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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+

See Amy Adams, Patrick Dempsey, Maya Rudolph, Idina Menzel And James Marsden In New Trailer For Disney+ DISENCHANTED

Amy Adams as Giselle in Disney’s live-action DISENCHANTED, exclusively on Disney+. Photo courtesy of Disney. © 2022 Disney Enterprises, Inc. All Rights Reserved.

Disney+ has released a delightful new trailer for “Disenchanted,” the all-new musical comedy and sequel to “Enchanted.” The film, which reunites original cast members Amy Adams, Patrick Dempsey, Idina Menzel, and James Marsden and also stars Maya Rudolph, Gabriella Baldacchino, Yvette Nicole Brown, and Jayma Mays, is directed by Adam Shankman and features new songs from Alan Menken and Stephen Schwartz. “Disenchanted” debuts November 18, exclusively on Disney+.

It has been more than ten years since Giselle (Adams) and Robert (Dempsey) wed, but Giselle has grown disillusioned with life in the city, so they move their growing family to the sleepy suburban community of Monroeville in search of a more fairy tale life. Unfortunately, it isn’t the quick fix she had hoped for. Suburbia has a whole new set of rules and a local queen bee, Malvina Monroe (Rudolph), who makes Giselle feel more out of place than ever. Frustrated that her happily ever after hasn’t been so easy to find, she turns to the magic of Andalasia for help, accidentally transforming the entire town into a real-life fairy tale and placing her family’s future happiness in jeopardy.Now, Giselle is in a race against time to reverse the spell and determine what happily ever after truly means to her and her family.

(L-R): Pip (voiced by Griffin Newman) and Amy Adams as Giselle in Disney’s live-action DISENCHANTED, exclusively on Disney+. Photo courtesy of Disney. © 2022 Disney Enterprises, Inc. All Rights Reserved.

“Disenchanted stars Amy Adams, Patrick Dempsey, Maya Rudolph, Yvette Nicole Brown, Jayma Mays, Gabriella Baldacchino, with Idina Menzel and James Marsden. Directed by Adam Shankman from a screenplay by Brigitte Hales and a story by J. David Stem & David N. Weiss, and Richard LaGravenese, “Disenchanted” is produced by Barry Josephson, Barry Sonnenfeld, and Amy Adams, with Jo Burn, Sunil Perkash, and Adam Shankman serving as executive producers. The movie features songs with music by 8-time Oscar®-winning composer Alan Menken and lyrics by three-time Oscar-winning lyricist Stephen Schwartz, whose work on “Enchanted” garnered three Academy Award® nominations and a score by Alan Menken.

The digital soundtrack from Walt Disney Records will be available on Nov. 18 and is available for Pre-Save/Pre-Add here.

DEAR EVAN HANSEN – Review

(from left) Connor Murphy (Colton Ryan) and Evan Hansen (Ben Platt) in Dear Evan Hansen, directed by Stephen Chbosky.

And a week later we’re back in the messy, stress-filled, anxiety-inducing halls of high school in this new film. Oh, this has songs too, since it’s also based on a musical produced for the stage. But that may be where the similarities end (well, Daddy’s not running the house). EVERYBODY’S TALKING ABOUT JAIMIE is set in the UK, Sheffield specifically, with a lead character who’s fairly happy, though he yearns to follow his drag diva dreams. Across the pond, in the US in an unnamed sunny suburb (probably in the West, with mostly Atlanta, again, based-locations), this title character (he gets his full name, though) doesn’t really have such long-term goals. He’s just trying to “push on” while remaining essentially invisible to his classmates. Oh, and this tale tackles life and death issues, really. Plus it was a big Tony winner back in 2015. And all the songs and drama stem from a letter that opens with DEAR EVAN HANSEN.

Actually, those are the first words we see, on a computer monitor. Nervous, always anxious Evan (Ben Platt) is completing the daily assignment given to him (along with a prescription for lots of meds) by his therapist. It’s a letter to himself, a sort of written “pep talk’, pushing him to assert himself and strive for positivity. He’s interrupted by a phone call from mother Heidi (Julianne Moore) who has to work later at the hospital (she’s gotta pick up shifts since her hubby went AWOL years ago). Soon Evan arrives for the first day of his senior year of high school. He dashes to the gym where he helps run the audio system for the big “welcome assembly” alongside old “family friend”, the snarky Jared (Nik Dodani). As usual, Evan pines for the band’s cute guitarist, Zoe (Kaitlyn Dever). Unfortunately, Evan runs afoul of her sullen brother Conner (Colton Ryan) in the computer room. After writing his name in huuuge letters on Evan’s arm cast, Connor snatches up Evan’s daily letter from the single printer. Incensed at the mention of his sister in it, Connor storms off with the letter. Days later, Evan is called into the principal’s office where he meets Connor’s distraught parents, Cynthia (Amy Adams) and Larry (Danny Pino). It seems their son took his own life and the only note found was Evan’s stolen letter. Cynthia believes it was written by Connor and that he and Evan were “secret” BFFs. In an effort to give them some comfort, a flustered Evan lies. This lie leads to others as he and Jared compose more “fake” emails for a “fake” secret online account. Soon Evan is coming over to Cynthia’s home, mostly to be closer to Zoe. But things get more complicated when the very popular Alana (Amandla Sternberg) approaches Evan about raising funds for a suicide prevention program dubbed “The Connor Project”. When his speech goes viral, Evan finds himself drowning in a sea of deception. Can he stay adrift or will he be dragged down in the depths of (well-intentioned) deceit?

Reprising his Tony-winning role, Platt easily works past the media speculations about his “aging-out” of the seventeen-year-old (hey look at most teen TV dramas from a few decades ago) and is achingly believable as the awkward, twitchy Evan. His social awkwardness is expertly conveyed by Platt’s body language as he walks stiffly with shoulders haunched and arms never veeringly far from the torso. This also heightens his musical numbers as his confident singing makes up for his character’s stunted verbal skills. As his fib grows we see him start to blossom (thanks to Zoe, perhaps), occasionally lashing out (poor mum), but that “skittish mouse” is always there, especially when the “social walls” begin to close in. As Zoe, Dever projects a lot of the rebellious, but still accessible “cool kid” vibe as she delves into her complex family issues (at the dinner table she’s the unfiltered “voice of truth”). As for the main adults, Adams as Cynthia is vulnerable and somewhat fragile as she uses the “letter’ as a lifeline that will soften her grief, holding on to a fantasy of her son with her last bit of strength. Pino as Larry tries to be the “solid anchor’ for the floundering family, but he’s trying to push down his own feelings of anger at rage (over Connor, but mainly directed at himself). Though she’s absent (dashing through the hospital) for most of the tale’s midsection, Moore is strong but somewhat oblivious as the frazzled, but proud Heidi, who truly thinks her son has defeated his past demons (and Moore does well with her solo song). Sternberg is quite compelling as the high school “joiner” and organizer whose bright smile is her shield against her own insecurities as she and Evan bond over their mood-altering meds. Ryan, in a pivotal role with little screen time, ably handles the different “versions” of the volatile Connor, truly scary in hisreal encounter with Evan, and endearing as Cynthia’s “fantasy” of a sweet devoted pal. And luckily, Dodani generates some much-needed levity as the cynical Jared, taking the “p#*%s” out of his “bro” at nearly every turn.

The direction from Stephen Chobsky (best known for helming the movie of his YA novel THE PERKS OF BEING A WALLFLOWER) is very creative, exposing little of the material’s “stage roots’, while “opening up” the story and making it a bit more intimate, as the camera can focus in on the main characters. He eases the action into the musical numbers with few bombastic bits of flourish. Plus he makes great use of montages in order to bring us into the “viral world”, which is as important a setting as the school or Zoe’s opulent home (or Heidi’s modest two-bedroom tract house). Unlike the aforementioned JAIMIE, there’s not an abundance of flashy dance numbers (“Sincerely, Me”, a fantasy duet with Evan and Connor comes close), which aid in showcasing the clever songs by Justin Paul and Dan Romer (LA LA LAND). The screenplay from Steven Levenson (another Tony winner)aptly explores the social hierarchy of high school while also touching on economic class clashes (Evan likes the “swanky digs” at Zoe’s), though the third act (like many stage shows) feels a bit lacking in its denouncement, especially as Evan “faces the music” while trying to achieve a somewhat hopeful finale’.I kept harkening back to a much darker, though similar in subject teen comedy/drama from 2009, Bobcat Goldthwait’s WORLD’S GREATEST DAD, which is an underrated gem with a messier, but more compelling conclusion. The final moments aside, this is one of the better stage adaptations with soulful songs and a stellar cast giving the flick a real emotional punch. DEAR EVAN HANSEN delivers its heartfelt message both dramatically and musically, one that should resonate with all ages (and hopefully lead to some needed family discussions).

3 Out of 4

DEAR EVAN HANSEN opens in select theatres on Friday, September 24, 2021

Ron Howard’s HILLBILLY ELEGY Starring Glenn Close And Amy Adams On Netflix November 24

J.D. Vance (Gabriel Basso), a former Marine from southern Ohio and current Yale Law student, is on the verge of landing his dream job when a family crisis forces him to return to the home he’s tried to forget. J.D. must navigate the complex dynamics of his Appalachian family, including his volatile relationship with his mother Bev (Amy Adams), who’s struggling with addiction. Fueled by memories of his grandmother Mamaw (Glenn Close), the resilient and whip-smart woman who raised him, J.D. comes to embrace his family’s indelible imprint on his own personal journey.

Based on J.D. Vance’s #1 New York Times Bestseller and directed by Academy Award winner Ron Howard, with a screenplay by Vanessa Taylor, HILLBILLY ELEGY is a powerful personal memoir that offers a window into one family’s personal journey of survival and triumph. By following three colorful generations through their unique struggles, J.D.’s family story explores the highs and lows that define his family’s experience.

Watch it here: https://www.netflix.com/title/81071970

Catch the movie on Netflix on November 24th.

Ron Howard’s team included casting by Carmen Cuba, Music Supervisor Joe Rudge, Music by Hans Zimmer & David Fleming, Costume Designer Virginia B. Johnson, Edited by James D. Wilcox, ACE, Production Designer Molly Hughes and Director of Photography Maryse Alberti.

First Look Preview of THE WOMAN IN THE WINDOW Stars Amy Adams, Gary Oldman And Julianne Moore

Starring Amy Adams, Gary Oldman, Anthony Mackie, Wyatt Russell, Brian Tyree Henry, Jennifer Jason Leigh and Julianne Moore, here’s a first look at the brand new trailer for THE WOMAN IN THE WINDOW.

Directed by Joe Wright (DARKEST HOUR), an agoraphobic child psychologist befriends a neighbor across the street from her New York City brownstone, only to see her own life turned upside down when the woman disappears and she suspects foul play. A stellar ensemble cast brings Tracy Letts’ screenplay based on the gripping, best-selling novel to life, where shocking secrets are revealed, and no one-and nothing-is what it seems.

THE WOMAN IN THE WINDOW seems like an updated adaptation of the classic 1954 REAR WINDOW from Alfred Hitchcock. The stellar cast should bring in moviegoers looking for something after BLACK WIDOW opens at the beginning of May.

Twentieth Century Fox’s upcoming psychological suspense thriller opens in cinemas on May 15, 2020.

Twitter: @DoctorIsIn

Facebook: @WomanInTheWindowMovie

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VICE – Review

*Christian Bale as Dick Cheney in Adam McKay’s VICE, an Annapurna Pictures release. Photo credit : Matt Kennedy / Annapurna Pictures. 2018 © Annapurna Pictures, LLC. All Rights Reserved.*

Adam McKay, who brought us THE BIG SHORT, takes on Dick Chaney in the hilariously satiric biopic VICE. The writer/director who made credit default swaps both funny and understandable brings those sharp comic skills to this boldly inventive and pointed examination of career of the former vice president. If you are a fan of former Vice President Cheney, VICE might not be for you, as the humor leans a bit snarky. But for this rest of us, VICE is flat-out hilarious.

As funny as it is, the facts in VICE are accurate, even if McKay presents them in a comic way. McKay brings the same high level of thorough research he brought to THE BIG SHORT to this smart subversive comedy. VICE covers some of the same time period as the George W. Bush biopic drama W, but this film is definitely comedy, with broad humor mixed with the satire.

We first meet Dick Cheney (Christian Bale) in Wyoming, as a young man with a drinking problem and a dim future. Well, dim until future wife Lynne (Amy Adams) gives him a “shape up” dressing down that serves as a wake-up call. We follow Cheney’s evolution as a behind-the-scenes political force from his days as an Congressional intern for his mentor Donald Rumsfeld (Steve Carell) to the present, and we watch him evolve through out. There is a particularly telling scene, where the eager young Cheney, trying to figure out the political strategy, asks his mentor Rumsfeld “what do we believe?” which releases chilling, cackling laughter from Rummy.

The film is narrated by Jesse Plemons, as an ordinary working man whose connection to Cheney becomes clear late in the film. Sam Rockwell plays George W. Bush, Eddie Marsan appears as Paul Wolfowitz, Tyler Perry plays Colin Powell, and other stars pop up throughout.

VICE is on lots of critics’ top ten lists already, and one reason is Christian Bale’s performance as Dick Cheney. Bale, who is leading many lists for a Best Actor Oscar nomination, gained 40 pounds for the role and is virtually unrecognizable. Especially later in the film, as the older Cheney, the resemblance is striking, with Bale mimicking Cheney’s mannerisms and posture with uncanny accuracy, making is easy to forget that is not Dick Cheney himself on screen.

This is no glowing, affectionate portrait of Cheney by any means but McKay treats the former “Vice” fairly and accurately, including honestly showing Cheney’s devotion to his family, as well as his calculated rise as a behind-the-scenes force in politics and government. The person who really comes across as unrelentingly unsavory in this film is Rumsfeld.

The film as a whole does a great job on both casting and make-up, worthy of an Oscar there as well. Steve Carell as wholly convincing as Donald Rumsfeld, as is Sam Rockwell as Dubya. Amy Adams is ruthless and fierce as Lynne Cheney, and the driving force behind her husband’s ambitions and career, echoing the political partnership in “House of Cards.” Among the most striking transformations is Tyler Perry, as Colin Powell. Lisagay Hamilton, who plays Condoleezza Rice, looks so much like the former Secretary of State, that one might do a double-take, thinking that is the real Condie in those scenes.

One example of VICE’s clever comic presentation of facts is the “menu scene,” which takes place after the start of the Iraq War. We see Rumsfeld, Cheney and Wolfowitz in a fancy restaurant where the waiter (played by Alfred Molina) is describing the menu, with choices like “enhanced interrogation” and “Guantanamo Bay.” Another laugh-out-loud moment is when Dick and Lynne Cheney are considering Bush’s offer of the vice presidency, and narrator Jesse Plemons intones “we can’t just switch to a Shakespearean soliloquy” but then the film kinda does, with the couple in bed seeming to recite a scene from “Macbeth.”

There are plentiful other comic gems in this bitingly funny film. The film slyly uses a fly fishing theme throughout, tying (get it? flying tying? sorry, couldn’t resist) in with Wyoming, which fly fishermen know is trout fishing heaven. Fly fishing references are abundant, everything from casting to hooking a trout, with a particularly good scene where Cheney is talking to presidential candidate Dubya about the vice presidency. Remarkably creative fishing flies – tied in the shape of bombs or the World Trade Center twin towers – are shown with the closing credits.

VICE seems a sure thing for Oscar nominations, particularly for Christian Bale’s breathtaking performance and its clever script. Highly entertaining as well as as impressively inventive, VICE is definitely a must-see film, and one of this year’s best.

RATING: 5 out of 5 stars

Win Passes To The St. Louis Advance Screening Of VICE – Stars Christian Bale, Amy Adams And Tyler Perry

VICE explores the epic story about how a bureaucratic Washington insider quietly became the most powerful man in the world as Vice-President to George W. Bush, reshaping the country and the globe in ways that we still feel today.

Opening in theaters on Christmas Day, VICE stars Christian Bale, Amy Adams, Steve Carell, Sam Rockwell, Jesse Plemons, Alison Pill, Lily Rabe, Tyler Perry, Justin Kirk, LisaGay Hamilton, Shea Whigham and Eddie Marsan and is directed by Adam McKay.

Enter for your chance to win two free passes to the St. Louis advance screening of VICE. The theatrical sneak preview will be on December 20 at 7pm.

Add you name and email in our comments section below.

NO PURCHASE REQUIRED. A pass does not guarantee a seat at a screening. Seating is on a first-come, first served basis. The theater is overbooked to assure a full house.

WEBSITE: https://www.vice.movie/

The Flash, Batman And Wonder Woman Featured In New Photo From JUSTICE LEAGUE

Warner Bros. Pictures has released a first look photo from director Zack Snyder’s JUSTICE LEAGUE.

Fueled by his restored faith in humanity and inspired by Superman’s selfless act, Bruce Wayne enlists the help of his newfound ally, Diana Prince, to face an even greater enemy.

Together, Batman and Wonder Woman work quickly to find and recruit a team of metahumans to stand against this newly awakened threat. But despite the formation of this unprecedented league of heroes—Batman, Wonder Woman, Aquaman, Cyborg and The Flash—it may already be too late to save the planet from an assault of catastrophic proportions.

Warner Bros. Pictures will release director Patty Jenkins movie, WONDER WOMAN, on June 2. That film stars Gadot, Gadot, Chris Pine, Robin Wright, Connie Nielsen, David Thewlis, and
Danny Huston.

JUSTICE LEAGUE’s story is by Zack Snyder & Chris Terrio, Screenplay by Chris Terrio based on characters from DC Entertainment, Superman created by Jerry Siegel and Joe Shuster.

Starring Ben Affleck, Henry Cavill, Amy Adams, Gal Gadot, Jason Momoa, Ezra Miller, Raymond Fisher, Willem Dafoe, Jesse Eisenberg, Jeremy Irons, Diane Lane, Connie Nielsen, and J.K. Simmons, JUSTICE LEAGUE opens in 3D and 2D in select theaters and IMAX on November 17

http://www.justiceleaguethemovie.com/

NOCTURNAL ANIMALS – Review

Writer-director Tom Ford’s NOCTURNAL ANIMALS is a movie that clearly fancies itself hip and ingenious, but ends up as flabby as the middle-aged obese women that dance naked in slow motion during the opening credits.

With NOCTURNAL ANIMALS, Ford presents a dual storyline that alternates between a Texas-set Bronson-esque revenge tale and an arty Lynch/Refn-inspired look at the ugliness of modern life. Amy Adams stars as Susan, a wealthy but sad Los Angeles art gallery owner (those naked chubbettes are an exhibit) married to Hutton (Armie Hammer), an unfaithful stockbroker with money problems. One day a manuscript is delivered to Susan, a novel titled Nocturnal Animals, dedicated to her and written by her former husband Edward (Jake Gyllenhaal) who she has not spoken to in 19 years. She lays down to read it and suddenly we are in the book, where math professor Tony (Gyllenhaal again), is driving through Texas with his wife (Isla Fisher – resembling Adams) and their bratty teen daughter (Ellie Bamber). They’re forced off the road and terrorized by a trio of unwashed hooligans led by Ray (Aaron Taylor Johnson). The encounter ends in tragedy and the shattered Tony then teams up with laconic, cancer-stricken detective Bobby Andes (Michael Shannon) and the pair spend months trying to solve the crime.

NOCTURNAL ANIMALS bounces awkwardly between this story-within-the-movie and the more stylishly-filmed story of Susan, juxtaposing her pity party with Tony’s shocking ordeal. At first, there’s mystery. Is some of Ed’s novel is based on truth? A phone call from Susan to their daughter reveals little, but why does his story freak her out so much? There are long flashbacks to points in Susan and Edward’s relationship, but these shed little light on the puzzle.

There are some good moments in NOCTURNAL ANIMALS. A scene when Susan’s younger colleague (Jena Malone) shows off her sleeping baby on her phone app is well-written and ends with a nice shock, but too many sequences, including that tense highway encounter and a flashback of Susan and Edward’s first dinner date go on far too long. Amy Adams is in low-key misery mode in the contemporary scenes while perky in the flashbacks, but Susan is not a very compelling character nor much of a challenge for the actress. Gyllenhaal is the one forced to display big emotions, fear and anger and regret, but he’s only partially successful. It’s the supporting cast that shines. Michael Shannon’s chain-smoking surface swagger peels back to reveal a man of depth and character. Armie Hammer’s blandness works in his favor for a change while an unrecognizable Aaron Taylor Johnson hits all the right hateful notes. A scene stealer is Laura Linney as Susan’s narrow-minded mother who we’re told is a conservative Republican, which I guess explains the enormous Barbara Bush-style pearl necklace she sports.

Ford heightens the melodrama with a lush and seductive score by Abel Korzeniowski which nicely mixes with Seamus McGarvey’s cinematography, iridescent in the L.A. scenes while earthier during Tony’s Texas nightmare. Ford’s caricature of the Lone Star State is about what you’d expect from a former Gucci fashion designer; a place of dark and dangerous highways where backwoods yokels have toilets installed on their front porches, and where the brutal rape and murder of two upper class white women is assigned to a single lowdown detective. I was never bored with NOCTURNAL ANIMALS but its competing narratives don’t mesh well and the film ultimately doesn’t add up to much.

2 1/2 Stars

NOCTURNAL ANIMALS opens Wednesday November 23rd in St. Louis exclusively at Landmark’s Plaza Frontenac Theater

ARRIVAL – Review

Most life forms begin with an egg. A beginning. The egg is a sign of hope, and with it comes the expectation that a new life will emerge, breaking through the primordial shell. It’s an action that is inherently violent and yet, it is celebrated because it signifies achievement.

It’s no coincidence that in Denis Villeneuve’s heavily symbolic film that the alien ship is shaped like an upright black egg. Often we associate UFOs as horizontal black discs or shiny saucers, but when the ship is revealed to the audience for the first time, it appears like a black egg almost resting on the Earth’s surface. Even the US military doesn’t know how the ship arrived. It’s as if Earth suddenly gave birth to this new object.

Upon further examination, the egg actually resembles more of a computer mouse – it has the overall oval-like shape but with an almost flat or concave surface on its back side. This isn’t the only computer reference either. Even the protective screen that the human characters communicate through with the otherworldly creatures looks like a giant computer screen or monitor. It’s no secret that our world is connected to and, in most cases, completely reliant on technology. Its main use is for communication, but as ARRIVAL points out, even though our planet has advanced technologically since its creation, the conversation may have stopped.

Amy Adams plays a college professor and renowned linguist who is recruited by the US government to translate the language and writing of an alien species after 12 ships land in different parts around the world. She’s joined by a physicist played by Jeremy Renner. With the help of the military, their goal is to figure out why the visitors have landed on Earth and what their intentions are. At the same time, the tension of the events causes the different countries to begin to turn on each other. And so it becomes not just a chess match between us vs. them, but also us vs. our neighbors.

Denis Villeneuve is one of the most exciting voices working in film. You could say his film style is fundamental. There’s a simple yet focused manner to how he tells his stories (in this case, from a thought-provoking screenplay by Eric Heisserer), while letting the human element of the story always be the centerpiece. For two films in a row now he has had women in the lead. He positions both as outsiders. In SICARIO, Emily Blunt is an outsider because she’s a woman barely heard in a world of men. She doesn’t know who to trust, and likewise, you fear for her. In ARRIVAL, Amy Adams is unique because she’s the only one truly communicating in a (once again) male-driven world. Instead of fearing for her like we did with Emily Blunt, we relate to Adams because of her humanitarian approach to the conflict.

Adams plays the part with little flourish. In a role that could have easily been Oscar-bait if handed over to the likes of Naomi Watts or Anne Hathaway, Adams delivers a meek and understated performance. Even her character is presented in a way that she seems unadorned with makeup. It’s a character built on principles, and Amy Adams encompasses this perfectly.

Although ARRIVAL includes tentacled alien creatures, the film is never really about that. It’s a quiet film that balances the focus between Adams dealing with her own personal turmoil while attempting to be the woman who is maintaining the peace so that all of the men get along and that the different sides don’t blow each other up. How her story unfolds is where some may take issue. Time existing as not just a straight line becomes an important element of the film – even so far as replicating this idea through the design of the alien writing – but some viewers might find how this theme plays into the ending a bit of a turnoff. What will be interesting is to see how this element affects the film on multiple viewings, as is the case with his previous film ENEMY.

When thinking about ARRIVAL as an alien invasion film where our planet is on the brink of all-out war, it makes Villeneuve’s film sound like the work of science fiction. But given how he grounds the story in such an interesting way, it feels like we could wake up tomorrow morning and encounter the same events. Coincidentally, it’s fascinating that ARRIVAL opens the weekend after one of the most divisive elections the United States has ever encountered. Moreso, who knows how this divide will affect our country in the years to come. Good science fiction transcends the time it was created and carries a message that future generations can continue to learn from. For better or for worse, separate sides being forced to come together in the face of an overwhelming crisis might be a message that we need now… and will need in the future in order for life to prosper in this world.

Overall rating: 4.5 out of 5

ARRIVAL opens in theaters everywhere November 11

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