Tag: ben mendelsohn

ROOFMAN – Review

Channing Tatum and Kirsten Dunst star in Paramount Pictures’ “ROOFMAN.”

This weekend sees the release of a most unusual true-crime story. Yes, it’s got the standard details of a lawbreaker’s plans and motives (yup, filthy loot), but it’s more than that ole DRAGNET cliché of “Just the facts”. No, it takes lots of twists and turns, even making a detour into comedy (often slapstick) and romance (thanks to the sprightly pairing of the two leads). But don’t let its title mislead you, because the fella’ here known as the ROOFMAN is certainly not a spandex-clad “superguy”, though he’s not a super villain either. Mostly…

The film opens with the title guy doing his “thing”. Former US Army Reservist Jeffrey Manchester (Channing Tatum) scopes out a busy suburban McDonald’s as it closes for the night. After the workers depart, he heads to the roof and bashes a big hole so that he can drop in. From there, it’s a waiting game until the morning crew arrives. Jeff springs out wearing all black (including a ski mask) and brandishes his rifle. After the manager gives him the cash from the safe, Jeff instructs them to grab their coats and head to the walk-in cooler. But the manager doesn’t have one, so Jeff gives him his black jacket (he’s also dubbed the “gentleman robber”), then dashes away (and calls 911 to get his victims rescued from the cold). From there, the story backtracks to Jeff struggling to make ends meet for his wife, pre-teen daughter, and twin toddler sons. Taking inspiration from his Army pal Steve’s (LaKeith Stanfield) illicit schemes (phony IDs and passports), Jeff begins his retail and restaurant robbery spree. But the law catches up to him. Due to the whole “locking folks in freezers” MO, Jeff is convicted of armed kidnapping and given a hefty sentence. He quickly learns that his spouse has cut out contact with him (Jeff is quite a “girl daddy”). Using his observation skills from the service, he slips out of prison, and contacts his pal Steve, who tells him that he’s too “hot” and to contact him in a month about setting Jeff up with a new identity. What to do over those thirty days? A nearby Toys ‘R’ Us shop may be the answer. Near closing time, Jeff hides via the bathroom ceiling tile. He emerges after the store is closed, disables the security video system, and uses the space behind the bicycle display as his daytime hideaway. He also sets up video baby monitors throughout the store. One day, Jeff is aware of a sweet single mother on the staff. He sees Leigh (Kirsten Dunst) plead with her prickly boss Mitch (Peter Dinkledge) to let her take some discarded, unsellable items for her church’s toy drive. Mitch refuses, so Jeff figures out a way to exit and re-enter the store during the day. He shows up at the church to drop off his bag of goodies, but a member insists that he join the service. He spots Leigh in the choir, and at the post-service spaghetti lunch, Jeff (calling himself John) strikes up a conversation. A romance quickly ensues. But can he dodge her questions and the police? And what will happen when Steve returns? Will Jeff flee or pursue a new life with Leigh?

Once again, Tatum proves that he’s much more than his superb dancing skills as he ramps up the charm (and “rizz”) as the “man on the lam”. Actually, his Jeff/John just entrances almost everyone he meets, and even some of those crime victims, as he deftly sidesteps inquiries and contemplates his next move. But Tatum also shows us this man’s inner conflict and heartbreak over losing contact with his kids. Fortunately, he enjoys a surrogate fam via his relationship with Leigh, given a bouncy sweetness by the still endearing Ms. Dunst. It’s nice to see her step away from her recent somber, dramatic roles, although Dunst can certainly bring the tears in the emotional third act. A big entertaining asset is the great Dinkledge, who makes Mitch a very funny “retail dictator” as he glowers at his “slacking underlings”. Stanfield brings a dangerous, tough energy to the no-nonsense Steve. It’s a shame that the bubble Juno Temple (so great in “Ted Lasso”) doesn’t have more to do as his ditzy beautician GF. On the other side of the law is the inspired pairing of Ben Mendelsohn and Uzo Aduba as the affable Pastor John (at Leigh’s church) and his nurturing wife Eileen (going against the notion of Hollywood deriding the ministry). And stand-up comic Jimmy O. Yang delivers some laughs as a frazzled used car salesman.

Like Dunst, this is much lighter fare for director Derek Cianfrance, perhaps best known for THE PLACE BEYOND THE PINES and BLUE VALENTINE. He displays a real flair for breezy comic set pieces, especially when Jeff becomes the nighttime ruler of “toyland” as he wastes the pre-dawn hours tossing teddy bears and scarfing peanut M&Ms (better than all the jars of baby food). Ditto for the initial dating of him and Leigh. But it eases into a few clichés, especially with her two daughters. The pre-teen is sweet and adorable, while the sixteen-year-old is the usual surly, snarky “demon spawn” overused in so many shows. I suppose this is there for conflict so that Jeff has to “work” to win them all over. This precludes a lull in the pacing, as the movie “spins its wheels” as Jeff gets a new set of wheels. Really, the film could have used a good fifteen or twenty-minute trim on the ole’ editing bay (well, probably all computers now). This leads up to the very sobering and sad finale, in which Jeff reverts to his criminal ways. The film doesn’t give him a “pass” since he’s really a good guy with Leigh and her kids. He “fesses up” that he’s a bad guy even after the filmmakers work diligently to make him the hangdog hero that we “root for”. No, he’s a criminal who takes the hard-earned money of others while waving a weapon. And if not for the high-caliber cast, this might have been another made-for-cable-TV bit of fluff. However, fans of Mr. Tatum and Ms. Dunst may enjoy and be moved by the true-life modern fable of the ROOFMAN. Oh, and be sure and stay for the end credits, which include lots of footage of the real folks.

2.5 Out of 4

ROOFMAN is now playing in theaters everywhere

Channing Tatum, Kirsten Dunst, LaKeith Stanfield And Peter Dinklage Star In First Trailer For ROOFMAN

Channing Tatum stars in Paramount Pictures’ “ROOFMAN.”

Watch the first trailer for director Derek Cianfrance’s ROOFMAN.

Based on an unbelievable true story, Roofman follows Jeffrey Manchester (Channing Tatum), a former Army Ranger and struggling father who turns to robbing McDonald’s restaurants by cutting holes in their roofs, earning him the nickname: Roofman.

After escaping prison, he secretly lives inside a Toys “R” Us for six months, surviving undetected while planning his next move. But when he falls for Leigh (Kirsten Dunst), a divorced mom drawn to his undeniable charm, his double life begins to unravel, setting off a compelling and suspenseful game of cat and mouse as his past closes in.

One of this geek’s favorite filmmakers, Cianfrance’s other superb films include BLUE VALENTINE, THE PLACE BEYOND THE PINES, THE LIGHT BETWEEN OCEANS and he was also the co-story writer for SOUND OF METAL, which received a best original screenplay nod at the 93rd Oscars.

ROOFMAN’s cast includes Channing Tatum, Kirsten Dunst, Ben Mendelsohn, LaKeith Stanfield, Juno Temple, Melonie Diaz, Uzo Aduba, Lily Collias, Jimmy O. Yang and Peter Dinklage.

ROOFMAN opens in theaters on October 10.

https://www.roofmanmovie.com

Channing Tatum stars in Paramount Pictures’ “ROOFMAN.”

FREAKY TALES – Review

As the big Spring break period approaches its conclusion, there’s still just enough time left for a quick trip via the multiplex. The destination’s not an exotic locale far from our shores, nor the pixel-generated backdrops of this weekend’s big studio flick. This movie “getaway” all takes place on the sunny streets of Oakland, CA. And, more importantly, this is a “time trip” since the “stories” are set in the long-ago Reagan era of 1987. Yes, I said “stories’ as this is an anthology of “twisted” fables with characters dropped in and out of different segments, so it differs from the TALES FROM THE CRYPT or NEW YORK STORIES template, though there’s an off-screen narrator (unlike the Cryptkeeper). So, get your hair teased out, unplug the Walkman, lace up the Reeboks, and set the “Wayback machine” 38 years in reverse to take in some truly FREAKY TALES.

Speaking of that narrator, he provides a bit of a prologue as we’re told of a mysterious green glow, perhaps alien in origin, that affected that gritty West Coast city in 1987. As a TV commercial for a “self-help” style center called “Psytopics” fades out, we’re taken to the outside of a movie theatre playing a quartet of classic 80s flicks for the first story, “The Gilman Strikes Back”. A trio of “New Wave” garbed friends are hassled by a truck full of teenage Neo-Nazi skinheads, who speed away. Ah, but they aren’t done for the night as they invade an underground dance club and destroy the venue and the band’s instruments. A young couple, Tina (Ji-young Yoo) and “Lucid” (Jack Champion) decide, along with the other club regulars and owners, to fight back. Next is “Don’t Fight the Feeling,” in which two young women who work in an ice cream shop decide to pursue their dream of being hip-hop stars. It may come true when Entice (Normani) and Barbie (Dominique Thorne), AKA “Danger Zone”, get a chance to be part of a big concert with rap superstar Too $hort (DeMario Simba Driver). But could it actually be a “set up”? From there we’re dropped into the last days of a loan shark enforcer with the third tale “Born to Mack”, as weary “leg-breaker” Clint (Pedro Pascal) tries to leave the “life’ and settle down with his pregnant partner Grace (Natalia Dominguez). But the ‘sins of the past” catch up to him outise a video rental shop, run by a familar talkative cinefile. The final story is “The Legend of Sleepy Floyd”, which focuses on the title Golden State Warriors superstar (Jay Ellis) who becomes the target of a home invasion committed by a biker gang turned burglars sent out by the crime mastermind known simply as “The Guy” (Ben Mendelsohn). They soon find out that basketball is just one of Floyd’s incredible “skills”.

Now, even though it’s four stories, several of the actors should be lauded since there’s certainly a lot of “cross-over” activity. Its biggest star might be the busiest guy in streaming TV, though he’ll truly stretch (sorry) as Mr. Fantastic this Summer: the internet’s “daddy”, Pedro Pascal. He brings a real gravitas to the haunted Clint, a “working class” mob soldier who’s aching to reach that light at the end of the tunnel, the road to a better future. That’s reachable unless the past grabs him. Yes, he’s fearsome when he confronts his last “gig”, but Pascal can tug on our hearts moments later with his love. At the opposite end of the spectrum is the always terrific Mendelsohn, who is ruthless and brutal with none of the sophistication of previous “baddies” in STAR WARS: ROGUE ONE or READY PLAYER ONE as the sneering, lascivious crimeboss creep. And kudos to him for resisting the temptation to twirl his mustache. The most physical, rather than verbal, of the main roles is “Sleepy,” played with lots of charisma and steely determination by Ellis. He’s gregarious and charming after the big game, but “flips a switch” when responding to the tragedy in a twist on the typical superhero origin story. Also engaging are the BFFS played by Normani and Thorne, who try to escape food service “Hell”, with a chance at hip hop stardom. Their ‘arc” takes a turn when they decide to forge ahead even though they believe their “invite” was merely to put them back in “their place”, mainly as “eye candy” for the men with the mike. And happily we get one last big screen performance by the late Angus Cloud as the main “intel man” for The Guy.

My lack of knowledge about the people behind this film gave an added element of pleasant surprise as the end credits rolled. I had assumed (which is always a “no-no”) that this was made by a film student (or students) fresh from graduation, eager to make their “mark”, and trying to use all the cinematic “toys ” at their disposal. But no, this is from the directing/screenwriting team of Anna Boden and Ryan Fleck, who have been making features for twenty years now. Most of their work would be considered “indie”, though their last effort was a stint in the Marvel Cinematic Universe with CAPTAIN MARVEL. With that film’s late 1990s setting, they were comfortable in going back another decade with this sprightly, grungy, zingy ode to pop culture tropes at he time. Sure, there’s a definite Quentin Tarantino influence, particularly PULP FICTION and especially ONCE UPON A TIME IN HOLLYWOOD with the inclusion of several real people (Sleepy and Too $hort), but it also felt as though the story was concocted after a weekend video store rental “binge” during that era. We get nods to everything from SEVEN SAMURAI to the “Lone Wolf and Cub” flicks to REPO MAN and even SCANNERS, with some Bruce Lee tossed in for a bit of spice. Oh, and back to the “toys”, Boden and Fleck make great use of retro special effects, from the practical “gore” of the final battle to the green glow that gives a boost to a city bus (which is a riff on the orb from HEAVY METAL). And there’s some nifty “2D” animation, as sketchy stick folk act out the inner thoughts of Tina and Lucid (naughty boy), and later to illustrate the big basketball game in the style of Saturday morning TV adventure shows. Those cartoon bits may have been “side winks” to underground comix, lurid paperbacks, and the glory days of black and white comic magazines such as “Creepy” and “Eerie”. Boden and Fleck also reward us for paying attention as they return to different locales and offer “blink-and-you ‘miss them” cameos, which add to the fun of the flick. And “fun” is the main “f” word, along with fabulous, flashy, funky, and ferocious, making it the perfect “midnight movie” that can be enjoyed anytime of day at the multiplex, drive-in, or “grindhouse”. So thank you, Oakland, for the perfect quick escape from the 2020s via the talent and imagination of the truly dynamic duo of Boden and Fleck and their FREAKY TALES. Hmm, now I’m in the mood for the tasty hot dogs this curly-haired lanky kid once sold at the A’s games…

3.5 Out of 4

FREAKY TALES is now playing in theatres everywhere

Daisy Ridley, Ben Mendelsohn, Garrett Hedlund Star In Trailer For THE MARSH KING’S DAUGHTER

Watch the brand new trailer for THE MARSH KING’S DAUGHTER.

Lionsgate and Roadside Attractions will release the film exclusively in theaters on October 6, 2023.

In the tense thriller The Marsh King’s Daughter, a woman with a secret past will venture into the wilderness she left behind to confront the most dangerous man she’s ever met: her father. In the film, Helena’s (Daisy Ridley) seemingly ordinary life hides a dark and dangerous truth: her estranged father is the infamous Marsh King (Ben Mendelsohn), the man who kept her and her mother captive in the wilderness for years. When her father escapes from prison, Helena will need to confront her past. Knowing that he will hunt for her and her family, Helena must find the strength to face her demons and outmaneuver the man who taught her everything she knows about surviving in the wild.

Produced by Black Bear’s Teddy Schwarzman, Anonymous Content’s Keith Redmon, and Mark L. Smith, the movie is directed by Neil Burger (Limitless, The Illusionist, Voyagers) from a screenplay by Elle Smith & Mark L. Smith (The Revenant), based on the book by Karen Dionne. The executive producers are Michael Heimler, Charles Miller, Cliff Roberts, Robert Simonds, Adam Fogelson, John Friedberg, and Samuel J. Brown. The film was fully financed by Black Bear.

Daisy Ridley as Helena Pelletier in The Marsh King’s Daughter. Photo Credit: Philippe Bossé

Ben Mendelsohn as Jacob Holbrook in The Marsh King’s Daughter. Photo Credit: Philippe Bossé

Garrett Hedlund as Stephen Pelletier in The Marsh King’s Daughter. Photo Credit: Philippe Bossé

Marvel Studios’ SECRET INVASION Feels Like A Movie In New Trailer

SECRET INVASION, exclusively on Disney+. © 2023 MARVEL.

Feeling more like an MCU film, watch the trailer for Marvel Studios’ espionage thriller “Secret Invasion”. The live-action, original series premieres June 21, exclusively on Disney+.

In Marvel Studios’ new series “Secret Invasion,” set in the present day MCU, Nick Fury learns of a clandestine invasion of Earth by a faction of shapeshifting Skrulls. Fury joins his allies, including Everett Ross, Maria Hill and the Skrull Talos, who has made a life for himself on Earth. Together they race against time to thwart an imminent Skrull invasion and save humanity.

Marvel Studios’ “Secret Invasion” stars Samuel L. Jackson, Ben Mendelsohn, Cobie Smulders, Martin Freeman, Kingsley Ben-Adir, Charlayne Woodard, Killian Scott, Samuel Adewunmi, Dermot Mulroney, Christopher McDonald, Katie Finneran, with Emilia Clarke and Olivia Colman, and Don Cheadle.

Ali Selim directs the series and executive-produces, along with fellow executive producers Kevin Feige, Jonathan Schwartz, Louis D’Esposito, Victoria Alonso, Brad Winderbaum, Samuel L. Jackson, Ali Selim, Kyle Bradstreet and Brian Tucker. Kyle Bradstreet is also the head writer, and Jennifer L. Booth, Allana Williams and Brant Englestein serve as co-executive producers.

(L-R): Samuel L. Jackson as Nick Fury and Cobie Smulders as Maria Hill in Marvel Studios’ Secret Invasion, exclusively on Disney+. Photo courtesy of Marvel Studios. © 2022 MARVEL.

Don Cheadle as James ‘Rhodey’ Rhodes in Marvel Studios’ Secret Invasion, exclusively on Disney+. Photo courtesy of Marvel Studios. © 2022 MARVEL.

Kingsley Ben-Adir as Rebel Skrull leader Gravik in Marvel Studios’ Secret Invasion, exclusively on Disney+. Photo courtesy of Marvel Studios. © 2022 MARVEL.

(L-R): Samuel L. Jackson as Nick Fury and Ben Mendelsohn as Talos in Marvel Studios’ SECRET INVASION, exclusively on Disney+. Photo by Des Willie. © 2023 MARVEL.

Emilia Clarke as G’iah in Marvel Studios’ SECRET INVASION, exclusively on Disney+. Photo by Gareth Gatrell. © 2023 MARVEL.

(L-R): Emilia Clarke as G’iah and Ben Mendelsohn as Talos in Marvel Studios’ SECRET INVASION, exclusively on Disney+. Photo by Des Willie. © 2023 MARVEL.
Samuel L. Jackson as Nick Fury in Marvel Studios’ SECRET INVASION, exclusively on Disney+. Photo by Des Willie. © 2023 MARVEL.
Martin Freeman as Agent Everett Ross in Marvel Studios’ SECRET INVASION, exclusively on Disney+. Photo by Gareth Gatrell. © 2023 MARVEL.
Olivia Colman as Special Agent Sonya Falsworth in Marvel Studios’ Secret Invasion, exclusively on Disney+. Photo courtesy of Marvel Studios. © 2022 MARVEL.

CYRANO – Review

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

RATING: 2.5 out of 4 stars

Check Out This Behind-the-Scenes Look at CYRANO – Opens in Select Cities January 28th and Everywhere February 11th

CYRANO, the greatest love story ever told is in select cities January 28th and everywhere February 11th. Experience the vivid world of director Joe Wright’s CYRANO with Peter Dinklage, Haley Bennett and Kelvin Harrison Jr. in this new featurette:

Award-winning director Joe Wright envelops moviegoers in a symphony of emotions with music, romance, and beauty in Cyrano, re-imagining the timeless tale of a heartbreaking love triangle. A man ahead of his time, Cyrano de Bergerac (played by Peter Dinklage) dazzles whether with ferocious wordplay at a verbal joust or with brilliant swordplay in a duel. But, convinced that his appearance renders him unworthy of the love of a devoted friend, the luminous Roxanne (Haley Bennett), Cyrano has yet to declare his feelings for her — and Roxanne has fallen in love, at first sight, with Christian (Kelvin Harrison Jr.).

Cast: Peter Dinklage, Haley Bennett, Kelvin Harrison Jr., Ben Mendelsohn

C_10209_R Kelvin Harrison Jr. stars as Christian in Joe Wright’s CYRANO A Metro Goldwyn Mayer Pictures film Photo credit: Peter Mountain © 2021 Metro-Goldwyn-Mayer Pictures Inc. All Rights Reserved.

Directed by: Joe Wright Screenplay by: Erica Schmidt

Based on: The stage musical adapted and directed by Erica Schmidt, from “Cyrano de Bergerac” by Edmond Rostand, with music by Aaron & Bryce Dessner and lyrics by Matt Berninger & Carin

SPIES IN DISGUISE – Review

The morning of the big day has finally arrived. The toys are opened and the house is “knee-deep” in glossy wrapping paper. After a big breakfast or brunch, what are you going to do when the tots start to bounce off the walls? Well, you pile them in the car and head out to the movies, at least that’s what the studios are hoping. So after playing with the toys from Santa, how about a new animated kid flick that’s about toys? We’re not talking about Woody and Buzz (so last Summer), but high tech spy gadgets and gizmos aplenty. Bond won’t be back for a few more months, and he’s a bit too “randy” for the wee ones, so who’s more family-friendly (especially in ‘toon form’ than Will Smith? He has had a busy year, going from Genie to Gemini Man and now he’s one of the SPIES IN DISGUISE.


But we don’t meet “big Willie” when the story starts. It’s a flashback, fifteen years ago, with a little guy who amuses his policewoman mom with his cardboard and paste devices that explode in glitter. He seems to be a grade school spy guy. Flash forward cut to now, as the real deal, super-secret agent Lance Sterling (voice of Smith) infiltrates a snow covered fortress. His mission: stop Killian (Ben Mendelsohn) from acquiring a list of all active undercover agents from data kingpin Kimura (Masi Oka). After evading the horde of assassins and hitmen, Lance almost succeeds until he’s tripped up by a bit of tech. But the pursuit of Killian has to be put on hold as he’s called back to HQ in D.C. (under the pool at the Lincoln Memorial). On the way in he dresses down and fires newbie gadget inventor Walter Beckett (Tom Holland), the now-adult kid from earlier. But the routine meeting with Lance’s boss Joy Jenkins (Reba McEntire) goes off the rails when she shows him a video of the data thief, who now has Lance’s face (though with Killian’s robotic hand). Suddenly the doors burst open to reveal the head of the agency security, Marcy Kappel (Rashida Jones) with her aides Eyes (Karen Gillan) and Ears (DJ Khaled), who are there to detain and question Lance. But he escapes, hoping to clear his name. He’ll need some more gizmos so he goes to the home of the guy he just fired. Luckily Walter’s working on the ultimate disguise formula and shows the agent some of his new projects. Thinking it’s a glass of water, Lance gulps down that formula and changes into a…pigeon. It’ll take Walter 18 hours to make a possible antidote, but Marcy has tracked them down. They’ve got to avoid her and her crew while following Killian’s trail from a swanky Mexican ocean resort to the streets and canals of Venice. But how can Lance accomplish this when he’s (in his own words) a “feathered street rat”?

The voice cast brings a great deal of energy and expert timing to the often meandering script. Particularly entertaining is the chemistry between the film’s “action buddy” pairing of the lead duo. Each of them brings a lot of their previous feature film personas into these roles. Smith’s Lance has much of the cool swagger of his MEN IN BLACK’s Agent J mixed with the bravado of his last real secret agent roles in the box office fizzles GEMINI MAN and WILD WILD WEST (whew that one still smells after 20 years). And he’s just got a way with the wisecracks as he’s walloping a nearly endless stream of thugs. He’s an engaging counterpart to Holland’s brainy but timid Walter who’s a not so distant cousin to Peter Parker (minus the arachnid abilities and Stark upgrades). Luckily he’s got an infectious enthusiasm and appears to enjoy getting away from the lab, despite his trembling qualms. These two truly “play” well together. And they work splendidly against Mendelsohn who seems to be doing a whimsical comic “riff’ on his many sneering baddies as Killian. Jones makes Marcy most endearing as Marcy, who’s a more quick-witted take on the old “good guy who figures out she’s trying to nab another good guy” ala Tommy Lee Jones in THE FUGITIVE. And McEntire is a terrific “boss Lady” as Joy, though I really thought it was Holly Hunter when she first ordered Lance about.

Hard to believe, but this is the 13th feature film from Fox’s animation branch Blue Sky Studios (the first ICE AGE was in 2002), but the film certainly deserves a place at the “table’ along with the Disney/Pixar folks and Illumination. The movement is fluid and the colors, especially in the exotic locales, really pop off the screen (hopefully 3D doesn’t dull their luster). Particularly impressive is the character design work with Lance and Walter really resembling their human actors, but with some fun “tweaks”. Lance really captures Smith’s head shape, with subtle shading to denote a chiseled cheek, which flows right into the puffed upper body (perhaps the legs could be a bit thicker to support that torso). Walter’s got a clown-like bulbous nose which is well framed by his frizzy-mopped hair, all atop a gangly body that recalls many a silent movie clown. Really, the visual performances of the two are terrific. Unfortunately, lance spends a bit too much time in pigeon form, with a bowling pin design that’s weighted at the bottom, making him move like a billiard ball in a wet sack. The other birds they encounter aren’t much more visually interesting, despite the weird thing (a stick candy “drop”) on the head of one (guess he’s “zany”). The first time feature-directing duo of Nick Bruno and Troy Quane handle the big action set piece with vigor, but the film falters a bit in the quieter moments. That may be the main fault in the script which too often goes for easy “gross-out” gags (massive Kimura is without his robe while losing control of his “functions”). And Lance is much more interesting in his human form (the lil’ ones may be impatient for more funny spy action minus the feathers). But it’s a relief that the moral of learning to ask for help and not getting too “cocky’ isn’t “hammered” home as in too many family-friendly flicks. SPIES IN DISGUISE has enough eye candy, wit, and vocal talent to be a pretty painless post-holiday trek to the multiplex. It doesn’t soar, but the flick never crashes, as Lance does at his first flight attempt. Maybe for the follow-up they’ll lose the avian angle.

2.5 Out of 5

CAPTAIN MARVEL Lands in Blu-ray Collections June 11th – Check Out This Bonus Clip

CAPTAIN MARVEL, the spectacular, 1990s-era Super Hero adventure, which electrified and inspired audiences worldwide and surpassed $1 billion in ticket sales, has been available on Digital in HD and 4K Ultra HD and Movies Anywhere since May 28, and lands on Blu-ray and Blu-ray 4K Ultra HD™ June 11.

Check out this bonus clip:

Arriving home with extensive line-up of extras detailing the development of this highly anticipated addition to the Marvel Cinematic Universe (MCU), “Captain Marvel” includes Featurettes that highlight the transformative journey of Brie Larson (Captain Marvel) and her character’s impact on audiences around the globe; the influence of Nick Fury (Samuel L. Jackson) on significant events within the MCU; the perfect pairing of directors Anna Boden & Ryan Fleck; the ongoing conflict between the Skrulls and the Kree; and the raw talent behind the fetching feline named Goose. Viewers also gain access to six deleted scenes, director commentary, a gag reel loaded with funnies, flubs and Flerkens, and never-before-seen concept art and production photography. 

“Captain Marvel” comes packaged in various formats to best fit today’s varying consumer desires. Viewers can bring home the film two weeks early on Digital 4K Ultra HD, HD and SD and gain access to two exclusive features, including a behind-the-scenes visit with the Visual Effects team that makes the filmmakers’ visions of the MCU come to life and an inside look at the epic team effort that goes into an action-packed sequence within a Marvel Studios film. A physical copy of “Captain Marvel” is available as either a 4K Cinematic Universe Edition (4K UHD+Blu-ray+Digital Copy) or a Multi-Screen Edition (Blu-ray+Digital Copy), granting fans the flexibility to watch on devices of their choice.

BONUS MATERIAL (may vary by retailer):

Blu-ray & Digital:

  • Alternate Movie Versions
    • Movie with Intro – An introduction by directors/screenwriters Anna Boden & Ryan Fleck.
    • Movie with Commentary – Commentary by directors/screenwriters Anna Boden & Ryan Fleck.
  • Featurettes:
    • – Follow Brie Larson’s journey as she joins the MCU, and see what it takes to be a Marvel Super Hero in every sense of the word.

Digital Exclusives:

  • Journey into Visual Effects with Victoria Alonso – Experience how filmmakers’ visions of the MCU come to life on-screen through the skill of the Visual Effects team.
  • What Makes a Memory: Inside the “Mind Frack” – What does it take to craft an action-packed sequence for a Marvel Studios film? Nothing short of an epic team effort!
  • Concept Art – Explore artwork from “Captain Marvel” and trace the visual development of characters.
  • On-Set Images – Uncover a trove of behind-the-scenes and production photography.

Set in the 1990s, “Captain Marvel” is an all-new adventure from a previously unseen period in the history of the Marvel Cinematic Universe that introduces the MCU’s first stand-alone, female-franchise title character—Carol Danvers aka Captain Marvel. When we first meet Danvers, she already possesses her superhero powers, having left her earthly life behind and become a member of an intergalactic elite Kree military team called Starforce, led by their enigmatic commander, Yon-Rogg. But after Danvers has trained and worked with the Starforce team, and become a valued member­, she finds herself back on Earth with new questions about her past. While on Earth she quickly lands on the radar of Nick Fury, and they must work together against a formidable enemy in the form of the Skrulls—the notorious Marvel bad guys made even more dangerous by their shape-shifting abilities—and their leader, Talos, who is spearheading a Skrull invasion of Earth.

Based on the beloved Marvel comic-book series, first published in 1967, “Captain Marvel” stars Academy Award® winner Brie Larson (“Room,” “Kong: Skull Island”) as Carol Danvers/Captain Marvel,  Samuel L. Jackson  (Marvel Studios’ “Avengers: Age of Ultron,” “The Hateful Eight”) as Nick Fury, Ben Mendelsohn (“Rogue One: A Star Wars Story,” “Mississippi Grind”) as Talos, with Annette Bening (“American Beauty,” “20th Century Women”) as Supreme Intelligence, with Clark Gregg (“Marvel’s The Avengers,” “Agents of S.H.I.E.L.D.”) as Agent Coulson and Jude Law (“Sherlock Holmes,” “Fantastic Beasts: The Crimes of Grindelwald”) as Yon-Rogg.

The film also includes a talented supporting cast that features Djimon Hounsou(“Blood Diamond,” “Guardians of the Galaxy”) as Korath, Lee Pace (“The Hobbit: An Unexpected Journey,” “Guardians of the Galaxy”) as Ronan, Lashana Lynch (“Bulletproof,” “Brotherhood”) as Maria Rambeau, Gemma Chan (“Crazy Rich Asians,” “Humans”) as Minn-Erva, Rune Temte (“Eddie the Eagle,” “The Last Kingdom”) as Bron-Char, Algenis Perez Soto (“Sugar,” “Isolated Victim”) as Att-Lass, Mckenna Grace (“Gifted,” “I, Tonya”) as Young Carol Danvers and Akira Akbar (“Grey’s Anatomy”) as Monica Rambeau.

Marvel Studios’ “Captain Marvel” is produced by Kevin Feige and directed by Anna Boden & Ryan Fleck (“Half Nelson,” “Sugar,” “Mississippi Grind”). Louis D’Esposito, Victoria Alonso, Jonathan Schwartz, Patricia Whitcher and Stan Lee are the executive producers. The story is by Nicole Perlman & Meg LeFauve and Anna Boden & Ryan Fleck & Geneva Robertson-Dworet, and the screenplay is by Anna Boden & Ryan Fleck & Geneva Robertson-Dworet.

Directors Boden and Fleck’s creative team also includes director of photography Ben Davis (“Three Billboards Outside Ebbing, Missouri,” Marvel Studios’ “Doctor Strange”), production designer Andy Nicholson (“Gravity,” “Jurassic World: Fallen Kingdom”), costume designer Sanja Hays (“The Fate of the Furious,” “Star Trek Beyond”), editors Elliot Graham (“Steve Jobs,” “Molly’s Game”) and Debbie Berman (Marvel Studios’ “Black Panther,” “Spider-Man: Homecoming”), visual effects supervisor Christopher Townsend (Marvel Studios’ “Avengers: Age of Ultron,” “Guardians of the Galaxy Vol. 2”), special effects supervisor Dan Sudick (Marvel Studios’ “Avengers: Infinity War,” “Black Panther”) and composer Pinar Toprak (“The Angel,” “The Challenger”).

CAPTAIN MARVEL – Review

Who’s needing an escape from this seemingly never-ending Winter? Though it’s still a few weeks away, many schools are already “out” for “Spring break”. If you’re not getting that respite for a while, how about a short getaway? A weekend or perhaps just a couple of hours or so revisiting someplace fun? It’s been a long, long eight months away, but I’m not alone in looking forward to another trek into the more-than-a-decade-old “MCU” (Marvel Comics Universe, though I prefer “Marvel movie-verse”). Things were looking pretty dire for our fave “super-folks” last July when Ant-Man appeared to lose many of his friends to the body-dissolving “snap’ of the mad Titan, Thanos (from the Avengers flick of late April). Is there no hero to challenge that fiend? Buy your ticket, strap yourself into a seat (in front of the biggest screen possible), and look for that red, blue, and gold comet streaking past the stars. She’s finally here, CAPTAIN MARVEL to the (box office, hopefully) rescue!

This fantastic fable begins as something of a mystery. A recurring nightmare awakens a blonde young woman (resembling an Earthling) who peers out at a sparkling city (the subtitles informs us that we’re in the alien home of the Kree). The woman called Vers (Brie Larson) is soon at the front entrance of “living unit” of Yon-Rogg (Jude Law), her commander/trainer. After a brief combat “work out”, he sends her to a meeting of the Kree Supreme Intelligence, which assumes the image of someone important to the visitor. Verse recognizes the mature woman (Annette Bening), though she doesn’t know her name (Vers’s memories are scrambled, flashing by in unexpected images). The SI gets her ready for a new mission. Along with other members of an elite military unit, Vers will rescue a Kree undercover operative with information about a deadly alien race of shapeshifters (they can assume the form of anyone they observe), the Skrulls under the command of the ruthless Talos (Ben Mendelsohn). When things go badly, Vers is captured and brought aboard a Skrull ship. Luckily she steals an escape pod and crash lands on planet C-53 AKA Earth in the year 1995. Her arrival attracts the attention of two rookie government men, agents of S.H.I.E.L.D., Phil Coulson (Clark Gregg) and Nick Fury (Samuel L. Jackson). When a squad of Skrulls attacks, Fury is convinced of the otherworldly exploits of Vers. Eventually, the two hit the road, but their mission to stop the Skrulls takes a backseat to the revelation of the true origins of the powerful Vers. Is she more than Kree?

The talented Larson (can it be just over three years ago she earned the Oscar for ROOM) is a most formidable and complex addition to the MCU’s roster. Though she glides through a mental fog in the opening sequences, she projects a confident, powerful physical presence in the frenetic action set pieces (and that spiked mohawk helmet that pops on while is space looks fierce). It’s when she’s back on terra firma that Larson shows us the warrior (um, warrior-hero) has a vulnerable side, as that fog peels away she’s more human and open. On all worlds, she’s got a sassy spirit, with a quick wit rivaling that ole’ web-spinner. Plus she “plays” well with others, particularly with Jackson as a very different Fury. Along with his youth (another great MCU digital ‘lift’), Nick ‘s more upbeat with that surly glare a dozen or so years to come. We see Nick thinking quickly, on the run, showing us the reason he was put on the ‘fast track’ by the agency. Plus he has a wonderful “buddy cop movie” rapport with Larson, with the “fish out of water” roles reversed over the course of the story. Vers is perplexed by 1995 LA while later Fury feels way over his head, perhaps thinking that this alien…stuff…is way above his pay grade. Their on-the-road banter just crackles with energy (much like somebody’s super-charged fists).

The duo’s supporting players are superb. Law exudes great gravitas as a Kree riff on Mr. Miyagi (with a touch of Obi-Wan) who’s impervious to Vers’s humor. Mendelsohn has this “effete sneering baddie” thing down after the hat trick of ROGUE ONE: A STAR WARS STORY, READY PLAYER ONE, and, ugh, ROBIN HOOD, but this gifted actor has some real surprises “up his sleeve” making the demon-looking Talos more human than his Earth-disguise of Agent Keller (played with the right awkwardness). Benning ‘s having a lot of fun switching personas as the Kree SI, and later in that image’s source, always with an intelligent focused demeanor. Making a great impression is Lashana Lynch as the warm, gregarious Maria Rambeau, a young mother who may be able to sort out Vers’s visual flashes (Akira Akbar, as her daughter Monica, has a natural charm). Gemma (CRAZY RICH ASIANS) Chan has a great snarky sense of contempt as Kree cohort Minn-Erva. Oh, and there’s some more MCU vets. Gregg (after toiling away on TV for several seasons) is back on the big screen as a younger, but still button-down, Agent Coulson. And from the first GUARDIANS OF THE GALAXY, there’s future sullen, somber temple guard Korath (Djimon Hounsou) and the not quite crazy (well on his way though) Kree Accuser Ronan (Lee Pace).

Following in the footsteps of the skilled Russo (Anthony and Joe), another duo shares directing credits, wife, and husband Anna Boden and Ryan Fleck. Oh, they also worked on the screenplay with Geneva Robertson-Dworet, Meg LeFauve, and Nicole Perlman. Much as with the Russo and several other MCU filmmakers, this is the first big effects “blockbuster” from Boden and Fleck after a string of impressive smaller character films (HALF NELSON, SUGAR, and a little gem MISSISSIPPI GRIND), and the two also impress here. The pacing never flags, and they find the right tone for the action showdowns and comedic interludes. Unfortunately, many of the those action scenes are set aboard dimly-lit spaceship interiors and one is on a dark, foggy planet surface. Unlike the weird worlds of the last Avengers epic and the Guardians flicks, it’s hard to tell what’s going on (it made SOLO: A STAR WARS STORY a real visual ordeal), even with the weaponry that temporarily lit things up (swords, gloves, and rayguns). I can only imagine how tough the 3D “upconvert” would look. Then there’s the feeling that the story seems “lite”, as in MCU-lite, after the grand adventures of last year’s AVENGERS: INFINITY WAR and BLACK PANTHER (even the size-changing hijinks heist that was ANT-MAN AND THE WASP). There was a true dramatic scope to those, while it’s difficult to get truly emotionally invested in a galactic conflict (though it is a nice metaphor for some long-running conflicts on this planet). Then there’s the time frame. Like many “prequels” it’s nearly impossible to whip up real concern over characters that must survive for the previously seen flicks. In that way, much as in the above-mentioned SOLO, we get some “origin-style” back stories that are mostly fun but come close to being contrived (what happened to Fury’s left eye). Still, that mid-90s era is good for some chuckles, from a defunct retail chain to the frustrations of new tech. And those tunes which aren’t as inspired as the Guardian’s soundtrack and in one case hammers home the themes of female empowerment. Still, those brief flashes are powerful, as we see Vers growing up and having to contend with a roster of awful (as opposed to alpha) males (from big brother to papa to a leering co-worker). This film’s not just a “place-holder” or a break between acts of the Thanos saga, but it never rises to that dramatic level. Even at that, this is miles above most action film franchises, so for a breezy bit of fantasy fun (and a long overdue female-driven Marvel movie…really Black Widow should’ve had two solo flicks by now) take a star-filled ride with the movies’ new super-charged superhero (guess heroine is out of step), CAPTAIN MARVEL.

4 Out of 5