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Sometimes, you watch a movie and are satisfied. Other times, you’re disappointed. The vast majority of the time, that’s where you live. But it is the movies on the margins that tend to stick with you. To be clear, that’s on either end – a terrible movie will linger just as a brilliant one will. But when you find those films on the ends of your personal spectrum, it’s a reminder of just why we love movies in the first place.

Firmly ensconced on the brilliant end of that spectrum, you’ll find “One Night in Miami,” currently available on Amazon Prime Video.

The film marks the directorial debut of Regina King, with a screenplay that Kemp Powers adapted from his own stage play of the same name. It is an imagining of what took place when four Black icons – legends – came together in a hotel room in Miami one night in 1964. Inspired by true events, it is an exploration of responsibility, both of a man to himself and of an idol to his community. It is a powerful, emotionally charged dive into the Black experience during the civil rights battle – one that shows that there is more than one way to fight.

With a quartet of transcendent performances at its core, “One Night in Miami” is a wildly compelling and provocative piece of filmmaking, the sort of movie from which it proves almost impossible to wrench your eyes. Challenging and unapologetic, it is cinematic dynamite.

Published in Movies
Monday, 18 January 2021 16:37

‘Outside the Wire’ offers so-so sci-fi

Stop me if you’ve heard this one: In a relatively near future, a human and a robot or forced to team up with the fate of the world at stake, but not all is as it seems.

Sound familiar? Then you’re well-equipped for “Outside the Wire,” a new sci-fi action film coming your way via Netflix. Directed by Swedish filmmaker Mikael Hafstrom from a script co-written by Rowan Athale and Rob Yescombe, the film is an uneven mashup of familiar genre tropes that sports that unmistakable Netflix sheen.

Basically, if you’ve seen even one human/robot partnership movie, there aren’t likely to be many surprises for you here. “Outside the Wire” is essentially a collection of predictable plot points punctuated by action set pieces and lots of explosions, without even the headiness of ideas that make some of its spiritual predecessors conceptually engaging as well as viscerally.

Published in Movies

I’ve reviewed my share of teen weepies over the years. And there will always be more, because the powers that be aren’t dumb – there is always going to be a market for movies where attractive young people deal with obstacles both real and imaginary.

I should be clear – I’m not one of these people who automatically assumes that something with a YA label is somehow less than. There are plenty of high-quality YA entertainments across all media out there; to my mind, a good story is a good story. The unfortunate truth, however, is that those same powers that be aren’t always that concerned with a good story – for them, the overwrought feelings and melodrama are more than enough to get the job done.

“The Ultimate Playlist of Noise,” newly streaming on Hulu, isn’t QUITE that cynical. Directed by Bennett Lasseter from a script by Mitchell Winkie, it’s a well-intentioned film that offers a perspective on what it means to be a young person losing something (or someone) that you love. It’s the story of a young man who, faced with the loss of his hearing, undertakes to hit the road and record a collection of favorite sounds before they’re gone (for him) forever.

(If this rings familiar, last year’s exceptional “Sound of Metal” covered a fair amount of the same ground, only in a more nuanced and much less saccharine way.)

Now, this movie isn’t actively bad the way so many films that fall into the YA feelings category are. It has some things to recommend it – exceptional sound design, for example, with a killer soundtrack – but for the most part, it lands in the muddy middle. Fine and forgettable.

Published in Style

Brace yourselves, folks – the onslaught of pandemic cinema is fast approaching. We’re going to see a wealth of films a) made during the lockdown, b) made about the lockdown or c) both. Some of these movies might well prove to be exceptional pieces of work, but rest assured that a lot of them are going to be, well … not.

“Locked Down,” the new film directed by Doug Liman and starring Anne Hathaway and Chiwetel Ejiofor, lands closerto that latter category. Currently available on HBO Max, it’s the kind of throw-everything-at-the-wall-and-see-what-sticks movie that doesn’t always work; toss in the limiting factors of pandemic production and you’re looking at a project that was already hamstrung before shooting started.

I mean, who thought it was a good idea to make a lockdown-centric movie mashup of romantic comedy, relationship drama and heist movie? Rumor has it that screenwriter Steven Knight wrote the script on a dare. It definitely shows. Now, it’s not all bad – the truth is that there are some solid ideas here and the leads are certainly talented enough. Unfortunately, the disparate elements never get properly blended, leaving us with a clunky three-into-one vibe that will prove frustrating to those who see the very real potential here.

Published in Movies
Monday, 11 January 2021 16:56

A home of one’s own – ‘Herself’

Stories of reinvention have always worked well on screen. There’s a real appeal to watching people, through sheer determination and a support system willing to help, turn their lives around – particularly when they’re moving away from toxic and/or dangerous circumstances.

That idea of reinvention is central to “Herself,” newly streaming on Amazon Prime Video. The Irish film is directed by Phyllida Lloyd from a script co-written by Malcolm Campbell and Clare Dunne (who also stars); it’s the story of a woman who escapes an abusive relationship and attempts to carve out a new life for herself and her two daughters.

It’s a small film that mines great power from its intimate nature. Featuring some excellent performances and a simple story that is alternately heartwarming and heartbreaking, it’s a quietly powerful viewing experience that offers a look at just how difficult it can be to change one’s life for the better.

Published in Movies

While a lot has been made about the separation of art and artist in recent years, the reality is that we’ve always been faced with that divide – we just have a LOT more access to the personal beliefs and actions of our artists. How effective – and how necessary – the separation can be varies from individual to individual.

It’s unfortunate that “Pieces of a Woman,” directed by Kornel Mundruczo from a script by Kata Weber, will become part of that conversation due to the recent allegations against Shia LaBeouf, who stars in the film. Not because LaBeouf’s actions are somehow overblown – if true, they certainly are not – but because this talk will overshadow what is otherwise a powerful and gutwrenching film.

The real star is Vanessa Kirby, who presents one of the most complex and nuanced portrayals of maternal grief that we’ve seen onscreen in years. Hell, maybe ever – she’s that good. And the film itself digs its fingers into your soul, unrelentingly showing the difficulties, overt and subtle alike, that come with dealing with loss. It’s a stunning achievement whose many accomplishments may be overshadowed by the brutal real-life misdeeds of one of its players.

Published in Movies

Sports documentaries are always a mixed bag, but that bag is particularly mixed if the doc is about a single individual. It’s a fine line; a person isn’t going to sign onto a film that’s going to be a hatchet job, but venturing too far into the realm of hagiography undermines the credibility of the filmmakers and the credulity of the viewer.

“Tony Parker: The Final Shot,” currently streaming on Netflix, manages to find its way into the middle ground, albeit considerably closer to the hagiographic side of the equation. Directed by French filmmaker Florent Bodin, it’s a journey through the career of Tony Parker, the retired NBA point guard who is generally considered to be the greatest player in the history of French basketball.

Published in Sports
Wednesday, 30 December 2020 11:11

A year in film failures: 2020’s worst movies

I reviewed a LOT of movies this year – just north of 150. This means that I saw a lot of good ones and plenty of half-decent ones.

It also means I saw quite a few bad ones.

What follows is a list of some of the worst movies I saw in 2020. Some were well-intentioned efforts that went sadly awry. Some were misguided efforts to start franchises. And some were just … bad.

I’ve got 10 here, followed by another 10 honorable mentions. The truth is that most of these could be shuffled around – the difference between, say, the eighth worse and the 13th worse is negligible – but the whole deal with lists is that at some point they end.

Here they are: 2020’s film failures.

Published in Movies
Monday, 28 December 2020 14:57

‘Soul’ has heart

Hey there! Would you like to watch a beautifully animated film rife with cute characters and silly gags that also causes you to contemplate the deeper meaning of life? Are you interested in a cartoon that may trigger something of an existential crisis? Do you want to laugh and cry in equal measure?

If your answer to these questions is yes, well … you probably already watch Pixar movies.

The studio’s latest offering is “Soul,” another masterful piece of work that is currently streaming on Disney+. Directed by Pete Doctor – the animation auteur who previously helmed Pixar heartbreakers “Inside Out” and “Up” – with co-direction from Kemp Powers, it’s a film that takes a look at what makes us us, an emotional and cleverly rendered look at where we go after we die and where we are before we are born.

It’s smart, of course, and absolutely stunning to look at. This being Pixar, it also takes the opportunity to emotionally eviscerate us, showing us the power of self and of sacrifice while offering up some thoughts on just what it’s all about. Another triumph from a studio that simply doesn’t miss.

Published in Style

Love ‘em or hate ‘em, superhero movies have defined the industry for well over a decade and show no signs of slowing. If anything, we’re just going to keep getting more and more of them – they’re appointment films in a business that is dying for anything that will ensure big box office receipts. Considering the faltering movie theater model, expect studios to keep pushing this kind of franchise-friendly fare.

Me? I love superhero movies. Do I recognize the more cynical motives behind them? Sure! Do I care? Not in the least!

So I was thrilled to finally see “Wonder Woman 1984.” As someone who, despite my job, is still steering clear of movie theaters, having the opportunity to see this movie in my own home via HBO Max was fantastic. Given the extended drought of superhero cinema, I was primed to dig this movie even though Marvel > DC, in my opinion.

And guess what? I dug it!

Directed by Patty Jenkins – who returned to the franchise after helming 2017’s excellent “Wonder Woman” – from a script she co-wrote with Geoff Johns and Dave Callaham, “Wonder Woman 1984” is engaging enough, though it doesn’t quite capture the same lightning in a bottle energy of the previous film. There are some great set pieces, solidly charismatic lead performances and a couple of really going-for-it supporting turns – enough to make for a flawed-but-satisfying moviegoing experience.

Published in Movies
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