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Tabari McCoy

McCoy on Movies: The Lost City

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The Lost City

 

“Wait – there may be a script for ‘Miss Congeniality 3: Where’s the Magic, Mike?” over there! Romance cover model turned would-be jungle savior Alan (Channing Tatum) and the woman behind his success, Loretta Sage (Sandra Bullock) try to escape the jungle in a scene from THE LOST CITY. Credit: © 2022 Paramount Pictures. All rights reserved.
 
WATCH THE TRAILER HERE: 

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DIRECTOR: Aaron and Adam Nee
KEY CAST MEMBERS: Sandra Bullock, Channing Tatum, Daniel Radcliffe, Da’Vine Joy Randolph, Oscar Nuñez, Héctor Aníbal and Brad Pitt
 
THE BACK STORY: Loretta Sage (Sandra Bullock) is three things: (1) A frustrated archeologist-type researcher who’s (2) settled for being a best-selling romance novel writer who’s grown tired of her creation, especially because (3) she’s not over the death of her husband several years ago. Alan (Channing Tatum) is better known to the public as Dash, the fictional male hero featured in all Loretta’s books.

So, what happens when Loretta is forced by her publicist Beth (Da’Vine Joy Randolph) to do a book tour with Dash? Well, disaster, as you might expect. But you know what’s even worse than a bad press event for Beth? Having the son of a rich man in the form of Abigail – yes, Abigail – Fairfax (Daniel Radcliffe) kidnap your writer because he believes her writings may actually make her the one person qualified to help him find an ancient “Crown of Fire” of red diamonds in a remote jungle.

But for Alan, this is simply the perfect opportunity to be the hero Loretta has always written Dash out to be …

 

THE REVIEW: The Lost City is 2022’s version of Romancing the Stone … Except it’s not. Instead, it’s more like a cold Mountain Dew on a hot summer day: It’s enjoyable as you consume it, only to realize that it probably was a lot worse for you than you originally thought once it’s gone.
The film isn’t officially a remake of Stone … But you’d be hard pressed to watch Michael Douglas and Kathleen Turner’s 1984 flick and not feel like it’s a diet Dew version of its predecessor. Tatum does everything he can to keep the rather predictable (and utterly ludicrous even by romantic comedies in a jungle standards) story together. Radcliffe’s performance is … something, as are the majority of non-memorable side characters. Joy Randolph is given a nice slot as a dedicated woman who just happens to be black (and not the other way around), but at a certain point, The Lost City just becomes your standard fish-out-of-water romantic comedy with plenty of tired one-liners. (Poor Oscar Nuñez … That’s all I’ll say about that.)
Here’s the rub, though: None of what I just said will matter to most as the film’s core demographic: Ladies who like the romantic fantasy depicted in most of the books that its female lead hates she is good at writing. It’s an audience pleaser you can watch on a date night, with your mom on a mother/daughter day and “cute” enough to offset its eyeroll-inducing moments.
In the words of Will Ferrell’s fictional son Texas Ranger in Talladega Nights: The Ballad of Ricky Bobby, The Lost City is “all jacked up on Mountain Dew!” But America loves to do the Dew, which means that if you’re looking for a mindless and cute comedy that prefers those things over originality, by all means visit The Lost City.
There are worse places you could take an “uncharted” adventure cruise if you like cubic zirconia films masquerading as gems.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

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McCoy on Movies: I Want You Back

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Jenny Slate, Charlie Day team up for affable
I Want You Back in time for Valentine’s Day

“And if you look here, you’ll find the scenes were we could insert our old sitcoms respective co-stars!” Emma (Jenny Slate) and Peter (Charlie Day) star in a scene from director Jason Orley’s romantic comedy I WANT YOU BACK. Credit: © 2022 Amazon Studios. Courtesy of Amazon Studios. All rights reserved.
 
WATCH THE TRAILER HERE: 

DIRECTOR: Jason Orley
KEY CAST MEMBERS: Jenny Slate, Charlie Day, Scott Eastwood, Gina Rodriguez, Manny Jacinto, Clark Backo and Luke David Blumm
THE BACK STORY: Emma (Jenny Slate) is in love with Noah (Scott Eastwood). Peter (Charlie Day) is in love with Anne (Gina Rodriguez). The problem is Noah and Anne are no longer in love with them, Noah and Anne having respectively found their ideal partners: A woman with her own baking business – and the ambition Noah seeks in a mate – in Ginny (Clark Backo) and the physically fit artist, well, as much an artist as a middle school theater director can be in Logan (Manny Jacinto).
What Emma and Peter don’t know, however, is that their very sad, dumped paths will cross since they work in the same building. That chance meeting will lead to the hatching of a plan to break up their exes’ new relationships, making them realize they should go back to Emma and Peter.

But if you think that plan is going off without a hitch, you’ve apparently never watched a romantic comedy …

THE REVIEW: You know what’s nice about I Want You Back? It’s not the comedy, which works more than it doesn’t. It’s not the chemistry among the leads, which feels a lot like they are such best friends that it almost becomes annoying when they don’t see it. No, it’s how the film doesn’t really insult your intelligence with over-the-top zaniness and delivers characters whose actions never feel like they happen for the sake of a joke. Instead, you get a film with nice enough, likable people that by the time the film gets to its eventual conclusion, you’ll think about the qualities of each character you might wish to find in a partner of your own.
You’ll think about the nice aspects of relationships, the path one must take to discovering what they are meant to do in life, risks and rewards and how little things truly do make for the most significant memories, or perhaps the most significant aspects that determine who is and isn’t right for you if you’re lucky enough to find them.
At the very least, it should make you realize it’s not the person you used to have you want back, but rather the feelings they made you feel when things were great – and for that, I Want You Back is worth renewing your Amazon Prime membership back (at least for another month of movie watching).
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

 

 

 

 

McCoy on Movies: JACKASS FOREVER

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Jackass Forever brings gross out humor to its apex

“Oh this is going to hurt … But that’s what you paid to see!” “Danger” Kenneth Ehren McGhehey prepares to come face to face – literally – with a venomous friend in a scene from JACKASS FOREVER. Credit: © 2022 Paramount Pictures. All rights reserved.

WATCH THE TRAILER HERE: 

DIRECTOR: Jeff Tremaine
KEY CAST MEMBERS: Johnny Knoxville, Steve-O, Chris Pontius, Dave England, Wee Man, Danger Ehren, Preston Lacy, Sean ‘Poopies’ McInerney, Zach Holmes, Eric Manaka … and introducing Jasper and Rachel Wolfson
THE BACK STORY: Really – you want a back story for a Jackass movie? How’s this: The old crew is back again and up to their old, crazy, disgusting habits … And they’ve brought a few celebrity friends along for the (final?) ride.

THE REVIEW: Have you ever seen a Jackass movie before? If the answer is “no,” you may not be ready for the boatload of full frontal male nudity, the scenes where PETA would not be concerned for the health or safety of the animals or insects involved or the amount of fluids that factor heavily into much of the 96 minutes on film. In short, this is not a film for anyone not yet old enough to drive, your older grandparents who prefer thought the Smothers Brothers were too dirty back in the 1960s or anyone that you are worried about having to show strong moral fibers around.
If body parts being repeatedly being smashed, male gentalia in general and fluid o’plenty doesn’t bother you, well … You will likely find yourself equally grossed out and crying laughing at the crazy, ridiculous things you see happening in high definition in front of you on screen. (Thank your lucky stars the film is not in 3-D!) You’re going to get Johnny Knoxville and company do their best to do their worst, succeeding more often than not. There’s even a fitting tribute to the late Ryan Dunn at the end, which, for a film that is probably thisclose to being a NC-17 affair, has more heart than you’d expect as you can tell this bunch of jackasses is having fun injuring each other some 20 plus years later and counting.
If this is the last Jackass film, it goes out with a literal bang all its fans will love … And make its detractors surely head home and pray for their souls.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

McCoy on Movies: SPIDER-MAN: NO WAY HOME

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Spider-Man: No Way Home swings to emotional high with epic performances, storyline and surprises

“All right … If I move too much more I just KNOW I’m gonna rip my spider-suit!” Peter Parker (Tom Holland) prepares to face what may be his toughest challenge yet in a scene from director Jon Watts’ SPIDER-MAN: NO WAY HOME. Credit: Matt Kennedy © 2021 CTMG. All rights reserved.
WATCH THE TRAILER HERE: 


 
DIRECTOR: Jon Watts
KEY CAST MEMBERS: Tom Holland, Zendaya, Jacob Batalon, Benedict Cumberbatch, Alfred Molina, Marisa Tomei, Jon Favreau, J.K. Simmons … And a couple other people who you really be excited/surprised to see.

 

THE BACK STORY: Peter Parker, having had his identity revealed to the world by the former Mysterio (Jake Gyllenhaal) after his latest adventure, finds himself in a position he never wanted to be in: The most famous person in the world, half of which believes he committed a murder. Luckily for Peter, he still has his the support of his beloved Aunt May (Marisa Tomei), his best friend Ned (Jacob Balaton) and his girlfriend M.J. (Zendaya). But with J. Jonah Jameson (J.K. Simmons) leading the charge to bring him down, he just wishes everyone in the world would forget who he is so he could focus on his goal of getting into M.I.T. with his friends.
And that’s where Dr. Steven Strange (Benedict Cumberbatch) comes into play.
Peter wants Dr. Strange to cast a spell to eliminate his name – along with the fact he is, well, you know, Spider-Man – from everyone’s memory. Reluctantly and against the advice of Wong (Benedict Wong), Dr. Strange eventually concedes to help Peter out … Only for Peter to keep changing the conditions of the spell. As you might expect, this ends up changing the spell forcing Dr. Strange to stop it before it gets out of hand.
It’s not until Otto Octavius – a.k.a. Doctor Octopus a.k.a. Dock Ock – appears to hunt down Spider-Man  does Peter realize just how out of hand things have unfortunately become. For you see, while Doc Ock recognizes the suit, he doesn’t recognize the teenager inside it – and for good reason: The spell has opened up the once thought to be mythical multiverse, allowing in anyone who ever knew who Spider-Man was to enter …
… And the best enemies are old enemies as he’s about to find out.
THE REVIEW: With apologies to Martin Scorsese and Ridley Scott, Spider-Man: Far From Home is proof that superheroes haven’t ruined movies. In fact, in delivering the most emotional superhero movie since Avengers: Endgame, it does quite the opposite. No Way Home isn’t a superhero movie with a story about good guys and bad guys; it’s a movie about people with extraordinary powers trying to deal with the various aspect of humanity (responsibility, love, the perils of fame and power, the search for purpose and identity, etc.).
Holland once proves his mettle worthy of the Spider-Man suit with his performance as Parker, which is deepened by the turns of Zendaya, Batalon, Tomei … And all the others that have either grown with his character or add depth to it with their presence. Holland’s Peter may have started off the most immature of the bunch (purposefully), but by the film’s end, he is by far it’s most thoughtful, powerful and ready for the role as the possible emotional core to fill the void left by his predecessors’ absence.
Likewise, Zendaya and Balaton provide several fun moments while maintaining the emotional core of being Peter’s main support system. Even Cumberbatch’s presence as the hardened father figure that eventually has to come to love the son he never asked for (metaphorically speaking – this is NOT a spoiler that he’s actually Peter’s dad, Internet nerds!) adds to Parker’s character.
Unfortunately, it’s hard to say more without giving away spoilers in the film, which, depending on what you consider a spoiler, there are easily about a half-dozen depending on if you stick around for the ENTIRE closing credits. What can be said, however, is that director Jon Watts nearly two-and-a-half hour opus is the most emotionally connected (and heartstring tugging) entry into the Spider-Man film series to date – and possibly its best. While the framework of the multiverse may provide the canvas for a lot of things to come together, Watts attention to detail (coupled with his actors’ dedication to their craft) create what is arguably one of the top five Marvel films to date while maintaining all the qualities that make Spider-Man unique.
With a beloved preceding film legacy (even with its missteps) comes great responsibility … And Spider-Man: No Way Home is a great film worth its weight in webs.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

 

 

 

McCoy on Movies: King Richard

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Biopic about Venus and Serena Williams’ father Richard serves up enough positive content to outweigh its drawbacks

“Girls, don’t you make fun of your daddy … These high socks and short shorts made many a NBA player a lotta money from the 1950s to about 1992!” Richard Williams (Will Smith, center) walks with his family – wife Oracene “Brandy” Williams (Aunjanue Ellis, far left) and their daugthers. From left to right: Tunde (Mikayla Bartholomew), Venus (Saniyya Sidney), Serena (Demi Singleton), Isha (Daniele Lawson) and Lyndrea (Layla Crawford, covered up behind Smith) in a scene from director Reinaldo Marcus Green’s drama KING RICHARD. Credit: Chiabella James © 2021 Warner Bros. Entertainment Inc. All rights reserved.
WATCH THE TRAILER HERE: 


 
DIRECTOR: Reinaldo Marcus Green
KEY CAST MEMBERS: Will Smith, Aunjanue Ellis, Saniyya Sidney, Demi Singleton, Daniele Lawson and Mikayla Lashae Bartholomew with Tony Goldwyn and Jon Berenthal
THE BACK STORY: Hailing from Shreveport, Louisiana, Richard Williams (Will Smith) isn’t the most respected man by his own admission. His wife Oracene – “Brandy” (Aunjanue Ellis) for short – loves him, however, as do his daughters: Tunde (Mikayla Bartholomew), Isha (Daniele Lawson), Lyndrea (Layla Crawford, Venus (Saniyya Sidney) and his youngest, Serena (Demi Singleton). While Tunde is set to soon graduate and go on to college and Isha is doing quite well in her studies, it’s Venus and Serena that Richard has the biggest plans for: The two biggest female tennis stars in the world. 
 
A dreamer and a little bit of a schemer, Richard has a couple of obstacles in his way: (1) He doesn’t have any funds to pay the coach he’s looking for to take his girls’ training to the next level; (2) He wants a coach to take the girls on for free … and (3) Since they live in Compton and (4) Are black and live in Compton, Cali., it’s not exactly an enticing prospect to most coaches. But Richard will not be shaken no matter how much life – and the local neighborhood thugs, hating parents of opposing players and anyone else – tries to keep him down. 
 
He has a 78 page plan for his daughters’ future he has no plans of deviating from by any means, even if it results in plenty of conflicts, potential missed opportunities and millions of dollars in the process.
THE REVIEW: An audience pleaser perfect for those who like films that are (1) Based on true events and (2) Present an overall, uplifting message, King Richard hits more than misses and accomplishes the goal of honoring – save for Smith’s terrible “N’awlins” accent – it’s subject’s achievements and their significance.
The film is a crowd pleaser in the fact that while it touches on certain aspects of the Williams’ story, it never goes too deep into the aspects that you know exist. This includes the racism that he and his daughters faced on their journey, Richard’s personal relationships as well as the gang violence near their home that had a very personal affect on their family. That’s possibly why the film’s best moments come in the instances where these subjects are touched upon, versus some of the lighter fare that that provides both comic relief and a bit of an after school special vibe at times. (The best exchange is by far the sequence where Richard and Oracene discuss their marriage in a raw yet productive fashion in a way to which that many couples – possibly Smith himself given his real-life spouse’s “entanglement” – can likely relate.) But knowing that this film is meant to focus on the positives and overcoming barriers, it’s understandable why it doesn’t dig deeper into these things. It does enough for you to get the point, even if there are times it seems a bit familiar.
That being said, King Richard ultimately presents a portrait of an imperfect man trying to do the best he can for his family, even if at times his actions seem to (or do) accomplish the exact opposite of that task. Jon Berenthal gets to show his range as an actor playing something other than a gun wielding heavy for a change as the oft-manipulated by Richard tennis coach Rick Macci and Ellis is a fantastic female counterpart to Smith’s Richard.
The film wouldn’t work, however, without the performances of Sidney and Singleton as Venus and Serena, respectively. Their athletics match their ability to deliver emotional connection to the audience, their talent underscoring their father’s drive and sometimes misguided actions since he knows what they could achieve one day. 
 
Given what they have achieved, director Reinaldo Marcus Green’s tribute to the man largely responsible for getting them on their way to do so might not exactly be fit for a king … But it’s definitely close enough.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

 

 

McCoy on Movies: LAST NIGHT IN SOHO

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Last Night in Soho shines as an expertly crafted psychological thriller set to a perfectly suited soundtrack

  “See that man behind me? The one who looks like a doctor? Who? Him!” Matt Smith stars as Jack and Anya Taylor-Joy as Sandie in Edgar Wright’ thriller LAST NIGHT IN SOHO. Credit: Parisa Taghizadeh 

WATCH THE TRAILER HERE:

 
DIRECTOR: Edgar Wright
KEY CAST MEMBERS: Thomasin McKenzie, Ana Taylor Joy, Matt Smith, Michael Ajao, Rita Tushingham, Synnøve Karlsen, Dame Diana Rigg and Terrance Stamp
 
 

 

THE BACK STORY: Eloise (New Zealand actress Thomasin McKenzie) – “Ellie” if you will – is a country girl with a simple dream: Move to the big city (in this case, London) and live out her dream of becoming a big time fashion designer. Her grandmother Peggy (Rita Tushingham), however, is very concerned for her well being, especially given what happened to Eloise’s mother (Amieé Cassettari) when she tried to do the same.
Arriving in London, Eloise quickly realizes things are a bit different in the big city. Her assigned roommate Jocasta (Synnøve Karlsen) is every bit the party girl she is not, making her seek refuge in the available space owned by Ms. Collins (the late Dame Diana Rigg). Much more suitable to her needs, Ms. Collins’ space is a perfect place for Eloise to enjoy her love of all things 1960s, from fashion to music.
The new space, however, comes with an unexpected surprise. For whenever Eloise – who has been having visions of her late mother back home – goes to sleep, she begins having visions of 1960s England and particularly of Sandie (Ana Taylor-Joy), a cabaret singer with impeccable fashion and style for days. She also sees visions of Jack (Matt Smith)a debonair playboy who seems like the perfect manager to Sandie.
But wouldn’t you just know it? Seems like the deeper into the world of 1960s London Eloise’s dreams take her, the deeper the glamour of the world unravels – especially since she starts having visions of shadowy figures and Sandie’s descent into madness. And as Sandie’s world starts to unravel in Eloise’s dreams, so does Eloise’s reality …
All that glitters may not be gold indeed; in this case, it could be fatal.

 

THE REVIEW: Last Night in Soho is not a gory, traditional hack and slash horror movie like the latest Halloween debacle. (If we’re friends on Facebook or have ever seen me do stand-up, you already know how I feel about the latest installment of that franchise.) What it is, though, is a very finely crafted psychological thriller that, in the wake of Harvey Weinstein, Bill Cosby and so many others, feels timely while also being stylish, intelligent and – at times – a little scary to boot.
McKenzie and Taylor-Joy shine as mirror images of each other. Separated by decades character-wise, each actress plays opposite the other well to make the film’s multi-dimensional existence work at every critical turn. Without their careful attention to detail, you wouldn’t feel any of the emotions that both ladies expertly convey to move the story forward, which is masterfully executed under the watchful eye of co-writer/director Edgar Wright.
Instead of a predictable story or one that is out to make a statement, you get a fine homage to 1960s without any Austin Powers hokeyness while also delving into the seedy underbelly of life in the big city. Nothing is rushed, everything is paced out as it should be and despite some secondary characters that could probably use a little more screen time and the story lacks predictable elements. Add in a soundtrack that enhances the story – each song selection is perfectly matched for both the era and the part of the story being told – as a character itself and everything simply works and works well.
In short, if you are looking for an entertaining thriller this Halloween, perhaps you should skip the more traditional fare and find a surprising treat in the form of Last Night in Soho.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

 

 

 

 

 

 

McCoy on Movies: The Hitman’s Wife’s Bodyguard

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Video game violence, foul language make for sometimes fun yet
ultimately frivolously The Hitman’s Wife’s Bodyguard

“Tell me there will be a third Deadpool!” Sonia Kincaid (Salma Hayek) speaks with a disheveled Michael Bryce (Ryan Reynolds) in a scene from THE HITMAN’S WIFE’S BODYGUARD. Credit: David Appleby. © 2021 Lionsgate Publicity. All rights reserved.

WATCH THE TRAILER(S) HERE:


 

DIRECTOR: Patrick Hughes

KEY CAST MEMBERS: Ryan Reynolds, Samuel L. Jackson, Salma Hayek, with Antonio Banderas, and Morgan Freeman, Frank Grillo, Caroline Goodall, Rebecca Front, Gabriella Wright, Alice McMillan, Kristofer Kamiyasu, Tom Hopper and Blake Ritson with Richard E. Grant


THE BACK STORY: The sequel to 2017’s The Hitman’s Bodyguard, The Hitman’s Wife’s Bodyguard once again stars Ryan Reynolds as Michael Bryce, a Triple A-rated bodyguard … Or at least he was. You see, he’s been having recurring nightmares after dealing with Darius Kincaid (Samuel L. Jackson), the man responsible for one of his greatest failures.

Unfortunately for Michael, his sabbatical from bodyguarding is about to come to an abrupt end thanks to Sonia Kincaid (Salma Hayek), a.k.a. Darius’ equally hotheaded – and lethal – wife. It seems her hubby has been kidnapped by the Italian mafia, the country where Michael just so happens to be trying to enjoy a much-needed vacation. But, as all three of them are about to find out when Aristotle Papadopolous begins to enact his plan to restore Greece as the head of European civilization, there will be no vacations anytime soon, especially as the body count starts rising.

THE REVIEW: The Hitman’s Bodyguard was a fun but frivolous hit when released to theaters nearly five oh so seemingly long years ago. The Hitman’s Wife’s Bodyguard, while fun, definitely ups the frivolous nature of things, feeling at times more like a live action video game than anything resembling a true movie.  Sure, there are some fun moments, but as a whole, the film is an unnecessary sequel akin to an Ocean’s Twelve or Thirteen where you can clearly tell the cast is having fun – possibly more than the audience.

Take plausibility out of the equation and The Hitman’s Wife’s Bodyguard is still a ridiculous, trio buddy comedy with Grand Theft Auto-level violence and profanity that, if he wasn’t in the movie, would likely make Jackson blush. Hayek is the clear star of the film as she proves she can be as rough and tumble as her male counterparts, but overall, The Hitman’s Wife’s Bodyguard is … Silly. Seriously. It’s a movie that feels like a 90s high school teen would have written or, at best, Michael Bay. It’s got some fun moments, but it’s nothing that will be the highlight of anyone’s resume thanks to the aforementioned video game level violence, constant quips and absolutely inane plot twists and turns.

In short, if you’re looking for 90 minutes of turn-your-brain-off-and-just-watch-it entertainment, you may enjoy The Hitman’s Wife’s Bodyguard. If you’re thinking of paying a premium for it, however, your wallet might need to be protected from you.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

 

 

 

 

 

 

McCoy on Movies: Spiral

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Chris Rock brings dramatic chops to Saw franchise’s latest spinoff

“Tell me one more time how you didn’t like either of the Grown Ups movies, I dare you!” Detective Ezekiel “Zeke” Banks” (Chris Rock) lines up a potential shot in a scene from director Darren Bousman’s SPIRAL: FROM THE BOOK OF SAW. Credit: Brooke Palmer © 2020 Lionsgate Publicity. All rights reserved.

WATCH THE TRAILER(S) HERE:

 
 
 

DIRECTOR: Darren Bousman

KEY CAST MEMBERS: Chris Rock, Max Minghella, Samuel L. Jackson, Marisol Nichols, Richard Zeppieri, Ali Johnson, Edie Inksetter and Daniel Petronijevic

THE BACK STORY: Ezekiel “Zeke” Burns (Chris Rock) is a detective with a lot of stress in his life. In addition to going through a divorce, he’s still living in the shadow of his father Marcus (Samuel L. Jackson), the former South Metro Police Captain. Throw in the fact he also turned in a dirty cop and took a bullet when his backup failed to arrive and Zeke understandable seems grizzled well beyond his years … Which should in turn explain why he has little to no desire to train a rookie detective in William Schenk (Max Minghella).
But when Zeke (with his new partner in tow) is called to the scene of what was suspected to be a homeless man hit by a subway train, he quickly learns that he now has an even bigger problem to deal with: A possible disciple of the former John Kramer, the serial killer known as Jigsaw …
THE REVIEW: What happens if you were to upgrade the acting of the past Saw films while retaining the – with apologies to All Elite Wrestling – blood and guts for which the franchise is known? Spiral answers that question: You get a movie that satisfies America’s longstanding obsession with serial killers while delivering a dramatic stage interesting enough to make you keep watching between the absolutely gruesome – and yes, I do mean gruesome – murders.
Say what you want about Chris Rock’s past movie work; the man has quietly been putting in work both in front and behind the camera for several years – and Spiral is his arguably his finest acting performance to date.
Spiral doesn’t work with Rock’s nuanced performance. Even when his hardened detective cracks the occasional joke, it doesn’t feel like you’re watching the stand-up comic that has been slaying audiences for the better part of four decades. Instead, you are watching a man battling inner and external demons, both of which come to a head once he starts seeing bodies of people he has a connection to start to pile up. If you were to remove the torture devices, it wouldn’t be a Saw spinoff (obviously), but it would still work as a serial killer drama – and that’s a testament to how far both Rock and longstanding Saw franchise head Darren Bousman have come.
If there was one nitpicky problem with Spiral, it would have to be part of the ending. Without going into detail, the “too cool to be bothered” explanation by the killer takes away a bit from the dramatic crescendo to which the film builds; given their motivation, this moment needs to be a bit more impassioned as opposed to coming off like “Oh yeah – I killed these people … You want some coffee?” Throw in one seeming hole that may or may not have been left open to some sort of sequel and it takes away a bit from the apex of the story, which is as over-the-top as you’d expect but mostly works … mostly.
But for a film that is arguably the best sequel of a franchise that most people would have been hard pressed to ever imagine upon the initial installment’s release, Spiral avoids going down one in fine, brutal fashion.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

 

 

 

McCoy on Movies: The Courier

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The Courier a solid if-not familiar Cold War drama best suited for older audiences

 

“This seems strange … There’s no caped superheroes here to back me up … And I have a mustache!” Greville Wynne (Benedict Cumberbatch) in a scene from Dominic Cooke’s based on a true story Cold War drama THE COURIER. Credit: Liam Daniel © Lionsgate and 2020 Roadside Attractions. All rights reserved.

WATCH THE TRAILER(S) HERE:

DIRECTOR: Dominic Cooke

KEY CAST MEMBERS: Benedict Cumberbatch, Merab Ninidze, Rachel Brosnahan, Angus Wright, Jessie Buckley, Petr Klimes and Kirill Pirogov

THE BACK STORY: Greville Wynn (Benedict Cumberbatch) is a simple businessman, nothing more, nothing less. Then his life is turned upside down when a MI-6 agent (Angus Wright) and a CIA operative (Rachel Brosnahan) approach him with a request: Get information from would-be Russian defector Oleg Penkovsky (Merab Ninidze) about the Soviet supply of nuclear weapons to help prevent a third world war at the height of the Cuban Missile Crisis.
As long as Greville and Oleg don’t get caught by Gribanov (Kirill Pirogov) and/or any other KGB agent, for that matter, everything should be just fine …
THE REVIEW: The Courier is fine. Cumberbatch commits to the role of Greville well, playing him with fish out of water sensibility quite well while Ninidze is convincing as Oleg. Likewise, Jessie Buckley is a classic mid-20th Century housewife as Sheila, demure yet confident and guarded given her husband’s past indiscretions only to reveal a softer side as the story progresses.
In similar fashion, Brosnahan is steadfast in her mission as CIA operative Emily Donovan, playing well against the traditionally reserved British gentleman that is Angus Wright’s Dickie Franks. And then there’s Kirill Pirogov’s performance as Gribanov, a man who is not so much a villain as a man committed to his cause, just as the American forces that are convinced they are right, so is he.
So what then, keeps The Courier from excelling to higher heights? It could be the familiarity of the entire affair (the Cold War has been cinematic fodder for 70 years). It could also be the familiarity of the characters (the tension between husband and wife in Greville and Sheila, the cat-and-mouse set ups as the story progresses with the foreshadowing being fairly heavy to the point it feels a bit too predictable. This does change, however, at about one hour into the story, but there is one grandiose moment that feels a bit to “made for the movies” for its own good.
In short, The Courier is a solid historical drama for those already interested in the subject matter that pays respect to its subject … It just lacks something inherently dynamic about it the way a say Good Night and Good Luck grips you. Think of it like a good meal at a restaurant you frequent. It’s solid, but it’s familiar. It feels like a film for an audience of a certain age, which is a bit of misstep given that it is based in a classic tale of espionage.
And for a man who’s story is largely unfamiliar to the world, you might be wishing there was just a little more than that.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):
 

 

 

McCoy on Movies: Promising Young Woman

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 a #MeToo-era thriller sure to rouse audiences

Carey Mulligan stars in Promising Young Woman
“You know, with my reading a book like this, you’d think the male characters might realize something is up …” Cassie (Carey Mulligan) takes a break from work in a scene from writer/director Emerald Fennell’s black comedy/revenge thriller PROMISING YOUNG WOMAN. Credit: Courtesy of Focus Features. All rights reserved. 

WATCH THE TRAILER(S) HERE:

DIRECTOR: Emerald Fennell

KEY CAST MEMBERS: Carey Mulligan, Bo Burnham, Chris Lowell, Laverne Cox, Alison Brie, Jennifer Coolidge, Clancy Brown, Sam Richardson, Christopher Mintz-Plasse, Adam Brody with Connie Britton, Molly Shannon and Alfred Molina

 


THE BACK STORY: Cassandra “Cassie” Thomas (Carey Mulligan) leads a very interesting life. Working at a local coffee shop under her boss Gail (Laverne Cox), she still lives at home with her parents Susan and Stanley (Jennifer Coolidge and Clancy Brown) despite being on the cusp of her 30 birthday and seemingly has no friends. Well, she did have a friend in Nina, her medical school colleague who suffered a very unfortunate incident that contributed to her untimely demise.

Be that as it may, Cassie has found a new hobby: Going to night clubs and acting highly intoxicated, waiting for an unsuspecting male suitor like Jerry (Adam Brody) … or Paul (Sam Richardson) … or Neil (Christopher Mintz-Plasse) to pick her up to take her home. Then she teaches them a lesson they’ll never forget so that they don’t try and do something like that ever again.

So, when Ryan Cooper (Bo Burnham), another former medical school colleague, strolls into the coffee shop to ask her out, she is obviously reluctant to do so at first. But while Ryan continues his pursuit of her, Cassie learns of some news about another former college colleague, it sets in motion a series of events that will show hell hath no fury like a Promising Young Woman scorned …

THE REVIEW: The type of movie that women will rally behind and make more than one man reconsider apologizing for any and all past misdoings, Promising Young Woman has some moments that might feel a tad over-the-top … But the payoff of writer/director Emerald Fennell’s work is definitely worth the price of admission.

Mulligan’s diligence to making Cassie a character you understand the motivations is what drives Woman from start to finish, even at times when some characters could seemingly be forgiven for their actions. But, in the tradition of films like Who’s Next?, Peppermint and Gone Girl, Mulligan’s total commitment makes you forgive any of the films flaws and/or exaggerations necessary to make the film work. Credit should also go to Fennell – who was nominated for two Emmys during her time as the showrunner for Killing Eve – however, for making every one of her lead’s actions both understandable, relatable and much more sympathetic than the alternative. Cassie prefers to prevent instead of punish in most instances, keeping her character’s female machismo from reaching the cartoonish levels of that plagued the most recent Charlie’s Angels film from start to finish.

To say much more will ruin some of the surprises that lie ahead in the film; all you need to know is the film’s trailer gives you just enough information to let you know the promise of the film deserves your interest.

If nothing else, it’ll be a good conversation starter if you suspect you have a significant other with whom you wish to talk.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):
 

 

McCoy on Movies: Kajillionaire

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Kajillionaire will prove quirky fun for some, but will just be different for others

“Now, just remember, if anyone asks, we went grocery shopping BEFORE it was mandated you had to wear a mask in public!” (Gina Rodriguez) and Old Dolio Dyne (Evan Rachel Wood) go out for a non-grifting grocery trip in a scene from writer/director Miranda July’s KAJILLIONAIRE. Credit: Matt Kennedy / Focus Features © Focus Features. All rights reserved.

WATCH THE TRAILER(S) HERE:

DIRECTOR: Miranda July
KEY CAST MEMBERS: Evan Rachel Wood, Gina Rodriguez, Richard Jenkins and Debra Winger


THE BACK STORY: Old Dolio Dyne (Evan Rachel Wood) is a 26 year-old Los Angeles resident. Her home, however, is unconventional as it is an office space next to some sort of industrial park where a pink liquid oozes into the room. Joining her in this most unconventional of living spaces are her parents Theresa (Debra Winger) and Robert (Richard Jenkins), grifters by trade who are always on the lookout for their next scheme or heist. It’s not a good life, but it’s the only one Old Dolio knows.

Then Melanie (Gina Rodriguez) comes into the picture.

Meeting her by chance on a flight as part of their latest scheme, Melanie seems excited at the prospect of getting into a new line of work and comes up with a plan of her own to pull off a new heist. But, as Melanie’s love of life – and other circumstances – start to open up her mind to other aspects of the human experience, Old Dolio starts to question her current existence and what could lie ahead in the future.

Who knows – becoming rich in her own spirit might be the most rewarding prize of all.

THE REVIEW: “Quirky.” “Abstract.” “Weird.”

Sometimes you watch a film and appreciate it for what it is, even if it’s not something you really enjoyed, so to speak, yourself. In the case of Kajillionaire, you likely will find yourself wrestling with that same emotion due to the committed performance of Wood against a story that essentially can be viewed in one of two ways: (1) This is a (insert one of the three adjectives above) story about broken people and someone trying to find what many of us inherently do (or at least, believe we should enjoy) or (2) This is a (insert one of the three adjectives above) that is just (insert one of the other two remaining adjectives above).

Earlier this month, Wood gave a rather revealing interview to The New York Times in which it was revealed she uses many of her roles to heal herself from past trauma. That in turn should help explain her (1) connection to Old Dolio and (2) portrayal of the character, a woman who has never felt any real (or, if you prefer, “normal”) emotions to or from anyone, including her parents. She is essentially – like many of the personalities on her HBO series Westworld – a near-robotic humanoid life form who knows her role and her function in the functioning disfunction that is her family’s business. You get to watch a young person (Wood may be 33, but she pulls off 26 with a way that makes her character feel even younger) coming to grips with her concept of the world around her and trying to deal with deprogramming herself in the process. Whereas as Rodriguez gets to play an upbeat, bouncy young woman who seems very eager to get involved in something she sees as exciting, Wood’s character is a solitary, introverted one growing desperate to escape her reality.
If you enjoy the films of Wes Anderson, you’ll likely like Kajillionaire, which are the first type of things that come to mind in terms of the humor (which is SPARSE). If you simply enjoy a deep dive into a character (even if the others aren’t characters aren’t explored enough as you’d hope), you’ll probably enjoy Kajillionaire.
Then again, if watching people who are essentially without redeeming qualities do nothing to change your opinion of them over the course of 100 minutes, are weird seemingly for the sake of it and/or are the type of people you’d see in Walmart, report to an employee and then leave, this is not the movie for you. What will find intriguingly unconventional, others will find annoying. Whereas some will be drawn to Wood’s performance of a shy, sheltered introvert, others will see the weirdo in their high school class they one day figured would end up on the local news for less than stellar reasons. If you start to watch the movie, you’ll likely watch it to the end to see what will happen, only to probably be either elated or deflated by what happens.
In much the same fashion that very few are destined to become millionaires and billionaires, Kajillionaire is likely only for the select few. But those select few will really enjoy it no matter what the rest of us see.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):
 

 

 

 

 

McCoy on Movies: The Broken Hearts Gallery

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A romantic comedy for the woke generation hits the big screen with The Broken Hearts Gallery

 

 

“Girl … You just know anyone who owns a MAGA hat is not going to enjoy this movie!” Lucy (Geraldine Viswanathan, center) hangs with her friends Amanda (Molly Gordon, right, in nurse outfit) and Nadine (Phillipa Soo, left) in a scene from writer/director Natalie Krinsky’s romantic comedy THE BROKEN HEARTS GALLERY. Credit: George Kraychyk © 2020 Columbia TriStar Marketing Group, Inc. All rights reserved.

 

WATCH THE TRAILER(S) HERE:

DIRECTOR: Natalie Krinsky
KEY CAST MEMBERS: Geraldine Viswanathan, Darce Montgomery, Molly Gordon, Utkarsh Ambudkar, Phillipa Soo, Arturo Castro, Suki Waterhouse, Nathan Dales, Ego Nwodim, Tattiawana Jones and Bernadette Peters


THE BACK STORY: Lucy (Geraldine Viswanathan) shares an apartment in New York City with her longstanding friends Amanda (Molly Gordon) and Nadine (Phillipa Soo). While Amanda has found her niche with her silent boyfriend Jeff (Nathan Dales) and Nadine dumps her suitors before she can barely learn their names, Lucy doesn’t do well with breakups, which is why she keeps mementos from all of her past relationships in her room. Thus, when she sees her boyfriend/co-worker Max (Utkarsh Ambudkar) a little too close to an old flame (Tattiawana Jones) during an event at the art gallery owned by Eva Woolfe (Bernadette Peters) where they both work, the alcohol and insecurity mix to cause an incident.

This leads to her inadvertently meeting Nick (Darce Montgomery), an aspiring niche hotel designer she mistakes for her Uber (or is it Lyft? We may never know …) driver. But as fate would have it, this chance encounter could end changing both of their lives – and countless others struggling to get over their old flames – forever.

THE REVIEW: A film that has to be the early contender for the most woke mainstream romantic comedy released by a major Hollywood studio during a pandemic thus far, The Broken Hearts Gallery is a predictable yet enjoyable romantic comedy that gives hope to hopeless romantics everywhere.

A romantic comedy for millennials that makes sure to check (nearly) every box on the inclusion checklist, The Broken Hearts Gallery works well enough largely due to the hot-mess-that-you-still-root-for performance of Viswanathan. Sure, there are times when she and her cohorts’ behaviors make you question whether or not they are parodying millennials or portraying them with annoying accuracy, but the overall charm of the characters makes you want to see them reach their eventual destiny.

Again, this isn’t meant as a diss to the film; there’s just nothing happening here that really hasn’t been seen before. Girl loses boy. Girl acts out. New boy shows up. Audience can tell they should be together long before either of them realizes it. Comedy ensues. Dramatic moment ensues. You get it; it’s the heart of the characters and interplay between them that makes it entertaining.

When so many of us are feeling brokenhearted over the world at large, The Broken Hearts Gallery should provide some lighthearted, carefree relief – and that in of itself makes it worthy of a watch (save for anyone who can’t deal with a strong LGTBQ+ presence/minority/female presence).

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):