Tag: Henry Golding

ANOTHER SIMPLE FAVOR – Review

This week’s big streaming feature film release could be compared to the return of an unexpected Fall romance from several years ago, seven to be precise. This movie captured my heart, along with my critical sensibilities. when it seemed to appear seemingly out of nowhere, with little fanfare or hype. Yes, I was, and remain, a fan of the filmmaker and one of the lead actors, but this was a real step out of their “comfort zone” with an engaging murder mystery full of snark and satire, along with fabulous fashions. That movie, A SIMPLE FAVOR, nabbed a spot on my top ten list of 2018. And now, almost everyone is back for a sequel, but is that magical spark still there? Will I have that same frothy fun and romance with ANOTHER SIMPLE FAVOR? Or was the original “just one of those things, just one of those crazy flings…”?


In the opening sequence, much has changed in the sleepy California suburb. “Home lifestyle vlogger” Stephanie Smothers (Anna Kendrick) has expanded her “brand” and is the author of a true-life murder mystery novel based on her past experience there (y’know, the first flick). She’s doing a “reading” from that work at the town’s bookstore with her “mom pals” there along with a small audience, under the guidance of her aggressive manager Vicki (Alex Newell). All is pretty normal until someone arrives late, Sasshaying up the aisle (as if it were a fashion show runway) is none other than Emily Nelson (Blake Lively). Seems a pack of high-powered lawyers have gotten her released from prison, just in time for nuptials to her new wealthy fiancé (who paid for the legal team). Emily wants Stephanie to be her maid of honor at the big wedding ceremony…in Capri. Steph balks, but Emily insists, saying that her law squad could sue her for libel and slander unless she agrees to go. Luckily, Steph’s son Miles is off to Summer camp, so …bon voyage. Actually she boards (with Vicki in tow) the private jet of the wealthy, perhaps “connected” family of Emily’s beau, the hunky, handsome Dante Versano (Michele Morrone). Upon landing, they’re whisked away to a fancy hotel where Steph meets him and reunites with Emily’s ex (and her former “fling”), the boozing Sean Townsend (Henry Golding). He’s brought along his son with Emily, Nicky (Ian Ho). At the big pre-wedding reception, we meet the Versano matriarch Portia (Elena Sofia-Ricci), who detests Em and her pals. But she’s got a surprise for her future daughter-in-law. She’s flown in her dingy mother, Margaret (Elizabeth Perkins), and her pushy sister, who Em hasn’t seen in thirty years, Aunt Linda (Allison Janney). With the “players in place, the “game” soon begins with multiple murders that point to Stephanie. Has Emily set up the whole event as a way to exact revenge on her former friend who helped send her to the slammer years ago?

Well, the two leads haven’t missed a “beat”, effortessly going into that verbal ‘dance” they aced so well way back in 2018. Yes, Kendrick is still a delightful snarky “hot mess”, as she doles out the “burns” while trying to grasp all the chaos swirling about her. She gets us back on her “side” even as she has to go into the cliche drunk/stoned bits in the story’s troubled (more about that later) second half. Lively as Emily is still the epitome of swaggering super-confidence (I mean, look at those wild outfits that she “works” expertly), though there’s more than a hint of sadness in the veiled threats she utters casually to Kendrick, perhaps to always keep her off-balance. Her character is a supermodel who’s always ready to strike. As for the supporting players, the real standout may be Ricci, who is constantly “shooting daggers” at the “Americans” as she spews venom through her perfectly clenched teeth. Morrone is a prime “Euro-stud” with a smouldering but dangerous stare and primo product-filled hair and white linen tailored suits. He’s the opposite of Em’s “ex,” who Golding plays as an ever “open wound” in need of constant liquid medication in a thankless expendable role. Ditto for the rest of Emily’s “side” with the talented Perkins reduced to playing a dotty, daft unfiltered harridan (think of a really nasty Sofia of “The Golden Girls”) and the usually superb Oscar-winner Janney who has to bark out threats while doing a variation of the old villainous “mustache-twirling”. They’re both such gifted actresses, saddled with subpar material. And then there’s Newell, whose Vicky may be the standard “fish out of water American doofus”, but his stint as the comic relief reactor is marred by constant “mugging” and a delivery right out of a 70s sitcom, maybe due to some misguided direction. But happily, we do get some brief early scenes with Steph’s “Greek chorus” back home led by the terrific Andrew Rannells. Plus, we get a new comic character from an energetic screen newcomer, Taylor Ortega.

So, I’m reminded of that old phrase from WWII, “Was this trip really necessary?” when thinking about this flick. Well, I’m not so sure if it was needed. All the right elements are back, including comedy movie master Paul Feig and the original screenwriters. Mind you, the first act is lots of fun with the reunion of Steph and Em. fraught with fun and danger. Unfortunately, the film soon goes “off the rails” when the murder mystery kicks in. We’re given a “heads up” with a bizarre flashback to a recent mystery with Steph, that may be there to plant some doubt on her sleuthing skills, but just serves little function till a quick final act nod. Part of the problem may be the often conflicting acting styles, with Feig giving a bit too much “leeway” with some of the performance “choices”. And this is the director who guided Melissa McCarthy in her best movies, really. Maybe this is a way to “sell” the script. to make the muddled plot revelations, with each new “twist” trying to “upend” the previous one to the point of exhaustion (for us, the audience). Maybe this is meant to be a dark, satirical “soap opera”, with triple-crosses, and “ret-cons” of storylines in the first flick which induce migraines rather than laughs. Plus, we get some “travel cliches” including “mafia mirth” and even a chase on a Vespa, of course. Sure, the location work is spectacular, a great “tourism pitch” in those long shots, and those wild fashion styles are still fun (Em wears a hat that’s bigger than a stingray), but it’s not enough to smooth out the story glitches where we’re meant to see Emily as a naughty “scamp’ rather than the mudering mastermind “diva deviL’. So, to answer my earlier question, no, this isn’t the same delicious romp from 2018, so perhaps it’s best to leave that movie romance there, even though Kendrick and Lively are a different kind of dynamic duo of crime comedy, they just can’t deliver the charm and laughs with ANOTHER SIMPLE FAVOR.

2 Out of 4

ANOTHER SIMPLE FAVOR streams exclusively on Amazon Prime Video beginning on May 1, 2025

Win Passes To The St. Louis Advance Screening Of ANOTHER SIMPLE FAVOR

Launching globally on Prime Video starting May 1 is ANOTHER SIMPLE FAVOR.

Stephanie Smothers (Anna Kendrick) and Emily Nelson (Blake Lively) reunite on the beautiful island of Capri, Italy, for Emily’s extravagant wedding to a rich Italian businessman. Along with the glamorous guests, expect murder and betrayal to RSVP for a wedding with more twists and turns than the road from the Marina Grande to the Capri town square.

Directed By Paul Feig, based upon characters created by Darcey Bell, ANOTHER SIMPLE FAVOR stars
Anna Kendrick, Blake Lively, Andrew Rannells, Bashir Salahuddin, Elizabeth Perkins, Michele Morrone, Alex Newell, with Henry Golding and Allison Janney.

The St. Louis screening is at 7PM on Tuesday, April 29th at Marcus Ronnie’s Cinema.

PASS LINK: https://amazonscreenings.com/WAMGanothersimplefavor

Please arrive early as seating is not guaranteed.

Rated R.

Blake Lively stars as ‘Emily’ in ANOTHER SIMPLE FAVOR.

SNAKE EYES New Trailer, Featurette, Comic-Con @ Home Announcement and New Character Videos Are Here

Henry Golding plays Snake Eyes in Snake Eyes: G.I. Joe Origins from Paramount Pictures, Metro-Goldwyn-Mayer Pictures and Skydance.

Check out the brand new trailer for SNAKE EYES hitting theaters this July. Directed by Robert Schwentke with a screenplay by Evan Spiliotopoulos and Anna Waterhouse & Joe Shrapnel, Paramount Pictures has also released a featurette for the upcoming movie.

Snake Eyes to kick off this Summer’s Comic-Con @ Home with a Special Cast Panel and 10 FANS FIRST Premiere Screenings across the U.S. and Canada.

The Snake Eyes Comic-Con @ Home panel will be hosted by Mari Takahashi (@atomicmari) and will feature special content from the film, behind-the-scenes footage, and exclusive interviews with stars Henry Golding, Andrew Koji, Úrsula Corberó, Samara Weaving, Haruka Abe, Takehiro Hira, Peter Mensah and Iko Uwais, and writer of the G.I. Joe comics, Larry Hama! Panel date and time to be announced; follow Comic-Con for updates.

Also, in association with Comic-Con, Snake Eyes will be screened for fans FIRST across the country in 10 cities on Wednesday, July 21st. The Snake Eyes Comic-Con Fans First Premiere Screenings will take place in the following cities: Los Angeles, New York, San Francisco, Washington, D.C., Seattle, Miami, San Diego, Houston, Phoenix and Vancouver. Follow @snakeeyesmovie for more information about how to see Snake Eyes when it premieres in your city for Comic-Con FANS FIRST!

SNAKE EYES IS ONLY IN THEATRES, DOLBY CINEMA AND IMAX JULY 23, 2021

Check out 6 NEW pieces to see how the characters from the original G.I. Joe comics go from page to screen in Snake Eyes, featuring Snake Eyes, Storm Shadow, Baroness, Scarlett, Hard Master and Blind Master 

Snake Eyes: G.I. Joe Origins stars Henry Golding as Snake Eyes, a tenacious loner who is welcomed into an ancient Japanese clan called the Arashikage after saving the life of their heir apparent. Upon arrival in Japan, the Arashikage teach Snake Eyes the ways of the ninja warrior while also providing something he’s been longing for: a home. But, when secrets from his past are revealed, Snake Eyes’ honor and allegiance will be tested – even if that means losing the trust of those closest to him. Based on the iconic G.I. Joe character, Snake Eyes: G.I. Joe Origins also stars Andrew Koji as Storm Shadow, Úrsula Corberó as Baroness, Samara Weaving as Scarlett, Haruka Abe as Akiko, Tahehiro Hira as Kenta and Iko Uwais as Hard Master.

SNAKE EYES: G.I. JOE ORIGINS First Look At Brand New Trailer And Top 5 Things About The Film Hitting Cinemas On July 23

Henry Golding plays Snake Eyes in Snake Eyes: G.I. Joe Origins from Paramount Pictures, Metro-Goldwyn-Mayer Pictures and Skydance.

Uncover the classified origin story in theatres on July 23 of SNAKE EYES: G.I. JOE ORIGINS

Snake Eyes: G.I. Joe Origins stars Henry Golding as Snake Eyes, a tenacious loner who is welcomed into an ancient Japanese clan called the Arashikage after saving the life of their heir apparent. Upon arrival in Japan, the Arashikage teach Snake Eyes the ways of the ninja warrior while also providing something he’s been longing for: a home. But, when secrets from his past are revealed, Snake Eyes’ honor and allegiance will be tested – even if that means losing the trust of those closest to him.

Based on the iconic G.I. Joe character, Snake Eyes: G.I. Joe Originsalso stars Andrew Koji as Storm Shadow, Úrsula Corberó as The Baroness, Samara Weaving as Scarlett, Haruka Abe as Akiko, Tahehiro Hira as Kenta and Iko Uwais as Hard Master.

See the Top 5 things you may not have known about SNAKE EYES, based on Hasbro’s G.I. JOE® Characters.

SNAKE EYES IS ONLY IN THEATRES, DOLBY CINEMA AND IMAX JULY 23, 2021.

Haruka Abe plays Akiko in Snake Eyes: G.I. Joe Origins from Paramount Pictures, Metro-Goldwyn-Mayer Pictures and Skydance.
Henry Golding on the set of Snake Eyes in Snake Eyes: G.I. Joe Origins from Paramount Pictures, Metro-Goldwyn-Mayer Pictures and Skydance.
Andrew Koji plays Tommy in Snake Eyes: G.I. Joe Origins from Paramount Pictures, Metro-Goldwyn-Mayer Pictures and Skydance.
Ursula Corbero plays The Baroness in Snake Eyes: G.I. Joe Origins from Paramount Pictures, Metro-Goldwyn-Mayer Pictures and Skydance.
Samara Weaving plays Scarlett in Snake Eyes: G.I. Joe Origins from Paramount Pictures, Metro-Goldwyn-Mayer Pictures and Skydance.

THE GENTLEMEN – Review

As THE IRISHMAN begins the home stretch to the Oscars are you in need of another mob movie fix? Like Scorsese, this director has a history of flicks about the “thug life” featuring guys and goons that can “lean” on anybody that gets in the way. Well, this is one quite a bit different as it’s not set on the mean streets of East Coast USA, but rather in swinging (like a pendulum do’) London, so it’s got an international flavor. Plus this flick expands past Picadilly into the country estates and castles (hitmen at Downton Abbey. oh dear). So it involves the elite, but people who don’t fret about getting blood spilled on those custom-tailored suits and gowns. Yet, somehow most of the world believes that these “goodfellas'” can still be called THE GENTLEMEN.

After a brief flashforward involving one of the plot principals, the story really begins on a dark night as Ray (Charlie Hunnan) discovers a most unwelcome visitor lurking in the shadows of his plush home. It’s a sleazy P.I. named Fletcher (Hugh Grant) and he’s got a business offer. He’s just finished a job for “Big” Dave (Eddie Marsan), editor of the popular tabloid the Daily Print, digging up lots of “dirt’ on Ray’s boss, “cannabis king” Mickey Pearson (Matthew McConaughey). But Ray can buy it all from Fletcher before it sees print. Of course, Ray needs a hint at what he’d be buying. We get the backstory on Mick: born to poor parents in Florida, USA he wins a Rhodes Scholarship at Oxford, where he balances his studies with a lucrative pot-selling “side hustle”. He amasses a “weed” empire, deciding to put down roots in the UK by marrying the gorgeous Rosalind (Michelle Dockery). They rub elbows with the highest of high society, which answers one of the mysteries about him. Namely, where does he grow and produce his “primo” product”? He attracts the attention of another rich Yank, Matthew Berger (Jeremy Strong), who intends to buy the operation. Luckily Mickey wants to start a family, so after naming a hefty price tag he lets Berger in on the big secret. Mickey has made deals with the cash-strapped “upper-elites” (the Earls, Lords, etc.) to set up underground greenhouses on their secured properties. Mickey even takes Matthew to visit one. Then word leaks out about Mickey’s retirement. An ambitious young mobster from the East, Dry Eye (Henry Golding) makes an offer that’s is quickly rejected by Mickey. Then that secret “bush” locale is hit by a bunch of young thugs. Throw in a tough boxing coach named, well, Coach (Colin Farrell), and the drug-addled daughter of royalty, and it’s starting to look as though Mickey will never “get out”. But just how much evidence does Fletcher have? And will Ray convince his boss to buy it?

A stellar cast has been assembled for this crime caper with Oscar-winner McConaughey front and center as the American who’s just as sophisticated and cultured as any of the native brits (well, really more so than most in this tale). He seems to be channeling more of this TV ad persona (you’ve seen those baffling car ad in which he’s featured) than most of his screen work (Mickey is almost the inverse of the yahoos in GOLD, MAGIC MIKE, and even DALLAS BUYERS CLUB). He’s smooth as silk, only creasing his GQ ensembles when someone disrespects him. Or when he’s around his wife. Much like Gomez in THE ADDAMS FAMILY his Mickey is hopelessly enamored of the ravishing Rosalyn played with a smoldering tough sensibility by Dockery, who seems ecstatic to be out of the Downton finery. Another “happy camper” is Grant who can barely contain his joy in being cast as the skeevy, pervy (his threats to Ray are mixed with aggressive flirtations) private eye. He flits about the screen like a mischievous imp as he spins a tale of double-crossing and deceit. Farrell is quite entertaining as the gruff, no-nonsense Coach who only gets his hands dirty in order to protect his beloved “lads”. Speaking of dirtying your hands, Goulding appears to relish his turn as the scowling, always plotting Dry Eye, who seethes as he’s denied a seat at the “adults’ table”. Strong scores as the somewhat foppish (not quite the fashion plate as Mickey), but dangerously brilliant (at least two steps ahead) Berger. And as Mickey’s #1, Hunnam is everything you’d want in a right-hand man, though he’s got a real cleanliness mania, whether it’s Fletcher removing his shoes or having to go into a high-rise drug “nest”. Filth is this tough guy’s Kryptonite.

This flick marks sort of a homecoming, or at least a return to his roots, of director Guy Ritchie, who also wrote the screenplay with a story assist from Ivan Atkinson and Marn Davies. In the dozen years since ROCKNROLLA Ritchie has bounced about from the RDJ Sherlock HOLMES franchise, to franchise wannabe THE MAN FROM U.N.C.L.E., to the darned near-unwatchable KING ARTHUR: LEGEND OF THE SWORD, to last Summer’s fairly sanitized ALADDIN (though not the worst of the live-action reboots). He’s back in his “comfort zone” and his “home turf” as he keeps the action zipping briskly along while throwing us many unexpected curves and bits of inspired hilarity (Old MacDonald will never sound the same). Ritchie even throws in some satiric jabs at his own profession as Fletcher indulges his own cinematic aspirations (he includes a screenplay in his blackmail package). And he still has a taste for film making flourishes, slowing down the actions, speeding scenes in reverse, along with creating a rap music YouTube street-fighting video. Sure he still peppers the script with “F-bombs” (and being in the UK there are “C-bombs”) and blood, though he saves the gore to make the most impact. And there’s even a nice tribute to the recently departed, much-missed “Mr. Creosote”. Needless to say, the fancy mansion and wardrobes are quite dazzling. To sum things up, THE GENTLEMEN is an unpredictable, most welcome return to the lowlife and high-class law-breakers in Guy Ritchie’s London underworld.

3 Out of 4

LAST CHRISTMAS – Review

We all may know someone who’s more than a little “Noel-nutty” (hey, it might be that person with the holly in their hair staring back at you from the mirror). They’re the folks in a frenzy as retailors pack up the pumpkins and bring out the wreaths. And they probably overload on nogg as they “zone out” on all those winter holiday flicks that clog a couple of the basic cable TV channels. Ah, but what’s this at the multiplex, barely a week into November? Did one of those offerings slither out of its cage over at Hallmark? Perhaps, except this has a rather interesting list of talents. It’s got a story and script co-written by Oscar-winner Emma Thompson (who acts in it, too), and it’s directed by one of the current kings of raunchy comedies (this time minus his muse Melissa McCarthy), Paul Feig. What kind of tinsel and fluff stocking stuffer have these two diverse talents created? Well, it’s one that takes its title (and much of its score) from the late George Michaels’ yule pop anthem, LAST CHRISTMAS.

As the story starts, ’tis the season alright, but in 1998 Yugoslavia. In a church service, an adorable young girl sings like an angel while her older sister and parents, father Ivan (Boris Isakovis) and mother Petra (Thompson) adoringly gaze from the pews. Nearly 20 years later that “angel” is now an elf. Well, that’s how she dresses at her job as a clerk at a year-round Christmas decoration shop in bustling London called “Yuletide”. When not evading her often surly boss “Santa” (Michelle Yeoh), who behaves more like “Scrooge”, Kate (Emilia Clarke) is rushing to theatre auditions and testing the generosity of her pals by asking to crash on their couches. Yes, she’s homeless but by choice, as she doesn’t want to return to the family home and endure the “finger-pointing” of her Mum (her ringtone on Kate’s phone is the 80’s pop tune “Drives Me Crazy”). But often she takes a break from “sofa surfing” to share the beds of guys she meets in bars (this elf is a drinker and a “player”). One day, as the holidays draw nearer, a stranger to the store brings some calm to the chaotic Kate. Lanky, handsome Tom (Henry Golding) is a nighttime delivery bicyclist, who wants nothing more from her than some company during his long walks through the largely unexplored areas of the city. Imploring her to always “Look up”, Tom takes Kate to a quaint hidden park before parting ways at the church where he volunteers to help the “real” homeless. She’s charmed, but perplexed when he doesn’t give her his number saying his phone stays in the cupboard. When Tom seems to disappear for days, Kate becomes obsessed with tracking down this “man of mystery”. Along the way she gets involved with the church and allows her own family back into her life (they drifted after her illness ended a year ago). Kate feels a special connection to Tom, so it becomes her goal to spend this Christmas with this man who’s unlike any other one-night-stand or suitor.

This modern fable is carried by a terrific cast that expertly balances its comedic and dramatic elements (with a splash of romance on top). Clarke’s bright smile lights up the screen along with the most expressive eyebrows since a certain Mr. Marx. Her Kate starts off as cynical and a tad grouchy, but we see her tough exterior begin to erode as the light returns to her often bloodshot eyes. Plus she’s got a very pleasant singing voice (um, musical, hint, hint). And it helps that she’s has a comfortable, playful chemistry with Golding as the enigmatic Tom. He’s more relaxed on screen than in his two break-out flicks last year, CRAZY RICH ASIANS and A SIMPLE FAVOR, even engaging in a sprightly dance around Clarke reminding us of a young Tommy Tune or the master, Dick Van Dyke. Their supporting team is led by the zany Thompson, playing against her usual sophisticated roles as the sometimes overbearing Eastern European mama (with that thick accent I kept wondering when she’d join Lon Chaney, Jr. in the gypsy caravan). She’s a true delight, but the biggest comic surprise is the glamorous Ms. Yeoh as the tough shop owner, using the phrase “Get to work!” like a sharp sword. But then she gets to lighten up thanks to an obviously smitten uptight Nordic silver fox she dubs “Boy” played with endearing reserve by Peter Mygind. The rest of the cast is filled with wonderful British comic actors including a great pair of policewomen played by Laura Evelyn and Ingrid Oliver, not “good cop/bad cop”, but rather “friendly cop/brusque cop”.

Once again Feig demonstrates his talent for making engaging farces, but this time he tackles tougher topics like death and bigotry along with a budding romance and how people can change their ways. Much of the credit has to go to the writing talents of Thompson collaborating here with Bryony Kimmings (on the screenplay) and her hubby Greg Wise (on the story). The duo (Feig and Thompson) succeed in making a most unique holiday flick, one that’s not hinted at in the film’s marketing (the TV spots and posters). It’s not a “marshmallow world”, but a gritty tough place (some Brexit digs pack a punch). Yes, London looks charming in December, but the sparkling streets don’t hide the hungry and homeless (my biggest complaint is the often whimsical street folk, who are much too cute and eccentric). This plot’s eggnog is spiked with some strong medicine, with so many twists on the road to the 25th. Really, it’s a “spoiler” M. Night minefield. But the ending’s full of heart (in many ways), pushed along by the iconic George Michael medleys, making Clarke and company’s gift under the tree a most engaging LAST CHRISTMAS.

3 Out of 4

A SIMPLE FAVOR – Review

Allright movie fans, it’s still fairly warm outside, so why not enjoy a bit of escapist fun before the days get shorter and colder, just ahead of these big “high-falutin'” awards contenders? Yes, we know that kale and broccoli is better for you, but sometimes you just want to dig in to a big sloppy burger, perhaps with a dash or two of hot sauce to make it extra naughty, just like this new flick. It’s steamy and salacious, concerning a scheming seductress who’s up to no good, in one of those pricey, plush suburban “mini-mansions”. It’s a movie adaptation of a good “beach read” (it is based on a novel) starring a trio of our most photogenic film stars, perfectly coiffed and tailored. And what director is calling on the shots on this sexy, stylish modern, noir-ish, who and how “dun it”? Wait, whoa… it’s the guy behind Melissa McCarthy’s biggest comedies. Does that put you “off’ or does it make this movie a lot more interesting? Hopefully the later, as Paul Feig gets out of his humor “comfort zone” to explore the implications of agreeing to take on A SIMPLE FAVOR.

After a jaunty opening title sequence with colored “image strips” of pricey fashions and furnishings (hang on.. there’s a knife in there…and a pistol) set to the French version of a bouncy 60’s pop tune, we’re looking at a computer screen. It’s the video blog (“vlog”) of Stephanie Smothers (Anna Kendrick), a Martha Stewart-wannabe offering tips to harried moms. But just as she’s about to share her recipe for “veggie-infused” brownies, Steph gives an update on her missing friend. Wha? Flashback to a recent rainy afternoon at a grade school in an affluent suburb about an hour or so away from NYC. As she watches her eight year-old son Miles (Joshua Satine) play with best pal Nicky Nelson (Ian Ho), Stephanie volunteers for too many tasks in the upcoming Fall festival. After the bell rings, she walks her son and his pal to the entrance. Miles pleads to have a “play date” with Nicky. “If it’s okay with his mom”, she replies. Then Nicky’s mom appears, the statuesque, stylishly attired Emily (Blake Lively). She’s against the get together until Stephnie agree to come over for a cocktail…or three. The recently widowed Stephanie is bowled over by the plush Nelson estate (dubbed a “a money pit” by Emily), and the handsome Mr. Nelson, Sean (Henry Golding), an acclaimed author who seems to be a “one hit wonder” (the muse has left him). Over the next few weeks the two women with such different personalities became fast friends, dishing and sharing secrets over martinis. Then comes the call from Emily, “I’ve got help out my boss (a world famous clothing designer) in Miami, could you pick up Nicky?”. The too timid Stephanie agrees. But that night, she can’t get past Emily’s voicemail. Sean is in London tending to his ailing mother, but agrees to catch the next plane back. Oh, and Emily’s boss knows nothing of her Florida trip. When the hours turn to days, the authorities are brought in. As Stephanie helps out the Nelsons, she and Sean grow closer. She reaches out to the public via her vlog, which produces a “lead”, which brings her mystery to a tragic end. But has it? As Sean seeks comfort from Steph, weird things occur around the house, and at the school, where Nicky insists he sees his mommy. Sean scoffs, thinking these are tricks of the mind, but Stephanie is now determined to unearth the secrets of Emily, no matter the cost of her new romance or her very life. Can this “super-mom” become a “super sleuth”?

This wild roller coaster romp showcases one of the best big screen duos of the year. This talented team propels the plot, providing a most enthralling chemistry lesson. Since most of the tale is told through her eyes, lets’ start by singing the praises of one terrific singer/actress, Ms. Kendrick. For most of the film she’s doing a most entertaining riff on her uptight/ good gal persona from flicks like UP IN THE AIR and 50/50. Then we slowly see how the Emily character transforms sweet lil’ Stephie into a determined woman on a mission. Kendrick adjusts her expressions and body language (not “closed in”, but ready to pounce), as she realizes that she’s being “played”, slowly morphing from “doormat” to unafraid avenger. Even more than in his famous film trilogy, Kendrick is truly “pitch perfect”. The same can certainly be said for her scene sparing partner, the compelling Ms. Lively. Her Emily is the coolest (almost stone cold) queen of the staple suburb, quick with an insult or an encouraging quip. Much in the vein of Jane Greer in OUT OF THE PAST or Kathleen Turner in BODY HEAT, she makes seduction look effortless, particularly with the “eager for a BFF” Stephanie. In their martini “play dates”, Lively’s Emily is like a crafty feline, using her queries like paws, to push the mouse-like Steph in any preferred direction. But those paws have sharp claws as she lashes out with fury when her pal tries to snap a photo, then much later when she is forced into a corner. After the nearly unwatchable ALL I SEE IS YOU, Lively bounces back with this bravada performance. Golding, fresh off the surprise smash CRAZY RICH ASIANS, proves he’s more than “the hunk of the month” with the role of the often “slow on the uptake” author who seems to be thinking with an organ other than his brain. Both ladies now exactly how to “push his buttons’ and steer him toward their goals. There’s some scene stealers in the supporting cast. Rupert Friend has a great time as Emily’s high maintenance, sneering boss. Jean Smart is a GREY GARDENS-inspired diva who’s a fountain of backstory info during the final act. Bashir Salahuddin is the investigating detective whose affable easy-going demeanor causes those interviewed to let their guard down, allowing him to sneak inside their minds. Linda Cardellini is “tough as nails” playing a bohemian artist from Emily’s past. But some of the biggest laughs come from Andrew Rannells, the most vocal of the “mom trio” that serves as a Greek chorus to the Stephanie-Emily-Sean triangle. His “house husband” Darren is unfliltered and hysterical.

Though the mystery plot is a new one for the gifted Feig, he’s still able to play to his great strengths. As with his biggest hit BRIDESMAIDS he gets wonderful work from his actresses in scenes of friendship and bonding. This is one flick that passes the “Bechdel Test”, engaging in several “male free”  “cut to the bone” conversations. Of course much of the credit for this most go to the witty screenplay by Jessica Sharzer adapting Darcey Bell’s novel. Those early scenes of Emily “feeling out’ and “sizing up” Stephanie just crackle with caustic energy. These are so entertaining that the “big mystery” plot just can’t sustain the fun. The film gets mired in insurance fraud and haunted Summer camps around the one hour mark and looses that breezy momentum, while Stephanie becomes Jessica Fletcher, Jr. far too quickly. Luckily the story gets back on track by the double and triple-crossing finale. As the corpses and deceptions pile up, it almost plays out as a parody of the “woman in danger” Lifetime TV movie or even the psycho-sexual thrillers that comprise the post-midnight fare of premium cable channels (like those, the language here gets pretty “salty”). Still, this doesn’t take away from the great work from the two actresses who couldn’t be a better “match”. Because of them (along with the superb art direction), A SIMPLE FAVOR is simply, devilishly delightful.
4 Out of 5

Win Passes To The Advance Screening Of A SIMPLE FAVOR In St. Louis

A SIMPLE FAVOR, directed by Paul Feig, centers around Stephanie (Anna Kendrick), a mommy vlogger who seeks to uncover the truth behind her best friend Emily’s (Blake Lively) sudden disappearance from their small town. Stephanie is joined by Emily’s husband Sean (Henry Golding) in this stylish thriller filled with twists and betrayals, secrets and revelations, love and loyalty, murder and revenge.

The film opens in theaters on September 14.

WAMG has your free passes to the advance screening of A SIMPLE FAVOR in St. Louis.

Date: Sept. 11, 7pm in the St. Louis area.

ENTER FOR YOUR CHANCE TO WIN A PASS GOOD FOR TWO!

Question: Which 2015 movie did Blake Lively star that is set in San Francisco and follows her through the years as the world around her changes, yet she remains the same?

Add you name, answer 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.

R – For sexual content and language throughout, some graphic nude images, drug use and violence.

Visit the official site: www.asimplefavor.movie

Photo Credit: Peter Iovino/Lionsgate

CRAZY RICH ASIANS – Review

There is a long tradition of films that feature the plot of a man or woman introducing a new partner to the family for the first time. It’s a formula we’ve seen in romantic comedies for decades. Is the family going to approve of him or her? Will the couple end up together despite the family’s disapproval? It’s never truly a nail-biter as much as it’s a structure to explore ideas of acceptance and tolerance. Given how much CRAZY RICH ASIANS has been talked about as the first Hollywood film in 25 yrs to feature an entirely Asian cast, it seems fitting that this adaptation of the popular book series is as much about a Chinese-American woman facing adversity from a proud Chinese family as it is about American audiences accepting a culture and actors rarely featured in a major studio film. Contemporary audiences need this introduction into this specific world as much as the lead of the story does. And I have a feeling mainstream audiences will welcome it with open arms.

That seems like a lot of pressure for a film that the main goal is to be an entertaining, romantic romp through Singapore, but director Jon M. Chu is more than up for the challenge as he explores this fascinating culture built on lush food and vibrant cityscapes, family traditions, and cultural behaviors passed down from generation to generation. In the film, no one is more aware of this than Nick Young (played by newcomer Henry Golding). Nick invites his girlfriend Rachel (Constance Wu) to his best friend’s wedding in Singapore. Little does the NYU professor know that she’s actually dating a member of one of the wealthiest families in Singapore. The trip and the wedding festivities (“The Wedding of the Year,” as it’s described by locals) result in her becoming enveloped in an entirely new world of the rich and famous, as well as an overbearing family led with an iron fist by Nick’s mother (Michelle Yeoh in a surprisingly cold and effective performance).

The film feels less like a rollercoaster of emotions than what you would expect given the plot synopsis and more like a travelogue set to renditions of classic songs like “Can’t Help But Falling in Love,” “Money (That’s What I Want),” and “Material Girl,” to name a few. The level of opulence is off the chart as the film quickly becomes a feast for the eyes with designer outfits and exotic locales. One could argue the biggest star of CRAZY RICH ASIANS is the setting of the film, Singapore, and they wouldn’t be wrong. So much is put into the art direction and look of the film that it reaches THE GREAT GATSBY height of extravagance and beauty.

Thankfully, Jon M. Chu grounds the film by first introducing us to the warm and genuine leads before throwing us into the visual feast. Henry Golding and Constance Wu make for a charming couple with instant chemistry. His slight British accent adds a touch of dashing manliness to his boyish disposition. He’s a natural leading man, but it’s Constance who is put to the test as she has to serve as the wide-eyed foreigner as well as a strong force to be reckoned with when the time comes. Because of the large family at the center of the story, there is a variety of characters with flimsy to defined backstories that have a hand in Nick’s life. However, most are given little screen time to flex their acting chops.

While the romantic comedy label is unfortunately pushed much more in the direction of romance than comedy, actress Akwafina (who was in OCEAN’S 8 earlier this year) makes her presence known in a handful of scenes as Rachel’s loud-mouth sidekick. She fares much better than the one-note loud groomsman and the over-the-top bachelor party scene that falls flat. At a lengthy two hours, CRAZY RICH ASIANS feels a little stretched out. Yet, it always pulls you back in with spectacular sights like a show-stopping wedding sequence and a dazzling reception under the stars in the end. This predictable but cute romantic comedy may be remembered for the glitz and glamour, but it’s the film’s loving approach to a rich culture built on specific ideals and traditions that is worth applauding.

 

Overall score: 3.5 out of 5

CRAZY RICH ASIANS opens in theaters Aug. 15th