Category Archives: Movies

Drama, Family, Foreign Film, Independent Feature, Movie Reviews, Movies

REVIEW: “THE TRUTH” (2020) IFC Films

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If someone had ever told me I’d see a film one day with the brilliant and beautiful Catherine Deneuve and Ethan Hawke together, I probably would have made a very large wager that that would never happen. And yet here we find ourselves with just that film in Director Hirokazu Koreeda‘s “THE TRUTH” – where surprisingly enough this famed Japanese director takes on a French/English film. This film is not what one may expect as trailers leave one to think it’s purely a drama, but it’s mostly a dramedy with the leaning more towards comedy, but you have to be able to catch it and it’s inevitable that some just won’t.

The premise of the plot is that Catherine Deneuve’s character Fabienne Dangeville, wrote an autobiography where she not only disappoints her colleagues, but one is which she seems to embellish her past, specifically, her motherhood as well. Juliette Binoche’s character Lumir, her screenwriter daughter who came in from the U.S. to visit, soon finds about all this as she reads the book of what she feels appears to be a work of fiction. Mind you a work of fiction “based on a true story” according to her mother. She tries to talk Fabienne and seemingly never really gets the answer she’s looking for, but the film begs the question what is “the truth” really? Is it how we remember the past or is it unyielding and unbending?

On top of all this, Deneuve’s character has accepted a role in a movie solely to work with an emerging actress who resembles a now deceased friend of hers. This is a thought-provoking piece of work even if it’s not completely understood at all times. There isn’t much plot development but the character depth is wonderfully exposed. Who was loyal? Who was faithful? There are moments in it where you have a hard time distinguishing between it all. But the acting is as good as one would expect seeing the cast list. Particularly impressive is the bilingual dialogue, especially from Binoche who seems to speak both English and French as a native. Also outstanding is the child actress playing Binoche’s daughter Charlotte (Clementine Grenier).

A point of notice from me – the female characters receive most time and adulation in the movie and I found that wonderful as they are what brings this story to life. Not only Deneuve’s and Binoche’s, but also Manon Clavell’s character of Manon Lenior, the actress who Deneuve works with and has that mysterious allure of her long dead friend, the one we really never find out too much about though she is alluded to throughout the film. All have a central role in the story. Ethan Hawke’s husband character Hank, is the only one that truly feels tossed to the side and frankly irrelevant as he stumbles along with very few lines, and has to rely on a sometimes maybe too exaggerated set of gestures to come across.

With a few tweaks on the dialogue this film could have been a great heart warming comedy with some wonderful dramatic undertones had the time been taken to add the depth it needed – as is – it wanders just a bit to much even with the wonderful acting.

Grade: C+

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Review screening link ~ Courtesy of IFC Films

“THE TRUTH” IS NOW AT SELECT DRIVE-IN’S AND ON VOD

Comedy, Movie Reviews, Movies, Music

REVIEW: “EUROVISION SONG CONTEST: THE STORY OF FIRE SAGA” (2020) Netflix

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“EUROVISION SONG CONTEST: THE STORY OF FIRE SAGA” is the story of two clunky but charming singers, who chase their pop star dreams to perform for their country in the very popular International Eurovision song contest. We see Lars (Will Ferrell) as a child watching ABBA at the 1976 Eurovision and from that moment on in life, he aspires to be everything like them. Singing along to ‘Waterloo’ is too amusing for his family as they all laugh at him, this upsets young Lars and he loses their respect, especially from his father Erick (Pierce Brosnan) who does a wonderful, darkly comedic portrayal of one of those dads who had zero faith and belief in his son on this lifelong endeavor.

Fast forward to 2020 and we see Lars teaming up with his childhood best friend and local singer Sigrid (Rachel McAdams) who along with Lars are ‘Fire Saga’, the hometown band in their small town village in Iceland. They have a few fans at local bars but they are dreaming big and are entered into a knockout competition to have the chance to sing at Eurovision. Sigrid wants to get close to Lars, but he thinks it would get in the way of the music and would be a distraction. When the other contestants are blown up, Lars and Sigrid are Iceland’s only chance left and off they go.

On this wild ride that ensues their journey through the Eurovision contest and predicaments they find themselves in, they meet their crazy fellow contests, attend some wild parties where Sigrid finds she has herself an admirer in the Russian favourite, the arrogant and flamboyant Alexander (Dan Stevens), who gives an downright amusing performance here. He comes between Sigrid and Lars who have a love attraction, until Lars decides to not perform and goes home where he not only feels lost, but realizes that Sigrid is his true love and he must return to her – well that and OMG they actually qualify for the contest itself.

As someone who has never watched more than 10 minutes of a Eurovision contest, I must confess that the film is just a little much needed diversion from everything serious happening all around us on a daily basis. And while we shouldn’t just BOOM! forget everything, we as people can do two things at once at take a momentary diversion for a hot second to enjoy this as it doesn’t take itself too seriously and is a hilarious satire of all that Eurovision entails.  The over the top performances, the voting fix of neighbouring countries, the notable guest starring roles of past contestants, and yes, the noticing of that Britain never gets a vote, just all add up to a gaggle of tidbits to make this comedic enough for all of us to at least crack a smile at.

All of it’s in good fun though you might not get a complete laugh out loud moment, you will be charmed by this one as even the Icelandic accents are funny, done in a very tongue-in-cheek manner. Again, the characters are more enjoyable and charmingly funny rather than a “ha!ha!” laugh-out-loud type funny. But with some sporting singing from both McAdams and Ferrell to close it all down, makes it one to check out.

Grade: B-

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“EUROVISION SONG CONTEST: THE STORY OF FIRE SAGA” IS AVAILABLE TO WATCH ON NETFLIX

1960's, Adventure, Drama, Movie Reviews, Movies, War

REVIEW: DA 5 BLOODS (2020) Netflix

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Here we have Spike Lee’s first film since BlacKkKlansman and “Da 5 Bloods” is sure to evoke all kinda of reactions including my very own. While I watched the movie about 10 days ago, I decided to wait till all the fervor regarding it died down some before putting out my own thoughts.

Making a film about the Vietnam War isn’t always on the top of most directors lists as it’s not what one would call a ‘good war’ such as some did for WWII.  And a bit of even the most basic history will tell you the Vietnam War was fought on a soil not many American’s had ever touched let alone wanted to fight for.  Needless to say it was known that it was a tough war because so many opposed it, which was probably the right attitude, but it meant that a lot of returning vets didn’t get the respect they deserved or the help they needed – which is sadly the American way, and actually by no means exclusive to just the Vietnam war. And of course we all had learned about the ‘My Lai Massacre’ in school – where 500 unarmed civilians – men, women, children and yes, even babies – were slaughtered by U.S. soldiers. Women were gang-raped and their bodies mutilated, as were children as young as 12. When their cover-up was eventually busted and brought public, 26 soldiers were charged with criminal offenses but only Lieutenant William Calley Jr. was convicted. Found guilty of killing 22 villagers, he was given a life sentence but served only three and a half years under house arrest. Sound familiar?

Many leaders including Martin Luther King Jr., were opposed to the war as black men were being essentially told (as was everyone as we, the U.S., had initiated the draft) to serve their country, and there weren’t any colleges or doctors writing bone spur deferrals for them. They were asked to protect the freedoms of people in other countries when they still didn’t have real freedom in their own homes. So of course this means POC – and even more specifically black men – were called up in much greater numbers than their white fellow citizens of course, and therefore were also a higher proportion of POC/black men combat casualties in Vietnam. To put the cherry on top of the cake, African American soldiers encountered racists bigots amongst their own ranks, huge discrimination and many disadvantages when it came to promotions/decorations, and lastly,  few to no services if and when they returned home. So yes, there is a lot of history of this war and none of it is good.

Now we’ve seen the Vietnam War done many times, and some of the very well, but Spike, well Spike has got his own tale to tell of this war and in Da 5 Bloods he does just this. The film follows a platoon of four Vietnam vets, headed by level-headed Otis (Clarke Peters) and erratic, Trump-supporting Paul (Delroy Lindo), Eddie (Norm Lewis), and Melvin (Isiah Whitlock Jr.) as they travel along with Paul’s son David (Jonathan Majors) who has his own backstory with his dad, back to their former battleground to recover the remains of their celebrated leader and 5th Blood, Stormin’ Norman (Chadwick Boseman)…and also the pile of gold they stashed along with him.

From there the film zips from thriller to hang-out comedy, action to drama and here is sadly where the film falters some as it’s all over the place with tone as the plot almost changes completely. The mood of a scene can change on a whim, some of them are ridiculous and so far over the top we almost lose the entire sense of the film itself. It’s as if it almost becomes a reflection of the turbulence of the battle they once fought in – where, as we see in superb retro-inflected flashbacks of so much of the controversy of which the 60’s entailed as Lee also puts in a bunch of videos and stills of Martin Luther King Jr., Malcolm X, Angela Davis, Marvin Gaye, Aretha Franklin, The Kent State Massacre and the Fall of Saigon are among the many notable figures and events from the time of the Vietnam War, along with the dramatic events of the present unfolding in the blink of an eye in front of us. Their quest to find Norman’s remains – wanting to give him the hero’s funeral he is painted as deserving – is an arduous one, but is one that is allowing for some truly brilliant character studies of these guys to emerge as well. Of course, to smuggle something to the tune of $7 million of gold back into the United States, the Bloods have to involve Tiên (Lê Y Lan), Otis’ old flame, and a Frenchman named Desroche (Jean Reno). Desroche promises he will get the money to various off-shore accounts that the Bloods will be free to draw from, which truly is up for debate throughout the entire film.

So as not to tell you the entire plot line and give away everything as the film is something you should take the time to watch, delving a little into character study is needed. While all the characters play key roles in this plot, none quite do it like Delroy Lindo does. Lindo, always a great supporting actor, has never really had to really carry the entire weight of a film on his back alone, and here he does a remarkable job of giving us his all. The reflections monologue as he ventures into the jungle is unparalleled by anything he’s ever given us before. Paul is ravaged by PTSD, he is by far and away the most complex and entrancing character on screen, and Lindo brings him to life. You hate Paul – you love Paul – you want Paul to leave – it’s all that and so much more. Almost indescribable. Again this is not about diminishing the other performances in the slightest. Everyone does an incredible job, especially Majors as David. However, it would be remiss not to point out Lindo’s all out one that put’s an incredible hold on you throughout the film.

To summarize it up, after Lee’s last film was there maybe more to be expected, sure there was, and while the message is clear and strong, the sometimes ridiculous plot is saved by the brilliant acting all the way around. For that reason alone my grading goes up a notch.

Grade: B-

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DA 5 BLOODS IS AVAILABLE TO WATCH ON NETFLIX

 

 

Comedy, Independent Feature, Movie Reviews, Movies

REVIEW: “HOW TO BUILD A GIRL” (2020) IFC Films

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Teenage girl Johanna Morrigan (Beanie Feldstein) is a talented copywriter and not popular at all in her school. At home, Johanna has a “Wall of Gods” featuring photographs of her literary and historical heroes, including: Sylvia Plath (Lucy Punch), Elizabeth Taylor (Lily Allen), The Bronte sisters, Sigmund Freud (Michael Sheen), and Maria von Trapp (Gemma Arterton). Johanna speaks to these photos, and the fact that they answer her makes for some early fun. Johanna’s family hustles to stay just above poverty. Her dad, Pat Morrigan (Paddy Considine), still has dreams of rock stardom even though they have long passed, and now he breeds black market Border Collies. Her mother Angie (Sarah Solemani) suffers from post-partem depression after giving birth to unexpected and unprepared for twins.


 


After winning a local TV spot as student poet (in a quick turn as a show host is Chris O’Dowd) turns mortifying, Johanna’s brother Krissi (Laurie Kynaston) suggests she audition for a London magazine’s opening as music critic. She unironically writes up a piece on the soundtrack to Broadway’s “Annie”—which nabs her an interview, but only as a joke. Undeterred, she overwhelms the smarmy hipster editor (Frank Dillane) into an assignment and gets the full fledged opportunity to work for a rock magazine.  They however are less than impressed when she writes what is essentially a teenage love crush fluff piece on her first big interview piece about musician John Kite (Alfie Allen) and she gets the hatchet.










With that Johanna decides to sharpen her claws and it’s here where, low and behold, she does a complete reinvention of herself and evolves into persona ‘Dolly Wilde’. It’s no surprise that Dolly’s hatchet jobs become a cause-celebre’ hit. Celebrating the idea of “A nice girl gets nowhere, but a bitch… A bitch can make a comeback,” she gradually rises to become the most hated person in the industry including winning ‘Asshole of the Year’ journalism award.






Performance wise, sometimes it’s left to ponder who Considine’s representation is as he can be fantastic actor, but at times picks roles where he fails to bring any expectation to the character he’s playing. Feldstein, being American, has a somewhat thick British accent here and aside from a few struggles with said accent, commands your attention at all angles. There are times when even though you don’t really believe she is fully pulling the character off – you still root for her – follow her – even if her figure character becomes almost unbearable in between. Nevertheless, Johanna has her heart in the right place and so this comedy is quite a decent affair – and not only for girls. That’ll help you miss some of the weaker elements. Minor characters are allowed little opportunity to develop and the story feels boiled down to the most obvious plot points. There is nothing superficial about Johanna, but the film itself fails to dive far enough beneath the surface to do her justice.




While the film doesn’t work perfectly Director Coky Giedroyc does a perfectly acceptable job of making it a fine watch. I do hope to see Feldstein break out of this typecasting of roles and move towards ones that she can really sink her teeth into. All in all “How to Build a Girl” is more of a cutsey, fun watch than maybe the book by Caitlin Moran was meant to be as Moran’s audacious humor sometimes feels muted. There is also something quite fun as well in a film that decides it is up to every girl to build and/or rebuild herself in any images she so chooses.




Grade: C+




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Media Review link courtesy of IFC Films


“HOW TO BUILD A GIRL” hits select drive-in theaters and VOD on Friday, May 8, 2020

			

	
	




	
	

			
	

				

			Horror, Independent Feature, Movie Reviews, Movies
		

			
REVIEW: “THE WRETCHED” (2020) IFC Midnight

		

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“THE WRETCHED” is a lovely looking movie – though this might be an odd thing to say about a horror film.  But take into consideration the fact the budget for this was most probably almost nil, the Pierce Brothers, Brett & Drew do an okay job here. The plot is not revolutionary by any means, but there are some surprises including a nifty twist at the end involving one of the horror cliches that the film uses repeatedly to signify the presence of evil.


Speaking of that plot, it opens with a horror film usual – girl alone gets taken out within it’s first two minutes. Then we switch over to the real point of the plot. We follow a teenage boy Ben (John-Paul Howard) who’s struggling with his parents divorce, and has come to spend some time with his father Liam (Jamison Jones). But life soon gets complicated when he notices something weird going on in the neighbor’s Abbie (Zarah Mahler) & Ty (Kevin Bigley) house with their child Dillon (Blane Crockarell), who seeks out Ben when things start going awry at home. Seems an old, evil demon-style witch has come out the forest to mess around with them. She lives under a tree and has the power to cast a spell on people such that they ‘forget’ about the existence of loved ones around them. From here, everything that can happen – will happen. Love interests, conflicts with town bullies, conflicts with father and his new girlfriend Sara (Azie Tesfai), and other plot lines go exactly where one would expect them to as well.




The characters are not the best ones to get behind and the evil presented by ‘The Wretched’ herself, lacks any real dread or scary-ness. Overall there’s just no real delving in the psychology of what’s happening, fear or mystery. However, amidst this somehow everything works, albeit on a basic level, a kind of a flat line if you will. Performances were okay all around, but some of the characters were given very little to work with. That being said, John-Paul Howard as the central hero Ben and Mallory (Piper Curda) as his summer crush, are very much the standouts here in performances. Cinematography and editing can prompt as much critique, though on the background of all that’s aforementioned, the visual side of things provided some comfort. Always extra appreciation for good practical effects, gore and such which thankfully they didn’t overdo on.  Lastly, the original score was – guess what – a bit on the uninspiring side – but hey limited budget again!


Nicely acted and shot, with decent, practical special effects with some struggles with the story which at times was a bit un-interesting and yes, completely cliche. Still it’s a well-edited mainstream pleaser. There’s a story, and it flows evenly as it entertains, accompanied by a romp of characters, decent gore and cinematography. The problem is, it does so on a surface kind of level. The Pierce brothers utilize a wide selection of familiar, ordinary devices and old tricks, perhaps trying to weave together something new, but ending up just bit on the been there/seen that side. If you’re a fan of spooky, ghost/wraith type horror, it’s entirely possible you might enjoy The Wretched as it’s not so much that it’s not to be disliked, but nor is it something to take much away from.


Grade: C+


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Media Review link courtesy of IFC Films & IFC Midnight


“THE WRETCHED”  IS NOW AVAILABLE FOR RENT/PURCHASE ON VOD


 

			

	
	




	
	

			
	

				

			Horror, Movie Reviews, Movies, Mystery, Sci Fi
		

			
REVIEW: “THE INVISIBLE MAN” (2020) Blumhouse/Universal Pictures

		

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There is a difference between what makes scary/horror movies well, scary. There is the slasher/gore type that really aren’t scary, but serve a purpose. And there there is the kind that from the very first moment, have you on the edge of your seat/holding your breath type scare. These are the preferred kind. The kind that holds you in it’s grip with every one of your senses tingling in anticipation.  Writer/Director Leigh Whannell’s “THE INVISIBLE MAN” is that movie.


Where James Whale’s masterful 1933 version of H.G. Wells‘ story saw its main transparent character commit murder on a mass scale on a self-proclaimed reign of terror, Whannell’s refreshing take on The Invisible Man, has gone for the opposite approach.  It’s not just jump-scares or loud noises, it’s something psychological. From the opening shot, you’re immediately put inside Elisabeth Moss’ character Cecilia’s head.  The whole opening scene makes you uncomfortable as we see Cecilia trying to make her escape and this kind of tension is kept on throughout the film.


Cecilia Kass (Elizabeth Moss) is a woman living in fear. She is stuck in an abusive relationship and can’t get out of it despite living a life of wealth and privilege in a seaside home; she is ready to take some drastic steps in her life to try to escape from her controlling and abusive husband who despite being considered a wealthy genius in the field of Optics, has made her life a living hell.  All of this combined forces her to make a daring escape that has her barely getting away with the help of her sister Alice (Harriett Dyer).


Picking us up two weeks later – we find Cecilia is in hiding with a friend of her sister’s, Officer James Lanier (Aldis Hodge) and his daughter Sydney (Storm Reid). She is scared to even leave the house and do the most basic of things such as checking the mailbox. All this begins to change (or does it?) when Alice brings Cecilia some information that starts the ball rolling for us all.


So with now having supposedly escaped the controlling relationship, Cecilia’s rehabilitation is cut short by the sudden intrusion of her ex who has figured out how to regain control over her life without anyone knowing how or why.  As it’s around this time that unusual things begin to happen to her. A lost item from the night of her escape shows up, a mysterious kitchen fire starts and lets the audience know to keep their eyes locked on everything as if you blink, you just might miss something cold and calculating happening.  When she expresses her concerns to others that her husband is alive and exacting revenge, and when things begin to escalate, Cecilia is the one who starts to look more and more unstable as the tormenting continues and her life spins out of control.


Expertly utilizing sci-fi trappings to take gaslighting to a whole new extreme, (there is a restaurant scene that you will never forget) the film depicts first-hand the anxieties faced by many modern-day survivors of abuse. As Cecilia stresses to those around her that her genius scientist ex has become invisible, we are left conflicted by knowing the truth of her words but also the understanding that, without hard evidence, it’s hard to accept her story at face value.


By operating in that grey area, ‘The Invisible Man’ proves the horror genre to be one of the most effective means to reflect modern day anxieties to mass audiences. Another thing this film succeeds upon is the writing. The story progresses in a fast paced way which doesn’t seem hurried. The 2 hr. run-time feels achieved. There’s definitely more than one ‘WTF’ moment in this film to keep you on the edge of your seat throughout.  As well, the score and the sound design definitely puts you in Cecilia’s shoes as you struggle with her to point out where and how exactly these events are happening aka where this ‘invisible man’ might be. The camera work is exquisite, and the action sequences definitely feel thrilling and the way it’s shot makes you feel like you’re living it.


Lastly, make no mistake about it, this movie is Elisabeth Moss’s and she lives, breathes and takes you along for the ride as if you are living it right next to her.  Hodge has always been a favourite and holds his own genuinely well here as does Storm Reid.  And don’t feel fooled by the seemingly small part of Michael Dorman as the brother Tom or Cecilia’s husband Adrian (Oliver Jackson-Cohen), as both have a surprise or two in hand for you.


Grade: B+


@pegsatthemovies


 


Media Review Screening: Tuesday, February 25, 2020 ~ Courtesy of Universal Pictures


“THE INVISIBLE MAN” IS NOW PLAYING IN THEATERS NATIONWIDE

			

	
	




	
	

			
	

				

			Drama, Movie Reviews, Movies, War
		

			
REVIEW: “1917” (2019) Universal Pictures

		

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“1917” is a cinematic feast for the eyes, with long expansive shots that follow the lead characters as they execute their mission. It does not hide the horrors that existed in trench warfare, it shows them for their brutality and abundance. A war that is now a century old and therefore no longer widely talked about or understood, is vividly captured in this stunning dramatization by Director Sam Mendes. To anyone who might be hesitating to see the film because they think they will be subjected to the graphic violence and gore of say a ‘Saving Private Ryan’, I can only suggest you don’t, as while ‘1917’ is realistically gruesome, Mendes captures the horrors of war with a more emotional sense and aesthetics. While graphic at varying moments, you are never hit over the head with it. ‘1917’ in this way is beautifully artistic, never straying close to being shock art, but not holding back at the same time.




The year is of course ‘1917’. Deep in the heart of France, British soldiers battle the Germans in what appears to be insurmountable odds. Filmed and edited as if it was one long take by 14 time Academy Award nominee cinematographer Roger Deakins, the camera never leaves our leads motion on the battlefield where we meet the two young soldiers, Lance Corporal Blake (Dean-Charles Chapman) and Lance Corporal Schofield (George Mackay). They’ve just been assigned an impossible mission by General Erinmore (Colin Firth) to do three very important things: 1. travel by foot behind enemy lines 2. avoid German snipers and artillery 3. find a British battalion that is about to walk into a trap set up by the Germans. It’s a task so dangerous it will probably cost both men their lives, but if they fail, it will lead to the massacre of 1,600 British soldiers. Adding to the urgency of the assignment, Blake’s older brother is one of the 1,600 soldiers about to walk into the ambush. There is no clock ticking in the corner of the screen, but we know time is of the essence, and quite limited.


And although MacKay and Chapman do a pretty phenomenal job at capturing the true essence of their characters going through a literal hell, it’s the side characters with little-to-no screen time who steal their spotlight. Andrew Scott, Mark Strong, Richard Madden and Benedict Cumberbatch are checkpoints along the way, but they do impress with the few lines they’re given.


Apart from a couple of nit-picky things there is nothing bad about this movie. To be fair, it could be said some of the scenes are empty and it might test audiences’ patience. It’s even eluded to at the start there is no food around, yet Blake looks very well fed. Chapman also doesn’t nail some of the important scenes, which takes some of the emotional punch away from them. The French women in the cave has a baby that’s not hers, and he just happens to have milk – in the middle of a battle field – felt a bit contrived. The only other thing to mention might be the fact the Germans here can’t seem to aim to save their lives, so much so that it did start to feel a little hard to believe at times.




I rated this quite high film for many reasons. Directing, acting, set design, cinematography, musical score, the raw emotion it invokes. Watch if you will, but know there is no pleasure in watching and the film will grab you and the beginning and not let you go. Even though we know the outcome of WWI, there is no joy, there is no peace. Watch because it will allow you a glimpse at the horror and brutality of war; reflect on their service and sacrifice and hope it never happens again.


Grade: B+


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Media Review Screening: Wednesday, December 18, 2019 ~ Courtesy of Universal Pictures


“1917” WILL BE OUT IN THEATERS WORLDWIDE FRIDAY, JANUARY 10, 2020

			

	
	




	
	

			
	

				

			Action, Action Adventure, Adventure, Fantasy, Movie Reviews, Movies, Sci Fi
		

			
REVIEW: “STAR WARS: THE RISE OF SKYWALKER” (2019) LucasFilm/Disney Pictures

		

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Ah, that familiar opening sequence that we know so well.  Where we know we are going to a galaxy far far away…is about the only thing left from over from the original that will never get old seeing. Even with “STAR WARS: THE RISE OF SKYWALKER” having this terrific memorable opening sequence, it is sure note that this isn’t a ‘George Lucas’ vision of Star Wars. To be fair, when it comes to Star Wars, the appreciation and the significance of it all is not lost on me, as well as the quality and enjoyment of the films that people feel. But alas, I probably am not in the high percentile of top fans and really wouldn’t consider myself a big Star Wars fan per se. While having seen most of them, I was just one who never grasped onto to the films so completely as others have. With that, seeing the conclusion of the Skywalker series wasn’t going to make me emotional mess in the lead up as maybe it would be to some others – so just know this review truly has no bias on that end.


Episode IX takes place some number of years after The Last Jedi where Rey (Daisy Ridley) has been training to take down the first order.  The Resistance lead by Leia (Carrie Fisher) are figuring out a way to lead the charge with the few alliances they have left, and Kylo Ren (Adam Driver) is trying to become a powerful Sith. The unknown time after which this is set definitely has a few holes in the character progression that were possibly needed in order to ‘damage control’ on the story direction. It’s is also hard to talk about the film without spoilers, but doing my best to get across the jist of it, without really going into heavy spoiling. The Emperor Palpatine (Ian McDiarmid) is not a spoiler as it’s in the trailers and posters so mentioning him, but not any external story elements stemming from his return noted.




As mentioned the biggest problem with Episode IX is the direction of this story. There is just an excess of side stories in the film which absolutely kills the run time and the effects of what the main story being told is. And can we say Cameos GALORE? Boy there were some good ones though. But if you were of the thought that ‘Force Awakens’ had nothing original to offer, well the Rise of Skywalker will double down on that premise. It’s hard to believe how they set it all up, had conflict and executed the conclusion of these characters, all in one unsuccessful sweep here. Plus smack dab in the middle of battle, leading us down the road to clearly what is to become the new series of films or possibly a new show for Disney +, with a quick little story line with Finn (John Boyega) and Janna (Naomi Ackle) have a little convo about how they came to be Troopers and how they need to ‘try and find where they came from.’ Yep, there is your next movie or TV story line people.


As many have already said, there was clearly no plan by Disney for the trilogy. What Abrams set up, then Rian Johnson stepped in and had total control to then do what he wanted, and now Abrams is back to ‘save’ the film by bringing back the Emperor. Okey Dokey. The way the film quickly establishes how and why it is nothing short of lazy. Because there was no mention in the previous sequel films, the Emperors return is ruined due to the franchise factor forcing it back in. The film originally was having Colin Trevorrow as director, so there was clearly no connecting person here like George Lucas and his vision, to step in and help the story take place and progress. Bringing in different directors bring a new look to the film is not a problem, if you can still have a solid story told throughout. Then the bunch of side stories that are being told, just fail to have the time to conclude properly. Maybe they needed more than one film in order to explore them – or should have done so previously. Everything is just rushed into the film and Rey, Finn, Po, Ren and the Emperor, all have to share the screen and some arcs don’t feel earned.




The new band of heroes here as well, just don’t have the same charm, personalities or chemistry together (actually this is the first movie in the new trilogy, where they do stuff together). They feel more like they have been cast for a commercial shoot of the film versus what type of character and personality they had to portray – they are all just so empty, like cardboard-cutouts with calculated screen-time and one-dimensional personalities. Most of them hardly even have an arc or any real character-development over the course of these three movies. The final scene with Kylo Ren and Rey is laughable bad, you’ll know what this is if you’ve seen the film, and if not, you soon will. I was just in awe that the writers ruined a perfect moment by including a said ‘particular action’ which eluded gasping laughs. One character though who was fun and has always been great, is C-3PO (Anthony Daniels). He always been essentially kinda bullied and the film knows this and consequently builds on this to create a somewhat compelling character. Chewbacca (Joonas Suotamo) wins for the most emotional moment though. Finn and Po Dameron (Oscar Isaac), had character problems that needed to be established in the earlier films as their pay offs don’t feel earned. Rey was also somewhat disappointing mostly due to the direction of the story, but her arc is so unbalanced throughout the first two films that once her character conclusion is just unsatisfactory.


The action as well often doesn’t serve a purpose to the story – it’s just more timely inserted space-battles, chase-scenes and sci-fi fights. Mostly just overblown shiny CGI stuff with a few practical puppets, sets and costumes thrown in to pander to the old fans. These characters didn’t have a lot of time to be together unlike in the original trilogy, so their interactions weren’t memorable. This is also due to the forced jokes and dialogue. I felt like Isaac’s Po was just trying to hard to fill Harrison Ford‘s old shoes of humour when he was Han Solo. Sure the original Star Wars movies had some humor, but in those movies it felt natural, not these wink-wink-moments, slapstick humor and juvenile self aware meme-jokes. What’s worse, is that this movie also tries to be dark at the same time, but this isn’t Empire Strikes Back or Revenge of the Sith, as those movies really were dark chapters in the Star Wars saga with hardly any humor in them.  But in The Rise of Skywalker, it just makes the movie feel even more like a tonal mess, since the movie tries so to be funny, upbeat and happy at the same, making both the humor, the drama and the darker elements feel even more forced and out of place.




The originals worked because they didn’t try to be funny, and the characters were written like they could almost be normal people in the space, whereas the sequel characters are just yelling stuff out that is not natural.  At least the CGI was great. It’s expected to be and it looked cool. What they did with Carrie Fischer was surprisingly good and it fit as well. Yes, it was kind of obvious at points where extreme editing was in play, but her tragic passing was so sad and they had to do what they could after the unfortunate circumstances. (#RIPCarrie). Some of the the battles, while looking good, weren’t all that well executed. As well, lacking a lot of suspense the light-saber duels between Rey and Kylo – on the one hand they were interesting  – on the other they don’t get you as excited as the film wanted you to be. The final fight was just really over the top. I get there’s a finality to the film but there’s so much that’s happening that leaves unanswered questions toward the state of the galaxy.


Lastly, is the music. Yes it’s essentially the same, but John William score is perfect and on every level and is possibly the only thing that elevates the movie. It adds all the tension and emotion to all the Star Wars films to be sure. It’s something we never tire of it after all these films and would still gladly listen to it in future films.


Overall, Rise of Skywalker is underwhelming in it’s execution yet has some good ideas. Even though I’m not it’s biggest fan, there still felt this unsatisfying feeling as the film clearly had no plan and the end result of the story is clearly forced. Is it wrong to have just wanted to see a good conclusion to one of the most popular franchises ever? Instead, the film misses the mark and fails to have an overall finality feeling.


Grade: C


Follow me on twitter: @pegsatthemovies and Instagram: peggyatthemovies


 


Media Review Screening: Tuesday, December 17, 2019 ~ Courtesy of Disney Pictures


“STAR WARS: EPISODE IX – THE RISE OF SKYWALKER” IS OUT IN THEATERS WORLDWIDE



			

	
	




	
	

			
	

				

			Drama, Female Director, Independent Feature, Movie Reviews, Movies
		

			
REVIEW: “CLEMENCY” (2019) Neon Pictures

		

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“CLEMENCY”  opens with an agonizingly difficult scene and is definitely not for the faint of heart. We are watching a man die. Actually, incorrect. We are watching Victor Jimenez (Alex Castillo) being served his death penalty execution sentence by injection where a good vein cannot be found for the needle and it’s going horrifically wrong in every which way possible. A scene so horribly difficult to watch that no amount of squirming or covering of the eyes will ever quite be enough to un-see it. This horrific opening scene leads us into  Chinonye Chukwu’s second film with a point of view rarely shared, a non-political look at the emotional toll something like this takes on those who must carry out the sentence.


Bernadine Williams (Alfre Woodard) is the female Warden of a prison in Texas where death penalty sentences are carried out per the courts orders. Bernadine’s job involves dealing with every thing from family members, protesters, lawyers, the media, picking of guards and medical staff, overseeing the procedures, even final meals. statements and last rites performed in conjunction with Chaplain Kendricks (Michael O’Neill).  She performs these tasks in a very professional manner while trying to maintain a sense of duty and responsibility, in a seemingly matter-of-fact tone that comes across. This portrayed stoic persona is taking a toll on her life both personally and professionally. She drinks to much, fails miserably at having even the most basic of normal conversation, doesn’t sleep much which leads to more drinking and problems in her marriage to her husband Jonathan (Wendall Pierce), a high school teacher who dreams of them retiring together and taking a much needed sabbatical.




In the aftermath of the horribly botched execution, Bernadine is tasked with having to prepare for the next execution of convict Anthony Woods (Aldis Hodge) and is under pressure to make sure the same mistakes don’t happen. From the Deputy Warden Thomas Morgan (Richard Gunn) to Prison Major Logan Cartright (LaMonica Garrett), most every person she tries to have help, expresses a desire to walk away and this speaks clearly to the burden associated with the tasking of carrying out the sentencing.  In the meantime, Woods, a death row inmate for now for 15 years and with his execution date fast approaching, is feeling the desire to try to leave behind something besides a legacy of his life of crime for his son to remember him by, and for some closure.  Hope rises from him with a visit from his former girlfriend Evette (Danielle Brooks), sadly, as she expresses to Woods what it is she needs, that hope is crushed as well.


Despite his claims of innocence, his confession that he was there but did not commit the crime he is convicted for, and critical evidence showing he was not the one who killed the police officer, Woods’ attorney Marty Lumetta (Richard Schiff) informs him that his last strand of hope is a decree of clemency by the governor as all legal appeals have failed thus far.  The rest of the movie’s parts work within each other to show the toll the past and present executions present and how they all must confront the demons put in front of them. Anthony’s lawyer character, equally damaged by not being able to save Anthony after putting all he had into it, tells him that this is to be his last case as he is on the verge of retiring, but not because he wants to, but because he simply can’t handle the despair of his job anymore. Hodge puts forth an almost non-verbal performance with his unspoken words reflecting his pain almost more than if he had spoken them. There are some moments between prisoner and lawyer that are touching and strong, especially as you realize that well, simply put, this isn’t going to have a happy ending.


But let’s be clear whose movie this really is and that is of course Alfre Woodard. Her ‘Bernadette’ is strong, but oh so pained and flawed. But yet she embraces her with every look, every nuance of this quiet performance is almost loudly done with micro moments that are seismic in the overall perspective. Only the character of Bernadine’s husband seems a bit thinly sketched here jumping into arguments and leaving Bernadine to cope on her own while in clear turmoil. Leaving the performances aside for a moment as the film itself misses something that’s hard to put a finger on. Maybe it’s the overuse of the jerky movement of the handycam in one nauseating scene where the roving camera didn’t fit in well, Maybe it’s the conflicted narrative at times, as we sometimes lose track of what exactly the film is leading us to. Is it Bernadine’s shifting attitude towards laws themselves or is it losing her composure with what the executions toll is taking from her emotionally & physically. Or is it about Anthony isolation for so many years and facing his impending death. Or we could go so far and make it about his lawyers impending resignation. Some of this leaves us hanging without balance, but once again it’s such a performance driven film and without said performances it wouldn’t be nearly so powerful that you almost forget you wished all of the characters were just people you wanted to like, but couldn’t grasp doing so.


Grade: B-


Follow me on twitter: @pegsatthemovies and Instagram: peggyatthemovies


 


Media Review Screening: Tuesday, December 3, 2019 ~ Courtesy of 42 West


“CLEMENCY” WILL BE OUT IN SELECT THEATERS ON DECEMBER 27, 2019 

			

	
	




	
	

			
	

				

			Biography, Drama, Golden Globes, Movie Reviews, Movies
		

			
REVIEW: “BOMBSHELL” (2019) Lionsgate/AnnapurnaPictures

		

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Director Jay Roach’s newest drama is the aptly titled “BOMBSHELL” in which we see a literal sex harassment bomb being dropped with not only the star talent names that are all over the cast of this true story, but of the toxic effects of Chairman Roger Ailes (John Lithgow) as well, and what ensues during this well deserved take down. Ailes, who ruled the roost at Fox News until the toxicity of his created atmosphere surfaces in an accusation that is led by seasoned television host Gretchen Carlson (Nicole Kidman), after her firing from the company. What follows, shows us in detail the culmination of the loss of not only his CEO/Chairman title, but of his reign at Fox News. And folks – this ‘Bombshell’ couldn’t have dropped at a better time.


With the #MeToo movement in full force for a couple of years now and with victims coming forward and sharing their horrific experiences around sexual harassment, the revelations are astounding but not surprising after more and more highly regarded and powerful men have been uncovered as sexual predators in the workforce. To be fair, what happened in 2016 at Fox News, does get dramaticized to make it more appealing for the movie going audiences, but at the core of the story is nothing but truth.




The film follows Gretchen Carlson (Kidman) who opts to fight her ouster from the company claiming that her career was marked by frequent harassment often by Aisles himself. At the same time Megyn Kelly (Charlize Theron), is dealing with backlash from Presidential Candidate Donald Trump and is being forced to endure what she sees as verbal attacks for the good of their audience and ratings.  As this story unfolds, the audience is introduced to Kayla Pospisil (Margot Robbie), a young journalist eager to make her way up the corporate ladder. She is introduced to Aisles who asks her to “model” for him claiming that since they work in a visual medium, he cannot just let anyone on the air and needs to ensure “loyalty” amongst his staff. Carlson eventually files a lawsuit but due to the power that Aisles and the Network holds, nobody is willing to come forward to back her and she is faced with taking on the media giant alone. The movie then centers on the key players and their day to day lives which enables them to find the strength to come forward and do what they believe is right.


Everyone here from our leads to the supporting is a respected name and adds in so much to the overall story line.  John Lithgow gives the performance of a lifetime, from the paranoia to his personification of ‘fake news’ to his harassment, both verbal & sexual in nature, of the loathsome Roger Ailes. Connie Britton steps up as his wife Beth Ailes, who seemingly doesn’t want to see what’s right in front of her, until of course it actually is with the tapes Carlson unveils she has. Kate McKinnon is on hand as Jess Carr, the Faux news ‘secret’ Democrat who hides her sexuality in a closet of her own making that she can’t get out of. We have so many small roles that even out this cast with everyone from a hilarious little pivot role of Judge Jeanine Pirro (Alanna Ubach), to Richard Kind stepping in as Rudy Guiliani, Greta Van Susteren (Anne Ramsay), Sean Hannity (Spencer Garrett), Geraldo Rivera (Tony Plana), Bill O’Reilly (Kevin Dorff) and lastly, Jennifer Morrison as Juliet Huddy, one of the very few who filed years before all this came out and was subsequently banished to an outlying station. With all wonderful supporting cast, it’s Margot Robbie who has found her possible Oscar winning role here in Kayla. There are moments when as the horrible things are happening to her, the pain in her eyes is palpable – with the audience feeling and living every second with her. We really have to commend the make up/designers here as Theron really looks so much like Megyn Kelly in this film that at times its hard to not feel like she IS Kelly.  Theron transforms so well, you’d almost think she could pass as her clone with her characteristics, facial expressions, voice, all under perfect control – it’s uncanny. Same with Kidman as Carlson as her acting is nuanced, as she brings an energetic confidence to her character and the film that we all can applaud.




Personally, it can be respected what these women went through and finally stood up for – what can’t always be forgiven is the damage they caused with their words on Fox and waiting so long to finally step forward. While the film touches on important matters that has recently come to the light in droves, it doesn’t always reach its potential and with some choppy editing and often-bizarre narrative techniques, making the story relatively disjointed at times. The film is sure to spark some discussion as despite the events portrayed in the film it appears that many of those who acted improperly managed to financially win from their downfall but it at least set a precedent for those looking to come forward knowing they are not alone.


Grade: B-


Follow me on twitter: @pegsatthemovies and Instagram: peggyatthemovies


 


Media Review Screening: Tuesday, December 3, 2019 ~ Courtesy of Lionsgate


“BOMBSHELL” IS OUT IN THEATERS NATIONWIDE // WORLDWIDE TO FOLLOW JANUARY 2020