We Are Movie Geeks

Three Hayao Miyazaki Animated Classics Now on Blu-ray

Three beloved films from the brilliant Japanese animator Hayao Miyazaki deliver truly amazing video and audio in exceptional Blu-ray releases.

PRINCESS MONONOKE, THE WIND RISES and KIKI’S DELIVERY SERVICE were directed by Hayao Miyazaki and produced by his renown Japanese animation studio, Studio Ghibli. The trio, from Walt Disney Pictures, is a nice sampling of Miyazaki’s art. KIKI’S DELIVERY SERVICE is one of his earlier, more children-oriented films. PRINCESS MONONOKE is a more mature fantasy with environmental overtones. And THE WIND RISES, which Miyazaki believed would be his final film as a director, is a fictional biography of Jiro Horikoshi, the designer of the Zero plane.

THE WIND RISES – 2013

Inspired by the aesthetics of design, and the freedom of flying, Jiro Horikoshi only dreams of flying and designing beautiful airplanes. Nearsighted from a young age, and unable to be a pilot, Jiro joins a major Japanese engineering company in 1927. Having dreamed of creating an elegant and flight worthy plane since childhood, Jiro’s life-long labor finally pays off in adulthood, when he creates the Mitsubishi A6M Zero. What Jiro never imagined, however, not even in his wildest dreams, was the fate that would befall his beloved creation — that his labor of love would eventually be used for something beyond his wildest expectation: war.

Video – Codec: MPEG-4 AVC – Resolution: 1080p. Aspect ratio: 1.85:1.

Audio – English: DTS-HD Master Audio 2.0, Japanese: DTS-HD Master Audio 2.0

Subtitles – English, English SDH, French

Discs – 50GB Blu-ray Disc. Two-disc set (1 BD, 1 DVD) DVD copy

Extras:

The Wind Rises: Behind the Microphone – An inside look at the team of talented actors and filmmakers who created the English-dubbed version of THE WIND RISES
Storyboards, Trailers, TV Spots, and an announcement of the completion of the film.

PRINCESS MONONOKE -1997

Inflicted with a deadly curse, a young warrior named Ashitaka sets out to the forests of the west in search of the cure that will save his life. Once there, he becomes inextricably entangled in a bitter battle that matches Lady Eboshi and a proud clan of humans against the forest’s animal gods… who are led by the brave Princess Mononoke, a young woman raised by wolves!

Video – Codec: MPEG-4 AVC – Resolution: 1080p. Aspect ratio: 1.85:1.

Audio – English: DTS-HD Master Audio 5.1, Japanese: DTS-HD Master Audio 5.1, French: Dolby Digital 5.1

Subtitles – English, English SDH, French

Discs – 50GB Blu-ray Disc, Two-disc set (1 BD, 1 DVD) . Two-disc set (1 BD, 1 DVD) DVD copy

Extras:

Original Japanese storyboards, original Japanese Trailers and TV spots
Princess Mononoke in the USA
Making of Featurette

KIKI’S DELIVERY SERVICE – 1989

Rarely does a film touch so many hearts or reach such artistic heights as the highly acclaimed KIKI’S DELIVERY SERVICE, the magical adventure of an enterprising young girl who must follow tradition to become a full-fledged witch. Venturing out, with only her chatty black cat Jiji, Kiki flies off for the adventure of a lifetime. Landing in a far-off city, she sets up a high-flying delivery service. Here begins a wonderful experience of independence and responsibility as she finds her place in the world. KIKI’S DELIVERY SERVICE showcases the breathtaking animation of legendary Hayao Miyazaki and the star voice talents of Kirsten Dunst (Kiki), Phil Hartman (Jiji), Matthew Lawrence (Tombo) and more. This spectacular 2-disc set will give you an inside look into the acclaimed movie that soars with energy, excitement and the kind of imagination that entertains again and again!

Video – Codec: MPEG-4 AVC – Resolution: 1080p. Aspect ratio: 1.85:1.

Audio – English: DTS-HD Master Audio 2.0, Japanese: DTS-HD Master Audio 2.0, French: Dolby Digital 2.0

Subtitles – English, English SDH, French

Discs – 50GB Blu-ray Disc. Two-disc set (1 BD, 1 DVD) DVD copy

Extras:

Introduction by John Lassiter
Ursula’s Painting
Original Japanese storyboards
Original Japanese trailers
Creating Kiki’s Delivery Servie
Producer’s Perspective: Collaborating with Miyazaki
Scoring Miyazaki
Behind the Microphone
The Locations of Kiki’s Delivery Service
Kiki and Jiji
Flying with Kiki and Beyond

SLIFF 2014 Review – STILL LIFE

STILL LIFE screens at 6:55pm Saturday November 22nd at the Plaza Frontenac Theater as part of the ST. Louis International Film Festival

Review by Dana Jung.

In art and photography, the term “still life” refers to a picture of inanimate objects frozen in time. There is no story, no sense of who the objects may belong to, or where they came from, or what may happen to them next. They are just there, possibly never having any human contact at all. The wonderful new film STILL LIFE takes the concept of things seemingly without purpose or meaning, and creates a stirring portrait surprisingly full of emotional depth.

John (Eddie Marsan) is a dedicated civil servant whose job it is to arrange the funeral services for those poor souls who die alone, without immediate family or even friends to say final farewells to them. John is very thorough in his work, selecting the music, writing the eulogies, and even attending each service personally. He also does some tracing of individuals, trying to track down long lost relatives. However, even when John successfully locates an estranged son or daughter, he finds that there are reasons his cases die alone: anger, abandonment, and other hard feelings cause rifts between people that are usually irreparable.

Director Uberto Pasolini establishes John’s life and work in some nicely composed opening scenes. The script also provides some wry touches of humor as the idea of looking through a recently deceased’s personal effects is darkly surreal at best. But there is more to Pasolini’s tale than a quirky character study. When John loses his job due to downsizing to make room for more modern, impersonal practices in dealing with people who die alone, John decides to pursue one final case to locate a man’s missing daughter. As he conducts his investigation, he finds that the deceased lead quite a colorful life, even though he was an imperfect man as well as an actual criminal.

Marsan is perfectly cast as John. An excellent character actor (WORLD’S END, SNOW WHITE AND THE HUNTSMAN), Marsan is probably best known as the belligerent Inspector Lestrade on the BBC’s SHERLOCK HOLMES series. Quiet and unassuming, Marsan makes John a likable, slightly eccentric fellow who keeps a photo album full of the photographs of people who have passed on because he actually cares. John is also the ideal vehicle for Pasolini to develop the film’s themes of the importance of staying connected to those you love, and to never become “still” or complacent, because life may just pass you by. Mortality is something we all have to deal with eventually, and this thoughtful and poignant film’s final scenes pack an emotional punch that will stay with you. It reminds us that life is fleeting, so appreciate its fullness each and every day.

SLIFF 2014 Review – A MASTER BUILDER

A MASTER BUILDER screens as part of the 23rd Annual Whitaker St. Louis International Film Festival on Saturday, November 22 at 2:30 PM at Landmark’s Tivoli Theatre. Get ticket information here.
It’s the reunion over thirty years in the making. Andre Gregory and Wallace Shawn, the stars of Louis Malle’s 1981 cult hit MY DINNER WITH ANDRE, are together again (briefly) in Jonathan Demme’s version of Henrik’s Ibsen stage classic, that’s been adapted for the screen by Shawn. Oh, and he’s the title character, celebrated architect Havald Solness, who, as the film begins, appears to be on his deathbed. He’s hooked up to machines as sister/nurses scurry about in his opulent estate. As he drifts in and out of sleep, his aging mentor Knut (Gregory) pleads with him to give his work requests to Havald’s eager young intern Ragnar (Jeff Biehl), in order to start his own business and finally marry the old master’s secretary Kaia (Emily Cass McDonnell). But even in his weakened state, Havald is cantankerous and egotistical. Once the trio leaves, Havald’s brusk wife Aline (Julie Hagerty) brings her doctor (Larry Pine) in for a visit. But the cure to make Havald spring back to life lies not in the doctor’s bag, instead it’s provided by a visitor to his home. Twenty-something free spirit Hilde (Lisa Joyce) glides in through the front door. As a child, she was dazzled by Havald when he designed a building in her village. And now she re-unites with her first crush. Havald invites her to stay in a spare room, an unused children’s bedroom, much to Aline’s dismay. The older architect and young admirer spend the next days discussing, life, art, and family secrets.

Demme films the story in long, leisurely takes in order to capture the intimacy of the dialogue-heavy scenes. And, aside from some shots of Havald’s work, everything takes place inside the spacious mansion. Shawn is full of charm, and a bit of lechery, as the invorgated near-invalid imbued with energy by this unexpected guest. Joyce sparkles as the pixie-like, giggly fan , whose motivations are often a mystery. And Hagerty makes a welcome return to the movies as the wife whose stern distraction hides years of heartbreak. All the actors help bring this iconic work vibrantly into the modern era. Demme has given fans of the stage and screen a compelling and captivating gift.

SLIFF 2014 Review – GROWING UP AND OTHER LIES

GROWING UP AND OTHER LIES screens as part of the 23rd Annual Whitaker St. Louis International Film Festival on Saturday, November 22 at 5:30 PM at Landmark’s Tivoli Theatre.

Get ticket information here.

Once again, a group of twnty-something best buds must face an uncertain future and enter adulthood in this comedy/drama from co-writers and directors Darren Grodsky and Danny Jacobs. Struggling artist Jake (Josh Larson) is going to throw in the towel (and his painting apron) on his NYC gallery dreams and move back to Ohio to help his ailing pop run the family factory. So what does he want to do on his last day in the Big Apple? Why he wants to walk all 260 blocks of Manhattan, from the farthest North point all the way to Lady Liberty. It’ll be a great, final bonding adventure for him and his three old room mates. Skipping a day from work is teacher “Rocks” (Adam Brody), whose girlfriend is about to go into labor any minute, the nervous, twitchy Billy (Jacobs) who fears that his business partners will learn of him “playin’ hookey”, and the snarky, laid-back Gunderson (Wyatt Cenac). Along the way Jake learns that a big name artist trashed his work at a coffee shop. He gets another surprise when he learns that his ex-girlfriend Tabatha (Amber Tamblyn) has just split from her current beau. Hmmm, maybe he should stay and try and patch things up. But life’s a lot more complicated than that. During the long day, they revisit their old apartment, crash a Dinner at Tabitha’s parents’ ritzy brownstone and a kiddie Central Park birthday pirate party, visit a big gallery opening, and wind up briefly in a Queens hospital. It’s kind of like THE WARRIORS with less chasing and violence, but more infidelity, teasing, and existential angst.

Grodsky and Jacobs give us a light-hearted “Fun City” travelogue that offers up some terrific location photography reminding one of several city roaming flicks like ON THE TOWN and AFTER HOURS. There’s a great, easy rapport from the actors with “Daily Show” vet Cinac imbuing every line with a “too cool for school” vide as he drifts through sequences with a Bill Murray-like effortless spirit. Jacobs is a great nerdy fall guy, usually the brunt of Cinac’s gibes. Plus there’s several strong comic supporting players like Scott Adsit as a confused clergyman and Josh Mostel as Tabitha’s gregarious dad. If you’re got a yen for rude, crude gags and some old-fashioned friendly male teasing, then take a 90 minutes NYC tour with this funny, and a bit freaky, foursome.

THE THEORY OF EVERYTHING – The Review

A more appropriate title for THE THEORY OF EVERYTHING could be “The Theory of Love,” or better yet “The Theory of What Draws One Person to Another.” Chemistry, evolution and science play a large part in this romantic tale of star-crossed lovers but not in a way that you would assume given the man behind the story. How love evolves and changes is more of the basis for this story looking at the life of Stephen Hawking. Those hoping not to sit through a college course on the Big Bang Theory and quantum physics can breathe a sigh of relief. However the fact that so much of Hawking’s theories are brushed to the side in lieu of his personal drama may leave some who are fascinated by the mind of the celebrated physicist scratching their heads.

As an adaptation of Jane Hawking’s novel, THE THEORY OF EVERYTHING achieves a momentous success as being a biopic that is elevated to something more due in large part to two outstanding performances. Felicity Jones gives the best female performance I’ve seen all year. Her big doll eyes carry so much weight and emotion that we can see her internal struggle as she tirelessly cares for Stephen both physically and emotionally. Cinematographer Benoit Delhomme showcases the physical exertion that Jane is put through as she juggles Stephen and a number of bouncing children. As if that wasn’t enough for her to cope with she then deals with a new medical assistant to Stephen that seems to be getting too close to the doctor.

The film deals with the idea of infidelity in their marriage in a very timid manner. Nothing is exactly shown even though some implications are made. This sort of restraint is frustrating from a narrative perspective but most likely reflects what Jane Hawking wrote in her book. I doubt she is going to openly admit to any affair during her marriage to Stephen and likewise she only assumes something is going on with one of his assistants. It’s a sly game that the film plays with these characters. You could almost say that the film paints Jane in a more forgiving light because she doesn’t stand in his way or try to complicate his professional success. However, as evident in one particular scene, they gloss over Jane’s camping trip with her music instructor turned friend in a way that feels a little too sly in my book. I understand her need for love in all its forms, but they may paint her in too much of a saintly light.

Eddie Redmayne gives a performance that might finally elevate his career out of the secondary parts he usually plays. You never feel you’re watching an actor perform as he truly lives and breathes this demanding role. It almost becomes effortless as he captures the facial ticks, smile, and speech pattern of Hawking. Not to mention, he had me in tears several times through this emotional journey. A simple scene of a family trip to the beach and seeing the waves splash onto his paralyzed feet broke me into pieces. I’m not sure I teared up more in any other film this year – that means maybe bring a Kleenex or two.

Director James Marsh takes the audience on a beautiful and moving journey with THE THEORY OF EVERYTHING. Stephen and Jane’s life together over the years is brought to life perfectly as the film treats the passage of time in an easy and carefree manor. We see age makeup, new kids, and other minor changes in fashion and such to indicate that time has passed, but director James Marsh doesn’t get hung-up on trivial details so that the evolving relationship between the couple becomes the main focus. Redmayne and Jones take the audience on a journey of the heart as opposed to the mind. I would have liked more of a balance between the heart and the mind myself, but I’d be remiss if I didn’t say I believed in the poignant theory that was presented to me.

OVERALL RATING: 4 OUT OF 5

THE THEORY OF EVERYTHING opens in St. Louis on Friday, November 21

THE BETTER ANGELS – The Review

Fully engrossed, I became, in this hauntingly beautiful, rare telling of the formative history behind one of our nation’s greatest men in history. So much of what we learn in school about Abraham Lincoln focuses on his accomplishments as our country’s 16th President. Rightfully so, but as children in school, would it not make sense to also learn about how these great men and women grew up? Childhood experience is crucial to the development of character, which is paramount to THE BETTER ANGELS, a film that introduces the audience to a much younger Lincoln than we’re typically accustomed.

THE BETTER ANGELS illustrates the difficulties Lincoln endured as a child, growing up poor and secluded from anyone but his small family in the remote Indiana woods of 1817. Tragedy strikes his family, hard lessons are learned, but Lincoln evolves on screen before us in raw, subtle form. His father (Jason Clarke) loves him, but its an old world tough love kind of relationship, one that surely strengthens Lincoln’s backbone, but its the women in his life, played by Diane Kruger and Brit Marling, that make a specific imprint in his moral character.

Braydon Denney portrays the young Lincoln with palpable emotional restraint, showcasing a more internal struggle within the character that supersedes the hardships of his external environment. Other men in his life, older than he but still his contemporaries, act as supporting influences, but his mother and step mother ultimately share responsibility for keeping his intellect alive and helping make his way to getting a school house education. THE BETTER ANGELS is a film of a philosophical nature, a film intent on provoking thought, a process Lincoln clearly spent his life pursuing.

Writer and director A.J. Edwards makes his feature film debut with THE BETTER ANGELS. The film is produced by Terrence Malick, whose films have clearly had a strong influence on Edwards’ style and vision. Presented in black and white, Edwards paints an entire landscape of achromatic visuals that stand on their own as photographic gems. On the surface, it may seem Edwards fills gaps in dialogue with beautifully sculpted shots, but in fact these visual interludes serve to support the reflective, contemplative nature of Lincoln’s boyhood.

THE BETTER ANGELS is saturated with visual and musical beauty. The score transports the viewer into another time and place, some place that straddles the wild and untamed with the enlightened. Simultaneously, the cinematography allows the viewer to peer into another plane of historical existence, as thought depicting real events, but through the lens of a dreamer, an ethereal plane of meditation that feels limitless but also dangerous. Anyone familiar with Malick’s work will undoubtedly notice the influence on Edwards’ pacing and visual storytelling, but that all serves to enhance this revealing exploration of circumstances that gave of arguably the greatest President of the United States.

Edwards has made a small, intimate film with great care and passion. This is a film that will appeal more to the historian and philosopher than the average moviegoer seeking entertainment. THE BETTER ANGELS is a period film, but you will not get LAST OF THE MOHICANS (as great a film as that is) or another Civil War film. Here you get raw human emotion, a struggle to survive in realistic form, and the impossibly daunting endeavor of becoming a man of greatness from the depths of poverty. THE BETTER ANGELS is top notch stage play material brought vividly to life by the magic of motion picture arts, hones to a level of fine arts and crafted with a philosopher’s mind.

Overall Rating: 4 out of 5 stars

THE HUNGER GAMES: MOCKINGJAY – PART 1 – The Review

Let’s get this out of the way: MOCKINGJAY PART 1 is in fact only half of a bigger picture. There’s nothing we can do about this, we just have to deal with it. But before people lump it into the same marketing gimmick as other recent film series that have split the last chapter into several pieces (I’m looking at you TWILIGHT, HARRY POTTER, and THE HOBBIT), the break that happens at the end of this recent entry into the HUNGER GAMES series doesn’t just feel justified, it’s actually completely necessary. In a way it ends in a manner that seems akin to EMPIRE STRIKES BACK. We know that our main hero is at a turning point and that a break is necessary for them to gather their thoughts before venturing into “the final battle.”

The journey of Katniss Everdeen is one that has been a rocky one for me. Although I enjoyed the first film even with its tired depiction of a dystopian future where the poor services the rich and even provides them entertainment at the cost of their own lives, the second film felt like more of the same ideas and visuals but book ended with a few scenes that took the story into new territory. MOCKINGJAY is completely that new territory the last film teased. Gone is the dog-eat-dog survival game and in its place is a rather ambitious story showing the fog of war. At times it reminded me of a young adult version of Paul Verhoeven’s STARSHIP TROOPERS in that we see the manipulation that the leaders of each side use to control their troops. MOCKINGJAY may not have the bitter irony that that 1997 anti-war film perfected, but it’s worthy of applause for the audacity to explore such issues as the life of a soldier, PTSD, the exploitation of the media, and how individuals are used as symbols for a cause. This is especially bold considering that the main audience who will be exposed to this film is made up of naive teenagers.

After being rescued from the previous Hunger Games, Katniss Everdeen (Jennifer Lawrence) finds herself being held in a secret underground bunker in District 13 that houses the rebel faction that is fighting against the Capitol. Under the guidance of President Coin (Julianne Moore), Katniss is forced into a position to become the leader and symbol of the rebellion. She is the “mockingjay,” and it is through video transmissions of her actions that other districts are inspired to fight back against President Snow (Donald Sutherland) and his oppressive government.

One of the things I found most troubling with the film is the ambivalence you feel towards the Capitol and the rebel army. Of course you hate the Capitol and what they stand for, but you feel just as weary about suiting up for the resistance. We see how the leaders use Katniss as an instrument to achieve their goals. It’s their treatment of her as a pawn that made me uncomfortable throughout the film. Typically films of this nature you have one clear side you are rooting for. Such is not the case here. Katniss has now become the sole reason to watch the films and the only good person to root for. And even after this overly dramatic turn from Jennifer Lawrence, it’s barely enough to keep me fighting on.

Lawrence spends much of the film reacting in dramatic fashion to the events she’s seeing in front of her, listening to what is being told to her, or videos she’s watching on television. It becomes a series of reactionary events without much response on her part. When the film isn’t interested in her fever-pitched emotions then it delivers on what some of the young teens girls are pining for: the will they or won’t they relationship between Katniss and Gale. A few new faces are thrown in to spice up things, but are only there to elevate Katniss’ story. Considering how threatening Donald Sutherland has been in previous entries, I found him criminally underused considering we are now in the second to last chapter of this story. Thankfully though there is one long sequence later on in the film where Sutherland takes a hold of the screen and is given some room to spread his evil wings.

There are a few moments of tense action in PART 1 – one particular scene where Katniss leads a group of fighters through District 8 after visiting some survivors at a hospital is a great set-piece that recalls the war flash-backs from the first TERMINATOR film – but it looks like we will have to wait for PART 2 to really see Katniss kick some ass. MOCKINGJAY PART 1 is a solid entry that surprisingly can stand on its own without feeling like it’s cheating the audience. Even though this is probably my favorite film in the series because it gave me more meat to chew on than the previous films, I still think that this series is best served as a satisfying dish to fans of the book series.

Overall rating: 3 out of 5

THE HUNGER GAMES: MOCKINGJAY – PART 1 opens everywhere November 21

SLIFF 2014 Review – HOLBROOK/TWAIN: AN AMERICAN ODYSSEY

HOLBROOK/TWAIN: AN AMERICAN ODYSSEY screens 6:00pm Sunday, November 23rd at Webster University’s Moore Auditorium as part of the St. Louis International Film Festival. Ticket information can be found HERE

Review by Kathy Kaiser

Director Scott Teems brings to a life a documentary that will touch you in a profound and intensely gratifying way, as he takes you deep into the life of American Author Samuel Clemens – a.k.a. Mark Twain – but through the eyes and 60 year career of American icon and prolific actor, Hal Holbrook. HOLBROOK/TWAIN: AN AMERICAN ODYSSEY tells the tale of Hal Holbrook’s life and legacy playing the legendary author Mark Twain – as told by fellow actors, mentors, even Twain historians, who share how Holbrook’s constant and unwavering presence in theaters on Broadway and all across our nation, in 20 foreign countries, in front of five President’s – even performing behind the iron curtain, has made not only Mark Twain, but Hal Holbrook an AMERICAN LEGEND. Teems also takes you deep into Holbrook’s life beyond the make-up and persona of Twain, that is both touching and revealing, as Holbrook shares his own thoughts too, on playing such an iconic character, his undying love for his third wife – Dixie Carter, and how his children’s lives were tragically affected from his lack of fathering, in pursuit of his one true passion – ACTING.

Whether you enjoy History or not, or enjoy documentary’s, or not – HOLBROOK/TWAIN: AN AMERICAN ODYSSEY is one of those films that you have to place on your MUST SEE LIST at SLIFF this year, as it is both creatively stimulating and emotionally moving from it’s very first frame to it’s last. Seeing Holbrook not only perform, but to actually bring MARK TWAIN to life was incredible to see, and hearing what others had to share about his work throughout his career was also very moving. Seeing Holbrook perform this masterpiece of work in person, would truly be a highlight for me personally too, as apparently, even though his is now a spry 89 years of age, performing is still one of his true joys in life, and seeing this “lecture” would be unforgettable.

SLIFF 2014 Review – WILDLIKE

Review by Dana Jung

WILDLIKE screens at 5:00pm Saturday, November 22nd at the Tivoli Theatre as part of the St. Louis International Film Festival. Ticket information can be found HERE

The “fish out of water” story is nothing new. Even in as remote a location as Alaska, there have been numerous films and TV shows going back to at least NORTHERN EXPOSURE (and its predecessor TWIN PEAKS) that chronicle the effects of living in remote isolation on a person used to the big city. But no project in recent memory has utilized the extreme open spaces and majestic grandeur of the Alaskan outback in such a beautiful way as the new film WILDLIKE.

Mackenzie (Ella Purnell) is a troubled teenage girl who is shipped off to live with her uncle in Alaska. With no father and a mother who is undergoing treatments for some never-explained illness, Mackenzie is struggling, as all teens do, to find her identity. But the added complications of being uprooted at a vulnerable age are only the tip of the iceberg, for Mackenzie’s seemingly friendly uncle turns out to be an abuser, so Mackenzie seizes the first opportunity to run away, into the Alaskan countryside, with nothing but a small backpack and a little cash, and her wits.

Director Frank Hall Green expertly uses the breathtaking visuals of the Alaskan wilderness as a metaphor for the cold isolation that Mackenzie feels. How often, as teens, has one felt that they were all alone in the world? This magnificent backdrop only accentuates the girl’s feelings of withdrawal from human contact, not even to able to connect with a boy her own age without resorting to seduction. Things begin to change for Mackenzie, however, when she meets Bart (Bruce Greenwood), a widower with his own set of personal issues. After several stops and starts, a relationship slowly begins to develop between the lost teen and the man dealing with loss.
Greenwood has always been a strong and versatile actor capable of playing anything from villains to Starfleet captains to JFK. In WILDLIKE, Greenwood gives one of his best performances as the gruff but perceptive Bart. The way in which he chokes back emotion as he tells Mackenzie about his wife provides the perfect touching counterpart to the sadness in the young girl. Purnell (last seen as a young Angelina Jolie in MALEFICENT) is ideally cast as Mackenzie. With her heavy eye makeup and perpetually dour expression, she is in many ways the typical surly teenager. It is Purnell’s nuanced performance that gives the portrayal the depth needed to sympathize with and root for her from beginning to end. Whether nervously chewing on her shirt sleeve, or letting happiness creep across her face at the prospect of a better future, Purnell makes MacKenzie such a memorable character that you only wish good things for her.

Anna Kendrick And Rebel Wilson Star In PITCH PERFECT 2 Trailer

Universal Pictures has released the first trailer for PITCH PERFECT 2.

The sequel stars Anna Kendrick, Skylar Astin, Rebel Wilson, Adam DeVine, Anna Camp, Brittany Snow, Alexis Knapp, Ester Dean, Hana Mae Lee, Hailee Steinfeld with John Michael Higgins, Katey Sagal and Elizabeth Banks.

The Barden Bellas are back in PITCH PERFECT 2, the follow-up to 2012’s smash hit. The comedy is helmed by Elizabeth Banks, co-star and producer of Pitch Perfect, and produced by Paul Brooks, Max Handelman and Banks. Writer Kay Cannon returns to the team to pen the next chapter.

www.pitchperfectmovie.com

https://www.facebook.com/pitchperfectmovie

https://twitter.com/pitchperfect

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