Tag: Lily James

SWIPED (2025) – Review

Feels like it’s been a while since moviegoers have gotten a feature about a real-life invention that had a pretty big impact on the world, or society in general. Sure, they briefly touched on the origins of the kids’ toy superstar BARBIE in that recent blockbuster. Plus, we’ve gotten films about shoes (AIR), tech devices (BLACKBERRY), other toys (THE BEANIE BUBBLE), and a computer game (TETRIS). Predating all of them (can it be 15 years old?) is the Oscar-winning story of a website, THE SOCIAL NETWORK. So, when do we get another movie about an online “game changer”? And that leads into this new flick about another website that’s perhaps best known as a phone “app”. I’d tell you its name, but you can probably guess it from this movie’s title, SWIPED.


Now, the story’s real focus is actually a fast-talking (and fast-thinking) tech innovator with the “superhero alias” sounding moniker, Whitney Wolfe (Lily James). We first encountered her about a dozen years ago as she crashed a big “tech bro” bash on the Santa Monica pier. She’s trying to raise interest (and funds) for her website that matches volunteers with charities. After several “strike outs”, she makes a connection with Sean (another cartoony-but-real name) Rad (Ben Schnetzer), who tells her to drop by his development firm, Hatch Labs IAC Incubator. Naturally, she’s there a few hours later before Sean arrives. But he’s got a big meeting with a potential client for his restaurant rewards app Cardify. Sean figures she can pose as his “gal Friday”, but Whitney surprises him by helping “seal the deal”. She becomes part of his team, proving invaluable once again when Cardify “flatlines”. At a big pitch meeting, several staffers bounce around ideas for a dating site/app, but it’s Whitney who comes up with the perfect name for it: Tinder. But they need to spread the word, so she travels to her old college sorority at SMU with work pal Tisha (Myha’la) and due to her people skills, hustle, and quick thinking, the app sweeps the school. Back in LA, the company’s celebrations get a boost from Sean’s new hire, his old pal Justin (Jackson White). Despite her better judgement, Whitney begins seeing him socially. But her rising profile threatens Justin, as he and Sean squeeze her out of the publicity swirl around the company and the increasingly popular app. Things take a dark turn when the board ignores complaints about graphic photos posted, and when Justin becomes possessive after Whitney breaks off their relationship. Soon, she must make a stand and a decision: stay and fight for what she’s due, or leave and start over.

Ms. James is establishing herself as one of the busiest actresses working today. It was only a few weeks ago that I was enjoying her work in the little-seen gem of a thriller RELAY (really, catch it when it starts streaming). Here she gets a chance to really flex her skills in comedy, romance, and some heavy drama (with a few thriller elements this time, too). James has us rooting for Whitney from beginning to end, making us invested in very tough choices. She gets great support from Myha’la who encourages, but speaks up when “her girl” fumbles the ball in not helping her “sisters’ climb the corporate “ladder”. As for the fellas’, Schetzner is a cool, affable partner/boss until fame makes him “flip a switch”, surprisng us with his cool, aloof ‘tude. Ditto for his “bro” Justin, played with easy-going “puppy dog” charm by White until he’s threatened by Whitney and goes right into the “ex from Hell” mode. But Wolfe does encounter a nice “dude” outisde the office in Andrey Andreev played by Lily’s former “Downton Abbey” TV series co-star Dan Stevens. He’s a somewhat daffy ultra-rich tech mogul out of Eastern Europe who tries to “poach” Whitney for his dating site Badoo. not for her looks but for her keen creative input and expertise. A few other familiar faces pop up in brief supporting roles, including Joely Fisher, Clea DuVall, and that “silver fox” Dermot Mulroney.

Director/co-screenwriter Rachel Lee Goldenberg has crafted a mostly inspiring true tale for young women trying to break into the male-dominated tech industry. But it’s also a cautionary tale, which shifts so abruptly in tone in its second act, that some viewers may get a touch of cinematic “whiplash”. The lead-up and launch of Tinder plays much like a light-hearted romp, as Wolfe works the college kids and charms her open-minded boss in a frothy modern workplace comedy. This even extends to the sweet at first) flirtation with Justin. Then the d#*k pics flood the servers, and the darkness begins. Almost all the fellas seem to have drunk from a water cooler filled with Dr.Jekyll’s old “Mr. Hyde mix”. This leads to the big nosedive as we wait for Wolfe to “pull up” and stick the landing. Really, the soured office romance often plays like a made-for-cable-TV Lifetime flick. Of course, we do get a token “good guy” to not paint every male as a leering, abusive goon (and yes, I know that women in past office-set films were either bubble-headed bimbos or shrews, but this still stings a bit). These tonal shifts and pacing problems ultimately take the needed zip and good intentions away from the true life story of SWIPED.

2 Out of 4

SWIPED streams exclusively on Hulu beginning on Friday, September 19, 2025

RELAY – Review

Ah, now here’s a real “under the radar” gem. Usually, the quirky modern-day ‘B” pictures are dropped into the multiplex in late Winter or mid-Fall. So, we’re almost past the Summer blockbuster season, the studio “wise men” (two words not often next to each other) are arriving well in advance of the December holidays with a gift for us. This one’s full of razzle-dazzle tech twists and intricate machinations, mixing in elements of crowd pleasers like THE EQLUAIZER (movie series and TV shows), THE STING, THREE DAYS OF THE CONDOR, with a sprinkling from the IMF team for a spicy kick. There are no big action set pieces, but there is plenty of tension when you dive into the wild world of RELAY.


Much as with a Bond flick or Indiana Jones, we’re dropped into the conclusion of a recent “operation” involving the lead character in the film’s opening moments. It seems that everything’s gone according to plan as he observes a rich CEO getting his “just desserts” while his former employee vanishes into the night. We’re then whisked away to the start of another case. A jittery young woman cautiously enters the towering home of an NYC law firm. Sarah Grant (Lily James) was a top researcher/scientist at a major “bio-agricultural” company. She sounded the alarm about a new “insect-resistant” wheat that has the possibility of dangerous, even deadly side effects. The company fired her and insisted she turn over all the research. Sarah left with the files, but is having “second thoughts”. She’s being harassed and threatened, spurring a desire to return the docs rather than “blow the whistle”. Now she fears that her old bosses will “tie up loose ends”.The lawyer who hears her declines to take her as a client. Instead, he scribbles down the number of a person who acts as an “intermediary” to broker the “info exchange”. When she calls the number, she speaks to a rep at the Interstate Relay Service, a company that translates phone calls for the hearing impaired. The messages are not recorded, nor are they kept on file. Typing in at another location is the “barterer,” who we later learn is named Ash (Riz Ahmed). They establish an ID “passcode phrase” (“Cash or credit?” “Check”) and he gives her strict instructions (do it right or I’ll walk away) on how to get the files to him, along with payment, and who to contact at her old job. He keeps a copy of the files forever in a secret safe and makes copies to send to the feds and media in case the company goes after her. But first, she’s got to move to a much safer place, namely an incredibly secure high-rise apartment building. Somehow her move leaks out, and a dark van is parked across the street. Inside is a well-armed “cleaner squad” headed by a man going by “Dawson” (Sam Worthington), who gets her client’s Relay calls from Ash. Will things go according to his elaborate plan? And what happens when the exchanges between Ash and Saeah take a more intimate turn?

In referring to this as a modern “B” movie, I didn’t wish to imply that the stellar cast is anything other than “A+”, particularly the two main leads. First, there is the interesting and intense Ahmed, who has been so great in supporting roles (NIGHTCRAWLER) and terrific as the main focus (acting students will study his work in SOUND OF METAL). For a moment, I thought he was following up on that film due to Ash’s use of the relay service, but it’s a way to avoid making a personal connection. Through those immersive dark eyes will look into the soul of an emotionally wounded, haunted man who must stay in control at all times. This quality doesn’t help him away from work as he sits silently at AA meetings. Ahmed wants to become invisible as he flits from one shadow to the next. But then someone flips the light switch, and we see his defensive cocoon slowly begin to crack. Taking a hammer to it is the ethereal charisma of Ms. James, who lets us see, in her vocal delivery and body language, Sarah go from vulnerable victim to staunch champion of her own destiny. She’s overwhelmed by dealing with the rapid, specific details from Ash, though soon she’s bobbing and weaving like a trenchcoated spy. Their engaging chemistry has us rooting for them to connect beyond the “case”. That’s complicated due to the dead-eyed killers headed by the gravel-voiced Worthington. Every line is spat out like venom, though we can get a glimmer of his reserved respect for his worthy opponent’s intellect. However, he lets us know that he’ll bash in that skull housing that brain, if he gets a chance. I should mention his also intimidating “second-in-command” Rosetti played by the captivating Willa Fitzgerald (who burnt up the screen last year in the fantastic STRANGE DARLING), who is both slinky and sinister as she pursues both Sarah and Ash.

As for the filmmaker who keeps “all the plates spinning”, here’s a big “Welcome back to the big screen” for David Mackenzie, whose last theatrical feature (aside from the Netflix showcase OUTLAW KING) was another engaging thriller, 2016’s HELL OR HIGH WATER. Working from an endlessly clever script from Justin Piasecki (no surprise that it was on the 2019 “Blacklist” of most-liked unproduced screenplays), Mackenzie almost turns the Big Apple into another character, as every street lamp or crowded walkway could lead to a fatal showdown. We’re guided to familiar locales made mysterious with bystanders giving the “stink eye” before possibly lashing out at Sarah or Ash, or maybe walking past. And even though they’re kept apart, Mackenzie and Piasecki convey the longing and yearning for contact that’s denied. Somehow, they make the relay service jargon somewhat “steamy” (at the end of every reply, rather than “stop” in telegrams, they say “go ahead”). I can’t give away too many details of Ash’s “playbook”, I will say that he uses state-of-the-art tech (lots of “burner phones” while making considerable use of the much maligned under-appreciated USPS. Yes, I’m talking about the post office, as Ash gets their tracking numbers, while dropping some unique postal trivia (when this film was shot, there were active post office service centers inside the gate area of a few major airports). As I mentioned, there aren’t elaborate stunt sequences, but many of the near-misses and “drops” will have you on the edge of your seat. That’s before you fall off of it during the stunning, whiplash-inducing finale reveal. There’s been little fanfare about this engaging entertainment (so many talk shows are taking early Labor Day breaks), so I hope that word will spread on this original film that takes its inspiration from so many classic thrillers (could Ash be a 21st-century spin on the Scarlet Pimpernel). Moviegoers will be well rewarded for their effort (it may be tough to locate at the multiplex) and time (clocking in at under two hours) with the cinematic and storytelling delights of RELAY.

3.5 Out of 4

RELAY is now playing in select theatres

THE IRON CLAW – Review

Ladies and gentlemen, get ready to …watch another sports-themed movie! Sheesh and people whine about a “glut” of superhero flicks! So far this year we’ve got four or five “sports flicks”, the latest being the soccer comedy NEXT GOAL WINS. Now that’s based on a true story, like most of the others. Oh, and two more true sports films finish out the year on Christmas Day. So, what sets this weekend’s release apart from the others? Well, it’s set in the world of professional wrestling in the “go-go” 1980s. Hmm, sounds like lots of campy, flashy fun. And you’d be a bit mistaken. Mind you, there are chuckles but this true tale is really a tragedy, close in spirit to a Greek one or even Shakespeare, but with spandex and mullets. In the center ring…a fable of a wrestling family dynasty whose patriarch gained fame through his signature “move”, THE IRON CLAW.


The film actually starts a couple of decades earlier, in the final moments of a match won by Fritz Von Erich (Holt McCallany), and he does indeed use “the claw”. In the parking lot, he meets up with his grade-school-aged two sons and their mother Doris (Maura Tierney), and introduces them to their newer bigger vehicle for traveling on “the circuit”. She’s annoyed, but little Kevin and Kerry are thrilled. Flash forward about a decade and a half as buff twenty-something Kevin (Zac Efron) goes for a morning jog around the family’s Texas ranch home. He finishes in time for a big breakfast with Mom, Dad, and kid brothers David (Harris Dickinson) and Mike (Stanley Simmons). And what of brother Kerry (Jeremy Allen White)? The prodigal is away training for the upcoming 1980 Olympic games. Fritz is out of “the game” and now works as a manager for Kevin while starting up a new league, World Class Championship Wrestling. Unfortunately, despite his physical prowess, Kevin is awkward in front of the camera in promotional interviews, while David proves to be more of a “showboat”. This prompts Papa to focus on him, much to Kevin’s frustration. He does get a boost from dating a lovely fan named Pam (Lily James), leading to an eventual marriage. And then world politics impacts “the act” when the USA boycotts the Olympics, sending Kerry home. Fritz then creates a three-man tag team with Kevin, Kerry, and David as Mike pursues his music dreams. But fame splits the trio, as the brothers go solo, and tragedy spurs Mike to enter the “family business”. Fate is far from finished with them as the rumored “Von Erich curse” threatens to destroy the tight-knit group.

As the eldest Von Erich son, and the film’s main focus, Efron achieves a real maturity as an actor, blasting beyond his teen heartrob era to convey the complexities of the deceptively simple Kevin. Though he has the shape of a Samson (and many other “sword and sandal” screen stalwarts) Kev seems to be a vulnerable youngster yearning for his papa’s love and respect. His behavioral development seems a bit stunted perhaps causing his inability to sell himself on camera, and later when in his relationship with Pam (like his pop, she’s almost his coach). Efron shows us how life chips away at that awkwardness until he pushes back against his dad in a powerful third-act sequence. As Pam, James completely morphs into the twangy Texas belle who’s awed by the “beefcake” and then smitten by the timid soul beneath. White, the breakout star of TV’s “The Bear”, doesn’t have nearly as much screen time, but his struggles with a cruel impairment give extra strength to the changing family dynamic. Dickinson oozes charisma as David who becomes the face of the family franchise with his boasting bravado and showmanship (he rocks all those sparkly stetsons). As the “baby”, Simmons has a real warmth and sweetness as he tries to break away with his tunes while obviously crushing on his big bro’s gal. This makes his fate even more heartwrenching. The talented Tierney isn’t given enough to do as the sometimes aloof matriarch, though she is an excellent partner to the blustery, manipulative McCallany is the former fighter denied his glory who now believes he can attain it, along with the big payday, through his boys. For much of the story, he’s more of a villain than any of the wrestling adversaries, and McCallny brings all the intimidation and callousness needed for the role.


This sports saga is told bywriter/director Sean Dirkin who crafts a believable bond between the brothers and deftly recreates the era when wrestling was beginning its steady climb into the mainstream. Dirkins gets great work from the ensemble and makes effective use of the Texas locales. However, the matches themselves seem to lack the trashy campy exhilaration of those big events. Much as in the recent PRISCILLA, the spectacle seems “muted” with the action at a distance and in shadows, perhaps to obscure the backgrounds. We hear some of the chatter between the champs and get a look at their camaraderie in the locker room, but some of the absurdities are “watered down”. Outside the arenas, we never really get to know the brothers, aside from Kev, until the “curse” begins picking them off like an early 80s horror flick stalker. I’m wondering if the story should have had more room “to breathe”, perhaps as a TV mini-series (this may be the reason why one brother, Chris, was completely written out). The last act is given a boost by the big confrontation between father and son but is then diluted by a fantasy/dream sequence that feels cloying and mawkish like something from a film from eighty years ago. Still, this is not to take away from the excellent cast, who “flex their pecks” and give heart to the Von Erichs in THE IRON CLAW.

2.5 Out of 4

THE IRON CLAW is now playing in theatres everywhere

THE IRON CLAW First Trailer Stars Zac Efron, Holt McCallany And Lily James

The true story of the inseparable Von Erich brothers, who made history in the intensely competitive world of professional wrestling in the early 1980s. Through tragedy and triumph, under the shadow of their domineering father and coach, the brothers seek larger-than-life immortality on the biggest stage in sports.

Starring Zac Efron, Jeremy Allen White, Harris Dickinson, Stanley Simons, Maura Tierney,
with Holt McCallany and Lily James, watch the new trailer.

From University Of North Texas:

The story of the Von Erichs is one of triumph in the ring and also personal tragedy. In April 1984, Sigma Phi Epsilon sponsored a match that was intended to be a homecoming for David after a tour with All Japan Pro Wrestling. Unfortunately, David fell ill during the tour and died on February 10 of acute enteritis. Brothers Kevin and Mike returned to NTSU in his honor in April to defeat their arch-nemeses the Fabulous Freebirds, Terry Gordy and Michael Hayes. The following February, Kevin made a follow-up appearance at the Men’s Gym to defeat “Gentleman” Chris Adams.

Though Mike Von Erich tried to fill the vacancy left by his brother David, his time in the ring would be short. After suffering a serious shoulder injury during a tour in Israel in 1985, Mike was never able to return to the ring at full strength. Kerry was involved in a life-threatening motorcycle accident in 1986 that resulted in the amputation of his right foot. The next year, frustrated by the injury that had forced his retirement, Mike took his own life. The loss of Mike and David weighed heavily upon the family, especially in the shadow of Fritz’s first son, Jack, who had been killed in an electrical accident at a very young age in 1959.

Chris Von Erich, the youngest of Fritz’s sons, began wrestling in 1990. Unfortunately, his small stature and brittle bones meant that he would never achieve the level of success that his father and brothers had enjoyed. On September 12, 1991, Chris took his own life. Two years later, after the loss of four brothers and still struggling with the aftermath of the motorcycle accident, Kerry Von Erich committed suicide as well.

Though a shadow lay over the family after so many tragic losses, the Von Erich tradition survived. The third generation saw Kevin’s sons Ross and Marshall, and Kerry’s daughter Lacey, competing in the Total Non-stop Action Wrestling brand.

Written and Directed by Sean Durkin, look for THE IRON CLAW in cinemas on December 22.

THE DIG (2021) – Review

Word of this week’s new movie release, all about archeology, may have quickened the pulses of many action film fans. Perhaps visions of a daring, rugged adventurer escaping insidious death traps, battling vicious rivals and their burly henchmen, rescuing damsels in dire distress, and snatching up mystical riches swirled in their fevered brains. Or perhaps of heroes facing peril from an ancient evil, released from the tomb to cause havoc and horror may come to mind for many. Well, maybe the word that this is based on an actual event puts the brakes on those expectations of Indiana Jones and monstrous mummies. Turns out it’s tedious and filthy work with dirt in your boots and embedded under fingernails. Ah, but despite that, along with power politics, there’s still the thrill of discovery. That may be the biggest “find” in the new “docudrama THE DIG.

The story doesn’t begin in a humid jungle or in an arid desert. It all starts on an overcast, chilly day in 1939 near Woodbridge in Suffolk, England. After a brief ride in a local’s boat, Basil Brown (Ralph Fiennes) pedals his bicycle through the countryside to an opulent mansion. He has an appointment with the lady of the house, Edith Pretty (Carey Mulligan), a widow with an energetic nine-year-old son Robert (Archie Barnes). She takes Basil to the land behind her home to a field dotted with several mounds of soil. Edith wants to engage his services as an archeologist to dig up whatever is beneath them. Basil is a bit hesitant as the local Ipswich Museum is keen on exploring a discovered Roman villa, but after a bit of negotiating, and despite a visit of the Ipswich director Reid Moir (James Ready), Basil accepts the job and will live at the estate in the servant’s quarters. He quickly becomes a mentor to Robert who is keen on all the sciences (he even wears a foil hat after his hero, Buck Rogers). This is a relief to Edith, whose weakened condition stems from a childhood heart ailment. As aircraft swoop in from the skies overhead in preparation for a possible war, Basil discovers two ancient rivets, possibly from a ship. In need of more aides than his two locals, Edith brings in a distant cousin, the nomadic photographer Rory Lomax (Johnny Flynn). And after meeting with Moir, he then contacts Charles Phillips (Ken Stott) of the British Museum who brings in several scientists to reveal the seventh-century burial ship deep below the mound. Included in the crew are the husband and wife team of Stuart (Ben Chaplin) and Peggy Piggott (Lily James). But can they explore the site and discover its secrets before the country enters this armed conflict engulfing nearly all of Europe?

A big switch from his usual suave, “upper crust” roles, Fiennes slips into the skin of determined “digger” Basil as though the part were a pair of old dependable work boots (the kind he’s wear on the mounds). Fiennes captures the tired stoop of a man who’s spent most of his life outdoors toiling from sun up to sundown. But he also gives him dignity and a feeling of pride in his skills. And though he’s considered “working class”, Fiennes conveys that Basil’s zeal for learning and natural curiosity has not dimmed at all since his youth. Yes, he’s often gruff and stubborn, but he shows a real tenderness as he nurtures young Robert’s interests and as he deals with his employer. Mulligan’s quite believable as the aristocratic Edith, who never puts on “airs” around anyone, especially Basil. She shows us Edith’s adventurous spirit as she visits the mounds, but it’s tinged with sadness as her heart continues to fail her. Edith doesn’t quite give in to despair, as Mulligan slows her stride and lets us see her delight of motherhood while knowing her boy will soon be on his own. She perhaps sees Basil as a mentoring uncle who challenges her intellect and honesty. All while being an “older sister” in spirit to the adventurous Rory who is given the full rebel “good bad-boy” vibe (he‘s going into the services, camps outdoors, and rides a motorbike) by the dashing Flynn. It’s no wonder that he catches the eye of Peggy who James plays as a neglected wallflower finally bathed in sunlight and ready to blossom. Also of note are the twin pompous “supervisors” played with prickly charm by Stott and Ready, along with the warm-hearted spouse of Basil played with subtlety by Monica Dolan.

Director Simon Stone captures the quiet country life of 30s England, while always letting us know of the chaos to come, with newspapers and the radio bracing the land for the upcoming conflict (those planes are always zipping above). He keeps the story moving at a leisurely assured pace which adds impact to an early scene showing the real dangers of exploration (a real scare for the claustrophobic). The relationship and emerging friendship between Edith and Basil is quite compelling and progresses naturally. Unfortunately the script by Moira Buffini, adapting the novel by John Preston, veers into romantic clichés in the second half with the Piggott/Lomax love triangle that veers into the swooning predictable soap territory as she’s rebuffed by her hubby prompting her to free herself (why, without those spectacles she’s …) with the headed to war Rory. Despite this sappy subplot, the locations and period settings are lovely and the whole finding of the boat and the ancient money is quite involving. Those elements, combined with the teaming of Mulligan and Fiennes, make THE DIG well worth exploring.

3 Out of 4

THE DIG opens in select theatres and screens exclusively in the St. Louis area at the Hi-Pointe Theatre along with Landmark’s Plaza Frontenac Cinemas

LITTLE WOODS – Review

“Welcome to Hard Times”. That’s the name of a classic Western flick from over fifty years ago. But it could just as well be the title of this new film, which is being touted as a modern-day Western. This may be due mainly to the fact that this is set in the American West because the basic plot owes much more to the classic film noir dramas. As with many examples of that celebrated genre, the protagonist really wants to go straight after doing a “stretch in the joint”. Of course, life on the outside is full of set-backs and plain ole’ bad breaks that can only be cleared up by fast easy cash. And so the lure of crime beckons with one last job, a “big score”. Oh, another couple of things make this story unique. There’s a smuggling trip to the border, though not South. And the two main protagonists are women (not the typical noir females, neither dangerous seductresses nor faithful “good girls”). And the plot hinges on the secret buried beneath LITTLE WOODS.


As the film begins, we see Ollie (Tessa Thompson) dropping a package in a newly dug hole in the said forest as a new day dawns. Walking along the nearby road in the early morning light, she sees a police cruiser slowly passing by. Then it abruptly turns around and ambles toward her. BEEP, the alarm jolts her awake. Ollie shuffles to the kitchen to begin whipping up snacks for the crew working the nearby oil rigs. They appreciate her coffee and burritos, but they hope for something extra from her. We later learn during a check-in with her sympathetic parole officer Carter (Lance Reddick) that Ollie was arrested for selling prescription meds (oxy, valium,etc.) she smuggled in from Canada (hospitals and doctors are miles away with day-long wait times). She’s got one last probation interview in just a couple weeks. But it’s not clear sailing. The house Ollie got from the mother who adopted her is about to be taken by the bank. Her kid sister Deb (Lily James) can’t help. She’s a single mother with an adorable seven-year-ol son Johnny (Charlie Ray Reid) who barely survives working as a waitress at the local bar and grill. The boy’s oil worker pop Ian (James Badge Dale) gives them no financial support, so the two live in a beaten-down RV illegally “planted” in a shopping center parking lot (she tosses the towing warnings that they stick on the windshield). And Deb is pregnant again. The sisters meet with a bank rep who cuts them a deal: half the owed amount, three grand, in the next ten days. Ollie thinks the only option is to dig up the merch in those woods, and move them quickly. this raises the ire of rival dealer Bill (Luke Kirby). And when disaster strikes, the trio (Ollie, Deb, and Johnny) has to make that northward trek one last time.

Thompson adds her tough, but sympathetic portrayal of Ollie to her impressive list of roles as she easily goes from “indie” work (this and SORRY TO BOTHER YOU) and the big studio flicks (the CREED series and Valkyrie at Marvel). She shows a strong, but flawed woman, one who has been shouldering the burden for so many for so long, that she can do little for her self. Thompson shows us this in her expressive eyes: the sadness, the disappointment, and the constant fatigue as she tries to stay a step ahead of the forces that would take everything from her. Ollie may be down, but she rises to fight once more, if not for herself then for the only family she has left, sister Deb and nephew Johnny. James, usually seen in period pieces like DARKEST HOUR (she was CINDERELLA, for goodness sake), is a stunner as the scrappy, emotionally battered single mom. She has much of the same feisty strength as her big sis, but is in a constant battle with her insecurities, needing to draw on Ollie’s confidence. James shows her near collapse into despair, then her agonizing struggle to pull herself out of the pit of hopelessness bolstered by her son and sister’s love. The men definitely take a back seat to this compelling duo, but their characters are strikingly different. The antagonists are Dale’s surly manipulative deadbeat dad Ian, who becomes Ollie’s reluctant “go-between”, and Kirby as the intimidating drug competitor who threatens Ollie just minutes after tenderly interacting with his young daughter. But one man sees potential in Ollie. Reddick emotes a father-like gentleness toward her as the tough but fair parole officer who forms a tentative friendship with the jaded Ollie. He’s her “port in the storm”. Ollie may fear getting busted when she’s back “in the game”, but her greatest dread may be seeing the look on his face after she’s let him down.


Director/writer Nia DaCosta, in her feature film debut, has crafted a lean taut look at those every day, barely-getting-by, small-towners that don’t get to be the focus of many films. The sisters push themselves out of their beds (Ollie still sleeps on the floor of her mother’s bedroom months after she’s passed on) and jump on the soul-sucking barely-a-job treadmill to live paycheck-to-paycheck. The lure of dealing is too tempting despite the danger. DaCosta expertly ratchets up the tension as the women skirt detainment and even death. A meeting in the dead of night with a pair of skeevy fake ID makers, getting the “stinkeye” from a leery receptionist, even a casual encounter with a lawman are tense, nail-biting encounters. All these desperate actions are set against a cruel cold North Dakota sky that barely allows the sun to break through. But DaCosta’s confidnet direction and her tough and tender sisters make LITTLE WOODS a most compelling destination.

4 Out of 5

LITTLE WOODS opens everywhere and screens exclusively in the St. Louis area at Landmark’s Tivoli Theatre

MAMMA MIA! HERE WE GO AGAIN – Review

(L to R) Young Tanya (JESSICA KEENAN WYNN), Young Donna (LILY JAMES) and Young Rosie (ALEXA DAVIES) in “Mamma Mia! Here We Go Again.” Ten years after “Mamma Mia! The Movie,” you are invited to return to the magical Greek island of Kalokairi in an all-new original musical based on the songs of ABBA. Photo courtesy of Universal Studios.

The sequel MAMMA MIA! HERE WE GO AGAIN is explosion of late ’70s spandex and glitter set to the tune of ABBA hits, which is just what fans of the original MAMMA MIA! are looking for.

For fans of either the stage musical, its movie adaptation or even just ABBA songs, this sequel hits all the right marks. Set on a sun-drenched Greek island where nothing very bad happens, it is light, sentimental romantic comedy packed to the rafters with those absurd late ’70s-early ’80s fashions. It is also filled with song and dance production numbers, each one topping the one before and all set to ABBA songs. For those less enthused about the Swedish disco-pop band or lacking nostalgia for mid-to-late ’70s fashions of gold lame and flowery pink overalls, no need to bother. This one is strictly for the fans.

The original MAMMA MIA! stage musical uncovered a nostalgia for the bouncy pop hits of Swedish band ABBA. The Broadway hit musical was a romantic comedy centered on a wedding on an idyllic Greek island, where unbeknownst to her free-spirited single mom, the young bride has secretly invited her three possible dads. In the 2008 movie version, Meryl Streep played the mom Donna with Amanda Seyfried as daughter Sophie, and Pierce Brosnan, Stellan Skargard and Colin Firth as the potential dads, successful architect Sam, Swedish playboy Bill, and shy rich guy Harry. Doubtless the sequel will make the leap back to the stage, now that the original musical has done its farewell tour.

The sequel tells dual, alternating stories. The first continues from the first movie, about daughter Sophie (Seyfried) and her struggles as she prepares for the grand opening to re-launch the tarverna her late mom Donna ran as a newly-renovated fancy hotel. The other story is a sort of origin tale, a flashback to Donna,played by Lily James, as a young woman in the ’70s. The dual story was an inspired idea, tapping into fans’ love of the original while keeping things more interesting than either plot probably could on its own.

Apparently there is a great hunger among big name stars, particularly older ones, to appear in a light-hearted musical, as the sequel boasts an impressive cast. The original cast returns with Seyfried as Sophie, Brosnan as architect Sam, Colin Firth as shy rich guy Harry and Stellan Skarsgard as Scandinavian playboy Bill. Dominic Copper again plays Sophie’s husband Sky and Christine Baranski and Julie Walters are back as Donna’s friends Tanya and Rosie. Even Streep makes an appearance. New cast members include Lily James as the young Donna, but also Andy Garcia as the mysterious Fernando, Sophie’s hotel manager in the contemporary story, and Cher, appropriately, as Sophie’s glam rock star grandma.

The sequel’s writer/director Ol Parker directed THE BEST EXOTIC MARIGOLD HOTEL, which also has a young/old theme. The music is all ABBA and band members/composers Benny Andersson and Bjorn Ulvaeus are executive producers.

Basically, its a mom movie, based on nostalgia for ABBA and for musicals generally, but have a sense of fun and the young that some others of that type lack. The cast is enthusiastic and there is a campy charm to the sequel, despite the risk of sparkly spandex overdose. It does have a hook for younger audiences with the parallel tale about young Donna, played perfectly by the appealing Lily James. The two-track story keeps the pace humming along and provides lots of room for humor, sweet sentiment, sunny scenery and musical numbers.

The ensemble musical numbers are among the film’s most enjoyable moments, sprinkled with high-energy dancing and acrobatics by the chorus. While the first one used up most of the Swedish band’s big hits, the sequel does feature the one the original missed, “Waterloo,” the band’s breakout hit. It is featured in the young Donna story, in a rather crazy production number set in a Paris cafe with waiters are dressed in Napoleonic uniforms. Fan favorite songs “Mamma Mia” and “Dancing Queen” get a second outing in new colorful production numbers.

Comedy, romance and sentiment are all part of the musical mix. As is often the case, Christine Baranski steals much of the comedy spotlight, delivering her lines and zingers with accuracy and style. The dads get less screen time in this one, although Stellan Skarsgard has a little fun with a dual role, but Andy Garcia gets a nice featured role as the romantic and mysterious Fernando, as well as being focus of a musical number using the song of that name. The wildly energetic, color-filled and splashy ensemble musical numbers are among the film’s best moments. There is more comedy than romance in the sequel but there are sad or dramatic moments too. There is one particularly sweet, touching scene between Streep and Seyfried that is a sure tear-jerker.

For those who loved the first movie or the stage musical, this sequel hits all the right notes, in all the sparkly, sky-blue and pink spandex fans could want.

RATING: 31/2 out of 5 stars

Watch Cher In First Trailer For MAMMA MIA! HERE WE GO AGAIN

Get ready to sing and dance, laugh and love all over again with MAMMA MIA! HERE WE GO AGAIN.

Ten years after Mamma Mia! The Movie grossed more than $600 million around the world, you are invited to return to the magical Greek island of Kalokairi in an all-new original musical based on the songs of ABBA.

With the film’s original cast returning, Meryl Streep, Pierce Brosnan, Colin Firth,  Stellan Skarsgård, Julie Walters, Amanda Seyfried, and Christine Baranski as well as new additions including CHER, Andy Garcia and Lily James (Cinderella, Baby Driver), the musical comedy will open on July 20, 2018.

MAMMA MIA! HERE WE GO AGAIN is produced by Judy Craymer and Gary Goetzman, producers of the original film. Craymer is also the creator and producer of the worldwide smash-hit stage musical.

Ol Parker, writer of The Best Exotic Marigold Hotel, writes and directs the sequel from a story by Catherine Johnson, Richard Curtis and Parker. Benny Andersson and Björn Ulvaeus return to provide music and lyrics and serve as executive producers. Tom Hanks, Rita Wilson, Phyllida Lloyd, Richard Curtis and Nicky Kentish Barnes also serve as executive producers.

Reprising their roles from Mamma Mia! The Movie are Academy Award winner Meryl Streep as Donna, Julie Walters as Rosie and Christine Baranski as Tanya. Amanda Seyfried and Dominic Cooper reunite as Sophie and Sky, while Pierce Brosnan, Stellan Skarsgård and Oscar® winner Colin Firth return to play Sophie’s three possible dads: Sam, Bill and Harry.

As the film goes back and forth in time to show how relationships forged in the past resonate in the present, James will play the role of Young Donna. Filling the roles of Young Rosie and Young Tanya are Alexa Davies (A Brilliant Young Mind) and Jessica Keenan Wynn (Broadway’s Beautiful). Young Sam will be played by Jeremy Irvine (War Horse), while Young Bill is Josh Dylan (Allied) and Young Harry is Hugh Skinner (Kill Your Friends).

Visit the official site: http://www.mammamiamovie.com/

Win A DARKEST HOUR Prizepack – Stars Gary Oldman

We Are Movie Geeks is giving away DARKEST HOUR prizepacks to celebrate the release of the film. DARKEST HOUR is now playing in select cities and expands nationwide on December 22

2 winners will receive:

  • a set of 4 coasters
  • 1 paperback book (Darkest Hour: How Churchill Brought England Back from the Brink by Anthony McCarten)

 

For a chance to win:

ENTER YOUR NAME AND EMAIL IN OUR COMMENTS SECTION BELOW.

1. YOU MUST BE A US RESIDENT. PRIZE WILL ONLY BE SHIPPED TO US ADDRESSES. NO P.O. BOXES. NO DUPLICATE ADDRESSES.

2. TWO WINNERS WILL BE CHOSEN FROM ALL QUALIFYING ENTRIES.

No purchase necessary.

Watch the official trailer:

Directed by Joe Wright and written by Anthony McCarten, DARKEST HOUR stars Gary Oldman, Kristin Scott Thomas, Lily James, Stephen Dillane, Ronald Pickup, and Ben Mendelsohn.

During the early days of World War II, with the fall of France imminent, Britain faces its darkest hour as the threat of invasion looms.  As the seemingly unstoppable Nazi forces advance, and with the Allied army cornered on the beaches of Dunkirk, the fate of Western Europe hangs on the leadership of the newly-appointed British Prime Minister Winston Churchill (Academy Award nominee Gary Oldman).

Credit: Jack English / Focus Features

While maneuvering his political rivals, he must confront the ultimate choice: negotiate with Hitler and save the British people at a terrible cost or rally the nation and fight on against incredible odds.

Directed by Joe Wright, DARKEST HOUR is the dramatic and inspiring story of four weeks in 1940 during which Churchill’s courage to lead changed the course of world history.

For More Info:

Gary Oldman is Winston Churchill! Check Out the New Trailer for DARKEST HOURS


Focus Features will release Darkest Hour in select cities on November 22, 2017

This new trailer looks amazing:

During the early days of World War II, with the fall of France imminent, Britain faces its darkest hour as the threat of invasion looms.  As the seemingly unstoppable Nazi forces advance, and with the Allied army cornered on the beaches of Dunkirk, the fate of Western Europe hangs on the leadership of the newly-appointed British Prime Minister Winston Churchill (Academy Award nominee Gary Oldman).  While maneuvering his political rivals, he must confront the ultimate choice: negotiate with Hitler and save the British people at a terrible cost or rally the nation and fight on against incredible odds.  Directed by Joe Wright, DARKEST HOUR is the dramatic and inspiring story of four weeks in 1940 during which Churchill’s courage to lead changed the course of world history.


DARKEST HOUR is directed by Joe Wright and stars Gary Oldman, Kristin Scott Thomas, Lily James, Stephen Dillane, Ronald Pickup, and Ben Mendelsohn