Judi Dench as Old Deuteronomy in “Cats,” co-written and directed by Tom Hooper.
Having seen the trailer for CATS, I must admit I approached the film with some trepidation. The highly-touted CGI effects to make humans catlike actually looked unsettling rather than magical. The good news is the effect is much less disturbing in the film itself. With music by Andrew Lloyd Weber, CATS is one of the longest-running musicals of all time, so has plenty of fans.
The musical debuted in London in 1988
and it is credited with starting the “mega-musical” craze.
Along with innovative staging, it featured groundbreaking costumes,
makeup, and choreography that turned dancers and singers into
cat-like humans, much to the delight of audience, spawning a host of
similar effects in stage shows. While I’m not personal a fan of
musicals myself but I did enjoy T.S. Eliot’s classic funny quirky
book of poems, “Old Possum’s Book of Practical Cats” on
which the musical is based.
Tom Hooper directs this screen adaptation (it was previously adapted into a film in 1998), which features a big-star cast along with some big names from the world of dance making screen debuts. Stars include James Corden, Rebel Wilson, and Taylor Swift. Judi Dench plays the beloved old cat Old Deuteronomy, who presides over the festivities, while Ian McKellen plays Gus the Theater Cat, and is the only one in the cast to actually mime cat behavior like washing his ears.
The story is built around a newcomer cat named Victoria, played with charm by dancer Francesca Hayward. Two other dancers, Larry and Laurant Bourgeois, are featured in a segment where they and Victoria invade a house and cause a little chaos, until a dog shows up.
Of course, the big showstopper song of
this musical is “Memories,” and Jennifer Hudson does the
honors with that one, in fine style, as the bedraggled but once
beautiful Grizabella. Idris Elba plays the trouble-making Macavity.
Corden as rotund cat Bustopher Jones
and Rebel Wilson as mouse-chasing Jennyanydots handle most of the
comedy, although Wilson seems to dwell a lot on contorting her
cat-body into rude postures. Laurie Davidson charms as magician cat
Mr. Mistoffelees, and Robbie Fairchild is appealing as the show’s
narrator Munkustrap.
The visual effects do not really turn
people into cats, and seem to focus mostly on ears (which always seem
in motion), tails, and whiskers. Otherwise, the costume/CGI
combination is less cat-like than you might expect. Actually, some of
the characters could have used a bit more fur, as they mostly look
look people in leotards.
Still, none of that is likely to deter
fans, The story is somewhat different from the stage version with
perhaps a bit more of the humor in the plot-less book, but close
enough to please fans.
If you are big fan of the musical, than CATS is a must-see for you. For the rest of us, it has some charming performances and good star power, but less visual effects dazzle than might be expected.
This week’s new comedy/drama is a most unexpected entry in the career of a gifted international filmmaker. After making a name for writing and directing television shows (“Flight of the Conchords”), and a few low budget movies (BOY, EAGLE VS SHARK) in his native New Zealand, Taika Waititi finally scored worldwide success (a critical darling and some modest box office numbers) with WHAT WE DO IN THE SHADOWS, a parody putting vampires in a realty “sharing a house” TV show. His next effort HUNT FOR THE WILDERPEOPLE had big laughs along with loads of heart. Then, who should take notice and “come a’ calling”, but Marvel Studios. Sure, they had made a “rep” for enlisting “indie”, largely unknown directors, but this seemed a pretty big gamble in handing over the third flick in one of their most lucrative franchises to him. Luckily THOR: RAGNAROK was a smash as Waititi deftly balanced the big cosmic action sequences with an “off-kilter” sense of humor. He even acted as alien rock-like behemoth Korg (which he reprised in AVENGERS: ENDGAME). So, is he staying in the big “blockbuster” lane? Well, he’ll soon be helming another Thor epic, but first comes a quirky mix of social satire, coming of age drama, and whimsical fantasy, enlisting some “name” actors, all set against the backdrop of 1940s Nazi Germany. It seems that dark time was the playground of a young lad nicknamed JO JO RABBIT.
Yes, ten-year-old Jojo (Roman Griffin Davis) is a typical young lad living in Germany during that turbulent time. He’s got a best pal, Yorki (Archie Yates), along with an imaginary buddy. For most kids that might be another boy or even a six-foot talking bunny, but Jo Jo has Adolph Hitler (Taiki Waititi). It figures since he’s a most enthusiastic member of the Hitler Youth and hopes to serve his Fuhrer as a loyal soldier. Jojo’s mother Rosie (Scarlett Johanssen) tolerates her son’s energy as she runs the household alone. Her hubby is missing in Italy and an older daughter passed on years ago. The youth camps are in session, presided over by Captain Klenzendorf (Sam Rockwell), though “K” is fine by him. After failing a test of cruelty, the older lads add “Rabbit” to Jojo’s name. Ah, but he’s got a plan to erase that derisive moniker. But his impulsive act of bravado soon proves disastrous. Jojo is still able to help at a local military office, but a future in combat is kaput. And he spends more time at home, trying to occupy himself as Mum runs her “errands”. It’s during one of those long days, that Jojo discovers her secret. Hiding behind the walls of their “flat” is a teenage girl named Elsa (Thomasin McKenzie). And she’s Jewish. What’s a good Ayrian boy to do? His mother will be punished if he reports Elsa. So, he mustn’t let her know he knows (a bit confusing). As the war drags on, Jojo’s inner conflict nearly tears him apart. Is she the evil creature from his studies? And does he feel empathy, or something more, for her?
The story is expertly carried by the energetic natural performance of Davis, who ably conveys the title character’s youthful euphoria, especially in the opening sequence as he “Siege Heils” nearly everyone in his eye-line. Thanks to the influences of his mother and Elsa, Davis also shows us a big change in Jojo’s spirit as he slowly develops sympathy, perhaps a conscience, as he questions the beliefs drilled into him over most of his young life. His wide expressive eyes become a window into his evolving soul. His demeanor is best shown in conflict with the two positive female influences on him. As mom Rosie, Johanssen really gets to explore her playful side as a life-affirming, smiling “sprite” who detests what her beloved homeland has become. As her heart nearly breaks, we see that she’s not about to give up on her son, appealing to the playful, happy-go-lucky boy that’s still somewhere buried inside a future “goose stepper”. And then there’s the formidable Ms. McKenkie (so good in last year’s indie gem LEAVE NO TRACE), whose Elsa has an indomitable spirit, a survivor who must earn Jojo’s trust, but who still challenges him as she becomes a “consultant” on his literary aspirations. McKenzie exudes both fearlessness and intelligence in a terrific supporting role. Speaking of great support, how about Oscar-winning Rockwell who seems to be having a great time as the sour, surly Captain ‘K’, who must endure the onslaught of kids? Still, he finds a kindred spirit in Jojo, as he dreams of glories perhaps still attainable, even designing colorful outfits (lots of frills and capes). One of his underlings is the wonderful Rebel Wilson, freed from studio “rom-com” Hell as the too-helpful Fraulein Rahm, who’s happy to send her charges off to doom with a smile and an encouraging word. The three biggest scene-stealers are first, Stephen Merchant as the most affable Gestapo agent ever, who grins through each threat as he towers over his black-clad minions. Then there’s the sweet work of Yate as pal Yorkie who pops up to cheer up his pal Jojo. His round face with Harold Lloyd glasses makes him resemble a cartoon cherub, yearning to escape the battlefield and get in some play (or cuddle) time. And finally, there’s Taititi as Jojo’s invisible (to others) confidant, buddy AH, who becomes a petulant diva at the least affront from Jojo. It’s a truly tricky role, but Waititi hits every note with confidence and superb comic timing.
Mr. W is quite the triple threat here as he also wrote the screenplay, based on the novel by Christine Leunens. Though some may question making Nazis the object of ridicule, I’m reminded of the musings of Mel Brooks (who was slammed by many for his first flick, THE PRODUCERS, over 50 years ago), who has said in countless interviews that the worst humiliation for the Reich is still be mocked and made the butt of jokes. With their recent resurgence, the time’s more than ripe for this barrage of satiric salvos. But as with last year’s classic BLACKkKLANSMAN, Waititi doesn’t erase the deadly dangers of the group. Yes, as with KKK’s white hoods, these near-robots in their colors of black, grey, red, and brown look like clowns, but their sting is still full of poison. In the town square, Jojo must pass by a public gallows with an ever-changing quartet of “traitors”. These are especially driven home in the story’s final moments, as the war winds down and it’s time to “face the music” (oh, the film is peppered by several great post-war pop songs sung in German by the original British and American artists, from the Beatles to Bowie). There’s great use of locations in Prague, which doubles seamlessly for those German villages. Yes, there are loads of laughs, but Waititi knows just when to slow things down, as Jojo begins to ponder the mysteries of his heart. This work showcases the maturity of this emerging screen storyteller. Before we return with him to New Asgard, we should all take a sweet, surprisingly funny and moving stroll 75 years in the past with JO JO RABBIT.
Writer director Taika Waititi (THOR: RAGNAROK, HUNT FOR THE WILDERPEOPLE), brings his signature style of humor and pathos to his latest film, Jojo Rabbit, a World War II satire that follows a lonely German boy (Roman Griffin Davis as Jojo) whose world view is turned upside down when he discovers his single mother (Scarlett Johansson) is hiding a young Jewish girl (Thomasin McKenzie) in their attic. Aided only by his idiotic imaginary friend, Adolf Hitler (Taika Waititi), Jojo must confront his blind nationalism. Jojo Rabbit with a screenplay by and directed by Taika Waititi is based upon the book Caging Skies by Christine Leunens and stars Roman Griffin Davis, Thomasin McKenzie, Taika Waititi, Rebel Wilson, Stephen Merchant, Alfie Allen, with Sam Rockwell and Scarlett Johansson.
JOJO RABBIT Opens in Theaters October 16th. Check out this new trailer:
Jojo Rabbit offers
a sharply funny, yet profoundly stirring, child’s-eye view of a society gone
mad with intolerance. Drawing on his own
Jewish heritage and his experiences growing up surrounded by prejudice,
writer-director Taika Waititi (whose mother is Jewish, while his father is Māori)
makes a powerful statement against hate with this pitch-black satire of the Nazi
culture that gripped the German psyche at the height of WWII. Waititi takes a story almost too appalling to
approach with sober solemnity—that of a boy who, like many at that time, has
been brainwashed into absolutely gung-ho devotion to Hitler. He then mines from
it a dark, mesmerizing comedy that ultimately unravels the toxic ideas of
anti-Semitism and persecution of the other.
Balancing on a comedic high-wire, Waititi mixes the fury of satire with
an insistent sense of hope that fanaticism and hate can be overcome.
The film follows very much in the footsteps of some of Waititi’s personal filmmaking heroes: Mel Brooks, Charlie Chaplin, Ernst Lubitsch and Stanley Kubrick to name a few. Like those directors, Waititi was in search of a fresh way to re-visit the most unsettling of topics through the paradoxically moral force of out-and-out parody. Waititi echoes Brooks in particular, as a Jewish actor disrupting the enduring power of Hitler’s image with a zany, ridiculing portrait. But much as the film owes to its bold forbearers, Jojo Rabbit feels very much of our times, with its deeply human characters whose blinded foibles might amuse but whose inner predicaments are deadly real and pointedly relevant right now.
Anne Hathaway and Rebel Wilson team up for the terrible new comedy THE HUSTLE. Bewitched and bamboozled, men tend to make fools of themselves around this pair, con artists plying their trade in the French Riviera. Glamorous and cunning Josephine Chesterfield (Hathaway) has a talent for defrauding gullible wealthy men from all corners of the world. The more fun-loving Penny Rust (Wilson) is an Aussie who fleeces her marks in neighborhood bars. Despite their different methods, they team up in France to swindle a naïve tech billionaire (Alex Sharp). Bank accounts are emptied, true love is declared, and common sense left in the gutter.
THE HUSTLE feminizes the perennially male profession of con artists. This might seem like a fresh take if we hadn’t just seen women con artists (including Ms Hathaway!) in OCEANS EIGHT a few months ago. There’s little to keep you entertained here as Hathaway and Wilson go through their comic set pieces in routine fashion while the film moves mechanically from one contrived situation to the next. THE HUSTLE unreels as though it’s all been done before. And it has. This is a remake of DIRTY ROTTEN SCOUNDRELS (which was itself a remake of BEDTIME STORY) but it’s not in the same league as that 1988 Michael Caine and Steve Martin hit. THE HUSTLE starts out bad and stays there, never steadying itself even after the central caper plot starts to unfold. The screenplay (credited to five writers – never a good sign!) is lazy, as if they purposely left out the funny stuff. The physical comedy isn’t much better unless your idea of hilarity is seeing Rebel Wilson with her hand super-glued to a wall. A scene where she eats a French fry that has wiped in a toilet (she’s pretending to be blind – har har!) may the low point of 2019 cinema so far. Ms Wilson mugs shamelessly throughout, rolling her eyes, sticking out her tongue, and making faces like a spoiled child. Her antics seem designed to distract from this horrible screenplay, but it’s just embarrassing. Hathaway escapes with her dignity slightly more intact, modeling many gorgeous outfits through THE HUSTLE’S 93-minute running time. In every scene she’s sporting some elegant new garb (and I swear I spotted her clothing change within a scene) and looks stunning. She also tries on as many accents, but to far less effect. Charisma-challenged man-child Alex Sharp is hardly a formidable foe as the pair’s primary mark. Director Chris Addison, in his big-screen debut, never gets the timing right and allows the story to drag with little of the type of the rhythm, snap and internal logic a good caper needs. There are a couple of zingy lines (“if her tits were batteries, they’d go in a watch”) and a moment or two that suggests where Addison might have gone with tighter focus and a better script. We know the story takes place along the French Riviera because we’re told so and there are a handful of establishing shots, but most of the film takes place indoors in hotel rooms and casinos. The locale isn’t well-integrated and I never got the feeling the cast ever left a studio.
THE HUSTLE is a chick flick and I know I’m not
its target audience. Women who go out and see it with their girlfriends or moms
for Mother’s Day this weekend are less likely to have as miserable a time with
it as I did.
“Hello, film lovers, where ever you are…” (with apologies and props to Rogers and Hammerstein). Yes, it’s that holiday, once again, so are the Hollywood studios offering any sort of “movie nightcap” to that special, intimate evening? Well, the flick opening today does have romance (well, a variation) in the title. But look at the lead actress. She’s perhaps best known for raunchy comedies, more “raw-coms” than “rom-coms”. That should clue you in that this flick offers a much sharper take (razor-sharp at times) on the now familiar “kisses and chuckles” feature. This gives several interpretations to the question posed by the Valentine’s Day release, ISN’T IT ROMANTIC. Oh, and don’t try and sneak in any heart-shaped boxes of candy into the multiplex, okay?
The story begins a couple of decades ago, as the camera gives us a full close-up of adorable nine-year-old Natalie, with an expression of pure bliss as she watches (probably not her first viewing) the 1990 classic PRETTY WOMAN. Of course, her weary, life-battered Mum (Jennifer Saunders) walks in to burst her baby’s bubble, warning her that life is very much not like these types of bubbly flicks. Cut to today, NYC, as now thirty-something Natalie (Rebel Wilson) wakes up in her dingy, tiny apartment. After saying hi to her surly unfriendly neighbor Donny (Brandon Scott Jones), she heads to her architect job at a messy, crowded downtown design firm. No one respects her except her frowsy aide Whitney (Betty Gilpin), who spends much of her days streaming, you guessed it, “rom-coms” on her computer screen, and best “work pal”, the ever-encouraging and jovial Josh (Adam Devine). Later that day, a subway altercation KO’s Natalie. When she wakes up in a very comfy hospital bed, it seems like everything’s changed (maybe better, definitely weirder). As she walks out into the now immaculate streets, she has a “meet cute” with an instantly-smitten Aussie billionaire named Blake (Liam Hemsworth). After taking her home in his limo (and giving his “digits”), Natalie is stunned by her now lush and luxurious apartment, with a fully stocked (all those shoes) walk-in closet. And (certainly “out of the closet”) waiting for her (he’s got a key, natch’) is her “BFF” Donny, now friendly and extremely flamboyant, devoted to her alone (does he have a job or an outside life). Things are certainly different at her now plush, upper-crust design office. Oh, but now Whitney is a super-competitive, rhymes-with-witchy rival. Luckily Josh is still the same supportive pal. Ah, but he’s not immune to this “turn of events”, as he starts a fast “meet cute” turned romance with the gorgeous “yoga ambassador” Isabella (Priyanka Chopra). Natalie realizes that she’s in an artificial world based on “rom-com” cliches. Is she forever “trapped” or will she find a way to return to her “real world” before losing Josh forever?
In a role quite different from her usual “party hard” twirling dervish, Wilson makes a solid cynical leading lady, calling out the genre tropes and cliches. Though she’s treated as a “beguiling” (Blake’s go-to phrase) queen, she knows that she must get back to our ole’ cruel world and makes us root for her to complete her “quest”. Plus Wilson uses her slapstick gifts to great effect in several physical gags (stopping a careening kabob cart) and a couple of musical numbers (hey there Amy). Speaking of music, she teams up once more with her PITCH PERFECT partner Devine for scenes that bristle with true chemistry (a real bit of movie “shorthand”). Luckily Devine has toned down the aggressive energy that has made many of his film roles a tad abrasive. This “mellow” almost verges on the cloying, coming off as a needy puppy in the early scenes, but he bounces back when he finds this “new NY” more appealing. Hemsworth has a winsome, goofy vibe as the fantasy “prince of the city”, yearning to take Natalie away in his carriage..er..stretch limo. Chopra is charming as the fantasy femme whose claws come out as she realizes the strong bond between the “normal” duo. Happily, the film has a couple of terrific supporting players who become the story’s true MVPs. Straight from the wrestling ring of the Netlix sitcom “Glow” comes Gilpin, showcasing her versatility in two distinct versions of Whitney. Whit 1.0 is a frizzy, mosey mess, who has been suckered in by movie fibs and spouts silly platitudes to “help” Natalie (“The right man will see your inner light”). Even more fun is Whit 2.0, a crimson-haired barracuda turning the air toxic with her withering glares and savage slams (“I’m taking you down!!”). Oh, but that “f-word” truly describes the “go-for-broke” work of Jones as the (another “f-word”) fabulous Donny, bouncing from every corner of the screen like a martini-swilling Tigger, only slowing down to deliver just the right “pep talk” to his fave “grrrlll”. He’s a real-life cartoon, in the best sense of the word.
There are a lot of truly inspired comic gems and “call-backs” in the witty, satirical script from Erin Cardillo, Dana Fox, and Katie Silberman. I was particularly amused when, in the new “world”, Natalie tries to drop the “f-bomb”, but is constantly drowned out by ambient noise (car horns, alarm clocks, etc.), thus ensuring the coveted(for this genre) PG-13 rating. And the visual bits are executed by the film’s top-notch art directors and production designers. The “RC” NYC is a place of clean streets with adorable lil’ shops for cupcakes, kids books, and bridal gowns (as opposed to the grimy 99 cent stores, bodegas, and check cashing places in the opening), subway stops adorned with potted bouquets, and pristine pedestrians wearing warm pastels and flowery prints. And, of course, no traffic jams (there’s never a car anywhere near Blake’s limo as he zips over the bridge). On the other hand, pointing out the ridiculous nature of rom-coms may be the parody equivalent of “shooting fish in a barrell”, making the film’s main premise seem “stretched” to the breaking, or boring, point. Like last year’s THE HAPPYTIME MURDERS (this new flick is vastly superior, though), we wonder if this might have worked much better as a short subject, or on TV as a comedy special or a bonus-length SNL sketch. It doesn’t help that the direction from Todd Strauss-Schulson is often listless, with lots of “wheel-spinning” (the repeated “morning after” gets tedious fast) between some peppy set pieces (the karaoke number, in particular). The whole enterprise derails in the story’s big finale as they suddenly embrace the cliches they spend the previous hour or so bashing with a Mad magazine-filled sledgehammer (how I wished a person from HR would break up a big office reveal). C’mon ISN’T IT ROMANTIC, you can’t have it both ways, or as those films would show, somebody (a guy named Baxter) has to be left at the altar. Darn, this one had a premise with some promise.
From New Line Cinema comes the romantic comedy ISN’T IT ROMANTIC, starring Rebel Wilson (“How to Be Single,” the “Pitch Perfect” films), Liam Hemsworth (the “Hunger Games” films), Adam Devine (“The Intern,” the “Pitch Perfect” films) and Priyanka Chopra (“Quantico,” “Baywatch”), under the direction of Todd Strauss-Schulson (“A Very Harold & Kumar 3D Christmas,” “The Final Girls”).
New York City architect Natalie works hard to get noticed at her job but is more likely to be asked to deliver coffee and bagels than to design the city’s next skyscraper. And if things weren’t bad enough, Natalie, a lifelong cynic when it comes to love, has an encounter with a mugger that renders her unconscious, waking to discover that her life has suddenly become her worst nightmare—a romantic comedy—and she is the leading lady.
Wilson stars as Natalie, alongside Hemsworth as Blake, a handsome client; Devine as her co-worker and earnest best friend, Josh; and Chopra as Isabella, a model and self-proclaimed yoga ambassador.
Strauss-Schulson directed from a screenplay by Erin Cardillo and Dana Fox & Katie Silberman, story by Erin Cardillo. Gina Matthews (“13 Going on 30,” “What Women Want”), Grant Scharbo (“13 Going on 30,” “What Women Want”), and Todd Garner (“Paul Blart: Mall Cop,” “Tag”) are the producers, with Richard Brener, Dave Neustadter, Andrea Johnston, Marty P. Ewing, Rebel Wilson, Aaron L. Gilbert and Jason Cloth executive producing.
Collaborating with Strauss-Schulson behind the scenes are director of photography Simon Duggan (“The Great Gatsby,” “Hacksaw Ridge”), production designer Sharon
Seymour (“Argo,” “The Town”), editor Andrew Marcus (“Begin Again,” “Sing Street”), and costume designer Leah Katznelson (“How to Be Single,” “Sleeping with Other People”).
ISN’T IT ROMANTIC opens on February 13, 2019 and will be distributed domestically by Warner Bros. Pictures.
Enter for your chance to win two free passes to the St. Louis advance screening of ISN’T IT ROMANTIC. The theatrical sneak preview will be on February 12 at 7pm
Answer the following: Rebel Wilson wil co-star on director Tom Hooper’s upcoming British–American musical fantasy comedy-drama film based on the musical of the same name, which in turn was based on Old Possum’s Book of Practical Cats by T. S. Eliot. What is the name of this musical?
Add you name, answer and email address in our comments section below.
NO PURCHASE REQUIRED. A pass does not guarantee a seat at a screening. Seating is on a first-come, first served basis. The theater is overbooked to assure a full house.
The film has been rated PG-13 for language, some sexual material and a brief drug reference.
This month we’ve been talking about the middle of a trilogy while another trilogy finishing up hasn’t been getting a whole lot of attention, perhaps because it’s a rarity among trilogies in that it’s not a block buster action one or in the horror genre. It’s a comedy. But three’s not been the magic number for THE HANGOVER or MEET THE PARENTS (which came to a most unfunny conclusion with MEET THE FOCKERS). Perhaps the quality that makes this trilogy even more unique will be its saving grace. You see it’s a musical comedy, well really a comedy set in the world of music. Acapella harmony competitions. Back in 2012 the producers of this under-marketed low-budget flick probably never thought that it would spawn two follow-ups. But here we are, over five years later, as the ladies warm up their pipes for PITCH PERFECT 3. And to spin a cinema twist on an old familiar phrase, the franchise aint’ over till the Fat Amy sings (and just a reminder you, the character embraces that moniker).
So the original “Bellas” are out in the real world, and it’s not very melodic out there for them. As a matter of fact, on this particular day, Beca (Anna Kendrick) loses her job at a big music agency (one too many dopey divas). Her roommate, the unemployed (and unemployable) Amy (Rebel Wilson) fails to cheer her up. Luckily her other ‘roomie’ Aubrey (Anna camp) has great news: the current Barden Bellas want the old gang to reunite for a show down at the Brooklyn Aquarium. The gals arrive in their old stewardess-style stage outfits, but the new Bella group leader Emily (Hailee Steinfeld) tells them that it’s a non-singing appearance. Beca and his pals look on with sadness as Emily’s new troupe wows the crowd. Later, over drinks, Aubrey has great news. Her father, a big military honcho, has invited them to be part of a big USO tour of Europe. And of course it’s also a big competition. Rap superstar (I’ll take their word for it) DJ Khaled (himself) is fronting the event and will choose one of the four acts involved to be his world tour openers. Stacie (Alexis Knapp) must bow out for …ahem…personal reasons, so Emily takes a break from college to join her old sisters. But things aren’t going to be easy for them. They’ve gotta’ out sing a male country/western band, a hot hip-hop duo. and, their fiercest rivals, a hard-rockin’ female quartet named “Evermoist” (really). On the road overseas Chloe (Britanny Snow) falls hard for their hunky military liaison, as does the shy Lilly (Hana Mae Lee) for one of the rappers. Beca flirts with Khaled’s smooth aide, as two other Bellas deal with daddy issues. Aubrey’s father seems uninterested to seeing her sing, while Amy runs into the father that left her many years ago, the charming grifter Fergus (John Lithgow). And it’s all be recorded by that smarmy duo Gail (Elizabeth Banks) and John (John Michael Higgins) who are shooting a “whatever happened to” documentary about the women. So will the Bellas triumph or will their dreams of music superstardom fall flat? Or maybe sharp. Or just “pitch-y’.
Unlike the two previous entries which tried to divvy up the screen time between the Bellas, this supposed final installment really zeroes in on the group’s version of “the odd couple”. I’m speaking first of Kendrick as the smart, focused Beca who’s almost the kid sister of Jason Bateman (in his usual TV and film roles) in that she’s at her best tossing out droll, deadpan retorts to the zany antics going on all around her. That’s not to say she doesn’t get in on all the silly stuff, but there’s an accessible intelligence that propels her scathing wit. Plus Beca’s a real music savant, turning junk into melodic gold. The other half of “the couple” is comedy cyclone Wilson, the human “party animal” with no filter. There’s an energetic joy to Wilson’s performance as she wrecks havoc at nearly every swanky shindig she crashes. This time she gets to show a bit more of her vulnerable side, usually obscured by this whirling dervish, as she tries to deal with her mixed feelings over her newly resurfaced papa. But then the cartoon slapstick sets in as she defies physics in some ludicrous action set pieces.Luckily Wilson is able to deliver on all levels. Speaking of pop, Lithgow is almost doing an “evil twin” of his recent role in DADDY’S HOME 2 as he tries to repair old broken bridges with daughter Amy. Despite his tender pleading, he lets us know that Fergus will show his true colors eventually.
The film really seems at odds with itself, hoping to surprise while making sure it repeats bits from earlier efforts. It opens with a big musical number that suddenly switches into an action film cliché, becoming more Bond or Bourne than Bellas (running from a fireball….hmmm okay) . And while the other two flicks had entertaining “rom com”-style subplots for Beca and Amy, this one dismisses Jesse (Skylar Astin) and Bumper (Adam Devine) with a couple of “tossed off” lines of dialogue in the first ten minutes or so. As for “call-backs” (or the musical “reprise”), another “song improv battle” or “riff off” with their USO rivals quickly becomes tired and tedious. Plus the choreography has become so intricate it’s hard to believe that they can stay on pitch, let alone remember the lyrics, during these mathematically plotted moves. That action final act seems contrived to keep us from drifting off, while the last big number wraps up everything too neat and tidy. The Bellas have had an impressive cinematic concert, but with this scattershot sequel they’re more than ready to take a final bow. More “tepid applause” than “encore” or “bravo”.
Now graduated from college and out in the real world where it takes more than a cappella to get by, the Bellas return in Pitch Perfect 3, the next chapter in the beloved series that has taken in more than $400 million at the global box office.
After the highs of winning the World Championships, the Bellas find themselves split apart and discovering there aren’t job prospects for making music with your mouth. But when they get the chance to reunite for an overseas USO tour, this group of awesome nerds will come together to make some music, and some questionable decisions, one last time.
Anna Kendrick, Rebel Wilson, Hailee Steinfeld, Brittany Snow, Anna Camp, Hana Mae Lee, Ester Dean, Alexis Knapp, Chrissie Fit, Kelley Jakle, Shelley Regner, Elizabeth Banks and John Michael Higgins all return and are joined by additions including John Lithgow and Ruby Rose.
Pitch Perfect 3 is again produced by Paul Brooks of Gold Circle Entertainment and Max Handelman & Elizabeth Banks of Brownstone Productions, and is directed by Trish Sie (Step Up All In).
In theaters December 22.
WAMG invites you to enter for the chance to win TWO (2) seats to the advance screening of PITCH PERFECT 3 on December 19 at 7:00 pm in the St. Louis area.
Answer the Following:
Of all the Bellas, which character is your favorite?
TO ENTER, ADD YOUR NAME, ANSWER AND EMAIL IN OUR COMMENTS SECTION BELOW.
OFFICIAL RULES:
1. YOU MUST BE IN THE ST. LOUIS AREA THE DAY OF THE SCREENING.
2. No purchase necessary. A pass does not guarantee a seat at a screening. Seating is on a first-come, first served basis. The theater is overbooked to assure a full house.
PITCH PERFECT 3 has been rated PG-13 (Parents Strongly Cautioned – Some Material May Be Inappropriate for Children Under 13) for crude and sexual content, language and some action.
(L to R) Flo (CHRISSIE FIT), Aubrey (ANNA CAMP), Cynthia Rose (ESTER DEAN), Chloe (BRITTANY SNOW), Jessica (KELLEY JAKLE), Beca (ANNA KENDRICK), Jessica (SHELLEY REGNER), Fat Amy (REBEL WILSON), Emily (HAILEE STEINFELD) and Lilly (HANA MAE LEE) in “Pitch Perfect 3,” the next chapter in the beloved series that has taken in more than $400 million at the global box office.
Coming to theaters this Christmas is the next part in the story of the fun-loving Bellas.
From Universal Pictures, watch the first trailer for PITCH PERFECT 3.
Now graduated from college and out in the real world where it takes more than a cappella to get by, the Bellas return in PITCH PERFECT 3, the next chapter in the beloved series that has taken in more than $400 million at the global box office.
After the highs of winning the World Championships, the Bellas find themselves split apart and discovering there aren’t job prospects for making music with your mouth. But when they get the chance to reunite for an overseas USO tour, this group of awesome nerds will come together to make some music, and some questionable decisions, one last time.
Anna Kendrick, Rebel Wilson, Hailee Steinfeld, Brittany Snow, Anna Camp, Hana Mae Lee, Ester Dean, Alexis Knapp, Chrissie Fit, Kelley Jakle, Shelley Regner, Elizabeth Banks and John Michael Higgins all return and are joined by additions including John Lithgow and Ruby Rose.
PITCH PERFECT 3 is again produced by Paul Brooks of Gold Circle Entertainment and Max Handelman & Elizabeth Banks of Brownstone Productions, and is directed by Trish Sie (Step Up All In).
Okay fellow film fans, are we ready for another flick attempting to replicate the BRIDESMAIDS box office bonanza? Hollywood has been frantically trying to clone that hit since it astounded the nay-sayers nearly five years ago. Back then none of the studio chiefs believed that audiences would flock to an “R” rated comedy that primarily focused on a group of woman (and mostly TV actresses at that!). Its success turned supporting player Melissa McCarthy into an “above the title” film star who headlines at one major comedy each year (she’s nearly a film franchise on her own). Now the execs want to tap into a slightly younger market, maybe the Rogen/Franco/Hill late 20’s crowd, but just a tad older than THAT AWKWARD MOMENT. And they’re banking on one of the minor BRIDESMAIDS players, the Aussie firecracker that stole scenes from lead Kristen Wiig, Rebel Wilson, who later headlined the PITCH PERFECT flicks. She’s now dishing out sage advice to Dakota (FIFTY SHADES OF GREY) Johnson on HOW TO BE SINGLE.
Wilson practically explodes off the screen when the film begins. As Robin she’s a one woman party, always on the move, and bouncing from club to club in NYC. But then the film abruptly backtracks to the story’s main focus, recent college grad Alice (Johnson). We first encounter her as a freshman when she has a “meet cute” with future beau Josh (Nicholas Braun). Jump to graduation as she tells a crest-fallen Josh that she wants to take a “break” from their relationship. After all, she’s moving to the “big apple” and wants to keep her options open. Josh begrudgingly agrees. Alice crashes at the plush apartment of her single big sis, Meg (Leslie Mann), a hard-working obstetrician, then begins a paralegal gig at a big law firm, where receptionist Robin introduces her to the singles scene, mainly the “do’s and the “don’ts”. One of the “do’s” is a hunky bartender Tom (Anders Holm). He’s slingin’ drinks while verbally sparring with the pub’s upstairs neighbor Lucy (Alison Brie). She’s taking advantage of the free Wi-fi essential to her determined online search for “Mr. Right”. Meanwhile Meg suddenly comes down with “baby fever” and searches for a “donor”. This later complicates her fling with the decade or so younger Ken (Jake Lacy). As for her kid sis, will Alice re-unite with Josh once she has “sewn her wild oats” or will she embrace Robin’s “wild style”?
Though Wilson is most prominently featured in the ads and TV spots, this is really the story of Johnson’s Alice (she takes over the film’s narration from Robin early on). The talented second (no, third) generation actress helped make GREY more tolerable than it deserved which serves this often sluggish script well. Her screen presence makes the flighty, impulsive Alice somewhat sympathetic. As mentioned earlier, Wilson is a comedic force of nature making Robin’s irresponsible antics (blacking out drunk and waking in a stranger’s bedroom is more dangerous than wacky) a touch more palatable. For several scenes she comes off merely as a less musical cousin to PITCH’s Amy (both make men turn to jelly). Unfortunately, like many award show comic hosts, she just disappears from the stage for great clumps of time (at lest 20 minutes it seems), making the producers guilty of “bait and switch” marketing. Mann builds on the mature, no-nonsense character she’s aced in her hubby’s flicks (especially THIS IS 40), and beams as the woman who decides to travel down a different path (and she can really draw blood with her verbal jabs). These ladies fare much better than the very talented Ms. Brie (so fabulous as Annie on TV’s “Community”), whose comic skills are wasted with the ludicrous, lazily conceived Lucy. Why can’t she be as sharp and smart as the other characters? And to top it off, just as in last year’s trifle SLEEPING WITH OTHER PEOPLE, Brie must again behave inappropriately in front of a gaggle of toddlers! C’mon! The male actors have even less to work with, script-wise. This hampers the gifted Damon Wayans Jr. as a “could have been interesting” suitor for Alice, whose story arc seems brutally cut short. Braun is an affable boy next door who at least gets to move past being Alice’s doormat (unfortunately right into “Jerktown”). Holm is never completely convincing as an irresistible “babe magnet” and seems like a revamp of TV’s sitcom stud Sam “Mayday” Malone, particularly in exchanges with Brie there’s a big “Cheers” vibe (but not nearly as clever). The best of the boys may be the energetic and charming Lacy (perhaps the only bright light of the dismal LOVE THE COOPERS) who has a real leading man comic charisma (check out OBVIOUS CHILD). May he find a film more worthy of his talents…the future of the “rom com” just may depend on him.
The best that can be said about the whole “she-bang’ is that it’s a bright candy-colored “infomercial” for Manhattan with cute shops and fun, safe bars on every corner and no piles of garbage in sight…ever! This helps peg this flick as the wilder kid sister of the SEX AND THE CITY films and TV series (heck, Meg references that HBO hit). The tepid direction is definitely high-end tube style (aside from a nicely framed shot of Alice alone on a fire escape) with far too many montages (Alice and Robin having fun shopping, Meg tends to her patients, Lucy endures lousy dates, Alice decorates her new digs) set to turgid pop tunes. Once again, just as in the PITCH flicks, Wilson is used as an easy laugh, to energize the flagging pace. When one scene falls flat cut to Robin, the boozing, toking, fornicating live action blond Tasmanian Devil. In the last act she is almost humanized by delivering a “wake-up call” to Alice (finally good advise!), but it doesn’t quite mesh with the previous debauchery. As I mentioned earlier, the sloppy subplot with Alice and David tries to invoke pathos, but it seems rushed. Perhaps the Lucy scenes could have been jettisoned (her desperate debacles are tiresome) to give it room to breathe and be truly moving. Or it might just feel as flat as most of the film. Rebel is often raunchy fun, but there’s really no need to mingle with HOW TO BE SINGLE. As they say in “speed-dating”…next!
