Film Review “Atomic Blonde”

Directed by: David Leitch
Starring: Charlize Theron, James McAvoy
Distributed by: Focus Features
Running time: 115 minutes

Our Score: 3 out of 5 stars

When I first heard about “Atomic Blonde”, I read the quote describing it as “John Wick” with a girl! And I said, “Sure, kickass!” Charlize Theron is nothing short of amazing and extremely bad-ass, continuing from her roles in “The Fate of the Furious” and “Mad Max: Fury Road”. She is just incredible. I did quite enjoy the 80’s music and the Germany setting during the fall of the Berlin Wall. Unfortunately this film doesn’t succeed like “John Wick” and has some great moments of action, but never goes all-in.

Official Premise: Agent Lorraine Broughton (Charlize Theron) is equal parts spycraft, sensuality and savagery, willing to deploy any of her skills to stay alive on an impossible mission. Sent alone into Berlin to retrieve a priceless dossier from within the destabilized city, she partners with embedded station chief David Percival (James McAvoy) to navigate her way through a deadly game of spies.

There was something about “John Wick” to me that just had that “their are no rules” feeling and this one felt much more by the book. I did read that Charlize Theron did most of the action herself and trained very hard for the role, so I really give her credit and I would love to be able to say that I liked it more.  There were some great standout scenes, one feeling like it was a one-shot room to room shootout. Very cool scene. Ending had some cool twists and turns, which is expected with a CIA/spy movie. Could this be a new franchise? It’s possible, I’m sure…I will hold out for a Atomic Blonde/John Wick crossover!

Film Review “Dunkirk”

Starring: Fionn Whitehead, Damien Bonnard and Mark Rylance
Directed by: Christopher Nolan
Rated: PG 13
Running time: 1 hr 46 mins
Warner Bros

Our Score: 3.5 out of 5 stars

Even though it was one of the most important events of World War II, the story has rarely been told. 400,000 soldiers trapped on a French beach in the early days of the war. That tale is now front and center in the latest film by Christopher Nolan, “Dunkirk.”

June 1940. As the battle in France intensifies we happen upon a group of English soldiers. They walk quietly through the deserted streets, trying to avoid detection. Suddenly a shot rings out. Then many. They run for cover but to no avail. One manages to escape and joins others on the beach.

In England, the British Navy is requisitioning civilian watercraft to travel across the channel to help evacuate the troops. One of the boat owners, Mr. Dawson (Rylance) is readying his yacht with his son, Peter (Tom Glynn-Carney) and Peter’s friend, George (Barry Keoghan). However, rather than turn his boat over, Mr. Dawson decides to push off and make the journey himself.

High above the Channel, a pilot (Tom Hardy) gathers with his squadron mates to begin a sortie to give cover to the evacuation. It’s a high risk game of distance, altitude and available fuel. The slightest miscalculation of any or all three can spell certain death.

Told as three separate stories (Mole, Sea and Air) in three different time narratives (from a week out to a day to an hour before) “Dunkirk” is more of a thriller than a full out war film. Director Nolan, who also wrote the script, weaves the three stories together seamlessly, giving each story ample time to develop. He also has filled the cast with young actors who do a good job in projecting the fear and anticipation that war can bring. Besides misters Whitehead, Bonnard, Glynn-Carney and Keoghan, I must add pop star Harry Styles to the list. Though not a large or showy role, it is an important one, and if he ever decides to give up music he has found another profession in which he can succeed. If I have one complaint about the acting it’s that Nolan has attracted such talents as Mark Rylance, Kenneth Branagh and Tom Hardy but has put them in roles that don’t require a lot of acting. Both Rylance and Branagh have been recognized alongside a small group of actors as the best Britain has EVER produced and Hardy is always a treat to watch on screen. Would have loved to have seen them seriously chew some scenery.

The film is beautifully shot, and the musical score by Hans Zimmer accompanies the on-screen action perfectly. That being said, I expected a lot more action in what was being sold in the trailers as a “war film.” Why have 400,000 troops, a couple destroyers and a few squadrons of airplanes if you’re only going to use them sparingly? Anyone?

Film Review: “War for the Planet of the Apes”

Starring: Andy Serkis, Woody Harrelson and Steve Zahn
Directed by: Matt Reeves
Rated: PG-13
Running time: 2 hrs 20 mins
20th Century Fox

If you’re my age (let’s just say over 50) maybe you share one of my fondest movie memories, which was to get up early on a Saturday morning and head to the local movie theatre for the all-day APE-A-THON. That’s right. Large soda, large popcorn and the original five “Planet of the Apes” films, shown back to back. Ah to be 15-years-old again. I bring up this happy thought because I’m here to tell you about another film that made me very happy, “War for the Planet of the Apes.”

As the story begin, the Apes, led by Caesar (Serkis, who NEEDS to win an Oscar soon for his amazing motion-capture performances) and his group have retreated into the jungles. They are living peacefully when suddenly, without warning, they are attacked by a human army led by the ruthless Colonel (Harrelson), whose sole mission in life is to destroy the apes. His tribe decimated by the attack, Caesar comes to the realization that if you can’t join them, beat them. He readies the remainder of his group for the ultimate battle, one that will decide the fate of the world as we know it.

As you can tell by my opening paragraph, I’m a huge fan of all things “Ape.” One of my first celebrity interviews was with Linda Harrison, who played Nova opposite Charlton Heston’s Taylor in the original film. I liked the Tim Burton remake (though I’m still puzzled by the ending) and the previous films in this series have been consistently well made. And so is this one, purportedly the final film in the series. Like the others, it is the performances of the cast, both simian and human, that give the film its emotional power. Some people think that motion capture is just a person wearing electrodes and waving their arms. But here the actors also invest their souls, making their characters sympathetic and believable. Except for Harrelson, whose character is neither. Whether he’s shaving his head with a large knife or spouting some long lost mantra, his Colonel has many things in common with another Colonel named Kurtz, played by Marlon Brando in “Apocalypse Now!” In fact, as I’m sure an inside joke, inside the human compound is a patch of graffiti that reads “APE-pocalyps Now!” Steve Zahn is the latest addition to the simian cast, giving some much needed humor to the film. In 1991 I saw Zahn play Hugo in a touring production of “Bye Bye Birdie.” Nice to see he’s made something of himself.

The action, as in the previous films, is intense and the pacing is brisk, which isn’t usually the case for a film almost 2 ½ hours long. That being said, if this is the final film in the series it’s going out on top. Hail Caesar!

Film Review: “Spider-Man: Homecoming”

Starring: Tom Holland, Michael Keaton and Robert Downey Jr.
Directed by: Jon Watts
Rated: PG-13
Running time: 2 hrs 13 mins
Sony Pictures

Stop the presses…they got it right!

Even though I’ve enjoyed the past film adventures of everybody’s favorite web-slinger (both the Tobey Maguire and Andrew Garfield versions) there was always something missing. This week I discovered that the missing ingredient was one Mr. Tom Holland. Like Sean Connery is to James Bond, Mr. Holland is the BEST Spider-man EVER!

We begin with a brief prologue, showing the aftermath of the destruction of STARK Tower. Handling the demolition and scrapping of the material is Adrian Toomes (Keaton), who has liquidated his savings to handle the job. Things get bad quickly when a mysterious government official (always great to see Tyne Daly) takes over the project, leaving Toomes and his men out of work. As they leave, the workers help themselves to some sure to be top-secret materials. More on this later.

Jump ahead eight years and we find ourselves in the middle of a video diary being kept by one Peter Parker, who has spent the summer “interning” for Tony Stark (Downey,Jr.) And by interning I mean he has been training to join Stark’s force of Avengers. We see footage from the last film, “Captain America: Civil War”. Remember “Hey, Underoos?”

The summer ends and Peter is back living with his Aunt May (Marisa Tomei) and dealing with high school bullies. Which is funny because Peter attends a school for gifted students. Yes, in a school of Nerds he is the nerdiest. And, best of all, he’s a KID!

Yes, the one thing that always detracted me from the other films is that Peter Parker was always too mature…even if he was supposed to be in his late teens. Here he is a fumbling 14-year-old dealing with changes…his own and with those around him. He’s got the wit, certainly a defense mechanism, and a cool suit, courtesy of Stark. And while Peter wants to branch out to big things, he is counseled to just play things slow…instead of tacking the big things just be “your friendly neighborhood Spider-man.”

The film rides on Holland’s slender shoulders and, to use an often-dropped cliché’, this is the role he was born to play. He gets help from Keaton, who shows up here as a different kind of Birdman. And Downey, Jr. is pure smirk as Tony Stark. And extra credit to young Jacob Batalon, who plays Peter’s seemingly only friend, Ned. When Ned learns Peter’s secret, he promises to keep it, in the hopes that one day he will be Peter’s “guy in the chair,” the person you always see in movies whispering into the hero’s earpiece.

A fine addition to the Marvel Movie Universe, “Spider-man: Homecoming” is one of the best in the series.

Film Review: “The Big Sick”

Starring: Kumail Nanjiani, Zoe Kazan and Holly Hunter
Directed By: Michael Showalter
Rated: R
Running Time: 119 minutes
Lionsgate

“X-Files” fans, like me, will have surely listened to Kumail Nanjiani’s podcast, “The X-Files Files” at some point (and if you haven’t go listen to it). While most of the time, it’s dissecting the series, episode-by-episode, there are very introspective moments, letting viewers take a glimpse into Kumail’s home life. A few of those moments spoiled “The Big Sick” for me, but despite that, the movie is a refreshing and unique relationship romantic comedy that never relies on the genre’s established tropes.

Kumail, playing himself, comes from a traditional Pakistani Muslim family. He hasn’t yet told his parents that he no longer is practicing, but he’s somewhat upfront about his dreams to be a stand-up comedian. The other thing he’s neglected to tell them, is that he’s not game for an arranged marriage. That’s because the last person in the family to ignore the arranged marriage tradition was exiled from the family. That doesn’t stop him from dating who he wants in secret.

After a night of stand-up, Kumail meets Emily (Kazan), an aspiring therapist that immediately takes to Kumail’s awkward advances, meeting them with charms, smiles and tongue-in-cheek humor. The two quickly connect and begin a relationship, that’s secret for Kumail, but open for Emily. While Emily’s parents know of and can’t wait to meet him, Kumail’s parents bring a carousel of wife prospects over for family dinners to make uncomfortable conversations in Kumail’s various passions and hobbies.

Kumail, who’s known for his recurring role on “Silicon Valley” and various deadpan cameos in comedy films, plays himself sincerely as a 30-something who’s unsure in life and allows for that uncertainty to deteriorate his relationship into an inevitable break-up. But he’s brought back into Emily’s life when she’s taken to the hospital, suffering from a mysterious disease, and induced into a coma. This is when “The Big Sick” has cultures collide.

Emily’s parents, played by Ray Romano and Holly Hunter, are like the parents Kumail might wish he had. He learns that they’ve accepted their daughter’s individual quirks, dreams and goals, while his parents continue to force a wife on him. But it’s through those interactions that Kumail learns to be sincere about whom he is, along with being honest. “The Big Sick” spends a lot of time with Kumail during Emily’s coma, with him soul searching. It doesn’t take away from the overall relationship between the two and the power of forgiveness.

The argument could be made that Emily’s character is sidelined, before we truly get to know her, however her parents shed some necessary light about her character. “The Big Sick” modernizes the rom-com genre while blending coming-of-age elements and cultural clashes. Despite knowing how it all plays out, “The Big Sick” kept my interest as it plays with its various themes, respectfully and wholeheartedly. It’s layered messages on love and life are good for the soul and good for the heart.

Film Review #2 “Despicable Me 3”

Directed by: Pierre Coffin, Kyle Balda
Starring: Steve Carell, Kristen Wiig, Trey Parker
Distributed by Universal Pictures[2]
MPAA Rating: PG
Running time: 90 minutes

Mike G’s Score: 4 out of 5 stars

Illumination Entertainment really has a gold mine here with the “Despicable Me” franchise. It literally just prints its own money…but so far after three films and an even better spin-off, they are still great. Pixar’s movies cost near or above $200 million per film and don’t get me wrong they are good, at least they used to be, while Illumination knocks out films like this and “The Secret Lives of Pets” for just $80 million. These are quality films that are very entertaining, pack great voice casts and overall great movies. “Despicable Me 3” is a great addition to the series and is a step up from the second film.

Official Premise: The mischievous Minions hope that Gru will return to a life of crime after the new boss of the Anti-Villain League fires him. Instead, Gru decides to remain retired and travel to Freedonia to meet his long-lost twin brother for the first time. The reunited siblings soon find themselves in an uneasy alliance to take down the elusive Balthazar Bratt, a former 1980s child star who seeks revenge against the world.

Pharrell Williams steps up again and some great new songs for this film. I don’t think he replicated another “Happy” on this soundtrack but very fun music. In addition the film has a flood of 80’s theme of music that is very fun in this film ranging from a-ha to Madonna to Michael Jackson. Trey Parker, co-creator of “South Park” is a new addition to this cast and voices the role of villain Balthazar Bratt, a former child star who’s grown up to become obsessed with the character he played in the 80’s, Evil Bratt. Trey knocks it out of the park and steals the movie, no question. Also we get to meet Gru’s twin brother, Dru and he is another great addition to this sequel.

What I love most about this film is that it is has a nice balance. A nice balance of Gru, Lucy and the girls as well as the a fun backstory for Bratt and of course we get a good amount of those lovable Minions. If Illumination is reading, I am ready for a “Minions 2” BTW for sure next. Just love those guys (or whatever they are). I saw this with my five year old daughter and she simply had a blast. She was laughing throughout and even though some of the 80’s theme was obviously lost on her she enjoyed the balance of the characters and just had a great time watching this film. I really hope that Illumination continues down this trend and continues to deliver great animated films for the whole family!

Film Review: “Despicable Me 3”

Starring the voices of: Steve Carell, Kristen Wiig and Trey Parker
Directed by: Kyle Balda, Pierre Coffin and Eric Guillion
Rated: PG
Running time: 1 hr 30 mins
Universal

When we last saw our familiar cast of characters, Gru (Carell) had given up villainy, married Lucy (Wiig) and settled down to raise the bookish Margo, Tom-boyish Edith and adorable Agnes, surrounded, of course, by the Minions. When we meet them, everything is pretty much the same. Gru and Lucy are now agents for the Anti-Villain League and their current assignment is trying to stop a diamond heist being planned by the notorious Balthazar Bratt (Parker), a one-time child-star turned TMZ-style bad guy. When Gru fails at the assignment he is summarily fired by the new boss. Down on his luck, Gru learns that he has a twin brother, Dru (also Carell) who not only has a beautiful head of blonde hair but has longed to be a villain. He and Gru team up to steal the diamond from Bratt, with Dru thinking he is part of a villainous operation not knowing that Gru intends to return the diamond to its rightful owner and get his job back. Oh, and the Minions are back as well!

One of the most entertaining animated film series ever, “Despicable Me 3” continues the Illumination Entertainment tradition of turning out top-notch films that the whole family can enjoy. The new characters breathe life into the series and it’s always a pleasure to hear the vocal skills of “South Park” co-creator Trey Parker, who even goes a little bit “Cartman” here. The level of comedy for the adults is high while the Minions are plenty to keep the kids entertained. While the popular Kevin, Stuart and Bob are missing, presumably off on whatever adventures will make up “Minions 2,” “Despicable Me 3” introduces us to Mel, soon to be, I’m sure, the next big Minion star, an honor well deserved.

Film Review: “The Beguiled”

Starring: Colin Farrell, Nicole Kidman and Kirsten Dunst
Directed By: Sofia Coppola
Rated: R
Running Time: 93 minutes
Focus Features

“The Beguiled” should be a haunting historical drama that finds malice, that isn’t war or slavery, during the Civil War but it doesn’t. It feels too safe to be a retelling of a 1971 movie and too by-the-books to be a modernization of a 1966 Southern Gothic novel. As far as I’m aware of there isn’t anything drastically altered or changed that makes the 2017 version of “The Beguiled” stand out from its predecessor other than a new cast and new eye for detail.

During a trot through the rich Southern landscape, with the sounds of war in the background, Amy (Oona Laurence) comes across an injured Union soldier, Corporal McBurney (Farrell). Taking pity on the injured man, she helps him back to her home, a Virginia girl’s school. Miss Martha (Kidman) expresses concern about taking in the enemy, as well as some of the more impressionable young girls, but Edwina (Dunst) and Alicia (Elle Fanning) are more welcoming.

While not directly dividing the group, it’s the beginning of trouble for the young women and Miss Martha. There are plenty of moments of sexual frustration, passing giggles, and casual flirting through innuendo, which displays the feelings of each woman to McBurney. However, McBurney plays the field, finding ways to manipulate each of the women here and there to get one or two things he needs. The only one privy to his moves is Miss Martha, who struggles with her own temptations.

Despite the dry dialogue, watching McBurney creepily infect and use the women are some of the strongest moments in “The Beguiled,” but even at a brisk 93 minutes there’s a lot of monotony. The immense talent in front of the camera is left to retread plot points or gather together for group talk which devolves into allowing McBurney more freedom to wander the premises. It makes for a frustrating wait time before the exciting climax. But even the ending wastes it’s build-up of tension on predictability.

I’m usually one to defend the necessity of a remake, for bringing classic stories to modern audience, but “The Beguiled” isn’t one of them. I hate sounding like an old fogey, but I have to wonder what fresh take Coppola brought other than HD clarity and her knack for visual presenation. It’s framed wonderfully, explaining more in its establishing and framing shots than it does through any dialogue. While Coppola continues to demonstrate a unique vision behind the camera lense, her writing skills still need a little polishing.

4DX Theater Experience Review “Transformers: The Last Knight”

Directed by: Michael Bay
Starring: Mark Wahlberg, Josh Duhamel, Stanley Tucci, Anthony Hopkins
Distributed by: Paramount Pictures
Release date
Running time: 149 minutes

4DX Score: 4 out of 5 stars
Film Score: 3 out of 5 stars

Recently, I have been contacted to see if I wanted to review one of this Summer’s movies the brand new 4DX Theater Experience. This is not your typical movie going experience. Here is an example of the effects that you can expect going into a 4DX screening: water, air, bubbles, fog, scents, motion seats with vibration and ticklers as well as environmental effects like rain, storming, snow, wind and lightning. This seemed like the ONLY way to see a film like “Transformers”. Currently, I believe there are only a handful of these theaters across the United States, one of them luckily being in Orlando FL at the Regal Pointe Orlando Stadium. If you are in the area or are lucky enough to have one local to you, I would highly recommend checking out this experience at least once.

“Transformers: The Last Knight” is the fifth installment in the Hasbro toy inspired franchise. Honestly, each film sort of blends together. The plots in the past films have been convoluted and confused and this film is no different. Is it entertaining…YES! Will I remember it and be able to distinguish between it and the previous four films….NOPE! Just pure popcorn Summer fun. If you dig explosions and robots, then it worth checking out then for a mindless two and half hours. But let me tell you one thing, seeing this film in 4DX definitely made it a better experience for sure and if you are thinking about seeing a 4DX film, “Transformers” is a great example to test it out with.

If you have ever visited Disney World parks and went on the attractions “Honey I Shrunk the Audience”, “Captain EO” or “Mickey’s PhilharMagic”, this 4DX Theater Experience reminded me of all of those combined together and more. I have to admit though, by the end of the two and a half hour movie of “Transformers”, I was exhausted. This is definitely not for those people that just want to kick their feet up and escape into a movie. This is a workout. You are almost constantly moving the whole time, some times subtle movement and sometimes huge motion jumps, twists and turns…I definitely saw a popcorn bag get tossed during my screening. Personally, I wouldn’t want to see every new film that comes out like this but I can definitely see it being an event to do every once in a while right the right film comes out. If you are curious though about this do not wait, definitely check it out because it is definitely an experience.

Film Review: “Yesterday Was Everything”

“Yesterday Was Everything”
Director: Mathew Mixon
Rating: Unrated
Runtime: 93 minutes

Our score: 4 out of 5 stars

Misery Signals got their start in 2002 and quickly gained notoriety after the release of 2004’s critically acclaimed record “Of Malice and the Magnum Heart”; an album which breathed fresh life into the metal-core genre and went on to be one of the most influential albums in that genre over the last decade. “Yesterday Was Everything” is a documentary film by Mathew Nixon which captures Misery Signals during the bands 2014 tour celebrating the 10th anniversary of the coveted album. From the band reuniting with their former vocalist for the first time since his unceremonious ousting to exploring the fatal tragedy that initially brought the band together “Yesterday Was Everything” follows the groups journey from Vancouver to Toronto as they face old ghosts and attempt to reconcile the past.

I can’t resist documentaries, especially documentaries about music and bands/artists. “Yesterday Was Everything” the debut film from director Mathew Nixon had just about everything I like to see in said genre. I wasn’t fully aware of the films subjects however after 93 minutes I was a fan. From the crushing soundtrack to the in-depth, candid dialogue, you are the fly on the wall as the band gives you direct behind the scene access during even its most stressful points in time.

Misery Signals might not be a band everyone has heard of however the film “Yesterday Was Everything” is film everyone should check out. Director Mathew Mixon gives viewers the inside track on not only the reformation of the band and the subsequent anniversary tour but it hits on an emotional level as well as the film documents not just the reformation of a band but the reformation of friendships and personal bonds that were bent and broken years before. You don’t have to be a fan of the band or the metal-core genre to appreciate this film as it touches viewers both sonically and emotionally.

Film Review: “Baby Driver”

Starring: Ansel Elgort, Lily James and Kevin Spacey
Directed By: Edgar Wright
Rated: R
Running Time: 113 minutes
TriStar Pictures

Disney may be kicking themselves in the head over letting Edgar Wright leave “Ant Man” back in 2014. The English director has demonstrated a unique, original vision for all of his projects, from “Shaun of the Dead” to “Scott Pilgrim vs. the World.” His latest film, “Baby Driver” demonstrates that same unflinching ability to seamlessly blend various genres and styles into a cohesive marvel that dances, shoots and speeds to its own infectious beat.

Baby (Elgort) is the centerpiece of Doc’s (Spacey) bank heist team. While he never has the same crew work twice, Baby is always the getaway driver. With earbuds always in, and a different Ipod on play for different moods and days, Baby maps out an escape route while flawlessly bolting from fleets of cops, improving a multitude of techniques. While the getaways are short, they’re some of the best filmed car chases in recent memory. Baby is handcuffed to Doc because of an incident years prior. Baby was stealing Doc’s car, with plenty of valuables in the trunk, and as Doc puts it, “I didn’t stop him because I couldn’t believe the balls on the kid.” So while getting the tiniest of cuts from the haul, Baby is slowing paying Doc back for his crimes.

Other heist crew members are weary of the silent Baby, with one even asking if he’s slow. But as Doc points out, he gets the job done and is tapped into every heist that Doc plots out despite being tuned out and thumping his foot to music. But the reason Baby is always listening to music, is to drown out permanent tinnitus. He was back seat, at a young age, to a fatal wreck that took the life of his mom and her abusive spouse. It not only elicits sympathy from the audience, but gives viewers an excuse to bask in one of the best movie soundtracks of the year.

Clocking in at nearly two hours, “Baby Driver” is never dull and rarely lets its foot off the gas, bringing audiences along for a thrilling experience that combines Grindhouse car chases and a stylistic genre mish mash. The selective soundtrack orchestrates the action, the passion and the emotions throughout, almost like a wall of sound that matches its relentless visuals. The “Fast and Furious” franchise could only wish to attain such high-octane action bliss.

“Baby Driver” almost risks becoming more style than substance, if it isn’t for Baby’s relatability and his heartthrob, Debora (James), a diner waitress looking for the right person to take her down the road trip called life. Her introduction also creates some third act stakes that more or less work when a heist goes awry and the established morals of our title character take control of the wheel. Even amongst the smashing and shooting, “Baby Driver” finds fleeting moments of youthful wanderlust and succinct punch lines and jokes.

“Baby Driver” is a must-see summer movie with its iPod shuffle on NOS and metal crunching adrenaline. It’d be hard to find a person who doesn’t want to sit in the driver’s seat of this movie and enjoy its exceptionable ride. Here’s to hoping Wright has a few more ideas in that head of his that are just as memorable and rewatchable as “Baby Driver.” He’s certainly solidified himself in the mainstream as a visionary director. Sorry Disney, I don’t think you can have him back.

Film Review: “47 Meters Down”

Starring: Mandy Moore, Claire Holt and Matthew Modine
Directed by: Johannes Roberts
Rated: PG-13
Running time: 1 hr 29 mins
Entertainment Studios

Our Score: 3.5 out of 5 Stars

If you’ve EVER read any of my work over a short period of time you probably know that my favorite film of all time, bar none, is “Jaws.” A great film with so many different layers that people often look past everything but the shark. So when I see in a television commercial that a film critic has called “47 Meters Down” “…the best shark movie since JAWS,” I have to shake my head. First off, if all “Jaws” is to you is a SHARK movie…you shouldn’t be reviewing films. The shark is only part of the film. That would be like me calling the last “Pirates of the Caribbean” film, “…the best movie about people on a boat since JAWS.” That being said, “47 Meters Down” is not too bad.

We meet Lisa (Moore) and her sister, Kate (Holt) as they arrive in beautiful, sunny Mexico for a planned vacation. While Kate is bubbly and ready for adventure, Lisa is just the opposite. She finally confesses that her boyfriend has left her and she’s unsure how to handle the rejection. Unfazed, Kate convinces Lisa to head out to the clubs, where they meet two young men. Soon the foursome agree to meet up at the local dock to go out in the ocean and observe sharks while protected by a steel cage. Though she has never scuba dived before, Lisa fakes her way past the boat’s captain (Modine) and soon the two find themselves dangling over the side. As they are lowered into the water they find themselves surrounded by a couple of good sized Great White Sharks. Luckily the cable holding the cage has been checked and inspected for quality and strength. Right?

A Nyctophobian Thriller (let’s see them use THAT in an ad…it means “fear of the dark”), “47 Meters Down is blessed with mostly solid performances and very impressive CGI effects that gives the viewer a pretty good idea what it must be like to be 150 feet underwater surrounded by sharks. Big ones, though, sadly, not the 21 to 28 footers that Skipper Modine swears he constantly sees on his adventures. Which is pretty damn good, considering the largest one ever on record has been right along 20 feet long. By comparison, the shark in JAWS was 25 feet long.

The performances are pretty strong, especially from the two actresses. They help build the tension long after the audience should have been bored. One complaint is with New England-born actor Chris Johnson, who plays Modine’s assistant, Javier. Mr. Johnson must have watched a lot of “Chico and the Man” growing up because, like the late, great Freddie Prinze, he pronounces certain words with a hard CH sound, i.e. “Here comes a CHark!”

Shark wise the film is well done. The computer sharks move smoothly and there is no “super-shark” that shows up like in last summer’s disappointing “The Shallows.” Credit director Roberts for keeping the action going, making up for an almost disappointing ending.

Film Review: “Rough Night”

Starring: Scarlett Johansson, Kate McKinnon and Zoe Kravitz
Directed By: Lucia Aniello
Rated: R
Running Time: 101 minutes
Columbia Pictures

Our Score: 3 out of 5 Stars

I’m reminded of “Bad Moms” as I reflect on “Rough Night” because it appears the raunchy comedy playing field is beginning to even out. For every Seth Rogen vehicle there appears to be a female ensemble dropping four letter words and talking about their menstrual cycle like men talk about their farts and ejaculations. While it’s good to see things equalizing, I can’t help, but also think about “Bridesmaids” or “Trainwreck” and wonder why they all can’t be on that same level.

The set-up is simple; Alice (Jillian Bell) is setting up the bachelorette party for her best friend Jess (Johansson). Joining them on this girl’s only weekend is their other friends from college, Frankie (Ilana Glazer) and Blair (Kravitz), and Jess’ new friend, Pippa (McKinnon). After a night of pot smoking, drug experimentation, and over-priced Miami bar drinks, they retreat to the safety of their getaway pad. That’s where they order a stripper and in an accidental heated moment, kill him. I swear the premise is slightly funnier than fortuitous murder.

The main gags come from their misguided attempts at concealing the crime scene, disposing of the body, and the brief cuts to the bachelor party that Jess’ fiance, Peter (Paul W. Downs), is attending. The brief glimpses of the bachelor party, and its ensuing insanity, are the first of many instances where “Rough Night” pokes fun at role reversals. While Jess and her gang do bumps of cocaine while talking about scoring tail, Peter and his crew sample fine wines and talk about their emotions. These moments of subtlety are actually some of the film’s best moments.

Other times the movie falls into a predictable coma, finding it relying on ill-fitting and unfunny jokes and double entendres worthy of a bad Adam Sandler film. However, “Rough Night” moves at such a frenetic pace, there’s very little time to ponder those moments. It also helps that up-and-comers, Glazer, McKinnon and Bell, feast on the scenery while Johansson and Kravitz do fine trying their hand at comedy.

“Rough Night” is more or less the female version of movies like “The Hangover,” which isn’t a bad thing, but it lacks creative originality. Glazer and director Lucia Aniello work on the TV show “Broad City,” combining absurdist comedy and life in New York City. While there is flirtation with genuine human emotion and female camaraderie, it doesn’t package it as neatly as a 22-minute TV show. Hopefully “Rough Night” is a stepping stone to bigger and better movies.

Film Review “Cars 3”

Directed by: Brian Fee
Starring: Owen Wilson, Cristela Alonzo, Armie Hammer, Larry the Cable Guy, Nathan Fillion, Kerry Washington, Lea DeLaria, Cheech Marin, Michael Wallis, Paul Dooley
Distributed by: Walt Disney Studios
MPAA Rating: PG
Running time: 109 minutes

Our Score: 3 out of 5 stars

After the second disaster of a film, the “Cars” franchise should have come to an end. The thing is that the “Cars” brand brings in billions in merchandise alone, so Disney is stupid not to keep the brand in people’s heads. Personally, I have never been a fan of either of the two previous films. The first was good, don’t get me wrong but it’s not a favorite when I think of great Pixar films. “Cars 3”, luckily, was better than the second that’s for sure. The film has more heart like the first but unfortunately doesn’t deliver much till the end. Newcomer character, Cruz Ramierz definitely steals the show.

Official Premise: Blindsided by a new generation of blazing-fast racers, the legendary Lightning McQueen (voice of Owen Wilson) is suddenly pushed out of the sport he loves. To get back in the game, he will need the help of an eager young race technician, Cruz Ramirez (voice of Cristela Alonzo), with her own plan to win, plus inspiration from the late Fabulous Hudson Hornet and a few unexpected turns. Proving that #95 isn’t through yet will test the heart of a champion on Piston Cup Racing’s biggest stage!

Before I saw this I was quick to say at least Mater looks like he is not even in this film but what’s funny after seeing it is his scenes I actually enjoyed and added the only real comedic relief. He still was only in the film for a very short time. I took my five year old to see this and honestly, she was bored out of her mind and gave it a big thumbs down. I liked it a little more because of the heart that the film tried to replicate from the first film. I appreciated that and I know others will as well.

Keeping in line with the previous films, Pixar didn’t disappoint. The visuals were impressive and the colors were beautiful, no question. The 3D, I felt was rather useless. I don’t recall being wowed by anything. Obviously, I doubt we have seen the end of this franchise. I did like the way it was ended in particular and could lead it down an interesting path, but overall I just left the theatre like my kid feeling kinda blah, didn’t hate it just didn’t really love it.

Film Review: “It Comes at Night”

Starring: Joel Edgerton, Christopher Abbott and Carmen Ejogo
Directed By: Trey Edward Shults
Rated: R
Running Time: 97 minutes
A24

Our Score: 3.5 out of 5 Stars

There are a few things that always seem to get lost in the shuffle when an apocalyptic end of the world movie is created; paranoia, hopelessness and brutally honest human emotion. Most of the time in this genre, we’re meant to jump in our seats, watch a subtle reflection of the current political climate or enjoy watching Earth devolve into a sadist’s playground. “It Comes at Night” appears to start out with one of those intentions, but as it unwinds; the movie captures the very essence of humanity’s last gasp and struggling with death.

Paul (Edgerton) keeps his at his side, having them abide by a strict set of rules. The home, deeply entrenched in the woods, is boarded up and only has one entrance/exit, two locked doors, which Paul has the only key to. Paul struggles in silence to understand his son, Travis (Kelvin Harrison), who has just witnessed his grandfather succumb to the disease that is infesting the world around them. It takes effect within 24 hours, causing the body to develop talon like boils, its host to puke ink-like blood and turn eyeballs into tar pits.

“It Comes at Night” actually begins with the arduous task of putting grandpa out of his misery. Paul has Travis come along, despite his mom questioning whether or not Travis would be ready to watch the tragic deed. As Paul takes grandpa out into the woods, digs a shallow grave, and shoots him, Travis watches in confused silence. Certainly, going through puberty is compounded by watching a loved one slowly morph into some zombie movie monster.

They don’t have long to sulk because a strange man breaks into the home, scrounging for food and water. After an extensive interrogation process by Paul, the family learns that the man, Will (Abbott), is in desperate need of assistance. His wife and child are in a different home, waiting for him to return with any signs of hope. Paul agrees to help and welcomes the family into the home, and while things may be peaceful at first, things slowly unravel.

There isn’t a lot of small-talk or meaningful conversation between characters in “It Comes at Night.” On one hand, it makes sense because there’s no reason that the people in this scenario would be regurgitating the tragic details of what they already know. So very little is learned about the actual happenings outside the world and what kind of pandemic is eating away at the Earth. On the other hand, we don’t get a sense of what characters are truly thinking since they appear to be more obsessed about what the other is plotting or contemplating. The only inner workings we get a glimpse of our Travis’ adolescent mind.

It’s clear through many of Travis’ nightmares, that the death of his grandpa, sexual frustration brought on by puberty and paranoia are creating a lethal mental cocktail. Anytime a problem arises with Will and his clan, Travis is reminded by his parents about how family comes before everyone else. Since the movie spends so much time with Travis, it creates disconnect from nearly everyone else, which can be frustrating at first, but sets up for an intense final act.

There’s no traditional resolution to “It Comes at Night,” which is both a blessing and a curse. It gives the viewer a lot to ponder and discuss, but it also leaves you with no profound message to chew on. It’s unique in its pragmatic presentation of what happens when human beings are left to their own isolationism and the overwhelming distrust that will certainly envelop society during end times. But the biggest takeaway is that we’re all afraid of dying and losing those closest to us. There’s no political or social commentary away to take from that, it’s just a universal truth.