Little Women

I found time for a second movie today!

It's not Netflix, either!

No, it's Little Women, the latest screen adaptation of Louisa May Alcott's literary magnum opus. Greta Gerwig's follow-up to Lady Bird is a great film to end a year - or decade - of moviegoing. Let's see why.

Gerwig's screenplay goes back and forth in time to tell the story of the March sisters: Meg (Emma Watson), Jo (Saoirse Ronan), Beth (Eliza Scanlen) and Amy (Florence Pugh). During the Civil War, they and their "Marmee" (Laura Dern) hold down the home front while their Father fights for the Union. After the Civil War, the Little Women try to make their ways in the world. Jo submits stories for an editor (Tracy Letts) who prefers his female protagonists dead or wed. Meg settles down with John Brooke (James Norton). Amy travels abroad with Aunt March (Meryl Streep) to hone her passion for painting. Beth plays piano …

There's also Theodore "Laurie" Laurence (Timothee Chalamet), the boy next door. Jo and Amy both fall for him, though they're put off by his carefree attitude. Jo also has a suitor in Friedrich Bhaer (Louis Garrel), whose blunt criticism of her writings doesn't suit her. The March sisters have their fights and quibbles, but they still come through for each other.

Let's talk about the back-and-forth timelines. Cinematographer Yorick Le Saux films the past timeline in warm colors and the present timeline in darker ones. We see a divider between an optimistic past and a cynical future. Editor Nick Houy perfectly juxtaposes the March sisters' highs and lows. The Oscar-shortlisted makeup/hair team capably ages and de-ages the characters. Costume Designer Jacqueline Durran and Production Designer Jess Conchor create an alluring vision of the 1800s. There's also another great, Oscar-shortlisted score from Alexandre Desplat to move the heart.

The March sisters are spectacular. Jo wins the audience over with her spirit. We see how her family inspires her passion; her tough negotiating for her publishing contract is awesome. Amy starts off as a spoiled girl, but we see her change for the better. And it's incredible. Meg and Beth are sympathetic all the way through. They have excellent chemistry; their highs and lows are as believable as any family's.

Let's highlight some of the cast. Laurie is a likable rogue who greatly matures at the end. Chris Cooper, as Laurie's grandfather Mr. Laurence, is a warm fatherly figure. Bob Odenkirk makes the most of his limited screentime as Mr. March. Aunt March, of course, gets some of the best lines. What else is there to say?

Little Women is a great introduction - or re-introduction - to the oft-told story. Its cast, especially its four title characters, are as memorable as their literary characters. Its story structure sharpens each plot twist, especially with Beth's fate. Its 135 minutes go by pretty quickly. All in all, it's anything but a dull retread of an old tale. It's a fresh family drama.

See it soon and you'll be amazed.

The Two Popes

It's the end of the year and the end of a decade. It's also the end of an era as I trade one computer for another. The first film I'll review with this computer is The Two Popes, a film that's also about changing times.

In 2005, Argentinian Cardinal Jorge Bergoglio (Jonathan Pryce) is called upon to help elect a new Pope after the death of John Paul II. The Vatican ultimately elects Cardinal Joseph Ratzinger (Anthony Hopkins) as Pope Benedict XVI, but Bergoglio comes in second. Bergoglio returns to his congregation. But then, in 2012, Bergoglio decides to resign and heads to the Vatican just as Pope Benedict summons him there.

They have a lot to talk about. Among the biggest points is Pope Benedict's own plan to resign the papacy. He wants Bergoglio to take over. But Bergoglio is still haunted by his "compromising" with the Argentinian Junta. They'll have to find a way to let themselves, and the Church, move forward. Of course, since Bergoglio is now Pope Francis, we know that they did find common ground.

Anthony McCarten based the screenplay on his stage play, The Pope. Sure, it being a dialogue-heavy two-man piece kind of gives away its theatrical origins. Stylistically, though, it's not stage-bound. We have director Fernando Meirelles and his cinematographer, Cesar Charlone, to thank. On one side, we see Bergoglio and Benedict's conversations as they discuss topics like God, The Church and Tradition v Change. On the other, we get flashbacks to Bergoglio's past. These flashbacks intrigue the audience the more they gradually tell.

Whether by circumstance or a good makeup artist, Pryce and Hopkins are deadringers for their real life characters. On-screen, they make a good duo. Hopkins as Benedict sticks to tradition to a fault; but he's the kind of man one can respectfully disagree with. Pryce as Bergoglio is a warm man with a dark past. They give each other much to talk and think about for the film's 125 minutes. We get to see them bond not merely as Their Holinesses, but as people. They hold the audience's attention with their words. The end credits see them bond over the World Cup in a delightful scene.

The Two Popes is an intriguing story. It may be an admitted imagined story, but it still gives us a lot to think about. Its two stars never bore us. The cinematography is outstanding. Its sparse soundtrack includes a surprising choice or two. It's a Netflix movie, so see it there if you've missed it during its miniscule theatrical run.

Cats

Cats is one of the most beloved and most mocked musicals of all time. Andrew Lloyd Webber's take on TS Eliot's Old Possum's Book of Practical Cats is surely a weird musical. As a lad, me and my family left halfway through one production. As an adult, I stayed through another. As an even older adult, I stayed through Tom Hooper's big screen take of the story. It's a decent movie if you have the right mood.

Victoria the white cat (Francesca Hayward) is dumped on the streets of London. The "Jellicle" Cats rescue her and welcome her to their world. Tonight, the Jellicles wait for Old Deuteronomy (Judi Dench) to choose a cat who can travel up to the "Heavyside Layer" to be reborn. Victoria is introduced to some of the cats who wish to be picked.

1. Jennyanydots (Rebel Wilson) sleeps all day and reforms the vermin at night.

2. Bustopher Jones (James Corden) is the fat cat about town.

 3. Gus (Ian McKellen) is the old theater cat.

4. Skimbleshanks (Steven McRae) keeps the trains running.

5. Mr. Mistofelees (Laurie Davidson) is the magic cat.

6. Rum Tum Tugger (Jason Terulo) is the wild and crazy cat.

Lurking in the background is Grizabella the Glamour Cat (Jennifer Hudson), the pariah of the Jellicles. Victoria takes pity on her and decides to give her the spotlight. Meanwhile, the diabolical Macavity (Idris Elba) plots to become the Jellicle Choice by default. How will the Jellicles get out of this one?

The Cats themselves may make or break the film. The film's "digital fur technology" visualizes humanoid Cats with very human looking faces. Even Jennyanydots' vermin friends have humanish faces. Creepy, no? But it does add to the surreality of the numbers, such as the opening Jellicle Songs for Jellicle Cats.

To many a chagrin, the film's effects team are one of ten that are now shortlisted for Oscar notice. Not mine, though. I wasn't bothered by the Cats' faces as I thought I'd be. Their expressiveness works wonders for Grizabella's scenes, especially her iconic number, Memory. I was more bothered by the vermins' human faces than the Cats. Still, they look like real creatures instead of obvious cartoons.

The other technicals are hard to disagree with. The songs are still spectacular after many years. Memory is as emotional (or unbearable) as you may remember it. The film's new song, Beautiful Ghosts, is surprisingly effective. Taylor Swift, who co-wrote the song with Webber, co-stars as Macavity's moll, Bombalurina, who sings Macavity's praises. Meanwhile, the digital cats play in real sets designed by Eve Stewart. Cinematographer Christopher Ross captures some exquisite imagery, especially during the moonlight Jellicle Ball.

Hooper and Lee Hall's screenplay expands the story beyond Eliot's text. Oh yes, there is a story. On stage, the Cats tell the audience about themselves. On film, the Cats tell Victoria about themselves. The plot still has the audience/Victoria led around the city to meet other Cats. Meanwhile, Macavity whisks away other Jellicles to a barge captained by Growltiger (Ray Winstone). It's not a thorough plot, but it's an understandable one.

There's a great cast here. Victoria is a good lead, even if her biggest moments are near the end. Mr. Mistofelees and Old Deuteronomy are good cats, too. Elba, Corden and McKellen play their parts with giddy enthusiasm. Swift's "cameo" is the film's one-scene wonder. Let's not forget Mungojerrie and Rumpleteazer, Macavity's twin henchcats, or Munkustrap (Robbie Fairchild), one of Victoria's Jellicle guides.

So what is Cats? Its simple plot may bore some, while its visual effects may turn others off. But for me, it's a surprisingly appropriate take on a weird musical. The cast's musical performances transcend their digital cat suits. There's supposed to be an updated print coming this week with improved visual effects. I think I saw the original print today. Fortunately, it wasn't a total cat-a-clysm.

Meow...

Bombshell

It's been four years since The Big Short came out. The film's co-writer, Charles Randolph, goes solo for his follow-up, Bombshell. As realized by director Jay Roach, it's an angry satire much like that earlier film. It's not that entertaining. But is it any good? Let's see.

In 2015, Megyn Kelly (Charlize Theron) and Gretchen Carlson (Nicole Kidman) are two of the top anchors on Fox News. Kayla Pospisil (Margot Robbie) is an ambitious young staffer. All three women attract the unwanted attention of the man upstairs, Roger Ailes (John Lithgow). The channel's toxic work environment drowns their concerns. At least, until Gretchen gets fired and later sues Ailes for harassment. This inspires Megyn and Kayla to come forward with their own accusations. They're not the only ones.

I think I summed up the movie.

The film starts with Megyn giving the audience a tour of Fox News headquarters. She, Gretchen and Kayla narrate some story points. We get some characters voicing their inner thoughts. But the wacky fourth-wall breaking dims once the story gets going.

Kayla deals the most with Ailes's unwanted attention; it culminates in a protracted and disturbing meeting with Ailes. Until the lawsuit hits, much of Megyn's part deals with the fallout of that infamous 2015 debate. We understand her frustrations as she deals with trolls and Ailes. The same goes for Gretchen even as the film somewhat sidelines her. There's still some humor as the film mocks the toxic work environment of Fox News, but we're often too outraged to laugh. I'm sure that's the point, but it often succeeds too well.

There's a great cast here. Theron, Kidman and Robbie make their characters likable and sympathetic people. Theron and Kidman pull off pitch-perfect impersonations of their characters. Robbie, whose character is a fictional composite, gets a good character arc as she stands up to the "system." One embodiment of the system is, of course, Lithgow as Ailes. He's patronizing at best and a short-tempered and creepy old man at worst. It helps that there's a great makeup team headed by Kazu Hiro (the same Kazuhiro Tsuji who made Gary Oldman into Winston Churchill). We also get some eerily convincing impersonations of Rudy Giuliani (Richard Kind), Bill O'Reilly (Kevin Dorff) and Rupert Murdoch (Malcolm McDowell).

Some reviews say that Bombshell's satire isn't that sharp. But I think it got the basic point. Even if one disagrees with Fox News's politics, they'll understand there's nothing justified in harassment. Still, the tonal whiplash is sure to throw its audience off its feet. Just keep that in mind if you decide to see it. It's OK to see at least once. You decide ... if you want to see it twice or more.

Star Wars: The Rise of Skywalker

The last two Star Wars films weren't what the fans were looking for. I thought they were OK, but that's just me. But anyway, it's time for the real finale of the Star Wars Saga. That's what Episode Nine, The Rise of Skywalker, promises. JJ Abrams returns to the director's seat for this grand installment. 

Last time, Luke Skywalker (Mark Hamil) faced down the evil First Order at the cost of his life. This time, his apprentice, Rey (Daisy Ridley), continues her Jedi training with Leia (Carrie Fisher, via outtakes from the last two Episodes). Meanwhile, First Order Supreme Leader Kylo Ren (Adam Driver) goes to the Dark Planet Exegol and finds Emperor Palpatine (Ian McDiarmid) back from the dead. Palpatine has a fleet of planet-killing Star Destroyers for his new regime, The Final Order. He also tells Kylo to bring Rey to him.

The Resistance decides to find Palpatine first. But they need a Sith Wayfinder to do it. So Rey and her friends, including Poe (Oscar Isaac) and Finn (John Boyega), travel the galaxy. There's a host of different aliens and humans along the way. There's a shocking revelation about Rey's past, too. Eventually, Rey must confront Palapatine for the fate of the galaxy.

Abrams and his three co-writers, including Chris Terrio, keep things going for a quick-paced 142 minutes. Maybe too quick paced. We get a lot of action in rapid succession in the first hour or so. A grand highlight is a Millennium Falcon chase where it "lightspeed skips" across several planets in rapid succession. The pace stabilizes once Rey's past is revealed. But some details are still skimmed over. For instance? A new character, Zorri (Kerri Russell), has a past with Poe. But she gets barely any screen time to elaborate. Meanwhile, the "course correction" of The Last Jedi's most controversial plot points didn't bother me. Luke's cameo addresses one such point hilariously.

What's to say about the technicals? They're to the Star Wars brand of excellence. Everything from the visual effects, creature designs, sound design and of course, John Williams's score, is top notch. There's nothing amiss from the Carrie Fisher stock footage. The new planets are appealing; even the dark and dreary planet Exegol. It's a great pinnacle of forty-two years of technical evolution.

There's also a good cast. Rey's character arc is probably the most "course corrected" plot point here. It still makes a strong point about shaping one's destiny. It's still satisfying to see her triumph. Kylo's character arc was OK, even if it was somewhat rushed. Classic characters like C-3PO, Chewbacca and especially Lando Calrissian (Billy Dee Williams), get much to do. Zorri makes the most of her limited screentime. Palpatine is still a formidable threat. There's also a ton of cameos that may slip past you on first viewing.

The Rise of Skywalker decently concludes this saga. Its story is convoluted but its visuals are grand. You might just have to sit back and relax for most of it. Still, the final scene is a poignant call-back to the first film. Meawhile, that new Disney + show, The Mandalorian, is supposed to be good. But who knows how Star Wars will continue on the big screen. Maybe a few years of dormancy can rile up fan demand.

Hey, it worked with The Force Awakens.

But there should be some better foresight.

I Lost My Body

I found time for a second film to review yesterday. It's on Netflix now, so it was easy. It's a French animated film called I Lost My Body, based on the novel Happy Hand by Guillaume Laurent, who also wrote the screenplay with director Jeremy Clapin.

So who lost their body? Rosalie the Hand. One day, she wakes in a lab, lost and detached. After a very messy escape attempt, she travels through Paris to find her former owner.

Meanwhile, we're introduced in flashbacks to her former owner, Naoufel (Dev Patel), an aimless orphan. After his latest, and likely final, tardy pizza delivery, Naoufel interacts with the annoyed customer by intercom. That voice belongs to Gabrielle (Alia Shawkat) the librarian. He gets a job with Gabrielle's carpenter uncle Gigi (George Wendt). His attempts to get closer to her are awkward at best.

It runs at a sparse 81 minutes, so I'll try to keep it short too. Rosalie's part of the plot barely has any dialogue. But it's got plenty of creepy moments. A few highlights include the lab escape and her encounter with a pigeon. The film's 3D/2D animation style makes these moments artistically creepy. We soon get to see what led to her separation with Naoufel. You'll be uneasy before you see it happen. You will cringe at these perils and empathize with that poor, lost hand.

Naoufel's part seems like a different movie. One might not even get his connection with Rosalie at first. Even if the film starts with the aftermath of their fateful accident. But they will get it, eventually. We get to see how ended up an aimless man. It's easy to understand his desire to get out of his funk. It's nice to see him find a friend in Gabrielle. We understand some of his awkwardness in his own flashbacks. But we don't empathize with his egregious offenses. Still, the ending gives him a bit of hope.

I Lost My Body is a surprisingly endearing story about a lost hand. Never thought I had to write that sentence. But I did. Rosalie makes for the most memorable walking hand since Thing from The Addams Family. You might not want to turn your eyes away even if you want to. It's not for the feint of heart; but for those that are, it's still on Netflix and some theaters now.

Jumanji: The Next Level

Jumanji: Welcome to the Jungle was a good way to update the concept of Chris Van Allsburg's original book and 1995 film. It made you think that there was no room for sequels. But, no. We now have that sequel, Jumanji: The Next Level, and it's another fun end-of-the-year action film.

The four Jumanji players, Spencer, Bethany, Martha and Fridge, are now college students. They mostly keep in touch and can't wait to reconnect over the holiday break. Everyone except Spencer, who split with Martha, and misses the game world. He gets out the Jumanji console, which was smashed to pieces last time, to go for another round. The others go after him once they realize what he did. But the game only sucks in Fridge and Martha, along with Spencer's Grandpa Eddie (Danny DeVito) and his former friend, Milo (Danny Glover).

While Martha gets her old avatar, Ruby Roundhouse (Karen Gillan), Fridge is stuck with Professor Oberon (Jack Black). Eddie gets Smolder Bravestone (Dwayne Johnson) and Milo is "Mouse" Finbar (Kevin Hart). This time, they have to reclaim another jewel from the evil Jurgen the Brutal (Rory McCann), and show it to the sun. Eddie and Milo's inexperience proves lethal for the group. Still, they have three lives before it's game over. Eddie and Milo have to get over their personal problems to get Spencer and get out. Martha and Spencer have much to deal with when he shows up as thief Ming Lightfoot (Awkwafina).

It sounds somewhat the same as before. But director Jake Kasdan and his two co-writers keep it interesting. Their best move was to change around the real cast's avatars. It was fun to see them learn their new roles. The Jumanji game's new innovations pit them against ostriches, mandrills and even a man named Switchblade. They even find a way to switch avatars again, which they, save Martha, user permanently in the end. It's hilarious to see who ends up as Ming.

Its main draw is its great cast. The game cast once again pull off perfect imitations of the real cast. The character development is believable even though we spend most of the movie watching them as different folks. It's especially fun to see Johnson and Hart play two old men. They argue, both hilariously and seriously, and start off with the memory spans of goldfish. But they pull through as valuable players. The game cast do wonders when the real characters switch avatars. So we have them essentially play up to three characters (four?), and the switches are believable. As for the rest, McCann was an OK brutal villain as Jurgen, and Bebe Neuwrith has a surprise cameo as Nora from the 1995 film.

Now for the technicals. Once again, we have some great scenery filmed by Gyula Pados. The game journey takes the cast to such locales as the Hawaiian forests, the New Mexico dessert and digital jungles. Jurgen's fortress is a perfectly imposing villain lair. The animals are formidable digital creations. Bravestone's massive strength is comically amazing. The action is set to another fine Henry Jackson score.

Some might say Jumanji: The Next Level is too repetitive of the last film. But like a good video game, it at least it provides some fun for an afternoon. Its 123 minutes are never dull. So pay whatever price you can. It ends with a potential sequel hook midway through the credits. How will they get through this one? Anyway, it won't punish you too badly if you never saw the last film. But it wouldn't hurt to do so.

Marriage Story

Tolstoy opened Anna Karenina by asserting that "happy families are all alike; every unhappy family is unhappy in its own way." Is he saying happy families are boring? Is he saying unhappy families are more interesting? I don't know.

The Thrombeys are entertaining. The Barbers, the family featured in Noah Baumbach's new Netflix film, Marriage Story, are less so. Funny thing is, it's not as depressing as I'd thought it be. Let's see why.

The Barbers' marriage is practically over. Charlie (Adam Driver) is bound to his directing career on the New York Stage. Nicole (Scarlet Johansson), his lead actress, wants to return to her roots in Hollywood. She takes her chance when she's offered a role in a TV Pilot. She takes their son, Henry (Azhy Robertson), with her for the stint. This builds up already simmering problems between them. Charlie gets served divorce papers once he arrives to visit.

Nicole gets Nora Fanshaw (Laura Dern) as her attorney. Charlie first hires milquetoast Bert Spitz (Alan Alda), and then the more brash Jay Marotta (Ray Liotta). They have a lot to argue about, especially concerning custody of Henry. They'll have to come to some agreement for the sake of Henry and themselves.

The film starts off with the Barbers explaining each others' good qualities. But they're too bitter to read them to their mediator. We don't get any flashbacks to their happy times. But we soon understand how badly their relationship has crumbled. The film wants to paint neither as "good" or "bad," though I think it sympathizes with Nicole a bit more. It's Charlie's ignorant indifference that sets off the divorce.

Still, Driver and Johannson are sympathetic leads. They have understandable motivations for their city choice. You can feel their pressure as the proceedings go on. They both make commendable efforts to make things right. They do have some tender moments during the process, which are accentuated by a nice Randy Newman score. Their climactic fight is the most unbearable part of the proceedings. Maybe second; Charlie's botched knife trick (long story) is painful.

The film's supporting cast makes the family drama bearable. Nicole's eccentric mother Sandra (Julie Haggerty) and sister Cassie (Merritt Wever) are much needed comic relief. They dote on Charlie despite Nicole's objections. It's both funny and tense when Cassie has to serve Charlie the divorce papers. Laura Dern as Nora steals her scenes with her sunny viciousness. She's a good friend to Nicole and a strong verbal sparring partner for Jay Marotta. Alda's time as Bert doesn't last the whole film. But his dialogue is the most incisive ("{Divorce} is like a death without a body.""). Wallace Shawn stands out as Frank, a veteran actor in Charlie's company.

There's quite a few ways this Marriage Story could've ended. But let's talk about the end result. It's a strong family drama about life during divorce. Its memorable ensemble carries the film through 136 minutes. Its ending is much more hopeful than something like The War of the Roses. So don't feel too bad if it's not a conventional ending. See it on Netlfix or theaters. You decide ... if you have both options.

Knives Out

Today, we celebrate family togetherness. It's a perfect time for a film about family dysfunction. That film is Knives Out, writer and director Rian Johnson's mystery comedy. It's full of stunning twists and dark laughs. Let's see why.

Acclaimed mystery writer Harlan Thrombey (Christopher Plummer) is found dead in his mansion. His highly-dysfunctional family celebrated his 85th birthday the previous night. Lt. Elliot (LaKeith Stanfield) and Trooper Wagner (Noah Segan) are assigned to the case. Celebrity detective Benoit Blanc (Daniel Craig) is summoned by an unknown party to help out. Harlan's death was apparently a suicide. But the detectives aren't that sure yet. They've got a whole bunch of suspects:

1. Son-in-law Richard (Don Johnson), who didn't want Harlan to tell...

2. His wife and Harlan's daughter, Linda (Jamie Lee Curtis), about an affair.

3. Son Walter (Michael Shannon), who got cut from his and Harlan's publishing company.

4. Daughter-in-law Joni (Toni Collette), who got caught embezzling from Harlan.

5. Grandson Ransom (Chirs Evans), annoyed that Harlan cut him from the will.

There's also Harlan's caretaker Marta Carbrera (Ana de Armas). She was the last person to see Harlan alive. She suddenly finds herself Harlan's sole heir. The family finds that too convenient. Marta and the detectives have to get to the bottom of the case fast.

The plot unfolds over 130 minutes. And you'll barely forget any one of them. Barely any tidbit, including Marta's physical incapability to lie, is unimportant. They're all relevant to the climax. Flashbacks slowly reveal the truth behind Harlan's last night. The ending is built on twists upon twists. It's as brilliant as it's hilarious. You won't get lost untangling this web.

The family as a whole is made up of comically unlikable jerks. The possible exceptions include Harlan's mother Wanetta (K Collan) and granddaughter Meg (Katherine Langford). But the others bicker, cheat and lie for all the world to hear. They're almost all of them elitist gold-diggers. They're most venomous when the will is read. The lawyer (Frank Oz) gladly waltzes out of the movie when they tell him out. Oh yeah, and just after they say they'll support Marta, they turn on her once she's named heir. I hope your family isn't like them.

Fortunately, the real protagonists are all likable. Marta is a hard-working woman caught up in tough circumstances. She wins the audience over with her selfless demeanor. You can feel her shock when she's named heir. You'll be pleased when she stands up to the family. Meanwhile, Blanc is a laugh riot with his unusual mindset. But you'll be amazed to see how competent he is. Blanc standing up for Marta is pretty good. Harlan makes the most of his comparatively limited screentime. You'll understand why he chose Marta over his family.

Harlan's house is the film's technical star. It's one of the most appealing Gothic houses since The Addams Family's. The most memorable touch is the massive knives display.  Its secret exits and rooms surely make it seem bigger on the inside. It kind of is; Production Designer David Crank used the real Ames Mansion and two sound stages for the place. Cinematographer Steve Yedlin and composer Nathan Johnson deserve points for their eerie work.

Knives Out is a fun twist on the murder mystery. We have a likable protagonist, an unlikely master detective, absurdly detestable suspects and memorable dialogue. You'll laugh and cheer when the real villain is caught. Overall, there's quite a bit to enjoy with this film. See it and you'll get it. Be prepared for some modern political topics (in case you don't like them).

The Irishman

Now for Netflix's biggest film of the year.

That film is Martin Scorsese's long-awaited and long in-development tale of The Irishman. Steven Zaillian's screenplay reworks Charles Brandt's book I Heard You Paint Houses, a biography of hitman Frank "The Irishman" Sheeran, into cinematic form. It all unfolds over a titanic 209 minute runtime. Hopefully, this review will take not even a quarter of that to read.

Around the 1950s, Sheeran (Robert De Niro) is a truck driver for a meat-packing company. His load vanishes one day, but lawyer Bill Bufalino (Ray Romano) gets him cleared of theft. Afterwards, Bufalino's cousin, Mafia Don Russell (Joe Pesci) decides to induct him into his services. This includes "painting houses" with blood. He gets the attention of top Teamster Jimmy Hoffa (Al Pacino), who wants his help dealing with his enemies. Whether it be an annoying taxi company or Attorney General Robert Kennedy (Jack Huston).

After Hoffa's arrest and later pardon, his first priority is to go back on top. He doesn't care who he irritates along the way. Unfortunately for him, the irritated include the organized crime world. Russell tells Sheeran to tell Hoffa to keep it down. But he won't. This all culminates in Sheeran's explanation for Hoffa's disappearance in 1975. Yes, Sheeran's explanation. The original book's historical accuracy has been disputed. But the film's technical goodness is not.

Its most highly publicized technical feat is its visual effects. The visual effects that de-age Pacino, De Niro and Pesci by a good thirty or so years. At first, you might spend time looking for the seams. You'll later stop and ask yourself "what seams?" The digital makeup job is so great you can ignore any seams. No wonder this movie cost $175 million.

The screenplay has a lot to take in. We have Sheeran discussing his life with an unseen character (Brandt, maybe?). There's also Sheeran and Russell driving with their wives to Bill's daughter's wedding. Sheeran also tries to reconcile with his daughter, Peggy (a mostly mute Anna Paquin as an adult), who disapproves of her father's lifestyle (See his altercation with a local grocer). And of course, there's Sheeran's rise to power. Juggling between timelines can sometimes feel jarring. The film moves pretty quickly in its first half. It only strains at the last half-hour; it could've shaved that much.

Now for the cast. De Niro perfectly plays Sheeran as a tough, but sensitive man. Pacino's Hoffa is a well-meaning man whose ego is his biggest weakness. I mean, he's not that contrite when he asks a guy he previously insulted for union support. Pesci is subdued, but formidable as Russell Buffalino. It's easy to get lost amongst the film's mammoth supporting cast. Fortunately, a few of them have captions explaining their ultimate fates. It's even easier to not recognize some actors; some examples include Harvey Keitel as Don Angelo Bruno and Bobby Cannavale as his hitman, Felix.

The Irishman lives up to its hype. The digital fountain of youth is just as good as Marvel's. Its violence is mundane and brutal. Its runtime is a bit excessive. It's an interesting story about the futility of criminal life.  It's still worth a watch even if you have to take breaks. I did. It's playing at some theaters across the country. But they won't let you pause the movie. I'll let you decide where to see it.

Jojo Rabbit

Now for the most awkward comedy of the year.

Taika Waititi follows up Thor: Ragnarok with his take on Christine Leunen's novel Caging Skies, called Jojo Rabbit. It's a silly comedy set in an unfunny time. At least, it's silly until it's not. Let's see why.

Johannes Betzler (Roman Griffin Davis) is an aspiring Hitler Youth living with his mother, Rosie (Scarlett Johansson). His imaginary friend is the Fuhrer himself (Waititi), who he envisions as an enthusiastic manchild. Johannes goes with his real friend, Yorki (Archie Yates), to training camp, supervised by Captain Klezendorf (Sam Rockwell). There, the other boys brand him "Jojo Rabbit" after he refuses to kill a rabbit. A grenade mishap ends Jojo's time at training camp. Afterwards, Rosie gets Klezendorf to hire Jojo as a menial worker.

Jojo finds an unexpected guest at home - a Jewish girl named Elsa (Thomasin McKenzie). Furthermore, Rosie, as part of the German Resistance, hid her. If Jojo rats Elsa out, Rosie will surely hang. So Jojo uses the situation to learn about Jewish culture. He soon realizes that Adolf and the Nazi way are bad influences. He and Elsa have to avoid detection some how.

A lot to take in, isn't it?

It starts as a goofy comedy which mocks Hitler's cult-of-personality. The drills Jojo and his peers are put through are played as absurd war games. It gradually gets more serious when Elsa is introduced. Her introduction even plays out like a horror movie - which is surprisingly apt for one of Jojo's worldview. There's a few more goofy moments, but not that much, especially after a tragic discovery. A surprise visit from the Gestapo is appropriately terrifying. Jojo's former peers resisting the Allies in the climax is tragically absurd. But Jojo finally rejecting the Nazi way is awesome and funny.

Davis makes a great lead as Jojo. Sure, he's an aspiring Nazi, but he's clearly misguided. The whole movie is him learning a lesson some adults clearly haven't. It's amazing to see Jojo become "rabbit the survivor," instead of "rabbit the coward." McKenzie as Elsa makes a great surrogate sister for Jojo, complete with bickering and reconciliation. Johansson and Rockwell are strong supporting players here. Rebel Wilson is a surprising choice as Klezendorf's assistant Frau Rahm, but she was funny.

And finally, there's Waititi as Adolf himself. He's introduced as a goofy father figure for Jojo. He's useless at the sight of blood, but he shows Jojo the upside of being a "rabbit." Adolf goes from a goofy madman to a monstrous madman as he beckons Jojo to fulfill his duty. It's a great parallel to Jojo's character arc as he realizes the severity of the Nazi way. Again, Jojo's rejection of Adolf is sure to bring some applause.

There's plenty of technical highlights here. Production Designer Ra Vincent creates some alluring locales from Jojo's house to the training camp to Jojo's unnamed town (before and after an Allied Air Raid). Cinematographer Mihai Malaimare Jr. provides some stunning scenery of the Czech Republic, which stands in for Germany. Editor Tom Eagles and Composer Michael Giacchino collaborate the best when Jojo discovers Elsa and during the film's tragic swerve. The soundtrack adds to the goofiness with some German-translated Rock Songs.

Jojo Rabbit isn't a film for everyone. Some might find the Nazi mockery distasteful. Others may find it empty-headed. For me, it's a good story about a boy growing up. His rejection of a toxic influence shows how much he's changed. The story ends well even if everyone doesn't make it. It's worth a watch. There's more depth than you might imagine.

A Beautiful Day in the Neighborhood

Why, hello neighbor. Come on in.

You may recall last year I highlighted the documentary Won't You Be My Neighbor, a film about Mister Fred Rogers. Today, I highlight the narrative feature A Beautiful Day in the Neighborhood, which was formerly called You Are My Friend. It stars Tom Hanks as Rogers and is based on the Esquire article Can you Say ... Hero? by Tom Junod.

Junod is represented by Lloyd Vogel (Matthew Rhys). Vogel is an acclaimed journalist with a wife, Andrea (Susan Kelechi Watson), and baby, Gavin. His relationship with his father, Jerry (Chris Cooper), is highly strained. One day, his editor, Ellen, assigns him to write an article on Fred Rogers. When he meets Mister Rogers at WQED in Pittsburgh, Vogel can't believe that real Fred is as wholesome as TV Fred. He's not impressed at how Fred asks him about his own life. Overtime, Fred's gentle personality helps Vogel mend his troubled relationships.

Director Marielle Heller frames the movie as an extended episode of Mister Rogers Neighborhood. Among other touches, we get to see establishing shots of miniature cities instead of real ones. We also see Hanks re-enact the show's opening so perfectly I thought he was Gumped over the real Fred. But, no. Production Designer Jade Healy's recreation of the show's sets - at the actual WQED studio! - was that flawless. Cinematographer Jody Lee Jipes's work makes the Mister Rogers segments look like pristine TV footage. It's easy to get used to the film switching aspect ratios as it goes from The Land of Make-Believe to Real Life.

Now for the star. Tom Hanks as Mister Rogers perfectly embodies the soft-spoken nice guy Fred Rogers was. The film, like the documentary, shows how nice he was both on-screen and off. He never raises his voice even when one thinks he will. He responds to others' frustrations with patience and understanding. Yes, I made similar points about Fred in the documentary, but Hanks' performance here was on point. The film is another reminder why Fred Rogers is beloved.

Noah Harpster and Micah Fitzerman-Blue's screenplay is another welcome neighbor. We're introduced to Vogel as a picture on Mister Rogers' wall. We're told Vogel is hurt inside, and we wonder why. The film tells us why in a slow but steady 107 minute runtime. During which, we get to see Vogel see Mister Rogers' impact on others - including a scene where subway riders serenade Fred with the show's theme. We see him struggle with his past in an eerie nightmare. We feel it when he finally reconciles with Jerry. 

What's more to say about A Beautiful Day in the Neighborhood? Along with Won't You Be My Neightbor, this is another fine invitation to Mister Rogers Neighborhood. Its two leads welcome you into the movie with open arms. It's a quiet movie but it's heavily emotional. Its comforting morals are most welcome this year. It deserves whatever attention it gets (maybe more).

Frozen II

Have no fear, Elsa is here.

Six years after Frozen lit up the box office, its sequel, Frozen II, will do the same. I don't know if it's better than its originator, but this film is dazzling in its own way. Let's discuss.

In the prologue, Elsa (Idina Menzel) and Anna's (Kristen Bell) parents told them how their granddad, King Runeard (Jeremy Sisto), built a dam for the indigenous Northulda tribe of a nearby Enchanted Forest. The Northuldrans attacked and killed the King, while their elemental spirits sealed away the Forest in mist.

Three years after Frozen, the now Queen Elsa of Arendale, along with Anna, Kristoff (Jonathan Groff) the mountain man, Sven the Reindeer and Olaf the Snowman (Josh Gad) live happily ever after. But then, a wailing voice (courtesy of Norwegian singer Aurora), calls out to Elsa. Elsa's response wakes up the elemental spirits. They attack Arendale.

The troll leader Pabbie (Ciaran Hinds) tells our heroes to go to the Enchanted Forest. There's a whole lot of secrets and lies in Arendale's history. One involves the circumstances of how Anna and Elsa's parents met. Another concerns the origins of Elsa's ice powers. One more concerns the attack that killed Runeard. Our heroes can only quell the spirits by righting the past wrongs.

The screen story was conceived by directors Jennifer Lee & Chris Buck, along with songwriters Kristen Anderson-Lopez & Robert Lopez and Marc Smith. It's not an easy story to sum up in a few paragraphs. Elsa's spirit awakening happens when she lets loose with icicles during her big number, Into the Unknown. It's a colorful display, but how does that wake spirits? The nature of Ahtohallan, Elsa's ultimate destination, is sure to raise some questions. A few plot points are too easy to guess beforehand.

What the film gets especially right is its music. Amongst the songs, Into the Unknown might have the best shot at Oscar time as much as Let it Go did for the first film. It's a strong ballad whose only flaw is that it plays too early on. Another standout is Kristoff's lament Lost in the Woods - a goofy parody of stupid 80s music videos. There's also the heavily emotional The Next Right Thing and Olaf's goofy When I am Older. Christophe Beck's score stands out amongst the songs. I could go on, but I won't.

The returning characters are a great bunch. Anna and Elsa's relationship is still endearing. Anna's relationship with Kristoff includes some comically painfully forced conflict - though the resolution was strong. Olaf and Sven are most welcome here. Two new characters, the Northuldran Ryder (Jason Ritter) and Honeymaren (Rachel Matthews), barely get much to do. Two of the Elemental Spirits, a salamander and water horse, are appealing creatures. The true villain of the piece gets off too easy - as he's already dead.

The visuals are another strong asset. Whether it's Elsa's wardrobe or the Enchanted Forest, the film gives us much splendor. The water effects are realistic, which adds much to the film's best scene. It's when Elsa walks on the raging ocean, and fights and tames the water horse. It's even better than what the already spectacular trailers showed. The Ice Memory Sculptures are another marvelous sight. What's that about ice memory? It makes sense in context.

Frozen II is a great film to look at and listen to. It's sure to take a while to process the heavy storyline. But it's ultimately worth it. There are some strong dramatic and funny moments as memorable as the first film. It's not an instant milestone, but it might become more regarded later on. It's worth whatever price to see it on the big screen.

Ford v Ferrari

James Mangold's last two directed films starred The Wolverine. His latest film, Ford v Ferrari, trades superheroes for race cars. It's an exciting entry into next year's Oscar race.

In 1963, Henry Ford II (Tracy Letts) decides to buy the Ferrari company. The "Commendatore" himself, Enzo Ferrari (Remo Girone), sells his company to Fiat instead. Ford decides to get even by building a race car. His goal is the 24 Hours of Le Mans, in which Ferrari-built Cars are on a winning streak. Ford needs a maker and a driver.

His maker is Carroll Shelby (Matt Damon), the last man to drive a non-Ferrari to victory. His driver is Ken Miles (Christian Bale), a hotheaded racer and mechanic. The two have a rocky relationship. But Shelby knows Miles is the best man for the job. A few Ford execs, namely Leo Beebe (Josh Lucas), don't approve of Miles. Shelby and Miles will have to prove them wrong with the GT40 Mk II.

They deliver.

The racing scenes deserve the big screen. The biggest screens possible. Editors Michael McCusker and Andrew Buckland and the Sound Designers make each race perfectly fast paced and tense. You'll be cheering for Miles even if you came in mildly curious. Each crash will put you on edge. You won't believe that much of the stadium crowds are digital. For me, the Mk II lighting up like the Delorean time machine as Miles overclocks it was the most stunning effect.

Damon and Bale make a great duo. Individually, both men are likable guys. Together, they are fun. Their arguments are serious, but often resolved hilariously. It's awesome to see them work it out. Their supporting cast has a few strong players, including Letts, Noah Jupe (as Miles' son, Peter), Caitriona Balfe (as Miles' wife, Mollie), Lucas and Jon Bernthal as Ford President Lee Iacocca.

The screenplay by Jez and John Butterworth, with Jason Keller, mostly works. It sets up the plot, along with Shelby and Miles' issues, clearly and quickly. Where it doesn't exactly work is the ending. Specifically, the events after Le Mans feel anti-climactic after the highs of the race. They're also unexpectedly tragic, albeit historically accurate, but that's another thing. The ending is where the 152 minute runtime is most apparent. Everything else zooms by wonderfully.

Ford v Ferrari is an entertaining racing film. Its two stars entertain the audience on and off the track. Its racing scenes are some of the best on screen. Its only real flaw is the relatively slow-paced ending. Still, it's an awesome film that deserves a steady place in theaters this holiday season. 

Doctor Sleep

Stanley Kubrick's take on Stephen King's The Shining is regarded as a classic horror film. It's also best remembered for King's dislike of it. But he's reportedly pleased with Doctor Sleep, the film version of his 2013 sequel novel of The Shining, which follows the original film instead of the novel. Why the name Doctor Sleep? Let's see.

Danny Torrance and his mother, Wendy, escaped with their lives from the demonic Overlook Hotel. But the Hotel's ghostly guests followed him to civilization. The ghosts sought his psychic abilities, the titular Shining, for sustenance. Fortunately, the ghost of Overlook cook Dick Hallorann (Carl Lumbly) taught Danny how to seal the ghosts away in mental boxes. Years later, "Dan" (Ewan McGregor) is a driftless alcoholic who finds purpose as a small town hospice orderly. The patients name him Doctor Sleep for his uncanny ability to soothe folks in their very last moments.

Meanwhile, an evil coven of soul-sucking vampires, The True Knot, murder Shiners and feed off their "steam." Their leader, Rose the Hat (Rebecca Ferguson), notices, and is noticed by, a particularly powerful teenage Shiner, Abra Stone (Kyliegh Curran), and wants her dead. Abra, meanwhile, notices Dan, and the two become friends. Dan tries to teach Abra to subdue her Shining. But it's too late; The True Knots are coming to get her. They'll have to put up a fight. It all leads them back to the Overlook.

The film is written, directed and edited by Mike Flanagan, who also adapted King's Gerald's Game for Netflix. Its biggest hurdle is its 151 minute runtime. It takes about fifteen minutes before Dan appears as an adult, and a little longer for the main plot to get going. There's still a few memorable moments along the way. One scene, in particular, is excessively long and shocking: the True Knots' utterly brutal torture of a Shining Little-leaguer - and Abra's understandable psychic panic attack as she witnesses it. It's unbearable with an overloud sound system. It's still satisfying when the villains meet their ends. The climax even borrows from The Shining's explosive literary finale.

There's a pretty good cast here. Curran makes a strong debut as Abra, who proves a surprisingly capable psychic warrior. McGregor is decent as an emotionally subdued man. And Ferguson is equally vile and hammy as Rose the Hat. The True Knots, whose oddly-named members include Barry the Chunk and Crow Daddy, take a while to become distinctive characters. One of the most distinct is Snakebite Andi (Emily Alyn Lind), a con-artist who gets inducted early in the film. The casting department deserves medals for its dead-ringers for the original film's characters. None of that is visual effects.

The actual visual effects conjure up some stunning results. A few memorable feats include Rose flying above a city, some rotating rooms, and the True Knots' dissolving to steam as they die. It's incredible for a film at least $45 million. Flanagan's best editing feats involve flashbacks to The Shining. Some of it is stock footage, while other bits look like it. Production Designer Maher Amid's recreation of the Overlook is just that good. The Newton Brothers create a score as foreboding as Wendy Carlos's work from the first film. Some of that iconic score is reprised here.

Doctor Sleep is ready to see you now. Are you ready to see it? It won't punish you that badly if you never heard of The Shining. Be warned that it is quite long and occasionally disturbing. But it ended pretty well ... depending on one's interpretation. Overall, this sequel is better late than never. Though I can't imagine how they could do part three. See it, read it, and you'll get it.

Parasite

Before I review this film, a word of warning...

JETHRO! It's me, Baxter.

I have a guest. 

I heard you were going to review Parasite! That anime was something else, wasn't it? But it's a few years old and...

I'm not reviewing the anime or its live-action films, which is Parasyte with a y. Instead, I'm reviewing South Korea's entry for this year's now-renamed International Film Oscar. Parasite, with an I, was written and directed by Bong Joon-Ho (The Host, Snowpierecer, Okja). 

The Host? Twilight meets Invasion of the Body Snatchers?!

Before I get into arguing over similarly titled works, let's review the film.

OK.

The Kim family do whatever they can to live through poverty. One day, son Kim Ki-Woo's (Choi Woo-Shik) friend Min-Hyuk (Park Seo-joon) suggests he take over for him as the English tutor of Park Dy-hye (Jung Ji-so). The Park family is far wealthier than the Kims. Ki-woo smells an opportunity and decides to get his family jobs with the Parks. He first gets his sister, Ki-jeong (Park So-dam), hired as an art tutor for the Parks' son Da-song (Jung Hyun-joon). Their parents, Ki-Taek (Song Kang-Ho) and Chung-sook (Chang Hyae-jin), swindle their way to becoming chauffeur and housekeeper. The Parks don't realize that they're being conned.

The Kims are happy to feed off the Parks. But when the Parks' former housekeeper, Moon-gwang (Lee Jung-eun), unexpectedly returns, the charade starts to collapse. 

Bong and his co-writer, Han Jin-won, create what is surely this year's darkest comedy. It introduces the Kims as unpleasant and desperate people. The Park family, while better off, have their own issues. It leads to some hilarious dialogue and situations. Still, the Kims test their audiences' sympathy by tricking the Parks into firing Moon-gwang and the prior chauffer. Once Moon-gwang's secret is revealed, the audience pities the Kims as they realize the magnitude of their situation. The comedy gradually phases out after that. It all leads to a cataclysmic ending.

Who stands out among the cast? I'll name a few. Ki-Taek starts the film as an unmotivated loser, though we do learn his understandable, fatalistic motives. Ki-Woo is a good protagonist. The Park parents, Dong-ik (Lee Sun-Kyun) and Yeon-kyo (Cho Yeo-jong), are sympathetic, ignorant rich folks with somewhat skewed priorities. The most sympathetic character is Moon-gwang; her secret involves a surprise character.

Production designer Lee Ha Jun's best work is the Park house. Sure, it looks like an idyllic mansion, but wait till you see the underground bunker. As filmed by cinematographer Hong Kyung-pyo, the bunker is an alluring claustrophobic nightmare. It's fitting for what comes afterward. Other artistic achievements include the Kims' tiny apartment and the nighttime Seoul photography. The sound design is perfectly creepy ... bar the first few minutes, as my theater forgot to play the sound! At least I still got to hear most of Jung Jae Il's intense score. 

Parasite is a memorable exercise in mood whiplash. It goes from cynically hysterical to cynically disturbing during its 132 minutes. Its screenplay is sure to shock and amaze you. It's not for the feint of heart. See it if you're up to it. Look elsewhere for a happier film. I'm sure you'll find some in many languages.

Harriet

We now go to a biopic with a significantly less troubled production than The Current War. 

Harriet, the biopic of Harriet Tubman, spent years in development. But it all went smoothly once filming started. Here's the end result.

Harriet Tubman (Cynthia Erivo) was born into slavery as Araminta Ross. She married a freedman, John Tubman (Zackary Momoh). Her cruel master, Edward Brodress (Mike Marunde), cheats her out of her freedom. When Brodress dies, his son, Gideon (Joe Alwyn), decides to sell Araminta downriver. This drives Araminta to escape up to Pennsylvania. She's welcomed into the Anti-Slavery Society by William Still (Leslie Odom Jr), joins the Underground Railroad and takes on the name of Harriet Tubman.

Harriet goes back and forth to the South to free the slaves. Among her first rescues are her brothers. Soon enough, "Moses," as she is nicknamed, has an ever increasing bounty on her head. Gideon is ready and willing to collect. He has two Black slavetrackers, Walter (Henry Hunter Hall) and Bigger Long (Omar J. Dorsey), to help him. Harriet's mission is further complicated by the passage of the Fugitive Slave Act. But she won't rest until her family is led to safety.

Cynthia Erivo makes a great choice as Harriet. Her plight and drive is compelling. We see Harriet pull off subterfuge on par with The Scarlet Pimpernel. She's more than willing to fight if needed. Throughout the film, she has visions of the future, which she attributes to God. It's somewhat over-dramatic, though not entirely out of place in this grounded film. One of the visions drives Walter to have a Heel-Face Turn; it's a bit abrupt, though an interesting development.

And the villains. Alwyn as Gideon is a capably vile man. He believes he's doing the right thing by hunting Harriet, but his callous racism voids any sympathy from the audience. Even his "rescue" of Harriet from Bigger Long has a selfish motivation. Meanwhile, his mother, Eliza (Jennifer Nettles), has an almost sympathetic motivation to keep her Farm alive - keyword is "almost." Marunde as Edward perfectly fails to endear himself to the audience. Bigger makes for a brutal co-antagonist. 

A few more highlights from the cast include Janelle Monae as Harriet's friend, Marie Buchannen, Clark Peters as Harriet's father, Ben, and Kathryn Tkel as Tilly, a rescued slave who pulls off a bit of her own subterfuge. 

Now for the technicals. Harriet's visions are presented by cinematographer John Toll with eerie washed-out color. His nighttime cinematography is alluring. So is the production design by Walter Allan Young; Marie's boarding house is splendid. Terence Blanchard's score includes a few strong hymns for Harriet to sing. The makeup department convincingly ages Harriet and the cast through the years. Editor Wyatt Smith builds the tension as Harriet undertakes her missions. Their work should get some Academy consideration.

Director Kasi Lemmons and her co-writer, Gregory Allen Howard, create a compelling biopic with Harriet. Whatever flaws it may have barely impede it. Its 125 minutes present the story of a woman who sought to end a certain injustice. Some may question why the final confrontation plays out like it does - but it makes sense as a form of cruel mercy. See it at least once and you might learn something new.

Historical liberties not withstanding.

The Current War

The Current War?

More like the out-of-date war.

OK, enough joking. The Current War went through a lot to get released.

I first saw the trailer for the film with Blade Runner 2049 two years ago.  It was supposed to debut the following month. By the time I saw the trailer, its original distributor, The Weinstein Company, was felled by certain circumstances. That, and its lukewarm reception during the Toronto International Film Festival, sent it back to the drawing board. It's finally here to light up the box office. But is it a blinding light or a faint glimmer? Let's discuss.

In 1880, Thomas Edison (Benedict Cumberbatch) debuts his Direct Current electrical system. It works better than gas lights, but it only covers a square mile. George Westinghouse (Michael Shannon) decides to outdo him with his long-range Alternate Current System. The "war of the currents" is born. Edison smears the AC system as dangerous and this leads to the development of the Electric Chair. Westinghouse hires Nikola Tesla (Nicholas Hoult) to help power his system. Edison and Westinghouse set out to light the Chicago World's Fair.

Director Alfonso Gomez-Rejon (Me and Earl and the Dying Girl) works from a script by Michael Mitnick. The best part of the film is the Electric Chair subplot. It's potentially controversial, but it would make an interesting film by itself. The "war of the currents" speeds through thirteen years as Edison fires cheap shot after cheap shot while Westinghouse practically ignores him until the end. The "AC is Bad" campaign barely dents Westinghouse's business. Tesla barely figures into the story until he meets Westinghouse late into the film.

Sounds boring, doesn't it? But some parts sparked my interest. Cumberbatch as Edison is a delightfully arrogant genius with a soft side. His relationship with his wife, Mary (Tuppence Middleton), is endearing. His work on the phonograph and kinetograph is fascinating to watch. Shannon as Westinghouse makes for a likable "antagonist." Hoult makes the most of his comparatively limited screentime as Tesla. Amongst the supporting cast, there are at least two standouts. One is Tom Holland, who is memorable as Edison's assistant. Samuel Insull. The other is Connor MacNeil as William Kemmler, the first man to get the Electric Chair; MacNeil plays Kemmler as a pitiful wreck, even if his crime is brutal.

The film looks as good as that first trailer did. Cinematographer Chung-hoon Chung starts the film off spectacularly when Edison first tests his lightbulbs in a dark field for his investors. Chung's work shows off the immense production design by Jan Roelfs. The CGI-enhancements to the sets are practically invisible. Editors David Trachtenberg and Justin Krohn make the story intelligible. And on the aural side, Danny Bensi and Saunder Juriaans create an intense score.

The Current War is an interesting film. There's not much tension in this "War of the Currents." But it's lively enough to spark some interest in reading on the current events. I already started. It does warrant some curiosity caused by its delay. See it at least once. Prepare to be educated.

Dolemite Is My Name

... And busting busters is my game!

(That's not the actual phrase. The actual phrase isn't family friendly.)

The next few months have plenty of Oscar-likelies on the docket. Fortunately, a few of them are on Netflix, meaning that if it's not playing at a theater near you, you can still see it at home a few weeks later. On the top of the list is this Thanksgiving's Martin Scorsese's eagerly-awaited The Irishman. Right now is the comedic biopic Dolemite Is My Name.

In the early 70s, Rudy Ray Moore (Eddie Murphy) tries to make it in Los Angeles. By day, he's an assistant manager at the Dolphin's of Hollywood record store. By night, he's an emcee at a comedy club. His dreams of making it big never went bigger. He meets a neighborhood bum named Rico (Ron Cephas Jones), who spins outrageous yarns of a swaggering, rhyming pimp named Dolemite. The stories give Rudy the inspiration for a new comedy act. After Dolemite's first records are smash hits, Rudy and his friends decide to take him to the big screen.

Now for the production. Rudy gets his friends, including Ben Taylor (Craig Robinson) and Theordore Toney (Titus Burgess), on the film crew. Rudy gets playwright Jerry Jones (Keegan-Michael Key) to write the film and actor D'urville Martin (Wesley Snipes) to direct and star as Dolemite's arch-enemy, Willie Green. He sets up base at the rundown Dunbar Hotel - which only works when the crew swipes electricity from another building. His inexperience in film leads to some interesting results. But no major studio wants the end result. Will Rudy avoid a lifetime of debt?

Yes.

One may compare this to Ed Wood or The Disaster Artist, the former sharing this film's pair of screenwriters, Scott Alexander and Larry Karaszewski. But the production depicted here is more competent in comparison to the other films. It's still pretty humorous. Jones has to tone down Rudy's unwieldy mix of ideas into a suitable film. A passionate scene goes bonkers. The fight staging is awkward. A bunch of film students make up much of the crew. It's no surprise D'urville isn't sold on the whole thing.

Eddie Murphy capably leads the way. He plays both Rudy and Dolemite with delightful enthusiasm. The often profane dialogue isn't for everyone, but it's so over-the-top that it's worth at least a laugh or two. Beneath the enthusiasm is a man uncertain if his work will get distributed. We understand the stakes as he nearly drives himself to debt to finance Dolemite. Ultimately, his goals and dedication win the audience's admiration.

Now let's not forget some other names. Snipes is a great straight man as D'urville, while Da'Vine Joy Randolph is a standout as Dolemite co-star Lady Reed. Snoop Dogg and Chris Rock get some amusing cameos as DJs in separate scenes. Ron Cephas Jones as Rico is a memorable presence. Luenell's performance as Rudy's aunt also makes the most of her limited screentime. And on the technical side, the standout is the colorful wardrobe by Ruth E. Carter.

Dolemite Is My Name is a pretty good biopic. I'd imagine familiarity with Rudy Ray Moore and Dolemite is needed before seeing it. Still, it's a good story about a man making a name for himself. Whether on Netflix or Theaters, Dolemite makes the most of any screen. See it at least once to see what I mean.

Judy

The next Oscars are two weeks earlier than normal this time. So you might want to start your countdown soon. I started mine with Judy, the biopic which sees Renee Zelweger portray the one and only Judy Garland.

Around 1968, Judy is practically broke and needs a comeback. Her agent suggests a concert tour in the UK. She reluctantly agrees to the proposal, leaving her youngest kids, Lorna and Joey Luft with their father Sidney (Rufus Sewell). Her inner demons threaten to impede her performances. But a nice guy named Mickey Deans (Finn Wittrock) comes along and becomes her fifth husband. That relationship goes sour when the tour gets extended, perhaps indefinitely. But she finds the strength to carry on.

And then she died in June, 1969. OK...

Director Rupert Goold and writer Tom Edge adapt Peter Quilter's stageplay End of the Rainbow. The film opens with young Judy (Darci Shaw) getting a pep talk from Louis B. Mayer (Richard Cordery) on the set of The Wizard of Oz. A few more flashbacks follow to show Judy's painful upbringing on the MGM lot. It perfectly contextualizes her later problems. Most of the film deals with Judy's later struggles with her declining health and worsening addictions. There is some levity, especially with two fans named Stan (Daniel Cerqueira) and Dan (Andy Nyman) who befriend Judy, and it's very needed.

Zelweger doesn't disappoint as Judy Garland. Her weary face, made possible by Jeremy Woodhead's makeup team, says a lot about her rough life. She still works to support her family in spite of her rough life. She gets to enjoy some happiness with her kids and later, Mickey Deans. She gets the audience's sympathy the whole way through. Her musical performances invigorate the film. The climactic performance of Over the Rainbow is the film's strongest number. You'll know why when you see it.

Technically, the flashbacks are the best part of the film. On one hand, Judy's rough treatment at MGM isn't delightful. But on the other, her moments of disobedience are. Her scenes with Mickey Rooney (Gus Barry) show excellent chemistry. Kave Quinn's production design and Ole Bratt Birkland's cinematography create a colorful world. Its most distinctive color, of course, is the shear emerald green. 

Judy is a tough movie to watch. After all, it's a film about the sad, final months of a fading Hollywood star. It's a film that might make some people reconsider show business. Its moments of levity made it easier, and as said before, it needed them. Keep that in mind if you decide to see it. Whether you want to see it again immediately is up to you. 

Downton Abbey

I never followed the ITV series Downton Abbey in its day. So I went into its film spin-off pretty blind. Avid fans of Julian Fellowes' cast of characters will get more than their money's worth. Everyone else has a lot of reading to do.

As with the series, the film follows the noble Crawley family and their servants who live in the estate of Downton Abbey. Both the upstairs and the downstairs are shocked when King George V (Simon Jones) and Queen Mary (Geraldine James) come calling. They plan to spend the night at Downton as part of a tour. Celebrations are in order, and through the hectic preparations, come subplots:

The servants are kicked further down by the snobbish Royal Butler Mr. Wilson (David Haig) and the royal staff. They plan to strike back. Servants Daisy (Sophie McShera) and Andy (Michael C. Fox) plan their wedding. Violet Crawley, Dowager Countess of Grantham (Maggie Smith), gets in an inheritance squabble with another relation, Maud Bagshaw (Imelda Staunton). Retired Downton butler Mr. Carson (Jim Carter) is called back into service. All cope with the changing times.

Oh yeah, and an assassin comes for the King. But that's resolved by the halfway point.

Did everybody get that?

Michael Engler, who directed the show's finale, among other episodes, handled this movie too. Fellowes, once again, wrote the script. Its first half-hour or so is sure to test the uninitiated. The film's vast ensemble of characters and their issues show up pretty quickly. It's easy to get lost in the unfamiliar territory. Still, there's plenty of humor here, mainly provided by Violet's delightfully acidic wit ("I never argue - I explain."). The overall plot is easy to follow, though. As said before, fans of the show will feel right at home at Downton.

A few more thoughts on the characters. David Haig does a great job at making Mr. Wilson detestable. It's easy to see the servants' frustrations when they have to put up with him. The Royal Chef, Monsieur Courbet (Phillipe Spall), is so pompous he's hilarious. The King and Queen themselves are likable characters, unlike their aforementioned servants. The highlight of the cast, of course, is Violet. Staunton, as Maud, does a good job playing off of her.

A few familiar technical faces return from the show. John Lunn's score, including the show's main theme, sets the film's majestic mood. Production Designer Donal Woods and Costume Designer Anna Robbins create an alluring rendition of 1927 Yorkshire. Among the new technical faces, there's cinematographer Ben Smithard and edtior Mark Day. Whether indoors or out, upstairs or downstairs, the scope of Smithard's work is marvelous. The best edited scene is the dinner scene when Downton servant Mr. Molesley (Kevin Doyle) accidentally reveals that he and the Downton staff served the King and Queen's latest meal. You can feel the awkward, dreadful silence until Queen Mary genuinely compliments the meal.

Downton Abbey welcomes its fans with open arms. Everyone else needs to get up to speed before or after the movie. It might make some new fans along the way. As for me, I'm now a bit more interested in the show and Fellowes' earlier film Gosford Park. I had a few questions during its 122 minutes. But they're easy to get now that I've read up a bit more on the show.

The Addams Family

That creepy and kooky household first drawn by Charles Addams for the New Yorker over eighty years ago refuses to stay buried in the crypt of obscurity. Say that ten times fast.

Anyway, The Addams Family has risen in computer-animated form. Its macabre wackiness makes up for some cliched story elements. Let's see what I mean:

Gomez (Oscar Isaac) and Morticia Addams (Charlize Theron) just want a home for their family. Sure, they and their clan are bizarre and macabre, but they're still good to each other. They already got chased out of "the old country" by fearful townsfolks. So they settle "somewhere no one in their right mind would be caught dead in:" New Jersey. They hire escaped asylum inmate Lurch (co-director Conrad Vernon) as their butler and settle in a haunted asylum. 

Thirteen Years Later, the Addams, now with kids Wednesday (Chloe Grace Moretz) and Pugsley (Finn Wolfhard), live isolated from the world. The fog vanishes and they discover the appallingly sunny town of Assimilation. The town is run by reality show host Margaux Needler (Allison Janney), who decides the gloomy Addams estate needs a makeover. Even if it means flattened to the ground. 

Wednesday decides to go to Junior High with Margaux's frustrated daughter Parker (Elsie Fisher). They horrify their mothers by switching their fashion tastes. Meanwhile, Pugsley has to master his "Mazurka" sabre dance for his Addams' right of passage. Unfortunately, there's still the matter of Margaux rallying the townsfolks against the Addams.

The screenplay by Matt Lieberman and Pamela Pettler has plenty of family-friendly macabre humor. A few highlights include Morticia using her parents' ashes as makeup and Wednesday's "Frankenfrogs." Practically anything Uncle Fester (Nick Kroll) does is sure to get plenty of laughs. Meanwhile, Assimilation is perfectly creepy before we see the depths of Margaux's villainy. Wednesday and Pugsley's subplots sound familiar, but I forgave the familiarity. Not the ending. The resolution is so rushed that Margaux's comeuppance, if it can be called that, is underwhelming.

The Addams are still delightfully ghoulish. Gomez and Morticia have great chemistry together, while Wednesday and Pugsley are creepy, yet sympathetic kids. Bette Midler is a great choice for the witchy Grandmama while Snoop Dogg as the gibberish-speaking Cousin Itt is a hilariously odd choice. Margaux's best scenes are when she's over-the-top evil.

The character designs are a great CGI approximation of Addams' original drawings. The Addams themselves are an eclectic bunch of eccentrics. The "normals" are generally gaudy. The production design provides a perfect clash between the Addams' gothic environment and Assimilation's eye-gauging "perfectness." The highlight of Mychael and Jeff Danna's score is their rendition of Vic Mizzy's famous theme song. They even re-enact the opening of the sixties show before the end credits.

The Addams Family is a fine reintroduction to this famous family. Its ghoulish humor is sure to entertain the adults as much as the kids. It's not a perfect film, but it wasn't boring. Its 105 minutes should make for a good pre-Halloween matinee. 

Joker

The Joker is ready for his close-up, Mr. DeMille!

Wait, Mr. DeMille's dead.

But The Joker still wants his close-up!

Forget a close-up! How about a movie!

Yay!

Yay?!

Batman's number one enemy now has a movie of his own. Joker tells an origin story spun by director Todd Phillips and co-writer Scott Silver. It's a movie with conflicting emotions. Let's find out why.

The future Clown Prince of Crime is Arthur Fleck (Joaquin Phoenix). In 1981, Arthur lives with his mother, Penny (Frances Conroy), in bleak Gotham City. He's a rent-a-clown by day and aspiring stand-up comic by night. Unfortunately, he's often the only one who laughs at his jokes, which is exasperated by his Pseudobulbar Affect. Gotham citizens think he's either a creeper or easy pickings. A fellow clown loans Arthur his gun. He loses his job when he's caught with the gun.

Arthur, in full clown attire, is harassed on the way home by three yuppies. He shoots them dead. This inspires the disaffected populace to rise up and take on the rich. In the midst of it, Arthur learns about his mother's connection to billionaire Thomas Wayne (Brett Cullen). It leads to a string of heartbreak and mayhem for Arthur which culminates in a guest spot with his favorite talk show host, Murray Franklin (Robert DeNiro). 

The film's opening scene sets up Arthur's life perfectly. Clown struggles to put on a happy face, Clown enjoys himself on the job, Clown gets jumped by hoodlums. Simple as that. The rest of these 122 minutes gives neither Arthur nor the audience little levity. Some comedy exists, but you'll notice the tragedy and violence even more. Penny Fleck's connection to Thomas Wayne leads to a shocking revelation, which is quickly debunked ... sort of. Penny also has more secrets to share. Arthur's attraction to neighbor Sophie Drummond (Zazie Beetz) turns sour. Let's just say this Gotham City needed a Batman yesterday.

Now for the star of the show. We first empathize with Arthur and dread the inevitable outcome. We want him to succeed in life, but not in the way that he does. His laughing fits are emotionally devastating given his condition, but they become easier when he embraces his persona. After that, he's happy even when we're not. Joaquin Phoenix's performance never loses the audience's attention. I don't think, and hope not, he intended to keep their sympathy for very long.

Now we go for the technicals. The first point goes to costume designer Mark Bridges for designing Arthur's memorable clown attires. His climactic Joker suit looks like an alluring comic book extract. Many points go to the Makeup and Hair departments headed by Nicki Fuderman and Kay Georgiou. They deserve recognition for Arthur's normal disheveled look, his clown makeups and the violent damage they're put through. Production designer Mark Friedberg and cinematographer Lawrence Sher deserve points for visualizing Gotham City at its bleakest. Finally, there's also editor Jeff Groth and composer Hildur Guðnadóttir for sustaining the dread. Take a bow.

Joker is not an easy matinee to sit through. Arthur's miserable existence is depressing and the film's violence is shocking. Some might say that it's also empty headed nonsense. But at least it raises concerns that some people need to listen to. How it raises its concerns makes it captivating to listen to. You'll find a method to the madness if you see it. Look elsewhere if you want a happier film.

Where are the happy films?

Abominable

Get Yeti for this year's other Yeti movie.

(The pun's catchy.)

Abominable stars Yi (Chloe Bennet), a Shanghai girl who works odd jobs for money for a trip around China. She also secretly plays her late father's violin on the rooftop of her apartment. One night, she finds an escaped Yeti there. That Yeti was captured by mean Mr. Burnish (Eddie Izzard), a billionaire animal collector, but escaped in the opening scene. Yi names the Yeti "Everest," and decides to get him back to the eponymous mountain. Cousins Peng (Albert Tsai) and Jin (Tenzing Norgay Trainor) join her. Everest's ability to control nature comes in handy when Burnish's goons come after them.

That describes the movie. It's a simple plot one might essentially recognize from other films. But it's a film with a major surprise. Burnish is a lot nicer than he lets on ... it's his scientist, Dr. Zara (Sarah Paulson), who's the real big bad. Some may question the logic, but I'll give the movie points for trying. It also gets points for not overusing its running gag - the "whooping snake."

It's not heavily dramatic. On one hand, Yi deals with her dad's death and her distance from her family. But our heroes are rarely seriously threatened by the bad guys; when they are, it's not for very long. But at least it avoids some forced drama cliches in the process. So that's something.

Its best aspects are its technical splendor. Everest's powers have stunning results: giant blueberries, koi clouds, sunflower fields bending like waves, etc. Everest himself is a perfectly cuddly creature begging for a life-size plush toy. The Chinese locations, from Shnaghai to Everest, are visually appealing. It's set to a powerful score from Rupert Gregson-Williams, who also voices Everest's humming. 

Abominable is a ninety-seven minute breeze. It's easy for kids but surprising enough for adults. It'll give you a bit to think about when it's done. It's good for an easy matinee - particularly as next month's (which it already is in some parts as I'm writing this) family movies are creepy and they're kooky...

Ad Astra

The Lost City of Z was probably the best live-action film of 2017 that I never had the chance to see. But I had the chance to see director Jason Gray's followup. It's his long in development, long-delayed and long-anticipated sci-fi opus Ad Astra. Just imagine Apocalypse Now in space and you have this:

Astronaut Roy McBride (Brad Pitt) lives in the shadow of his father, Clifford (Tommy Lee Jones). Clifford commandeered the Lima Project, a mission to contact extra-terrestrials, which vanished years earlier. Roy is aboard a giant space satellite when Earth is hit by a cosmic surge. One of several, as we find out. He barely survives the ensuing free-fall.

His superiors trace the surges back to Neptune, the last known whereabouts of the Lima Project. They realize that Clifford is still alive and is responsible for the surges. Roy is sent on a mission to Mars to appeal to Clifford to stop the project. The long space journey gives Roy a lot to think about.

It sounds like a slow ride, doesn't it? Not really. It's only 124 minutes and its plot is lightning quick. The initial cosmic surge and Roy's mission are set up in about ten minutes. And then, it's off to space. Roy's narration lets him reflect on his life and the loneliness of space, among other things. Along the way, Roy gets in a shoot-out with lunar pirates, encounters rabid baboons aboard a space station and indirectly gets his crew killed. The ending nearly buckles over Clifford's motivations. But it's not as baffling as 2001: A Space Odyssey's ending.

Roy's journey to the unknown is a stunning ordeal. Cinematographer Hoyte Van Hoytema, production designer Kevin Thompson and the visual effects department present a bleak, yet visually appealing view of space. The visual set pieces demand the audience's full attention. Roy's plummet to Earth and his space jump through Neptune's rings are thrilling modern serial scenes. Meanwhile, the sound mix spells out the desolation and loneliness of space. It's easy to see why people can go mad in space, which they do. Max Richter's soft score further emphasizes the introspective story.

Ad Astra is a film that needs to be seen on the big screen. The opening scene on Roy's satellite is worth the price of admission. Brad Pitt and Tommy Lee Jones's performances capably lead the audience through its story. Gray's film is almost a space oddity for its fast and slow story. That's an achievement.

It: Chapter Two

It's ...

... back.

And now, for the other half of Andy Muschietti's film of Stephen King's IT. IT: Chapter Two is a good way to start the fall. It's not as great as Chapter One, but there's still plenty of fine stuff. Read on.

It's now 2016 in Derry, Maine. Adrian Mellon (Xavier Dolan) and his boyfriend, Don, are assaulted by vile punks. Adrian is tossed off the bridge into the raging river below. The newly re-awoken demon clown Pennywise (Bill Skarsgard) fishes him out and makes him ITS first meal. IT beckons the now-adult Losers Club, the seven kids who ended ITS last reign of terror, to "come home."

Mike Hanlon (Isaiah Mustafa), the only one of the Losers Club still in Derry, calls up the other six. They promised as kids to finish IT off if IT ever came back. Only Bill Denbrough (James McAvoy), Beverly Marsh (Jessica Chastain), Richie Tozier (Bill Hader), Ben Hanscom (Jay Ryan) and Eddie Kaspbrak (James Ransone) respond. Stanley Uris (Andy Bean) kills himself.

Pennywise is ready and willing to taunt and terrorize them all. But Mike has a plan. An indigenous ritual called the Ritual of Chud may end IT once and for all. The Losers have to go around Derry to collect childhood tokens for the ritual. Sounds easy, right? But what if the Ritual doesn't work?

Chapter One co-writer Gary Dauberman writes this Chapter solo. It goes back and forth in time with the Losers, from their individual quests to "new" encounters with Pennywise. We get some interesting insight into the Losers' childhoods that not even Chapter One explained. But there are a few issues. One of the biggest is that a few details (like Ben's interest in architecture) should've been established in Chapter One. While there are a few creepy and shocking moments, plenty of Pennywise's tricks aren't creepy or shocking. The final, for real, confrontation with Pennywise is overlong, and consequently, not as cathartic, as Chapter One's final battle. Its huge length of 169 minutes speaks for itself.

It's astounding how the adult Losers Club look so much like the kids. Well, most of them, but Ben's considerable weight loss is acknowledged. And the digital de-aging effects used on the kids is practically invisible. The Losers Club, whether adult or kid, are a likable ensemble. Hader gets some of the best lines, but Dolan as Adrian Mellon gets the best lines as he taunts his assailants. Special mention goes to the actors playing Adrian's attackers for making them purely unlikable. Teach Grant as former bully Henry Bowers makes an impression with his relatively short screen-time. We also get a few amusing cameos from King himself as an antique dealer and Peter Bogdanavich as himself. And finally, Bill Skarsgard as Pennywise is still a reliably evil clown.

Now for the technicals. Benjamin Wallfisch returns to score the film, mixing new music with some of Chapter One's score. It knows how to set the many moods of the film. Editor Jason Ballantine and the sound designers deserve more balloons for its most shocking scenes; namely, the set ups for Pennywise's kills. Paul D. Austerberry's production design and Checco Varese's cinematography collaborate the best in visualizing Pennywise's creepy cave. The visual effects department get another balloon for its creepy creatures.

IT: Chapter Two completes this Stephen King adaptation. Its strongest moments aren't as memorable as Chapter One's, but they get the job done. It should make a fine double feature with its predecessor. Just don't set the bar too high. And don't let the runtime deter you. If you're lucky, you'll get a funny teaser for February's Birds of Prey. It needs to be seen to be believed.

The Angry Birds Movie 2

The Angry Birds Movie 2 has played in theaters for three weeks now. I put off seeing it because of a hectic August. But it's September now, so here's a review.

The Birds and the Pigs are locked in a prank war. But then, Zeta (Leslie Jones) of nearby Eagle Island starts tossing giant ice balls at both their islands. The Pig King Leonard (Bill Hader) calls a truce with the Birds. Red (Jason Sudeikis) isn't convinced until Leonard shows up at his house. Red quickly organizes the mission to Eagle Island. They're joined by fellow Birds Chuck (Josh Gad), Bomb (Danny McBride) and Chuck's sister, Silver (Rachel Bloom). Mighty Eagle (Peter Dinklage), bravest Bird of all, wants to sit this one out. The Birds and Pigs on the mission have to work fast to stop Zeta from using a new superweapon to bombard their islands with ice-lava balls.

That's almost the whole movie.

Meanwhile, three lil Birds chase after three eggs that washed out to sea. Their subplot supplements the movie with its surprising humor. Their antics help save the day near the end. They also get a genuinely funny pre-credit scene.

The main plot goes strong for 99 minutes. Its character relationships, particularly Red and Silver, are surprisingly endearing. Bomb's plan to deal with a flock of eagle guards takes a surprising turn. Zeta's plan is so stupidly short-sighted it makes sense. There's quite a bit of black humor. A few gags went on too long, but there were more hits than misses.

There's plenty of creative wit to behold. The characters and scenery are still appealing. The frozen Eagle Island, in particular, is an impressive villain base. The final battle is fast-paced and coherent. The voice cast is great, particularly Jones as Zeta, Dinklage as Mighty Eagle and the voices of the lil birds. The soundtrack has some great selections, though they overshadow a good score by Heitor Pereira.

The Angry Birds Movie 2 is another step towards the great video game movie. Its story is straightforward and entertaining even with its subplot. You'll be surprised at what it's capable of. There's one major reason why you should see it now:

And that's because it has a short. Hair Love, by Matthew A. Cherry and Bruce W. Smith, has a father and daughter bond over hairstyling. There's a lot more than that, and it tells all in seven minutes. Be careful. It's pretty emotional.

Blinded by the Light

This August hasn't been productive so far. There were a few movies I wanted to see already, but things changed. But I found time to see a movie after all. It's Blinded by the Light, based on Sarfraz Manzoor's book Greetings from Bury Bark. Let's see how it is.

Manzoor is represented in the film by Javed Khan (Viveik Kalra). In 1987, Javed and his Pakistani family are trying to get by in their Luton, England neighborhood. They suffer from a bad economy and racist bullies. Javed is an aspiring writer, but his father, Malik (Kulvinder Ghir), refuses to let him go beyond Luton. 

A new classmate, Roops (Aaron Phagura), introduces him to the music of Bruce Springsteen. The Boss's lyrics invigorate Javed's life. He gains confidence as a writer, gets published and gets a girlfriend, Eliza (Nell Williams). But while Javed's future gets brighter, his family's troubles get darker. How will he mend his relationship with his parents?

Manzoor wrote the film with director Gurinder Chadha and her husband, Paul Mayeda Berges. It's a great case for Springsteen's - or any pop culture figure, for that matter - resonance. We see how Springsteen's songs of the 70s resonate with a young man of the 80s. We also see how Javed's poems resonate with people. This resonance works outside the movie; we might see parallels between Britain of the 80s and the US right now. Socio-political parallels.

The main characters are a nice bunch. Javed is a likable dreamer. We emphasize with him as he faces numerous setbacks. We laugh as he hijacks his school's PA to play Springsteen. His newfound optimistic determinism is inspiring. Malik is a strict father who tests the audience's trust with his harshest actions. But we emphasize with his desperation as he faces debt. His acceptance of Javed's dream and their reconciliation is heartwarming.

There's also a few musical scenes. They don't pop up until about a half-hour in, but they're worth it. A few numbers have Springsteen's lyrics fly across the screen; in others, Javed and co. burst into song. Springsteen's music is a great set list, even including a previously unreleased track, I'll Stand by You. There's also a great, softspoken score by AR Rahman. Another technical highlight is its recreation of the Great Storm of 87. The roaring cyclone is a surprisingly appropriate time to get into Springsteen. Ben Smithard's cinematography perfectly illuminates the fantastical and realistic parts of Javed's life. The production and costume designs perfectly complete the film's vision of the 80s.

Blinded by the Light is a fine late summer film. It's a meaningful family dramedy/coming-of-age story that stands out amongst the blockbusters still around. It's an appealing look at a bygone era, even if it's not that sunny. It's worth seeing at least once even if you're not into Springsteen. The film's 118 minutes will go by relatively quickly. 

Hobbs and Shaw

One's a current lawman, and the other's a former hitman. Together, they fight crime with cars. Luke Hobbs and Deckard Shaw, two of the most memorable characters in The Fast and The Furious movies, have a movie for themselves. It's called Fast & Furious Presents: Hobbs & Shaw.

This time, Hobbs (Dwayne Johnson) and Shaw (Jason Statham) have to deal with the cyborg card carrying villain Brixton Lore (Idris Elba). Brixton wants the Snowflake super virus for his evil organization, Eteon. But MI6 agent Hattie Shaw (Vanessa Kirby), Deckard's sister, injects the virus capsules into herself. She now has seventy-two hours to extract them from herself. Otherwise, the virus activates, kills her, goes airborne and kills half the world. 

Hobbs and Shaw are called to save the day together. But they hate each others' guts. Hattie has no patience for their bickering. They have to work together to stop Brixton and his shadowy leader from getting the virus. Hobbs will have to reconcile with his estranged family in Samoa to save the world.

Everybody got that?

At 133 minutes, this film runs somewhat shorter than the last film. But even that felt too much. Its numerous story elements move along at a bit of a slow pace. A few story elements, like Brixton's origin, are overwhelmed by the numerous car chases. Others, like Brixton framing Shaw for massacring her team and absconding with the virus for evil, stretch credibility. I know the past few movies stretched credibility too, but some of the stuff here is a giant leap. As of now, I'm only mildly curious as to who the mysterious Eteon leader is.

There's quite a bit to enjoy here. Hobbs and Shaw's bickering is still entertaining. The opening sequence, as edited by Christopher Rouse, nicely compares the two as they go about their days. Another scene compares their skills fighting henchmen in a hallway. They do their best to get through the plot. It's also refreshing to see Brixton honestly introduce himself as the "bad guy." I'd like to see him take on the main cast of the franchise, but given how the film ends, it's unlikely.

There's plenty of new faces here. The best one is Hobbs' CIA handler Mr. Locke, primarily because he's played by Ryan Reynolds. I almost didn't believe it was him. But it was and he got the film's best lines. Kevin Hart also has a surprise cameo as an air marshal who helps our heroes get to Samoa. He needed a little more screentime than two scenes. The members of Hobbs' Samoan family, including Cliff Curtis as brother Jonah and Lori Pelenise Tuisano, were a good bunch. They all play a surprisingly effective role in the final battle against Eteon.

The Fast and the Furious movies are looking less like gritty street racing movies and more like GI Joe with fast cars. Look to Hobbs and Shaw for proof of that. It's stupid, cliched and a bit dull, but a few concepts are entertaining. It's not a loss. It's OK for a matinee. Let's see how Dominic Toretto and his crew handle things when the next movie opens ... whenever that is.

Once Upon a Time in Hollywood

When will Quentin Tarantino make a family friendly film?

I'm thinking never.

Tarantino's ninth film, Once Upon a Time in Hollywood, starts off rather benign. It tosses aside all restraint in its home stretch. That's when we witness the most memorable ending of the year.

Once upon a time, in Hollywood, there lived Rick Dalton (Leonardo DiCaprio) and his best friend/stunt double/gofer Cliff Booth (Brad Pitt). Rick was the star of the 50s Western Show Bounty Law, but he's a has-been on February 8th, 1969. Producer Martin Schwarz (Al Pacino) suggests filming a Spaghetti Western or two. Rick sets his hopes on his new neighbors: Sharon Tate (Margot Robbie) and her husband, Roman Polanski (Rafal Zawierucha).

The next day, a lot of stuff happens. Rick has a villain gig on Lancer. Sharon watches herself in the spy-spoof The Wrecking Crew. Charles Manson (Damon Herriman) visits Sharon. Cliff encounters the Manson Family when he drives a follower home to the Spahn Movie Ranch. It's an ordinary day. Little do Rick and Cliff know how big a role they'll play in history six months later when the Manson Family sets out for blood.

All of this plays out for two hours and forty-five minutes. But it was worth it. The best scene is during Rick's Lancer gig, when he strikes up a conversation with his precocious method actress co-star, Trudi (Julia Butters). Even at her age, Trudi sympathizes with Rick's feelings of obsolescence, reflected in the novel he's reading. It's a very nice scene.

Cliff's day is rather ordinary. A few odd jobs around Rick's house, plus a flashback to when he fought Bruce Lee (Mike Moh) to a draw. He's a chill dude, but don't push him. Sharon Tate is a sunny presence, while The Manson Family are ominous storm clouds. Anyone familiar with history knows what awaits Sharon in August ...

... But this movie isn't that loyal to history. The climactic brawl sees Cliff, his dog, Brandy, and Rick, turn the tables on Manson's followers when they invade Rick's house. They never get a chance to go after Sharon. It's an audacious, somewhat overlong display of ultra-violence. It's a fantastical comeuppance for the perpetrators of one of history's most vicious murders. It's not for everyone. It needs to be seen to be believed.

Now for the technicals. Cinematographer Robert Richardson presents an alluring view of 1969 Los Angeles. Some of his shots are astounding: Cliff speeding through the city is one highlight. Some impressive Gumping inserts Rick into The Great Escape and The F.B.I. There's some great production and costume designs to realize Tarantino's vision of the sixties. There's also a nice set list of sixties music on the soundtrack. There's also the trippy hairdos if you need to be convinced when it's set.

Once Upon a Time in Hollywood presents Tarantino's fantasy of the sixties. It's quite long, but the cast made it work. The film's ultra-violent climax will stick to you like a knife to the side. Who knows if it's one of Tarantino's best films. But this is one of the best films of the year, so far. See it if ultra-violence and ultra-lengths don't scare you.

The Lion King

Now to the mane event of Disney's summer.

That event, of course, is The Lion King, Disney's "live-action" rendition of its African-set blockbuster. The classic story is told again by director Jon Favreau and screenwriter Jeff Nathanson. Let's see how they do it this time.

Simba (JD McCrary) the lion cub is born to Mufasa (James Earl Jones) and Sarabi (Alfrie Woodard), the King and Queen of the Pridelands. Mufasa wants Simba to take his place in the great Circle of Life when the time comes. But when Simba's evil uncle Scar (Chiwetel Ejiofor) usurps the throne, Simba is cast out.

Timon the meerkat (Billy Eichner) and Pumba the warthog (Seth Rogen) save Simba. Simba grows up, now voiced by Donald Glover, living the good life of Hakuna Matata. But when Nala the lioness (Beyonce) finds Simba, he'll have to step up and oppose Scar.

Why the air quotes around live-action? That's because the characters and environments are more photo-realistic than the usual animated film. The resulting verisimilitude is stunning to a point. The animals' facial expressions, at least, compared to the original, fall under dull surprise. But that's compensated by their expressive body language. The most emotive characters are the Hyenas, led by Shenzi (Florence Kasumba), Kamari (Keegan Michael-Key) and Azizi (Eric Andre). Shenzi's ferocity and Kamari and Azizi's banter make them my favorite characters.

The story's faithfulness is, perhaps, its biggest fault. It's a beat-by-beat recreation of the original film. The film opens with a stunning, shot-by-shot remake of the Circle of Life number. All the familiar story beats, and even bits of dialogue, are there. It got dull at times, even during its rendition of Can You Feel The Love Tonight. Scar's villain song, Be Prepared, is shortened into a near non-starter. Still, its original ideas are greatly appreciated. The film's substitute for Timon's hula gag is this film's best gag.

Hans Zimmer returns to rework his classic Oscar-winning score. It's as formidable as his original work, especially in the stampede scene. Elton John and Tim Rice's songs are memorable now as they were then. John and Rice even have a new end credit song, Never Too Late. Beyonce's own musical contribution, Spirit, perfectly punctuates a pivotal part.

Hello, alliteration.

The Lion King in "live-action" is mostly how you remember it in 2D animation. Whether that's a good thing or not is up to you. I thought it wasn't as lively as the original film. Its original aspects and voice cast made the 118 minutes more bearable. It's an OK matinee for an afternoon. Only time will tell if this Lion King becomes as iconic as its predecessor.