Tag: Lupita Nyong’o

THE WILD ROBOT – Review

Summer may be over, but 2024 isn’t finished with feature animation by a long shot. The “mouse house” has a big one lined up for Thanksgiving weekend in fact. Plus its sister company, Pixar, had a most surprising blockbuster a couple of months ago with INSIDE OUT 2. Now, one of the other big cartoon studios, Dreamworks, is releasing a real rarity: an original animated feature. Yes, it’s based on a beloved children’s book series, but it’s not been brought to “big screen life” before, as with this year’s new installments of franchise faves like Despicable Me, the Transformers, and Garfield. And its subject matter is also unique as it combines cute and cuddly critters with a futuristic mechanical being. But there are no humans to get it, hence its interaction with wildlife inspires its moniker, THE WILD ROBOT.

That title character is a service device from a big high-tech company named Universal (like its studio distributor) Dynamics. The product’s formal designation is ROZZUM unit 7184, or “Roz” for short (voice of Lupita Nyong’o). In the opening moments of the story we see Roz climbing out of its packaging crate, which has washed ashore after the cargo ship has run aground on an island full of animals. After trying to connect with a pack of frisky curious otters (“What is the task I can complete?”), Roz is seemingly under attack from all the different species of the nearby forest. Finally, Roz shuts down so that its computer system can take in all the different squeaks and growls and translate the many “languages”. When Roz reboots, the onslaught resumes until it must deal with the biggest aggressor, a surly brown bear named Thorn (Mark Hamill). The big chase ends as Roz crashes into a nest, leaving only one survivor, an unhatched egg…which is promptly scooped up by a hungry fox called Fink (Pedro Pascal). After Roz retrieves the egg, it cracks open revealing a wide-eyed baby goose. Fink explains that it has “imprinted” on Roz since it was the first thing the gosling saw when it opened its eyes. He thinks Roz is his “mommy”. The fox also shares that to survive, the mini-mallard will need to learn to feed itself, swim, and fly. Roz has a task at last, though time is running out. With Winter on the way “Brightbill” (Kit Connor) must join the flock on the southbound migration to survive. Can Fink and Roz get him “up to speed”? And what will happen when Roz’s “creators” track it down to the island?

Happily, the filmmakers have opted to recruit several excellent character actors rather than the usual “stunt” vocal casting of hot stand-ups and pop stars. Nyong’o imbues Roz with a plucky, overly pleasant accommodating tone (“Are you pleased with ny completion of the task?”), often giving the readings a “sing-songy” tone of artificial friendliness. Pascal brings a sly (natch’) rascal spirit to Fink the fox, making him endearing but never totally trustworthy. Connor makes Brightbill a teen straining to be a grown-up while still yearning for a connection to his mechanical mom. Speaking of moms, the movie’s biggest ‘scene-stealer” may be the snarky possum matriarch Pinktail given a sweet but surly spin by comedy icon Catherine O’Hara, bouncing right back from the Beetlejuice smash sequel. She scores big laughs and has us wanting much more, just like a great party guest who has to dash away early. The other major ‘bot role, Vontra, is acted by recent Oscar nominee Stephanie Hsu, who issues the sweetest syrupy threats. Bill Nighy flies in for the role of elder mallard Longneck, the mentor who literally takes Brightbill under his wing. Another comic kingpin is the always entertaining Matt Berry, so great on the TV version of “What We Do in the Shadows”, as the haughty, determined Beaver Paddler who will not be deterred from his mission, though he’s got time for some great caustic insults. Oh, there is one true vocal vet in Hamill (the superb animated Joker on several shows and games), who gives Thorn an intimidating but often warm guttural growl.

The driving force behind this film is animation wizard Chris Sanders, the man who gave us LILO & STITCH, HOW TO TRAIN YOUR DRAGON, and many other gems (he even did a recent live-action, with CGI, take on CALL OF THE WILD) Adapting the book series by Peter Brown, he utilizes all of his impressive art and storytelling skills to deliver a compelling modern fable full of insight into parenting while extolling kindness. And the world certainly needs a lot more of that. Sanders has guided an army of skilled craftspeople to give the film a bright, bouncy look, turning this island forest into a magical wonderland that often explodes with color (butterflies rest on the side of a tree before filling the screen in flight). The grass, the tree, and the caves all enhance the action and never detract from the terrific character design of the critters (who give entrancing physical performances). The most imaginative design may be that of Roz whose look invokes THE IRON GIANT (can it really be 25 years old), BB-88 of the last Star Wars trilogy, and Baymax from BIG HERO 6, while sporting some nifty new bits of wondrous gadgets. Its hands can detach are retrieve, while its arms and legs are extended elastic coils. It’s astounding how much emotion they can get from Roz’s volleyball-like noggin. Yes, we get a glimpse of a futuristic city along with some silent humans running from their computer screens, but the heart of the story is with Roz and her new pals, though the slapstick-filled chaos of the opening act may make it feel like any recent action-packed blockbuster. But then the pace slows a tad and begins to draw us in with its emotion and pathos. Now, here’s a film that is unabashedly made for the entire family, so be sure to travel via your local multiplex to the island home of Brightbill, Fink, Pinktail, and their guardian, THE WILD ROBOT. “Task completed”.

3.5 Out of 4

THE WILD ROBOT is now playing in theatres everywhere.

A QUIET PLACE: DAY ONE – Review

After a weekend with some original (though nostalgic) content at the multiplex, we’re back with a new installment of a very popular SF-thriller franchise that’s now six years old. It’s the third follow-up, though not a continuation of the last one from 2020. That’s because this is not a sequel, but rather a prequel, giving us the “backstory” to the event of the original. And since there are no characters from that flick, this could be considered a “spin-off”. Not to worry as this is no confusing “hybrid” unlike a similar action blockbuster (which didn’t “bust many blocks” at the box office) from a few weeks ago, FURIOSA: A MAD MAX SAGA. While that one certainly tested many theatre sound systems, the decibel level should be much lower when in use for A QUIET PLACE: DAY ONE. Shhhh…

The setting for this cinematic “flashback” shifts to the Big Apple, although the opening scenes take place a few miles away, in the NYC suburbs at a hospice facility. A senior nurse, Rueben (Alex Wolff) conducts a group therapy session for several of the terminal residents. But one of them is not “into it”. That’s Sam (Lupita Nyong’o) who has no filter (“This place is s*#t”) and would rather just wait for the end with her beloved cat Frodo. Rueben thinks he can get her out of her “funk”. He’s organized a field trip into Manhattan for a (short) theatrical presentation. Sam strikes a deal that she’ll come along if, and only if, they grab some pizza in the city. On the bus ride there she observes several fighter jets zooming overhead. Finally, they arrive for a (oh no) puppet show. When Sam and Frodo duck out to grab a snack at a nearby bodega, sirens are heard. They run into Rueben as he tries to hustle everyone back on the bus as per the loud warning messages from several rapid military vehicles (no pizza). The trip is cut short as objects from the sky (maybe bombs or meteors) explode onto the street. Sam’s knocked down during the chaos and awakens back inside the theatre. The city is under attack, overrun by huge spider-like sightless creatures that destroy anyone that makes a sound. Helicopters using loudspeakers (agitating the monsters) blare out a message that all survivors should make their way, silently, to the south dock area where boats will ferry them to safety since the aliens can’t swim. As the throngs march quietly through the streets, Sam goes against “the tide” to Harlem for her favorite pizza. On her journey, she and Frodo become part of a trio when a lost British law student named Eric (Joseph Quinn) joins them, much to Sam’s chagrin. Does she have the strength to evade the invaders? And can she and Erik make it to the boats in time?

The script brings a great challenge to the cast as they must communicate and express their emotions mainly through their eyes and body language, harkening back to the early days of silent cinema. And the compelling Ms. Nyong’o is more than up to the challenge, though she’s also terrific in the opening, pre-attack sequences as she verbally tosses snarky spears at nearly everyone around her (and then there are the eye-rolls as she discovers the type of show she’s agreed to see). Yes, she conveys the wide-eyed fear and panic, while never letting us forget that Sam is also pushing through agonizing pain as cancer ravages her body. Later, there’s her frustration as this “dufus in a suit” just won’t be on his way, which finally melts into admiration and real, and probably final, human connection. As her unlikely sidekick. Quinn also must temper the terror with his need to forge that connection and dissolve Sam’s “steel wall” of negativity. Plus he proves to be an unorthodox action hero as he ventures into the scary empty city in search of the meds that will ease Sam’s suffering (and discovers the monsters’ secret lair). Wolff is very good as the “by the book” official who secretly is amused by the defiant Sam. Kudos also to the impressive supporting work of Djimon Hounsou as the powerful father figure who’s the big “carryover” character in another part of the series. The scene where he must do the unthinkable to protect his son (while hoping that he’s not seeing it) is heartwrenching.

Aside from the new central characters in this entry, a big “player” behind the scenes has stepped away from the director’s chair. John Krasinski was busy with a more pleasant vision of the Big Apple full of friendly beasties in IF, so he’s handed over the helming reigns to Michael Sarnoski (PIG), though they teamed up on the script. Sarnoski captures that feeling of doom and dread, especially as we get several hints early on (jets in formation) that all Hell was soon “break loose”. When it does the city blocks are covered in white ash, almost as though a sudden blizzard has stopped everything (and reminding us of that fateful September morning in 2001). And while there are grand, epic “set pieces” of the aliens scurrying up buildings, Sarnoski really focuses on the folks at ground level. This is best highlighted in a mass exodus street scene in which the smallest noises alert the beasts who zip through the crowds, picking off the marchers with swift efficiency. It’s nightmare imagery, building on the hopelessness hinted at as the bridges to the city are taken out hinting that the feds think that our greatest metropolis is a “loss”. Yet amidst the carnage we’re really drawn into the dynamic of Sam and Erik as she finally finds something to live for just as everything seems to be over for humanity (and her rejoining it). Sure, it’s an “end of the globe” spectacle (with splendid CGI effects of the insect-like “rippers”) much like the variations of I AM LEGEND, but it’s the blossoming friendship that offers a glimmer of joy and hope in the truly original origin story at the center of A QUIET PLACE: DAY ONE.

3 Out of 4

A QUIET PLACE: DAY ONE is now playing in theatres everywhere

2nd Trailer For THE WILD ROBOT Is Fantastic!

Universal and DreamWorks Animation have unveiled the latest trailer for THE WILD ROBOT, a new adaptation of a literary sensation, Peter Brown’s beloved, award-winning, #1 New York Times bestseller.

The epic adventure follows the journey of a robot—ROZZUM unit 7134, “Roz” for short — that is shipwrecked on an uninhabited island and must learn to adapt to the harsh surroundings, gradually building relationships with the animals on the island and becoming the adoptive parent of an orphaned gosling. 

Check out the super cute trailer below and see the movie in theaters September 27.

I love this trailer… can’t wait to see this!

The film definitely looks to be among this year’s Oscar nominees for Best Animated Feature. DreamWorks has received 14 nomination for their previous films which include Shrek, Spirit: Stallion of the Cimarron, Shrek 2, Shark Tale, Wallace & Gromit: The Curse of the Were-Rabbit, Kung Fu Panda, How to Train Your Dragon, Kung Fu Panda 2, Puss in Boots, The Croods, How to Train Your Dragon 2, The Boss Baby, How to Train Your Dragon: The Hidden World and Puss in Boots: The Last Wish. The studio has won three Academy Awards.

(from back center) Roz (Lupita N’yongo), and Brightbill (Kit Connor) in DreamWorks Animation’s Wild Robot, directed by Chris Sanders.

The Wild Robot stars Academy Award® winner Lupita Nyong’o (Us, The Black Panther franchise) as robot Roz; Emmy and Golden Globe nominee Pedro Pascal (The Last of Us, The Mandalorian) as fox Fink; Emmy winner Catherine O’Hara (Schitt’s Creek, Best in Show) as opossum Pinktail; Oscar® nominee Bill Nighy (Living, Love Actually) as goose Longneck; Kit Connor (Heartstopper, Rocketman) as gosling Brightbill and Oscar® nominee Stephanie Hsu (Everything Everywhere All at Once, this summer’s The Fall Guy) as Vontra, a robot that will intersect with Roz’s life on the island. 

The film also features the voice talents of Emmy winning pop-culture icon Mark Hamill (Star Wars franchise, The Boy and the Heron), Matt Berry (What We Do in the Shadows, The SpongeBob Movie franchise) and Golden Globe winner and Emmy nominee Ving Rhames (Mission: Impossible films, Pulp Fiction). 

(from left) Roz (Lupita N’yongo), and Brightbill (Kit Connor) in DreamWorks Animation’s Wild Robot, directed by Chris Sanders.

A powerful story about the discovery of self, a thrilling examination of the bridge between technology and nature and a moving exploration of what it means to be alive and connected to all living things, The Wild Robot is written and directed by three-time Oscar® nominee Chris Sanders—the writer-director of DreamWorks Animation’s How to Train Your Dragon, The Croods, and Disney’s Lilo & Stitch—and is produced by Jeff Hermann (DreamWorks Animation’s The Boss Baby 2: Family Business; co-producer, Kung Fu Panda franchise). 

Peter Brown’s The Wild Robot, an illustrated middle-grade novel first published in 2016, became a phenomenon, rocketing to #1 on the New York Times bestseller list. The book has since inspired a trilogy that now includes The Wild Robot Escapes and The Wild Robot Protects. Brown’s work on the Wild Robot series and his other bestselling books have earned him a Caldecott Honor, a Horn Book Award, two E.B. White Awards, two E.B. White Honors, a Children’s Choice Award for Illustrator of the Year, two Irma Black Honors, a Golden Kite Award and a New York Times Best Illustrated Book Award.

(from left) Fink (Pedro Pascal), Roz (Lupita N’yongo), and Brightbill (Kit Connor) in DreamWorks Animation’s Wild Robot, directed by Chris Sanders.

BLACK PANTHER: WAKANDA FOREVER – Review

A scene from Marvel Studios’ Black Panther: Wakanda Forever. Photo courtesy of Marvel Studios. © 2022 MARVEL.

Face front, true believers! We’re in the last few weeks of the year, so it’s time for family get-togethers, big feasts, and…one more excursion into the Marvel Cinematic Universe! Now this one is another virtual trek to a spot we’ve not seen in over four years. Mind you, we did lots of traveling in the previous MCU outings, from multiverses with Doctor Strange to outer space, and New Asgard, with Thor and his pals. Well, we’re pretty much back on “terra firma” now, although we’ll be diving into the lowest depths of the ocean to meet a new challenge. Did I mention that this is a follow-up to perhaps the most successful (in box office and awards) franchise of the non-group (those mighty Avengers) of the studio? But in those years a lot has changed. That’s because the returning cast is sadly incomplete for BLACK PANTHER: WAKANDA FOREVER.


As we open in that “hidden kingdom”, the unthinkable has occurred. Despite the determined efforts of beloved Princess Shuri (Letitia Wright), her mother Queen Ramonda (Angela Bassett) brings her the news that death has claimed brother T’Challa. And though the family mourns, the populace celebrates their fallen king. Life goes on as the story jumps to the following year. Ramonda addresses a meeting of nations. Its members are growing impatient with Wakanda as they want to get access to their precious Vibranium, which T’challa graciously offered to share years ago. At the same time, a mercenary band attacks a Wakandan research lab to take the metal. But instead, they find the elite Dora Milaje led by Okoye (Danai Gurira). And that’s not the end of the “colonizer’s quest”. At a mining station floating in the Atlantic, another team has detected Vibranium on the ocean floor with a new gizmo (seems that regular metal detectors don’t recognize it). As two divers descend in order to retrieve it something odd happens. The facility is under siege by fearsome warriors who rise up from the waves, led by a very strong airborne man. He later confronts Ramonda and Shuri near a Wakandan beach. We learn that he is Namor (Tenoch Huerta), the immortal ruler of the underwater kingdom of Talocan, who believes that they made the mining invention. After Ramonda assures him that they didn’t create the device, Namor issues an ultimatum. Bring him its designer or face his massive army. After he departs, the duo begins an expedition that will reunite them with US government agent Everett Ross (Martin Freeman) and introduce them to young Cambridge University engineering savant Riri Williams (Dominque Thorne). But even with their assistance, along with old allies Nakia (Lupita Nyong’o) and M’Baku (Winston Duke), can Wakanda survive an attack from Namor’s formidable forces, without the leadership and strength of the Black Panther?

Wright is the first member of the royal family and is the dramatic focus of most of the film. Four years ago I remarked on how she almost stole all of her scenes in that first film. Here Wright ably embodies the heartbreak of her homeland as she struggles to forge ahead while dealing with”survivor’s guilt” and a sense that he’d be here if she only “pushed herself” further. Later we see her deal with an inner conflict of heroism and revenge, which Wright conveys with confidence. But that quality springs to mind when thinking of the “force of nature”, Bassett, as the grieving queen and “mother of us all” who will stand firm as the rest of the world tries to ‘steamroll” her legacy. She’s regal and majestic, but with her closest family and friends, we see her warmth. Though not introduced till the story’s midpoint, Nyong’o is compelling as the “almost queen” who deals with her loss privately but will step up to any enemy. And she (and the other Wakandans) have an intimidating foe in Namor, played with an otherworldly warrior’s grandeur by Huerta. When he softly issues threats to the royales, no bombastic blustering is needed. His intense glare shows that he’s not bluffing. And Huerta expertly handles the role’s physical requirements whether he’s digging his fingers into armored transports or hovering over his enemies. Comic relief is provided by the blustering Duke as the affable and arrogant M’Baku and Freeman as the befuddled and secretive Ross, who’s paired with a current comedic icon (no spoilers). Gurira still dominates the action sequences as Okoye, but she tempers the “ferocity” with a touch of sadness and her own regret as a new threat gets the “upper hand”.And Thorne is a terrific addition as Riri, a “fish out of water” who tries to temper her sense of wonder about the kingdom with the need to aid them and survive to create new scientific marvels (had to get that in).

Hey Marvel maniacs, here’s Namor AKA the Sub-Mariner from over eighty years ago in the pages of Timely Comics as rendered by his creator, Bill Everett! Imperious Rex!


Also returning in the director’s chair is Ryan Coogler, who also co-wrote the screenplay with Joe Robert Cole. It’s a true challenge that Coogler dives into, going from a nation in mourning to a high sea, high-stakes battle between the “hidden realms”.There’s still that sense of mythic pageantry as Wakanda remains a compelling clash of golden mythology and near-magic high-tech wizardry. But he doesn’t turn away from the intimate dramatic moments as the family tries to heal their still-fresh wounds. The big action “set pieces” aren’t neglected (they’re well-done, indeed), but they’re spaced out with long stretches of dialogue-heavy exchanges in too many locales that may test the patience of many viewers in search of the stunt spectacles of the original (does the final battle need multiple flashbacks). Yes, it has pacing problems that threaten to dull the story’s dramatic impact. Part of the problem is the need to tell the backstory of Namor, which could’ve been explored in a spin-off film or a streaming miniseries. Yes, the Talocans have some nifty “bits of business”, from whale-riding to a hypnotic siren’s call, and Namor’s hummingbird-like ankle wings (and he darts through the sky like the critter), but it may add too much to the bloated 161-minute runtime. It all does honor the memory of the late star of the original (the revamped studio logo sets a melancholy mood), but the somber sequences and stop-and-start addled plot momentum weigh the end of Phase Four” and sink it down into the murky depths when BLACK PANTHER: WAKANDA FOREVER should soar.


3 out of 4


BLACK PANTHER: WAKANDA FOREVER is now playing in theatres everywhere.

Black Panther: Wakanda Forever. © 2022 MARVEL.

THE 355 – Review

(from left) Graciela (Penélope Cruz), Mason “Mace” (Jessica Chastain), Khadijah (Lupita Nyong’o) and Marie (Diane Kruger) in The 355, co-written and directed by Simon Kinberg.

So who’s ready to start 2022 with a bang? Or rather several bangs, lotsa’ chases, mixed-martial arts “throw-downs”, and more than a few teeth-rattling explosions? Well, this action extravaganza may be just the ticket, at least that’s what the studios and multiplexes are hoping for. Perhaps this’ll be the “franchise-starter” that will make up for the recent “franchise-enders” like the sputtering Matrix and Kingsmen, though the ‘web-spinner will keep swinging past more box office records. Oh, I neglected to mention that this flick’s action stars are all women. No, it’s not another reboot of CHARLIE”S ANGELS or a follow-up to OCEAN’S EIGHT. Yes see, they’re not private-eyes or con-artists. These ladies are secret agents who form an elite “rogue squad” known as THE 355.

This globetrotting adventure begins in the palatial estate of a drug kingpin in Colombia. Ah, it seems that he’s wanting to “diversify” as he sets up a “buy” with an arms supplier to international terrorists. So, what’s the weapon being offered up? A” mega-bomb” or a laser cannon, perhaps? Nope, for want of a better name, let’s call it the “Destructo-Driver Device”, an item the size of a cell phone that can hook into the internet and shut down cities, blow-up planes, and cripple national economies. Luckily some soldiers intervene before the “hand-off”, with one man, Luis (Edgar Ramirez), scooping the DDD up for himself. A bit later, the CIA learns of the DDD and brokers a “sale”. The “exchange” will be the next “super-secret” mission for top agents, and old pals, Mace (Jessica Chastain) and Nick (Sebastian Stan). Unfortunately, a rival German agent, Marie (Diane Kruger) botches the deal at a cafe in Paris. A jittery Luis brings in some “back-up” from his homeland which includes DNI agent/psychologist Graciela (Penelope Cruz). As Mace tries to “regroup” in the wake of a tragedy, she enlists an old friend and colleague, MI-6 computer whiz Khadija (Lupita Nyoong’o). When the DDD is grabbed during a “retrieval” of Luis, an uneasy alliance is formed. The female quartet track down the DDD to Morocco to stop that original arms dealer from finally acquiring it. But the women soon discover that they are trapped in a power plot with double and triple-crossers who will eliminate them and their loved ones with no hesitation in order to seize the “prize”.

Talk about your diverse, “planet-scanning” cast! Heading up this “multi-country” crew is the talented Chastain, who displays her considerable leadership skills and physical prowess. She’s confident in the big action “set pieces”, never just doing spy “cosplay”, giving her dialogue the same gravitas as any of her many somber dramatic roles. Mace is a pro, but we see the painful toll being collected with every groan and shudder. Kruger makes a formidable counterpart, and often reluctant cohort. This “hyper-focused” loner is the story’s “wild card”. Marie often pounces like a just uncaged beast, as Kruger’s wild-eyed glare tells all to “back off”.The inverse may be Nyong’o’s “Khad” who is almost a sister to Mace, sharing a warm bond and a dangerous past. But Nyong’o gives her a hesitancy and frustration at having to get “back in the game” again. She insists it is the “last round”, but her tired eyes tell us that she’s not optimistic. But still, Khad’s a calming influence on “Grizzy” the “office civilian” suddenly thrust into combat. Cruz conveys her confused panic as the bullets whiz past while she attempts to crawl inside her purse (perhaps burying her head in the sand). By the tale’s midpoint, she’s taking more of a stand, but Grizzy finally agrees to join the fight in order to protect her family. Oh, around that time the foursome adds a member with the cool, sinewy Bingbing Fan as Lin, the mysterious, enigmatic Chinese agent Lin. As for the “token males”, Stan balances charm and ferocity as the energetic Nick, another old pal of Mace, though he wants much more than shared missions with her. And Ramirez brings great intensity to the somewhat small role of Luis, the main catalyst for the whole race against the clock.

Surprisingly this thriller’s not based on an existing property, as it seems to fit with many similar comic book flicks. Perhaps it’s due to its director, Simon Kinberg, who has scripted many of those “tentpoles” and directed the most dismal entry of a big comics series, X-MEN; DARK PHOENIX. Plus he also produced this and co-wrote it with Theresa Rebeck and Bek Smith, which is the start of this new original flick’s many problems. While striving to be different with its unique casting, the screenplay somehow uses so many tired “undercover agent” cliches that I was literally calling out the twists and even bit of dialogue with great frequency. This might have been “fresh” and “edgy” 30 years ago, but ATOMIC BLONDE and last year’s BLACK WIDOW really shook up the genre while truly making us care about the ladies behind the lethal kicks and quips. Each “operative” is reduced to a tired trope that regurgitates the same spiel too often. Khad is, as Pete’s pal Ned calls himself, “the guy (or lady) in the chair “pounding a keyboard until the “we’re in” scene ender. But it’s not as tiresome as Grizzy’s mantra of “I must get back to my babies!” while trying to push away an offered weapon. There are so many things “wrong” that we must wonder if the script was rushed through. Is a phone call being traced, today (“keep her on the line”)? Then there’s the scene in Morocco with everyone but Mace in headscarves. And what’s her attire? It looks to be one of Victor Lazlo’s suits (with massive fedora) from CASABLANCA. And though the film wants to show how the women are as tough as their male counterparts, they still have to go “in disguise” at a swanky party, sporting tight, cleavage-baring gowns (of no use in combat). Yes, a group of actresses can headline a big loud bombastic popcorn flick. And it can be just as tiring and devoid of wit or logic as the fellas. Oh, they and we deserve much much better. The talented quintet will be back for better films, but this is hopefully the last mission for THE 355.

1/2 Out of 4

THE 355 is now playing in theatres everywhere

Win A Fandango Code to See THE 355 In Theaters!

FIVE RIVAL AGENTS.  ONE ELITE TEAM.  FROM THE STUDIO THAT BROUGHT YOU JASON BOURNE.  UNIVERSAL PICTURES PRESENTS JESSICA CHASTAIN, PENÉLOPE CRUZ, BINGBING FAN, DIANE KRUGER AND LUPITA NYONG’O.  

THE 355 opens in theaters January 7th.

FOR YOUR CHANCE TO WIN A FANDANGO CODE GOOD FOR TWO TO SEE THE 355 IN THEATERS, ENTER YOU NAME AND EMAIL ADDRESS IN OUR COMMENTS SECTION BELOW. NO PURCHASE NECESSARY.  

(Fandango Promotional Code is good toward the purchase of two movie tickets [$15 per ticket, up to $30 total ticket and convenience fee value] to see The 355 at Fandango partner theaters in the United States. Code is void if not redeemed by 1/30/2022 or when THE 355 is no longer in theaters, whichever comes first)

RATED PG-13.

(from left) Graciela (Penélope Cruz), Mason “Mace” Brown (Jessica Chastain), Marie (Diane Kruger) and Khadijah (Lupita Nyong’o) in The 355, co-written and directed by Simon Kinberg. Photo Credit: Robert Viglasky/Universal Pictures. Copyright © 2020 UNIVERSAL STUDIOS. ALL RIGHTS RESERVED.

A dream team of formidable female stars come together in a hard-driving original approach to the globe-trotting espionage genre in The 355.

When a top-secret weapon falls into mercenary hands, wild card CIA agent Mason “Mace” Brown (Oscar®-nominated actress Jessica Chastain) will need to join forces with rival badass German agent Marie (Diane Kruger, In the Fade), former MI6 ally and cutting-edge computer specialist Khadijah (Oscar® winner Lupita Nyong’o), and skilled Colombian psychologist Graciela (Oscar® winner Penélope Cruz) on a lethal, breakneck mission to retrieve it, while also staying one-step ahead of a mysterious woman, Lin Mi Sheng (Bingbing Fan, X-Men: Days of Future Past), who is tracking their every move.

As the action rockets around the globe from the cafes of Paris to the markets of Morocco to the opulent auction houses of Shanghai, the quartet of women will forge a tenuous loyalty that could protect the world—or get them killed.

The film also stars Édgar Ramirez (The Girl on the Train) and Sebastian Stan (Avengers: Endgame).

The 355 is directed by genre-defying filmmaker SIMON KINBERG (writer-director-producer of Dark Phoenix, producer of Deadpool and The Martian and writer-producer of the X-Men films). The screenplay is by THERESA REBECK (NBC’s Smash, Trouble) and SIMON KINBERG from a story by THERESA REBECK. The 355, presented by Universal Pictures in association with FilmNation Entertainment, is produced by JESSICA CHASTAIN and KELLY CARMICHAEL for Chastain’s Freckle Films and by SIMON KINBERG for Kinberg Genre Films. The film is executive produced by RICHARD HEWITT (Bohemian Rhapsody).

The film’s director of photography is TIM MAURICE-JONES BSC (The Woman in Black), the production designer is SIMON ELLIOTT (The Book Thief), and the costume designer is STEPHANIE COLLIE (The Hitman’s Bodyguard). The 355 is edited by LEE SMITH A.C.E.(1917) and JOHN GILBERT A.C.E.(The Lord of the Rings: The Fellowship of the Ring); the composer is TOM HOLKENBORG (Mad Max: Fury Road).

Jessica Chastain, Lupita Nyong’o, Penélope Cruz, Diane Kruger, Fan Bingbing, Sebastian Stan Star In First Trailer For THE 355

A dream team of formidable female stars come together in a hard-driving original approach to the globe-trotting espionage genre in The 355. 

In theaters January 15, check out the first trailer now.

https://www.the355movie.com/

When a top-secret weapon falls into mercenary hands, wild card CIA agent Mason “Mace” Brown (Oscar®-nominated actress Jessica Chastain) will need to join forces with rival badass German agent Marie (Diane Kruger, In the Fade), former MI6 ally and cutting-edge computer specialist Khadijah (Oscar® winner Lupita Nyong’o), and skilled Colombian psychologist Graciela (Oscar® winner Penélope Cruz) on a lethal, breakneck mission to retrieve it, while also staying one-step ahead of a mysterious woman, Lin Mi Sheng (Fan Bingbing, X-Men: Days of Future Past), who is tracking their every move.

As the action rockets around the globe from the cafes of Paris to the markets of Morocco to the wealth and glamour of Shanghai, the quartet of women will forge a tenuous loyalty that could protect the world—or get them killed.

The film also stars Sebastian Stan (Avengers: Endgame) and Edgar Ramírez (The Girl on the Train).

The 355 is directed by genre-defying filmmaker Simon Kinberg (writer-director-producer of Dark Phoenix, producer of Deadpool and The Martian and writer-producer of the X-Men films), from a script by Theresa Rebeck (NBC’s Smash, Trouble) and Kinberg, and is produced by Chastain and Kelly Carmichael for Chastain’s Freckle Films and by Kinberg for his Genre Films. The film is executive produced by Richard Hewitt (Bohemian Rhapsody).

STAR WARS: THE RISE OF SKYWALKER Final Trailer Hits

Stormtroopers, The Emperor and Chewbacca! This will be an epic final chapter.

Watch the final, exciting trailer for STAR WARS; THE RISE OF SKYWALKER that debuted during halftime of ESPN’s “Monday Night Football” NFL game between the New England Patriots and the New York Jets.

Lucasfilm and director J.J. Abrams join forces once again to take viewers on an epic journey to a galaxy far, far away with Star Wars: The Rise of Skywalker, the riveting conclusion of the seminal Skywalker saga, where new legends will be born and the final battle for freedom is yet to come.

The film stars Carrie Fisher, Mark Hamill, Adam Driver, Daisy Ridley, John Boyega, Oscar Isaac, Anthony Daniels, Naomi Ackie, Domhnall Gleeson, Richard E. Grant, Lupita Nyong’o, Keri Russell, Joonas Suotamo, Kelly Marie Tran, with Ian McDiarmid and Billy Dee Williams

STAR WARS; THE RISE OF SKYWALKER is directed by J.J. Abrams and produced by Kathleen Kennedy, Abrams and Michelle Rejwan. Callum Greene, Tommy Gormley and Jason McGatlin serve as executive producers. Star Wars: The Rise of Skywalker was written by J.J. Abrams & Chris Terrio.

Tickets to STAR WARS; THE RISE OF SKYWALKER are now available everywhere tickets are sold.

STAR WARS; THE RISE OF SKYWALKER releases in U.S. theaters on December 20.

John Boyega is Finn and Naomi Ackie is Jannah in STAR WARS; THE RISE OF SKYWALKER.
Scene from STAR WARS: THE RISE OF SKYWALKER
Daisy Ridley is Rey in STAR WARS: THE RISE OF SKYWALKER

US – Review

What is the difference between the lines that divide us and connect us? A line can be a form of communication or it can be a separation between two sides. It can be a line in the sand that you can’t cross or it can be a line that connects two points. It’s a word with multiple implications that represents the duality of the very things it connects or divides. In Jordan Peele’s US, lines and duality are echoed through the inclusion of two ordinary items: mirrors and scissors. One creates a connection between the self and the reflection, the other serves to separate one item from another. And yet, the mirror can break and the reflection splits, and the scissors only function when two halves come together. Like the line, both represent division and connection simultaneously. 

Jordan Peele already held a mirror up to the cultured, open-minded white Americans in GET OUT, and asked if they were going to ignore their own passing comments that add to the larger systemic problems with race in America. With US, he doesn’t just hold the mirror to the white faces suddenly blindsided by their own shame, but to all of privileged America. All of us, regardless of skin tone, who have been privileged to ignore those in the class below us; those whose voices aren’t heard and whose actions are seen as meaningless in society. Despite what some may think, the human connection to people across all classes exists even if some fail to acknowledge it.

GET OUT and US are both horror films that bring deep-rooted cultural issues to the surface, but US is much more subtle and less-incendiary in its approach. While the visual metaphors of mirrors and doppelgangers show how we’re all one-in-the-same, the message is more nuanced and harder to read. It’s a film that sprinkles in questions about political revolution and the class system amid tense stand-offs and shocking scenes of carnage. This might frustrate some looking for the culture shock that GET OUT provided but results in a film that will no doubt be studied and deconstructed for years to come.

After a chilling opening set in a carnival at night that perfectly sets the mood for the film, the story reveals a woman (Lupita Nyong’o) and her family returning to the beach that left a haunting impact on her as a child. What starts as a sunny getaway quickly turns into a nightmare for her and her husband (BLACK PANTHER’s Winston Duke) and two children (Shahadi Wright Joseph, Evan Alex) when their doppelgangers mysterious show up in the driveway one night. The arrival of these strangers triggers a series of terrifying events and revelations.

Much like Wes Craven’s THE HILLS HAVE EYES where a family vacation triggers a series of incidents where the protagonists have to look inward to defeat enemies, each family member in US has to defeat their own demons in order to battle… well… “themselves.” The daughter has to put down the iPhone; the son has to use intellect instead of his magic tricks; even the dad has to realize that money isn’t going to buy him happiness (though his new boat does come in handy). Most importantly is the journey of Lupita Nyong’o. She has to overcome her past trauma and become the strong one to lead the way for her family. But like the heroes in Craven’s grindhouse classic, she in many ways turns into the violent aggressor that she’s fighting. Even her son looks at her apprehensively at one point because her white garment becomes soaked in blood – turning her outfit into the red jumpsuit like that of the enemy.

Like GET OUT, Jordan Peele hints at a bigger world but still keeps it relatively small and claustrophobic. This allows for the central characters to shine. Winston Duke hilariously captures the awkward dad that’s trying to be cool. He walks the line perfectly without taking it into a caricature, providing many laugh-out-loud, tension-breaking moments. Despite a well-rounded cast that all leave their mark, the film is led by a powerhouse performance by Lupita Nyong’o. The role demands her to flex her emotional and physical acting chops. She transitions seamlessly from a woman dealing with past trauma to someone forced to protect her children. Even amid the chaos of the home-invasion-turned-chase story in the second and third act, Peele always has fun with the audience. His approach to horror and violence never feels over the top or mean-spirited. US is not a marathon that puts audiences through the wringer, but more of a journey through a funhouse complete with things popping out, nervous laughter, and reflections of ourselves.

Mike Gioulakis, best known for his striking cinematography in IT FOLLOWS and this year’s GLASS, lends the film a stark look with long shadows and a minimal color palette so that the red jumpsuits of the late night visitors pop off the screen. While GET OUT might have more iconic scenes, US has more iconic shots. Nothing proves this more than the final standoff. The tense sequence is masterfully filmed and intercut with gorgeous, unexpected footage. The beauty of the film balances the brutality. Peele’s decision to go with Gioulakis – a different cinematographer than his last film – shows that he’s continuing to sharpen his teeth as both a storyteller and filmmaker.

US opens with footage of the 1986 “Hands Across America” event playing on the television. In real life, despite the good intentions, the event became a symbol for the hypocrisy of how America has handled homelessness in this country. Outspoken people gathered hand in hand with their neighbors from the Atlantic to the Pacific to raise $50 million for the poor – each person in line was supposed to donate $10. The event cost $16 million to execute, and after expenses were paid, only $15 million was donated to charities. It became an empty, symbolic gesture with a message that fell on deaf ears. In 2019, there is still a sense of apathy in this country. What doesn’t directly affect us can be ignored. When you are living with even the most modest sense of wealth, you can afford to look the other way; you can avoid those who remind you of wealth disparity; you can mute their cries for help. While US might not have the same eye-opening effect that GET OUT left audiences, Jordan Peele, once again, successfully blends thrills with a message. It cements his standing as a master in “social horror” and serves as a reminder that a horror film that holds a mirror up to our society will always connect with audiences.

 

Overall score: 4 out of 5 

US opens in theaters everywhere March 22

 

Watch The First Trailer For Jordan Peele’s US Starring Lupita Nyong’o

After sending shockwaves across contemporary culture and setting a new standard for provocative, socially-conscious horror films with his directorial debut, GET OUT, Academy Award-winning visionary Jordan Peele returns with another original nightmare that he has written, directed and produced.

Check out the first trailer.

Set in present day along the iconic Northern California coastline, US, from Monkeypaw Productions, stars Oscar® winner Lupita Nyong’o as Adelaide Wilson, a woman returning to her beachside childhood home with her husband, Gabe (Black Panther’s Winston Duke), and their two children (Shahadi Wright Joseph, Evan Alex) for an idyllic summer getaway. Haunted by an unexplainable and unresolved trauma from her past and compounded by a string of eerie coincidences, Adelaide feels her paranoia elevate to high-alert as she grows increasingly certain that something bad is going to befall her family.

After spending a tense beach day with their friends, the Tylers (Emmy winner Elisabeth Moss, Tim Heidecker, Cali Sheldon, Noelle Sheldon), Adelaide and her family return to their vacation home. When darkness falls, the Wilsons discover the silhouette of four figures holding hands as they stand in the driveway. Us pits an endearing American family against a terrifying and uncanny opponent: doppelgängers of themselves.

Writer and director Peele produces for his Monkeypaw Productions alongside Sean McKittrick, Jason Blum, and Monkeypaw’s Ian Cooper.

US will be released by Universal Pictures on Friday, March 15, 2019.

https://www.UsMovie.com