DISENCHANTED – Review

With a few more weeks in the holiday season, you just know that this weekend’s new take on Pinocchio wouldn’t be the only family-aimed musical family feature based on a fairy tale. Well, “kind of” as this new film is a sequel to an unexpected hit from fifteen years ago that was “inspired” by those lush film fables with hummable tunes that Disney specialized in. In many ways, it was a parody of them, which is ironic since the “mouse house” produced it. Now many fans of that flick may wonder about those 2007 characters. Could they possibly change and become DISENCHANTED?


This follow-up actually begins in the fully-animated magical world of Andalasia, where the chipmunk Pip (voice of Griffin Newman) reads his twin boys a bedtime story, which, conveniently for “newbies” is a recap of the original film. But the lads implore their pop to tell them just what happens after “happily ever after”. Jump ahead ten years. Of course, human Giselle (Amy Adams) has wed her “prince”, lawyer Robert (Patrick Dempsey). After she gives birth to their daughter Sophia, the NYC apartment feels a bit cramped with them along with their now-teenaged daughter Morgan (Gabriella Baldacchino). The best plan is a new home out of the city and into the new suburban community of Monroeville, much to the annoyance of Morgan. They arrive at the still-in-progress two-story house and soon see a golden glow emanating from the backyard “wishing well”. Suddenly the glow fades to reveal old friends Prince Edward (James Marsden) and his bride Nancy (Idina Menzel). And they brought a fabulous housewarming present, a small chest containing a “wishing wand”. After they depart, Giselle accompanies Morgan to her first day of high school. There they meet the town’s unofficial “queen”, the imposing Malvina (Maya Rudolph), and her two helpers, Rosaleen (Yvette Nicole Brown) and Ruby (Jayma May). Giselle’s efforts to help Morgan be popular at school prove disastrous, prompting her to take the train back to the city, and call her a “wicked stepmother”. The upset former princess decides to use that wand, wishing for a “fairy tale life”. Then Monroeville magically transforms into the medieval kingdom of Morolasia under the rule of its actual queen Malvina. Robert’s a dashing knight in search of challenges, while Morgan is a sweet Cinderella-type bubbly lass. All’s well it seems until Giselle begins acting on sudden nasty awful impulses. Could she be turning into a real wicked stepmother? Can this spell be broken, even after Malvina and her pals snatch the wand?

Despite the passing of fifteen years (kinda’ confusing that it’s just ten in the story), Adams’ cheery smile lights up the screen, projecting a sunny optimism that’s oblivious to those around her. But here we get the flip side of Giselle as Adams relishes going “dark” and tossing off insults with a mischievous grin. Oh, and she can still belt out a show-stoppin’ song. Dempsy also plays with his role as Robert as he indulges his slapstick side as a klutzy swashbuckler, though he can kick up his heels, er..boots, during a big number. Baldacchino is a new addition (Rachel Duff from the first flick has “aged out”, though she still scores a brief cameo) believable as the sullen surly teen and bouncy and bubbly when “happied-up” by the wand. Also enjoying a walk on the wild, wicked side is Rudolph (though we never see the “nice” side) who’s a “lifestyle” diva in the real world, and a conniving demoness as a true fantasy villainess, even dancing about as she conjures and plots, and treats us to her song stylings. Of course, there’s no match vocally for the superb Menzel whose role is much smaller this time but gets to treat us to her perfect “pipes’ with a couple of melodies. Plus she makes a great duo with the energetic and goofy Marsden as the sweet but daft prince. Speaking of pairs, Brown and Mays are terrific as the toading, bickering hench…women. Oh, and there are a couple of wonderful comic actors in brief roles. Oscar Nunez is a simpering, fawning barista and a magic mirror, while Alan Tudyk is a loopy delight as a talking magic scroll.

All those actors, new and old, seem to be relishing their roles, the sets are eye-popping along with the costumes, and the songs from Stephen Schwartz and Alan Menkin are hummable and pleasant. But something feels just off. Perhaps it’s missing some of that 2007 magic. Maybe the concept feels a bit..worn. Aha, maybe it’s the loss of a major character, the Big Apple itself. Giselle’s “fish out of water” bumping up against New Yorkers that have no patience for fantasy created a great backdrop for romance and comedy. The “wickining” of her this time out gives this film a nice twist, but we’re waiting for her to “snap out of it”. And Monroeville or Monrolasia is no match for NYC, as its modern version feels out of any teen high school story. New director Adam Shankman (taking over from Kevin Lima) really excels with the big musical numbers and the slapstick sequences, but the mother/daughter clashes just feel flat. And the lack of real interplay between reality and the classic 2-D style animation is very missed here. Hardcore fans of the first flick may enjoy an update on the characters, but those looking for some of the former’s fun and frolics, may (after multiple endings) feel more than a bit DISENCHANTED.


2 Out of 4

DISENCHANTED is now streaming exclusively on Disney+

Win A Family 4-Pack Of Passes To The St. Louis Advance Screening Of Walt Disney Animation Studios’ STRANGE WORLD

STRANGE WORLD introduces a legendary family of explorers, the Clades, as they attempt to navigate an uncharted, treacherous land alongside a motley crew that includes a mischievous blob, a three-legged dog and a slew of ravenous creatures. The film arrives in theaters November 23, 2022!

The advance screening of Walt Disney Animation Studios’ original action-packed adventure STRANGE WORLD is Monday, November 21st, 7pm at AMC Esquire 7. 

The screening will be filled on a first come first served basis, so we encourage you to arrive early. Seats will not be guaranteed. Rated PG.

Enter at the link below for the chance to win a family-four pack of passes.

SWEEPSTAKES LINK:  http://gofobo.com/GeeksStrangeWorld

Tickets now available: http://fandango.com/strangeworld

“Inspired by classic adventure stories,” said director Don Hall, “‘Strange World’ is an original animated adventure/comedy about three generations of the Clade family who overcome their differences while exploring a strange, wondrous and oftentimes hostile world.”

The voice cast includes Jake Gyllenhaal as Searcher Clade, a family man who finds himself out of his element on an unpredictable mission; Dennis Quaid as Searcher’s larger-than-life explorer father, Jaeger; Jaboukie Young-White as Searcher’s 16-year-old son, Ethan, who longs for adventure; Gabrielle Union as Meridian Clade, an accomplished pilot and Searcher’s partner in all things; and Lucy Liu as Callisto Mal, Avalonia’s fearless leader who spearheads the exploration into the strange world. “Strange World” is helmed by Don Hall (Oscar®-winning “Big Hero 6,” “Raya and the Last Dragon”) and co-director/writer Qui Nguyen (co-writer “Raya and the Last Dragon”), and produced by Roy Conli (Oscar®-winning “Big Hero 6,” “Tangled”).

© 2022 Disney. All Rights Reserved.

SHE SAID – Review

(from left) Megan Twohey (Carey Mulligan) and Jodi Kantor (Zoe Kazan) in She Said, directed by Maria Schrader. Courtesy of Universal.

Carey Mulligan and Zoe Kazan star in the engrossing true-story drama SHE SAID, which throws a spotlight on the two New York Times women journalists whose investigation helped spark the “Me Too” movement.

SHE SAID evokes the classic ALL THE PRESIDENTS MEN but this surprisingly kinetic, compellingly watchable investigative journalism drama at times feels a bit like a tense mystery-thriller. The film keeps the two investigative journalists, Jodi Kantor (Zoe Kazan) and Megan Twohey (Carey Mulligan), at the center of the story but it also gives a remarkably realistic picture of how journalism is done. SHE SAID’s storytelling highlights the importance of investigative journalism itself, the kind of reporting that uncovers wrongdoing and starts the process to hold the guilty responsible, the kind of vitally-important journalism in a democracy that is most at risk of being lost in the current news industry crisis.

Director Maria Schrader crafts a firecracker of a drama, one that is surprisingly restless and kinetic as well as deeply involving. SHE SAID is based on the New York Times investigation by reporters Jodi Kantor, Megan Twohey and Rebecca Corbett, and Kantor and Twohey’s book “She Said: Breaking the Sexual Harassment Story That Helped Ignite a Movement.” Patricia Clarkson plays editor Rebecca Corbett, managing the story from the newsroom, but the major focus is on the pair of investigative reporters pounding the pavement.

Carey Mulligan, who was so powerful in A PROMISING YOUNG WOMAN, plays Megan Twohey, a hard-hitting seasoned journalist who also gives birth while working on this ground-breaking story. She shares this investigation with another, less experienced New Times journalist, Jodi Kantor (Zoe Kazan). At first, the story does not look like something groundbreaking, as the two work on an investigation into work-place sexual harassment in larger corporations, but a tip shifts the focus to a new industry. With its liberal reputation, the journalists are surprised by the tip about harassment and abuse in the movie industry, and the trail quickly points to one person in particular, powerful producer Harvey Weinstein.

Others had tried and failed to break this story over the years, not just about this one man but others as well, but had hit a wall of silence that shut things down. There were lots of stories and rumors about Weinstein but frustratingly no one who wants to go on record or even name names. As Kantor and Twohey dig deeper, they go down a rabbit hole of leads that uncovers a hidden network of cover-ups, secrecy and fear, that soon sparks a paranoid feeling of being watched by a shadowy, powerful and well-connected force.

Carey Mulligan, who was so remarkable in A PROMISING YOUNG WOMAN, plays Megan Twohey, a hard-hitting New Times journalist who starts this investigation shortly before giving birth and rejoins it on returning to work. It is the kind of personal, refreshingly real, slice of life detail that gives depth to both characters. Twohey shares this investigation with Jodi Kantor (Zoe Kazan), a less-seasoned journalist and a woman who is already a parent, giving a nice personal counter-balance to their professional relationship. We are used to seeing Kazan in more comedic roles in films like THE BIG SICK but she does very well here in this more serious part, where she creates a character who is driven in her work but warm on a personal level.

As the two journalists, peel back the layers concealing the abuse, SHE SAID builds suspense, with the reporters hit barrier after barrier and tracking down leads that seem to go to dead ends. This well-written drama crafts a strikingly realistic picture of how journalism is actually done, but it also takes us into these reporters’ private lives, giving us warm glimpses into their family lives and painting a portrait of striving for work/life balance.

Rather than a drama that unfolds mostly in the newsroom, as we might expect, director Maria Schrader and screenwriter Rebecca Lenkiewicz open up the story by sending the two reporters out into the streets and into the homes of sources and possible abuse victims. The two women are often headed in divergent directions, which creates a restlessness and kinetic sense, with Twohey and Kantor frequently in motion, racing place to place, even country to country as they pursue the story. That restless energy is thanks in part to excellent editing but also the director’s choice in how she presents the work of these two hard-working women journalists. The camera follows them as they walk and travel, periodically bringing them back together to share findings or back to the newsroom to confer with editors about next steps.

This collaborative partnership between the tough, more experienced Twohey and the eager, newer reporter Kantor is one of the delights of the film, and Carey Mulligan and Zoe Kazan are wonderful together. The script balances their professional relationship with scenes of home life for both, as they care for children and as Twohey struggles with post-partum depression.

As the journalists follow their leads, the biggest challenge is the lack of sources willing to go on record. They hear chilling stories but tying names to events is hard. Time and again, a new lead ends with a person gagged by a non-disclosure agreement or just fear of professional suicide. Lurking behind it, increasingly, is a single figure, one name.

Editors Rebecca Corbett (Patricia Clarkson) and Dean Baquet (Andre Braugher) provide strong support and guidance, even approving funds to travel to distant places. Andre Braugher’s Baquet provides advice on dealing with Harvey Weinstein in particular, someone with whom he has had dealings, which leads to some intriguing scenes where he speaks with him by phone or in person.

Director Schrader cleverly handles scenes with famous people, such as Weinstein and Donald Trump, by shooting actors playing them from behind. An exception is Ashley Judd, who plays herself, mirroring her role as a crucial voice in breaking this story and sparking the movement that followed.

But most of the people the reporters interview are not famous, and we are surprising time in again by familiar faces in some of these roles. Seeing these gifted actors, including Samantha Morton and Jennifer Ehle, adds a extra level of enjoyment and moments of surprise to this excellent film.

SHE SAID is top contender for awards. It is a compelling true story drama focused on both the two women whose dogged reporting blew open a long hidden secret, and the story they uncovered that helped launch a movement. In a way, the film itself is a triumph of exactly the kind of talented women being held down by the abuse the reporters revealed. SHE SAID is a brilliantly directed and written women-helmed film with a strong women-centric true story with outstanding, rounded female performances, making it both a story about women finding their voices and example of what women film-makers can accomplish.

SHE SAID opens Friday, Nov. 18, in theaters.

RATING: 4 out of 4 stars

GUILLERMO DEL TORO’S PINOCCHIO – Review

Aside from the serious somber Oscar contenders, and a few action blockbusters, the end-of-the-year holidays see the release of many family-friendly animated fantasies. And this pre-Thanksgiving weekend delivers a new version of a familiar children’s classic. Of course, some of that familiarity may come from its having a “new take” just a few months ago. Now, this spin is a bit more “low-tech”, as the former was a mix of live-action and “motion capture” magic, this one is done with stop-motion animation (fittingly often called “puppet animation”). Plus it adheres much more closely to the somewhat “dark” nature of the book. Which is a good match with its co-director/producer. who has helmed many a sinister fantasy fable. And just to drive that point home, his name is in the title, GUILLERMO DEL TORO’S PINOCCHIO, to make sure we know this “ain’t” your Uncle Walt’s lil’ “wooden boy”.


Now it begins in a setting we somewhat recall, An affable insect, Sebastian J, Cricket (voice of Ewan McGregor) guides us into a quaint, quiet Italian village. Then he tells us of the town’s elderly widower, woodcarver Geppetto (David Bradley) who shares his shop/home with his young son Carlo. Life is sweet until the boy is killed by a bomb accidentally dropped by the many planes that fly over. Oh, so this is not set in the pre-flight 1800s, eh? Yes, it’s happening during the 1930s reign of Mussolini. Well, a distraught, boozing Geppetto decides to recreate his boy as a wooden puppet and chops down the tree where Sebastian abides. Late that night, after the carving is complete, Geppetto “sleeps it off” as the magical wood sprites merge into an enchantress (Tilda Swinton) who bestows life onto the toy. The next morning he introduces himself to his startled, scared papa. Pinocchio (Gregory Mann) is more than a “handful”, spewing endless questions and wrecking the work area. The decision to send the lad off to school causes panic among his neighbors who treat the lad as an unholy monster. But Pinocchio catches the attention of the monkey Spazzatura (Cate Blanchett), who takes him to his master, Count Volpe (Christoph Waltz). He decides to make the boy his star attraction in his failing traveling carnival show. Later, when it’s known that Pinocchio is almost immortal, he’s drafted into the army by the town government liaison, Podesta (Ron Perlman), befriends his son Candlewick (Finn Wolfhard), and even performs for “Il Duce” before rescuing his pop from a ravenous sea monster.

Well, this is loads of fun, though it has a real somber “edge” to it, so it’s perhaps not ideal for the wee ones. Knowing the title director, some sinister imagery is expected…and delivered. As I hinted earlier, death plays a big role, from Geppetto’s early loss to the title hero, who pops out of a coffin several times, much to the chagrin of some shiny black-clad bunnies who’s rather be playing poker. And that’s part of the black humor of the piece, from flying cutlery to the steady punishment of the narrator who’s flattened frequently over the last act. Perhaps most surprising is the subtle political themes, as fascism almost swallows the hero (before the sea beast gets a chance). But then this harkens back to the filmmaker’s earlier masterwork PAN’S LABYRINTH, but this time mixed with a touch of the Frankenstein mythos (another obsession for Mr. del Toro). Mind you, the storybook look is there, gloriously rendered in stop-motion much as with the Rankin/Bass TV specials and the recent work from the Laika Studios (CORALINE). Much credit is due to the talented roster of artists, spearheaded by the co-director, stop motion maestro Mark Gustafson. But it would be merely pretty images (no, it’s beautiful) without the witty, often caustic script/adaptation by del Toro, Patrick McHale, and Matthew Robbins which had me chuckling throughout. The icing on the cake might be the delightful, toe-tapping songs from composer Alexandre Desplat which are propelled by stellar vocal talents. Who knew that Waltz was such a crooner, nearly as good as McGregor? But delivering most of the songs is Mann, who never goes for the maudlin, and instead makes the title hero are real hellion, menacing his papa as he engages in a dance of destruction. I’ll admit that I was one of the few critics that didn’t eviscerate the recent Disney remake, but this is one incredibly surprising spin on the oft-told tale, Perhaps not for the entire family, but the movie present for older, and more dark-humored fantasy fans, is GUILLERMO DEL TORO’S PINOCCHIO. And I’m not gonna’ “knock on wood” when praising it.

3.5 Out of 4

GUILLERMO DEL TORO’S PINOCCHIO is now playing in select theatres

MICKEY: THE STORY OF A MOUSE – Review

So there have been some great documentary feature biographies of show biz superstars. This year alone we’ve been given in-depth profiles of Sidney Poitier, Tanya Tucker, and Louis Armstrong. Oh but this one, well he just may be the biggest star in the whole wide world, and for the longest time. So, did I mention that he’s an animated character? Oh, but he’s THE cartoon icon, who’s been entertaining the globe for 95 years. It’s been said that the test of a cartoon design is whether the figure can be identified by its silhouette. He’s got that beat as the shape of his head is immediately recognized, perhaps it’s because of its simplicity. After all, it’s really three connected circles that outline the face of MICKEY: THE STORY OF A MOUSE.


This overview/history/appreciation begins with the mouse meeting his many fans at different venues on the planet. Many of the older ones tell us of their personal connections to him. The film shifts into his creation and his creator Walt Disney and how he came up with the star when he lost his other toon series, We’ve taken to Marceline, MO for a spin around his old family farm and the “Dreaming Tree” that captivated young Walt. Then it’s back to today for the feature’s real “framing device”, ironically the making of a brand-new Mickey short to commemorate his big birthday. It’s spearheaded by animation artist supreme, Eric Goldberg, who actually handles (with white gloves and supervision) the original animation drawings and guides from the 1930s, Mickey’s golden years as the number cartoon short star (until a certain spinach-lovin’ sailor arrived). Naturally, the merchandising would follow (the watch) and we see how the mouse changed over the years from his black dot eyes to full pupils to his personality as he had to be a “nice” role model for the kiddos. Soon he was the studio mascot who became the greeter at the theme parks. We also meet his many voices and witness his entries into different media (his TV club dominated) and new tech (he’s got several streaming CGI programs). There’s even a glimpse of his controversies, from an unauthorized short “Mickey Goes to Vietnam”, to his name as a derogatory adjective (a clip from the GODFATHER films has Pacino barking about a “Mickey Mouse outfit”). And yet the mouse endures and becomes the first cartoon pal for each new generation with no end in sight.

Director Jeff Maimberg has crafted an affectionate look at everybody’s favorite movie mouse without steering clear of his often controversial history. Aside from the aforementioned anti-war short, we get several scenes of Mickey being way too aggressive with Minnie (a bit past Pepe le Pew’s lust) and taking several jabs at minorities. But as many have said (in the video collection disclaimers) it was a different time. It’s amazing to see how theatres devoted so much of their entrances and marquees to the mouse, reminding us of a popular filmgoer’s complaint, “What, no Mickey Mouse”? But much time is spent showing the “taming of the rodent” which helped the career of his cohort, Donald Duck (who could be nasty and mean-spirited). Eventually Mick became a “straight man” in the Pluto shorts until TV revived his “rep”. Aside from the wealth of archival footage, the best moments come from the artists who crafted the magical moments. Goldberg is quite eloquent as he draws a classic pose. Plus, in addition to his collaborators, we’re treated to a visit from the great Floyd Norman (star of his own superb doc feature) who worked with Walt back in the day. But really, how can you not melt a bit as the kids dash to the big mouse for a warm hug (one older fan calls him “pure joy”). Is there a better way to celebrate a superstar who’s quickly approaching the century mark than MICKEY: THE STORY OF A MOUSE? I mean other than a big hunk o’ cheese? And this is far from “cheesy”!

3.5 Out of 4

MICKEY: THE STORY OF A MOUSE is now streaming on Disney+

Win Passes To The St. Louis Advance Screening Of THE FABLEMANS

Young Sammy Fabelman falls in love with movies after his parents take him to see “The Greatest Show on Earth.” Armed with a camera, Sammy starts to make his own films at home, much to the delight of his supportive mother. CRITICS ARE CALLING THE FABELMANS “A MASTERPIECE.”  IT’S “THE MOVIE WE’VE BEEN WAITING FOR SPIELBERG TO MAKE.”  FROM STEVEN SPIELBERG, UNIVERSAL PICTURES AND AMBLIN ENTERTAINMENT PROUDLY PRESENT THE FABELMANS.  RATED PG-13.  IN THEATERS EVERYWHERE THANKSGIVING.

Advance Screening is Monday, Nov. 21st at 7pm at Marcus Des Peres 14.

The screening will be filled on a first come first served basis, so we encourage you to arrive early. Seats will not be guaranteed. Rated PG 13.

Enter at the link below. Winners will be selected

SWEEPSTAKES LINK: https://gofobo.com/GnkEr92497

Directed by Steven Spielberg, The Fabelmans is written by Spielberg and Pulitzer Prize-winning playwright Tony Kushner (Angels in America, Caroline, or Change), who has earned Oscar® nominations for his screenplays for Spielberg’s Lincoln and Munich. The film is produced by three-time Oscar® nominee Kristie Macosko Krieger p.g.a. (West Side Story, The Post), Steven Spielberg p.g.a. and Tony Kushner p.g.a. The film is executive produced by Carla Raij (Maestro, co-producer West Side Story) and Josh McLaglen (Free Guy, Logan).

The film stars Gabriel LaBelle (The Predator, American Gigolo series) as 16-year-old aspiring filmmaker Sammy Fabelman; four-time Academy Award® nominee Michelle Williams (Manchester by the Sea, My Week with Marilyn) as his artistic mother, Mitzi; Paul Dano (The Batman, There Will Be Blood) as his successful, scientific father, Burt; Seth Rogen (Steve Jobs, An American Pickle) as Bennie Loewy, Burt’s best friend and honorary “uncle” to the Fabelman children, and Academy Award® nominee Judd Hirsch (Uncut Gems, Ordinary People) as Mitzi’s Uncle Boris.

The ensemble cast includes Oscar® nominee Jeannie Berlin (The Heartbreak Kid, Inherent Vice) as Sammy’s paternal grandmother, Hadassah Fabelman; Julia Butters (Once Upon a Time … in Hollywood, 13 Hours) as Sammy’s sister Reggie; Robin Bartlett (Moonstruck, Lean on Me) as Sammy’s maternal grandmother Tina Schildkraut and Keeley Karsten (Hunters, Evil Lives Here) as Sammy’s sister Natalie.

The music is by five-time Academy Award® winner John Williams (Schindler’s List, Jaws), the costume designer is two-time Oscar® winner Mark Bridges (The Artist, Phantom Thread) and the production designer is two-time Oscar® winner Rick Carter (Lincoln, Avatar). The Fabelmans is edited by three-time Academy Award® winner Michael Kahn ace (Saving Private Ryan, Schindler’s List) and Sarah Broshar (West Side Story, The Post). The film’s director of photography is two-time Academy Award® winner Janusz Kaminski (Schindler’s List, Saving Private Ryan).

https://www.thefabelmans.movie/

Gabriel LaBelle as Sammy Fabelman in The Fabelmans, co-written, produced and directed by Steven Spielberg.

Win Passes To The St. Louis Advance Screening Of SHE SAID

CRITICS ARE CALLING SHE SAID “BRILLIANT AND CAPTIVATING.”  “ONE OF THE BEST FILMS OF THE YEAR.”  BASED ON ACTUAL EVENTS THAT HELPED IGNITE A MOVEMENT, UNIVERSAL PICTURES PROUDLY PRESENTS ACADEMY AWARD® NOMINEE CAREY MULLIGAN AND ZOE KAZAN.  SHE SAID. 

ONLY IN THEATERS NOVEMBER 18TH.

Advance Screening Tues, Nov. 15th 7pm at AMC Esquire 7.

The screening will be filled on a first come first served basis, so we encourage you to arrive early. Seats will not be guaranteed. Rated R.

Enter at the link below. Winners will be selected

SWEEPSTAKES LINK:  https://gofobo.com/Zxrpw60721 

Two-time Academy Award® nominee Carey Mulligan (Promising Young Woman, An Education) and Emmy nominee Zoe Kazan (The Plot Against America, The Big Sick) star as New York Times reporters Megan Twohey and Jodi Kantor, who together broke one of the most important stories in a generation— a story that shattered decades of silence around the subject of sexual assault in Hollywood and impelled a shift in American culture that continues to this day.

From the Academy Award® winning producers of 12 Years a Slave, Moonlight, Minari, Selma and The Big Short and the Oscar®-nominated producer of Zero Dark Thirty and American Hustle, the film is based on the New York Times investigation by Jodi Kantor, Megan Twohey and Rebecca Corbett and the New York Times bestseller, She Said: Breaking the Sexual Harassment Story That Helped Ignite a Movement by Jodi Kantor and Megan Twohey.

A testament to the incalculable importance of investigative journalism, She Said details the journey of reporters and editors engaged in the unrelenting pursuit of the truth and highlights the courage of survivors and witnesses who chose to come forward to stop an accused serial predator from committing further harm. Together, their commitment and fortitude sparked a global conversation, helped propel the #MeToo movement, and fueled a reckoning of the system that had enabled him.

At its heart, She Said is an inspiring true story about people, many of them women, many of them mothers, who summoned the courage to speak out and seek justice, not just for themselves but for those in the future, both in the U.S. and around the globe. The film is a compelling, moving reminder of the power of individual people, armed with determination and grit, to, together, change the world.

The film costars Oscar® nominee Patricia Clarkson (Shutter Island, Pieces of April), Emmy winner Andre Braugher (Homicide: Life on the Street, Thief), Tony winner Jennifer Ehle (Zero Dark Thirty, Pride and Prejudice), with Academy Award® nominee Samantha Morton (Minority Report, In America) and Emmy and Golden Globe nominee Ashley Judd (Double Jeopardy, Bug) as herself.

She Said is directed by Emmy winner Maria Schrader (I’m Your Man, Unorthodox limited series) from a screenplay by Rebecca Lenkiewicz, screenwriter of the Oscar® winning film Ida. The film is produced by Academy Award® winners Dede Gardner and Jeremy Kleiner for Plan B Entertainment and is executive produced by Oscar® winner Brad Pitt and Lila Yacoub and by Oscar® nominee Megan Ellison and Sue Naegle for Annapurna Pictures.

https://www.shesaidmovie.com/

(from left) Rebecca Corbett (Patricia Clarkson), Megan Twohey (Carey Mulligan) and Jodi Kantor (Zoe Kazan) in She Said, directed by Maria Schrader.

Win Passes To The St. Louis Advance Screening Of DEVOTION – Stars Jonathan Majors And Glen Powell

DEVOTION, an aerial war epic based on the bestselling book of the same name, tells the harrowing true story of two elite US Navy fighter pilots during the Korean War. Their heroic sacrifices would ultimately make them the Navy’s most celebrated wingmen. Directed by JD Dillard, with a screenplay by Jake Crane & Jonathan A. H. Stewart and based on the book by Adam Makos. The film stars Jonathan Majors Glen Powell, Christina Jackson, Thomas Sadoski and Joe Jonas.

DEVOTION is in theaters November 23.

Enter to win passes for you and a guest to attend the Advance Screening of DEVOTION on Wednesday, November 16th, 7pm at Marcus Ronnie’s Cinema.

Click here to enter:
https://events.sonypictures.com/screenings/unsecured/main/screeningInfo.jsf?code=WAMGdev23

The screening will be filled on a first come first served basis, so we encourage you to arrive early. Seats will not be guaranteed. Rated PG-13.

https://www.devotion.movie/

Jesse Brown (Jonathan Majors) and Tom Hudner (Glen Powell) in Columbia Pictures’ DEVOTION.

BLACK PANTHER: WAKANDA FOREVER – Review

A scene from Marvel Studios’ Black Panther: Wakanda Forever. Photo courtesy of Marvel Studios. © 2022 MARVEL.

Face front, true believers! We’re in the last few weeks of the year, so it’s time for family get-togethers, big feasts, and…one more excursion into the Marvel Cinematic Universe! Now this one is another virtual trek to a spot we’ve not seen in over four years. Mind you, we did lots of traveling in the previous MCU outings, from multiverses with Doctor Strange to outer space, and New Asgard, with Thor and his pals. Well, we’re pretty much back on “terra firma” now, although we’ll be diving into the lowest depths of the ocean to meet a new challenge. Did I mention that this is a follow-up to perhaps the most successful (in box office and awards) franchise of the non-group (those mighty Avengers) of the studio? But in those years a lot has changed. That’s because the returning cast is sadly incomplete for BLACK PANTHER: WAKANDA FOREVER.


As we open in that “hidden kingdom”, the unthinkable has occurred. Despite the determined efforts of beloved Princess Shuri (Letitia Wright), her mother Queen Ramonda (Angela Bassett) brings her the news that death has claimed brother T’Challa. And though the family mourns, the populace celebrates their fallen king. Life goes on as the story jumps to the following year. Ramonda addresses a meeting of nations. Its members are growing impatient with Wakanda as they want to get access to their precious Vibranium, which T’challa graciously offered to share years ago. At the same time, a mercenary band attacks a Wakandan research lab to take the metal. But instead, they find the elite Dora Milaje led by Okoye (Danai Gurira). And that’s not the end of the “colonizer’s quest”. At a mining station floating in the Atlantic, another team has detected Vibranium on the ocean floor with a new gizmo (seems that regular metal detectors don’t recognize it). As two divers descend in order to retrieve it something odd happens. The facility is under siege by fearsome warriors who rise up from the waves, led by a very strong airborne man. He later confronts Ramonda and Shuri near a Wakandan beach. We learn that he is Namor (Tenoch Huerta), the immortal ruler of the underwater kingdom of Talocan, who believes that they made the mining invention. After Ramonda assures him that they didn’t create the device, Namor issues an ultimatum. Bring him its designer or face his massive army. After he departs, the duo begins an expedition that will reunite them with US government agent Everett Ross (Martin Freeman) and introduce them to young Cambridge University engineering savant Riri Williams (Dominque Thorne). But even with their assistance, along with old allies Nakia (Lupita Nyong’o) and M’Baku (Winston Duke), can Wakanda survive an attack from Namor’s formidable forces, without the leadership and strength of the Black Panther?

Wright is the first member of the royal family and is the dramatic focus of most of the film. Four years ago I remarked on how she almost stole all of her scenes in that first film. Here Wright ably embodies the heartbreak of her homeland as she struggles to forge ahead while dealing with”survivor’s guilt” and a sense that he’d be here if she only “pushed herself” further. Later we see her deal with an inner conflict of heroism and revenge, which Wright conveys with confidence. But that quality springs to mind when thinking of the “force of nature”, Bassett, as the grieving queen and “mother of us all” who will stand firm as the rest of the world tries to ‘steamroll” her legacy. She’s regal and majestic, but with her closest family and friends, we see her warmth. Though not introduced till the story’s midpoint, Nyong’o is compelling as the “almost queen” who deals with her loss privately but will step up to any enemy. And she (and the other Wakandans) have an intimidating foe in Namor, played with an otherworldly warrior’s grandeur by Huerta. When he softly issues threats to the royales, no bombastic blustering is needed. His intense glare shows that he’s not bluffing. And Huerta expertly handles the role’s physical requirements whether he’s digging his fingers into armored transports or hovering over his enemies. Comic relief is provided by the blustering Duke as the affable and arrogant M’Baku and Freeman as the befuddled and secretive Ross, who’s paired with a current comedic icon (no spoilers). Gurira still dominates the action sequences as Okoye, but she tempers the “ferocity” with a touch of sadness and her own regret as a new threat gets the “upper hand”.And Thorne is a terrific addition as Riri, a “fish out of water” who tries to temper her sense of wonder about the kingdom with the need to aid them and survive to create new scientific marvels (had to get that in).

Hey Marvel maniacs, here’s Namor AKA the Sub-Mariner from over eighty years ago in the pages of Timely Comics as rendered by his creator, Bill Everett! Imperious Rex!


Also returning in the director’s chair is Ryan Coogler, who also co-wrote the screenplay with Joe Robert Cole. It’s a true challenge that Coogler dives into, going from a nation in mourning to a high sea, high-stakes battle between the “hidden realms”.There’s still that sense of mythic pageantry as Wakanda remains a compelling clash of golden mythology and near-magic high-tech wizardry. But he doesn’t turn away from the intimate dramatic moments as the family tries to heal their still-fresh wounds. The big action “set pieces” aren’t neglected (they’re well-done, indeed), but they’re spaced out with long stretches of dialogue-heavy exchanges in too many locales that may test the patience of many viewers in search of the stunt spectacles of the original (does the final battle need multiple flashbacks). Yes, it has pacing problems that threaten to dull the story’s dramatic impact. Part of the problem is the need to tell the backstory of Namor, which could’ve been explored in a spin-off film or a streaming miniseries. Yes, the Talocans have some nifty “bits of business”, from whale-riding to a hypnotic siren’s call, and Namor’s hummingbird-like ankle wings (and he darts through the sky like the critter), but it may add too much to the bloated 161-minute runtime. It all does honor the memory of the late star of the original (the revamped studio logo sets a melancholy mood), but the somber sequences and stop-and-start addled plot momentum weigh the end of Phase Four” and sink it down into the murky depths when BLACK PANTHER: WAKANDA FOREVER should soar.


3 out of 4


BLACK PANTHER: WAKANDA FOREVER is now playing in theatres everywhere.

Black Panther: Wakanda Forever. © 2022 MARVEL.

JOHN WICK: CHAPTER 4 Trailer Stars Keanu Reeves – Only In Theaters And IMAX March 24

Keanu Reeves as John Wick and Donnie Yen as Caine in John Wick 4. Photo Credit: Murray Close

Check out the brand new trailer for JOHN WICK: CHAPTER 4.

John Wick (Keanu Reeves) uncovers a path to defeating The High Table. But before he can earn his freedom, Wick must face off against a new enemy with powerful alliances across the globe and forces that turn old friends into foes.

The film stars Keanu Reeves, Donnie Yen, Bill Skarsgård, Laurence Fishburne, Hiroyuki Sanada, Shamier Anderson, Lance Reddick, Rina Sawayama, Scott Adkins, and Ian McShane.

Directed by Chad Stahelski, written by Shay Hatten and Michael Finch and based on characters created by Derek Kolstad, JOHN WICK: CHAPTER 4 opens in theaters March 24.

It was announced in early November Prime Video will launch The Continental, the highly anticipated special event series based on the blockbuster action franchise John Wick. The prequel is produced by Lionsgate Television, and will be exclusively available to Prime Video members worldwide excluding the U.S., Middle East and Israel in 2023.

The Continental is told from the perspective of the hotel manager, portrayed by Ian McShane in the film
franchise – a young Winston Scott, played by Colin Woodell (The Flight Attendant). Throughout the series, viewers will follow Winston through the underworld of ’70’s New York, where he will battle demons from his past as he attempts to seize control of the iconic hotel – a hotel that serves as a meeting point for the world’s most dangerous criminals.

Woodell is joined by Mel Gibson (Braveheart), as Cormac; Ayomide Adegun (The Hunger Games: The Ballad of Songbirds and Snakes), who will portray a young Charon (based on the character portrayed by Lance Reddick); Ben Robson (Vikings) as Frankie; Hubert Point-Du Jour (Dr. Death) as Miles; Jessica Allain (The Laundromat) playing Lou; Mishel Prada (Vida) as KD; Nhung Kate (The Housemaid) as Yen; and Peter
Greene (Training Day), who dons the fedora of Uncle Charlie (based on the tight-lipped body disposal expert).

The John Wick films have grossed nearly $600 million worldwide to date, with each film outperforming its predecessor.