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.