Scarlett Johannson – We Are Movie Geeks

ELEANOR THE GREAT – Review

This weekend, moviegoers will get to savor another wonderful performance from a veteran actor who has been enjoying a remarkable “second act”. That curtain rose almost a dozen years ago when director Alexander Payne realized, to the delight of her new fans, that she was his “secret weapon” in the character “dramedy” NEBRASKA. In it, she earned raves and was frequently referred to as a “scene-stealer”. If that’s a crime, well, she was so “guilty” that she was “sentenced” to. her first Oscar nomination for Supporting Actress (note that I said “first”). Last year, she garnered more accolades in her first lead performance in the “sleeper hit” THELMA (and she even did some stunt work). Pretty nice for somebody who’s been in small TV and movie roles for the last 40 years (while still working on the stage, going all the way back to the original touring company of “Gypsy” with Ethel Merman). Now, she returns as another title character. And this time she’s guided by a current screen star who makes her feature directing debut with ELEANOR THE GREAT.

The royal “moniker” is given to the story’s main focus, the irascible 94-year-old widow Eleanor Morganstern (June Squibb), who is living a quiet life in a retirement apartment complex, sharing a unit with another widow, her BFF Bessie (Rita Zohar). Aside from her recurring nightmares about her time in a WWII concentration camp (Eleanor has always lived in the States), the two enjoy a quiet life in Florida. But the clouds form over the Sunshine State when Bessie unexpectedly passes. Rathing than wallowing in her grief, Eleanor decides to make a bold move. She’s relocating to NYC, and spending her last years with her divorced daughter Lisa (Jessica Hecht) and her college-aged son Max (Will Price). It’s a significant change for Eleanor, as she occupies a spare bedroom in Lisa’s place while contemplating another move, possibly to a retirement community. Lisa nudges her to go out and meet folks her own age. Initially resistant, Eleanor finally heads down to the nearby Jewish adult education facility to look into their “senior singing” classes. After a quick peek, she decides this isn’t for her and is headed back home until a friendly lady leads her into another room where her “group” is about to begin. After it starts, Eleanor realizes that this is a “support” meeting for Holocaust survivors. Though embarrassed at first, she decides to stay, perhaps getting some comfort after the loss of her old friend. But things soon take an “odd” turn when Eleanor is asked to “share”, and haltingly repeats a memory from the late Bessie. The heartbreaking tale captures the attention of a young journalism student who is “sitting in”, Nina (Erin Kellyman). She and Eleanor strike up a friendship as the “little white lie” grows and grows, with Nina sharing her story with her newscaster father, Roger (Chiwetel Ejiofor), who wants to do a feature piece on Eleanor’s desire to finally have her own bat mitzvah. Can Eleanor keep this all from her family before her “fib” is broadcast and she is “found out”?

At the “forefront” of this engaging character study is that “force of nature”, Ms. Squibb. As with her other recent work, she captures our hearts with her incredible “can-do” spirit and deft comic timing (not since the much-missed Betty White has a nonagenarian launched scalding insults with such precise accuracy). But her Eleanor is more than a sharp-tongued white-haired sprite. She’s had to put up a tough-as-nails exterior to cope with the loss of loved ones, especially Bessie, along with her own impending mortality. Plus, there’s also her panic as she scrambles to try and charm her way out of her own web of well-intentioned deceit. Happily, though, this isn’t a one-woman “showcase” (which would still be very entertaining), as Squibb proves to be an excellent screen “partner” to the talented Ms. Kellyman (I recall her interesting villainess in “The Falcon and the Winter Soldier”) as the much-younger woman also dealing with a major loss. Nina, despite her own tough outer “shell”, still mourns her own deceased mom, so her connection to Eleanor seems to fulfill her yearning for a matronly connection (though Eleanor may be more of a surrogate grandmother). Kellyman shows how she beams under the elder lady’s lifeforce, while her homelife is far less nurturing due to her now-strained interaction with her father. Ejiofor as Roger, also seems to be wearing a mask of strength, as he seems to be denying and “pushing down” his own grief while trying to find a way to reach out and connect to his drifting child. Hecht balances the delicate balance of an adult daughter who must also act as parent to her “prodigal” mama as she strains to retain her own freedom. In the pivotal role of beloved Bessie, Zohar is a most resilient survivor, a woman who has lost so much but pushes on, despite those demons of a distant past.

Oh, the big screen star that’s now behind the camera for this? None other than Scarlett Johansson, fresh off helming a couple of short films. And it appears she’s got another talent in her considerable “arsenal” (she’s been acting for over thirty years now). Ms. J brings a quiet sensitivity to this modern morality tale, gently pacing the plot points and set pieces, eschewing any flashy narrative tricks, though she smartly dissolves to Bessie telling her past horrors during Eleanor’s support group sequences. Johansson also shows us how the new friendship between E and Nina really helps them move forward while attempting to manage their shared grief. Much of the film’s power derives from the script by another feature film newcomer, Tory Kamen. She has a keen ear for family conversation, while still squeezing in humor to balance the pathos. And it all looks and sounds great courtesy of cinematographer Helene Louvart (the NYC neighborhoods look most inviting) and the score by Dustin O’ Halloran. as the summer of loud action blockbusters begins to recede, it’s great to have a sweet, funny, and compassionate visit from Ms. Squibb who has us worried and rooting, and a bit smitten, as ELEANOR THE GREAT.

3.5 Out of 4

ELEANOR THE GREAT opens in select theatres on Friday, September 26, 2025

JURASSIC WORLD: REBIRTH – Review

Hard to believe that the big Summer holiday, the Fourth of July, is almost here (and it’s on a weekend, too). Well, if you can’t hit the road or hop on a plane, the local multiplex is your best option for a tropical getaway on a secluded island. Now there’s a slight problem with this dot in the ocean. While flies and mosquitoes can dampen the fun, the pests here are much, much bigger. And very aggressive. And hungry (perhaps even “hangry”). Yes, we’re back in the movie franchise established way back in 1993’s JURASSIC PARK. After two “trilogies”, Universal’s ready for a bright, shiny “reboot” with an all-new cast trying to survive in this familiar foliage. Films are always a bit of a gamble, so is “seven” the “lucky number” for JURASSIC WORLD: REBIRTH?

This entry starts with a flashback from 17 years ago, as a research team in big, clunky haz-mat-like suits is scurrying about their lab. Looks like they’re tinkering with the dinos (always a big “no-no”), and as is usually the case in these stories, things go terribly wrong. After a few title cards explaining that the dinos we saw out in the world (Europe, the States, etc.) are succombing to unfamiliar climate and viruses, and that the general public has grown weary with the beasts (how fickle), we’re in the “present day” (really five years after the last JW flick). An exec for the pharmaceutical giant ParkerGenix, Martin Krebs (Rupert Friend), is stuck in NYC traffic as a dying Brontosaurus is lost near the Hudson. Ah, but he’s soon joined by the woman he was rushing to meet, “covert operative” Zora Bennett (Scarlett Johansson). Kreb makes his pitch: he wants to enlist her “team” to make a secret trek to the “forbidden” island home (travel is banned there) of the last thriving dinosaurs and collect blood and tissue samples (the dying nearby creatures are not “workable”). The “extracts” will be the basis of a heart disease “wonder drug”. He does insist on an addition to her team (aside from himself). They swing by the soon-to-be-shuttered dinosaur museum to collect expert paleontologist Dr. Henry Loomis (Jonathan Bailey). Soon the trio zip down to a port in Ecuador to meet Zora’s team leader, Duncan Kinkaid (Mahershala Ali), who will take them in his high-tech boat to the home of “big lizards”, Ile Saint-Hubert. Along the way, they rescue a family whose sailboat was capsized by a school of aquatic dinosaurs. After a harrowing encounter just off the island’s coast, the family is separated from the “covert” team. As Krebs tries to grab a set of three samples (beasts based on the land, sea, and “air”), the family tries to make their way to a long-deserted village. But, when the mutated (circle back to the pre-title scene) dinosaurs go on the attack, the quest for science (and big “pharma-bucks”) becomes a desperate struggle to survive until a possible rescue. This is no relaxing “va-cay”…

After four years away from the MCU (the home of “never say never”) and a brief detour into the “Wes Anderson-verse”, Ms. Johansson is back in full action heroine “mode” as the “gun for hire” who secretly has a “heart of gold” (no surprise). She’s quick with a snarky quip, but can leap right into the chaos, kicking lots of scaly tail. Somewhat regulated to the “in distress” role is Bailey, a grizzled glass-wearing geek (a fantasy breathtaking “brainiac”), who tries to keep out of the “line of fire” while taking the time to gaze lovingly at the gentler behemouths (he did study under Dr. Alan Grant, y’know). And there’s an Oscar-winner (twice) getting in on the monster mash-ups. Ali is given a bit of a tragic backstory (broken family), but mainly he’s a modern update on the rascally sea captain who loves his boat nearly as much as a hefty cash commission. He makes a fine comic partner with Bailey. Since every party needs a “p##per”, this trip has the wonderfully “weasely” Kreb played with an unseen “twirling mustache” by the glowering Friend. Oh, let’s not leave out the “rescued” (not really “stowaways,” I suppose). Manuel Garcia-Rulfo is the concerned, though confused patriarch Rueben, who just wants some quality time with his daughters, college-aged Teresa (Luna Blaise) and adorable pre-teen “snacker” (loves that licorice) Isabella (Audrina Miranda), who is adorable even as she’s in constant peril. The dinos are enough of a handful, but Rueben has to also contend with Teresa’s slacker, goofball “bae” Xavier (David Iacono), who does wonders with the abrasive role.

They’re all told where to run (and what the “green tennis ball” represents, “monster-wise”) by a director who is no stranger to big studio “IP”, Gareth Edwards. After all, he made GODZILLA work for mainstream US moviegoers, and was behind the brightest light in the post-George Lucas space flicks, the superb prequel ROGUE ONE: A STAR WARS STORY. He does bring some fresh energy to the scenes of the beasties in full-attack mode, while still taking a moment to give a “shout-out” to earlier entries (mainly the 1993 OG). Unfortunately, he’s somehow hampered by the disjointed screenplay by (speaking of OG), the adapter of the first two films in the series, David Koepp (he worked on the first Spidey, too). The time in between attack never really holds our interest, despite giving a sad backstory to both Zora (she just lost her partner during a “gig”) and Duncan (who takes a moment to gaze sadly at a faded photo of his son), while Henry tries to convince them to do the “right thing” with the samples (who doubts them). The biggest problem with the story’s structure may be the inclusion of the shipwrecked family. They never really “mesh” with the “mission crew”, which may account for why they’re quickly separated from them after they crash land on the island. Perhaps it was thought that these “average” Joes and Josephines, without firepower, would be easier to put in jeopardy and appeal to moviegoers. The cutting back and forth gets somewhat irritating, much as a TV show would flip from the “A story” to the “B story”. Now it does lead to the big nighttime finale that brings everyone together for another explosive showdown with a new dino “big bad”, the mutant “Distortus rex”, whose look owes a lot to another franchise, mainly the Xenomorphs from ALIEN. Certainly the effects on the critters continue to impress, it’s great to listen to strains of the classic John Williams score, and the carnage hasn’t been toned down to be more “kid friendly”, though I found the relentless “product placement” extremely distracting (make sure the logo is readable on that dangerous floating wrapper). Fans of these flicks will enjoy the usual mayhem and “narrow escapes”, but many may wish for something less formulaic (though this is a big improvement over JWD) than the jungle “jump-scares” of JURASSIC WORLD: REBIRTH. Now keep your hands inside the boat…

2.5 Out of 4

JURASSIC WORLD: REBIRTH is now playing in theatres everywhere

T-Rex, Mosasaurus And Spinosauruses Take A Bite Out Of The First Trailer For Gareth Edwards’ JURASSIC WORLD REBIRTH

Universal Pictures has dropped the first trailer for JURASSIC WORLD REBIRTH.

A new era is born.

This summer, three years after the Jurassic World trilogy concluded with each film surpassing $1 billion at the global box office, the enduring Jurassic series evolves in an ingenious new direction with Jurassic World Rebirth.

Anchored by iconic action superstar Scarlett Johansson, Emmy and SAG nominee Jonathan Bailey and two-time Oscar® winner Mahershala Ali, this action-packed new chapter sees an extraction team race to the most dangerous place on Earth, an island research facility for the original Jurassic Park, inhabited by the worst of the worst that were left behind.

Also starring acclaimed international stars Rupert Friend and Manuel Garcia-Rulfo, the film is directed by dynamic visualist Gareth Edwards (Rogue One: A Star Wars Story) from a script by original Jurassic Park screenwriter David Koepp.

Here’s your first look. In theaters July 2, 2025.

https://www.jurassicworld.com

Five years after the events of Jurassic World Dominion, the planet’s ecology has proven largely inhospitable to dinosaurs. Those remaining exist in isolated equatorial environments with climates resembling the one in which they once thrived. The three most colossal creatures across land, sea and air within that tropical biosphere hold, in their DNA, the key to a drug that will bring miraculous life-saving benefits to humankind.

Academy Award® nominee Johansson plays skilled covert operations expert Zora Bennett, contracted to lead a skilled team on a top-secret mission to secure the genetic material. When Zora’s operation intersects with a civilian family whose boating expedition was capsized by marauding aquatic dinos, they all find themselves stranded on a forbidden island that had once housed an undisclosed research facility for Jurassic Park. There, in a terrain populated by dinosaurs of vastly different species, they come face-to-face with a sinister, shocking discovery that has been hidden from the world for decades.

Ali is Duncan Kincaid, Zora’s most trusted team member; Critics Choice and Olivier Award winner Jonathan Bailey (Wicked, Bridgerton) plays paleontologist Dr. Henry Loomis; Emmy nominee Rupert Friend (Homeland, Obi-Wan Kenobi) appears as Big Pharma representative Martin Krebs and Manuel Garcia-Rulfo (The Lincoln Lawyer, Murder on the Orient Express) plays Reuben Delgado, the father of the shipwrecked civilian family.

The cast includes Luna Blaise (Manifest), David Iacono (The Summer I Turned Pretty) and Audrina Miranda (Lopez vs. Lopez) as Reuben’s family. The film also features, as members of Zora and Krebs’ crews, Philippine Velge (Station Eleven), Bechir Sylvain (BMF) and Ed Skrein (Deadpool).

Jurassic World Rebirth is directed by BAFTA winner Edwards from a script by Koepp (War of the Worlds), based on characters created by Michael Crichton. The film is produced by Oscar® nominee Frank Marshall and Patrick Crowley, both longtime Jurassic franchise producers and of last summer’s blockbuster, Twisters. The film is executive produced by Steven Spielberg, Denis L. Stewart and Jim Spencer.

L to R: Scarlett Johansson as skilled covert operations expert Zora Bennett and Jonathan Bailey as paleontologist Dr. Henry Loomis in JURASSIC WORLD REBIRTH, directed by Gareth Edwards.

The Mosasaurus and Spinosauruses in JURASSIC WORLD REBIRTH, directed by Gareth Edwards.

Mahershala Ali is Duncan Kincaid in JURASSIC WORLD REBIRTH, directed by Gareth Edwards.

FLY ME TO THE MOON – Review

Yes, I see that title and I immediately picture “ole’ blue eyes”, a trench coat draped over a shoulder, crooning that catchy 1954 Bart Howard classic. And that’s just what the producers want to evoke, to get you in a nostalgic mood for a frothy romance set against the backdrop of the “space race”. Mission accomplished, but could a “rom-com” really work against the somber historical backdrop we’ve seen in heavy, serious films like FIRST MAN, A MILLION MILES AWAY, HIDDEN FIGURES, APOLLO 13, and the HBO miniseries, “From the Earth to the Moon”.Now, that’s the trick, much like the possible results facing NASA, Will it blast off or crash land? But it’s “star power” rather than rocket fuel that propels FLY ME TO THE MOON.

Modern movie audiences need a short primer on events 55 years ago, and the filmmakers provide a brief one for the film’s prologue, In 1968 the “whiz kids” in Cocoa Beach Florida are rushing to make good on JFK’s promise to land a man on the moon before the end of the decade. Leading the “brainiac bunch” is former fighter pilot Cole Davis (Channing Tatum) whose steely determination stems from his part in the tragic events of Apollo One a few years before. The story shifts to NYC as we meet advertising/marketing expert Kelly Jones (Scarlett Johansson) who has just “put one over” on some auto execs. But her celebration is brief when she’s exposed by Nixon’s “special operative” Moe Berkus (Woody Harrelson). Why? Well, he has a bigger client for her and her trusty aide Ruby (Anna Garcia) because the Prez needs help “selling” the space program to the populace. The women fly down to Florida in time for Kelly to have a “meet cute’ with Cole at Wolfie’s Diner. Things take a sobering turn when they meet again, as Cole has little time or respect for their publicity plans. But they finally realize they must work together to get the money pipeline flowing from a stubborn group of congressmen. But then their renewed attraction is almost snuffed out by the return of Berkus who tasks Kelly with creating a “set” where they can film a phony moon landing, in case Apollo 11 fails. Can she get everything together for this fraud without Cole finding out? Or will she listen to her heart and do the right thing for “the right stuff”?

That aforementioned “star power”? That is ably supplied by the pairing of the lead duo at the center of the plot, bringing true sparks to the often formulaic rom-com genre. Tatum proves that he’s got more dramatic depth than you might gather from his mesmerizing moves as MAGIC MIKE. He projects an “old school” screen hero’s sense of decency as the project-focused Davis who has a huge weight on his shoulders that could be erased if he can get this job done to honor his fallen teammates (the first trio) and perhaps his “captain”, who set the stage but can’t be there for the finale. Not surprisingly, fun and romance are neglected until he meets her. In a nice twist on the genre’s conventions, Johansson’s Kelly is the free spirit with shaky morals who lightens the load for Cole, who helps her regain a sense of right and wrong, putting honor before profit and chipping away at her cynicism (in her first scenes, Kelly is almost a “Donna Draper” in a riff on “Mad Men”). This role really taps into the charm she gleaned in her MCU role of the Black Widow.

The “support team” is led by the always interesting Harrelson whose laid-back persona is given a dangerous edge as a quip quickly morphs into a threat, punctuated by his black attire and ever-present switchblade (to slice citrus for cocktails, of course). And there’s some great work here by two other TV sitcom vets. Ray Romano uses his hangdog everyman charisma as Cole’s right-hand man, who feels more like a proud “uncle’ as he fills in the “backstory” for Kelly. The biggest “scene stealer” is Jim Rash, an Oscar-winning screenwriter but forever Dean Pelton of “Community”, as Kelly’s snippy, flamboyant director Lance Vespertine (the name speaks volumes) who brings a bitchy sense of camp to the fairly somber “conspiracy”. Kudos also to the “junior squad” led by the energetic Garcia who can’t suppress her hippie leanings along with the NASA comic tag team of Donald Elise Watkins and Noah Robbins who provide a great jolt of manic comic energy.

Kelly Jones (Scarlett Johansson) and Cole Davis (Channing Tatum) in FLY ME TO THE MOON.

Guiding this talented ensemble is someone who’s best known for being a guiding force on the TV versions of several DC superheroes (streaming and broadcast), Greg Berlanti. This is actually his third feature film and a big dive into the mainstream as he harkens back to the “above the title” pairing of classic movie couples (Gable and Lombard, Bogie and Bacall, Tracy and Hepburn). Despite the somewhat lengthy 132-minute runtime, he keeps the story from Keenan Flynn and Bill Kirsten that Rose Gilroy crafted into a screenplay from getting too slogged down in space nostalgia. Like that neglected 80’s classic THE RIGHT STUFF it highlights the awe and wonder along with wit while mixing in the movie “mating rituals”. But it doesn’t leave out the sense of danger with several flashbacks to that fatal pre-launch tragedy to the hovering Berkus who could be more “spook” than a spy. The time period is recreated very well, though it may seem that it’s the early 60s since the engineers all have the white shirt/thin black tie basic except for the pseudo-turtlenecks favored by Cole, perhaps to set him apart or to better highlight Tatum’s rugged physique. As for Johansson, Kelly appears to channel Marilyn Monroe in her early makeup and hairstyles (those blonde “bobs” are dazzlin’) but she “loosens up’ by the finale, perhaps to reflect the changing times and her embracing a new “morality”. Unlike the teaming of Gosling and Blunt at the start of the Summer, this pair really connects as they size up each and verbally spur before the big “clinch”. The great “needle drops” of classic tunes really help “seal the deal” and send Kelly and Cole piloting fans of retro romance soaring “among the stars” in FLY ME TO THE MOON.

3 Out of 4

FLY ME TO THE MOON is now playing in theatres everywhere

BLACK WIDOW (2021) – Review

Okay, now we’re talking “Summer at the movies”! Yeah, yeah we’ve had the newest entry in a “tentpole franchise” with the mind- (and butt) numbing F9, but this Friday’s big release continues a now 13-year tradition. We’re going back to the multiplex (or a deluxe “single-screen palace” for those lucky few) for a deep dive into the Marvel Cinematic Universe! “Excelsior’, as our much-missed “king of cameos” would say. Oh, and this dive is so “deep’ you may get a bit of whiplash in your reclining theatre seat (or in your “Lazy boy” at home, which is now an option, but go out, please) since it’s a prequel to the film in which we said goodbye to this character, from 2019. But really, after her introduction in 2010s IRON MAN II, and roles in six other MCU epics, she, yes S-H-E, is long, long overdue for a solo showcase (heck, a team-up with her bow-wielding BFF would’ve been nice). And after countless release date changes, it’s finally time for film fans to brace themselves for the sting (or should it be bite) of the BLACK WIDOW! To quote Stan once more, “Face front!”, or you won’t see the screen, ‘natch’ true believers!

The film actually begins a lot further back with a prologue intro, as a fiesty preteen, her electric blue hair shimmering in the late afternoon sun, pedals her bike in suburban Ohio, circa 1995 (hmmm, on the west coast, an aspiring SHIELD agent is encountering a certain Kree-based warrior, so it’s a pivotal time in the MCU). As she joins her blonde kid sister and “mama” (Rachel Weisz), “papa” (David Harbour) bursts through the door to announce that they must quickly pack “for an adventure”. After eluding the authorities, they hop on a plane that lands in Cuba. There they meet daddy’s boss, Dreykov (Ray Winstone), who promptly (well, after getting a prized “floppy disc”) separates the two sobbing sisters. After the main title “history montage”, the story zips ahead to 2016, In the aftermath of CAPTAIN AMERICA: CIVIL WAR, General Thaddeus “Thunderbolt” Ross (William Hurt) believes that he has trapped Natasha Romanoff AKA the Black Widow (Scarlett Johansson), who gives him “the slip” and escapes to a secluded trailer “safe house” in Eastern Europe, which is tended by pal and “acquisitions expert” Mason (O-T Fagbenie). Far away, an elite squad of female agents led by now not-so-lil’-sis Yelena (Florence Pugh) tracks down a fugitive woman. She’s fatally injured, but before she expires she plunges a needle into Yelena’s leg. It’s one of a bag full of hypos filled with a glowing red liquid. Later, Mason gives Nat her accumulating mail, which includes a rather large case, which i contains those red needles. On her way to her Prague apartment, she is attacked by an armored high-tech assassin, Taskmaster.. After thwarting that killer, and holding on to the package, Nat is attacked again at her “flat”, this time by Yelena. After their reunion “workout” Yelena tells Nat that the needles contain an antidote to the mind-controlling chemicals used to create the “perfect killer agents’ at the “Red Room” (we saw a glimpse of that “school” that creates “black widows” in AVENGERS: THE AGE OF ULTRON). But Nat is confused since that “program” ended when she “liquidated” its creator, the despicable Dreykov, who is still “in business” at a hidden locale. The “sisters” must distribute that serum, but they’ve got to elude an army of agents with the same training. This necessitates a “family reunion” as Nat and Yelena track down “papa” Alexi AKA the Red guardian at a frozen gulag and “mama” Melina at her remote pig farm (wonder which place smelled worse). But can this quarreling quartet save the new “Red Room” recruits and thwart the power-mad despot, Dreykov?

After sliding into that unforgiving black bodysuit for the past 11 years, you’d think that Ms. Johansson wouldn’t have anything new to offer as the reformed “killer queen”. And you’d be very mistaken. Sure she handles the incredible action sequences with style and flair (you could consider LUCY and GHOST IN THE SHELL as more “prep”), but she surprises us with the emotional depth this new “old” story reveals in Nat’s complex story. In the quieter moments, there’s still that haunted, sad look in her eyes as she mentally flips the pages of the ledger “filled with red ink”, as Loki taunted her with in the first AVENGERS. In this outing, we see the maternal, nurturing side of the Widow, reminding us of Ms. J’s tender “indie” film roles that followed ENDGAME, nabbing Oscar noms for MARRIAGE STORY and JO JO RABBIT. This is brought out by the superb and inspired pairing of her with the very talented Pugh. Nat wants to protect her while also being frustrated by her in an honest exploration of the sibling dynamic (or even mother/daughter as their matriarch is often absent). Pugh proves she’s ready for the big “studio flicks” after her last big low-budget efforts in the recent take on LITTLE WOMEN (earning her own Oscar nom as Amy) and the creepy MIDSOMMAR as a mostly irritating heroine. Her “burns’ are almost as debilitating as her “roundhouse” kicks ( the delight in her eyes as she calls “big sis” a “poser” is priceless). And we can’t neglect the parents, especially when papa is played with a merry wink by the scene-stealing Harbour. The years between the “escape” and the “reunion” have “filled out” his character in both personality and, well, “physical”presence. He boasts of imagined triumphs to fellow inmates (“But wasn’t Capitan America frozen?”), and later barely squeezes into his old “fight suit” (we keep waiting to hear the latex split). But his blustery blowhard has his tender side too, as he yearns to be a true pater to the ‘sisters”. The same can’t really be said of Weisz, who’s far from the warm matriarch. In fact, she’s nearly as cold as her farm’s stables, as Melina dismisses the women as a long-ago “assignment’ she’s almost forgotten. She’s slow to “warm-up”, though her revived passion for her partner is hilariously endearing and a bit moving. None of that applies to the story’s ‘big baddie”. played by Winstone as a waddling barrel filled with bile. His Dreykov craves control and power as most would desire food and oxygen. He’s a mastermind most worthy of Nat and her crew, including Fabenle’s affable Mason, who complains but still deeply cares for his often brusque demanding “boss”.

Hey Marvel movie geeks. Here’s the Widow over the years. First, on the far left is her look in those early 1960s Iron Man stories in “Tales of Suspense”. In the middle is her hero (or heroine) guise from the 70s in the “Amazing Adventures” comics, both drawn by “Dashing” Don Heck. And on the far right is a publicity still for a proposed 1975 ABC TV show starring Angela Bowie (yes, David’s wife).

Marvel Studios, once again, taps a talent that not a part of the “blockbuster brigade’ to guide this rousing adventure. Director Cate Shortland is mainly known for intimate character-driven “indies” like LORE and BERLIN SYNDROME, but can now add action/spy epic to her resume”. She keeps the tale moving swiftly with confidence in both the big stunt “set-pieces” (and big kudos to that stunt team) to the exchanges that reveal key elements of the main characters (the reunion meal is compelling as is the gas station verbal sparring of the sister widows). And oh, those action experiences, just as thrilling as anything in F9, but made more riveting by our interest in the heroines (and an out-of-shape hero). And as with the other MCU flicks, this isn’t set in a “bubble” as others refer to Nat’s recent exploits (Yelena wonders why she doesn’t send a call to that “god from outer space”). And I shouldn’t have to tell you to stick around through the end credits, should I ( a sweet “payoff’ for the fans)? And that’s who this globe-hopping romp was intended. The fans of the character are generously given a chance to say a proper farewell to the wondrous Johannson (she’s even an executive producer on this). Some are calling this entry unnecessary, but it gives proper respect to a comics icon that’s added so much to the Marvel heritage, letting a terrific teammate (a superb partner to all the Avengers, especially Cap in WINTER SOLDIER) ambling into one final sunset. Bye-bye and bravo BLACK WIDOW. And consider that “ledger” finally wiped clean.

3.5 Out of 4

BLACK WIDOW opens in theatres everywhere on 7/8/2021 and is available via Premier Access on the Disney+ streaming service on 7/9/2021

AVENGERS: ENDGAME – Review

It may be the last weekend of April, but the Summer movie onslaught has officially begun. Who says so? Marvel Studios, that’s who. And they’ve got the clout after being around a few weeks shy of eleven years. Originally the first Friday of May was their “beachhead”, but that was switched (concerns over piracy and early international openings) to this weekend last year for AVENGERS: INFINITY WAR (AIW). That film was to be the focal point of the Marvel Cinematic Universe (MCU) ten-year celebration. However, as most fans will soon discover, the celebration really ends on a high, stratospheric really, note with this colossal entertainment extravaganza. Gosh, I sound a bit like that much beloved comic book “carnie’ barker” we lost in November. Aw, why not go “all in” and try to mimic “The Man”? Here goes…face front (really, don’t turn away from the screen ’cause you’ll miss something special) true believers, it’s kickoff time for AVENGERS: ENDGAME!

In the aftermath of the ultimate triumph of the mad Titan Thanos in AIW, planet Earth is a dark, quiet shadow of its former self after the initial chaos caused by Infinity Stone-fueled finger snap. Half of the population has dissolved, vanished like “dust in the wind” (cue the classic 70s rock anthem). “Earth’s Mightiest Heroes” aren’t feeling so strong after their dismal defeat. Tony Stark (Robert Downey, Jr.) is awaiting death as he floats through the far reaches of space with the cyborg daughter of Thanos, Nebula (Karen Gillan) on the heavily damaged cruiser the Milano. And back home Captain America (Chris Evans) is attending a “survivor support group” because he can’t “accept and move on” when he’s not at Avenger HQ trying to track down the “retired Titan”. At least they got a big break due to an “up till now” unknown force which, as the Black Widow (Scarlett Johansson) might say, gets the “band” back together. Ah, but it’s a “known force”, Scott Lang AKA Ant-Man (Paul Rudd) who we last saw trapped in the Quantum Realm at the end of ANT-MAN AND THE WASP, who contacts the downbeat group and sets in motion a “fantastic voyage” to restore the planet and return all that was lost on the battlefields of Wakanda.

Really, that’s the story that drives this three-hour blockbuster? Well, that’s as much as I care to reveal and what has been seen in the earliest of trailers (I try to go on “lockdown” in the six weeks prior to release, avoiding any further clips online). Though it sounds simple (another iconic song), this “final game” is full of tangles and unexpected twists pulled together by the formidable screenwriting duo Christopher Markus and Stephen McFeely, the talented team who wrote the previous Avengers epic, the second Thor solo film, and the Captain America trilogy (and they created that delightful broadcast TV spin-off “Agent Carter”). These men dive into the deep, dark depths of the MCU core and return with true glistening gold, or golden moments and dialogue might be more precise. Sure, we get the big exciting action set pieces and hilarious comic interaction (maybe double the last flick), but the big surprise here is the depth of emotion with scenes that grab at the heartstrings as much as any of the senses. After twenty plus movies, fans may think they know everything about the team members, yet the two Mr. M’s present new insights into these men and women (and a couple of aliens). If only more action and fantasy franchises would strive to be this emotionally complex and rich.

Fortunately, this superb cast is more than up to the challenge of this multi-layered story and script. While the main focus, perhaps the true “star”, was the villain Thanos, here the “plot driver”role is split between the “big three”, the MCU trilogy of Iron Man, Thor, and Captain America. It’s hard to believe that this is Downey’s tenth film (counting THE INCREDIBLE HULK cameo) as genius-industrialist Tony Stark, because his work here is as fresh and unpredictable as ever, showing us sides of the “wise guy” hero we’ve not seen before. In the first act, Tony’s angry and bitter, almost spewing venom at his family/team (a lot of rage in that frail frame). Then we see more of his gentle nurturing paternal side (hinted at with Spidey) in the second act. Meanwhile, Evans as Cap tries to project a sunny confident attitude as team leader, but we see (especially at his “group”) how defeat has battered his psyche. But he’s still a fighter, and in the rousing third act, Evans gives us a hero whose inner strength dwarfs the “super soldier” formula. Then there’s Hemsworth as the Thunder God who should have aimed higher (literally a couple of feet) whose depression is more physically manifested. His comedic talents (last seen in the unfairly maligned GHOSTBUSTERS reboot) are showcased here as the one big team “hold out” that’s more essential than he thinks. But it’s not all chuckles as Thor must make a decision that seems to emotionally tear him to pieces. These fellas’ are one tremendous trio, full of smarts, strength, and soul.

Hey, that’s not to say that the rest of the cast are mere “set dressing”. Absent from last year’s entry, Jeremy Renner as Clint Barton AKA Hawkeye channels his shock and despair into the “darkness” (truly a “punisher”) until the loyalty of his best friend, the Black Widow reaches into that “black pit’ and pulls him back into the light. But Johansson shows us that Ms. Romanoff can barely keep herself from being swallowed by the shadows as she ponders her violent past and her almost empty personal life. On the brighter side, there’s Mark Ruffalo whose Bruce Banner has forged a solid “truce” with the “big guy”, his alter ego the Hulk (via some expert CGI and “Mo-cap”). Speaking of bright and funny, Paul Rudd brings those familiar shadings to Scott Lang AKA Ant-Man while giving him a harder edge as he deals with his frustration at not being taken seriously and his own “lost time”. He’s the “odd man out” trying to bond with these seasoned hero “vets”. One of the toughest may be Don Cheadle as the “under control” all business James Rhodes AKA War Machine was still has a moment for a prank or a “harsh burn”. Gillan as Nebula is one of the most conflicted as she seems to discover her caring empathetic nature while adrift with Tony, the half-machine finally tapping into her repressed humanity. Bradley Cooper delivers Rocket’s snarling asides with a touch of sadness, as he mourns his Guardian family, all but him turned to ash. And, of course, Josh Brolin is back as Thanos, giving us a couple of new variations as the Titan we loved to hate, but somewhat understood, in the last outing.

Also returning from that last outing is another terrific team (aside from the writers), the dynamic directing duo, the brothers Russo, Anthony and Joe (look for his cameo role). After guiding the “shield slinger” to greatness in his last two solo flicks, these men have done the same for this two-part MCU epic. Excuse the cliche’, but they set a very “high bar” with the previous Avengers flick and handily leaped past it (remember the cheering in the multiplexes when Thor and his pals arrived in Wakanda in the last flick…well, there are at least four moments like that in this outing). It’s truly a new “gold standard” for big studio action film franchises. Yes, the big final “smackdown” is exhilarating, but so are the intimate, human moments. And the comedy! Much of the plot is a variation on the classic heist flicks, from the “Oceans” series to the ongoing MI adventures, with a no “wiggle room”, no “do over” scheme that, naturally (these are the Marvel heroes, ya’ know), goes “sideways”. These complications combine tension and laughter with neat effortless ease. And all this fun is ably aided by the thrilling pulse-pounding score from Alan Silvestri (with snippets from other MCU themes). All the craftspeople that worked on the film are at the “top of their game’ in crafting a real “love letter” to the fans of the Marvel show (many have said that each new film is another episode in an incredible TV show, one that the “tube” could never afford). There are entrances and exits, arrivals and departures, all with a feeling of coming “full circle”. You bet there will be more MCU entries (Spidey’s back in July), but this spectacular would be a fitting farewell. It’s a warm, enveloping “thank you” hug from “master overseer” Kevin Feige, and all those talented artists involved. AVENGERS: ENDGAME will stand as a most inventive, entertaining inspiration to all who continue on this legacy. I’ll bet somewhere, underneath those purple-tinted glasses, Stan is flashing a great big grin ’cause his “kids” are in very good hands. Nuff’ said…for now!

5 Out of 5

THE JUNGLE BOOK – Review

Disney has released two talking animal films this year and both have a lot to say. While ZOOTOPIA wowed many with its strong female lead that’s not afraid to take on a stubborn and judgmental world, I found it a bit preachy and heavy-handed – not balancing the fun factor with the weight of the social commentary. Prior to the expedition into THE JUNGLE BOOK, I didn’t know what to expect. It has been decades since I’ve seen the animated film or the live action film. And while I know the story, I’m not sure I was necessarily aware of the degree of subtext inherent in the story. Either that, or Jon Favreau isn’t afraid to let his call of the wild echo through the jungle.

One of the running themes in the film is that because Mowgli is human, he has the gift of intellect and problem-solving. He uses “tricks” to get out of a bind, or in most cases, to help others succeed or survive (as is the case when he helps the bear Baloo get his honey). The classic story of a boy who embraces his animal instincts and his humanity is punctuated with just enough heart and the right amount of social awareness this time around by Disney.

The man-cub Mowgli (Neel Sethi) lives his life wild and free with a pack of wolves in the jungle. But when his life and the lives of the pack are threatened by the tiger Shere Khan (Idris Elba), Mowgli runs away from home in search of the human village where he “belongs.” Guided by Bagheera (Ben Kingsley) the panther and the bear Baloo (Bill Murray), Mowgli embarks on a journey of self-discovery, where he encounters the seductive snake Kaa (Scarlett Johannson) and the giant ape King Louie (Christopher Walken).

Jon Favreau hits the ground running both literally and figuratively. The film opens with Mowgli running with the wolves through the jungle, and the viewer immediately is thrown into a visually lush treat for the eyes. Your eyes are forced to adjust to the visual effects – that look extraordinarily real, and yet you know they aren’t. But wait, there’s another catch. You are then asked to perform another task. The visual adjustment is followed immediately by having to accept that the animals talk to our young jungle boy. Yes, of course, this is the point of the film, but could it have been not as jarring? I can’t help but think about the stunning opening of Matt Reeves’ DAWN OF THE PLANET OF THE APES. That film doesn’t immediately throw the audience into accepting talking animals. It’s a slower process that takes into consideration what audiences are used to viewing from photo-realistic animals. To ease into both the hyper-realistic visuals and the fact that the majority of the main characters are CGI creations that are going to be talking to us, it might have been better to ease into the anthropomorphic jungle.

The voice talents on display are almost all superb, the highlights being the incomparable Bill Murray and Idris Elba, in a terrifying turn. The idea of having Murray play an iconic animated character seems like a hard challenge to overcome, but you can practically see Murray smiling through the lovable character’s muzzle. His old-world voice doesn’t come across as curmudgeonly as it sometimes does. Murray’s heart of gold still shines through the fur and the claws, making this another memorable moment in his iconic career.

The chemistry between Murray and young newcomer Neel Sethi is infectious. Their charming banter builds and builds to the rousing moment when they finally start to sing “Bare Necessities” while floating down the river. Watching Sethi splash water on Baloo and play the bear’s belly like a drum is a crowd-pleasing moment for fans of the 1967 animated feature.

The same can’t be said about the other main musical number. “I Wanna Be Like You” seems out of place after King Louie is presented as this hulking mafioso in the shadows. It’s played like a sly, jazz-infused spoken-word poem, but that doesn’t fix the fact that it comes across as shoe-horned and just as a way for this version of the film to feel more like the old version.

Seeing THE JUNGLE BOOK in IMAX 3D truly is an immersive experience. Every buzz and hum from an insect and every blade of grass comes to life. The artistry on-display is worth the price of admission alone. However, leaving the young ones at home might be something to consider. Regardless of the fact that the film has a PG rating – which more or less is an invitation to bring all children – THE JUNGLE BOOK is surprisingly intense as times. Shockingly intense, in fact. Sure, Rudyard Kipling’s original novel wasn’t intended as a children’s book, but that’s not exactly what Disney is adapting this time around. They are adapting their own 1967 animated film, which is a children’s film. Mistaking the innocence found in that film with the harsh reality of life-like tigers swiping out from the screen and viciously attacking other animals could prove detrimental if you’re a parent to a sensitive child.

Jon Favreau did not make a children’s movie. However, he made a great and thrilling film that most of the family can enjoy. These gorgeously rendered talking animals not only come to life on-screen, but they speak about life as well. Reminding us that despite our differences, we can still coexist and work together as a family. And that my friends, is “the bare necessities of life.”

Overall rating: 4 out of 5

THE JUNGLE BOOK is now playing in theaters everywhere

First Look: Scarlett Johansson Plays The Major In GHOST IN THE SHELL

Paramount Pictures and DreamWorks Pictures have announced that production is underway on GHOST IN THE SHELL, starring Scarlett Johansson (AVENGERS: AGE OF ULTRON, LUCY) and directed by Rupert Sanders (SNOW WHITE AND THE HUNTSMAN). The film is shooting in Wellington, New Zealand.

Paramount Pictures will release the film in the U.S. on March 31, 2017.

The film, which is based on the famous Kodansha Comics manga series of the same name, written and illustrated by Masamune Shirow, is produced by Avi Arad (“THE AMAZING SPIDER-MAN 1 & 2,” “IRON MAN”), Ari Arad (“GHOST RIDER: SPIRIT OF VENGEANCE”), and Steven Paul (“GHOST RIDER: SPIRIT OF VENGEANCE”). Michael Costigan (“PROMETHEUS”), Tetsu Fujimura (“TEKKEN”), Mitsuhisa Ishikawa, whose animation studio Production I.G produced the Japanese GHOST IN THE SHELL film and television series, and Jeffrey Silver (“EDGE OF TOMORROW,” “300”) will executive produce.

Based on the internationally-acclaimed sci-fi property, GHOST IN THE SHELL follows the Major, a special ops, one-of-a-kind human-cyborg hybrid, who leads the elite task force Section 9. Devoted to stopping the most dangerous criminals and extremists, Section 9 is faced with an enemy whose singular goal is to wipe out Hanka Robotic’s advancements in cyber technology.

“We are so pleased to be in Wellington to shoot ‘GHOST IN THE SHELL,’” said producers Avi Arad, Ari Arad, Michael Costigan and Jeffrey Silver. “The city boasts state-of-the-art production facilities and a rich urban landscape that make it an ideal setting for a sci-fi action film. The crew-base in New Zealand working on the film is first class, and working with Sir Richard Taylor and the team at Weta Workshop is inspirational on every level. The people of New Zealand have been terrific partners in helping us bring this story and its beloved characters to audiences around the world and we are thankful for their continued hospitality.”

Paramount Pictures and DreamWorks Pictures have entered into a marketing agreement with the New Zealand Film Commission (NZFC), Tourism New Zealand (TNZ), Callaghan Innovation and the Ministry of Business Innovation and Employment (MBIE) which recognizes the significant economic, cultural and industry development benefits the production will bring to New Zealand. The collaboration will further promote New Zealand’s growing screen industry, develop local talent and showcase New Zealand to the rest of the world.

“The production will broaden the perceptions of the diversity of New Zealand’s locations by showcasing a science fiction urban setting in New Zealand,” says Dave Gibson NZFC Chief Executive.

Tourism New Zealand’s Chief Executive Kevin Bowler said: “Tourism New Zealand is thrilled to be working with Paramount Pictures for the first time on ‘GHOST IN THE SHELL.’ Film tourism is an important element in Tourism New Zealand’s work to inspire people to visit New Zealand and we look forward to this new opportunity to showcase New Zealand to the rest of the world.”

The cast of GHOST IN THE SHELL includes Beat Takeshi Kitano (“MERRY CHRISTMAS, MR. LAWRENCE,” “BATTLE ROYALE” series) as Daisuke Aramaki, Juliette Binoche (“THE ENGLISH PATIENT,” “CHOCOLAT”) as Dr. Ouelet, Michael Pitt (“Hannibal,” “Boardwalk Empire”) as Kuze, Pilou Asbæk (“BEN-HUR,” “LUCY”) as Batou, and Kaori Momoi (“MEMOIRS OF A GEISHA,” “HONG KONG CONFIDENTIAL”). The members of Section 9 are played by Chin Han (“INDEPENDENCE DAY: RESURGENCE”), Danusia Samal (“Tyrant”), Lasarus Ratuere (“Terra Nova”), Yutaka Izumihara (“UNBROKEN”) and Tuwanda Manyimo (“THE ROVER”).

The film’s crew includes Cinematographer Jess Hall (“THE SPECTACULAR NOW”), Editor Neil Smith (“SNOW WHITE AND THE HUNTSMAN”), Production Designer Jan Roelfs (“FAST & FURIOUS 6”), and Costume Designers Kurt Swanson and Bart Mueller (“THE HUNGER GAMES: MOCKINGJAY – PARTS 1& 2”).

Giveaway – Win A T-Shirt And Soundtrack From HAIL, CAESAR!

“HAIL, CAESAR! is a social satire of the highest order” says Michael Haffner in his review for the the Coen Brothers’ latest movie, playing in theaters now.

HAIL, CAESAR! is an homage to Hollywood’s Golden Age, a valentine to the studio system laced with a lovingly acerbic edge. The film celebrates the dream factory, while cleverly pulling back the curtain to reveal some of the less-than-flattering inner workings of the film business in its heyday.

Starring Josh Brolin, George Clooney, Alden Ehrenreich, Ralph Fiennes, Jonah Hill, Scarlett Johansson, Frances McDormand, Tilda Swinton and Channing Tatum, HAIL, CAESAR! follows a single day in the life of a studio fixer who is presented with plenty of problems to fix.

WAMG is giving away to three lucky readers the soundtrack (by composer Carter Burwell) from the film. We’ll also throw in a t-shirt from the movie!

ENTER YOUR NAME AND E-MAIL IN OUR COMMENTS SECTION BELOW. WE WILL CONTACT YOU IF YOU ARE A WINNER.

OFFICIAL RULES:

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

2. WINNERS WILL BE CHOSEN FROM ALL QUALIFYING ENTRIES.

No purchase necessary.

Order here: http://www.amazon.com/Hail-Caesar-Carter-Burwell/dp/B019IOK6RU/ref=sr_1_1?s=music&ie=UTF8&qid=1455297650&sr=1-1&keywords=hail+caesar

AVENGERS: AGE OF ULTRON Crushes The Weekend Box Office With $187.7 Million

Moviegoers were ready to kick the 2015 summer box office into high gear over the first weekend in May.

While it didn’t top it’s 2012 predecessor ($207.4M), AVENGERS: AGE OF ULTRON saw domestic ticket sales in the neighborhood of $187.7 million in it’s opening weekend.

Even SNL got in on the AVENGERS hoopla with this Black Widow/Ultron spoof.

Rentrak’s Senior Media Analyst Paul Dergarabedian commented, “Disney/Marvel’s ‘Avengers: Age of Ultron’ has assembled an amazing box office performance since its debut, grossing an estimated $627 million in 12 days of global release. Debuting at #1 in every market since beginning its international rollout on April 22, the film has generated an estimated $439 million at the international box office overall. Universal’s ‘Furious 7’ with a current worldwide gross of $1.429 billion, this week has become the fourth-highest-grossing film of all time worldwide.”

The top 12 domestic weekend box office estimates, listed in descending order, per data collected as of Sunday, May 3, 2015, are below.

1. Avengers: Age Of Ultron – Disney – $187.7M Read Jim Batts’ review here.
2. Age Of Adaline, The – Lionsgate – $6.2M
3. Furious 7 – Universal – $6.1M
4. Paul Blart: Mall Cop 2 – Sony – $5.5M
5. Home – 20th Century Fox – $3.3M
6. Cinderella – Disney – $2.4M
7. Ex Machina – A24 Films – $2.2M
8. Unfriended – Universal – $2.0M
9. Longest Ride, The – 20th Century Fox – $1.7M
10. Woman In Gold – The Weinstein Company – $1.7M
11. Monkey Kingdom – Disney – $1.2M
12. Get Hard – Warner Bros. – $1.1M

The top 12 worldwide weekend box office estimates, listed in descending order, per data collected as of Sunday, May 3, 2015, are below.

1. Avengers: Age Of Ultron – Disney – $355.7M
2. Furious 7 – Universal – $58.9M
3. Silent Separation – Levinson Prod – $28.0M
4. Home – 20th Century Fox – $20.3M
5. Helios – Multiple – $16.9M
6. Left Ear, The – Multiple – $15.5M
7. Paul Blart: Mall Cop 2 – Sony – $9.8M
8. Cinderella – Disney – $9.4M
9. Age Of Adaline, The – Multiple – $7.8M
10. Unfriended – Universal – $5.6M
11. Longest Ride, The – 20th Century Fox – $5.2M

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this: