Rated PG for mild action/violence and brief language.
Two years ago, young Kate Pierce (Darby Camp) and her brother Teddy (Judah Lewis) found themselves on a life-changing adventure when they met the one and only Santa Claus (Kurt Russell) and helped him save Christmas. Now, they are spending the holiday at a tropical resort with their mother and new boyfriend Bob (Tyrese Gibson), along with his son Jack (Jahzir Bruno). As a true believer, this isn’t how Kate wants to spend Christmas, and is even more annoyed being forced to bond with what could be her new family. But when Kate and Jack draw the attention of a mysterious young man (Julian Dennison), he forces them through a portal that takes them to the North Pole; specifically Santa’s village. They are rescued by Santa and introduced to his wife, Mrs. Claus (Goldie Hawn), and his general operations. However, this young man isn’t done yet, as he is a trickster named Belsnickel, who plots to destroy Christmas for everyone. Kate and Jack will have to work together if they are going to help Santa and Mrs. Claus save the holiday. The Christmas Chronicles from 2018 feels like a very underrated film at this point. It’s somewhat the subject of ridicule on the Internet (mostly due to Santa’s elves and their love of chainsaws), and those who don’t make fun of it don’t really remember it. However, as a true lover of Christmas like Kate, I really enjoyed the first film, mostly thanks to Kurt Russell’s subversive portrayal of the man in the red suit. So when Netflix announced a sequel, I thought that there was no better film to end my first season of 25 Days of Netflix. Right off the bat, the film reintroduces us to the characters we spent time with back in the first film. It was great to have the entire same cast back, even down the kid actors who weren’t recast even as they’re getting older. The movie payed no attention to their ages and was just happy to have them back. Of course the highlight performance of the film is Kurt Russell. He still has all of the same charm that he did in the original film, and he never looses it here. His portrayal continues to defy what we’ve mostly been told of the character as he keeps it his own thing. He also deserves points for his chemistry with Goldie Hawn; which is no surprise since they’re a couple. And while Hawn’s performance isn’t as good as Russell, she’s thankfully elevated by the playful back-and-forth she shares with him. The film is also mostly as enjoyable as the first film. It’s a much different story; focusing mostly on the origin of Christmas and how Santa pulls off the holiday. It’s still a mission to save Christmas and doesn’t really bring much new to the well-established formula. But the charm of the characters, clever one liners, and nice message about finding the good inside you make it a worthy successor. That being said, it does fail to capture some of the same magic as the original. It suffers from what some critics call “sequelitis.” This means that, since the filmmakers clearly got a bigger budget this time around, the story leaves the grounded approach of the first one and tries to be larger and more grandiose. It adds several new layers to their specific portrayal of the North Pole, and at times this starts to feel a little convoluted. It’s a bit exhausting keeping up with everything new they introduce. I did also notice that, even though all the same cast came back, a lot of them didn’t seem as happy in their roles as before. While Kate was still a true believer in Christmas, Darby Camp’s portrayal of her wasn’t as enthusiastic as in her first adventure with Santa. And while new faces like Julian Dennison and Jahzir Bruno were nice additions, they weren’t entirely successful in giving their characters the necessary emotions for their yuletide adventure. The Christmas Chronicles 2 isn’t quite as fun as its predecessor, with a less grounded story in favor of focusing more on expanding the greater world’s mythology. This ends up robbing the film of some of its holiday magic, but thankfully its heart is still in the right place. And with another great performance from Kurt Russell and his good chemistry with Goldie Hawn, it’s a mostly successful continuation that hints at bigger things to come.
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Rated PG for some thematic elements and peril.
On Christmas night, a Grandmother (Phylicia Rashad) tells her grandchildren the story of Jeronicus Jangle, an inventor and toymaker who once owned a toy shop known as Jangles and Things. He was much beloved by the public, and was on the verge of completing an invention that could change everything. But when his most trusted apprentice Gustafson stole his book of ideas, he found his creative spark taken along with them. Now, 30 years later, Jeronicus (Forrest Whitaker) is struggling to hold what’s left of his shop together and has become estranged from his daughter Jessica (Anika Noni Rose). Gustafson (Keegan-Michael Key) is now the most successful toymaker in the world, working off the inventions Jeronicus came up with. So when Jessica allows her daughter Journey (Madalen Mills) to see her grandfather for the first time, Journey will make it her mission find that spark he lost. Jingle Jangle: A Christmas Journey comes to us from writer/director David E. Talbert, who has mostly worked with more grounded romantic comedies targeted towards the African American audience. Here, he tackles a kind of film that’s much larger than anything he’s made before. Not only is it an extravagant fantasy story, but also a musical. Usually taking this big a step forward is a risky maneuver. However, Talbert completely blew my expectations away. The film embodies everything that makes the Christmas season great and feels like a modern reinvention of/homage to cinematic Christmas classics. It’s so covered in yuletide joy and magic that it’s hard to really find something wrong with it, other than the fact that it’s a little too long. But that complaint is nothing compared to how good it is. I have to give especially high praise to the production and costume design. The various settings look like something straight out of a fairytale, combining Victorian styles with loads of colors and kid-friendly imagery. I’m not lying that watching this movie kind of made me feel like a kid again, even more so when we see Jeronicus’s shop at the beginning. It looks like a toy shop right out a child’s dream. There’s also lots to enjoy about Talbert’s singular imagination when it comes to crafting the world. So many movies are afraid to really embrace the magical goofiness that makes this kind of story fun. But here, the characters all have crazy names and work with items that defy physical limitations. I appreciate his attempt to imbue as much wackiness into the film as possible. He isn’t afraid to fully dip into the fantastical elements that most people would easily make fun of, because this is what kids really love. I also want to highlight the film’s musical numbers. For being Talbert’s first musical film, he directs the dancing and singing well; making them super fun to watch. The songs are also very well produced, mixing old-fashioned show tunes and modern R&B music. It’s a combination that never feels too modern, and will likely have your kids (and even yourself) dancing along with the characters. He does have experience in producing plays, so this is probably where he got his experience. If it is, then he uses it well. I also love how much he makes the film feel likes like what came before. It feels like a classic Christmas story written centuries ago, while sporting some awesome animated sequences that feel like classic Rankin/Bass specials. The story as a whole is just a simple one about finding the love of family and creativity; working through hard times to make your wildest wishes come true. But while it feels like something from the past, it looks to the future. The film has an amazing cast made up of mostly African American actors and actresses, with Forrest Whitaker and Keegan-Michael Key really taking the cake. But don’t worry, this movie isn’t trying to teach you something about certain climates. Talbert only wants to tell a good Christmas story with African American characters. It gives underrepresented viewers joy to see more of themselves in a film like this, but is also open to people of all audiences to enjoy it Only time will tell if this will become a Christmas classic, but I firmly believe that Jingle Jangle: A Christmas Journey has all the ingredients necessary to really accomplish this. In a time when there’s so much negativity in the world, here comes a movie to show that life is better when you embrace happiness and generosity. It’s not looking to make a difference when it comes to certain social issues, but just show your family that Christmas is about caring and helping for the people you love; a true staple of the holiday. Rated PG-13 for some bloody images and brief strong language.
Renowned scientist Augustine Lofthouse (George Clooney) has devoted his entire life to finding a new home for humanity, believing that somewhere in our galaxy, there is a place that has the same conditions as Earth. While doing research at an arctic research facility, a cataclysmic event devastates the planet. Knowing he himself doesn’t have much time left anyway, Lofthouse decides to stay and contact the last known space craft currently on an active mission; The Aether. The crew of the ship, consisting of Commander Gordon Adewole (David Oyelowo), Sully (Felicity Jones), Maya (Tiffany Boone), Sanchez (Demián Bichir), and Mitchell (Kyle Chandler), are returning from a newly discovered habitable moon orbiting Jupiter. They are very excited at having found a new home for our species within our own solar system. But they are unaware of the events that have destroyed us before we even had the chance to move. Determined to warn them before they return, Lofthouse is forced to leave the relative safety of the research station and journey to a transmitter strong enough to contact them. Accompanied by a child named Iris (Caoilinn Springall), assumedly left behind in the evacuation, the two must brave the harsh arctic environment, and the approaching toxic crisis, in order to save what is left of the human race. The Midnight Sky is Clooney’s latest directorial effort after helming a couple failures. Based on the first novel from author Lily Brooks-Dalton entitled Good Morning, Midnight, the premise feels very timely. A story about two different missions to save our species coming out at a time when we are questioning our future. But rather than take a cynical approach like some post-apocalyptic films, this one is quite hopeful in its views of us. That’s really why this movie, in my opinion, ranks among the best films of this very grim year. For being a film set during an extinction level event, it has a very emotional tone that doesn’t rely on a foreboding atmosphere. It looks towards brighter potential even as everything is falling apart around our central characters. One example of this is the character of Sully. While on their mission to return home, she is dealing is an ongoing pregnancy conceived during the mission. From my knowledge, she is not dealing with this in the original novel, and was written this way because Jones was actually pregnant. But it’s this new addition that adds to the film’s overall hope. As the Earth crumbles to pieces, it’s her child that acts as potential for humanity to start anew. This tone is elevated by the film’s absolutely beautiful musical score. Composed by Alexandre Desplat, his score complements the space imagery to the point of almost feeling magical. It reminded me of music from other space related things like WALL-E and Super Mario Galaxy. There’s one scene in particular where Lofthouse and Iris are staring through a skylight at the stars above. The beautiful image, combined with the music, actually brought a tear to my eye. It was that beautiful. Speaking of images, the movie, on the technical side, is absolutely gorgeous. Everything from the visual effects to the production design are top notch. I have always been a fan of movies set in space, as I find the frontier to be an absolute marvel (if that wasn’t already clear). This movie gave me pretty much everything I could’ve asked for, bringing its world to life in a way that kept my eyes glued to the screen for the entire runtime. I also have to highlight the performances of the cast, specifically George Clooney and Felicity Jones. Both of them are great at giving their characters genuine emotion and making them people you care about. But I have to give props to Clooney for striking up a great chemistry with little Caoilinn Springall. All of their scenes together, where Lofthouse acts like a reluctant dad towards her, are an absolute joy to watch and making the stakes of their journey even higher when they set out. But I have to give bonus points because I actually didn’t see this movie on Netflix. Thanks to the lack of options cinemas have, an open theater near me was finally able to show some of the service’s films during their limited releases; including this one. An expansive science fiction film like this is designed to be seen on a big screen, and getting the chance to see it this way instantly brought it up. It’s a great movie on its own; but seeing it in theaters is the icing on the cake. The Midnight Sky foregoes the depressing attitude used by loads of science fiction films in favor of a more positive outlook. It’s a visual wonder headlined by a stellar cast and a beautiful musical score. It all culminates in a final twist that, I’m not gonna lie, had me literally balling my eyes out. Not many movies are capable of bringing this much emotion out of me, and that’s what makes it one of the best films of 2020. Rated PG-13 for thematic elements, some suggestive/sexual references and language.
Broadway stars Dee Dee Allen (Meryl Streep) and Barry Glickman (James Corden) are premiering their latest play; hopeful that this will be the next big success for their careers. However, after the opening performance is badly panned by critics, they, along with friends Trent Oliver (Andrew Rannells) and Angie Dickinson (Nicole Kidman), begin to question their relevance. Meanwhile, in the town of Edgewater, Indiana, the local high school prom is canceled when lesbian student Emma Nolan (Jo Ellen Pellman) wants to attend with her girlfriend. Despite support from Principle Hawkins (Keegan-Michael Key) and an uproar on social media, PTA leader Mrs. Greene (Kerry Washington) is determined to not allow Emma to attend. It’s this event that brings these two groups together. Seeing an opportunity to reinvigorate their public appeal, the quartet of actors make their way to Edgewater to help take down this act of discrimination. As they become more engrained in Emma’s personal life and struggles, they come to learn that their relevance isn’t as important as standing up for what is right. Ryan Murphy, a powerhouse producer who has created many influential TV shows including Glee, American Horror Story, and Pose, directs this adaptation of the 2018 musical of the same name. It makes sense that he would helm this film, since he is also a huge advocate for LGBTQ+ rights, being gay himself. Even if he’s done very little directing in his career, it’s clear that he knows what he’s doing. The way he puts this film together makes it feel like your watching a stage musical rather than a musical movie. Everything from the musical numbers to the particular performances he gets out of his actors all feel like something you would see on the stage. That’s not really a bad thing, as in some way this helps it stand above other Broadway to film adaptations by capturing this specific feeling. He also does a great job directing the musical numbers. They are all brightly colored and full of spirit that really convey the joyous tone the story seeks to achieve. I also appreciate the songs for the way they mix old-fashioned show tunes with more modern pop sensibilities. The dances are the same way; incorporating production design that feels reminiscent of classic 1950s musicals. They are as catchy as they are nostalgic. However, when it comes to how Murphy tells the story, this is where things start to get a little rough. From the opening musical number, there’s a hint satire lying just below the surface. Even the play that kicks off their adventure, Elenor! The Elenor Rosevelt Musical, is a clear parody of the longstanding musical Hamilton. It almost seems like he wants to find humor in a story that feels like an exaggeration of a real life issue. But as soon as the main characters make it their mission to help out Emma, things are treated almost completely seriously, albeit with doses of humor thrown in. This confusing tonal shift becomes distracting at points as Murphy attempts to tell a story that acts campy, but often feels like this isn’t the feeling he was trying to conjure. This is most reflected in the performances of the cast, specifically Streep, Cordon, and Washington. They’re portrayals of the characters are designed to be fully formed human beings with emotions and desires, and they are for the most part. But there are other times when they act more like one dimensional caricatures; like Streep who acts like a parody of over-the-hill stars still starving for attention, or Washington who acts like an almost comically anti-gay mother. The other issue is how Murphy handles the social commentary of the story. He clearly stands for these rights, and there’s nothing wrong with that. But how he presents the tale of a girl standing up for these rights is very blunt and in your face; putting his worldview front and center and portraying anyone against it as annoying stereotypes with not much dimension. This, at times, makes it a little hard to enjoy the film, and certainly isn’t going to convince anyone of their cause that isn’t already on their side. The Prom is a candy-coated musical that still feels like Broadway despite being a film made for streaming. It’s musical numbers are an infectious blend of old-fashioned and contemporary songs that may get you dancing in your living room. It may seem rather blunt and one-sided at times when it comes to the issues it brings up, and sometimes can’t figure out whether to be serious of satirical. But Murphy had a story to tell, and he largely succeeds in what he set out to accomplish. Rated TV-14 (Contains Disturbing/Violent Images and Frightening/Intense Sequences)
Young couple Bol (Sope Dirisu) and Rial (Wunmi Mosaku) have successfully escaped their war torn country of Sudan and made it to England. The only problem is that they haven’t immigrated legally, only making it because they were saved from a boat wreck that unfortunately killed their daughter. They are miraculously granted probationary asylum, aloud to stay as long as they follow certain rules. Though the home they are given is pretty shabby, they are just happy to have the chance to create a better life for themselves. But as they try to settle into their new life, something appears to be lurking within the shadows of their new house. Strange and even supernatural events begin to plague the couple, and they begin to fear that an evil curse has followed them. They’ll have to figure out what this force wants before it tears their new life to pieces. His House, the directorial debut of newcomer Remi Weekes, is a very unique take on a classic horror story. He takes a basic haunted house film and applies it a timely story about the issues regarding immigration. It’s a fresh spin that focuses on topics not commonly touched on in mainstream horror films. And Weekes handles these elements well, crafting a horror film that’s as terrifying as it is thought provoking. His biggest strength is his method of crafting scares. Sure, the movie relies on the classic dark rooms and strange noises followed by a booming jump-scare. But most of these hit hard and were able to get under my skin despite watching it on my television in a bright room. Weekes succeeds at this thanks to his combination of surreal and nightmarish imagery and effectively creepy atmosphere. The production design of the house has the biggest hand in this. The main setting and other locations are presented as dirty and brooding, making us feel like there are dangers lurking around every corner. This puts the audience on edge, so when the scary stuff really amps up, it’s enough to essentially pull the rug out from under you, making the smallest of bumps absolutely terrifying. But it’s also the script that helps create this foreboding feeling. Weekes, for the most part, keeps us in the dark about the truth of what’s going on. He does a good job shading the central mystery while also providing little clues that hint that things are not really as they seem. This results in a third act twist that paints their whole journey in a shocking new light. All of these directions are tightly weaved into the story and feel deserved by the time the final reveals start to come into play. I also appreciate how Weekes handles his presentation of the struggles of immigration, and I mostly think this comes from being a British production. American films are very quick to point fingers and come off as very black and white in their views. British films often seem much more worldly and multi-sided, so the film’s handling of things like racism doesn’t feel as bluntly stated as most American films. And it also helps that he’s willing to touch on inner racism amongst people of color, between those who came from Africa and those who were born and raised in England. This is another angle that American films don’t always confront, and it helps add to the overall freshness of the movie. It’s just nice that Weekes cares more about making an entertaining horror film with social commentary molded into the story rather than just putting his opinions out front and center without considering what effects they’ll have on the overall product. The performances of the cast are also worth highlighting. Both Dirisu and Mosaku carry the movie mostly on their own as our central protagonists, and do a bang up job representing how their characters feel out of place in their new surroundings. They also imbue their performances with so much genuine emotion that when they’re fearful of the threats around them, they look like they really believe they’re in mortal danger. His House is proof that there is still some potential left in the haunted house sub-genre of horror. New director Remi Weekes takes the familiar setup and switches things up; presenting a unique tale of refugees attempting to assimilate to a new life while forces, both physical and supernatural, try to hamper their chances; brought to life by a pair of well-matched leads. It feels more grounded and three dimensional in its tackling of various issues, and it makes me excited to see what he does next. Rated PG for some thematic elements and mild action.
In a small Chinese village, young Fei Fei (Cathy Ang) has grown up believing in the legend of the Moon goddess Chang’e. This belief came from her mother (Ruthie Ann Miles) and is the basis for her family’s business of selling moon cakes. So when her mother got sick and passed away, she held onto that belief even as she devotes her life to the scientific world. But when her father (John Cho) becomes engaged to a new woman, she starts to question what she’s been taught. Determined to prove the Moon goddess is real, Fei Fei uses her incredible knowledge to build a real rocket and go to the moon. Joined unexpectedly by her soon-to-be new stepbrother Chin (Robert G. Chiu) and her pet rabbit Bungee, they discover an entire civilization on the moon’s dark side, ruled over by the Moon goddess (Phillipa Soo). This leads them on a journey to fulfill a task for her in order to make it home with the proof Fei Fei needs. This animated adventure comes to us from Pearl Studios, a Chinese-American joint venture intended to produce family movies more suited toward the Chinese audience. They made their debut last year with the Dreamworks produced Abominable. In my opinion, that movie relied a little too much on established family clichés, and didn’t do its Asian setting any justice. And to be honest, Over the Moon, their second feature film, does also rely on established formulas. It feels like an old fashioned Disney princess film from the 90s, following all the basic plot elements from those classics. It makes sense, since the director of the film is Glen Keane, who worked on classics like The Little Mermaid and Beauty and the Beast. But where Abominable failed to make familiar elements work, this new film succeeds. Over the Moon’s mix of old-fashioned ingredients and modern Asian settings manages to strike a magical chord that makes it really feel like those classic Disney adventures. It’s an absolutely gorgeous film for many reasons, and manages to feel universal in its themes and messages. It’s a classic story of working through grief and accepting that things change, whether we’d like them to or not. And it’s all presented in a world that is absolutely beautiful to look at. The animation is top notch for a film produced for Netflix, especially when the characters reach the moon. The civilization they discover is an array of bright colors and creatively designed inhabitants. It’s all super sweet eye candy that keeps your eyes glued to the screen, and it’s clear that Pearl Studios is one of those rare animation studios that works off its own style rather than try to copy Disney’s look. Speaking of the characters, the story assembles a lovable bunch of them that helps elevate the familiar story. Fei Fei follows an emotional story arc that sees her overcoming the death of her mother; an arc that may bring a tear to your eye. But I have to give extra points to her companion Chin. He’s your typical annoying little boy, but what makes him so irresistible is his consistently hilarious one liners, acts of physical comedy, and undying loyalty towards Fei Fei no matter how much she actually tells him she doesn’t like him. You just can’t help but love him. And these lovable characters are brought to life by an exceptional voice cast. The vocal performances, from both well known and unknown performers, are all perfect for their respective roles. The highlight performance has to be from Phillipa Soo as the Moon goddess Chang’e. Her portrayal of the character helps to highlight the thousands of years of experience that the character has been through, according to her legend. But I also have to highlight the musical numbers. The songs are all very well produced; from the classical show tunes that Fei Fei sings on Earth to the techno pop songs on the moon. The one song in particular worth highlighting is Chang’e’s introductory number, entitled Ultraluminary. It’s a song that had me dancing in my seat, and it’s aided by the stunning animation that brings it to life. Over the Moon is an impressive step forward for Pearl Studios. Their sophomore feature isn’t the most original family film, but they find a way to make familiar story beats work and produce a gorgeously animated and surprisingly emotional adventure, populated by irresistible character brought to life by an amazing voice cast, and loaded with barnstorming musical numbers. This movie is so good that it may end up becoming a classic all its own. Rated R for language throughout, some violence, bloody images and drug use.
In 1968, as the Vietnam War rages, many people in America were understandably upset by this. This was going on concurrently with the booming “Hippie” era, for lack of a better term. These flower children were determined to express their anger for the country’s pushing of the war and general leadership. Their intention was to express this at a rally in Chicago during the 1968 Democratic convention, led by Youth International Party founder Abbie Hoffman (Sacha Baron Cohen). Though things didn’t exactly go as planned, as the peaceful protest ended up turning into a full on riot with the Chicago police force. Abbie and his associates are promptly arrested and put on trial. As they prepare to defend their side of the story, it’s clear that those against him are determined to send them to the slammer. As both sides vie for control of the courtroom, the trial becomes a turning point in the relationship between the American government and their citizens. From Aaron Sorkin, a master of writing stories and dialogue in masterpieces like The Social Network, this is his second directorial effort after his 2017 debut Molly’s Game. With this retelling of the Chicago riots and resulting aftermath, he is clearly trying to make parallels to the extremely divisive politics of today. Actually, thanks to recent events, the film feels even more relevant than when it was shot last year. And it’s thanks to his amazing writing talents that he manages to pull off a tricky balancing act. The Trial of the Chicago 7 is determined to show that things haven’t changed, and have even become worse, since that very tumultuous period. Even though it would be very easy for the film to slip into one-sided propaganda, it manages to be a thought-provoking biopic that will keep you on the edge of your seats. Again, this is largely thanks to Aaron Sorkin and his fantastic script. The dialogue between the characters bubbles and crackles with life that makes them so compelling. There’s also loads of wit that comes out of nowhere, but feels deserved given the certain situation it’s said in. It all succeeds in keeping your eyes glued to the screen until the very end. But it’s also his direction of the film that helps make it as good as it is. This is especially true when it comes to the courtroom scenes. The way he directs the actors and shots in those scenes makes them much more entertaining than many of the action sequences in modern superhero movies. It’s amazingly choreographed and again makes you anxious to see how it will all turn out. Speaking of the actors, I don’t think I’ve ever scene such a large ensemble of fierce talent in my life. It’s hard to decide who really gave the best performance of the film because pretty much everybody gives the best performance of their careers. If I had to give an edge, it would have to go to Sacha Baron Cohen and Eddie Redmayne, but again, everyone here does a phenomenal job in their respective roles. It’s honestly rare to get a film like this. The Trial of the Chicago 7 is a masterful retelling of a pivotal moment in American politics that’s every bit as relevant today as it was back then. It manages to make this feel organic without feeling too preachy, and brought to life by Aaron Sorkin’s tapestry of a script and an collection of actors all at the top of their game. All these ingredients come together to make what truly is one of the best films of the year. Rated R for some language.
Hollywood screenwriter Herman J. Mankiewicz (Gary Oldman), known as Mank to his colleagues, is at the center of one of the film industries golden periods. He is one of the most powerful figures in the business, and now has been given a new task. He is hired to write the script for the first film project of radio entertainer Orson Welles. Recovering from an injury, he is taken to a cabin in the desert to focus solely on writing the script. During this endeavor, we look back at a time when he was pulled into one of the world’s first smear campaigns against California governor candidate Upton Sinclair (Bill Nye). We also focus on his experiences with actress Marion Davies (Amanda Seyfried) and billionaire William Randolph Hearst (Charles Dance), the latter of which appears to be serving as the inspiration for this script which will go on to become the groundbreaking cinematic achievement Citizen Kane. Mank comes from well-regarded director David Fincher, who has been wanting to make this movie since the 90s. The original script was written by his father Jack, but studios were unwilling to produce the movie how he wanted it until now. It’s easy to see just how passionate Fincher is about the project, as the film is an expertly crafted endeavor that succeeds on every known technical front. However, as much as I wanted to be one of the critics who calls this one of the best films of the year, and believe me I was ready to say that, I simply can’t. The problem is that, despite being gorgeous to look at, the film’s script is way too scattered and episodic to leave a lasting impact. It may feel like a film straight out of the period it recreates, but it’s really weighed down by various clichés that plague most biographical films today. It does really feel like a film ripped right out of that era. I’ve always wanted some filmmaker to try and recreate the look and feel of an older films, but no one had truly done it. Here, Fincher recreates not just the black and white look, but also the grainy sound design. He has an impressive attention to detail when it comes to incorporating every last little element that came with the quality of movies back them, and he nails it. Unfortunately, his direction of the film is his biggest strength as it’s also his biggest weakness. He may nail the look and feel of a film from back then, but he directs it like a film from today. There’s still a variety of camera angles during various scenes, unlike films like the original Citizen Kane which had some scenes done in one take from one angle. It’s a jarring juxtaposition that often took me out of the moment and nearly ruined the film’s style it so clearly strived to create. I will admit that the performances of the cast are phenomenal. Gary Oldman gives a fierce portrayal of Mankiewicz that really makes him feel like a 1930s film producer. Amanda Seyfried also chews the scene in her role as actress Marion Davies. In fact, it’s probably the best performance of her career, and she’ll most likely be one of the front runners for award consideration. But again, a lot of this majesty is lost in the script’s commendable yet jagged structure. The film, like most biopics, switches back and forth between points in Mankiewicz’s career and him writing the script for Citizen Kane. While film’s like Boy Erased and Hillbilly Elegy know how to make this structure work, this film ends up feeling broken and unfocused. It’s hard to keep up with the various plot lines when we spend so little time on their development. It’s this unfocused style that lends to my biggest question: what is this film about? The marketing made it seem like it was telling the creation of Citizen Kane from Mankiewicz’s perspective. However, many of the flashbacks focus on his career nearly a decade before he got wrapped up in the film’s production, and Citizen Kane has very little to do with the story. While it’s not a bad thing to perform a bait-and-switch when it comes to movies, Fincher doesn’t offer anything compelling in place of what he promised. As much as it pains me to say this, Mank is a rather mediocre effort from David Fincher despite how clearly passionate he is about the story. Everything from the cinematography, to the editing, to the performances of the cast is all the work of a master in charge of his craft. However, his grand vision is unfortunately hindered by an unfocused execution that never lives up to what it initially promised. All together, despite its best efforts, it never manages to reach the heights of the classic film it centers around. Rated PG-13 for some sexual content, partial nudity, thematic elements and smoking.
While working as an assistant to a snooty rich lady in Monte Carlo, an unnamed young woman (Lily James) becomes acquainted with a rich Englishman named Maxim de Winter (Armie Hammer). The two start spending all their time together whenever she can get away from her boss, and a relationship starts to form between them. The entire vacation rounds out with Maxim proposing to her, which she gleefully accepts. When they return to Maxim’s lavish mansion, she is introduced to the people who work for him; specifically his head housekeeper Mrs. Danvers (Kristin Scott Thomas). Maxim had lost his previous wife, the titular Rebecca, the year prior, and everyone still grieves her parting. As the woman starts to settle in to her new lifestyle, she starts to notice a sinister attitude from Maxim’s family and staff aimed towards her. Determined to make her place here, she’ll have to discover the mystery behind who Rebecca was and why everyone adored her. Based on the classic 1938 novel by Daphne du Maurier, Rebecca was previously adapted into a film by legendary thriller director Alfred Hitchcock. But as you know, film studios love to mine the love of classic IPs, and since the novel is still well known, it’s inevitable that it would get a 21st century redo, with a new director in Ben Wheatley (High-Rise and Free Fire) and a more modern cast. What’s striking about this new adaptation right from the get-go is how it keeps the same time period as in the original novel. You would think a modern interpretation would try to make the story fit with a modern setting, but we’re still in the Victorian countryside during the 1930s. And what’s also surprising is how accurately the film recreates the era. Movies today try to add a modern spin on historical periods, for reasons not worth mentioning. But here, everything from the costumes to the production to the dialogue is period accurate. And as someone who loves to look back at history, it feels refreshing that this film doesn’t try to rewrite anything. It’s also just very well done in terms of all technical departments. Everything about the fictional Manderley estate feels as posh and luxurious as a mansion from that era did. The expansive, maze-like halls of the place help to emphasize the twisty mystery our lead protagonist is trying to solve. It all tries its hardest to immerse you in the world and giving you an idea of how these people live. Unfortunately, despite everything this new version of the story has going for it, it ends up never climbing any higher than mediocre. The main problem being that the movie has a hard time keeping a suspenseful atmosphere. Sure, as the truth about Rebecca starts coming together, things become more interesting. But there are too many lulls in the thrills that really threaten to lose the audience’s attention. It just takes a little too long for the woman to get to the truth. This also isn’t helped by the film’s rather overbearing soundtrack. Scenes that are supposed to be dark and tense are often scored with music that feels a little to upbeat or action oriented. It always manages to undercut the suspense and make these scenes feel less scary than how Wheatley directed them. It threatens to give the film a campy tone that nearly derails what is otherwise a dead serious thriller. The performances of the cast are also not that remarkable. Lilly Collins and Armie Hammer are fine in their roles, but don’t really have good chemistry between each other. They feel like a mismatched pair; only cast because they’re two good looking faces that people currently love watching. I can only really give praise to Kristin Scott Thomas as the villainous Mrs. Danvers. She has a menacing presence that makes her feel like a genuine threat towards our protagonist, even if she also threatens to dip into campy territory from time to time. Rebecca is exquisitely designed and very beautiful to look at. It’s attention to detail when it comes to recreating the period is something to be admired. Sadly, the movie falters at almost everything else. From performances that don’t crackle with emotion to the film’s lack of genuine thrills, it just doesn’t do enough to keep viewers invested for the entire runtime. It’s clear the filmmakers really wanted to do a new version, but they just didn’t put enough effort into justifying such a project. Rated R for language throughout, drug content and some violence.
Young law school student J.D. Vance (Gabriel Basso) finds himself at a crossroads in his life. As he tries to build a career for himself at Yale, he receives a phone call that his mother, Beverly (Amy Adams), is in the hospital. Knowing she’s a major drug user, and even though he’s not fully willing to do so, he feels obligated to return to his hometown and find a way to help her through her addiction. As it turns out, Vance comes from a hillbilly background. As a teenager (Owen Asztalos), he had a close relationship with his family, most of all with his grandmother Mamaw (Glenn Close). As we switch between his childhood and his present mission, we come to understand the turmoils he was forced to grow up around, like Bev’s developing addiction and her many emotional breakdowns, and how they have defined who he has become. From director Ron Howard and based on the bestselling 2016 memoir by Vance, this was predicted to be a major Oscar contender, but ended up becoming the movie that critics decided to gang up on. But while I could spend time giving reasons why they hated it, it would by more fun and productive to focus on what I thought. And in my opinion, Hillbilly Elegy lives up to its prestigious predictions as an emotional and heartfelt family drama that ranks among the year’s best films. Right from the beginning, we are thrown into a world of people living well below the poverty line. Their life is vastly different from anything I’ve experienced. But that doesn’t mean I look down on them, because sadly, these people do exist. I actually find this life fascinating and love seeing how close knit everyone is. This movie does a fantastic job introducing us to this lifestyle and how the people who live it cope make the most of what little they have without alienating audiences. It merely wants to inform how things are. And it’s a world that we’re happy to spend time in. At the heart of this film is the story of a family just coping with the hand they’ve been dealt and how it affects those around them. While Bev clearly loves her family more than anything else, she hates the fact that she has to live towards the bottom rung of society and that she can’t give her kids a better life. It’s a story that’s equal parts heartwarming and heartbreaking in all the right places. A lot of this is thanks to the performances of the cast, particularly Amy Adams and Glenn Close. The two play a mother/daughter dynamic really well as they pretty much vie for control of Bev’s kids as she increasingly gives in to her more selfish desires. I actually have to give the slight edge of Adams. Close does an amazing job in her role (and gets bonus points for really looking like the actual Mamaw), but Adams has a bigger presence and nails the switch between loving mother and emotionally unhinged perfectly. But I also want to give props to Gabriel Basso, who plays the real life author of the memoir: J.D. Vance. As our main protagonist, he has a lot of weight to carry when dealing with Bev’s drug issues. He does a great job in the role, as does Owen Asztalos who plays his teenage counterpart. They both embody the waves of emotions required for the various family issues they’re forced to go through. It’s the technical aspects of the film that also capture the essence of the lifestyle. From the cinematography to the production and costume design, everything looks accurate and helps paint the bigger picture of the world around the characters. But the biggest accomplishment with this has to be the musical score by Hans Zimmer and David Fleming. Their mix of folk music and natural soundscapes is almost haunting, and contributes to the movie’s overall heart. Hillbilly Elegy is a brilliant family drama that ranks among Ron Howard’s finest films. Its story touches on universal themes that anyone can relate to when it comes to their own families, no matter where you place on the economic ladder. The movie does a great job immersing you in the characters’ world without seeming to preachy, and the cast all turn in fantastic performances. In a time when movies seem too cynical, it’s nice to have a movie like this that focuses more on heart than hate. |
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