Dayton937

Things to do in Dayton | Restaurants, Theatre, Music and More

On Screen Dayton Reviews

McCoy on Movies: Kingdom of the Planet of the Apes

By

 

Kingdom of the Planet of the Apes explores the best, worst of humanity, society effectively

“OK, one of us forgot our deodorant, which is a shame because we all could use a bath at this point!” Ambitious Eagle Clan survivor Noah (voiced by Owen Teague) and Raka (voiced by Peter Macon, far right) find themselves making a dangerous journey alongside their newfound human companion Mae (Freya Allen) in a scene from director Wes Ball’s KINGDOM OF THE PLANET OF THE APES. Credit: ©2024 Twentieth Century Studios. All rights reserved.

WATCH THE TRAILER HERE:

 

KEY CAST MEMBERS:  Owen Teague, Freya Allan, Kevin Durand, Peter Macon, Travis Jeffrey, Lydia Peckham and William H. Macy

DIRECTOR: Wes Ball
THE BACK STORY:  Taking place several generations after the rule of Caesar, the ape who would lead his species to prominence once a man-made virus gives primates intellect while rendering humanity speechless, we are introduced to Noah (Owen Teague). A member of the Eagle Clan, Noah – along with his friends Anaya (Travis Jeffrey) and Soona (Lydia Peckham) – is looking to graduate into adulthood by completing a ritual of their clan: Grabbing a young eagle egg from a nest to raise as their own. 
 
What Noah doesn’t know or suspect, however, is that the blanket that is taken from his horse will end up changing his entire clan’s fate forever. For once an elder warrior goes out to investigate, a warrior clan acting under the order of Proximus (Kevin Durand) is set to devastate anything in their path. Worse yet, the clan has the audacity to yell “For Caesar!” who has risen to mythical status … Even if his ideals are no longer being followed by Proximus or any of those under his rule.
 
As fate would have it, Proximus’ grand designs for the future lead to a life-altering experience for the Eagle Clan, leaving Noah out on a path seeking revenge. Along the way, he will encounter an orangutan who knows the true nature of Caesar in the friendly Raka (Peter Macon) … But perhaps most surprising will come when he runs into an “echo” – or “Nova” as Raka calls them – in the form of Mae (Freya Allen). While at first scared, Mae reveals a secret in a startling fashion that will also rock Noah’s world.
 
But what awaits them as the face their destiny could alter the future for apes and humans forever .. 
 
THE REVIEW: The detailed, evolving (pun intended) story has been one of if not the best aspects of the Planet of the Apes franchise since it was rebooted in 2011. KINGDOM OF THE PLANET OF THE APES continues that tradition, exploring the ideas of legends versus reality, power versus purpose and – as if ripped from today’s headlines – the idea of being able to coexist with others different from us in every way save for wanting the same thing: A peaceful way of life for those whom we care about.
 
For a film with essentially only two meaningful humans on screen, KINGDOM makes the most of its ape acing core to build upon the previous installments of the film while setting a meaningful stage for the next installment. Superhero film directors could learn a lot from Ball and his team with their work on KINGDOM, the effects making the old Charlton Heston films feel as dated as the acting within them.
 
Whereas Proximus and the idea of more is an easily relatable theme, his warning to Noah feels as true as it is sad when posted up against today’s political climate. Whereas trust can be weaponized for the advancement of one group versus another, KINGDOM also shows (albeit with a significant amount of blatant foreshadowing) what earned trust can be worth, why violence isn’t the answer and how man – or in this case, man and ape – often get in their own way of finding the way of life they wish to live. If there are criticisms to be had, it might be in the form of pacing (the first 30-40 minutes feel way longer than they are) and possibly the way in which William H. Macy’s character comes across as necessary yet one note. 
 
Those minor issues notwithstanding, KINGDOM OF THE PLANET OF THE APES achieves what it sets out to dow what so many have tried over the course of humanity: Remember that the word “humanity” includes the word “human,” even if it takes a bunch of apes to remind us of the best and worse of us as a species.

 

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

 

 

 

 

McCoy on Movies: THE AMERICAN SOCIETY OF MAGICAL NEGROES

By

Writer/director Kobi Libii strikes a strong social cord with satirical exploration of American society’s relationship to African-Americans with debut feature

“I heard the NPR reviewer didn’t like our movie … Looks like we better send them a magical Negro of their own …” Aren (Justice Smith) looks on as Roger (David Alan Grier) prepares to show him how to diffuse a potentially dangerous interaction in a scene from writer/director Kobi Libiii’s THE AMERICAN SOCIETY OF MAGICAL NEGROES. Credit: © 2024 Focus Features. All Rights Reserved. 
WATCH THE TRAILER HERE:
 

KEY CAST MEMBERS: Justice Smith, David Alan Grier, An-Li Bogan, Drew Tarver, Micaela Watkins and Nicole Byer

DIRECTOR: Kobi Libii
THE BACK STORY: Ahh … The magical negro. First coined by Spike Lee in response to all the black characters that would appear in movies for no other purpose than to serve as a spiritual Jiminy Cricket or Tinkerbell to the lead white protagonist, the magical negro has existed in many forms on screen.
 
But what if they existed in real life? In writer/director Kobi Libii’s documentar-er, social satire, they are.
 
THE AMERICAN SOCIETY OF MAGICAL NEGROES stars Justice Smith (The Get Down, Jurassic World: Fallen Kingdom) as Aren, a yarn sculptor – yes, yarn – who’s career is going nowhere. He is, however, good at one very specific thing: Making white people feel comfortable around him … If they even notice he’s in the room, that is. That skill is what catches the attention of Roger (David Alan Grier), a bartender at the art gallery at which Aren is showing his work, which leads to him revealing a secret …
Roger is part of the aforementioned American Society of Magical Negroes, a collective of black people with magic powers which they use to keep white people happy and achieving their dreams. Why? Because in doing so, they help reduce the chances of other black people from getting unjustly fired from jobs, arrested – or worse. Showing Aren what he can do after inadvertently helping save him from a potential drunken Karen, Roger brings him to the secret society’s headquarters where he gets the full rundown. Skeptical at first, Aren eventually relents and decides to join up as Roger’s protege.
On assignment, Aren gets paired up with Jason (Drew Tarver), a depressed tech bro who works at a Facebook-esque social media company. And things are going well enough … Until they aren’t. Why? Because of the presence of Lizzie (An-Li Bogan), Jason’s boss. She’s cool, she’s hip, she’s smart and she’s funny … And she’s the same girl for whom Aren also has eyes.
Knowing that magical negroes must always put their clients’ happiness first before their own, Aren finds himself at a crossroads: Does he sacrifice the first person who’s made him feel good about himself or preserve the safety of all black people in America? For if one magical negro blows their assignment, all of their fellow negroes’ magic will cease to work.
 
THE REVIEW: THE AMERICAN SOCIETY OF MAGICAL NEGROES is a social satire. For many people of color, however, watching the film may feel more akin to watching a documentary. For in touching upon how fictional characters have navigated white society for years dating back to the early 1900s, the film subtlety touches on real aspects of the modern experience, especially in how a post-2020 has made it even more necessary. 
 
Validating how cool a non-POC is due to their outfit, knowledge of 90s hip-hop or sneaker collection? Check. Being the black friend they can speak they can “speak honestly” with without fear of retribution? Check. Explaining that someone isn’t a bad person just because they had no clue about something that culturally affects and/or has been affected black people for eons that they’ve clearly ignored all the signs of, dialogue about and/or protests? Check.
Why do I say all these things? Because these are things that I personally have experienced, which is something I’m quite confident I’m not alone in experiencing. And with his debut feature THE AMERICAN SOCIETY OF MAGICAL NEGROES, writer/director Kobi Libii brings those feelings to the forefront for the entire world to see in humorous, yet heartfelt fashion.
Some may take issue with the underlying romantic comedy notions – let alone Smith’s character falling for a non-black female lead. That idea, however, undercuts one of the prime stories present in the film that is also present for many black people in real life: Just being free to do, say, think whatever and fall in love with whomever you like without worrying about how someone else – in this instance, white people – are going to react to or feel about it.
In turn, one can live their life how they see fit instead of always trying to appease someone else out of fear of retaliation, inferiority complexes and/or hatred for their simple achievements. Don’t believe me? Take a look at the average headline with the dreaded letters “DEI” in the title. Whereas some outright refuse to acknowledge a system that has benefitted them, others take the stance of, “If someone else is getting closer to me socially/economically/civil rights-wise, I MUST be losing my status at the top of the food chain.” With THE AMERICAN SOCIETY OF MAGICAL NEGROES, Libii dives deep into corporate structure and shows how its the subtle things that people may not even realize that can have significant, lasting impact in both a positive and unfortunately more often than not, negative sense.
Smith is perfect as a nondescript everyman, the type that would hear “I don’t even think of you as black” as if that is some sort of complement from start to the film’s apex. But in watching him navigate the world around him, his slow own self-denial of his situation evolves into revelations that might feel revelatory to some and shocking-for-not-being-able-to-see-it-until-its-pointed-out-in-blatant-fashion to others. This in turn makes his relationship with Bogan’s character such a joy to watch – for despite being two people who would seemingly be from very different worlds, their connection to each other is so undeniable it’s a pleasant reminder of what the human experience should be in a world where, unfortunately, it just isn’t.
Of course, David Alan Grier is excellent in his role as the wise, old sage trying to guide his young apprentice. For a man well-known for his comedic prowess dating back to the late 80s/early 1990s – YES, In Living Color really is more than 30 years old – watching him delve expertly between comedic and dramatic has always been one of if not his best skill. THE AMERICAN SOCIETY OF MAGICAL NEGROES gives him a chance to do so adeptly as he showcases his range.
Sadly, in the wake of the stellar American Fiction – doesn’t it feel like that’s going to be the “here’s your good black film, now let us just acknowledge that and move on?” movie of 2024 following the Academy Awards – THE AMERICAN SOCIETY OF MAGICAL NEGROES is likely to get lost in the shuffle. Some of that may be due to its title; some of it may be due to lack of starpower and buzz it has … And some may be to general disinterest.
Then again, come to think about it – general disinterest in the African American experience is quite an American experience, which kind of explains how we got here in the first place, don’t ya think?

 

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

 

 

 

 

 

 

McCoy on Movies: Creed III

By

Michael B. Jordan’s directorial debut has flash but lacks true punch to be a true title contender

“This is my Wakan, er, ring!” Titular character Adonis Creed (Michael B. Jordan) raises his fists in a scene from Jordan’s directorial debut CREED III. Credit: Eli Ade © 2023 Metro-Goldwyn-Mayer Pictures. All rights reserved.
 WATCH THE TRAILER HERE:
DIRECTOR: Michael B. Jordan

KEY CAST MEMBERS: Michael B. Jordan, Jonathan Majors, Tessa Thompson, Mila Kent, Wood Harris, Thaddeus J. Mixon, Spence Moore II, Florian Munteanu and Phylicia Rashad

 

THE BACK STORY: The third installment in the Rocky spin-off franchise, Creed III finds titular character Adonis “Donnie” Creed enjoying the good life. He’s retired, his wife Bianca (Tessa Thompson) has become a gold record earning music producer and their daughter Amira (Mila Kent), save for one would-be bully at school, is seemingly happy.
But it wasn’t always this way.
You see, back in his troubled youth (portrayed by Thaddeus J. Mixon), Adonis had issues at a group home where he was living with his best friend Damian “Diamond Dame” Anderson (Jonathan Majors, played as a youth by Spence Moore II). Dame was an aspiring Golden Gloves champion … And then came the fateful night where everything changed. Fast-forward 18 years later and Dame, thanks in part to a decision made that aforementioned night and one later made by Adonis’ mother (Phylicia Rashad), isn’t remembered at all.
He will be, however – which is why he’s ready to show Adonis that while he may be the champ, there’s no nemesis like an old friend …

 

THE REVIEW:
As Jordan’s directorial debut, the positives about Creed III are that the film looks good visually, there are some  … interesting sequences (one in particular) and the action sequences are fine by the previous films’ standards.
Then there’s the actual movie itself as a story … And that’s when things seem to feel a bit punch-drunk.
Look, Rocky and Creed films are never going to be great with certain logic points, but there is one plot point that – if you think about it – derails the storyline and plot points for the latter half of the film. (The logic the characters exercise or, more often, don’t, makes turning your brain off necessary to get through it.) Likewise, there hasn’t been good defense by a boxer in a Rocky movie since, well, ever and the referees make the ones in the WWE (or, depending on your favorite football team, a certain spots league) look competent by comparison.
Those complaints aside, the main problem with Creed III is that despite some opportunities to maybe explore some topics that could have made the film feel unique or even poignant – the idea of black rage, misguided youth, the impact of parents on children among them. Unfortunately, Creed III instead comes across as another so-so Rocky movie (think Rocky V). This wouldn’t be the case, of course, if the characters’ had better logic. Seriously, the decisions the characters make often seem ludicrous at best with reasoning that feels just as silly as the choices themselves. That makes it hard to buy into much of the film itself, which, given the nature of the average Rocky/Creed film, is essential.
Let me put it another way. As a four decade (and counting) fan of “sports entertainment,” a.k.a. professional wrestling, the key to the enjoyment is (1) appreciating the athleticism of the performers that (2) makes it able for you to suspend your disbelief that the outcomes aren’t pre-determined. These are live action movies unfolding before your eyes. With Creed III, the film never reaches a point where you are able to do the latter. Sure, Jordan, Majors and co. are in phenomenal shape and look the part, but the film lacks an element that makes you go “all in” and buy completely into the story. On a positive note, Mila Kent is precocious as Amira and does a great job throughout the film all the way to setting up her own movie one day(?).
With Creed III, Michael B. Jordan shows he knows what a movie should look like, how a first, second and third act are supposed to work and how to add visual style to the final product. Unfortunately, the story is so … familiar and logically flawed that it’s just hard to want to go the distance with it. Again, there are points raised that could have developed into something more than the standard boxing fare. The film looks good stylistically, Jordan shows he has potential to deliver a good product … But the film just lacks the punch – pun intended – to deliver the knockout blow you would hope it would.
Creed III comes in with all the hype of a title contender … But in the end, the franchise’s championship days – however short they may have been – are behind it.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):
 

 

 

 

McCoy on Movies: The Lost City

By

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: 

<

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):

 

 

s

 

McCoy on Movies: LAST NIGHT IN SOHO

By

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

By

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: Kajillionaire

By

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 Invisible Man

By

An old horror icon gets re-envisioned for the #MeToo era in The Invisible Man

“Take my hand … And then watch me try to kill you with the other one!” Cecilia Kass (Elisabeth Moss) showers while an unbeknownst presence keeps watch in a scene from Saw-alum Leigh Whannell’s THE INVISBLE MAN. Credit: Universal Pictures. © 2020 Universal Studios. All rights reserved.
 

WATCH THE TRAILER(S) HERE:


 

KEY CAST MEMBERS: Elisabeth Moss, Aldis Hodge, Harriet Dyer, Oliver Jackson-Cohen, Storm Reid and Michael Dorman DIRECTOR(S): Leigh Whannell

THE BACK STORY: Cecilia Kass (Elisabeth Moss) is an architect that seemingly has it all given that the house she lives in is nothing short of a multi-million dollar beachfront palatial estate in San Francisco. But that doesn’t explain why Cecilia is attempting to flee in the middle of the night, now does it? No, that answer comes in the form of the abuse Cecilia claims her now ex, Adrian Griffin (Oliver Jackson-Cohen) has heaped upon her mentally and physically. Barely escaping, Cecilia takes refuge with a childhood friend turned police detective in James (Aldis Hodge) and his daughter Sydney (Storm Reid). 


Then Adrian’s brother – and the director of his estate – Tom (Michael Dorman) informs Cecilia and her sister Alice (Harriet Dyer) with bombshell news: Adrian, a tech magnate who built his fortunate in the field of optics, has committed suicide and left her millions to be paid out in increments of $100,00 over the next few years – as long as she doesn’t commit any crimes and lives a generally good life. There’s just one problem …


Cecilia, over the course of a series of rather weird and unfortunate events, becomes convinced Adrian is still alive. And he’s apparently determined to drive her insane – or worse. Thus, Cecilia is forced to answer a question most people would never ponder.


How do you prove someone who is supposed to be dead is very much alive and torturing you when no one – including you – can see them?
THE REVIEW: There are typically two types of movies released in the first few months of a new year: (1) Award contenders/art house endeavors that studios hope get that one last push before the statues are given out and (2) films that the studios greenlighted … But in retrospect probably wish they hadn’t (Fantasy Island, anyone?) But, every once in a while, you get those “‘tweeners:” Movies that have elements that are somewhat enjoyable and fun … Even though you know in your heart you really wouldn’t call it a “good” movie.About one hour into writer/director Leigh Whannell’s (the Saw and Insidious franchises) take on the often forgotten (no pun intended) member of Universal’s monsters, it becomes quite apparent The Invisible Man matches the last description to a “T.”

On the pro-side, Moss delivers enough of an emotional performance to drive The Invisible Man, which is essentially a domestic abuse tale examining what happens to victims at the hands of their accusers. Moss carefully walks the line between movie dramatics and emotionally believability to keep her character’s credence valid, never giving in to the temptation to go bad 80s horror movie scream queen at each abusive turn. She is by far the most interesting character on screen, making her character interesting enough to keep watching the film to its climax. There’s also enough twists and turns to keep you intrigued in what will happen, a must in a film where too much predictably could have been present.

On the con-side, however, the majority of characters that aren’t Moss – Dorman is acceptable as Adrian’s brother – are lackluster in either direction or execution (again, no pun intended). Likewise, most of the scenes where Moss and others are attacked by, well, an invisible assailant just feel cartoonish despite the cast and crew’s best efforts. Thus, you get a mixed bag of push/pull that keep the film from diving too far off the deep end, but a lot of missed opportunities that could have pushed it into groundbreaking territory. However, by focusing on Moss’ character’s pain, The Invisible Man basically becomes a metaphor for all the abuse women have suffered at the hands of men in the #metoo era – and a stern warning to men about what could happen if they refuse to stop it.

All things considered, The Invisible Man isn’t a great movie by any means, but it’s not a completely unwatchable mess, either. It’s more a simple thriller for those seeking a simple thriller, but one that may catch fire due to today’s current socio-political climate. Some people may hate it, some people may love it – and arguments can be made to justify both’s point of view objectively.

Just don’t say you weren’t warned, however, if you come expecting to “see” something more.

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

McCoy on Movies

By

Shults, cast shine in heartfelt – and stellar – Waves

“Now … Remember – this is a movie, not This is Us, so we won’t have commercial breaks!” Tyler (Kelvin Harrison, Jr.), Emily (Taylor Russell), Ronald (Sterling K. Brown) and Catharine (Renée Elise Goldberry) share a moment in a scene from WAVES. Credit: © 2019 A24 Films. All rights reserved.

WATCH THE TRAILER(S) HERE:

 




KEY CAST MEMBERS: Kelvin Harrison, Jr., Taylor Russell, Sterling K. Brown, Lucas Hedges, Renée Elise Goldberry and Alexa DemieDIRECTOR(S): Trey Edward Shults 

THE BACK STORY: Tyler Williams (Kelvin Harrison, Jr.) is a talented high school wrestler who has a lot going for him. Sure, his father Ronald (Sterling K. Brown) pushes him hard, but he’s got great support in the form of his stepmother (Renée Elise Goldberry), his sister Emily (Taylor Russell) and the “goddess” in his cell phone, a.k.a. his girlfriend Alexis (Alexa Demie).


Then, over the course of one night, his life changes forever – and so does the life of everyone close to him.


Their lives now turned completely upside down, the Williams family finds themselves struggling to recover in the wake of tragedy. But when Emily meets a shy classmate in the form of Luke (Lucas Hedges), she discovers she may hold the key to healing her family so that they can once again be whole. 

THE REVIEW: Finding the beauty of life and love out of tragedy and heartbreak … If there is one thing that you will take away from watching Waves – which honestly should be a nominee for Best Picture for all the reasons that past Academy Award-winner Crash shouldn’t have been – it should be this sentiment. For in crafting a tale full of promise, then self-destruction, then heartbreak and a resurrection of a chance of hope, writer/director Trey Edward Shults and his cast have created what may be the best film of 2019.Waves features a very simple story – to say more would be to give away too much – that would NOT simple to process in real life. As the domineering but well-meaning Ronald, Sterling K. Brown gives a powerhouse performance that serves almost like a “Hey – don’t forget me in the conversation of great African-American male actors” announcement, showing the type of sensitivity rarely seen in a lead black males role. It is the performances of and interaction between Russell’s Emily and Hedges’ Luke, however, that steals the show, rounding out Waves’ set of emotional exploration with grace, aplomb and wisdom beyond their years. Both show a level of talent and skill that drives their story arc home in a way people of all ages, races and orientations will likely admire and aspire to have in their own existence. There are some very hard moments to watch of self-destruction, turbulence and turmoil, followed by some extremely gentle, heartfelt and warm moments that may bring a tear of happiness as much as the others do out of sadness.

The performances truly bring out the radiance of the story of Waves, one in which you are fully immersed in the characters’ respective worlds. Shults’ nuanced work behind the lens makes the characters’ world come alive, in turn making their respective heartbreaks and outcomes all the more intense and more importantly, authentic and relatable. Watching one character’s self-destructive path give birth to the awakening of another’s could come off extremely clumsy or clichéd in the wrong hands; fortunately for Shults and company, their commitment to the tale makes everything work in grand fashion. Whether you are a parent, a confused adolescent trying to figure out the world, someone trying to overcome grief, a person holding on to a past tragic experience, Waves offers something most movies do not – therapy and hope – that may serve to help as much as it does entertain.

Yes, the story is compelling in and of itself, but it also looks to explore healing and what that may look like for many different people. Despite a predominantly African American cast, race is not the focus of the story as much as our general humanity is. That in turn may actually help in showcasing African-Americans in a way they are rarely shown in mainstream media, a fresh breath of air that explores the “we’re all human” notion without being blatant, over-the-top or fool-hearty (hence the earlier Crash reference). With apologies to Brown, one might consider it a long episode of This is Us that doesn’t explore the past or present as much as it does look towards the future.

In short, Waves should make waves upon its national release this week because in a world – pardon the terrible wordplay – full of storms, the film serves as an oasis all should experience.

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

McCoy on Movies: Queen & Slim

By

Modern Bonnie and Clyde tale a frustrating and fascinating take on the aftermath of police brutality, modern love

“We may not be OutKast, but you gotta admit if this was our album cover, it’d be dope!” Slim (Daniel Kaluuya) and Queen (Jodie Turner-Smith) in QUEEN & SLIM, directed by Melina Matsoukas. Credit: Andre Wagner © 2019 Universal Pictures. All rights reserved.

WATCH THE TRAILER(S) HERE:



<

KEY CAST MEMBERS: Daniel Kaluuya, Jodie Turner-Smith, Bookie Woodbine, Chloë Sevingy, Flea, John Sturgill Simpson, Benito Martinez, Jahi Di’Allo Winston, Gralen Bryant Banks, Bertrand E. Boyd II and Indya Moore DIRECTOR(S): Melina Matsoukas

THE BACK STORY: A story of Tinder connection gone terribly awry, Queen & Slim tells the story of a young man (Daniel Kaluuya) heading home from his first date with a headstrong young attorney (Jodie Turner-Smith). Playing around with a smartphone, the Cleveland, Ohio-based couple finds their night thrown into chaos when they catch the attention of Officer Reed (Sturgill Simpson) who pulls them over in the cold of night. 


Then gunfire erupts. 


Certain that no one will believe the truth about what has happened, the young woman convinces the young man they have one option and one option only: Run, or more accurately, drive. Scared and panicked, the young couple thus begins a journey that will see them run into a multitude of colorful characters, including but not limited to: (1) The young woman’s uncle Earl (Bokeem Woodbine) and his stable of ladies; (2) Sheriff Edgar (Benito Martinez); (3) a mechanic (Gralen Bryant Banks) and his son Junior (Jahi Di’Allo Winston) as well as a (4) Georgia couple played by Red Hot Chili Peppers’ member Flea and Chloë Sevingy along the way. 


The inadvertent Bonnie and Clyde are going to get to know each other quite well over the course of their journey, but the legacy they create on that journey be more impactful than either of them either envisioned. 

THE REVIEW: Queen & Slim, co-written by Emmy winner Lena Waithe (Bones, The Chi, Ready Player One, Master of None) with an assist from James Frey (A Million Little Pieces) who apparently shared the idea at a party, is an intriguing, frustrating, eclectic, eccentric, electric, conflicted and more-than-likely controversial example of filmmaking. It is not an easy watch by design, which in turn makes the film fascinating and frustrating and feel raw and refined at the same time. Some characters feel outrageous (or, in some cases, downright ratchet) to the point there are times the film feels like a blaxploitation piece. The language is gratuitous, the gunplay will likely be upsetting and anyone looking for “fair and balanced” coverage in regards to how the majority of police in the film are depicted would be wise to look elsewhere.For Queen & Slim is unapologetic in telling its very unconventional love story of the couple and to black America – and that is the point.

As the female lead (Queen and Slim’s actual character names are revealed late in the story), Turner-Smith’s character portrayal exhibits many of the qualities exhibited with the “strong black woman” archetype, which serves at times as both a positive and, in some cases, negative. Her headstrong nature works to both her advantage and detriment in the film, but as the audience comes to learn more of background, one can see how she has come into her own with the resulting person we see today. Likewise, once thrust into a situation he never expected or asked to be, Kaluuya’s character finds himself trying to do what so many African-Americans have difficulty doing: Enjoying life and finding love in the process.

While much more aloof and naive than his counterpart, Kaluuya’s character provides a bit of balance to Turner-Smith’s. This is in turn provides (albeit in a very unconventional showcase) life in America as a black person: Dealing with the struggle of a country where racism is prevalent and can harshly affect you every day while trying to enjoy the pursue the American dream of life, liberty and happiness.

What will be the most challenging aspect of Queen & Slim, however, is how different sectors of America react to the film. African-Americans will no doubt either empathize and/or sympathize with Queen’s and Slim’s plight and how it inspires people as the story unfolds while others may take issue with the ways in which it does. The film would make a fascinating case study in watching different audiences watch the film, for the ways in which the mainstream media simply dismisses Queen and Slim versus the way they are viewed by black people is a direct reflection of America itself. Likewise, while the aspects of sex and crime might make some say they are victims of their condition, others might see various characters in the film perpetuating their own problems – and in some ways, both could argue their points.

However, what would be the best case scenario is for different groups to use the film as a conversation starter, for there are two critical topics for which the film could serve as a litmus test: (1) Examining how and why Queen and Slim become urban legends (not in the horror movie way) and (2) how poverty and being perceived as criminals by the agents whose duty is to protect people is an ongoing problem and why it directly is tied to point no. 1. There are explosive moments in the film – the meaning of one in particular that could be argued in cable news show-style ad nauseam – which are meant to spark reaction and no doubt will so.

As Waithe herself as said in interviews, Queen & Slim is in her view “protest art” and an attempt for African-Americans to “create the heroes they need.” Given what unfolds in the film, there will be some (think conservative pundits) that have extreme difficulty seeing the characters as heroes, but that no doubt is part of the point. Thus, if you are uncomfortable, find the story disturbing or at the very least dangerous, Waithe and director Melina Matsoukas will probably be happy while at the same time being upset – for as long as America continues on its current path, they are certain more Queens and Slims will come along, for better and for worse.

This is what ultimately makes Queen & Slim is worthy of being seen, even if what you see is a love story for modern times, a disturbing – or honest – take on the aftermath of police brutality on the African-American community and/or somewhere in between.

Description

 

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

McCoy on Movies: 21 Bridges

By

Chadwick Boseman, Stephan James make compelling drama out of familiar subject matter in 21 Bridges

“C’mon – I think I see the dude that convinced me to do Draft Day is right over there!” Andre Davis (Chadwick Boseman) and Frankie Burns (Siena Miller) rush in pursuit of two wanted suspects in a scene from director Brian Kirk’s 21 BRIDGES. Credit: Matt Kennedy / Motion Picture Artwork © 2017 STX Financing. All rights reserved.

WATCH THE TRAILER(S) HERE:


 

 

KEY CAST MEMBERS: Chadwick Boseman, Stephan James, Sienna Miller, Taylor Kitsch, Alexander Siddig, Morocco Omari and J.K. SimmonsDIRECTOR(S): Brian Kirk

THE BACK STORY: Andre Davis (Chadwick Boseman) is a detective in New York City. He had to be. It’s in his DNA, or at least that’s how he puts it. And given that his father was murdered on duty by three men – one of whom lived – his dedication to bringing criminals to justice rivals that of D.C. Comics’ biggest crimefighter Bruce Wayne. But while Batman may keep watch over a fictional Gotham, Andre is entrenched deep in New York City, which is why Internal Affairs is looking into his latest episode where he added to his growing body count of alleged criminals. Ray Jackson (Taylor Kitsch) and his partner Michael (Stephan James) don’t know Davis, but they soon will. For when it turns out the heist they’re involved in features 300 kilos of cocaine and not the 30 they were expecting, something seems off. Throw in an ensuing gun battle with a group of police officers who just so happen to show to the restaurant they’re robbing as if they were supposed to be there and Ray and Michael know something is wrong.

Arriving to the aftermath, Andre finds himself paired up with another detective, Frankie Burns (Sienna Miller) and a police captain in McKenna (J.K. Simmons) who want revenge moreso than justice for what has transpired. Quickly surmising the situation, Andre realizes the perpetrators have to still be in the city – which is why he orders all 21 bridges leading out of Manhattan closed. But the clock is ticking on Andre and Frankie … So there is no time to waste if they are going to catch the men responsible for what has happened.

THE REVIEW: While he has had plenty of roles in his acting career, Boseman has essentially become known for playing two kinds of people: Famous dead black people (Jackie Robinson in 42, James Brown in Get On Up and Thurgood Marshall in Marshall) and a certain costumed superhero from a fictional African country that helps save the world.21 Bridges showcases the depth of his talent – along with that of co-star James – to deliver an entertaining film despite having a very all-too-familiar style story with which to work.

Cops, robbers and conspiracy/cover tales are nearly as old as movies themselves; 21 Bridges doesn’t really do anything dynamic in regards to telling this type of tale (you can probably figure out most of what’s happening an hour or so into the film). What director Brian Kirk does do, however, is wisely present a stage where (1) the action sequences don’t feel forced and instead intense; (2) let Boseman take center stage and allow him to deliver a performance that is gripping enough to keep you interested as he breaks down scenarios and (3) trusts his actors, particularly Kitsch and James, to make their characters motivations, emotions and decisions relatable. Whereas last month’s Black and Blue dealt more with the issue of the thin blue line and which side of it African-Americans (both as police and possible perpetrators) fall on it, 21 Bridges is a standard tale of good vs. evil.

Whereas Boseman does a good job of playing the by-the-book-cop, he also does it enough style where it doesn’t feel so textbook that it lacks appeal. The same can be said for James, the co-star of the overlooked stellar 2018 release If Beale Street Could Talk. Giving his character a sense of humanity often lacking in shoot-em-up movies, watching Boseman and James play off each other adds to what would otherwise be another mash up of films that you’ve seen before.

Thus, while no one would – or should – expect 21 Bridges to do anything close to Black Panther business, it’s definitely worth seeing if you want to see Boseman flex his acting chops outside of spandex or a historical figure’s shadow.

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

McCoy on Movies: Frozen 2

By

Anna and her sister return for enjoyable but not as magical Frozen 2

“This winter, it’s personal – no, it really is!” From left to right: Olaf (Josh Gad), Anna (Kristen Bell), Elsa (Idina Menzel, center), Kristoff (Jonathan Groff) and Sven return for FROZEN 2. Credit: © 2019 Walt Disney Pictures. All rights reserved.

WATCH THE TRAILER(S) HERE:


KEY CAST MEMBERS: Idina Menzel, Kristen Bell, Jonathan Groff, Josh Gad, Sterling K. Brown and Evan Rachel WoodDIRECTOR(S): Jennifer Lee and Chris Buck

THE BACK STORY: Following up on the events of the first film, Frozen 2 finds the magical Elsa (Idina Menzel) living happily in the utopian Arendelle with her sister Anna (Kristen Bell), her wanting-to-pop-the-question-but-unsure-how-to-do-so boyfriend Kristoff (Jonathan Groff), his beloved reindeer Sven and everyone’s favorite one-liner cracking snowman Olaf (Josh Gad). But not everything is as peaceful and happy as it seems.


As a flashback will reveal, the sisters’ parents told them of Northuldra, a forest where the people of Arendelle were enjoying a nice time with the natives until something happened and the two groups found their lives forever changed. And now, as fate would have it, a mysterious voice is calling Elsa, who has become more and more curious about the origin of her powers. Could the voice have something to do with her powers? Could there be a connection to Northuldra? 


There’s only way Elsa, Anna, Sven and Olaf are going to find out … Looks like a new adventure awaits! 

THE REVIEW: Sometimes a sequel is better than the original. Sometimes it’s worse. And then there are times where the sequel looks to deliver pretty much everything the first film had that made it successful … even if the second go round, while solid, lacks the magic of the original.The last option is the one that describes the collection of jokes and songs collectively known as Frozen 2.

Frozen 2 is not a bad movie. But if you are not a major fan of Disney’s princess collection of films, the plot is not likely to hook you in. Likewise, while some will undoubtedly find the collection of songs – especially Kristoff’s somewhat hilarious homage to 80s power rock ballads – entertaining, others may find them to be a bit repetitive in both tone and execution. (If you are not an opera fan, some of the jokes may feel a bit long in the ear, er, tooth.) Gad’s Olaf character gets to take center stage for much of Frozen 2 in terms of delivering a much needed levity to the affair, which is balanced by the cuteness factor of Bruni, the salamander representation of fire in the enchanted forest.

Frozen 2 adheres to the longstanding adage of “if it ain’t broke, don’t fix it” by making sure that if was in the first film, try to wedge it into the second film. While Elsa and Anna’s sibling rivalry has subsided, there’s still plenty of bonding in the story, as well as the idea of self-discovery, teamwork … and of course, good ol’ Olaf. Frozen 2 isn’t here to break new ground as much as it is to keep it nice and chilled as fans sing the songs long after they leave the theater. Whereas the first Frozen felt special and unique, 2 is like a slice of pizza from your favorite restaurant: satisfying but extremely familiar.

Thus, while it might be better suited for young children and Disney die-hards only, those two groups will love it … Even if everyone else might be happier if they just let it go and stopped before there is a part three.

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

McCoy on Movies: A Beautiful Day in the Neighborhood

By

Hanks, Rhys shine in the Mister Rogers’ biopic A Beautiful Day in the Neighborhood

“Hey kids – if this was a Yeezy 350 Boost, I might tell you how to toss it on eBay to make a profit with which you could start a nice savings account!” Fred Rogers (Tom Hanks) strikes a familiar pose in a scene from director Marielle Henner’s inspired by true events biopic A BEAUTIFUL DAY IN THE NEIGHBORHOOD. Credit: Lacey Terrell © 2019 CTMG, Inc. All rights reserved.

WATCH THE TRAILER(S) HERE:


KEY CAST MEMBERS: Tom Hanks, Matthew Rhys, Chris Cooper, Susan Kelechi Watson, Christine Lahti, Wendy Makenna, Enrico Colantoni, Tammy Blanchard, Noah Harpster and Maryann PlunkettDIRECTOR(S): Marielle Heller

THE BACK STORY: Lloyd Vogel (Matthew Rhys) is a journalist for Esquire magazine who’s used to doing hard-hitting, investigative pieces that often leave the subjects of his stories, much like a James Bond martini, a bit shaken if not internally stirred. So, when his boss (Christine Lahti) assigns him to write a 400 word piece on children’s television show host Fred Rogers (Tom Hanks), he’s a bit miffed to say the least. 


Then again, Lloyd’s negative predilection to get to dig deep to find the dirt on people might have something to do with his own issues. He’s still very mad at his dad (Chris Cooper) – whom he prefers to call by his first name of Jerry – for what he did when his wife/Lloyd’s mom got sick. And now that he’s got a newborn son of his own with his wife (Susan Kelechi Watson), he’s feeling a bit of pressure not to pass along any of his own pain to his offspring. 


Thus, what happens when a cynical, depressed reporter is asked to spend extended time with perhaps the most upbeat, positive person in the world? Something that is definitely going to not fit into 400 words but definitely may touch plenty of hearts in theaters nationwide. 
THE REVIEW: Inspired by true events biopics often take liberties with the facts of their subject matter, omitting certain controversial details, adding characters or sometimes straight up just diverting from the facts for the sake of the story the filmmaker wants to tell. And given the success of 2018’s documentary Won’t You Be My Neighbor?, putting a well-known actor like Tom Hanks in the role of playing a beloved cultural icon like Fred Rogers could be a recipe for disaster if not done well with a compelling story.Anyone debating whether or not to see A Beautiful Day in the Neighborhood, however, should have no such concern – for the film is easily one of the finest releases of 2019.

Neighborhood‘s storytelling, under the direction of Marielle Henner (2018’s Can You Ever Forgive Me?), is almost like watching an episode of Rogers’ beloved television show itself – a simple yet genius move that brings the story to life. Instead of digging deep into its subject’s personal life (that aforementioned documentary does exist, after all), the film shows how the relationship between Vogel – based on Esquire writer Tom Junod who’s article served as a basis for Neighborhood – and Rogers. In doing so, it showcases the reasons Rogers became and remains an inspiration to millions of people throughout North America: In talking with Vogel about what drives him, Rogers works Vogel through his myriad of problems, making the writer learn about him but more importantly, himself.

Of course, this wouldn’t happen without Heller’s excellent direction that incorporates elements of both Rogers’ show and Hanks’ full immersion into the role. From his voice affectations and mannerisms to his legendary calm tone of speaking and self-deprecation, Hanks does about a fine a job as you’d hope for in a portrayal of a beloved figure without crossing into saint territory (which the movie directly addresses). Hanks’ ability to channel Rogers own approach to tough subject matter shows how his wisdom rings true for both children and adults to this day.

Rhys, however, may arguably deliver the strongest performance in the film, giving his reporter a layered depth to serve as the canvas on which Rogers’ true magic is fully revealed. Rogers hoped to create healthy positive adults instead of the type of adult Rhys’ character is: angry and wrongs done to him and unable to let it go, cynical, distrustful and afraid they’ll screw things up worse than their parents did. (Sound like anyone you know in your own life?) In showcasing the juxtaposition between the two, Heller crates a walking, talking exercise in a lesson typical of an episode of Mister Rogers’ Neighborhood with her two male leads playing their parts perfectly. Strong supporting turns by the always strong Cooper and Watson further complete the exercise, the latter’s enthusiasm for life and peace playing well against Cooper’s apologetic manchild father trying to make amends.

All things considered, the thing that will stay with you after the film is over is how dedicated Rogers was to making the world a better place, no small feat in a world where so many of us let so many things destroy our happiness. An atypical film in a cinematic landscape filled with remakes, the perennial sex and violence and hokey family fare that often misses the mark,  A Beautiful Day in the Neighborhood proves that good people still exist in the world – and good movies about them do, too.

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

 
 

McCoy on Movies: Midsommar

By

Swiss cult adventure proves gory and weird but ultimately boring in Midsommar

“Oh my – is that how much money Avengers: Endgame has made so far this year?!” Christian (Jack Reynor) and Dani (Florence Pugh) look on in horror in a scene from writer/director Ari Aster’s MIDSOMMAR. Credit: Merie Weismiller Wallace, courtesy of A24. © 2019 A24. All rights reserved.

WATCH THE TRAILER(S) HERE:


 

KEY CAST MEMBERS: Florence Pugh, Jack Reynor, William Jackson Harper, Vilhelm Blomgren, Archie Madekwe, Ellora Torchia, and Will Poulter


DIRECTOR(S): Ari Aster

THE BACK STORY: Dani (Florence Pugh) and Christian (Jack Reynor) are in a relationship. A bad relationship. And they need to break up. But just as Christian’s friend Mark (Will Poulter) – along with Josh (William Jackson Harper), who is getting ready to complete his Ph.D research – convinces him that he should break up with Dani, tragedy strikes. So, not only does Christian NOT break up with Dani, he decides to invite her along on the trip that he, Mark and Josh are to take to Sweden. They are headed to Sweden courtesy of an invite from Pelle (Vilhelm Blomgren), a foreign exchange student who has invited them to come just in time for Midsommar, the biggest festival in his village of the year.


But with almost perpetual daylight permeating the village, Dani, Christian and company are about to learn that some nightmares can happen right out in the open.
THE REVIEW: “Maybe it’s just me.”The scariest thing about Midsommar is that it not only got made and some people will enjoy it, but that you can expect yet another piece of schlock to come from writer/director Ari Aster as a result.

You know the expression “Fool me once, shame on you. Fool me twice, shame on me”? Well, it’s a pretty safe bet I won’t be going to see one of Aster’s works for a third time as Midsommar is two hours and 20 minutes of a SLOW, you can see all of this coming gory and freaky “film” that uses his visuals to cover up for a lack of something, you know, good.

As someone who was not a fan of Aster’s previous work, 2018’s Toni Collette-led vehicle Hereditary, I was prepared for what I thought I would be getting with Midsommar. And boy, was I not wrong as the film (1) has a deliberately slow pace intended to build drama that feels like a certain well-known torture technique as scenes play  out drag out needlessly in (2) fake art house cinematic fashion. Throw in (3) Aster’s signature gory, unflinching visuals which are more gross than great art even by many horror movie standards and (4) a story that doesn’t inherently possess any more intrigue than “this is happening to these characters” versus why it’s happening to them. Seriously, outside of Pugh, everyone else is essentially fodder for a body count. The film will likely feel as long for the audience as it does for its characters, which is a shame because it didn’t have to be as devoid of intrigue other than “does this end the way I think it will (it does)” if you’ve been paying attention. At best, Midsommar is the type of film that will make most rational people go “Well … That was … different” when what they really mean is “That was atrocious! At no point was I truly scared, the characters are so one dimensional that you only really care about the one and the story is so morose I guess  I paid money to feel bad because I wanted to and didn’t know it.”

Now, perhaps you are among those that still enjoy watching movies where you are smarter than the characters – who are clearly too stupid to see something is amiss – and movies where weird for the sake of weird is the norm. Maybe you just can’t wait to see the year’s craziest sex scene outside of a Game of Thrones re-run complete with full frontal nudity from both genders. Or perhaps you want to go to a movie just to watch something where you and your hipster friends can revel in the lush landscape shown onscreen while the story, no matter how stunted or familiar – it might FINALLY be time to let Nicolas Cage off the hook for most of those Wicker Man (which this movie borrows from HEAVILY) jokes now – Midsommar is.

The one nice thing I can and will say is that Pugh turns in a very dedicated performance as Dani, making you feel all her anguish, pain and depression at every turn. That in turn does help add to the movie’s overall feel-bad vibe, but save for the big reveal – I’m not going to spoil it for those of you determined to see in spite of this review – but Pugh shows her mettle with a great performance in an otherwise not-so-great movie.

Believe me when I tell you – I hate writing in first person, but with a movie like this, it’s hard not to – that unless you are (1) a fan of those slower, 60s and 70s style horror movies that wanted to be Alfred Hitchcock films but lacked the originality and flair; (2) are the type of person that watches a movie and often finds yourself saying things like “ahh, the subtext” or “oh – a wry homage to …” or (3) just are the type that turns off your brain and completely buys in to the events in a movie, you should probably just stay home. And to all those who would say, “Well, you just didn’t get it,” I would counter with “No, I got it. I just hated it to the point I can’t even look at an IKEA sign and not remember how much I did.”

In other words, unless you really have 140 minutes to dedicate to what equates to a bad trip (metaphorically and literally) and watch a group of people you mostly won’t care about have an experience that isn’t that entertaining as much as it is abnormal, astoundingly aberrant and at times downright asinine, avoid Midsommar for all seasons to come.

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

 


McCoy on Movies: Spiderman

By

Holland, director/co-writer Watts feel right where they need to be with Spider-Man: Far From Home

“Hi there … We’re getting ready to make a lot of money together for a major Hollywood studio!” Peter Parker (Tom Holland, center) gets introduced to Quentin Beck (Jake Gyllenhaal, right) while Nick Fury’s assistant soldier Dmitri (Numan Acar, far left) in a scene from SPIDER-MAN: FAR FROM HOME. Credit: Jay Maidment © 2019 CTMG, Inc. All rights reserved.

 

WATCH THE TRAILER(S) HERE:



KEY CAST MEMBERS: Tom Holland, Jake Gyllenhaal, Jon Favreau, Jacob Balaton, Zendaya, Samuel L. Jackson, Cobie Smulders, Angourie Rice, J.B. Smoove, Martin Starr, Tony Revolori, Remy Hii and Marisa Tomei


DIRECTOR(S): Jon Watts

THE BACK STORY: Still reeling from the events of Avengers: Endgame, Spider-Man: Far From Home finds Peter Parker (Tom Holland) still attempting to get over the [SPOILER ALERT – BUT YOU’VE HAD PLENTY OF TIME TO FIND THIS OUT!] death of his mentor Tony Stark. Now, Tony’s trusted right hand man Happy Hogan (Jon Favreau) is trying to help Peter progress and move forward; Nick Fury (Samuel L. Jackson) and Maria Hill (Cobie Smulders), on the other hand, are hoping to talk to him about the Elementals, a threat that just popped up in Mexico and may be moving in to more spots around the globe. 


Peter, however, has one thing on his mind – well two, if you count his suspicious about what his Aunt May (Marisa Tomei) may be up to in her free time – and that’s his upcoming class trip to Europe with Ned (Jacob Balaton), MJ (Zendaya), Flash (Tony Revolori), Betty (Angourie Rice), Brad (Remy Hii) and their science teachers/chaperones Mr. Harrington (Martin Starr) and Mr. Bell (J.B. Smoove). Unfortunately for Peter, (1) Nick Fury isn’t going to take kindly to him trying to ghost his calls; (2) Brad – who grew up quite a bit in the 5 years after “the blip” – has his eyes on MJ, too and (3) It seems like that disturbance in Mexico seems to be heading towards Europe.


But luckily for Peter, he’s about to get some help in form of a soldier from an alternate Earth who has come to fights the Elementals by the name of Quentin Beck (Jake Gyllenhaal) … Or, as the world will soon come to know him, Mysterio …
THE REVIEW: Given all that happened in the latter movie, many fans were shocked to learn that it would be Spider-Man: Far From Home and not Avengers: Endgame that would wrap up Marvel’s Phase Three plans. It would almost seem that by doing so, Far From Home would have an immense amount of pressure to live up to, especially since a year is slated to pass before Marvel drops another film on the public. But this is Marvel we’re talking about, which means there is no way they were going to let Sony Pictures let one of its most iconic characters go out and make the studio nor Iron Man down.In other words, Far From Home lives up to expectations and then some with a well-crafted story, action sequences, plenty of humor and a game-changing ending worthy of passing the torch from Tony Stark to Peter Parker.

Given that longtime fans of the character have already watched Tobey Maguire and Andrew Garfield attempt to carve out their own niche as Spider-Man, Holland may now own the mantle as the definitive actor to play him – Far From Home serving as his greatest showcase to date. Exhibiting the classic naiveté of a teenager at times as he still tries to understand of what he is fully capable both as a superhero and a young man with his eye on a girl, Holland also shows all of the classic comic book elements that made Spider-Man such a big deal in the first place in terms of his humor, creativity and strength when he is forced to step up and go to battle. His interactions with his all of co-stars only serve to enhance these facets of the character as his ragtag group of fellow students feels perfectly cast with Balaton, Zendaya, Revolori, Hii and Rice all adding perfectly to the story.

Likewise, the adults more than come through in Far From Home with their respective roles. While you’re never really going to ever go wrong with Jackson doing Jackson-like things for two hours as Nick Fury with Smulders exhibiting a calm cool as his second-in-command, Favreau keeps his comedy contingency high while adding as a bit of diet Stark to whom Holland’s Parker can vent his frustrations. Tomei keeps finding ways to make the cinematic version of Aunt May more interesting she’s ever been and Gyllenhaal expertly exhibits all of the elements of his character ala the way Michael Keaton did in Spider-Man: Homecoming.

Director Jon Watts (who co-wrote the film with Chris McKenna and Erik Sommers) proves his previous work with Spider-Man wasn’t a fluke, as Far From Home steps up everything the aforementioned Homecoming does in terms of pacing, humor, peril, general storytelling and visual engagement well. The film never feels as long as its 2 hour, 15 minute running time, no moments feel wasted and his ability to get everything he needs in the moment out of his actors definitely pays dividends with the finished product. In short, Watts and co. have done the thing that is very hard to do with any superhero story, let alone a movie in general: Craft a tale that satisfies every need with a cast that you won’t spend time second-guessing if they were right for the role and a story that contains enough original, organic moments combined “oh – didn’t see that coming!” ones to tie into the larger world (in this case, the Marvel Cinematic Universe / MCU for short) while still being its own unique thing.

So while the character himself may be far from home, the latest Spider-Man movie proves that when it comes to the future of the MCU, he’s definitely found one as long as Holland, Watts and co. can continue to deliver quality stories like this.

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

 


McCoy on Movies: The Dead Don’t Die

By

Jim Jarmusch brings art house to the zombie world with inspired(at times) but somewhat tedious The Dead Don’t Die

“You best believe Kylo Ren knows how to swing a wooden lightsaber, buddy!” Officer Ronald Peterson (Adam Driver) in a scene from writer/director Jim Jarmusch’s THE DEAD DON’T DIE, a Focus Features release. Credit: Frederick Elmes / Focus Features © 2019 Image Eleven Productions, Inc.

 

WATCH THE TRAILER(S) HERE:


 

KEY CAST MEMBERS: Bill Murray, Adam Driver, Chloë Sevingy, Tilda Swinton, Selena Gomez Steve Buscemi, Danny Glover, Caleb Landry Jones, Rosie Perez, Iggy Pop, Sara Driver, RZA, Carol Kane, Austin Butler, Luka Sabbat, Larry Fessenden, Maya Delmont, Taliyah Whitaker, Jahi Di’Allo Winston and Tom WaitsDIRECTOR(S): Jim Jarmusch

THE BACK STORY: The small town of Centerville, Pennsylvania (population 700 and change) is a quiet burg. Chief of Police Cliff Robertson (Bill Murray) is used to the sleepy little town, as is his second-in-command Officer Ronald Peterson and fellow officer Minerva “Mindy” Morrison (Chloë Sevingy). While he occasionally has to deal with calls from local farmer Frank Miller (Steve Buscemi) about Hermit Bob (Tom Waits), Cliff is able to enjoy his days usually grabbing coffee and donuts at the diner where Fern (Eszter Balint) and Lily (Rosal Colon) work and local hardware store owner Hank (Danny Glover) hangs out, chatting with local motel manager Danny Perkins (Larry Fessenden) driving past the local gas station where Bobby Wiggins (Caleb Landry Jones) can be found reciting horror movie knowledge with Dean (RZA). Then again, the town has plenty to talk about since new mortician Zelda Winston (Tilda Swinton) has proven herself to be quite the character given her style of dress, her voice and … Just about everything else about her. 


But once local news reports start to talk about the possible effects of fracking throwing the earth off its axis, extended periods of daylight become a regular thing and … Oh yeah, people start getting murdered in the most grisly of ways, it seems as if only explanation can be made: The dead are now walking the earth … And they refuse to stay dead.
THE REVIEW: A zombie movie for people who don’t like zombie movies or a movie that zombie movie fans will probably be bored by, The Dead Don’t Die is a satirical take on a genre that has seemingly run its course. Problem is, given its slow pace, extended scenes that don’t need to be anywhere near as long as they are and a few plot points that are either too silly even for a satire or just aren’t explained at all in a way the average moviegoer will appreciate, The Dead Don’t Die will either live or die with each person that sees it.Poking fun at how easily people set themselves up in zombie movies and occasionally breaking the fourth wall with humorous results, The Dead Don’t Die also fails to do anything out of the ordinary, feeling at times like a snarky homage to and the very type of zombie films it looks to skewer. Whereas Murray is the old grizzled veteran that should have quit as time passed him by eons ago, Driver shines as the young “ok, this is how it is now let’s roll” male lead who is smarter than everyone around him. Likewise, Sevingy is the definition of a screaming, scared female character while Swinton delivers on the fearless potential savior/absolute weirdo with a secret that could ONLY exist in a world like this.

Likewise, while some may revel in his apparent message of consumerism, writer/director Jim Jarmusch’s 12th feature-length film does what he traditionally has been known to do: Explore, exploit and ultimately polarize. While some will revel in the various subtle subtext exploration of the zombie genre and the roles actors play within them before suffering their ultimate fates, plenty will simply the see the film as a lot of waiting around for something to happen with a few funny moments … That ultimately ends in the same place as a majority of zombie movies but in less entertaining fashion. Yes, there will be genuinely funny moments … Coupled with a LOT of “seen this before” and “yeah, I get it but … meh” moments.

At 118 minutes in length, one could make a strong argument that cutting at least 20 of them would immensely help the film’s pacing and storytelling to make sure the audience’s enthusiasm for the story doesn’t fade. Then again, that’s not Jarmusch’s style; it’s a take the good with the bland or leave it approach. When it works, it works well to produce laughter and an appreciation for what he is trying to do; at worst, it’s just another zombie movie relying on its actors’ talents to compensate for a lack of storytelling and/or ambitious storytelling that falls short of the mark it aspires to hit. Again, this is Jarmusch’s style, so you’ll either find The Dead Don’t Die to be exactly what the zombie genre has been missing or at the very least appreciate it for what it is … Or absolutely be bored by it as much many Walking Dead fans have been with the show’s latter seasons (or that less inspired Fear the Walking Dead spinoff).

And while The Dead Don’t Die, it certainly seems like this film is ready for the genre to do so – and it’s willing to do its part to make sure that happens sooner than later.

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