Miura). Reluctant at first because not only of tradition but of learned leariness, Kafuku ends up accepting her. Part of his method acting is that he likes to take long drives in his car while listening to a specially recorded audiotape of Uncle Vanya. It’s during these trips where both the title comes from, but, also provides a basis for their relationship even though few words are exchanged between them though Miskai has a stoic enough approach early into it all that it can’t help but to suggest she’s haunted by something. And yes, it’s the images that will stick with you throughout this film; like the two hands thrust through a Saab’s moon roof clutching cigarettes, two figures perched atop a cliff-like snowdrift, a young woman hanging back, completely captivated, as the actors rehearse the play in a park setting.

And just like a well-done play, the earlier acts create the necessary build-up for the climax and resolution to this journey. The structure of the film is like a mystery box, opening its secrets stage by stage. Even the last act is never rushed. Each scene, each nuance, is so very carefully weighed and delivered to you. It’s all so brilliantly that again, you never realize you’ve been spending the last three hours of your life completely enthralled and enveloped in the journey ‘DRIVE MY CAR’, as it’s well-worth every minute of it.

Grade: A+

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Review Screener: Courtesy of Divergent PR.

“DRIVE MY CAR” is now playing in select theaters

REVIEW: “CODA” (2021) Netflix

Catching up on some quick reviews from 2021 that I didn’t get to and starting off with the wonderful “CODA”.

I feel that at this point what can be said about “CODA” that hasn’t already been said by a gazillion critics since the movie’s debut on Apple TV+ earlier this year? Sadly, I don’t have the Apple so I only got the chance to see it while kitty sitting! But this story of a teenager, Ruby (Emilia Jones), who is the lone hearing person in her deaf family just struck such a cord with me that I would be remiss to not at least say how much it really just hit home with so many. It also continued to further the conversation on why Deaf and disabled stories need to be told and what writer/director Sian Heder did was open that door if even just a little, it’s finally deservedly been done in a most wonderful and effective way.

The Rossis family are, in many ways, just like the average American family. They also happen to be predominately Deaf and by telling this story, which is filled with so compassion and humour (spoiler alert- people with disabilities can be funny as well), it did a lot to further the sadly, under-discussed topic of disability representation in films with people with actual disabilities. There are so many elements of this movie to love. Every thing from Troy Kotsur’s portrayal of Frank Rossi, the embarrassing father, who talks about sex with a boy Ruby likes, but yet is also her biggest supporter in learning what her true passion is and why she feels obligated to help her family, and finally sees what her true passion is and why she loves music. Marlee Matlin, whose portrayal of her mother Jackie, widely opens up the door so far closed until now, onto the unspoken of discussion on how disabled/Deaf parents relate to their children. The aforementioned Jones and Daniel Durant as her brother Leo Rossi, who is as well deaf, as two siblings whose desire for responsibility and independence are brought to the forefront, but the story in how they are perceived in totally different ways, is what makes it all the more special.

And the acting is just truly one of the best things that just makes the film all the more special. Every single person from Kotsur, Matlin as the openly in love deaf couple showing they not only have to deal with the same hardships hearing people deal with, but add into that, their being deaf to the outside world, to the wonderful Emilia Jones, who characterizes flawlessly the hardships, the happiness and finally comes into her own in spectacular fashion. I hope we see many awards nominations and wins come there way this season as it’s all much deserved.

This movie captured the little things that I think we all didn’t know we truly wanted to see and learn about in the ‘disability narrative’, one that I know I want to see more of.

Hopefully we all will.

Grade: A

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“CODA” is now showing on Apple TV+

“REVIEW: “SING 2” (2021) Universal Pictures

It’s ‘Illumination’ time again with the wonderful song and dance filled latest sequel once again directed and written by Garth Jennings. As expected, the sequel includes a return of the all of our favourite characters from the first “SING” film, including our lead Koala Buster Moon (Matthew McConaughey), the adorably Mama Pig Rosita (Reese Witherspoon) along with all her piglets and husband, our in house rocker-chick Porcupine Ash (Scarlett Johansson), shy, sweet Elephant Meena (Tori Kelly), and our overly sensitive Gorilla Johnny (Taron Egerton). But wait! As there are new friends and villain as well.

The film opens with a completely wonderful and wild performance of the Prince song, “Let’s Go Crazy” and at the center of it the story here is of course, Buster Moon, with the movie picking up where the last one left off. Buster is trying to impress a big city talent scout name Suki (Chelsea Peretti), who has informed him that his team is ‘cute’, but “not good enough”. See, Buster’s dream is to introduce the act on a global scale and take it to Redshore City, an Illumination version of Las Vegas. So in true Buster-style he gets the gang back together and along with our fun German accented Dad Pig Gunter (Nick Kroll), and of course his ever present assistant Gecko Miss Crawly (Garth Jennings), and they all hop a bus to Redshore City to get an unplanned audition with big entertainment mogul Lion Jimmy Crystal (Bobby Canavale), who runs Crystal Entertainment.

Sing 2

The key element here in SING 2 is Buster’s promise to Crystal to deliver the one and only, Clay Callaway (Bono), to the new production, though he hasn’t performed live or much less been seen in public since his wife passed away 15 years earlier. As well, he has to put Crystal’s spoiled daughter Porsche (Halsey), in the show as well, who while she can sing and fly like a bird, cannot act to save her life. So as not to spoil the whole story, just know it involves a lot more great music including songs from such artists as Taylor Swift, Shawn Mendes, Billie Eilish, and The Weeknd, which all play well. There is a possible romance between Meena and newcomer ice-cream man Elephant (Pharrell Williams), and a sweet relationship between Johnny and a Lynx street dancer Nooshy (Letitia Wright). Put in some crazy moments with the piglets that kids and adults alike can’t help but laugh at, and of course the shenanigans of Buster dodging threats from our villain Crystal, all add up to just being a lot of fun and some great singing/dancing from the wonderful cast of animal characters.

The highlight of the movie hands down is Ash and Callaway with the climax of the show featuring them singing a version of Bono’s “I Still Haven’t Found What I’m Looking For” that actually made me a bit emotional. As the film is so character driven one must mention the voice acting. As a rule they’re all great, but I’ve got to make some special notes for Bobby Cannavale who’s brilliant as the villain and for Halsey who does very well as his spoilt daughter. The entire original cast is still shining bright and one more special mention must go to Bono who does surprise performing the role of the aging recluse Clay Calloway.

Sing 2

Bottom line, having gone with an 8 year old and three adults, we all loved it equally as it’s a true family film for all ages. and I can’t wait to SING again.

Grade: B

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Review Screening: Wednesday, December 15, 2021 ~ Courtesy of Universal Pictures

“SING 2” is out in theaters on Wednesday, December 22, 2021 //Worldwide in of January 2022