Review – Page 64 – We Are Movie Geeks

MORE THAN ROBOTS – Review

The movies have helped to propel our fascination (especially kids) with mechanical men. And women, since one of cinema’s most iconic fantasy images comes from the silent era, namely the female facsimile of Maria played by Brigitte Helm in the Fritz lang classic METROPOLIS, which in turn inspired the look of C-3PO in the Star Wars franchise. In those fifty years in between, there was the clunkier Tin Man of THE WIZARD OF OZ, countless slow-moving metal menaces in cheesy sci-fi and horror flicks and serials. leading to the more whimsical Robby the Robot in FORBIDDEN PLANET (who’s a not-too-distant relation of the Robot from TV’s “Lost in Space”). And there are countless more human-looking “artificials” in WESTWORLD and the many Terminator incarnations. We’re not quite there, though there have been “bot-building” contests and competitions for teens over the last thirty years. That’s the focus of this new feature-length doc which follows several of those teens from around the globe striving to show that their passion encompasses MORE THAN ROBOTS.

The camera crews are truly “globe-hopping” as they profile the different high school teams prepping for the 2019 FIRST Robotics Competition, an event begun by Dean (Mr. Segway) Kamen as a way to motivate and inspire young minds. After a brief prologue set at the big contest, the film jumps back three months to introduce several hopeful entrants. There are a couple of California-based students interviewed. In El Segundo, Jacob is proud to be part of his school’s team (each has a number and a creative name) #4201 the Vitruvian Bots, while over in Compton, Aaron has high hopes for#6904, the Terawatts. From there they skip across the “pond” to Chiba Japan where Kanon has arrived from Minnesota to be a mentor to the just-formed team at the Chiba Institute of Technology, Sakura Tempesta. And south of our border young Mariana is a big part of team #4010, Nautilis out of Mexico City. After Winter break, the different teams meet at a preview event to find out what the theme for the year requires in the way of tasks for their devices. FIRST has teamed with Lucasfilm ( a producer on this film also) as part of the Star Wars: A Force for Change initiative, and a fabled cast member of that movie franchise briefs them via video on the “mission”. Their robots will have to gather up spongy yellow balls, shoot them into hole-like “ports” (getting points for every ball going in). and then have the robots pull themselves up and balance on a lowered pole (though it resembles a huge coat hanger). Then the kids are off and running after getting a big box of assigned materials. The filmmakers follow them and their teachers and mentors through the whole process, full of long hours and mechanical “snafus”.Everyone’s laser-focused on the Spring event, not knowing that the year 2020 has a few “surprises” in store for them.

Hot on the heels of LUCY AND DESI just a couple of weeks ago, this new film marks the documentary feature debut of yet another talented comic (mainly) actress, Gillian Jacobs (best known for the TV series “Community” and soon to be seen in THE CONTRACTOR). With the confidence of an old “doc pro” Jacobs deftly balances the personal stories of the global quartet with a history of the FIRST tournies and a sweeping, up-close, in the middle of the action, overview of the big event that they’ve all working toward. The energy and enthusiasm of the young people are infectious as they scurry about, making last-minute “fixes” and cheering each other on to new heights. She captures the fervent mania of the big FIRST event which almost feels like the college basketball annual tournaments (like “March Madness”), but a big difference is extolled by the participants and the founder, Kamen. The sting of competition is softened by the fact that the teams merge, two become one, in the final challenges, learning to work together and build on their ideas and strengths. Sure, it’s mainly a “feel good” modern fable, but Jacobs shows us that all the tests and ‘trial runs” can be for naught as the machines seemingly refuse to function. But there are no wailing and gnashing of teeth (braces mostly) displays of dramatic despair, rather an “Oh well, back to the drawing board (or laptop)”. Plus there’s the unexpected element of suspense as Jacobs lets our knowledge of the early 2020 world events creep in, making the plans of the teams more poignant. And again, when the world “stopped” they go on to use their skills in another arena with a very different set of goals. We come away feeling that, yes, “the kids are alright” because their dreams are about much MORE THAN ROBOTS.

3 Out of 4

MORE THAN ROBOTS begins streaming exclusively on Disney+ on Friday, March 18, 2022

THE ADAM PROJECT – Review

What if you could make your peace with your own history? What if you could, as an adult, go back and make peace with your younger self, and make your peace with the parents we failed to understand when we were growing up? What if you could go back and reconnect with your parents with the benefit of a lifetime of wisdom and perspective? These are the questions director Shawn Levy asks in his latest film THE ADAM PROJECT. Starring Ryan Reynolds, Walker Scobell, Jennifer Garner, Mark Ruffalo, Zoe Saldaña and Catherine Keener, the film is the story of a time-traveling pilot Adam Reed (Reynolds) who teams up with his younger self, (Scobell), and his late father, Louis Reed (Ruffalo) to come to terms with his past, and losses, while saving the future.

In this throwback to the sci-films from the 80’s, the filmmaker proves with THE ADAM PROJECT the power of nostalgia. It’s filled with themes movie going audiences witnessed and embraced with the likes of E.T., THE LAST STARFIGHTER, EXPLORERS and BACK TO THE FUTURE, with a hint of RETURN OF THE JEDI, as well as exciting battles with time soldiers, evil villains, de-cloaking spaceships and disintegration effects.

At the heart of the story is how these characters come to terms with loss and the past. While Adam’s journey in saving the world involves reconnecting with his younger self and teaming up with his dead father, the driving force is what sent him on this path to begin with – his search for his wife Laura (Saldaña), who is sent into the past by time-traveling supervillain Sorian (Keener) who stole and profited from the invention created by the “Godfather of Time Travel” Louis (Ruffalo).

The chemistry between the young newcomer Scobell and Reynolds is spot on and their adventure adds a beautiful mix of adventure-fantasy with real character emotions.

However the best scene and one driven by the quiet soulful acting of Reynolds is where a grown-up Adam offers his mother (Garner) the encouragement and acknowledgment of how she and her young son are both still grieving with the loss of husband and father. It’s something she never expects, but at the moment she needs it most. The father-son storyline may take center stage in The Adam Project, but it’s this one scene in particular that gave the film one of its most touching moments. “Boys always come back for their mamas.”

The Adam Project (L to R) Walker Scobell as Young Adam and Jennifer Garner as Ellie. Cr. Doane Gregory/Netflix © 2022

Huge thanks to Levy for casting Ruffalo and Garner, who previously starred in another fantasy film from 2004, as the couple Louis and Ellie Reed. Haven’t we all been waiting for a 13 GOING ON 30 reunion?

The Adam Project (L to R) Jennifer Garner as Ellie and Mark Ruffalo as Louis Reed. Cr. Doane Gregory/Netflix © 2022

Written by Jonathan Tropper and T.S. Nowlin & Jennifer Flackett & Mark Levin, THE ADAM PROJECT is filled with comedic banter and terrific action-packed sequences.

The Adam Project is the second creative collaboration between Levy and Reynolds off the heels of Free Guy and it was just announced the two will go for a third helping with DEADPOOL 3 as first reported by The Hollywood Reporter

Even Reynolds got in on the announcement over on Twitter.

The third film in my Shawn Levy trilogy will be a tad more stabby. pic.twitter.com/ofBrFyaRsv
— Ryan Reynolds (@VancityReynolds) March 11, 2022

Of note are the artists also bring the audience an emotional character story first and foremost and the time travel device to facilitate the story. Their work on THE ADAM PROJECT make the audience really care about the the characters’ journey in the end.

Visual Effects Supervisor Alessandro Ongaro (Ghostbusters: Afterlife) delivers a certain wow-factor without tipping too far into sci-fi. The time soldiers’ decloaking and decimation effects (think cool digital poprocks candy) were created by VFX studio Scanline to give them a more tactile feel than what would traditionally be seen in sci-fi movies without it being too violent, Editor Dean Zimmerman (Free Guy, Stranger Things), who has worked with Shawn Levy for 20 years, beautifully cuts together a film that keeps the pacing of the story moving and provides some cool battle scenes, and Director of Photography Tobias Schliessler uses classic framing and uncomplicated lighting in order to draw the audience’s attention to the characters at all times.

What gives the film its emotional cohesiveness is composer Rob Simonsen’s simple score, while also making it sci-fi epic. He creates a futuristic feel with his use of orchestra and piano but keeps the human drama very human. Simonsen truly sets the tone for the entire film with the sound “The Adam Suite Theme.”

In the end THE ADAM PROJECT is a wonderful movie and a contemporary version of a movie really not being made anymore — the Spielberg, Robert Zemeckis-type action-adventure movie like The Last Starfighter, E.T. , The Goonies or Back to the Future – and one to watch with the family.

THE ADAM PROJECT is streaming now on Netflix. https://www.netflix.com/title/81309354

4 out of 4 stars.

THE ADAM PROJECT – (L to R) BTS of Ryan Reynolds as Big Adam and director Shawn Levy. Cr. Doane Gregory/Netflix © 2022

TURNING RED – Review

MIDDLE SCHOOL MAYHEM – In Disney and Pixar’s all-new original feature film “Turning Red,” 13-year-old Mei Lee, a confident-but-dorky teenager, is surviving the mayhem of middle school with a little help from her tightknit group of friends. Featuring the voices of (from left to right) Maitreyi Ramakrishnan as Priya, Rosalie Chiang as Mei, Ava Morse as Miriam, and Hyein Park as Abby, “Turning Red” will debut exclusively on Disney+ (where Disney+ is available) on March 11, 2022. © 2022 Disney/Pixar. All Rights Reserved.

Well, it looks like we’ve just about made it to Spring break, so it’s time to celebrate with a brand new flick from the wizards at Pixar set in…well, school. Or at least half of it is. You see the story’s heroine really divides her time between home and school, middle school. In Toronto. In 2002. Yes, after getting lots of 80s nostalgia we’re now getting a coming-of-age tale set in “the ‘aughts”. Aw, don’t feel too ancient…just yet. Whoah, you may say, didn’t our Pixar pals tackle this a few years ago (seven, actually) with INSIDE OUT. Sure, but as the title states, it was about what was happening in the main character’s interior, with different emotions calling the “shots” in her noggin. This tale is much more, for lack of a better term, exterior. You see, this young woman’s changes manifest in her outward…appearance as her emotions and hormones have her TURNING RED. And furry. And extra-large.

As I mentioned earlier, this (fuzzy) tale begins waaaay back in 2002 on the not so mean streets of Toronto where we meet a very busy thirteen-year-old lady named Meilin, AKA “Mei” and Mei Mei” (voice of Rosalie Chiang). She actually loves school, not for the classes (though she’s an academic ace), but because that’s where she hangs with her “squad”, her “BFFs”. There’s tomboyish Miriam (Ava Morse), “laid back” Priya ( Maitreyi Ramakrishnan), and always excited Abby (Hyein Park). What really “bonds” them is their shared adoration of the awesome male quintet singing group “4Town’ (yes five guys of course). Oh and their shared crush, a slightly older teen (he’s 17) named Devon who runs the register at a nearby “mini-market”. After the final school bell rings, Mei is off to help her mom Ming (Sandra Oh) who manages a Chinese temple (and its souvenir shop) dedicated to their ancestor Sun-Yi who had a mystical connection with nature (especially one animal). When the last of the tourists leave, the two head to their connected home for dinner with dad Jim (Orion Lee). It appears to be a tranquil evening of homework until Ming discovers Mei’s “secret love” and publicly embarrasses her (oh the talk in the school hallways tomorrow morning). The upset Mei finally drifts off to sleep and awakens to discover that she’s changed. Not emotionally but very physically…into an eight-foot-tall red panda. She’s unable to hide it from mom, who somewhat was expecting this. It seems that this “unusual puberty symptom” has been passed down to all the women in her family, going back to the aforementioned Sun-Yi. But it can be controlled. Come the next “red moon” in a few weeks, Ming and her own mom and sisters will conduct a “ritual” to trap the “panda spirit” in a purple jewel or ruby. Mei just has to keep calm and limit the “changes”, otherwise the panda’s wild nature will “take over”. So can she keep her cool, even around her buddies? Even when they find out that 4Town is making a concert stop there? Oh, it’s near the end of the month. It surely won’t conflict with the “moon ceremony” will it?

Huzzah, it’s another solid effort from the terrific team from Emeryville, CA. Their artists expertly recreate the Canadian city in bright bold colors and designs while giving us their unique adaptation of the fashions, hairstyles, and tech of twenty years ago. And then there are the delightful characters cavorting in front of those backdrops, each giving a distinct body language (and great “acting”) and looks. Miriam seems a bit like the older sister of Guilia from LUCA, after getting a Seattle “grunge” makeover. Priya is tightly reined in, her half-open eyes and curly coif evoke the cult fave MTV ‘toon “Daria” (and we first see her with a “Twilight”-type YA novel). Abby is a riff on the anime over-caffeinated tweens with wide eyes and an always-open mouth baring bright “choppers”. Mei incorporates elements from all of them, ultra-expressive with her buds while “playing close to the vest” with the fam. Her Mom Ming seems “tightly wound” and a bit stiff until her maternal instincts turn her into a whirlwind of action. Her “savvy” business suit chic is echoed by her female relatives (they seem to be always on the red carpet, flashing the “bling”). The vocal cast expertly brings them to life, with Chiang and Oh making an excellent and convincing screen duo. The story celebrates female friendship and gives us an insight into the whole “boy band frenzy” as this is set post NKOTB and N’Sync and pre the K-Pop craze. 4*Town could easily be on the cover of subscriber Lisa Simpson’s “Non-Threatening Boys” magazine (it helps that their songs are created by Billie Eilish and her brother Finneas O’Connell). We see how they provide an emotional release for the young women, strengthening their sisterly bonds with every squeal and scream. This keys into the story’s biggest surprise (a heads up for parents who might need to prepare for the “womanhood talk”) in that it really delves into the biological transition into adulthood while mixing in the whole “magical critter” element. The transformation into “beast’ metaphor has been explored in cinema (I WAS A TEENAGE WEREWOLF comes to mind, though it’s more exploitive of juvenile delinquency). The giant is perhaps symbolic of leaving childhood, but it also works in the mother/daughter dynamic. Mei is not a baby who will become a copy of Ming and enjoy the same things and follow the same path (“wild” is independence perhaps). Aside from such serious matters, the film is full of slapstick chaos and even fits in a kaiju homage as it nears its emotional climax. This is truly splendid “all-ages” entertainment exploring family dynamics and the intensity (everything’s extreme “drama”) of pre-teen friendship. TURNING RED is truly a triumph.

3.5 Out of 4

TURNING RED streams exclusively on Disney+ beginning on Friday, March 11, 2022

THE BATMAN – Review

Matt Reeves goes noir for THE BATMAN, the latest in a long line of Batman reboots, and this time featuring Robert Pattinson as the Caped Crusader. Reeves, whose previous work includes CLOVERFIELD, DAWN OF THE PLANET OF THE APES and its sequel, gives us a dark world, where it always seems to be raining, where corners are dimly lit and gritty streets are littered. The imagery suggests THE JOKER or even BLADE RUNNER, but this film is not as high-concept as either of those films. While the film noir style is gorgeous and the supporting cast strong, Pattinson’s one-note brooding, a plot with too many villains and not enough focus, and a nearly three-hour running time keep the film from truly soaring.

Still, it is distinctly different from the typical superhero movie, and an aesthetic well suited to Batman, always a darker superhero than most. That is all good for those of us who like film noir and gritty thrillers, although those who want brighter sets and a more typical superhero fare may be less pleased. However, beneath the surface, THE BATMAN is more a typical superhero tale, just in different clothing.

Batman (Robert Pattinson), the crime fighting alter-ego of millionaire Bruce Wayne, is one year in to his career as a secret enforcer of the law, but he is already questioning whether he is making any difference. The crime in Gotham City seems to still be going up and, since he lacks superpowers, he can’t be everywhere at once to stop crime. While he is plagued with doubts about this new life he has taken on as a way to avenge his murdered parents, he is still responding when the Bat signal lights up the sky. This time the crime strikes a personal chord for Batman – a man murdered on Halloween in his own home while his son was out trick-or-treating, only to come home and find the body. While this gruesome crime was taking place, Batman was beating up some baddies in the subway, who had targeted an Asian man, in a little contemporary reference.

While Gordon (the always-excellent Jeffrey Wright), Batman’s police contact and the future Police Commissioner, is unwavering in his support, others on the police force are more hostile to the Batman, regarding him as an intruder rather than a help. But this murder scene has some quirky elements, among which is a greeting card addressed to the Batman. Inside are hints in the form of a riddle, a sure sign of Batman’s long-time nemesis, the Riddler (Paul Dano). Except, at this point, he isn’t a long time adversary, because Bruce Wayne is still fairly new at this Batman stuff.

However, Reeves doesn’t stop with a single villain. THE BATMAN also brings in the Penguin (an unrecognizable Colin Farrell) and an underworld figure, Carmine Falcone, played by John Turturro. But the best character is Zoe Kravitz’s Catwoman, that combination criminal adversary and love interest for iron-jawed Batman. Rounding out the cast are Andy Serkis as Batman’s aide/butler Alfred, Peter Sarsgaard as District Attorney Colson, plus Barry Keoghan, Rupert Penry-Jones and Jayme Lawson, among others.

There are twists and surprises aplenty here, often with “Ave Maria” often playing in the background. That soundtrack motif feels a bit of pretentious after while, but photography by Greig Fraser is gloriously noir, a real delight for fans of that genre.

Presenting the Batman story as film noir, as a police procedural, is an intriguing way to come at the whole Batman/Bruce Wayne tale. Audiences are so familiar with the Batman origin story through the many Batman retellings and reboots, that skipping some of its familiar elements, like a scene of his parents’ murders, is no problem. Finding a new way into this story is a bit of a problem, so doing so is an impressive feat, and the film deserves credit for that.

In this is a grim world, corruption is everywhere and the plot is very dark. But despite all the film noir surface, this is still a comic book movie and not some deep psychological drama. Pattinson does his handsome, brooding thing, with a little more youthful vulnerability in the few scenes where he is Bruce Wayne. Clearly Batman’s armor is protective in more than one way. His performance should please his fans, although as an actor, he has done more nuanced work in other roles. This Batman feels very young, more so that other versions. In his crime fighter identity, Pattinson’s Batman projects amazing strength and agility, even beyond all the technology at his fingertips. But his Bruce Wayne is not the smooth social character, polished and perfectly groomed, that we usually see for the alter-ego, but a very young man, reserved, even shy, and often a bit disheveled, but so privileged that it doesn’t matter. Once again, a far different approach.

The supporting cast is excellent, boosted by some unexpected choices, like Paul Dano as the Riddler, who is a delight. While Pattinson does that quiet, brooding thing, Zoe Kravitz nearly steals the show as Catwoman. Kravitz gives us a crackling Catwoman – smart, fearless, with a ready wit, that she sometimes turns on the Batman. This Catwoman has her own alter-ego and backstory, but most of all she lights up the screen with electric energy and has a terrific, biting sense of humor. Zoe Kravitz is one of the best things about this film, followed closely by Paul Dano, doing a fine, crazy Riddler. As the Penguin, Colin Farrell is largely underutilized, appearing in few scenes.

Where THE BATMAN goes off the rails is in offering too much, starting with it’s nearly three-hour running time. Too much story, too many villains and too much running time. Introducing so many villains (or near-villains) does the film no favor, and then there is the the nearly three hours running time. And you feels that running time too – every extra major character requires a subplot that deviates from the central story, and while Reeves does bring it all together in the end, it feels overwritten and audiences many feel exhausted by the end. There is enough material for two, maybe three, movies here, crammed into this one. It is a case of less would have been more.

THE BATMAN opens Friday, Mar. 4, at multiple theaters.

RATING: 3 out of 4 stars

LUCY AND DESI – Review

(Original Caption) Lucille Ball and Desi Arnaz going over business matters. Picture from Lucy’s personal file.

So here’s the perfect companion to one of the big feature film “docudramas” from the last weeks of 2021. You may even consider it a “super bonus extra” for a proposed home video release. Ah, but it’s so much more than that. It delves into the history and legacy more thoroughly than any “squeezed into a brief timeline” big-screen treatment. Sure there are lots of clips from this duo’s greatest collaboration, which is still being adored by fans all over the planet every day, but there are historical artifacts that many of us have never seen and heard before. And happily, there are the early, early”pre-superstardom” snippets as the careers of these two began to converge and meld. These gems along with archival footage have been assembled by a talented comic actress who might be considered a “spiritual offspring” of the feminine half of the couple in question. Hey, these two still come to mind when examining their main medium’s history. In the arena of real-life couples who worked together, you’ve got Lunt and Fontanne on stage, in the movies there’s Bogie and Bacall and in television, particularly comedy, it all begins with (and some say is still dominated by). LUCY AND DESI.

It all starts with the enduring images of the two, Lucille Ball and Desi Arnaz. There are countless clips of the Ricardos: Lucy trying to share the stage with Ricky at “the club”, Ricky exploding with a barrage of Spanish as he reveals Lucy’s newest scheme, Lucy hatches said plot with BFF neighbor Ethel Mertz. Then the filmmakers take us back to the duo’s modest, even desperate early times. Brother Fred (in an archival interview) tells of his sister Lucy almost becoming the head of the household when a target practice accident nearly takes everything from their grandfather’s Jamestown NY home. She’s determined to be a star, trying out for Broadway shows, modeling, and even creating a “wild west” persona “Montana” Ball to try and jumpstart a hopeful film career as she heads to LA. Not far from the US, young Desi flees the Cuban Revolution of 1933 and barely makes it to Miami, eking out a living by cleaning canary cages before his musical skills attract the attention of Xavier Cugat, leading to the formation of Desi’s own band. Fans only familiar with the sitcoms will be dazzled by the early images of the two, Lucy, a Technicolor flaming-red-haired movie goddess at MGM, and Desi, a gorgeous exotic untamed congo drum-pounding heartthrob. Home movie scenes and audio recordings (Desi on seeing Lucy for the first time, “Now, thas’ some hunka’ woman!”) chronicle their fiery romance, courtship, and marriage. We’re treated to an amazing montage of Lucy’s screen roles, many of which couldn’t quite capture her talents (leading lady or wisecracking supporting player). And there’s that TV show that never “went away”. We see the foundation being built for the Desilu empire, and its demise as the divorce almost derails the entertainment juggernaut. Though the heads of the company wouldn’t perform on camera, they still had a behind-the-scenes working relationship…for a time. The film provides an overview of their solo lives and careers leading up to their final days in the late 1980s.

Oh, that talented comic actress I mentioned earlier is none other than the “pride of Pawnee” Amy Poehler, known for her memorable TV work on SNL and “Parks and Recreations” in her impressive feature documentary debut. Though much of the story and materials are familiar, she brings a real vitality to the legend via access to those family treasures. Hearing the duo’s voices paired with the keenly selected clips adds an unexpected poignancy. Footage shot on the set of the 1960s “The Lucy Show” gives us Desi’s unexpected visit to the Studio, surprising the guest star (another show biz superstar), though Ms. B doesn’t look that pleased (maybe just indifferent). We get Ball’s work ethic, hinted at in Sorkin’s biopic, as she shockingly states that, “I’m not funny…I just work very hard”. And though he professionalism often caused many to label her the “B word’, I’d think that stands for “boss” as we see her presiding over a board meeting of Desilu shareholders just after Desi was bought out. .Ms. Poehler know when to sparingly utilize some great “talking head” subjects. Carol Burnett gushes over her “gypsy pal, Bette Midler tells of Lucy’s mentoring, while Charo (yes the “gootchie-gootchie gal”) sings the praises of Desi while strumming a guitar. Most prominently daughter Lucie Arnaz offers insights and anecdotes, while we only hear from brother Desi Junior. Plus we’re treated to news interviews with TV writers Madelyn Davis and Bob Carroll Jr., along with Lucy’s brother Fred, though it’s a shame that the last surviving TV cast member, Richard Keith (“Little Rick”) doesn’t appear. We really get a sense of the Desilu domination of early TV as Desi was the major force behind the three-camera filming setup (still used today) and (for better or worse) the rerun., That’s one of the sadder aspects of the tale as Desi had to remind folks that he wasn’t just the “lucky stiff’ riding the apron strings of his comic firebrand wife. And this helped accelerate the breakup that devastated fans. My only complaint with the film is its omissions of the post “I Love Lucy” careers of the two. Yes, Lucy’s follow-up sitcoms are here, but no mention of her feature film work: two comic romps with Bob Hope, the surprise hit YOURS MINE AND OURS (recently spoofed in LICORICE PIZZA), and the “megaflop” MAME (reportedly Desi tried to warn Lucy of the bomb, but she didn’t listen). Oh, and no mention of the mid-80s misfire sitcom comeback on ABC, “Life with Lucy” (perhaps that’s a good thing). Plus Desi stayed active behind the scenes in the late 60s show “The Mothers-In-Law”. Maybe it’s not a “knock” to wish this engaging and often moving non-fiction film was a bit longer. And really, couldn’t the world right now use a lot more of LUCY AND DESI? Babalooooo!!

3.5 Out of 4

LUCY AND DESI is now streaming exclusively on Amazon Prime Video

CYRANO – Review

Haley Bennett stars as Roxanne and Peter Dinklage as Cyrano in Joe Wright’s CYRANO, a Metro Goldwyn Mayer Pictures film. Photo credit: Peter Mountain © 2021 Metro-Goldwyn-Mayer Pictures Inc. All Rights Reserved.

Peter Dinklage playing Cyrano in a new film adaptation of the beloved story sounded like an excellent idea. Being directed by Joe Wright, who handled costume dramas such as PRIDE AND PREJUDICE so well, made the prospect sound even better. But a few minutes into the new CYRANO, it became clear it had a big problem: it’s a musical.

And not a very good musical at that. While there are those who are happy see everything adapted into a musical, this reviewer is firmly in the opposite camp. Not everything should be a musical, and the new CYRANO is exhibit one in that case.

Still, Peter Dinklage gives a moving, stellar performance as Cyrano de Bergerac in a musical adaptation that is less than stellar. There have been numerous stage and film versions of Edmond Rostand’s play, including Steve Martin’s 1987 contemporary, comic one ROXANNE, and a glorious French one, 1990’s CYRANO DE BERGERAC, starring Gerard Depardieu in his prime. Dinklage has the goods to top that famous performance, and actually does, if one is not too distracted by the mediocre musical numbers.

Personally, I love Rostand’s “Cyrano de Bergerac” and generally I am a sucker for all its various adaptations. I have nothing but pure admiration for the remarkably talented Peter Dinklage and I am also a fan of Joe Wright’s movies generally. But this musical CYRANO is an awkward thing, where the weak musical numbers interrupt the dramatic flow of the adventurous, tragic, romantic tale. Every time the drama builds up to a spell-binding, heart-wrenching arc with well-acted scenes, that spell is broken by a song.

The familiar play is full of romance, swordplay, wordplay, wit, and tragedy. Cyrano de Bergerac (Peter Dinklage) is an aristocrat serving as a soldier, a bold personality and multi-talented man known for his skills as a poet and duelist, as well as his intellect, taste and style. But Cyrano’s confidence undermined by his appearance, which makes him feel no woman could love him. References to his appearance often prompt duels.

Nonetheless, Cyrano is secretly in love with the beautiful, intellectual Roxanne (Haley Bennett), his distant cousin and childhood friend. Roxanne is skillfully avoiding the Count de Guiche (Ben Mendelsohn) who relentlessly pursues her with the intent to make her his mistress. Meanwhile, Roxanne has fallen for a handsome young soldier, Christian (Kelvin Harrison Jr.), whom she has only seen from afar, and she seeks Cyrano’s help. Cyrano and Christian become a team to woo the beautiful Roxanne, with Christian’s good-looks and Cyrano’s beautiful words.

There are things that this Cyrano does get right. It was a brilliant idea to cast the gifted Peter Dinklage in the role of tragic Cyrano. Usually it is Cyrano’s large nose that causes his problems and every version seems to use an actor with a false nose. But here it is height, a surprisingly easy transition, and Dinklage does it marvelously well, squeezing all the brilliance from the sparkling dialog and thrilling us with its mix of brash and tragic. Only a few changes to the dialog were needed and there are few direct references to height, as they are unnecessary.

Further, CYRANO is a visually beautiful production, shot in Italy. The staging, the sets and costumes are all wonderfully lavish and brilliantly colorful. The theater scene that introduces Cyrano, where he chases a bad but popular actor off the stage, is wonderfully comic and brash. The scene where Cyrano and Roxanne meet in the bakery alone, and she tells him she is, is unmatched in its heartbreaking power.

As expected, the gifted Peter Dinklage is excellent with the dramatics, turning the words over with startling power and nuance, He even does well with the singing, with a nice baritone voice. Ben Mendelsohn delivers a striking turn as the sinister de Guiche and Kelvin Harrison Jr. does well as handsome, tongue-tied Christian. Haley Bennett gives a more unusual performance as Roxanne, playing her as a bouncy, girlish free spirit more than the lovely, discerning intellectual she usually is.

Despite Dinklage’s strong performance, it never feels right or comfortable to have this dramatic romantic tragedy periodically interrupted with what are generally silly songs, backed by rather eccentric, if athletically impressive, dancing (fortunately the leads, including Dinklage, are not called on to dance as well).

Most of the songs are forgettable, but there is one exception. It is the song that the soldiers sing as they are being sent off to war, while they write letters to their loved ones in case they do not make it home, which is deeply moving and melodic.

Yet, it is a great role indeed for Dinklage, a brilliant re-imaging, and if this had been a different kind of production, it would have ranked up there with the great French production with Gerard Depardieu in his prime. Dinklage’s performance does exceed that high bar but the production it is in is a distraction. Alas, it is not just the songs that are stumbling blocks but other unevenness in the production. Haley Bennett’s odd choice to play Roxanne as a bouncing, romantic comedy figure rather than a clever, intelligent woman, as Roxanne is usually played, seems to undermine the play’s premise. That Roxanne is a worthy match for the brilliant Cyrano. This Roxanne, while beautiful, seems less a sparkling wit and less perfect for Cyrano.

Bottom line, Peter Dinklage is brilliant in this role, one that is near perfect for him, and his performance makes the film soar in those moments when he dominates the screen. But that soaring emotion, the overall heart of the film, and its dramatic arc are repeatedly deflated by the grafted-on musical numbers. It is really a shame, and those who can get past the distraction of those interruptions, will enjoy this visually beautiful, romantic retelling of the beloved Cyrano de Bergerac with the marvelous Peter Dinklage.

CYRANO opens Friday, Feb. 25, at multiple theaters.

RATING: 2.5 out of 4 stars

NO EXIT (2022) – Review

If you’re thinking, “I’m so so sick of Winter with all the wind, snow, and icy blasts of frigid air! I need a sunny beach!”, then this flick may not be the cinematic escape. Perhaps the dessert backdrop of DEATH ON THE NILE may be “just the ticket”. But if you’re in the mood for another “whodunit”, then perhaps this new flick may test your “Poirot aspirations. Ah, but as I mentioned earlier it’s a “chiller” in more ways than one. And a “thriller”. Though it also places us in the main character’s quandry and “moral panic”. This story’s heroine must make a choice whether to risk her life (and put aside a family crisis) to intervene when the uncaring tundra-like landscape offers NO EXIT.

The tale’s unlikely (and sometimes unlikable) heroine is Darby (Havana Rose Liu) who we first see enduring another “group session” at a “court-ordered” detox facility. She’s fed up with this “halfway house’ with its condescending counselors and its “fulla’ BS” residents. But the monotony is broken when a nurse tells her that she’s got an important call, a big emergency (otherwise “no contact” with the outside). It’s from a family friend with dire news: her mother’s at “death’s door” in a Salt Lake City” Hospital. Darby implores the staff to release her, but they can’t unless her doctor gives the okay. But it’s Friday afternoon and he’s unreachable till Monday. Later that night, after her pleads are ignored, Darby gets a hidden phone from another “patient/inmate”, grabs some tools, charges through the front doors, and hotwires a nurse’s car. Things are looking rough on the highway as a fierce blizzard begins. Darby’s quick nap on the shoulder of a side road is interrupted by a state trooper. Is her trip over? Does he know that she stole the car? Luckily he’s only concerned for her safety since all the roads are shut down. The trooper insists that she head over to the nearby rest stop that he’s opened up. There Darby meets a quartet of stranded travelers: long-time couple Sandi (Dale Dickey) and gambling buff Ed (Dennis Haysbert), twitchy awkward Lars (David Rhysdahl), and affable hunk Ash (Danny Ramirez). Before they all “hunker down” for the night (and for the roads to be cleared) Darby heads back outside in search of “bars” for her phone. She hears a noise in the parking lot and peers into one of the vehicles. The horrific sight forces the recovering drug addict into the role of sleuth/rescuer. But does she have the courage to do what must be done?

The impact of the story’s many twists and turns hinges on the character of Darby, expertly portrayed by the talented Liu who many of us first saw on screen last year as Bea in the offbeat MAYDAY. Here’s she’s more than up to the challenge of Darby, who we first meet as an angry abrasive twentysomething, resentful of those around her, but really furious at herself, perhaps thinking herself weak for nearly drowning in addiction. Through her eyes and more confident manner, we see that the “urgent call” is more of a “wake-up call” to her, snapping Darby out of her emotional lethargy. Her new inner light burns its brightest after her “discovery’ at the rest stop, with Liu frantically trying to piece together a clue to the culprit and a way to become the hero that was dormant inside her. The biggest “name” actor in the cast is probably Haysbert, who appears to enjoy playing against his usual somber, stoic “commander’ roles as the engaging, but also dealing with addiction (gambling’s pretty destructive too), veteran Ed. His “grounding support’ is the concerned and caring Laurie played subtly by Dickie, who ably handles the character’s major “turnabouts” and whims. Rhysdahl as Lars gives the often cliche “quiet loner” an interesting spin as the “wild card’ that may or may not be the “red herring’ of the mystery. On the “flip-side” Ramirez as Ash ably essays the “aid-back sensitive self-effacing boyfriend-material” (his first lin after waking from a nap:”Was I snoring? I bet I was!”) who is much more than he appears. Kudos also to a very gifted young actress Mila Harris as Jay, who helps kick the plot into “high gear”.

Giving this tight, taut modern noir a lot of energy and crisp pacing is director Damien Power, indeed displaying lots of power in his second feature film. In the opening minutes, we think we’re getting a character study, a struggle with sobriety, but then Power takes a sharp turn into crime thriller territory, almost giving us a bit of whiplash as the story veers into even darker subject matter. Much of these moods shifts must be credited to screenwriters Andrew Barrer and Gabriel Ferrari (ANT-MAN AND THE WASP…really) who adapted the Taylor Adams novel. Though much of the action occurs within the shack-like rest area, the right amount of claustrophobia is established. The characters can still leave, but it never seems to be as though the makers want to “open it up” (like a certain train Poirot flick a few years ago). “Going out” may appear to be an “escape route”, but the constant arctic wind (you may shiver by suggestion) proves a most “unsafe space”, along with the snow that provides footprint clues to your locale making everybody a prisoner of the elements. Another gripping touch are the sudden bursts of brutal violence that really ‘stay’ with those “inflicted”, which often makes us wince in empathy. Coupled with the evolving mystery that slowly unfolds makes this tale of redemption and recovery a true “nail-biter”.It’s certainly well worth taking a turn and getting off the main multiplex highway for NO EXIT, a true no “frills” chiller (brrrr) thriller.

3 out of 4

NO EXIT is now streaming exclusively on Hulu

STUDIO 666 (2022)- Review

This weekend’s big film release might just remind you of a classic TV candy commercial: “Hey, you got rock ‘n’ roll in my horror!” “Well, you got horror in my rock ‘n’ roll!”. But the big question is whether they taste great together. Maybe it’s “delish” or perhaps it’s a big loud gooey mess. It’s not like the two haven’t mixed in the past. Countless monster chillers have used pounding metal music in their soundtracks, while many a “head-bangin'” band have lifted imagery from several classic and modern terror flicks (I think versions of Freddy and Jason have popped up, if not the real “things”) for their video shorts on MTV. Now, this flick goes several steps further by having a very popular group playing themselves and confronting the “forces of darkness”. Sure the Monkees were chased around by clones of Frank, Wolfie, and Drac in their 60s TV series, but nothing like this! They may be because they wisely opted against recording in STUDIO 666.

All the monster mayhem begins in that title space, actually a dingy, once opulent Encino mansion, way back in 1993. We’re placed right at the end of the massacre of the heavy metal band Dream Widow as its lead singer/drummer (Jenna Ortega) struggles to survive. Jumpcut to the modern-day music biz as label exec Jeremy Shill (Jeff Garlin), maybe that last name is a bit “on the nose”, implores Dave Grohl and his Foo Fighters (yes, the real guys playing themselves) to finish their big tenth album. Dave insists that the music is all in his head, but needs the right recording venue for the proper sound and…ambiance. Aha, Jeremy and his eager real estate agent Barb (Leslie Grossman) have just the perfect spot…you know where. After she gives a quick tour of the place, Dave agrees (though the guys need a bit more persuading). Soon the band’s road crew is setting up their equipment as the guys are picking their rooms (they’ll stay there while recording). Then tragedy strikes their electrical guy (you can guess) and the fellas wanna’ bolt. Despite this, and the overly friendly, overly chatty next-door neighbor Samantha (Whitney Cummings) Dave convinces them to “stick it out”. But things get even weirder as he sees a mysterious “caretaker” skulking about with a pair of very sharp shears (nobody else spots him). Then later that night strange noises lure David to the basement where shadowy smoky black figures with glowing red eyes and teeth surround him and…Well, maybe number ten could be the final Foo Fighters work. Or will it?

Perhaps after Lady Gaga’s dazzling turn in A STAR IS BORN, followed by her great work in HOUSE OF GUCCI (Oscar got it very wrong), many might think that singers would be natural thespians. And with this film…they’ll rethink that. Grohl is probably the most natural actor of the band, though he often swallows his words, then leaps to the other extreme with contorted histrionics to convey his metamorphosis. That’s when he’s not manically bobbing his head up and down for comic effect, perhaps (Wayne, Garth, and the gang did it the best thirty years ago…yikes). The other bandmates stiffly recite their lines, mug as though they’re a revamped Little Rascals cast, or merely offer a blank stare until they can drop an “F-bomb”. They might have thought the addition of comic actors would “up the ante”, but they merely have us wishing them to be more prominent in a worthy script. Garlin tempers her usual affable exasperation with unnerving aggression. Cummings is a welcome relief with her take on the next-door wacko who loves to “spill the tea” while getting her “Fatale/groupie” vibe going. Grossman does a nice spin on the whole straight-laced real estate super-agent cliche. And SNL vet Will Forte scores some laughs as the rock star-wannabe’ food delivery guy who really wants to hand over a demo CD with the “extra ranch”. The most offbeat casting may be that of Ortega who’s almost redoing her big scene from a horror franchise reboot from just last month.

So were the filmmakers hoping for sort of a romp similar to the Beatles follow-up feature HELP? Well, this isn’t even KISS MEETS THE PHANTOM OF THE PARK. Horror film vet (HATCHET III) B.J. McDonnell tries to straddle the line between show biz satire and a sort-of greatest hits (like many music acts) of horror. Many hard-core “gore-hounds” could almost tick off a list of “tributes’ from their Fangoria-festooned clip-boards: EVIL DEAD-check, HELLRAISER-check, TEXAS CHAINSAW MASSACRE-double check. They might have intended this to be a loving parody/nod to the VHS slasher “nasties” of the 1980s but it just becomes repetitive and tiresome as the entrails ooze and the body count rises. Yes, fans of the old latex Savini-esque disembowelings will enjoy how CGI helps to sell some of the tricks and stunts, but it’s in service of a plot that spins its wheels until a truly dopey-dumb denouncement (and it’s based on a story by Dave himself). Couple that with the awkward acting and you’ve got an hour or so better spent listening to the group’s infectious rock anthems. And that’s the foul 411 on STUDIO 666. Forsake the cameras and keep fighting Foo, fellers’!!

1 Out of 4

STUDIO 666 is now playing in theatres everywhere

UNCHARTED (2022)- Review

Victor “Sully” Sullivan (Mark Wahlberg) and Nathan Drake (Tom Holland) look to make their move in Columbia Pictures’ UNCHARTED. photo by: Clay Enos

So getting those winter blues, stuck inside for days due to the weather (and lingering travel restrictions) making you a bit stir crazy? The perfect “cure” might be a virtual “vacay”, namely a globe-spanning adventure starring two actors representing the “next-gen” of action heroes. Hey, one of them is still dominating the box office (and probably playing in the auditorium next door or down the hall). But this is no mere travelogue “romp”. It’s an adaptation (and a hoped-for new franchise). Another comic book, maybe a novel, or perhaps a classic TV show? Get with it Gramps’, this is a computer game that hopes to make as big a splash as Sonic did two years ago. Rather than a CGI speedy critter, here’s the tale of a team who’ll face any danger in their quest for gold and glory hidden in territories still UNCHARTED.

Much like another beloved action franchise, this movie’s opening sequence has the intrepid Nate Drake (Tom Holland) in seemingly unescapable peril until…a flashback. We then meet him as a teen when he and his older brother Sam try to raid a museum in the dead of night. Try is the operative word as the two are hauled back to the orphanage. Before Sami s sent off to “juvie’ he promises Nate that he’ll keep in touch, then disappears into the night. A dozen or so years later adult Nate is mixing cocktails and tossing off historical explorer nuggets as he relieves spoiled “trust funders” of their trinkets and cash. But somebody’s on to his “game”: worldly “collector” Victor “Sully” Sullivan (Mark Wallberg). He approaches Nate and tries to recruit him into his plot to grab to golden jeweled crosses that would unlock the lost treasure of Magellan. Nate’s not onboard till Sully reveals that he worked with Sam. Actually, they just need the cross that’s part of a big “high-end” auction nearby (Sully insists he’s got the other one). The duo sneaks into the swanky event and are immediately spotted by the slinky Braddock (Tati Gabrielle), Sully’s rival and a ruthless retriever for multi-billionaire Santiago (Antonio Banderas) who believes the treasure is part of his family legacy. After the auction ends in chaos Sully and Nate are on the run, first to meet up with a shady operative in Barcelona, Chloe (Sophia Ali), leading to an all-out showdown on a Pacific island. Can the lowly trio get to the loot before Santiago and Braddock’s army scoops it up?

Aside from its gaming roots, this film’s biggest ‘draw” may be Holland, fresh off of last year’s biggest box office hit (now the third biggest domestic B.O. of all time). Here he brings the same infectious energy and boyish charm as Peter P., but offset with a devious, rascally grin as he breezes off with “ill-gotten booty”. That’s tempered with his sense of loss and longing to reunite with his mentor, older sibling. Part of that role is taken up by Wahlberg whose Sully oozes with layback cool mixed with lots of snark, as he tries to suppress a grin as Nate reminds him of his early blunders. Both actors can pull off the dapper and the dirty inherent in their roles. Always looking suave is Banderas who now seems to be the “go-to” guy for the sinister international mastermind (much as he did last year in THE HITMAN’S WIFE’S BODYGUARD). Well, at least he’s not stroking a cat as he reveals his nefarious schemes. One of those listening in would be Gabrielle who makes Braddock both sinister and sexy, an exotic dangerous beauty who will “kiss you deadly” without a moment’s hesitation. On the flip side, there’s Ali as Chloe who has tart chemistry with Nate, though she can’t quite be fully trusted since her past with Sully has made her much wiser…and wiley.

The action sequences are strung together with a manic pace by director Ruben Fleischer, who has jettisoned the subversive satire of his ZOMBIELAND films for gravity-defying (and physics-ignoring) set pieces to keep kids glued to their seats. Unfortunately, these CGI-enhanced stunt exercises are exhausting and eventually monotonous as the film tries to “top” itself and forgo more character development to keep moving to the next exotic locale. Plus the three (!) screenwriters should know better than to namedrop Indiana Jones and Jack Sparrow which reminds the audience of much-better adventure extravaganzas. Holland’s tossed around here as much as the wallcrawler, but he, like most of the characters, may just be made of pixels as they bounce back quicker than the Looney Tunes troupe. At least Indy had some “mileage” as Nate doffs his shirt baring a chest free of scrapes and bruises. And like most thrillers, they don’t know how to wrap things up as they sprinkle in mid-credits “bonus’ scenes to tempt us with future sequels (oh they surely hope). Aside from the future software exploits, this will probably end the big screen capers of Nate and Sully. It’s a shame since Holland and Wahlberg have an easy-going rapport. They’re deserving of a better outing than this “kiddie-spin” (aside from the patricide and some throat-slitting) on the modern swashbucklers that’s more uninspired than UNCHARTED.

2 out of 4

UNCHARTED opens in theatres everywhere

DOG- Review

DOG_10803_RC Channing Tatum stars as Briggs and Lulu the Belgian Malinois in DOG A Metro Goldwyn Mayer Pictures film Photo credit: Hilary Bronwyn Gayle/SMPSP © 2022 Metro-Goldwyn-Mayer Pictures Inc. All Rights Reserved

One of the major new movie releases this week poses a follow-up to the old chestnut about the friendship between a boy and his dog. So, does that extend into manhood? And would they be great “travel’ bros’ as in a buddy “road trip” adventure? Well, one of the silver screen’s “hunkiest” (maybe magical) leading men aims to explore that as he does double duty in front of and behind the camera. It’s a kibble-flavored popcorn flick as movie-goers embark on a hero’s journey alongside a lovable but difficult DOG.

The film’s title refers to Lulu (played by a trio of Belgian Malinois), a military canine trained to go into battle in the Middle East. A montage during the opening credits shows her as a puppy, then put into training, and eventually becoming a member of an elite Army Ranger unit. Unfortunately, she’s wounded, earning a purple heart, and so traumatized that she cannot follow commands, even from her handler, Sgt. Rodriguez, who’s also injured. As is his GI brother Briggs (Channing Tatum), who is working as a “sandwich artisan” at a gas stop while he hopes to get the “all clear” to return to duty (the docs say yes, but his captain hesitates). One snowy day at his Oregon home, Briggs gets the call from his cap to join in a “wake” for the now deceased Rodriguez. Cornering his CO at the end of the night, Briggs is given a mission that could be his way back “in”. The family Rodriguez wants Lulu to attend the funeral service in five days. Since she won’t fly, Briggs will need to transport her there in his old beat-up 1984 Ford Bronco. Not an easy task as Lulu is a “broken beast’, much like Briggs (he’s also dealing with PTSD). Ah, but once the trip is over, Briggs will return Lulu to the base to be “terminated” and he’ll be back with his unit. Surely nothing will go wrong on this trek. And Briggs won’t bond with Lulu, will he?

So yes, this is basically a two-person excursion, with Tatum ably doing most of the “heavy lifting” on his broad shoulders. We know from his fairly long list of rom-coms, and of course, those MM’s, that he’s got an undeniable (and a bit undefinable) charm and charisma which can carry him through the most absurdist situations, though an early sequence of him failing to “score” in a Portland bar with the local ladies feels a bit forced. But he’s also got a chance to stretch his dramatic wings as he deals with loss and regret (it’s not till the tale’s midpoint that we’re informed of his estranged wife and child). Plus there’s the added frustration that bubbles to the surface when trying to return to his former life as his mind and body fail him. Oh, there are a few other terrific two-legged actors too, particularly Ethan Suplee, the father (of two kids and of Lulu’s brother) who provides a bit of needed wisdom to Briggs. Ditto for an unlikely couple living “off the grid’ played by the unlikely paired Jane Adams and Kevin Nash, who’s like the burly big brother of Briggs. Oh, and we’ve got to talk about Lulu and the three canine actors that make us believe that this cuddly pup with the big sad brown eyes can unleash (sorry) chaos at any moment.

As I mentioned earlier, this is the directing debut of Tatum, who is ably aided by co-director Reid Carolin (who co-wrote the script with Brett Rodriguez), a daunting task since it’s been nearly five years since his last starring role (LUCKY LOGAN way back in 2017). The duo does their best to reign in the shifting tone of the often disjointed story. A chase through the woods suddenly takes a dark turn into PULP FICTION territory, while a con-artist caper as Briggs and Lulu pose as a blind vet and his service dog in order to get a swanky compted suite skirts the borders of bad taste. The comedy and sincere service dramatic plot butt heads with the film shifting gears too quickly almost inflicting whiplash. The film’s biggest issue may be its confusing marketing. The trailers and even the poster promise a zany slapstick comedy, but the “cute guy and his dog” are facing the same obstacles that many of those returning vets are dealing with. It is great to see Mr. Tatum on-screen again, but let’s hope his future films will be more focused (and the PR more forthcoming) than DOG.

2 Out of 4

DOG is now playing in theatres everywhere

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