Check out this delightful trailer for the upcoming animated feature SWAPPED.
Swapped is a buddy comedy about a small woodland creature, voiced by Academy Award winner Michael B. Jordan, and a majestic bird (Juno Temple).
When these two natural sworn enemies of The Valley suddenly swap bodies, they must team up, while walking in each other’s feathers and fur, to survive the wildest adventure of their lives.
Testa’s books are truly magical. Her other works include Daniel Tiger’s Neighborhood, Peanuts, and CoComelon.
Directed by Nathan Greno (Tangled), the story is scripted by John Whittington (The Lego Batman Movie) and writing partners Christian Magalhães and Robert Snow (DuckTales, WondLa). John Lasseter, David Ellison, Dana Goldberg, and Mary Ellen Bauder Andrews will serve as producers.
SWAPPED also stars Tracy Morgan, Cedric the Entertainer and Justina Machado and debuts May 1, only on Netflix.
Director Gore Verbinski (PIRATES OF THE CARRIBEAN) teams up with the great Sam Rockwell for a sci-fi action/comedy with something to say, where a man from the future, who is trying to save humanity from an all-powerful Artificial Intelligence creation, travels back in time to try to stop it at a critical moment. He’s already done this 116 times, but why not try a 117th.
On a dark night in L.A., one man enters a diner full of people, while holding a detonator button and wearing a strange outfit covered in wires and tactical gear. He says he’s not there to rob the place but he does have a bomb, so they better sit still and listen up. Then he tells them he is from the future and he’s there to recruit people to help him save humanity from an coming A.I. apocalypse, something he has already tried unsuccessfully 116 times before.
In a world-weary, slightly sarcastic tone, he tells his captive audience about his mission to save the world. Most people in the diner assume he’s a crazy homeless person but this joker is deadly serious, although you’d never guess that from his crazy get-up. Others barely look up from their cell phones – until he snatches their phones and tosses them away. He strides about the room, jumping on tables, calling out people by name to convince them this is real, and gradually, they start to listen to this character who seems to know things about the people there, who they are, what they are about to do next. He tells them that somewhere in this group of 47 people in this diner is a magic combination to save the world. Then he asks for volunteers to help him in his quest.
This is crazy, funny opening scene kicks things off in goofy, high-energy high-gear, as an unrecognizable Sam Rockwell, his face obscured by full beard, smeared dirt and a ski cap pulled low, brilliantly delivers his speech, about cell phone addiction leading to societal collapse and AI domination, while in constant kinetic motion. Rockwell goose-steps across tables, snatches handfuls of fries off plates, and slips into booths with lightning speed, to call them by name and share personal details about them – and pausing to yell at the waitress just before she picks up the phone to call the police.
Rockwell’s wild guy from the future does get a few volunteers (plus a few hands also go up from diners he refuses to take, due to poor performance on past runs). But he needs a few more, so he “drafts” some into coming along, based on either good past results or just because he hasn’t tried that combination before. One of the people who does volunteer is a young woman in a bedraggled princess costume, named Ingrid (Haley Lu Richardson). At first, he refuses to take her, but then he relents – because he’s never pick her before. She might be the magic addition to this combination that makes his mission work this time.
The crew he assembles also includes a couple who are teachers, Mark (Michael Pena) and Janet (Zazie Beetz), and a grieving mom named Susan (Juno Temple), and blustery guy named Scott (Asim Chaudhry) plus a few more. Their mission is to install a bit of software that was developed in the future, which installs controls on an A.I. creation built by a 9-year-old boy (Artie Wilkinson-Hunt), before it can achieve singularity and surpass human intelligence. They have to reach the home of that boy before that happens, and time is short. The man from the future wears a timer counting down the minutes and knows where the boy is, and it isn’t even far, but that doesn’t mean it is easy to get there. Many have died trying over those 116 attempts.
This is director/producer Gore Verbinski’s comeback film after nearly a decade away from film making. GOOD LUCK, HAVE FUN, DON’T DIE (a phrase that is supposedly something virtual-reality gamers in this film say to each other) was independently made, maybe because no studio would touch a film that has A.I. as the villain. Nonetheless, Verbinski turns in an high-energy, entertaining film, with a good cast, while he and scriptwriter Matthew Robinson have their say about dangers of cell phone addiction and A.I. generally.
The ticking clock helps drive this energetic, entertaining gonzo comedy/adventure/action tale. which delivers with action and physical comedy but also delves into dark comedy (sometimes very dark, even unsettling), satire and social commentary, particularly in some flashbacks sequences. As the quest unfolds, we get flashbacks to some characters’ personal stories, specifically Haley Lu Richardson’s Ingrid, Michael Pena’s and Zazie Beetz’s and Juno Temple’s mom, as well as Sam Rockwell’s character’s tale. In flashbacks, we learn more about their alternate or near-future world, where school shootings are so common that schools come equipped safe rooms, disconnected teens are constantly on their phones or threatening if not, people are cloned in secret but come back with ads, and virtual reality goggles are so good, that people sign up to live in that alternate reality full time, permanently. All the flashbacks give us insight on how screwed up their world already is and, in the case of Rockwell’s character, part of how it got there.
Verbinski picked the perfect actor for the lead role but we know it is Sam Rockwell giving this speech largely because his name is in the credits. His face is well hidden, although why isn’t clear. His costume, however, is a perfect comic mishmash of electronics, wires, tactical gear and topped by a clear raincoat, making him look like a homeless person in a homemade time-traveler/bomber outfit.
As the story progresses, the lead shifts a bit toward Haley Lu Richardson’s Ingrid, as it hurtles towards it’s wild end with not just practical effects but also vibrant, even eye-popping visual effects.
I love the concept for this satiric dark comedy film, and it is a lot of fun, as well as having something to say, and Sam Rockwell is the perfect choice for the lead. While not everything is perfect, GOOD LUCK, HAVE FUN, DON’T DIE still is an entertaining quirky, fun and involving film, with something important to say. The film deserves credit for being a unique concept on a timely topic, instead of a timid retread, and it deserves credit for its snappy pace, good storytelling, its band of misfits characters, its determined use of practical effects and nicely-done visual effects. Sam Rockwell deserves credit for a winning and determined high-energy performance under all that makeup and forty pounds of costume. We should reward all that by seeing this film, in a theater, and if you do, you will be rewarded with an entertaining and thought-provoking experience.
GOOD LUCK, HAVE FUN, DON’T DIE opens in theaters on Friday, Feb. 13, 2026.
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.
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.
Okay “Marvel maniacs”, are you ready for a deep deep dive into another franchise? After all, it’s been nearly three months since the blockbuster “mash-up” DEADPOOL AND WOLVERINE. Of course you are, but hold up, true believer. This isn’t the beloved MCU (Marvel Cinematic Universe). Rather, we’re back in the “Sony Spider-verse”. So Tom Holland is off polishing his web-shooters (not a metaphor), as we get another “spin-off” from Spidey’s long-running comics series. And, unfortunately, this isn’t another romp in the surprisingly fun animated epics. No, this is the second live-action flick this year, after the “so bad it may be good” MADAME WEB, and while Kraven sharpens his claws for his December attack. And, sorry that vapid vamp MORBIUS is not returning, although this film’s focus has had better luck with two previous outings in 2018 and 2021. Now, with this third entry, Sony promises that this is the “finale of the trilogy”. Hence the full title VENOM: THE LAST DANCE. But that all depends on those all-mighty box office returns, so…
This time the story begins on the symbiote home world (or universe, perhaps) as its ruler/king Knull sends out several reptile/spider-like “hunters” to locate the “codex”, an energy portal that grants him access to all worlds, which Knull will conquer. So, who has the codex? None other than Eddie Brock (Tom Hardy) and his own BFF symbiote entity. When we last saw him (them) during the end credits of SPIDER-MAN: NO WAY HOME, he was getting blotto in a bar on our Earth (#616). Brock and V then pop back to his homebase, where his black-ooze buddy dispatches some baddies. Ah, but it turns out that morphing into Venom sends out a homing beacon to Knull’s hunters. Also, an elite group of special ops soldiers led by Rex Strickland (Chiwetel Ejiofor) is also trying to capture Eddie. He and his “inner voice” escape and set their sights on the “Big Apple”. We soon learn that Strickland is working with a team of scientists headed by Dr. Teddy Payne (Juno Temple) who operate out of a secret symbiote research lab deep below the soon-to-be demolished Area 51. In order to evade their “radar”, Eddie hitches a ride with the groovy Moon family in a van driven by daddy Martin (Rhys Ifans) and mom Nova (Alanna Ubach), who want their kids (Hala Finley and Dash McCloud) to take in 51 before it’s gone. They drop Eddie off in Vegas where a reunion with an old friend leads to a battle atop the casino canyons which spills into the desert and that iconic military locale, as Venom must make its “last stand”…with some unexpected support.
As with the previous two flicks, everything’s resting on Eddie B, the “host with the most” who is given a world-weary gravitas by Hardy. Again, he’s a bit baffled by his fate, and has a “push/pull” relationship with the toothy ebony puddle. He’s convincingly hungover in the opening sequence, but his hangdog grousing becomes a tad tiresome, even as he’s a “symbiote straight-man”. It’s odd that Brock is so often “one-note” since Hardy worked on the script (as he did with the last one), and too often sounds like his “cycle-poppa” from BIKERIDERS. Most of the supporting cast get little to do, perhaps to leave more time for the CGI chaos. The very talented Ms. Temple (so good in the streaming shows “Ted Lasso” and “The Offer”) does her best to bring nuance to the standard “don’t destroy my discovery” scientist from countless 50’s sci-fi flicks, but too often she’s shouting while doing a “deer in headlights” expression. Much of the same can be said for the equally gifted Ejiofor, who’s another “late show” cliched “kill this thing!” soldier, who is there to bark orders while spouting exposition. The biggest misuse of talent may be Ifans as the “Earth papa” who offers support to Eddie while having to deal with a corny “moonbeam” stereotype (ditto for Ubach). There is a nice “Lasso” reunion with Cristo Fernandez as a really patient “booze-slinger”.
This film marks the feature directing debut of actress/writer Kelly Marcel, who wrote the last two Venom flicks and teamed up with Hardy on the script for this one. She is adept at keeping the plot moving at a brisk pace for the first act or so, but the requirements of an action/effects “tentpole”, sends any character development and humor far into the background. There’s also some irritating “fan service” as a supporting character from the first films is clumsily “shoe-horned” into the big finale in Nevada. This one’s an improvement over CARNAGE as they make great use of the dusty locales. And we’re not stuck in those near-pitch black alleyways as the tenements crumble. Plus there’s a few nifty visual tricks as the symbiote bonds with various wildlife (be warned, his equine form is fleeting). But, by the time we get back to 51, the script desperation kicks in as we get an “Avengers-team” of “Venom-lites” to dash up and fill the screen with fire and pixels. As the smoke clears, we’re feeling as tired as Eddie Brock appears. This is one alien that should “phone home” since it has truly worn out its welcome (along with the moviegoers patience). But since the Spidey series is so strong. it’s a given that he’ll be back to bare his teeth and wiggle that serpent-like tongue despite the promise in the title of VENOM: THE LAST DANCE. I can almost hear that growling gravelly voice (I could only “get” two thirds of its quips) chuckling…
1.5 Out of 4
VENOM: THE LAST DANCE is now playing in theatres everywhere
In VENOM: THE LAST DANCE, Tom Hardy returns as Venom, one of Marvel’s greatest and most complex characters, for the final film in the trilogy. Eddie and Venom are on the run. Hunted by both of their worlds and with the net closing in, the duo are forced into a devastating decision that will bring the curtains down on Venom and Eddie’s last dance.
VENOM: THE LAST DANCE stars Tom Hardy, Chiwetel Ejiofor, Juno Temple, Rhys Ifans, Stephen Graham, Peggy Lu and Alanna Ubach. The film is directed by Kelly Marcel from a screenplay she wrote, based on a story by Hardy and Marcel. The film is produced by Avi Arad, Matt Tolmach, Amy Pascal, Kelly Marcel, Tom Hardy and Hutch Parker.
See the film in theaters only on October 25, 2024.
This film is rated PG-13 by the Motion Picture Association for the following reasons: intense sequences of violence and action, bloody images and strong language.
Venom in Columbia Pictures VENOM: THE LAST DANCE. Photo Courtesy: Sony Pictures
WAMG wishes actor Tom Hardy Happy Birthday on this Sunday and to celebrate we have the brand new trailer for VENOM: THE LAST DANCE.
Halloween 2024 is filled with movies featuring ghosts, ghouls, monsters and one particular antihero. On October 25, VENOM is back on the big screen. Tom Hardy returns as Venom, one of Marvel’s greatest and most complex characters, for the final film in the trilogy. Eddie and Venom are on the run. Hunted by both of their worlds and with the net closing in, the duo are forced into a devastating decision that will bring the curtains down on Venom and Eddie’s last dance.
VENOM: THE LAST DANCE stars Tom Hardy, Chiwetel Ejiofor, Juno Temple, Rhys Ifans, Stephen Graham, Peggy Lu and Alanna Ubach. The film is directed by Kelly Marcel from a screenplay she wrote, based on a story by Hardy and Marcel. The film is produced by Avi Arad, Matt Tolmach, Amy Pascal, Kelly Marcel, Tom Hardy and Hutch Parker.
2018’s VENOM brought in a worldwide gross of $856 million while the successful follow-up, 2021’s VENOM: LET THERE BE CARNAGE, saw global ticket sales at $507 million, solidifying Venom as a popular character in the Sony Pictures’ Spider-Man Universe. (SSU)
Sony’s other Marvel film, KRAVEN THE HUNTER, from director J. C. Chandor, hits theaters on December 13 and stars Aaron Taylor-Johnson as Kraven the Hunter, Ariana DeBose as Calypso, Russell Crowe as Sergei Kravinoff (Kraven’s father), and Fred Hechinger as Dmitri Smerdyakov (Chameleon).
In VENOM: THE LAST DANCE, Tom Hardy returns as Venom, one of Marvel’s greatest and most complex characters, for the final film in the trilogy. Eddie and Venom are on the run. Hunted by both of their worlds and with the net closing in, the duo are forced into a devastating decision that will bring the curtains down on Venom and Eddie’s last dance.
VENOM: THE LAST DANCE stars Tom Hardy, Chiwetel Ejiofor, Juno Temple, Rhys Ifans, Peggy Lu, Alanna Ubach and Stephen Graham. The film is directed by Kelly Marcel (Saving Mr. Banks, Fifty Shades of Grey, Venom and Venom: Let There Be Carnage) from a screenplay she wrote, based on a story by Hardy and Marcel.
The film is produced by Avi Arad, Matt Tolmach, Amy Pascal, Kelly Marcel, Tom Hardy and Hutch Parker.
So, whatcha’ gonna’ be for Halloween? You can bet that the Hollywood Studios and the multiplex know that big holiday is charging at us like that headless horseman. The answer to that question, for many young women (and lots of older adults…of both sexes), is “Princess”. Or more specifically “Disney princess”. And what’s essential to that character? Well, other than a prince. A villain, be it a wicked stepmom or sister, evil queen, or witch. About five years ago the “mouse house” had the bright idea (maybe inspired by the big, still-running and touring, Broadway stage smash “Wicked”) to re-imagine, and maybe reform, the villainess from one of their beloved animated classics, but this time with live actors (with a few make-up and CG tweaks). This may have inspired a recent trend in the superhero genre in which the “bad guys” of Spider-Man and Batman were turned into the heroes of their own self-titled features (VENOM definitely, but JOKER is more of an “anti-hero”). Anyway, Disney has finally made a sequel to that unorthodox (then) box office hit, giving it a subtitle that’s closer to her previous “rep”. Lookout, it’s MALEFICENT: MISTRESS OF EVIL.
The beginning of this follow-up more resembles a story by that comic strip icon Snoopy as it’s “a dark and stormy night”. A trio of men is creeping about the enchanted moors. As two are quickly dispatched by shadowy forces, the third scoops up a mushroom-topped imp along with a glowing flower. Both are paid for by a mysterious figure peering out of an opening near the bottom level of a looming nearby castle. The next bright, sunny morning Princess Aurora (Elle Fanning) cavorts with the magical denizens of the Moors including some towering talking trees, a mumbling porcupine lad, assorted plant-like pixies, and a trio of talkative fairies (more like “aunties”), Thistlewit (Juno Temple), Flittle (Lesley Manville), and Knotgrass (Imelda Staunton). Their playful banter is interrupted by Aurora’s suitor, the smitten Prince Phillip (Harris Dickinson). He promptly proposes to her moments before the arrival of his love’s guardian, the supreme sorceress Maleficent (Angelina Jolie). Much to her chagrin, she agrees to meet with Phillip’s parents. After some prepping on human manners and decorum from her crow/pal/familiar Diaval (Sam Riley), Mal and the two kids travel to the kingdom of Ulster for a meet and greet meal with King John (Robert Lindsay) and his Queen, Ingrith (Michelle Pfeiffer). Things don’t go “well”, and Mal takes wing and crashes through a window. As she glides back to the Moors, one of the royals’ (seems they were “prepared”) aides wounds her with an iron-tipped arrow. This sends the injured witch on a journey to find her roots prior to an all-out war on the Moors’ denizens by dark forces within the Ulster castle. But will Aurora side with her fellow human or will she come to the aide of her adopted forest family?
Jolie slips on the horns as though they were a comfy old pair of jeans (or…slippers). She still gives the witch a sexy diva quality, rolling her eyes and caressing every bit of dialogue for comic effect. that’s not to say she exudes no real menace. With the new look via makeup and costuming I wondered which was sharper, those horns, her molars, her collarbones (impressive), or her acid-tinged line delivery. Luckily she’s got a formidable adversary in Pfeiffer, all dead-eyed stares and raised brows as the plotting queen (insert mother-in-law from “you know where” jokes here). She bounces between passive-aggressive matriarch to campy screeching royal harpy, all while looking stunning in a series of jeweled gowns. The inspired match-up harkens back to Shirley MacLaine versus Anne Bancroft in THE TURNING POINT or maybe further back to Joan vs. Bette in WHATEVER HAPPENED TO BABY JANE. Fanning rarely gets to join in on the farce fun this time out as she carries much of the emotional drama as the conflicted princess, though she throws herself into the final act’s big battle sequences. Dickinson’s Phillip spends most of his time longingly gazing at her until he gets “woke’ to the “sitch”, while Lindsay as his papa, the King is an ineffectual pawn. Riley provides just a bit of comic relief as the man-crow, as does Temple, Manville, and Staunton as the flitting fairies whose oversized human heads on tiny bodies have an oft-putting quality like Funco Pop hummingbird girls. As for the actors playing new (to the series) roles, Chiwetel Ejiofor as Conall makes soulful eye contact with Mal as he mainly provides her with ancestry info in a missed opportunity for an engaging romantic subplot. This as Ed Skrein bares his fangs and six-pack abs as the “ready to rumble” Borra.
Despite the opportunity for a frenetic funny “throw down” between the two screen glamour goddesses, director Joachim Ronning struggles to keep the pace consistent and make the action sequences coherent. It doesn’t help that the three writer credited script changes tone from sprightly sparkly fairy tale to origin story (an island with denizens resembling the children of the Na’vi from Pandora in AVATAR and the Hawk People of FLASH GORDON minus the great Queen score), and a seemingly never-ending war between then modern weapons and magic. There are noble sacrifices aplenty (with actors perhaps happy to sit out a third outing), but most viewers will spot a trite character resurrection long before the glowing spell begins. By this time even the most devoted Disney kids and their folks will be worn down. Visually the costumes are eye-popping, but the opening Moors in the morning backgrounds are a candy-coated CGI overload, packed with lots of future toy “merch” (some critters seem to pop up only to justify a new “product”). Though she’s still one of the greatest Disney villains, her second live-action (mainly) flick, MALEFICENT: MISTRESS OF EVIL, fizzles and fumbles rather than flies. Hang them horns up already.
Starring Claire Foy, Joshua Leonard, Jay Pharoah, Juno Temple, Aimee Mullins and Amy Irving, watch the first trailer for Steven Soderbergh’s psychological thriller UNSANE. The film was shot on an iPhone.
A young woman is involuntarily committed to a mental institution where she is confronted by her greatest fear – but is it real or is it a product of her delusion?
Soderbergh’s recent project is MOSAIC.
According to Wired.com the interactive smartphone app, “required covering most of the walls in a Chelsea loft with color-coded cards and notes. The app contains a 7-plus-hour miniseries about a mysterious death, but because viewers have some agency over what order they watch it in and which characters’ stories they follow, each scene—and the point at which it should be introduced—had to be meticulously planned so that no detail was revealed too late or too soon. The script for it is more than 500 pages long and was written after most of the story was laid out using all of those notecards. Soderbergh and his team have been working on it for years. Turns out it takes a lot of work to overhaul TV as we know it.” Starring Sharon Stone, it’s available to stream online through HBO.
Fingerprint Releasing & Bleecker Street will release UNSANE in theaters nationwide March 23, 2018.
