Category Archives: Uncategorized

Ricki And The Flash

Relationships between parents and their adult children can be difficult. Particularly if a parent is in California playing in a bar band while her kids are in the Midwest where they rarely hear from their mother.

Ricki, real name Linda (Meryl Streep), is long divorced from Paul (Kevin Kline). Their daughter Julie (Mamie Gummer, Streep’s real life daughter) is having a breakdown because her husband has left her. Ricki comes back home to provide motherly support.

The contrast between Ricki’s life and that of her ex is stark. She lives in a modest apartment in the San Fernando Valley; he lives in an upscale, gated community in Indianapolis. She has a boyfriend who’s in the band, Greg (Rick Springfield). Paul has a second wife, Maureen (Audra McDonald) who’s been a responsible, loving stepmother during Ricki/Linda’s absence.

The visit to help her daughter through her crisis is somewhat successful. There’s a funny but sadly awkward family dinner at a restaurant where Ricki/Linda reconnects with her two sons and revisits old family emotional wounds. Before she heads back to California, Maureen vents about Ricki/Linda’s abandonment of motherly responsibilities.

Back in the Valley, Ricki keeps rocking while she works on her relationship with Greg. Maureen makes a peace offering to Ricki and an opportunity for redemption. Screenwriter Diablo Cody of Juno and Young Adult script fame brings a too neat but acceptable ending.

Director Jonathan Demme, who directed entertaining concert films Stop Making Sense (Talking Heads) and Heart of Gold (Neil Young), devotes too much of the movie’s runtime to musical performances. Meryl Streep is a passable bar band singer but the performances are merely okay, not special.

The acting performances are better. Kline and McDonald (both of whom did not sing in RATF despite solid cred) are excellent. Streep, obviously enjoying working with her daughter, is having fun in a less-serious-than-the-usual-Meryl-role role. Gummer is good as a woman with more issues than impending divorce. Rick Springfield rocks a guitar but his acting abilities are on a lower plain than those of his cast mates.

Ricki and The Flash is an okay movie that will resonate with Streep’s boomer fans. This is a movie that could’ve/should’ve been better.

 

 

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Fantastic Four

 

Sorry, but Fantastic Four is hokey and actually a bit boring. It’s an origin story, telling the world how the Fantastic Four came to be.

Some of the scenes and even some of the effects reminded me of low-budget mid-century sci-fi, the kind often lampooned by Mystery Science Theater 3000. The script is workmanlike, advancing the thin story, but gives the cast few chances to shine.

The beginning of the film shows promise. The setup is good, beginning with grade school and high school versions of Reed (Miles Teller) and Ben (Jamie Bell) leading to their being recruited by Dr. Franklin Storm (Reg E. Cathey) to work with his kids Johnny (Michael B. Jordan) and Sue (Kate Mara) at Baxter on teleportation projects.

Convincing Victor Von Doom (Toby Kebbell) to cross over from his dark side and join the team is a dicey move.

By teleporting themselves to an alternate universe, the team members undergo the physical changes that make them the superheroes they become. Teleportation issues and confrontations with Doom form much of the (yawn) latter part of the film.

Hardcore fans of the Marvel Cinematic Universe will feel an obligation to see Fantastic Four, out of a sense of loyalty and duty. And to see if it is, indeed, as disappointing as was predicted and is now revealed to be.

Those of us who are not Marvel fanboys but enjoy a good Marvel film may want to stick with Ant-Man and Avengers: Age of Ultron for 2015 viewing pleasure.

(Sidebar note: Reg E. Cathey has an incredible deep voice. He might want to shoot for some of the voiceover work that currently goes to Morgan Freeman by default.)

 

 

 

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Shaun The Sheep

What a cool movie! Shaun The Sheep is the perfect film for kids of all ages, for several reasons.

First, it’s done via stop motion animation, which, if done well, is hard to resist. This film IS done well and has a charming story.

The film has no dialogue; the tale is told visually. Oh, there are grunts, sighs, gasps, burps, farts, chuckles and, of course, baaas. But if your two-year-old wants to scream and cry, she won’t cause other audience members to miss what’s happening.

Also, Shaun The Sheep is short, clocking in right around 80 minutes. By the time your child has finished his gummy bears, it’s time to go home.

Shaun the Sheep reminds me of some of the clever 1930s animation. Those cartoons with dancing farm animals and goofy plots (if any) depended heavily on music and sound effects to help tell their stories.

In this new film, Shaun’s boring routine on the farm is interrupted when a bus passes by. A sign on the bus suggests: “take a day off.” Shaun decides to make it happen. His fellow sheep lure the farmer into his travel trailer and send him into a deep sleep so they can sneak away. When the trailer rolls downhill, it gains enough momentum to take the farmer all the way to the big city.

The farmer is hospitalized and diagnosed with memory loss. Meanwhile, the sheep stowaway on a bus and make it to the big city. There they adopt disguises to elude the animal control officer, Trumper.

The farmer leaves the hospital and passes a barbershop where the clippers trigger his vague memory of sheep shearing. He walks in and clips the hair of a showbiz type who loves the cut. Mr. X (as he is now known) becomes a star stylist.

The sheep devise a plot to take the farmer back to the farm. A confrontation at the farm with Trumper wraps up the adventure.

Shaun the Sheep is big family fun. It’s rated PG for some rude humor, but is more than okay for all, in my opinion.

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Mission: Impossible Rogue Nation

Mission: Impossible Rogue Nation does exactly what it is supposed to do: it provides action, thrills, suspense and a modest amount of sexual tension. Tom Cruise is back as Impossible Missions Force (IMF) agent Ethan Hunt with a new trademark stunt and a new motorcycle chase.

Holding of for dear life on the outside of a cargo plane as it ascends and flies through the air is impressive. Interestingly, this latest courageous Cruise daring action occurs just minutes into the film. An underwater mission to procure a computer file midway through the movie is tension-inducing as Hunt is forced to hold his breath for an extended period.

The basic plot: CIA head Alan Hunley (Alec Baldwin) wants the government to defund the IMF while an organization of rogue agents called The Syndicate wants to wipe out the IMF. Hunt with IMF teammates William Brandt (Jeremy Renner), Benji Dunn (Simon Pegg) and Luther Stickell (Ving Rames) work to take down The Syndicate and its leader Solomon Lane (Sean Harris).

As he does in the Star Trek films, Pegg adds a touch of welcome lightheartedness to the proceedings. He’s rapidly becoming one of my favorite character actors.

The gorgeous babe in the mix is Ilsa (Rebecca Ferguson), an appropriately named character since M:IRN has scenes set in Casablanca and elsewhere in Morocco. Ilsa’s allegiance initially appears to be to The Syndicate, but she’s on Hunt’s side in short order. Hers is a classy sexiness, but she wears a two-piece swimsuit and a yellow evening gown very nicely. There’s no Hunt-Ilsa hookup in the movie, but there’s an attraction bubbling under.

Settings include an opera performance in Vienna, a formal state event in London and… a used record store (where Ethan Hunt gets his instructions via disc).

Director/scriptwriter Christopher McQuarrie keeps the energy going with only brief pauses in the action. Yes, Tom Cruise overacts a bit, but that’s his thing and he does it well.

Mission: Impossible Rogue Nation hits its marks and checks off most of the items on the list of things you’d want in an action-adventure spy story. Enjoy the ride!

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Pixels

 

Pixels is based on a ridiculous premise but is executed surprisingly well.

Here’s the setup: One of those capsules filled with samples of our culture was sent into space in 1982. The capsule was recovered by aliens. They mistook the recording of kids playing video games to be an act of aggression. They respond by attacking earth by replicating classic games of the 80s. (I’ve been told that the TV show Futurama had an episode which presented a similar scenario.)

Sam Brenner (Adam Sandler) was a talented gamer in the 80’s but now installs electronics systems. His childhood friend Cooper (Kevin James), who is now President of the United States, calls him to plan a response. No, you don’t need to reread the previous sentence: Kevin James plays the president.

Sandler and James’ characters are not as idiotic and obnoxious as the ones they usually portray. Not to say this is highbrow comedy.

Another childhood chum, Ludlow (Josh Gad), still as nerdy now as he ever was, jumps into the battle to help take down the aliens and their various game forms.

The aliens communicate with earth via a clever series of videos featuring 80s celebrities. Not unlike the hilarious Bad Lipreading videos that have become internet hits, the segments with 80s celebs (including Ronald Reagan, Mr. Rourke and Tattoo from Fantasy Island and Daryl Hall and John Oates, among others) tell our heroes where the next attacks will occur.

For the battle royale climax, another 80s gamer who helps the cause is Eddie (Peter Dinklage), now a prisoner, who trades his gaming skills for a presidential pardon and celebrity sexual favors.

One of Sam’s customers, Violet (Michelle Monaghan), turns out to be a military advisor who is deeply involved with the alien crisis. She’s also there to provide a romantic interest for Sam.

Pixels is perfect for the current generation of gamers, as well as for Gen-Xers who played Pac-Man, Donkey Kong, Galaga and other arcade favorites back in the day.

Pixels is silly, light amusement that provides some laughs and has many cool effects. I think it would be fun to pay for your admission with a pocket full of quarters—not unlike the coins you might carry to the arcade—but I’m not sure the kid in the ticket booth would appreciate the joke.

 

 

 

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Southpaw

 

Controlling rage can be a challenge for anyone. For a boxer, uncontrolled rage can be devastating, professionally and personally. In Southpaw, a classic redemption movie, it is self-control that saves the day (along with boxing skill).

Billy Hope (Jake Gyllenhaal) is an undefeated light heavyweight champ who wins with sheer physicality fueled by anger. Because his style is more about strength than grace, he leaves himself open to opponent punches. Following a big win, wife Maureen (Rachel MacAdams) urges him to take a break. She fears he’ll become punch drunk.

Later, as Hope exits a charity event, he is taunted by up-and-coming boxer Miguel Escobar (Miguel Gomez). Maureen urges her man to keep moving but his rage takes over and the two boxers get into a scuffle. As the tussle escalates, someone pulls out a gun. A shot is fired, killing Maureen.

Things go downhill quickly. An angry Hope drives a car into a tree. In his return to the ring, he punches out a referee, leading to his suspension. The big money offers from promoters and HBO disappear. He loses his mansion, his cars and, most sadly, his daughter Leila (Oona Laurence).

Uncontrolled rage is the culprit again at the court hearing to decide whether his daughter becomes a ward of the state. He loses her.

Hope moves into an apartment in a seedy part of town and takes a job as a janitor at a small boxing gym run by Tick Wills (Forest Whitaker). As Hope begins to mentor the kids who frequent the gym, Wills develops a fondness for Hope. Following an unsanctioned exhibition, Hope gets a shot at a match versus Miguel Escobar.

With training and support from Wills, Hope steps into the ring with a different attitude. Hope plays defense as well as offense. If you’ve ever seen a sports movie, you can guess the outcome.

Gyllenhaal, who has been brilliant in recent films Nightcrawler and Prisoners, should be a strong contender for year-end awards for his work in Southpaw. This is a gritty performance filled with realistic fight sequences and injuries that look painful.

Southpaw is beautifully directed by Anthony Fuqua. A favorite shot is a POV shot snakes around a corner to show a physically and emotionally spent Hope sitting naked on a shower floor.

The movie is good. Gyllenhaal’s performance is the reason to see it.

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Infinitely Polar Bear

Infinitely Polar Bear is a movie about a man with a mental illness. It gets a few things about the condition right and one big thing wrong. Mark Ruffalo gives a strong performance as a bipolar person who is trying to manage his illness.

People with mental illness often smoke a lot. Cameron (Ruffalo) has an unfiltered Lucky in his mouth throughout most of the film. The story is set a few decades ago when smoking was generally permitted in public places.

Other family members may shun relatives with mental illness. This is especially true if the family is of an upper economic status. Cameron’s family fails to give him the support he needs—emotionally and fiscally.

Many people with mental illness decide at some point that they are well enough that they no longer need to take their medications. Cameron tries that trick.

The story begins with Cameron’s breakdown. He is institutionalized where he receives strong medicine. He is released to a halfway house and soon after gets his own apartment in Boston.

His wife Maggie (Zoe Saldana) and their young daughters (Imogene Wolodarsky and Ashley Aufderheide) live separately from him. When Maggie gets a scholarship to Columbia University in New York, he takes the girls. Sometimes he is up to the challenge and at other times he fails miserably.

The film’s story wraps up more neatly than those of many families dealing with mental illness. The message is “simply take you meds and things will be fine.” As anyone who has a family member with a mental illness will tell you, it’s just not that easy.

Writer/director Maya Forbes has handed Ruffalo a juicy opportunity to exercise his acting chops and he is up to the task. Infinitely Polar Bear has strong performances by actors playing memorable characters who are moving ahead in their lives. But their destination is for the Hallmark Channel happy ending crowd, not for those of us who can handle a more realistic and honest outcome.

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Terminator Genesys

 

The effects are awesome. The Governator looks good in his various forms. The Khaleesi looks good with her natural brown hair. The chases are exciting. The pace is breakneck.

 

Terminator Genesys has all the things you want in a summertime action pic. Okay, the 3-D doesn’t add much. But, the gunplay, the explosions, the battles are all epic. Still, TG is not quite a must-see.

 

The story leaves a bit to be desired. Here’s the scoop: In 2029, John Connor (Jason Clarke), leader of the resistance against the machines (who took control of the humans on “Judgment Day” in 2017), sends right-hand man Kyle Reese (Jai Courtney) back to 1984 to reset history.

 

When he gets there, Sarah Connor (Emilia Clarke, AKA Daenerys Targaryon on Game of Thrones) is expecting him. At her side is a good guy robot guardian she calls Pop (Arnold Schwarzenegger). Kyle’s mission is immediately complicated when a machine disguised as an LA cop (played beautifully by Korean actor Byung-hun Lee) begins a violent assault.

 

Kyle and Sarah time-travel to 2017 to prevent Judgment Day by taking down the giant Genisys organization. (The dominance San Francisco based Genisys has over all of communication and life may bring to mind Google or other similar giant real-life entities.) Pop meets Kyle and Sarah is 2017 SF, but while they jumped ahead three decades, Pop lived those years and aged enough to become gray-haired.

 

As our heroes pursue their world-saving goal, they hijack a school bus on the Marin side of the Golden Gate Bridge and soon become precariously perched on the edge of the bridge, just above the water below, before making their escape. Later, a copter chase provides thrills and provides a chance for Arnold to deliver a famous line. (Although he does not get to say, “Get to da choppah!”)

 

Another time-jump at the film’s climax is an attempt to try to put things in order, but time travel has a way of gumming up the works.

 

Director Alan Taylor has directed several Game of Thrones episodes, which may explain Emilia Clarke’s casting as Sarah Connor. On Game, she has an imperial look with her blonde hair. But in TG, as a brunette, she brings the approachable girl-next-door look.

 

Terminator Genesys has what it takes to rock your holiday weekend with exciting action and cool effects. But whether you feel an urgent need to see this film (as you and others have with several movies in recent weeks) remains to be seen.

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Pitch Perfect 2

Pitch Perfect 2 hits all the right notes. It’s funny. The music is tremendous. The film’s opening scene which features Fat Amy (Rebel Wilson) in a “commando performance” kicks things off on a raucous tone. A spontaneous acapella sing-off guided by David Cross is a blast.

As with any sequel, the goal is to revisit what made the first film a fan favorite and to introduce new elements to surprise and delight.

What’s new this time? A new Barden Bella, Emily (Hailee Steinfeld). Several Green Bay Packers singing in the film. A smoldering romance between Amy and Bumper (Adam Devine). Becca’s (Anna Kendrick) internship at a record company run by Keegan-Michael Key. And a new rival for the Bellas, an edgy German acapella group led by a hunk and a hottie.

Does it feel fresh? Yes, but it’s like the second time you taste something wonderful. It’s just as good but it’s hard to match the feeling of that first time.

The film begins with a Barden Bellas performance in Washington before the President and First Lady. Amy has a wardrobe malfunction that results in shame for the group (abundant media coverage and jokes about “Muffgate”) and a suspension from the college president. But there is one shot at redemption.

The suspension does not affect the group’s invitation to compete at the world championship event in Copenhagen. Can you imagine what might happen there?

Elizabeth Banks, who also directed PP2, is back as co-host Gail who, along with master of snark John Michael Higgins as co-host John, delivers some of the film’s funniest lines.

Pitch Perfect 2 comes awfully close to matching the energy and novelty of 2012’s Pitch Perfect. With the current absence of traditional movie musicals, let’s hope that PP2 generates enough ticket sales to keep the (sequel) ball rolling. It’s a feel good flick that will make you smile.

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Ex Machina

 

The best film I’ve seen this year is Ex Machina, which ranks near Bladerunner in its story of artificial intelligence creatures and their interactions with humans.

Caleb (Domhnall Gleeson) is a 26-year-old coder for a large search engine. He wins a company-wide lottery and is chosen to spend a week with the company’s founder, the just slightly older Nathan (Oscar Issac) at Nathan’s remote mountain hideaway.

After a copter ride over miles of wilderness, Caleb makes his way to Nathan’s crib and meets the quirky genius. Nathan tells Caleb about Ava (Alicia Vikander), a robot Nathan has created that Caleb will evaluate over the next few days.

Caleb never gets comfortable. His room, and much of the building, has no windows. There are occasional power shutdowns. Nathan counters his drinking binges with extreme workouts. Nathan speaks to his female Japanese housemaid (Sonoya Mizuno) abusively.

Caleb has daily sessions with Ava where they converse but are separated by glass. Following the sessions, Nathan debriefs Caleb.

As the week progresses, Caleb’s curiosity about Ava and her capabilities grows. As with Deckard and Rachael in Bladerunner, Caleb and Ava appear to be developing genuine affection for one another, which helps set up the story’s climax.

Rookie director Alex Garland makes a smashing debut in a film that is understated. This movie depends more on a thoughtful script (Garland wrote it) than on effects and tricks. The focus on conversations makes Ex Machina a film that, with a few accommodations, could be presented as a stage play.

With a small group of actors carrying the film, casting and performances are crucial. Issac and Gleeson, in their portrayals of these brainy nerds, are fun to watch in their interactions. Vikander brings appropriate restraint to her role as the gorgeous robot Ava. Bravo to all three!

One reviewer quoted in the above trailer called Ex Machina “an instant classic.” For any fan of great movies, I recommend it. For any fan of great sci-fi, Ex Machina is a must-see.

 

 

 

 

 

 

 

 

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