Tag: rachel zegler

SNOW WHITE (2025) – Review

Well, they’re at it again (much like the old President Reagan “go to” for impressionists, “There he goes, again”). I’m speaking of the “brain trust” at the “Mouse House” who are diving into the Disney Classics vault once more to remake another one of their animated features. And this is their “deepest dive” yet in this “sub-genre” of “re-imagining” those “2-D”, hand-drawn animated masterpieces into “live-action” films that will hopefully attract a new audience (and enhance the ole’ “I.P.”). It perhaps started nearly thirty years ago with 101 DALMATIANS, and had its biggest success with 2019’s THE LION KING, with spin-offs like the “backstories” of villains MALEFICENT and CRUELLA and the recent prequel/sequel MUFASA: THE LION KING. Now it’s “back to the beginning” with a live “re-do” of what was then jeeringly referred to (by the “Tinseltown” gossips) as “Walt’s Folly” in 1937, as animation formally (there had been a few silent-era experiments) burst out of the six or seven-minute shorts and went well past an hour in length with the timeless tale from the Brothers Grimm all about seven dwarfs and a princess named SNOW WHITE.

And like the original “fairy tale” flicks, this begins with opening up a fancy, gold-gilded story book. The unseen narrator tells us of the kindly king and queen of an unnamed (resembling Eastern Europe) who were inspired by the wintery weather to name their daughter Snow White. All was wonderful and prosperous until a sudden illness took the queen from her adoring family and populace. Soon the grieving king caught the eye of a fetching maiden (Gal Gadot) and remarried. But her beauty masked a greedy, envious spirit, and the new queen built up an army to be led by her new husband. When the King ventures with them to face the forces of a “Southern state”, he is lost and presumed dead. As the years pass, the Queen lets her subjects believe that the princess has also perished, though the now teenaged Snow (Rachel Zegler) wears “rags” while cleaning the castle. One day she sees a handsome young man stealing food from the royal kitchen. Jonathan (Andrew Burnap) is a loyalist to her father who resides in the forests with other “rebels” hoping for the good king’s return. When the guards arrest him, the Queen has him tied to the front gate as punishment…until Snow sets him free. This act, along with the Magic Mirror’s proclamation that she is “the fairest in the land”. prompts the Queen to order the Huntsman (Ansu Kabia) to take Snow into the woods to pick apples, and then murder her. it’s pretty much the classic plot from there, as he shows mercy, and tells Snow to hide in the forest where she eventually happens upon the cottage of the seven dwarfs, who are working their gem-filled mine. When the Queen learns that her death order is not carried out, she sends her guards into the woods, where Snow, the dwarfs, and Jonathan’s rebel crew unite to send them back to the castle. That’s when “her royal majesty, decides to use her “dark magics” to destroy her “rival” once and for all.


Zegler is a dainty darling as she croons several tunes and dances up a storm with the dwarfs, though she brings more compassion to the role along with a healthy amount of spunk (we know, Mr. Grant). This princess isn’t easily swayed by a “dashing rogue” which allows Zegler to also put a “rom-com” spin on the iconic heroine. Burnap proves to be an endearing screen partner, as he tries to convince Snow of the dire conditions in the country, while also engaging in some flirty teasing as the wall between the royal and the commoner begins to crumble. Plus Mr. Burnap is quite the swashbuckler as he dives into battle and taunts the vengeful Quenn. Ms. Gadot appears to be having a grand old time as she leaves that Amazon warrior behind to flare her nostrils, shoot “daggers” from her wide eyes, twirl an “invisible mustache” as she barks out orders, and plans to eliminate that pesky princess. She even gets her own big musical solo.

After guiding Andrew Garfield through two flicks as Spidey, director Marc Webb goes from classic superheroes to classic fairy tales in this remake. He keeps the action moving at a fairly brisk pace, and has some fun with the action sequences, especially the big forest “free-for-all”. Webb excels as he follows the story structure of the 1937 original, but a radical third act detour really derails the momentum, with a finale that lacks the dramatic heft of the “OG”. The script perhaps needed a few more tweaks as it struggles to make the icons more relatable (I won’t say “PC”). with a radical spin of switching out the Prince for a rowdy rascal who’s almost a sibling to Ryder from TANGLED. And some other choices are …odd. Snow’s escape through the woods has always been scary, but here she seems to have wandered into the woods surrounding the EVIL DEAD cabin. This is the film’s first use of some jarring CGI effects leading to the pixel critters (still cute) and the Dwarfs themselves (not so much), who are “mo-cap” CGI creations that recall nightmarish skin-stretched” garden gnomes. The strangest may be Dopey who looks as though he leaped right from the cover of a classic Mad Magazine (or, as another viewer mentioned, an older spin on THE POLAR EXPRESS tyke). And I won’t spoil his radical “shift” in the third act. But this is long after a mine car theme-park-like ride through the underground tunnels (is it near the Temple of Doom). That’s part of a big musical number “Heigh-Ho”, one of two tunes retained from the original, though the new song scribes have added some wonky new refrains (Grumpy tells a dwarf to insert a tool “where the sun don’t shine”…really). So there are new songs from the LA LA LAND team of Benji Pasek and Justin Paul (along with lyricist Jack Feldman), which are fairly forgettable with a grating show tune bounce that pales before the Churchill and Morey standards. That’s especially the case with the Queen’s “All is Fair” which will probably be part of several future drag acts (lots of “vamping and camping” displayed). As I mentioned earlier, there’s a tepid finale that goes well past the near-perfect animated one to offer a big happy musical reprise (smiling and waving). The tiny tots should enjoy it (save for the spooky trees) since it’s not the “train wreck” that the first trailers seemed to promise. It’s not the worst of the remakes (you’re safe DUMBO), but like most, it’s a “cash grab”, though it’s a moot point to criticize its existence. It’s here and Disney will keep doing them until audiences reject them. Happily, we’ll always have that nearly ninety-year-old jewel whose SNOW WHITE is still the fairest in “filmland”.

1.5 Out of 4

SNOW WHITE is now playing in theatres everywhere.

Watch The First Trailer For SNOW WHITE Starring Rachel Zegler And Gal Gadot

Opening in theaters nationwide March 21st is DISNEY’S SNOW WHITE.

From the producer and executive producer of “Wicked,” Marc Platt and Jared LeBoff, and director Marc Webb (“The Amazing Spider-Man”) comes a live-action musical reimagining of the studio’s classic 1937 film.

The magical music adventure journeys back to the timeless story with Rachel Zegler (“West Side Story”) in the title role and Gal Gadot (“Wonder Woman”) as her Stepmother, the Evil Queen.

The new trailer showcases the scale and beauty of the lavish production design, the beloved characters Bashful, Doc, Dopey, Grumpy, Happy, Sleepy, and Sneezy, and a first look at the power ballad Waiting on a Wish, one of the all-new original songs from EGOT winners Benj Pasek and Justin Paul (“The Greatest Showman”).

THE HUNGER GAMES: THE BALLAD OF SONGBIRDS & SNAKES – Review

So what’s one of the biggest complaints about modern movies (aside from pricey concession snacks)? Much of the grumbling concerns the many sequels to successful films, often leading to a franchise. Last week we had THE MARVELS and there’s another TROLLS romp bouncing into the multiplex this weekend. In a bit of convoluted logic, many studio execs may think, “If you’re sick of sequels, how about a prequel, instead?”. Yes, it’s semantics but it’s a way of bringing in fans of the original while not having to pay the big salaries of those older pricier casts. Now, we’ve got that “master candy maker” waiting in the wings to spruce his chocolate factory right before Christmas, and for Thanksgiving, we’re going back to that dreary dystopian future of a quartet of flicks we thought had concluded eight years ago. But since the author of its source books took a look back at its history, we’ll now get to see if “the odds” are still in their favor (Lionsgate Films) with THE HUNGER GAMES: THE BALLAD OF SONGBIRDS & SNAKES.

As the story begins we’re back on the mean streets of the Capitol of Panem as two children search for food. Dodging dangerous wild dogs they make it back to the squalid apartment they share with their Grandma’am (Fionnula Flanagan). Flash ahead seven or so years and the young boy, Coriolanus Snow (Tom Blyth) gets ready for his high school graduation. He’s hoping he’ll be awarded the Plynth award which would take care of the expenses for Grandma’am and his older cousin Tigris (Hunter Schafer). But he’s in for a shock at the ceremony when Dean Highbottom (Peter Dinklage) announces that to get this cash prize, he and his classmates will have to be “mentors” to the winning “tributes” competing for survival in the televised tenth-annual Hunger Games. Oh, and the mentors can increase their chances by coming up with new ideas (the ratings are slipping) to head game maker Dr. Gaul (Viola Davis). Soon Snow meets his assigned pair of tributes, one of whom is the beautiful, but defiant songbird from impoverished District 12, Lucy Gray Baird (Rachael Zeglar). She expresses her rebellious nature by crooning ballads that may earn her viewer support, but does she have the killer drive to eliminate her violent rivals? And what happens when the venue arena is nearly destroyed by undercover rebels? Will the crafty Snow find a way to give Gray the needed “edge”, especially as their emotional bond becomes more intense?

Handling the most pivotal role in the film, the character with the strongest connection to that original trilogy of books (stretched to four movies) is relative big-screen newcomer Blyth. We know “Corie’s” future, so Blyth must subtly give us a bit of behavioral foreshadowing. He appears noble, and we’re rooting for his budding romance, but there’s that “ultimate fate” that Blyth conveys well. It helps that he has chemistry with the Gray character, given spunk and song by Zeglar in a big switch from the sweet Maria in the recent WEST SIDE STORY remake. Early on she shows us that Lucy doesn’t have that murderous instinct, and must rely on rallying the masses with her music. Zeglar displays that panic in combat, but is in complete control as she becomes a country crooning crusader, reminding us of many “Nashville belles” like Patsy Cline. As for the “game bosses”, Davis channels a bit of her Amanda Waller persona from the DC “movie verse” (supposedly she’ll survive the recent “purge”) as the cruel devious, mad-scientist Gaul, sporting a single blue eye to make her more “alien”. Dinklage is a sneering sod as the equally cruel and deceitful academic, chugging tiny tubes of booze as he weaves his web of evil. The story’s only real comic relief role is deftly handled by Jason Schwartzman as the smarmy unctuous host of the televised global death match, weatherman/magician “Lucky Flickerman”, an obnoxiously flamboyant phony. The superb character actor Burn Gorman shows up in the film’s last half as a strict military man, but he’s given little to do other than to hover ominously over Snow and Gray.

To offer another connection to the previous quartet of films, their original director Frances Lawrence returns to helm the screenplay adaptation by Michaels Lesslie and Arndt of the Suzanne Collins novel. Once again he creates the look and feel of a grim, soul-crushing future world with desaturated colors as clouds drift over the double sword-wielding statue at the center of Panem. And that may be part of the many problems in that we’ve seen it already, four times over. While the original “opened up the story” by having the skirmishes occur in the more pleasant countryside, this one’s “game” is played in an empty concrete arena filled with slabs of stone and dark hallways. Then, when we believe a “conclusion” has happened, the film jumps ahaead to a new setting for a “B” plot that feels more like an entirely new tale. And it’s not nearly as interesting making it seem as though it will never really finish. The final “epilogue” has so many “future jumps” and foreshadowing (and a subplot that’s left unresolved) that the casual viewer will feel hopelessly lost and unsatisfied after such a long investment of time. Perhaps it would’ve worked more coherently as a streaming app miniseries. This certainly won’t gain any new followers of the franchise as only the hardcore fans will embrace the rambling, uninvolving THE HUNGER GAMES: THE BALLAD OF SONGBIRDS & SNAKES.

One Out of Four

THE HUNGER GAMES: THE BALLAD OF SONGBIRDS & SNAKES is now playing in theaters everywhere

Win Passes To The St. Louis Advance Screening Of THE HUNGER GAMES: THE BALLAD OF SONGBIRDS & SNAKES

Experience the story of THE HUNGER GAMES – 64 years before Katniss Everdeen volunteered as tribute, and decades before Coriolanus Snow became the tyrannical President of Panem.

Opening in theaters only November 17, 2023, THE HUNGER GAMES: THE BALLAD OF SONGBIRDS & SNAKES is the fifth installment in the franchise. It is directed by Francis Lawrence, who returns to, and expands upon, this incredible world after directing The Hunger Games: Catching Fire and The Hunger Games: Mockingjay — Part 1 and 2. The film is shepherded by franchise producer Nina Jacobson, who produces for Color Force along with Brad Simpson.

This installment brings together an all-new cast in Tom Blyth (“Billy the Kid”), Golden Globe® winner Rachel Zegler (2022, Best Actress – Motion Picture – Musical/Comedy, West Side Story), four-time Emmy® winner Peter Dinklage (“Game of Thrones”), Hunter Schafer (“Euphoria”), Josh Andrés Rivera (West Side Story), Jason Schwartzman (Rushmore), and Academy Award® winner Viola Davis (2016, Best Supporting Actress, Fences).

PG-13 for strong violent content and disturbing material                                                             

https://hungergames.movie/

The Advance Screening is 7PM, on Tuesday, November 14th at Marcus Ronnie’s Cine.

Please arrive early as seating is not guaranteed.

ENTER AT THE LINK:  http://www.lionsgatescreenings.com/OGDet71308

Tom Blyth as Coriolanus Snow and Viola Davis as Dr Volumnia Gaul in The Hunger Games: The Ballad of Songbirds and Snakes. Photo Credit: Murray Close

Zachary Levi Goes Head To Head With Helen Mirren, Lucy Liu And A Dragon In Brand New SHAZAM! FURY OF THE GODS Trailer

Check out the brand new trailer for director David F. Sandberg’s (“Shazam!,” “Annabelle: Creation”) SHAZAM! FURY OF THE GODS.

Hitting theaters on March 17, the film continues the story of teenage Billy Batson who, upon reciting the magic word “SHAZAM!,” is transformed into his adult Super Hero alter ego, Shazam.

Bestowed with the powers of the gods, Billy Batson and his fellow foster kids are still learning how to juggle teenage life with having adult Super Hero alter-egos. But when the Daughters of Atlas, a vengeful trio of ancient gods, arrive on Earth in search of the magic stolen from them long ago, Billy—aka Shazam—and his family are thrust into a battle for their superpowers, their lives, and the fate of their world.

Check out the trailer breakdown HERE with Sandberg where he talks about dragons, the daughters of Atlas and the magic word.

“Shazam! Fury of the Gods” stars returning cast members Zachary Levi (“Thor: Ragnarok”) as Shazam; Asher Angel (“Andi Mack”) as Billy Batson; Jack Dylan Grazer (“It Chapter Two”) as Freddy Freeman; Adam Brody (“Promising Young Woman”) as Super Hero Freddy; Ross Butler (“Raya and the Last Dragon”) as Super Hero Eugene; Meagan Good (“Day Shift”) as Super Hero Darla; D.J. Cotrona (“G.I. Joe: Retaliation”) as Super Hero Pedro; Grace Caroline Currey (“Annabelle: Creation”) as Mary Bromfield / Super Hero Mary; Faithe Herman (“This Is Us”) as Darla Dudley; Ian Chen (“A Dog’s Journey”) as Eugene Choi; Jovan Armand (“Second Chances”) as Pedro Pena; Marta Milans (“White Lines”) as Rosa Vasquez; Cooper Andrews (“The Walking Dead”) as Victor Vasquez; with Djimon Hounsou (“A Quiet Place Part II”) as Wizard.

Joining the cast are Rachel Zegler (“West Side Story”), with Lucy Liu (“Kung Fu Panda” franchise) and Helen Mirren (“F9: The Fast Saga”).

The film is directed by David F. Sandberg (“Shazam!,” “Annabelle: Creation”) and produced by Peter Safran (“Aquaman,” “The Suicide Squad”). It is written by Henry Gayden (“Shazam!,” “There’s Someone Inside Your House”) and Chris Morgan (“Fast & Furious Presents: Hobbs & Shaw,” “The Fate of the Furious”), based on characters from DC; Shazam! was created by Bill Parker and C.C. Beck. Executive producers are Walter Hamada, Adam Schlagman, Richard Brener, Dave Neustadter, Victoria Palmeri, Marcus Viscidi and Geoff Johns.

Joining director Sandberg behind-the-camera are director of photography Gyula Pados (the “Jumanji” franchise), production designer Paul Kirby (“The Old Guard,” “Jason Bourne”) and editor Michel Aller (“Shazam!,” “The Nun”). The music supervisor is Season Kent (“DC League of Super-Pets,” “The Addams Family 2”) and the music is by Christophe Beck (“Free Guy,” “Frozen II”).

Visual effects supervisors are Bruce Jones (“Aquaman,” “It”) and Raymond Chen (“Alita: Battle Angel,” “The Meg”). The costume designer is Louise Mingenbach (“Jumanji: The Next Level,” “Godzilla: King of the Monsters”).

New Line Cinema presents A Peter Safran Production of A David F. Sandberg Film, “Shazam! Fury of the Gods,” which is set to open in theaters internationally beginning 15 March 2023 and in North America on March 17, 2023

THE HUNGER GAMES: THE BALLAD OF SONGBIRDS AND SNAKES First Teaser – In Theaters November 17, 2023

On November 17, 2023, get ready to return to the games.

Lionsgate has released a first teaser for director Francis Lawrence’s THE HUNGER GAMES: THE BALLAD OF SONGBIRDS AND SNAKES.

Synopsis: Return to The Hunger Games, the landmark film franchise that has earned over $3 billion globally, with Lionsgate’s adaptation of Suzanne Collins’ #1 New York Times Bestseller The Ballad of Songbirds and Snakes.

Years before he would become the tyrannical President of Panem, 18-year-old Coriolanus Snow (Tom Blyth) is the last hope for his fading lineage, a once-proud family that has fallen from grace in a post-war Capitol. With the 10th annual Hunger Games fast approaching, the young Snow is alarmed when he is assigned to mentor Lucy Gray Baird (Rachel Zegler), the girl tribute from impoverished District 12. But, after Lucy Gray commands all of Panem’s attention by defiantly singing during the reaping ceremony, Snow thinks he might be able to turn the odds in their favor. Uniting their instincts for showmanship and newfound political savvy, Snow and Lucy Gray’s race against time to survive will ultimately reveal who is a songbird, and who is a snake.                               

The screenplay for THE HUNGER GAMES: THE BALLAD OF SONGBIRDS AND SNAKES is by Michael Arndt and Michael Lesslie, Based on the Novel by Suzanne Collins. Produced by Nina Jacobson, Brad Simpson, Francis Lawrence.               

WEST SIDE STORY – Review

Ariana DeBose as Anita (center) in 20th Century Studios’ WEST SIDE STORY. Courtesy of 20th Century Studios

WEST SIDE STORY is the exception to the rule that remaking a classic is pointless task. In fact, in some ways it is a better film. No wonder with the stellar team behind it – directed Steven Spielberg, script adapted by Tony Kushner, cinematography by Janusz Kaminski, and with executive producer Rita Moreno, the EGOT plus Pulitzer winner (one of the world’s three) who starred in original film as Anita, the only real Puerto Rican cast member in the 1961 film.

WEST SIDE STORY is one of the great classics of musical theater, first on the Broadway stage in 1957 and then in a 1961 movie version, with choreography by Jerome Robbins, music by composer Leonard Bernstein, lyrics by Stephen Sondheim and book by playwright Arthur Laurents. The story, based on Shakespeare’s “Romeo and Juliet,” is still set in the same 1957 New York but now the story takes place in a gritty, more realistic setting, with rubble in the streets as well as passersby and vintage cars. Tony Kushner adapted his script from the stage play rather than the movie, so audiences will notices a few differences from the familiar movie, as well as some updates to make the film more accessible for modern audiences. This story takes place in a neighborhood under the shadow of “urban renewal,” the destructive wholesale “clearance” of whole poor neighborhoods for redevelopment for the more affluent. Two juvenile street gangs, the Jets and the Sharks, are vying for dominance over the neighborhood, even as it is being emptied to make way for the new Lincoln Center.

The Sharks are recent arrivals from Puerto Rico while the Jets are the descendants of earlier immigrants from Ireland, Italy and Poland, who resent the new arrivals. Against that backdrop, Tony (Ansel Elgort), once a member of the Jets, meets and falls in love with Puerto Rican Maria (Rachel Zegler), the sister of Bernardo (David Alvarez), the leader of the Sharks. Maria lives with her brother and his girlfriend Anita (Ariana DeBose), who has taken the young girl under her wing.

The Jets are now led by Riff (Mike Faist), Tony’s childhood friend, who hopes to bring his pal back into the gang, at least for a showdown with the Sharks. Rita Moreno, who played Anita in the original film, now plays the widow of Doc, the kindly pharmacist who employed and advised Tony, a role that she plays in this version. Corey Stoll plays police detective Lieutenant Schrank and Brian d’Arcy James plays the frustrated Officer Krupke, while Josh Andrés Rivera plays Chino, the Puerto Rican boy that Bernardo has picked out for his sister Maria.

The immigrants theme was ground-breaking in 1957 but that the issue remains timely gives the story a contemporary hook. While the basic story remains the same, there are some changes, Some lyrics and dialog are gently updated to reflect modern sensibilities and address old issues, which gives the film a more contemporary feel. Some songs are sung in a different order or even sung by a different character but the changes do not change the basic story or its audience appeal. These changes seamlessly blended in by using musical arrangements and singing style similar to the 1961 movie.

Casting is also different, as this version corrects some cringe-worthy choices in the original cast, by casting more Hispanics in those roles. Unlike the 1961 film, the stars do their own singing, and both Ansel Elgort and Rachel Zegler do well in that respect.

Dancing remains a strong point in this film, with several fast, colorful, pulse-raising production numbers that are highlights. While the leads are focal points for songs, the supporting characters lead the dance numbers with Mike Faist as Riff and Ariana DeBose as Anita soaring to impressive heights. Both are triple threats, excelling in acting, singing and dancing, particularly dancing for Faist and singing for DeBose.

This is a musical with so many memorable songs. Highlights include the “America” production number, now opened up on to the streets and even more colorful, and the very funny “Officer Krupke” number, now set in a police station retains its punch. The “Tonight” duet has all the romance audiences could want, and the opening “Jets” number retains all its energy, with a little extra menace added in.

The cinematography by the legendary Janusz Kaminski adds greatly to the film. The strong use of slanting light adds drama, the dance numbers are brilliant and electric, and the night time scenes are filled with stabs of light, from street lights, searchlights, and headlights, adding a jolt of electricity to many scenes.

While some will still cite the 1961 classic film as their favorite, a good case can be made that this one is the better film, meaning Spielberg and Kushner have pulled off the near-impossible – remaking a classic and topping the original.

WEST SIDE STORY opens Friday, Dec. 10, in theaters.

RATING: 4 out of 4 stars

First Look At Steven Spielberg’s WEST SIDE STORY – Opens In Theaters December 2021

Directed by Academy Award® winner Steven Spielberg, from a screenplay by Pulitzer Prize and Tony Award® winner Tony Kushner, “West Side Story” tells the classic tale of fierce rivalries and young love in 1957 New York City. Here’s your first look at the trailer released during Sunday’s Oscars telecast.

This reimagining of the beloved musical stars Ansel Elgort (Tony); Rachel Zegler (María); Ariana DeBose (Anita); David Alvarez (Bernardo); Mike Faist (Riff); Josh Andrés Rivera (Chino); Ana Isabelle (Rosalía); Corey Stoll (Lieutenant Schrank); Brian d’Arcy James (Officer Krupke); and Rita Moreno (as Valentina, who owns the corner store in which Tony works). Moreno – one of only three artists to be honored with Academy®, Emmy®, GRAMMY®, Tony® and Peabody Awards – also serves as one of the film’s executive producers.

Bringing together the best of both Broadway and Hollywood, the film’s creative team includes Kushner, who also serves as an executive producer; Tony Award® winner Justin Peck, who choreographed the musical numbers in the film; renowned Los Angeles Philharmonic conductor and GRAMMY Award® winner Gustavo Dudamel, who helmed the recording of the iconic score; Academy Award®-nominated composer and conductor David Newman (“Anastasia”), who arranged the score; Tony Award®-winning composer Jeanine Tesori (“Fun Home,” “Thoroughly Modern Millie”), who supervised the cast on vocals; and Grammy®-nominated music supervisor Matt Sullivan (“Beauty and the Beast,” “Chicago”), who served as executive music producer for the film.

The film is produced by Spielberg, Academy Award®-nominated producer Kristie Macosko Krieger and Tony Award®-winning producer Kevin McCollum. “West Side Story” has been adapted for the screen from the original 1957 Broadway show, with book by Arthur Laurents, music by Leonard Bernstein, lyrics by Stephen Sondheim and concept, direction and choreography by Jerome Robbins.

From 20th Century Studios, The Walt Disney Company will release “West Side Story” in U.S. theaters on December 10, 2021.