Category Archives: History

Biography, Drama, History, Independent Feature, Movie Reviews, Movies

REVIEW: “SPENCER” (2021) Neon Films

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Having high hopes going into director Pablo Larrain’s “SPENCER” considering how much I enjoyed ‘Jackie‘, I was surprised to find myself truly wondering what it was that I was watching and then remembering the word ‘fable’ being brought out at the beginning. And that is at least somewhat of an explanation for this sad tale of a film that I find myself having a hard time trying to describe how I felt about it. Two things I think I can justifiably say this film is a fictional thriller using factual characters, who apparently only speak in poems and riddles and it is definitely not a biography.

The set up is Christmas 1991, and Princess Diana (Kristen Stewart), is driving herself to Sandringham Castle in a Porsche convertible no less, through country roads speeding along casually, something that realistically would never happen, but again, it’s a fable so why not. She gets completely lost even though she acknowledges she’s been there so many times before, but not before stopping in a small diner-type country restaurant and pretending almost awkwardly that she is not just a Princess, but regular country folk like they are, all the while in her upscale Chanel clothing. After arriving late and after the Queen, a huge faux pas in the world of royalty, she is clearly targeted by the rest of the family at this point. And here is where it really goes off rails as we all know yes, there was a Diana vs. The Royal Family dynamic, but this film takes that to a whole different level. With visions belying her at every corner, including Anne Boleyn to what I’m guessing is supposed to be taken as a warning for Diana to not fall into a similar fate, as she is literally shown as being a whiney, complaining, consistently late for everything, and Larrain makes her out to be so unpleasant and self-centered, you almost wonder if you would want her as your dinner companion at all.

There is much to follow here as the film continues an almost odd over-the-top portrayal of Princess Diana, with only small bits of actual fact here and there. The bulimia we all know she suffered from is shown up front and personal, yet almost made fun of at other moments. There is an odd whole scenario of a scarecrow which follows us throughout the film, without ever really giving good reason except for the fact that she speaks and dresses it like a human, and a psychedelic dance sequence I’ve yet to figure out. I understand why some may like it, but it’s completely void of any relevance to the Princess Diana and Royal Family story that actually took place. I think my entire beef with this film is that they made her look whiney, weak and mental and I just don’t think Stewart did her justice for me. It wasn’t terrible mind you as Stewart is good, but by far not great and by just simply adding to her actual personality, having a blonde short haircut and a not so Diana English accent, she didn’t encapsulate who or what Princess Diana really was. It wasn’t terrible – but I just didn’t feel the way so many do as besides the haircut she didn’t fit Diana’s personality for me, it’s as though she was almost too distracting for me is how I can best say it. But maybe that was the point – not sure.

It is undoubtedly beautiful to look at, the score is immediately captivating, as well as the costumes, production design + cinematography are the standouts as is her supporting cast of Timothy Spall as Major Alistar Gregory, who comes off as ‘foe’ at first, but might actually be ‘friend’ instead, as well as Sally Hawkins playing her maid en confidante’ Maggie. We barely see Jack Farthing as Prince Charles, and as well The Queen either played by Stella Gonet. The way they portray her is a choice a very unsympathetic and annoying ‘choice’ that was certainly very off putting but the standout part is it did show her love for her sons as I don’t think any film could ever deny that. Again, I realize I’m in the minority here on this one, but one can’t help or deny how one feels about a film as it is truly something each person puts in perspective on their own. But in essence for me, Diana was a strong independent woman who was roped into a lie, and dealt with it better than most, while crashing at times, I wanted them to show the part of how she used it all that and made it her strengths versus weakness.

Grade: C

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Review Screening ~ Courtesy of Ginsberg/Libby PR

“SPENCER” FROM NEON FILMS – IS OUT IN THEATERS NOW 

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Biography, Drama, History, Movie Reviews, Movies

REVIEW: “The Electrical Life of Louis Wain” fails to ignite completely..

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Wandering into “THE ELECTRICAL LIFE OF LOUIS WAIN” my assumption was it would point me to a somewhat of a Nikola Tesla type films with Louis Wain perhaps being the British version of him. I couldn’t have been more wrong, which can sometimes be a benefit to not knowing exactly what you are going into as it leaves you to actually judge a film for what it is – versus what others say about it.

The film opens in 1881 and Louis Wain (Benedict Cumberbatch), is a young man whose life has just dramatically changed over the death of his father. Per the time and status that the Wain family has acquired, Louis must step into the role of breadwinner for his five younger sisters and their aging mother. Initially, it’s hard what to make of Wain as he is constantly drawing, yet his eccentricities also include a belief in the electrical currents that drive all life forms, hence my previous thoughts. The film itself doesn’t spend much time on this, though it seems to be important enough, but the feeling is at first it’s more eccentricity vs. a mental illness – later deemed to possibly be schizophrenia. What the film shifts to almost exclusively is Wain’s family life. His stern and demanding sister Caroline (Andrea Riseborough), is completely unforgiving of his little ‘whims’ as they are referred to, and demands that Louis find steady work to support the family, which again is supposed to be his role now, clearly one he does not want. An interview with an Sir William Ingram (Toby Jones), is an editor/publisher looking to offer Wain a job, and this is when we are first treated to see what a gifted illustrator Wain is can be and his speed at drawing is due to an incredible ability to draw with both hands simultaneously.

As we continue on more with his family theme versus who Wain really is, he ends up overcoming one of his insecurities around his cleft lip which he has always covered with a mustache, and ends up marrying Emily Richardson (Claire Foy), the governess to his sisters. For the times this was quite the scandal, most especially given the differences in age and social standing of both involved, but Louis plows on as it seems as though she was the only one who understood and encouraged him as an artist. Needless to say his sisters are enraged at this and there is much more shown here again of this than what really is it that makes Louis Wain who he was.

We then are drawn into the tragedy that strikes Wain, and watch as he really mentally spirals more and becomes inspired by their pet cat, Peter. In fact, Peter becomes his muse of sorts though confusing because again, his sisters are all mixed in plus the fact that he clearly thinks the cat is Emily. It does however leads to thousands of drawings of cats for publication in newspapers, magazines, greeting cards, and just about every other platform available at the time. But also once again the films leaves Louis and takes back to his sister’s lives and his youngest sister Marie (Hayley Squires), being committed. So it’s a mish-mash of back and forth whereas I wanted to know who Louis Wain was about, it was very hard to decipher until the Cat pictures come along and that is what he becomes famous for. Personally I would’ve like to delve into this subject and how it evolved more rather than a major focus being on his family lives instead of his as it seems Wain’s work becomes enormously popular for a time, the film doesn’t really explore it in any detail, choosing instead to dance around the question of his and all his sisters mental states over the decades which span about 50 years in time.

Olivia Colman provides the narration and tries to make it lively at times. Taika Waititi and Nick Cave both have brief cameos, as well as Adeel Akhtar in smaller role as Mr. Rider. A role that clearly should’ve been more prominent as Rider was one of Wain’s few friends who we see meet briefly early on, but in the end finds Wain in a sanitarium and ends up being the one who helps Louis secure a place better accommodations in lovely home complete with a garden and yes, plenty of cats. The performance here by Cumberbatch is a bit over-the-top with his tics in the first half of the film, almost to quirky at times – he does make the mental part realistic at times, and drawing part of Wain seem interesting and real. Again, when the film lets us see those very pertinent parts come through.

All in all, if you know nothing about or who Louis Wain was, this might not explain it to you precisely as it follows the path of his family and all the peculiarities of them and him, rather than serve up a more poignant look at Wain and his Cat drawings for which he is actually famous for.

Grade: C

 

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Review Screening ~ Courtesy of Ginsberg/Libby PR

“THE ELECTRICAL LIFE OF LOUIS WAIN ” IS OUT IN THEATERS NOW AND WILL BE COMING TO PRIME VIDEO ON FRIDDAY, NOVEMEBER 5, 2021

Action, Drama, History, Movie Reviews, Movies

REVIEW: “THE LAST DUEL” (2021) 20th Century/Disney Films

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The film that finally reunites Matt Damon and Ben Affleck as writers the first time since Good Will Hunting, and just as in Good Will Hunting they also share the screen acting wise, but with Damon picking up the more prominent of roles, though Affleck having a stand-out as well. This medieval times storytelling in “THE LAST DUEL” is done on a grand scale by none other than the grand scale director himself, Ridley Scott.

The film is told in three chapters each from the point of view of one of the three protagonists, the two duelists – Jean de Carrouges (Matt Damon), and Jacques Le Gris (Adam Driver), and the third by Marguerite (Jodie Comer), of why in this duel is taking place in 13th century aristocratic France. It is supposedly for truth and honour, yet this can not only be confusing at times, but when you have people telling the same incident from three people’s different point of views…. it can start to get tedious, and it does with a runtime of two hours and 32 minutes.

The action is here is brutal, the hardcore Medieval type brutal and though it is filmed well, you have to have a taste for these types of films and they are just not truly in my wheelhouse, yet Gladiator holds a place in my heart that will never be taken away. The story itself leans on Marguerite’s accusation against Jacques of rape. It is met with anger and hostility from both Jean, their friends, and pretty much the rest of France, as rape is not considered a crime against a woman, but a property matter. These kinds of things, while I know existed, just irk me in subject matter. Yet I guess my true excruciating anger came from the rape scene which is is played not once, but twice. As an audience of both male and female, it left a lot of mixed feelings amongst both as it’s incredibly hard to watch. My question would honestly be did Ridley Scott need to amplify the excruciating horror of the act by showing it to us twice? Would it have made a difference to the outcome had we not seen it so graphically performed in front of us on both accounts. I think not. Oddly you also realize what the outcome of the duel will most likely be during these points.

The set decoration, costuming and all seem quite fit for the time and not being an expert in French history of the 1300’s, I will say I was never entirely sure what accent Damon and the cast were employing with their characters as none were French, but it never distracted from the characters either. Comer was probably the best as I can’t imagine the subject matter at hand was an easy one for any actress to deal with. The highlight for me though was Affleck’s somewhat comedic portrayl of d’Alençon as it borders at times on camp, but seems as like it was likely intentional and oh so much fun. It lightened up the hardness of this film to at give it some ‘bon viveur’ as the French would say.

All in all, this film will be a sheer delight for those loving Medieval dramas and Ridley Scott fans. I’m somewhere in the middle of understanding it, being confused by it, angered by it. All in all a fine movie with fine writing, acting and cinematography. It is just not something special and we have seen it all be done better before. There is sort of gravitas missing along the lines and all in all, just did not sit right with me completely.

Grade: C

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Review Screening ~ Courtesy of Rosa Parra @RosasReviews who invited me along as her guest

“THE LAST DUEL” – is playing in theaters now

1960's, Drama, Female Director, History, Movie Reviews, Movies, Woman Director

REVIEW: “ONE NIGHT IN MIAMI” (2021) Amazon Studios

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A stylish and promising debut from Regina King at the helm “ONE NIGHT IN MIAMI” is a fascinating watch with King working in close collaboration with Kemp Powers to adapt his own play to the screen with a story that pits four iconic figures and their beliefs against one another. The film is set mostly at the Hampton House, a motel in Miami’s Brownsville neighborhood and was one of only a few places for Black entertainers and celebrities to stay while performing at the swanky clubs and hotels of the then segregated Miami Beach.

After Cassius Clay (Eli Goree) wins the World Heavyweight Championship from Sonny Liston in Miami, he meets up with Jim Brown (Aldis Hodge), Sam Cooke (Leslie Odom Jr.) and Malcolm X (Kingsley Ben-Adir), all legends in their own right, to discuss their individual roles that they can play in the civil rights movement amid the upheaval of the 60s. Clay has promised Malcolm X that he will embrace Islam and change his name to Muhammad Ali the next morning. Ali/Clay’s boxing career had reached new heights, but he was barred from Miami Beach due to Jim Crow laws at the time, but he also unaware that Malcolm has just broken ranks with Elijah Muhammad, the national leader of the Nation of Islam at the time.

Introducing each of the characters in their everyday vocations as Cook is a hugely successful singer although he seems to be struggling with being accepted across the board i.e., by white audiences, Brown is a famous NFL player, but he’s also just had a taste of movie stardom and likes it, the soon to be Muhammad Ali is the World Heavyweight boxing champ and Malcolm X is a minister and one of the biggest leaders of the Civil Rights movement at the time. The struggles they faced in being black men sets the film up for a rather powerful main act where they discuss how they can use their positions of varied success to be heard during the civil rights movement.

This film has a dash of ironic, humorous moments which serve it well, because a good chunk of the film is a bit intense and lags at times with the rhythm getting bogged down for a few scenes, but there are some lively moments, especially revolving around musical performances. The acting by the four leads though is what kicks this film up at least ten notches as they give it their all, even though their were a few times their personas felt a bit pushed and character-ish. It’s so very difficult when an actor portrays a real person though all of them found a fine balance within their performances. Leslie Odom Jr showed off his singing chops, Ben-Adir gave us a talkative beautiful Malcolm X, Goree gave us all the ‘float like a butterfly – sting like a bee’ he had, but my personal choice was Aldis Hodge’s portrayal of Jim Brown, especially as Mr. Brown is still the only member here still alive. Hodge captured him as I someone who supported his friend, yet was also moving in the direction of ‘going Hollywood’ at time when not many men of colour had that opportunity. I think my only beef is the female co-stars Joaquina Kalukango as Betty X and Nicolette Robinson as Cooke’s wife Barbara, got the short shrift here with a scarce amount of lines, but then it is a story about the four men so on the other hand, it makes sense. Add in the wonderful Lance Reddick, Michael Imperioli, Beau Bridges in supporting roles and you’ve got yourself kicking up more notches up to round out this film. The production design, costumes, and soundtrack were beautiful and having said that, there are parts of the dialogue which are genuinely stirring.

‘One Night in Miami’ is an absorbing & entertaining film about the power of these men who while having some conflicting ideals, are really all striving for the same common goal.

Grade: B+

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Review screening: Courtesy of Ginsberg/Libby PR

“ONE NIGHT IN MIAMI” IS OUT IN SELECT THEATERS WHERE AVAILABLE AND COMING TO PRIME VIDEO ON FRIDAY, JANUARY 15, 2021

Action, Action Adventure, Adventure, Drama, History, Movie Reviews, Movies

REVIEW: “NEWS OF THE WORLD” (2020) Universal Pictures

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Adapting a beloved book can be a tricky thing and Paulette Jiles‘ “NEWS OF THE WORLD” is no different a challenge to that here. But if we have learned one thing from films all these years, it would be that Tom Hanks would be the one who would be able to pull this off and make it along with Director Paul Greengrass, taking full advantage of our faith in Hanks acting abilities here.

In this visually phenomenal film version Tom Hanks is Captain Jefferson Kyle Kidd, a Civil War veteran who takes newspapers and then travels from one small town to another and for 10-cents admission and a sense of panache’- Kidd reads the news stories to weary people looking for a distraction. While traveling one day, he comes across a blonde hair-blue eyed young girl dressed in Native American wear who speaks no English, only Kiowa. With her caretaker having been lynched in front of her, the papers Kidd finds among her things are notes that she is 10-year-old Johanna (Helena Zengel), a young girl who’d been raised by Kiowa tribe and is now being returned against her will to her natural German aunt and uncle of whom she knows nothing about.

The film is all about the journey, which the captain undertakes with the girl reluctantly as the she rebels against this so hard at first, his conundrum is realizing the only guarantee of her safe return is if he takes her, and reluctantly we watch as the Captain agrees to accompany her on the journey home. In the long run it bares down to essentially being: two people, a wagon and two horses, driving through the vast nothingness. And as the two encounter numerous precarious situations along the way they begin to bond with each attempting to learn the others ways and language. Along the harrowing journey, encountering moments of true danger in almost each town they enter and every new territorial line they cross. Early on when they are cornered by a trio of swarthy men who want to ‘buy’ the girl, the tense build up that prevails and follows us throughout the journey can be dramatic and even terrifying at times, but eventually this is what will bring them together the closer as they come to the end of the journey and the pointed note of separating.

Zengel doesn’t say much throughout the film, but she has a wonderfully expressive face that speaks volumes with her eyes and it’s easy to believe that she has seen horrors. And even though this undoubtedly adds to Hanks’ performance, even as she’s saying nothing, her pain, her fear is palpable and Hanks plays well on this attribute. But make no mistake whose film this is – as the way Hanks portrays Kidd is the sort of performance that just seems written in stone for him and it’s a perfect vehicle for him and surprising in sorts to see him in a Western. There are numerous supporting cast who also help push the film along with Elizabeth Marvel, Mare Winningham, Ray McKinnon and Bill Camp to name a few. The movie itself is stirring despite there being no surprise in knowing where the story is headed once Johanna appears – and yes there are some grim sequences but overall its quite an enjoyable watch.

Grade: B+

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Review screening: Courtesy of Universal Pictures

“NEWS OF THE WORLD” IS OUT ON CHRISTMAS DAY IN THEATERS/DRIVE-INS WHERE AVAILABLE AND ON NETFLIX IN JANUARY 2021

1940'S, 1970's, 1980's, Crime, Crime Thriller, Documentary, Drama, Dramady, History, TV

PEGGY AT THE MOVIES – TV SHOWS TO CHECK OUT.. OR NOT – WEEK 5

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And onto week #5 of quarantine TV watches rated by me.

First up:


We’re Here: HBO
Found this gem almost by accident and immediately fell head over heels for it. It’s real life about 3 drag queens who traverse small town America where they have residents from each town participate in a one night only drag show. It’s the storytelling behind each person and town that had me in tears at the end of both episodes that have aired. It’s a much needed watch for the close minded among us.
Grade: A


Tommy: CBS Network
TV diversity is so much bigger than film. But every once is a while comes a show that just doesn’t work as well & the characters feel forced..even with a stellar cast including #EdieFalco & #RussellGJones the storylines just fall flat.
Grade: C


Hollywood: NETFLIX
#RyanMurphy has a signature look to his shows and this one is no different. Set in late 1940’s its beautifully shot but it took me till eps 3 to figure out the difference #DavidCorenswet & #JakePicking – the middle eps. are great, but the finale is predictable & bland. Kudos #PattiLuPone #HollandTaylor & #DylanMcDermott for keeping it interesting.
Grade: C+ bordering B-


Atlanta’s Missing & Murdered: The Lost Children: HBO
A startlingly look at what happened to these children & the conviction of #WayneWilliams definitely deserves a watch as Atlanta’s new mayor #KeishaLanceBottoms takes the bold and might I add, right step in re-opening this investigation. It’s eye-opening & heart wrenching-and worth every minute of your time.
Grade: A

That’s a wrap on Peggy at the Movies TV recommendations week 5. Till next week..stay safe and sane.

#tvreviews #womencritic #instareviews #quarantineTV #coronaviruswatching #peggyatthemovies #Atlanta #Tommy #WereHere #Hollywood

Biography, Drama, History, Movie Reviews, Movies

REVIEW: “JUDY” (2019) Roadside Attractions

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While the focus of this movie is of course Judy Garland and primarily the last year of her life,  “JUDY” opens with a behind the scenes look of with a young Judy Garland (Darci Shaw) being berated by her publicist/handler and MGM studio head Louis B. Mayer. Not allowed to eat, not allowed to have friends, working 18 hour days and most notably, the start of her pill addiction that would eventually take her life.  While watching, you can’t help but wonder why these things were even allowed and social norms for the time. The studio system was set up as such, to where the only people in control of all the lives underneath them, were the studio heads themselves. A selfish group of old men whose true stories would only be revealed years later as their power was lost.

That being said “Judy” might well be one of the saddest movies of the year, while Rene Zellweger’s performance of this icon, might just be the best of the year.  This is a sparkling, yet honest look at the last year of Garland’s life, giving us a closer look at the legendary 1968 “Talk of the Town” London engagement, the promising effort for a physically and emotionally exhausted Judy Garland to reignite her fading career.  For her to capture one last moment on the ‘yellow brick road’ before her accidental overdose on drugs, which is depicted here with a surgeon’s accuracy.  The days are counted in despair over her addictions and most of all the separation from her children. Nothing much is pretty about her life, and most of it seems desperate.

There are a few notable problems with the film that while you understand not every single thing can be depicted, they could at least have given us, say a bit more of her already famous daughter Liza Minnelli, whom at the time depicted in this movie, was 23, making movies, and on a career trajectory that would result in an Oscar three years later. But here she only exists in a moment, at a random party Judy attends when she comes back from a short gig with her younger children and doesn’t have a home or hotel that will let her in. Only Garland’s two later children Lorna and Joey, fathered by Sid Luft (Rufus Sewell) are primarily shown to us. It’s also at this same party that Judy meets her last and youngest husband, Mickey Deans (Finn Wittrock).  He shows up in London and before you can say Toto! they are married.  It seems Judy was always stuck with some type of handler whether it be a stage manager or a husband, there was always someone wanting to dictate her life’s moves to her. To push and pull her in all directions.

As noted, kids aren’t the only thing missing. There is a huge gap of nothing past her early days with Mickey Rooney and the 60’s, which actually included two Oscar nominations and a Grammy award for Album of the Year. Also a short-lived television show where she did a memorable duet with a then almost unknown, 21-year-old Barbara Streisand. Considering the range of celebrities she worked with, the opportunities for quality namedropping are limitless – but aside from Mickey Rooney, there’s a pronounced lack of showing us anything.  Well thank goodness for a subplot involving two gay fans and their evening with her. It’s endearing and the best way to show how she impacted those on the margins of society. The final scene when she sings Rainbow involves the gay duo and is hokey but effectively sentimental and lyrical like the song itself.

But don’t get me completely wrong, the film has heart, in matter of speaking it has in fact loads of it. The script, costumes and sets take the audience on a virtual trip back into the last days of the ultimate performer’s life. We meet a different Judy – and older one who has been dealt all of life’s blows, only to keep coming back again and again – because no matter what, she still had that voice. The drama is punctuated by songs, sung well by Zellweger, and by her Oscar-worthy performance which is remarkable as she captures every single nuance of Garland’s mannerisms and body movements, even the “hunchback” part that Louis B. Mayer used against her as a child when calling her his ‘little hunchback.  But, of course, her voice is not Garland’s.  That voice is what we will always remember and the little girl who made us so happy by clicking her heels twice and taking us somewhere over that rainbow.

What is made clear in this film is that Judy Garland is the definition of a tortured soul.  It is thoughtful and provocative in it’s telling of this trip portraying a life that was not lead down “The Yellow Brick Road” as we were once lead to believe. This movie is a very worthwhile look at the life of Judy Garland. See it for Judy, or see it for Renee, or see it for both … just see it.

Grade: B

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Media Review Screening: Wednesday, September 25, 2019 ~ Courtesy of LAFTV Meetup

“JUDY” is out in theaters nationwide this Friday, September 27, 2019 // WORLDWIDE RELEASE FOLLOWING

 

 

Biography, Comedy, Documentary, Drama, History

SPIRIT AWARDS NOMINEES – WEEK TWO SCREENING REVIEWS

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Started and finished up Week Two of Spirit Award nominee screenings. Closed it all out on Saturday and granted I didn’t see everything yet, but have gotten in a good portion of those nominated and while some they did provide screeners for most, a few did not (I’m looking specifically at you “Thoroughbreds”), or I made the screenings. From here on it gets real as (drum roll) we vote.

“WILDLIFE” Dir: Paul Dano

‘Wildlife’ is a perfect example of how you can put two very good actor/actresses in a film and it still doesn’t make it good. Jake Gyllenhaal is just plain wooden in his role here and Carey Mulligan almost overacts her role as a cheating housewife. Almost painful to watch what could have had potential, just did not work.
Grade: D

“SUPPORT THE GIRLS” Dir. Andrew Bujalski

I found myself having a soft spot for this one even though it might not have been the best movie I’ve seen – it most definitely had it’s moments while giving a absolute spot on portrayal of what it’s like working in the service industry, most especially in the “Hooters” type atmosphere. Regina Hall leads the cast as the general manager, but almost stealing the show from her are the ‘girls’ Haley Lu Richardson, AJ Michalka, and newcomer Shayna McHayle. James Le Gros as the grubby bar owner rounds this out. It’s definitely got a good #GirlPower message to women servers around the world!
Grade: C+

“COLETTE” Dir: Wash Westmoreland

Colette is yet another true story of female empowerment – a woman with real talent trying to break out of the gilded cage she finds herself trapped in. Colette is the ghost writer of a series of novels about her own life, but because of the times, her husband says they are his and takes credit for them – until she steps out of the cage. While not Keira Knightly’s biggest fan, she does the brooding Victorian women like no other. Dominic West delivers a reliably solid performance as expected, with the supporting cast also doing the same. Sadly, the film seems much longer slog than its 111 minute run time, notably the whole middle portion of the film being somewhat pedestrian as well.
Grade: C

“YOU WERE NEVER REALLY HERE” Dir. Lynne Ramsay

What a huge letdown this film was for me. Most definitely inspired by ‘Taxi Driver’, and ‘inspired by’ is where it shall remain as this pointless plot about Joaquin Phoenix as hired enforcer with clearly some mom issues of his own. This plot falls all over the place with bad, slow pacing and brings nothing new to the table. Yes, I get it, it supposed to be an ‘art’ film – but even those have to have some semblance of some type of clever conversation or suspense.. anything really. To those that loved it..kudos..
Grade: D

“CAN YOU EVER FORGIVE ME” Dir: Marielle Heller

Melissa McCarthy brings a whole other side to her acting her with this strong dramatic turn as a celeb bio author who books cease to be published so instead she resorts to ‘authoring’ fake celebrity letters. Something which she is very good at, probably better than writing her actual books truth be told. Aided by the fantastic supporting performance of Richard E. Grant, this film is non-stop literary fun from beginning to end..and by end we mean in jail for fraud.
Grade: B+

“BLACKkKLANSMAN” Dir: Spike Lee

I will confess, Adam Driver kinda kept me away from watching this film because my admitting that I am just not a fan might make some upset because of the whole Star Wars thing etc.. etc.. so Star Wars fanboys I apologize, as I actually liked him here. But come on, John David Washington, was perfection. This movie had me from moment one, and made me laugh with disbelief, but it also made me cry at the very end when you do realize that we ARE letting it happen again – and that breaks my heart. #RIPHeatherHeyer
Grade: A+

“EIGHTH GRADE” Dir: Bo Burnham

I mean all I can say is read my review here to know how much I loved it.
https://peggyatthemovies.com/2018/07/17/review-eighth-grade-2018-a24/
Grade: A-

“WON’T YOU BE MY NEIGHBOR” Dir: Morgan Neville

Again, my review from when I saw this wonderful film earlier in the year.
https://peggyatthemovies.com/2018/06/01/review-wont-you-be-my-neighbor-2018-focus-features/
Grade: A+

@pegsatthemovies

Biography, Drama, History, Movie Reviews, Movies

Insta REVIEW: “FIRST MAN” (2018) Universal

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Just done watching #FirstMan after a long torturous drive from the Westside to #UniversalCityWalk .. and an even more arduous journey home…I can say I DID IT!!. And got myself a #VoodooDonut to add and they are just as good as everyone says.

Okay okay..I’m getting to the part about the movie.. it’s a foray from #DamienChazelle into space that I never imagined could be so tense, frought with sadness and despair, and yet delves so well in what can only be described as stunning filmmaking chronicling mans marvels and mishaps leading to the ultimate achievement – the first man on the moon. #RyanGosling is solid here, but without his supporting cast of #ClaireFoy #CoreyStoll #JasonClarke #KyleChandler #EthanEmbry #PatrickFugit #LukasHaas #PabloSchreiber to name just a few – are the keys to the lock of this film and his character.

From a technical standpoint the films wows in almost every aspect though there is a lot of shaky-cam work that never bodes well for me personally (headache inducing), but considering its about space and everything that that entails, including putting you in the astronauts helmet, I should have been expecting it.

All in all the almost 2 1/2 hour run time is filled with only a few momentary bumps in the road. This makes it three in a row for Chazelle as I have no doubt some of this will have some Oscar nods..#Whiplash is still hands down my personal favourite, but this one also educates you in the history of man’s exploration into space and is visually effective.

Grade: B
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Media Review screening courtesy of Universal Pictures

1960's, Crime, Drama, History, Movie Reviews, Movies

REVIEW: “DETROIT” (2017) MGM Pictures

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With “DETROIT” Oscar winning director Kathryn Bigelow’s new turn at making another hard-hitting film, just doesn’t connect completely. Though again, Bigelow takes on delicate subject matter with the expertise of a great filmmaker, and it is a very good film – for about 60 minutes of the 2 1/2 hour run time.

‘Detroit’ takes place in 1967 during the midst of the riots after a black owned Blind Pig bar where patrons were kicked out due to lack of liquor license and eventually leads to the towns people rioting and destroying the nearby businesses, even with tags of “Soul Brother” as a way to try to protect their black owned business. However, most of the film centers around the several young men and 2 women staying in the Algiers Motel. Carl Cooper (Jason Mitchell) has a starter pistol which he shoots in the air, and police mistaken it for a sniper, and begin to surround the Algiers and harass and intimidate the guests beyond recovery.

‘Detroit’ is filmed wholly hand-held, and the shakiness that comes along with that direction choice is effective and not the nausea-inducing type that can sometimes happen with this type of filming, The opening scenes before the riots even start and as watch them proceed brought a note of flashbacks for me, having been through the L.A. riots, it’s not something you easily forget. The storyline that follows is where the weakness of the film sets in. If I didn’t know that this was actual history, I would have thought this part to be made up as you get introduced to the characters Larry (Algee Smith), Michael (Malcolm David Kelley), Morris (Joseph David-Jones), Jimmy (Ephraim Sykes) and Fred (Jacob Latimore) who make up the singing group the Dramatic’s. Once they are told to leave the stage before their biggest performance to date, because of the riots is where the film really starts to kick in. This is where the shocking nature of what takes place really begins and you will be set on edge throughout the next 60 minutes by what unfolds in front of you. It’s also where we meet the rest of the characters to whom this appalling and disturbing event happens to.

Dismukes (John Boyega), the security guard who witnesses everything that happens, though honestly, I don’t think he was in the position to stop what was happening. Julie (Hannah Murray) & Karen (Kaitlyn Dever) are the two white girls who happen to be at the hotel also, partying with their African-American male friends Green (Anthony Mackie) Aubrey (Nathan Davis Jr.) and Lee (Peyton Alex-Smith), which in the 1960’s still was not accepted. This alone creates tension that is only ratcheted up little by little as the film progresses. At this point we also meet the police officers involved Karuss (Will Poulter), Demens (Jack Reynor) and Guardsmen Flynn (Ben O’Toole) who along with the terrifying nature of the situation, help make this feel like what happened is something out of a horror film.

Every actor here gives a near flawless performance. this is actually a film without a standard Hollywood- style star. These actors are treated as equally important details in a larger event. The performances here are emotional, powerful, but most of all, real and feel instead as though each actor embodies the real life people that lived through these events and that let you get to know them as people, allowing you to genuinely care about them.

While this is a great film, it is a hard watch. This is an emotionally grueling film for the most part. With that being said, the two and a half hour run time of this film is exhausting and the length is something that can really work against this film. While I do recommend it as a watch because of it’s intrinsic value that it carries, it’s not as brilliant of a watch as I expected it to be.

Grade: B-
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Review Screening – Wednesday, August 2, 2017 ~ Courtesy of LAFTV Film Group
“Detroit” will be in theatres nationwide on Friday, August 4, 2017