Category Archives: Biography

DAY 1 ~ COUNTDOWN TO THE OSCARS ~ BEST SUPPORTING ACTRESS

Well, Well, Well.. here we are!! At that time of year once again where I give a countdown of my top Oscar categories. And though I’ve seen all the films presented this year, I will only be doing the top 6 categories due to a bit of a late start with the long holiday weekend we had and being deluged with rain. First up ~ Best Supporting Actress. I’m giving who I think the winner will be and what would be my pick. You might agree or even better, you might disagree 🙂
So with that..I give you Day 1 of #peggyatthemovies Oscar picks. Cheers!

ACTRESS IN A SUPPORTING ROLE

Viola Davis, FencesWINNER
Let’s be honest here, she shouldn’t even be in this category, she should be in BEST ACTRESS.. So even though my pick is someone else, she is highly deserving of an award..just in a different category.

Naomie Harris, Moonlight
Liked her performance – just didn’t love it. Definitely worthy of a nom tho.

Nicole Kidman, Lion
Same here with Nicole, liked it – just didn’t love it and wasn’t all that different from everything else I’ve seen her do

Octavia Spencer, Hidden FiguresMY PICK
Now I called this when I saw the film back in November. The whole movie is wonderful with all really good performances and Octavia being the highlight of the three, she takes it here for me. She has been and is my only and clear choice from moment one.

Michelle Williams, Manchester by the Sea
Really, a blink of eye – seven minutes total on screen. And while the last scene with her and Affleck is the scene of the film.. still.

Thanks all for taking the time to give this a read. Let me know your thoughts on if you agree or disagree with my picks. Don’t forget to give this blog a follow or a follow on twitter as well @pegsatthemovies. Cheers!

REVIEW: “JACKIE” (2016) Fox Searchlight

Jacqueline Bouvier. Jackie Kennedy. Jacqueline Kennedy Onassis. Jackie O. Jackie. There are many ways to refer to this iconic woman – and many ways to remember her. That breathy voice. That educated and sophisticated demeanor. Her sense of style… including that pink suit stained with the blood of her husband. Holding her own as she watched the Vice President Lyndon B. Johnon (John Carroll Lynch) be sworn in merely hours after the President’s assasination.

“JACKIE” is about all of this. Though the film fills the span of only short perod in time – the day of and the few days following then President John F. Kennedy’s (Caspar Phillipson) assasination in Dallas, TX on November 22, 1963. The story is told in the narrative of Jacqueline Kennedy herself (Natalie Portman) to “Life” Magazine writer Theodore H. White (Billy Crudup), who arrives at the Kennedy Compound in Hyannis Port, Massachusetts to interview her just one week after the assassination. Mrs. Kennedy is concerned that her husband may be forgotten – or misunderstood by history. White is deferential, firm but professional. He finds a woman who is clearly still grieving her horrible loss, but who is also very much in control of herself – and very much in control of what she wants regarding her husband’s legacy – even to the point of making sure she edits White’s notes during the interview.
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While returning periodically to the scenes of the interview, most of Jackie’s story is told in flashback scenes of her as First Lady – especially on that fateful day in November of 1963 – and the four days that followed. With a lot of the story being told in this fashion, the film is trying to paint us a picture of who Jackie really was while First Lady. We get the famous televised tour of the White House that she did, the first ever of it’s kind. And while some parts of this come off as sometimes portraying her as a caricature at times, it’s also giving us a glimpse into something never seen before by the American public at the time.
We get insight into her strengths and weakness in the days following. How she interacts and stands up for what she wants for the funeral to Special Assistant Jack Valenti (Max Casella) but yet, sleeping pills, chain smoking and alcohol are also playing a big role in her coping mechanisms.
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“Jackie” is fascinating and compelling. The script and direction shed a lot of light on what happened (and might have happened) during the private moments of this very public national nightmare, while painting a very personal portrait of Jackie Kennedy. At times the editing and the chronology of events, while not very difficult to follow, simply jump around too much. Portman is really good here and it was great to see Crudup back in a strong supporting, even if he looks completely different and Greta Gerwig as Jackie’s long time assistant, Nancy Tuckerman and Peter Sarsgaard does well as Robert Kennedy even though he looks really nothing like the real RFK, which also was quite noticable with other actors also.
The films score also ‘scored’ with me as it seemly was a life of Camelot to all of those looking in from the outside.

All in all, this film moved me. I rarely get emotional or cry during a film, yet the tragedy of it all got to me more than once. This film might have it’s misses, but all in all, it’s very special and should be seen.

Grade: B+
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Media Review Screening: Friday, November 18, 2016 ~ Courtesy of Fox Searchlight
NOW PLAYING IN THEATRES NATIONWIDE

Don’t let it be forgot
That once there was a spot,
For one brief, shining moment
That was known as Camelot.

REVIEW: “LOVING” (2016) Focus Features

“LOVING” tells us the long overdue, true story of Richard (Joel Edgerton) and Mildred Loving (Ruth Negga).
The story takes us through the years of what their lives were like while going through the some of the process of their plight to just want to be legally married in 1958’s deeply segregated southern state of Virginia. This was a time and place where this wasn’t legal nor could inter-racial couples even date.
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This story is silent, yet strong in its portrayal of the real-life interracial couple at the center of the 1967 Supreme Court case of Loving v. Virginia. It’s moving at times and loudly states the facts bluntly: love is love is love ~ and that should be enough.

And yes, while it can be quietly brilliant and amazing at times, it does have holes in the story that could have been filled. Mildred is portrayed at the beginning as being a doe-eyed, non-speaking, almost non-existent part of the beginning of this young relationship that in 1958 would have had racial consequences and problems within both communities. None of which is really shown at all until the last 20 minutes of the film when Richard finally finds a brick wrapped in paper on his car seat, mind you not thrown, just lying there. They missed some opportunities to really show us what the racial hardships might have been instead choosing to almost make the legal battle look far too easy with their lawyers Bernie Cohen (Nick Kroll) and Phil Hirschkop (Jon Bass) on whom the casting here might have been a bit of mis-step for me (not to mention their clunky and too “cutesy” dialogue).
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What IS so very important about this film, and a big factor that not just everyone, but specifically why young people need to see this so they understand what our country was like back in the day. For gay people who have struggled to love whom they choose, they need to see that their struggle was not unique and needs to be supported. And that the bible was also used against interracial marriages. And yes, that struggle is struggle and unless we want the clock turned back, so we can “make America great again”, we must be ever vigilant.
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The most poignant and beautiful point of the film came for me towards the ending, in scenes that were so quiet, yet so powerful, showing that even though they were faced with obstacles set over and over in their path, they were resolved to show that their love and union was unaffected by those outside forces, and continued to move through everyday duties such as mowing the lawn, their children playing, doing the dishes, on the very day no less, that they receive the phone call that simply changed everything. It simply touches and yet rocks you at the same time.

The performances from Joel Edgerton and Ruth Negga while well done, once again, we have in an Edgerton, an Aussie and Negga who is Irish/Ethiopian, trying to pull off down-in-the-back-bayou southern Virigina accents which yes again, can be outrighted spotted in parts. (Side note: Truly, when was the last time we actually heard Edgerton speak in his regular accent? I can’t even remember if I have at this point). And truly, no matter how small the role, I love when Michael Shannon as LIFE magazine photographer Grey Villet shows up in anything.
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If you want high dramatics, this is not your movie. I left the theatre feeling overwhelmed by the need to vote for our next U.S. President and make sure it is someone who will appoint progressive and unbiased Supreme Court Justices. I think most will understand that feeling, especially with so many people’s rights hanging precariously in the balance right now as it did then.
If you are looking for a touching, loving story that truly reflects so much on today’s times and the change that was accomplished by this one law that didn’t just change their lives, but the lives of millions of people around the world with whom it still affects today, this is your film and a film for all to see and truly reflect on.

Grade: B-
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Review Screening: Thursday, October 27, 2016 ~ Courtesy of LAFTV Meetup
NOW PLAYING IN THEATRES NATIONWIDE

REVIEW “HACKSAW RIDGE” (2016) Lionsgate

Let’s start off by acknowleding that “HACKSAW RIDGE” is not for the faint of heart. It’s incredibly violent in its war scenes as it tells the story of Desmond Doss (Andrew Garfield), an Army medic that refused to carry a weapon as not a ‘conscientious objector’ but as a ‘conscientious participator.’ This, until now, untold story of Doss, is one that will stick with you long after the film is over.
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Of course you wonder going in can Mel Gibson redeem himself after so much has been made of his lack of judgment, drunken rants, and his anti-semitic rhetoric and in essence, being blackballed these last 10 yrs. as yes, though he is perfectly capable of doing so, it’s a long climb up.

Turns out it would be hard not to do with this story. The film starts in the sober times of WWII around 1944, Desmond Doss, the son of Tom Doss (Hugo Weaving), an alcoholic Army man who served in World War I and is suffering from what we now know is PTSD. Doss & his family, while patriots, are also devout Seventh-Day Adventist’s. His brother, Harold Doss (Nathaniel Buzolic) joins the Army leading Desmond to join also, against their father’s wishes, in the fight against Japanese in some of the final battles of WWII.
Doss is in love with Dorothy Schutte (Teresa Palmer, a nurse’s aide who is scared that she’ll never see him again, especially after the persecution he is sure to face when he refuses to touch a gun in training camp and is facing being court marshaled for this refusal by his commanding officers, Sergeant Howell (Vince Vaughn) & Captain Glover (Sam Worthington).
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From there we move onto who Doss actually becomes as he proceeds during the stand-off at ‘Hacksaw Ridge’ to show his true being and save as many lives as he possibly can while dodging bullets and hand grenades, all without a gun. There are moments you want to scream at him “Just pick the damn thing up” whereas at other you are with him 100% for not doing so. Not being religious myself, it would be hard not to realize both sides have their points which anyone, whether religious or not, can understand and decide on their own.

My only and very few beefs were: The beginning had a lot of fluff & cheesy-ness to it. Second: While I realize Mel is an Aussie, but to put so many Aussie & Brits as leads in a southern film trying to do southern accents, just doesn’t always quite go up to par and here was the same. As decent as most of the acting is, it’s still very detectable that they don’t have the accents down pat. We also at one point, lose the brother. He literally get’s up from dinner, and we never see him again, nor do we know what happened. Lastly, the supporting cast is truly amazing here and bring so much to this film, although the age-range of the actors might have been off some. They were starting off at playing young 19-22 yr. old’s and frankly almost all look quite a bit off that range including Garfield himself.
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As for the rest, truly I must say I don’t think anyone does battle scenes as well as Mel Gibson does. Again, It’s extremely violent and graphic as well, real war actually can be. I had to turn away a few times, but the story Gibson puts up there of all of the terribleness of war is just so well done. I was brought to tears when they quoted “During peacetime, sons bury their fathers, during war, fathers bury their sons.” It got me.

Conclusion: Many will walk into this film wanting to dislike just because of Gibson, most of them will walk out knowing they just saw a really good film.

Grade: B-
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Review Screening: Wednesday, October 26, 2016 ~ Courtesy of LAFTV Meetup Group
Nationwide Release: Friday, November 4, 2016

REVIEW: “FLORENCE FOSTER JENKINS” (2016) Paramount Pictures

Set up beautifully in 1940’s New York and based on a true story, Florence Foster Jenkins tells the story of a truly awful singer (Meryl Streep), completely enveloped in her oddly closed world of a 1944 New York hotel. Pampered by her unsuccessful actor/husband St Clair Mayfield (Hugh Grant), a term we find out to use loosely as he is otherwise occupied in a completely different residence with his long-time girlfriend Kathleen (Rebecca Ferguson).
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Together with ex-actor Mayfield, the wealthy Florence is the co-star of the show at her self-owned “Verdi Club” where she has a non-speaking role enacting various ‘tableau’ scenes. But in the interests of following her dreams, she recruits the help of famous singing instructor Carlo Edwards (David Haig) and an enthusiastic, personable young pianist Cosme McMoon (Simon Helberg). Carlo becomes aware of what he is in for once she actually starts to “sing”, which is more like a cackling hen than an actual singing voice and starts to see how she has been deceived her entire life by the people who surround her, into thinking she is something she is not.

This film got on my nerves fairly early in the game and gradually got worse as it went along. Meryl Streep seems to just be coasting and going through the motions in her career right now, this being no exception to the rule. And while Hugh Grant is often quite unfairly criticized for playing Hugh Grant in every movie, here he actually turns a somewhat decent performance as once again though, a cad. Simon Helberg’s character is the most funny, for a bit, and gradually the quirkyness you thought funny for the first 20 minutes, grinds on you.
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While the film is not without it’s charm at points, it fell a little short for me on storyline. The acting was adequate, but I felt like we never really got to know or understand why it had gotten to the point it did on her life. I wanted just a touch more backstory. All in all, I can only recommend it to a certain niche of viewers as I’m sure some will find this a somewhat likable film.

Grade: C-
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Media Review Screening ~ Wednesday, August 10, 2016 ~ Courtesy of Paramount Pictures
In Nationwide Release as of Friday, August 12, 2016

“MILES AHEAD” PREMIERE & Q & A ~ DON CHEADLE, EWAN MCGREGOR

It’s made clear to us right off that this film is not factual. There are some factual elements in the film – Miles Davis (Don Cheadle) did stop making music for 5 years, became a reclusive person and something made him start making music again.
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The film starts us in the later years of Miles’ life. He has already reached fame and fortune. But his drug addiction has turned him into a Howard Hughes recluse. And he has temporarily turned his back on music. The story opens with Miles alone in his home when he is aggressively approached by Rolling Stone magazine writer Dave Brill (Ewan McGregor) who is interested in writing about Miles’ new project. The opportunistic Brill gets swept into a fantastical series of events that include following Miles as he confronts his record label, procures cocaine and is chased through the streets in a hail of gunfire by unscrupulous folk looking to advance their worldly standing through the theft of Miles’ still-in-progress demo tape.

By way of flashbacks, we get a glimpse into the more serene life of Miles Davis before drugs off-tracked his career. A clean cut Davis is seen rising in ranks through the Jazz clubs of America and eventually falling for Frances Taylor (Emayatzy Corinealdi) who would eventually become his wife of 10 years.
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The film doesn’t dive too deeply into the domestic violence between the two lovers that became headlines back in the early 60’s nor does it touch too intensively the racial tensions in America at the time. There is a scene where Davis is unprovokingly harassed by police officers and taken to jail for simply showing kindness to a woman of white skin, but the film has no message to present in terms of Miles’ involvement with racial divides at the time. Instead, Cheadle keeps the camera focused on a single day in the broken down icon’s history. This works largely to the films advantage but sacrifices giving us a glimpse into the life of the historic character.

Don Cheadle is a revelation as Miles. The raspy voice, the trumpet playing, the belligerence. All are played exactly on key. The supporting cast does amply in tow but there is little to look at outside of Cheadle’s performance. Still, it’s ironic that while Cheadle seems to get not only jazz, but the concept of creativity – starting off the movie with the Miles Davis quote “When you’re creating your own shit, man, even the sky ain’t the limit”
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But a jittery hand held camera may throw some viewers off in spots and the film can be dark and discombobulated at times. Trying to follow the story between modern day and the flashbacks was confusing. Not knowing where the time line was going will leave some confused. Did all the craziness in Davis’ life really happen? or was it Hollywood license

We end up with Cheadle/Davis back on stage blowing his axe in patented ‘Miles style’. **Miles Davis died in 1991 at age 65 universally recognized as one of the most influential and innovative American musicians of the century, jazz or-no jazz.

Grade: C

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POST Q & A WITH DON CHEADLE, EWAN MCGREGOR, EMAYATZY CORINEALDI
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Per Don Cheadle on the basics of the films: It took him ten years to write the script for the movie and shot it all on a budget of 8.5 million dollars. The movie was shot in 6 weeks with 30 shooting days, pre production took 6 weeks and it was all shot in Cincinnati where afterwards they had to go in and cut out certain things like hills and change all the license plates to reflect it being in NYC.

He also wanted to make it perfectly clear that “It’s not a biopic” and he notes “I wanted to do Miles Davis. I wanted to do something crazy and make it like a composition of Miles’ life”. Cheadle chose to pick the time in Miles’ life when he had stepped out of writing and music. “You get to 1975 and he just shut it down” on Miles Davis’s music and impact.

Everything inspires Don Cheadle when it comes to his music, acting, and writing. “The most I could, I would stay in that character” Don Cheadle on being Miles. “The hardest part is staying healthy and getting through it” Don Cheadle on wearing so many hats while acting and directing the Miles Ahead movie.
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For Ewan – him and Don met while in Rwanda back when Cheadle was shooting the heart-wrentching, but so well done film, ‘Hotel Rwanda’. They had arranged to meet at Ewan’s house to talk about this film and Ewan, being the motorbike guy he is, went for a ride, lost himself in it as you do, and was 1/2 way to Malibu when he suddenly remembered he had the meeting with Don..felt so bad and rode furiously fast to get back home to find Don just hanging out reading a magazine.
Had fun with it all, and noted that at times how odd it was as Don would be in character as Miles, directing Ewan as Miles, so really he had 2 directors on the project.

Don Cheadle counted on his entire crew to make sure the movie was being done right! There were no deleted scenes and there was one shot that was not in the movie Don Cheadle wanted to empower everyone on his crew.
Cheadle still continues to play the trumpet used in #MilesAhead, playing with the Roots recently. “I played this morning.” he noted.

And with that, the post-premiere party was one of the more fun ones I’ve attended. Had a great time meeting so many people and was lucky enough to meet, chat and have a fun time with someone I truly admire and adore – Mr. Michael Ealy. #bucketlistmeeting

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REVIEW PREMIERE OF: “I SAW THE LIGHT” (2016) Sony Pictures Classics

I was happy with the choice of Tom Hiddleston as Hank Williams. He had the physical look to carry it off and I knew he had the talent. I just wish I could say the same with the script. From the shaking camera to the direction & edit of this film, it is literally all over the place. Cutting from one scene to another without really understanding where it is we are going.

This story seems to focus heavily on his first marriage to Audrey Williams (Elizabeth Olsen) and that relationship. But while his band produced hit after hit, there is more time given here to the conflict between Audrey and his controlling mother, Lillie Williams (Cherry Jones) who managed the early part of his music career, than Hank himself. Also Hank’s band has trouble with Audrey, who has musical ambitions and is criticized as a no-talent back-up singer. i saw the 2 It provides Hank with a dilemma of choosing – his wife or his band? It’s frustrating that out of everything Hank Williams did, this is what they focus on. Other than the music, they barely touched on anything that made him such a colorful character and a country music icon. It doesn’t help that there is little chemistry between two lead characters.

Tom Hiddleston did a nice job with his singing here, which are definitely the highlights of the film, but at one point he gets asked how old he is to which he replies ’23’ and sorry..as much as I adore Hiddleston there is just no way he is passing for 23. Even the 29 years of age that William’s is when he dies is a stretch.
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I can’t say I know a lot about Hank Williams besides the fact he came from less fortunate part of Monroe, Alabama and fought his way out with his music and was hoping to learn more. Sadly the only thing I came out knowing more about was his alcohol and marital problems than on his impact on the Country – & – Western scene, of which he was a huge part of.

Towards the end we see Wiliams getting interviewed by reporter James Dolan, (David Krumholaz) to find out what makes him tick…sadly the film leaves us never really knowing what did.

Grade: D+
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Review Premiere Screening: Tuesday, March 22, 2016 ~ Courtesy of Film Independent
Nationwide release: Friday, March 25, 2016

Some photos of Tom Hiddleston at the premiere ~

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REVIEW: “EDDIE THE EAGLE” (2016) ~ Post Q & A: Taron Egerton & Dir: Dexter Fletcher

“Eddie the Eagle” is a story about an underdog in every sense of the word.
The story follows Eddie Edwards (Taron Egerton) from the time he’s a little kid with dreams of going to the Olympics, through his many assorted set-backs, and all the people around him who saw only failure in his future. It also shows the moments when he got helping hands when he most needed it. This movie is about his struggle and for all his sometimes annoying flaws, Eddie is a character that you just cannot dislike.

Edwards, while maybe a somewhat good downhill skier, narrowly missed the Great Britain team for that event for the 1984 Games. To improve his chances to qualify for Calgary in 1988, he moves to Lake Placid, NY to train and enter bigger races, but he quickly finds himself short on funds. To realize his Olympic dream, he decided to switch to ski jumping for reasons of cost and easier qualification as there were no other British ski jumpers with whom to compete for a place.
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He was handicapped by his weight—at about 82 kg (181 lbs), more than 9 kg (20 lbs) heavier than the next heaviest competitor — and by his lack of financial support for training as he was totally self-funded. Another problem was that he was very longsighted, requiring him to wear thick eyeglasses at all times, which sometimes fogged to such an extent that he could not see. Maybe due to all this, Eddie seems a bit dim though his spirit of wanting to be in the Olympics never dies, even as his father tells him his only choice in life is to become a plasterer such as himself.
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Taron Egerton does an excellent job here and really assumes the part of Eddie. Hugh Jackman as ex-downhill skier-turned-coach Bronson Peary puts in a good performance, and manages not to overpower Eddie’s character. Eddie’s parents are also well played, his mother Janette Edwards played by Jo Hartley, gives a particularly poignant portrayal of the never-ending support of a mother. Eddie’s father, played by Keith Allen, is a bit of a caricature, but well acted. Actually, a lot of the supporting cast of characters are caricatures, especially the other ski-jumpers/coaches and the British Olympians/Olympic Committee. But to an extent that serves to emphasize the struggle for Eddie. Also, for those intent on seeing this film for Christopher Walken as Warren Sharp, he has wonderful, albeit, very small role that has impact.

While the struggle of Eddie is emphasized throughout the film, there is also a good dose of comedy thrown into the mix as well. The tone is upbeat throughout, even when Eddie has setbacks. While some of the failures are played for laughs, it’s mostly Eddie’s perseverance that makes this film endearing. It also feels like we’re laughing with Eddie rather than at him, since it seems Eddie’s in on the joke.
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There’s not much to dislike about the film. I absolutely loved the music choices including the score and some timely 80’s song choices. Sure, I think the stakes could have been raised a bit here or there to give an even bigger emotional moment, but I can’t say the film didn’t already bring me to teary eyes at some points. And that to me, is an experience at the movies.

Random tidbit that Taron told us all: Stay tuned for the song at the end credits as the overlying song playing is actually Taron Egerton & Hugh Jackman singing together..yep..you read that right.. Taron & Hugh are singing the closing credits song. I wouldn’t have known it had he not said so.

Grade: B

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POST Q & A WITH TARON EGERTON & DIR: DEXTER FLETCHER
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Hugh Jackman was also supposed to be in attendance, but didn’t make it. Taron more than made up for it as he was nice, fun & entertaining as was Dexter Fletcher. This guy..being my breakout star of 2015.. is just as personable as I thought he would be when I first saw him in the fantastic “Kingsman:The Secret Service”.

Started off with the basics noting that since the project was greenlit till it’s release, it’s been a short 18mos. All a very fast shoot of 8 weeks in Germany at Garmisch-Partenkirchen – the same place where the real Eddie Edwards trained – also with some being done at Pinewood Studios.
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Taron had a chance to meet with the real Eddie before & during filming and when he went to the very first screening of the finished film, he sat next to Eddie, which made him very nervous as it’s harder to portray someone who is still alive. At the end of the screening, Eddie was so moved by Taron’s performance and the film, he was actually crying. Taron noted what a fantastic feeling that was.

Dexter Fletcher is quite the character and entertained us thoroughly before & after the film with his banter with Taron. Both noting, as I did, that Hugh Jackman is really good in this role and a very big man! ha! Also, one-week into production they were told no actors could ski at all ~ so they got a bunch of crazy stunt guys – noting that downhill skiers really have to be a bit crazy to do this sport – who more than willing to do it. Except for Hugh, where at the end of his run, he is actually skiing. As Taron puts it “It’s sickening how good Hugh is at EVERYTHING!”

Fun note from Dexter – in real life, the Finnish skier, Matti Nykänen, actually became a male stripper, then a singer and sadly, turned to alcohol and is now known for some, shall we say, ‘colourful antics’.

Christopher Walken was cast because they had to get someone who coud make Hugh Jackman weak in the knees.. and clearly they did.

One theme that is repeated throughout the movie, is the quote from Pierre de Coubertin (father of the modern Olympics), “The important thing in the Olympic Games is not to win, but to take part; the important thing in Life is not triumph, but the struggle; the essential thing is not to have conquered but to have fought well.” It’s just a little something we all could use as a reminder at times and maybe apply to our own everyday lives.
Cheers..

Review Screening: Thursday, January 28, 2016 ~ Courtesy of 20th Century Fox                                       Nationwide release: Friday, February 26, 2016                 

REVIEW: “JOY” (2015) 20th Century Fox

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With narration told by her grandmother Mimi (Diane Ladd), the only person who believes in and encourages young Joy’s as her story begins at Rudy’s Bus and Truck metal shop, where being an imaginative creative girl, she entertains herself through paper models of forests and castles.

Based on a true story, the film depicts the rise of female inventor and entrepreneur Joy (Jennifer Lawrence), who rises to fame by hawking her Miracle Mop on QVC. The story is much more than about business success, for Joy is a 1970’s housewife who supports four generations in her house, including her ex-husband, Tony (Edgar Ramirez) and father Rudy (Robert De Niro).
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Director David O. Russell struggles here, a bit unsuccessfully I might add, to portray a harrowing the path to the mop. Joy deals with a houseful of kids, only a few of them children by actual age. The motley crew she calls family all crammed in her small house are not on Joy’s side. She is the breadwinner, the adult, the rock whose imagination is a liability to those overly dependent on her. Her mother Terry (Virginia Madsen) a soap-opera viewing addict, who watches made-for-this-film, unfunny soap opera segments that seem unmotivated with there being no implication as to why we are pointing to the off-TV characters. It’s goes on to become a paint-by-numbers affair from there – familial jealousy from sister Peggy (Elisabeth Rohm), dirty financial dealings, the nightmare of the age-old saying, “Do not do business with your family.”
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After all, Joy manages to build a mop prototype. She brings it to QVC where the initial sale segment bombs. With Neil Walker (Bradley Cooper), the slick head honcho of newly formed shopping network QVC behind her, he takes a chance and allows Joy to showcase the mop herself. Bingo! The mop sells out. Success? Nope. The parts supplier is screwing Joy, every sale of the mop loses money, and the family wants their money back. Financial ruin follows. Then Grandma passes. But Joy decides she’s been walked all over enough and ‘womans up’ to settle all scores financial and emotional. You would think Hooray! right? If only the story wasn’t so average and been done so many times before would it be all that and more.

The acting is nothing notable as De Niro is no stranger to playing a conflicted father with a big heart, though there is something a bit off-kilter here even for him on this. We all know Lawrence & Cooper play well off each other and they do that again here. It’s Edgar Ramirez, who after falling so flat in Point Break, really stands up and dazzles amongst this all-star cast.
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So let me just do a quick sum up for you in one sentence. ‘Down and out mother thinks up an invention, brings it to market, and becomes rich after some pitfalls that, in reality, is all fought and done with lawyers in the end’. In lieu of dramatizing a woman overcoming, Russell instead created a often unfunny comedy.

While the real life, inventive Joy deserves kudos, the bottom line is this is a feature film about the creator of a better mop and offers little on the path to an unsatisfying end where Joy makes it big and helps others succeed.
With all the heavy-hitters in film coming out these last 2 weeks of the year, it’s doubtful JOY will stand out amongst them.

Grade: C
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Review Screening: Monday, December 21, 2015 ~ Courtesy of 20th Century Fox Studios
Nationwide release: Friday, December 25, 2015

REVIEW: “THE BIG SHORT” (2015) Paramount Pictures

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When Ryan Gosling’s character Jared Vennett asks the question to a room full of brokers.. “What’s that smell?” and answers it with “Opportunity” you know then and there to prepare yourself for a very different type of ride.

The film’s narrative is driven by four cynical, fringe Wall Streeter’s disgusted with the large banking institutions’ overriding greed for profits. Separately, but yet oddly together, they make the decision to capitalize on the ensuing housing market catastrophe and the financial meltdown of 2008 upon discovering the market frenzy is being driven by worthless collateral debt obligations.
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While I might never figure out how Director Adam McKay made deplorable humans, blinding fear, gut-wrentching outrage and delightful shaming so much fun to watch ~ He most definitely brought along his dark bag of laughs here, but planted them in such a way as to where we actually understood what was happening thanks to fun cameo explanations from the likes of Margot Robbie in a bubble bath, Anthony Bourdain cooking it right up, and even Selena Gomez gambling though her little monologue.

After a rather lengthy dizzying, yet delightful, character introduction, the film picks up pace as the drama begins to unfold. Dr. Michael Burry (Christian Bale), an eccentric financial analyst, with complete autonomy of an investment fund, uncovers variables in his economic forecast indicating a massive housing market collapse. He informs his higher up, Lawrence Fields (Tracy Letts), of his discovery and creates a financial prospectus. In essence, he creates a commodity of selling short on bundled mortgages.
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The bankers laugh themselves silly as they willingly sell Burry all the “insurance” he wants. Word quickly spreads of Burry’s perceived madness in a after-work cocktail scene. With interest piqued upon overhearing the Wall Street gossip of the day, Jared Vennett (Ryan Gosling), scoops up the aspects of Burry’s move. Soon, he sells it to a group led by Steve Carell’s real-life character, Mark Baum and convinces them to buy in.

As the debacle is in full free-fall, Baum struggles with disbelief as he and his group have bet against their own umbrella entity, Morgan Stanley. The final team that has uncovered the impending financial crisis, made up of two Wall Street rookie wanna-be’s, Jamie Shipley (Finn Wittrock) and Charlie Geller (John Magaro) who along with veteran trader turned-conspiracist Ben Rickert (Brad Pitt), also struggle with the imploding financial system caused by corporate greed and indifference
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With a mammoth cast, the acting in this movie is pristine with the whole ensemble cast being in top form. With that said however there were three stand out performances that somewhat break this mold.
Ryan Gosling might be the funniest as he narrates and embodies the fact that he’s a scum bag and just rolls with it, offering an entertainingly slick performance. Christian Bale let us feel his pain and lonely genius, stole the show in every scene he was in. The only genuinely relate able character in the lot, Bale conveys a great deal of sensitivity, making it one of his best performances to date. Steve Carell dug deep and came up with a persona that brings Baum to life, even if he does over act at times which I guess is how he really is in true-life form.
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It was also nice to see Marisa Tomei, Hamish Linklater, Billy Magnussen, Rafe Spall, Max Greenfield and talented others working at a solid supporting level.

With all the ‘truth’ films out there this year, “The Big Short” is one of the more important ones of this group and also one of the best. I wanted to laugh and cry at the same time as the film warns us in a way, who knows what will be the next basic human necessity to be denied by those few who hold power.

Grade: B+
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Review Screening: Arclight Hollywood ~ Tuesday, December 8, 2015 ~ Courtesy of Paramount Pictures
In Select Theaters: Friday, December 11, 2015
NATIONWIDE RELEASE: Wednesday, December 23, 2015