Film Review: “Good Time”

Starring: Robert Pattinson, Jennifer Jason Leigh and Ben Safdie
Directed By: Ben Safdie and Josh Safdie
Rated: R
Running Time: 100 minutes
A24

In 2011, if you had told me Robert Pattinson was an audacious talent that must be experienced; I would have called you a bold-faced liar. The “Twilight” saga tainted his image as he spent years as a twinkling in the sunlight vampire that makes constipated reactionary faces. 2017 may be the year he erases that moniker after a wonderfully low-key performance in “Lost City of Z” and now the subdued, yet enthralling performance in “Good Time.”

Constantine (Pattinson) is on the run after a botched bank robbery. His mentally challenged brother Nick (Safdie) was caught by police and isn’t handling prison life well. Morally corrupt, Constantine attempts to scrounge up bail money by duping his unaware girlfriend Corey (Leigh) into ponying up thousands of dollars with her mother’s credit card. When that doesn’t work, Constantine takes the next best route a petty thief can think of, busting his brother out himself.

“Good Time” works best without lengthy, wordy exposition because of how fast it moves. How the movie begins and ends is very telling of how Constantine should be viewed. Throughout “Good Time” Constantine looks nervous, his mind is racing through a thousand scenarios and exit plans at every turn. Midway through the film we watch him in a short amount of time work his way out of a jam with two different people, one with his words and one with his lips. His criminal odyssey doesn’t necessarily sprawl throughout the Bronx, but his manipulative impact is felt by those who encounter or get ensnared in his devious plans.

“Good Time” is very much a vehicle for Pattinson, who is a tour de force. He’s not likable, in fact you really hate him before all is said and done. But there’s this next-level intelligence at work that keeps you entertained. Much like watching Walter White weasel his way out of the grasp of fellow criminals and police through five seasons of “Breaking Bad,” watching Constantine squirm out of trouble and manipulate others through 100 minutes is much more unnerving, brisk and exhilarating.

Constantine is audaciously rotten, sometimes evil, when using others and tossing them aside when they no longer have any further use to him. There’s a moment when Constantine has to team up with another criminal, who’s much less intelligent and a lot cruder, and that when the film mixes in dark humor and entertainment. It blends well with Constantine’s self-preservation, as we watch him tout non-violence, as well as brutal violence, in the same scenario.

Lush neon light bathes the dark New York City night as the film soaks up a matching retro soundtrack from the 80’s. The visual aesthetics sometimes contradict Constantine’s depravity and corruption, but matches scenes of fleeing and fighting like any well-oiled crime-drama. “Good Time” is a gritty character piece because like most real-life criminals, Constantine is a scumbag. He’s a repulsive loser who’s gotten good at a few things, lying, cheating and scheming. We’re not supposed to root for him; we’re supposed to watch the devastation left behind in his wake.

Fan-Favorite Slasher Franchise Continues This Autumn with Surprise Reboot to the “Hatchet” Series with “VICTOR CROWLEY”

FAN-FAVORITE SLASHER FRANCHISE CONTINUES THIS AUTUMN WITH SURPRISE REBOOT TO THE HATCHET SERIES

VICTOR CROWLEY

Top-secret production from Dark Sky Films and ArieScope Pictures – starring Kane Hodder and helmed by Adam Green – kept under wraps for over two years.

Dark Sky Films proudly announces VICTOR CROWLEY, the surprise fourth film in the fan-favorite Hatchet franchise. Kept tightly under wraps for over two years, the slasher reboot unexpectedly debuted tonight at Hollywood’s ArcLight Cinema, shocking fans, celebrities, and industry professionals who gathered this evening to celebrate at an event coined as a “Hatchet 10
th Anniversary Celebration.”

Set a decade after the events of the series’ first three films, VICTOR CROWLEY reunites Hatchet mainstays Kane Hodder (Friday the 13th 7 -X’s Jason Voorhees) and Parry Shen (Better Luck Tomorrow) for an all-new, horrifying journey into the haunted, blood-drenched bayou.

In 2007, forty-nine people were brutally torn to pieces in Louisiana’s Honey Island Swamp. Over the past decade, lone survivor Andrew Yong’s claims that local legend Victor Crowley was responsible for the horrific massacre have been met with great controversy, but when a twist of fate puts him back at the scene of the
tragedy, Crowley is mistakenly resurrected and Yong must face the bloodthirsty ghost from his past.

VICTOR CROWLEY’s ensemble cast also features Laura Ortiz (2006’s The Hills Have Eyes), Dave Sheridan (Scary Movie), and Brian Quinn (truTV’s “Impractical Jokers”). Writer/director Adam Green proudly returns to the director’s chair of his series that, upon debuting in 2007, was energetically touted as a return to “old school American horror,” and whose maniacal fan-favorite villain quickly secured a place among slasher royalty.

Says Green, “I couldn’t be happier to partner with Dark Sky Films and bring Victor Crowley back to horror fans around the world. Resurrecting the series for its tenth anniversary was our way of saying thank you to everyone in The Hatchet Army and beyond who have supported this series since its inception. This bloodbath is for all of you.”

VICTOR CROWLEY will hit select U.S. theaters in October 2017 as part of Dark Sky Films’ “Victor Crowley Road Show”, wherein writer/director Adam Green (and other cast) will travel with and introduce the film at special one-night screening events across America. Internationally, the film is slated to bow at festivals worldwide.

Full road show schedule and additional release information will follow.

@darkskyfilms
www.darkskyfilms.com

#victorcrowleylives

Film Review: “The Hitman’s Bodyguard”

Starring: Ryan Reynolds, Samuel L. Jackson and Salma Hayek
Directed by: Patrick Hughes
Rated: R
Running time: 1 hr 58 mins
Lionsgate

Michael Bryce (Reynolds) is a Triple-A rated bodyguard who is proud of the fact the he hasn’t lost a client since….BANG! Oops.

A film that only works in small doses, “The Hitman’s Bodyguard” is several films in one. First you have an action comedy full of dirty words and exploding heads. Next is a political thriller as the leader of Belarus (Gary Oldman) is put on trial, at the Hague in the Netherlands no less! Finally you have the “bro-mance,” featuring Bryce and hired killer Darius Kincaid (Jackson), a duo that yells and bickers with each other like an old married couple. Taken separately, you have a surprisingly entertaining (sometimes) film. Put it all together, and you have a mess.

When the film works it’s when Reynolds and Jackson act as you expect them too. Reynolds is all smarm, his character seemingly trying to be the smartest man in the room while Jackson finds new and entertaining ways to use the words “mother” and, well, you know.

Somehow Kincaid is the only witness that can put Oldman’s character away forever, though it’s never really understood how until the end of the film. Throw in Bryce’s old lover, who just happens to be an INTERPOL agent, and you can see how jumbled the film is. Thankfully, the chemistry (and improvisational skills) of Reynolds and Jackson keep the film moving. The action is frenetic, moving across Europe like a Zagat video gone wild, so much so that you appreciate it when Mr. Jackson gets to utter his favorite phrase. “You know you’ve totally ruined “mother fu**er) for me, Bryce tells Kincaid. Hardly. The words flow out of Kincaid like the paint off of an artist’s brush. If only the rest of the film were as much of a masterpiece.

CD Review: “Live at Wacken 2016: 27 Years Faster: Harder: Louder”

“Live at Wacken 2016: 27 Years Faster: Harder: Louder”
Silver Lining
4 Discs
Runtime: 271 minutes

Our score:  CD 2.5 out of 5 stars
BluRay/DVD 3.5 our of 5 stars

The ultimate heavy metal event-in-a-box is now available for fans to enjoy in the comfort of their very own home. “Live at Wacken 2016: 27 Years Faster: Harder: Louder” is a collection of some of the best performances from the 2016 Wacken Open Air festival held in Germany each yr. The double disc CD and DVD/BluRay features music from over 30 artists including Arch Enemy, Saxon and Bullet for My Valentine all packaged nicely in multi fold digipack.

No need for lengthy international travel or standing in a soggy bog along the European country side as “Live at Wacken 2016: 27 Years Faster: Harder: Louder” allows you to enjoy a majority of the Wacken Open Air festival from the safety and dryness of your own couch or recliner. Get comfortable as with a runtime of over four hours you are definitely in for a long haul especially if you plan to check it out from start to finish. If you want to skip around a little I highly recommend checking out the performances from Eluveitie, Bullet for My Valentine and Dio Disciples as they were easily my favorite. I also enjoyed the video version of this package a little more as it included in most cases a couple songs from each artist.

Invite a few friends over crack open some drinks and thrown on either the DVD/BluRay or the included audio versions of the release. Though a majority of the performances contained on the set are from European acts I wasn’t too familiar with there is still plenty of other material from bands I had heard before. Though I enjoyed seeing bands like Steel Panther and Saxon I think I had more fun checking out the bands who I hadn’t heard of because those performances were fresh and new to me. It’s always great to be exposed to new music and that’s certainly what “Live at Wacken 2016: 27 Years Faster: Harder: Louder” does. I do feel though that if you are a more casual metal fan there might not be enough familiarity included to warrant purchasing the cumbersome four disc set however, If you are a dedicated, die hard metal head that has yearned for the Wacken experience but couldn’t make the trip then this release is certainly for you as it gets you as close as you can be without actually being there.

BluRay/DVD Track Listing: Disc 1

1.) Phil Campbell and the Bastard Sons- Big Mouth
2.) Profaner- Killing On Command
3.) Hamatom- Alte Liebe Rostet Nicht
4.) Auan- Pjaning Heillar Bjodar
5.) Saxon- Battering Ram
6.) Saxon- Heavy Metal Thunder
7.) Zombies Ate My Girlfriend- Appropriate Hate Crimes
8.) Vader- Triumph of Death
9.) Tsjuder- Demonic Supremacy
10.) Immolation- Despondent Souls
11.) Therapy? Screamager
12.) Michael Monroe- 78
13.) Orden Ogan- F.E.V.E.R.
14.) Orden Ogan- The Things We Believe In
15.) The Vintage Caravan- Expand Your Mind
16.) Bury Tomorrow- Man On Fire
17.) Entombed A.D.- Dead Dawn
18.) Equilibrium- But Im Auge
19.) Equilibrium- Born To Be Epic
20.) Die Krupps- Fatherland
21.) Axel Rudi Pell- Game Of Sins
22.) Axel Rudi Pell- Rock The Nation
23.) Ektomorf- Holocaust
24.) Girlschool- Take It Like a Band
25.) Lemmy- Born To Lose, Live To Win

Bluray/DVD Track Listing: Disc 2

1.) Torfrock- Trunkenbold
2.) Torfrock- PreBlufthammer B B-Bernhard
3.) Eluveitie- Tegernako
4.) Eluveitie- Havoc
5.) Bullet For My Valentine- Tears Don’t Fall
6.) Bullet For My Valentine- Waking The Demon
7.) Tarja- No Bitter End
8.) 1349- Sculptor Of Flesh
9.) Red Fang- Prehistoric Dog
10.) Unisonic- Unisonic
11.) Caliban- Paralyzed
12.) While She Sleeps- Four Walls
13.) Eskimo Callboy- Muffin Purper-Gurk
14.) Myrkur- Jeg er Guden, I er tjenerne
15.) Borknagar- Colossus
16.) Borknagar- Winter Thrice
17.) Metal Church- Gods Of Second Chance
18.) Therion- Sons Of The Sun
19.) Therion- Sons Of The Staves Of Time
20.) Steel Panther- Asian Hooker
21.) Steel Panther- Community Property
22.) Steak Number Eight- Black Eyed
23.) Triptykon- Morbid Tales
24.) Buffalo Summer- Money
25.) Barb Wire Dolls- Heart Attack
26.) Arch Enemy- War Eternal
27.) Budderside- Pain
28.) Dio Disciples- The Last In Line
29.) Dio Disciples- Stargazer

CD Track Listing: Disc 1

1.) Phil Campbell and the Bastard Sons- Big Mouth
2.) Hamatom- Alte Liebe Rostet Nicht
3.) Saxon- Battering Ram
4.) Vader- Triumph Of Death
5.) Tsjuder- Demonic Supremacy
6.) Immolation- Despondent Souls
7.) Theraphy?- Screamager
8.) Michael Monroe- 78
9.) The Vintage Caravan- Expand Your Mind
10.) Bury Tomorrow- Man On Fire
11.) Entombed A.D.- Dead Dawn
12.) Equilibrium- Born To Be Epic
13.) Die Krupps- Fatherland
14.) Axel Rudi Pell- Rock The Nation
15.) Girlschool- Take It Like a Band
16.) Ektomorf- Holocaust
17.) Torfrock- PreBlufthammer B B-Bernhard
18.) Eluveitie- Havoc

CD Track Listing: Disc 2

1.) Bullet For My Valentine- Tears Don’t Fall
2.) Tarja- No Bitter End
3.) 1349- Sculptor Of Flesh
4.) Red Fang- Prehistoric Dog
5.) Unisonic- Unisonic
6.) Caliban- Paralyzed
7.) Eskimo Callboy- Muffin Purper-Gurk
8.) Borknagar- Colossus
9.) Metal Church- Gods Of Second Chance
10.) Therion- Sons Of The Staves Of Time
11.) Steel Panther- Community Property
12.) Steak Number Eight- Black Eyed
13.) Triptykon- Morbid Tales
14.) Buffalo Summer- Money
15.) Barb Wire Dolls- Heart Attack
16.) Arch Enemy- War Eternal
17.) Budderside- Pain
18.) Dio Disciples- Stargazer

Film Review: “The Glass Castle”

Starring: Brie Larson, Woody Harrelson and Naomi Watts
Directed By: Destin Daniel Cretton
Rated: PG-13
Running Time: 127 minutes
Lionsgate

There’s an old adage that everyone has heard at some point about how we can’t pick our parents. I hate that truism. It’s rarely used in an earnest conversation and mainly glosses over a more deep-seeded conflict. In “The Glass Castle,” the conflict is multi-layered and a lot more complicated than its face value. Rex Walls (Harrelson) drags his wife and kids cross country to escape debt, police and his own parents, internalizing and allowing some of his more dark secrets to manifest into emotional manipulation and possible abuse.

Rex repeatedly attempts to drown his sorrows in alcohol, but surprisingly reveals a softer side anytime he hits the bottle. That’s not to say he has his deplorable moments with whiskey heavy on his breath. His four children and wife, Rose (Watts), are generally at his mercy as he goes from dilapidated home to dilapidated home. They live without proper plumbing, heat or even food sometimes. They finally settle down in rural West Virginia where his children, on the cusp of puberty, begin to piece together that their father isn’t the kind, gentle soul they have believed him to be.

“The Glass Castle” is told from the point of view of Rex’s second oldest child, Jeanette. Brie Larson is wasted as grown-up Jeanette, but is played much better in flashbacks by Ella Anderson. The other three kids don’t have much of a personality in the flashbacks, but considering its Jeanette’s memoir, that’s perfectly fine. The audience’s perception of Rex unravels as Jeanette gets older and sees Rex as a flawed father figure. Besides being an alcoholic, he possibly abuses their mom, imprisons the children within their own home without proper education and prioritizes booze over buying essentials for the family.

Rex is a difficult character to root for, at all. His likeability is buoyed by Harrelson’s ability to flip from a shattered, paranoid man to a charming goofball. It’s difficult to fully comprehend Jeanette’s overall attitude because when Larson is brought back, she’s used to deliver icy stares and spout declarative disgust in the film’s present day. It’s not only until the end of the movie that she begins to warm up to her father’s habitual lies. “The Glass Castle” sloppily attempts to ever convey a direct, and even indirect, message about who Rex really is.

But because it continues to play with Rex as an anti-hero, “The Glass Castle” is rarely boring and is a sometimes interesting, if not derivative, soap opera. There are predictable beats, but the film throws a few curveballs and avoids several cliché moments, settling for a more genuine dramatic effect. Some viewers may even see their own family in the Walls, which is both heartbreaking and terrifying. Of course the modern day Walls most likely wouldn’t be able to handle life without a smartphone.

“The Glass Castle” is based on Jeanette’s memoirs, which I imagine is much more lengthy and in-depth. The book is a bestseller with a massive following because of its truthful slice of impoverished Americana. Despite taking place in the 70’s, there are parallels to the broken small towns that continue to dot America, which add another level of relatability to the film. However the entirely white cast may disarm and confound anyone outside the demographic depicted on-screen.

There is a level of understanding in “The Glass Castle” about how once one or both of your parents pass, you don’t necessarily reflect on the bad times. You seem to neglect how terrible they may have been, but instead focus on and cherish the moments where they showed their parental love and care for you. The things that bugged you and the moments of turmoil are reflected on through tears and laughter, as long as those memories weren’t too tumultuous. “The Glass Castle” is a peculiar film about hindsight forgiveness, more than blind acceptance.

Film Review: “Step”

Directed By: Amanda Lipitz
Rated: PG
Running Time: 83 minutes

A 100% percent high school graduation rate isn’t unheard of. However the average graduation rate, depending on your state, hovers anywhere from 66% to 94%, according to U.S. News and World Report. In Maryland though, out of 204 schools, there isn’t a 100% graduation rate at any high school. But you have to dig a little deeper to find the one that accomplished it back in 2016, the Baltimore Leadership School for Young Women.

The predominantly African-American middle-high public charter school was an experiment created in 2009. The hope was to help transform the young women in the urban core through strong education and empowerment. “Step” catches up with the first class ever to attend that school, as they get ready to graduate and look to get into college. Specifically we watch three women on the high-school step dance team.

That’s not to take away from the most fascinating part of this film, the public education experiment, which surely isn’t the only one in the country. When the cameras go home with the girls and we see a broken home life, impoverished circumstances, and single moms. We fully grasp that this is a city, at every multi-generational level, working to pull themselves up by the bootstraps. Even behind closed doors at the school, where educators are reaming students over bad grades, we see this disheartening concern in their eyes that their students may not make it and they may never make anything of themselves.

In that regard, “Step” is a wonderfully engaging documentary about perseverance against insurmountable odds. The film’s backdrop is the death of Freddie Gray, the Baltimore riots which were broadcast for the world to see, and inner city decay. To see these teenage girls being forced to grow up in such harsh conditions and to strive for positivity in the face of hopelessness is one of the most inspiring things an American documentary has shown in years.

There is a little bit of choppiness in the film’s narrative, mainly because the film’s speed is hit on fast forward. It buzzes through people, faces and places in a dizzying whirlwind, instead of taking a breath here and there for reflection. But it also helps prevent the film from becoming too melodramatic and repetitive when detailing the young women’s lives and circumstances.

While the step dance team is certainly the least interesting part of this film, it does play an integral role of playing by subliminally layering in sports movie tropes about self-esteem and tenacity. It makes many of the film’s moments, like one girl getting a full ride scholarship to college and another girl making a last minute to even be considered for acceptance, that much more impactful. “Step” is an encouraging dose of reality that America’s future will be in capable hands.

Film Review “A Ghost Story”

Starring: Casey Affleck, Rooney Mara
Director: David Lowery
Distributed by: A24
Rating: Not Rated
Runtime: 92 minutes

Our Score: 2.5 out of 5 stars

A24 has been releasing some very interesting films recently including this year alone with “Free Fire” and “It Comes At Night”. With a title like “A Ghost Story”, it definitely grabbed my interested…unfortunately not for long. Don’t get me wrong this is definitely a film that will stay with you for a bit. I can’t say that I hated it overall but damn was I bored at some points. I have a feeling this might be a film to benefit from multiple viewings but I don’t think that I could make it through a second time here. I mean there is a pie eating scene that lasts five minutes and I understand why its there but it is painful to get through….pretty much like the whole film.

Official Premise: Recently deceased, a white-sheeted ghost (Casey Affleck) returns to his suburban home to console his bereft wife (Rooney Mara), only to find that in his spectral state he has become unstuck in time, forced to watch passively as the life he knew and the woman he loves slowly slip away. Increasingly unmoored, the ghost embarks on a cosmic journey through memory and history, confronting life’s ineffable questions and the enormity of existence. [A24]

The cast for “A Ghost Story” includes recent Oscar Winner Casey Affleck and Rooney Mara. Funnily enough reuniting together again along with the director of this film after all working together on 2013’s “Ain’t Them Bodies Saints”. Performances are good from Mara and the loss is definitely depicted well, almost too well. Please make sure you realize though, this is not a scary horror film at all. I see the aspect of horror but it is not the same. Deep is a word, I would use to describe the message in this film, much deeper than I usually like. So if you are interested in a different kind of ghost movie that has few words, very long scenes with sometimes little happening but leaves you thinking a bit afterwards you might then be interested in this.

Film Review: “Atomic Blonde”

Starring: Charlize Theron, James McAvoy and John Goodman
Directed By: David Leitch
Rated: R
Running Time: 115 minutes
Focus Features

David Leitch’s first solo directed movie comes after the success of his work on the “John Wick” franchise. While a lot of the “Wick” DNA is on display in many of its action sequences, “Atomic Blonde” suffers from a choppy narrative and lack of character intrigue outside of its two leads.

MI6 agent Lorraine (Theron) is first seen, covered in bruises and burning the memories of a former ally. She walks into a soundproof room to give her recorded recollection of her undercover week leading up to the fall of the Berlin Wall in 1989. She recounts her tale of infiltrating East Berlin, in search of an allusive watch containing information on every agent deployed during the Cold War. Failing to retrieve that token, may result in another 40 years of nuclear arms muscle flex by the U.S. and Soviet Union.

The premise is alluring as Theron’s character radiates macho gusto and calm precision. She speaks in short, biting simplistic sentences and delivers angered quips under her breath. She’s matched by a Berlin ally, David (McAvoy), who’s underground smuggling and cocky smirk covers his secretive intentions. The two, while relatively friendly, aren’t about to become buddies as they spy and record each other. “Atomic Blonde” should be an interesting blend of spy-thriller and action-survival, but is bogged down by its jumbly plot.

There’s plenty of exposition to munch on, but nothing clear or meaningful. There are dozens of characters brought in and out of the woodwork to offer their allegiances and services, but none bring a unique personality or influence to the script. The exquisite opening for “Atomic Blonde” quickly sinks into uninvolving plot progression that feels like an assigned household chore before the film’s real goodies, the action sequences.

Hand-to-hand combat is filmed tightly, but fully in frame to put the viewer right in the middle of fists, kicks, groans and gunshots. They’re some of the film’s most inspired moments, but they’re shoehorned in towards the end and sparse. The sagging middle cuts between uninteresting character interactions and posturing that only pays off in the final 10 minutes of the movie. It makes the entire storyline a lot clearer; however the bad taste of wasted talent meandering aimlessly doesn’t leave your mouth.

This graphic novel adaptation displays an attractive visual flair along with an 80’s best-of soundtrack that keeps your eyes from wandering to far from the screen although there’s no substance beneath its neon portrait. Despite her best efforts, Theron (who also helped produce the movie) can only carry the film so far. Her mix of femme fatale and impenetrable action star is humbled by a late emotional reveal towards the end, that’s more impactful than it should be. Her recent run of action films, like “Mad Max” and “Fate of the Furious” are commendable. But “Atomic Blonde” is more bark than bite.

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?

Comedian Margaret Cho Announces “Fresh Off The Bloat” Tour and New TNT Pilot “Highland”

Margaret Cho Set To Introduce Her Newest Stand-Up Comedy Material On Upcoming
“Fresh Off The Bloat Tour”

Tickets Go On Sale July 21 Via http://margaretcho.com/tour/

TNT Order New Comedic Drama “Highlands” Starring Margaret Cho To Pilot.

Five time Grammy & Emmy nominated comedian Margaret Cho has much to celebrate as she was recently named one of Rolling Stone magazine’s 50 Best Stand-Up Comics of All Time and is set to launch what is sure to be her sickest stand-up comedy show to date this fall. A pioneer amongst women in comedy, Margaret doesn’t take anything for granted as she continues to tackle difficult subjects with sensitivity and her razor sharp insight with her takes on addiction, abuse, activism and Asianness. It’s all about the politics of disgust and what is disgusting about politics. Aptly titled, “Fresh Off The Bloat,” Margaret says, ““Fresh Off The Bloat” is my sickest show to date. My grandmother said “You look like bloated as if you’ve been found dead in a lake after several days of searching.” Koreans are the most savage of all the Asians. My new show is all about being fresh off drugs and drinking and suicide and coming back to life – finally fished out of the river Styx. It’s meta. It’s magical. It’s me.”

The initial “Fresh Off The Bloat” tour dates go on sale Friday, July 21 here: http://margaretcho.com/tour/ – Please note that the December 6 show in Belgium will go on sale July 20. Additional dates to be announced in the coming weeks.

Margaret’s new TV project Highland has been picked up for pilot by TNT Network. Highland will chronicle what happens when two extended, dysfunctional Korean-American families who share the same patriarch must come together after tragedy strikes. As it turns out, the most reliable person in both families is the one who just got out of rehab.
“Executive producer Liz Sarnoff (Lost,Barry) and Margaret Cho’s brilliant script exposes Margaret’s warm heart and bracing humor, balancing powerful emotional truths with laugh-out-loud scenes and characters,” said Sarah Aubrey, executive vice president of original programming for TNT. “Highland continues TNT’s commitment to bringing diverse voices and worlds to television. We look forward to making a pilot with such a singular talent as Margaret Cho.”

“Fresh Off The Bloat” Tour Dates
9/23/2017 Chicago Theatre Chicago, IL
9/24/2017 Orpheum Theater – Stage Door Madison, WI
9/29/2017 Sands Bethlehem Events Center Bethlehem, PA
10/5/2017 The Wiltern Theater Los Angeles, CA, USA
10/12/2017 2 SHOWS, Gramercy Theatre New York, NY, USA
10/14/2017 Warner Theatre Washington, DC, USA
10/21/2017 2 SHOWS, Castro Theatre San Francisco, CA, USA
11/5/2017 The Fillmore Philadelphia, PA
11/25/2017 Queens Hall Edinburgh, UK
11/26/2017 Tivoli Theatre Dublin, Ireland
11/28/2017 St. George’s Hall Bristol, UK
11/29/2017 Glee Club Birmingham, UK
11/30/2017 The Lowry Manchester, UK
12/1/2017 Academy Sheffield, UK
12/2/2017 Brighton Concert Hall Brighton, UK
12/4/2017 De Meervaart Amsterdam, Netherlands (ON SALE 20 JULY)
12/6/2017 Zuiderpershuis Antwerp, Belgium
12/8/2017 Bremen Copenhagen, Denmark
12/10/2017 Shepherd’s Bush Empire London, UK
12/12/2017 Latter Oslo, Norway

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!

Grateful Dead “Meet-Up at the Movies” Returns With Unreleased 1989 Concert in Movie Theaters Nationwide on August 1 Only

Fathom Events and Rhino Entertainment Commemorate Jerry Garcia’s 75thBirthday With Seventh Annual One-Night Event to Showcase Unreleased 1989 RFK Stadium Concert

DENVER – June 29, 2017 – For the seventh year in a row, beloved American rock group Grateful Dead returns to the big screen for its highly-anticipated annual event, “Grateful Dead Meet-Up at the Movies 2017.” The Meet Up features the Grateful Dead (Jerry Garcia, Mickey Hart, Bill Kreutzmann, Phil Lesh, Brent Mydland, and Bob Weir) in concert, performing to a sell-out crowd of 40,000-plus fans in Washington D.C. The one-night-only event is scheduled for August 1, which would have been Garcia’s 75th birthday.

Presented by Fathom Events and Rhino Entertainment, “Grateful Dead Meet-Up at the Movies 2017” will play in U.S. movie theaters on Tuesday, August 1, 2017 at 7:00 p.m. local time. This special one-night cinema event features the Dead’s previously unreleased July 12, 1989 concert from RFK Stadium.

Tickets for “Grateful Dead Meet-Up at the Movies 2017” can be purchased online by visiting www.FathomEvents.com or at participating theater box offices. Fans throughout the U.S. will be able to enjoy the event in more than 450 select movie theaters through Fathom’s Digital Broadcast Network (DBN). For a complete list of theater locations, visit the Fathom Events website (theaters and participants are subject to change).

The Meet-Up provides an annual occasion for Dead Heads to reconnect with fellow fans, as well as a chance for new devotees to experience the excitement of what it would have been like to see one of the Dead’s legendary shows live. This year’s concert features a rare first set that contains at least one song sung by each of the four lead singers and a terrific show-opening rendition of the band’s biggest hit “Touch Of Grey.” The show’s second set begins with a very uncommon second-set opener, “Sugaree,” two songs with Bruce Hornsby sitting in (“Sugaree,” and “Man Smart [Woman Smarter]”), plus one of the only video recorded versions of “Black Muddy River.”

July 12, 1989 -RFK Stadium- Set List:

Touch of Grey

New Minglewood Blues

Mississippi Half-Step Uptown Toodeloo

Tom Thumb’s Blues

Far From Me

Cassidy

Friend of the Devil

Promised Land

Sugaree

Man Smart [Woman Smarter]

Ship of Fools

Estimated Prophet

Eyes of the World

Drums

I Need a Miracle

Dear Mr. Fantasy

Black Peter

Turn on Your Love Light

Black Muddy River

“Earlier this spring, Dead Heads gathered in cinemas nationwide for ‘The Grateful Dead Movie 40th Anniversary,’” Fathom Events CEO John Rubey said. “We’re pleased to present them with another opportunity to ‘Meet-Up’ at the movie theater this year.”

Hart, Kreutzmann, Weir’s Dead & Company (also featuring John Mayer, Oteil Burbridge, and Jeff Chimenti) is on tour now through July 1, 2017. For more information, visit www.DeadandCompany.com

About Fathom Events
Fathom Events is recognized as the leading domestic distributor of event cinema with participating affiliate theaters in all 100 of the top Designated Market Areas®, and ranks as one of the largest overall distributors of content to movie theaters. Owned by AMC Entertainment Inc. (NYSE: AMC), Cinemark Holdings, Inc. (NYSE: CNK) and Regal Entertainment Group (NYSE: RGC) (known collectively as AC JV, LLC), Fathom Events offers a variety of one-of-a-kind entertainment events such as live, high-definition performances of the Metropolitan Opera, dance and theatre productions like the Bolshoi Ballet and National Theatre Live, sporting events like “Canelo Álvarez vs. Julio César Chávez, Jr.,” concerts with artists like Michael Bublé, Rush and Mötley Crüe, the yearlong TCM Big Screen Classics film series, inspirational events such as To Joey With Love and Facing Darkness, and anime titles such as Princess Mononoke and Spirited Away. Fathom Events takes audiences behind the scenes and offers unique extras including audience Q&As, backstage footage and interviews with cast and crew, creating the ultimate VIP experience. Fathom Events’ live digital broadcast network (“DBN”) is the largest cinema broadcast network in North America, bringing live and pre-recorded events to 897 locations and 1,387 screens in 181 DMAs. For more information, visitwww.fathomevents.com.

About Rhino Entertainment
Rhino Entertainment is the catalogue development and marketing division of Warner Music Group. Founded in 1978, Rhino continues to set the standard for excellence in the reissue business it pioneered in both the physical and digital worlds with an emphasis on flawless sound quality, bonus tracks, informative liner notes, award-winning creative packaging, and a strong social conscience. Rhino has also expanded the definition of what a catalogue music company is, as evidenced by the label’s name and likeness representation deal with Frank Sinatra, its multi-faceted relationship with the Grateful Dead, and releasing new albums by heritage artists such as Jeff Beck and Cyndi Lauper. The vast catalogue of more than 5,000 releases includes material by Led Zeppelin, Eagles, David Bowie, Fleetwood Mac, Aretha Franklin, The Doors, Chicago, Ray Charles, Black Sabbath, John Coltrane, Yes, Phil Collins, The Ramones, and The Monkees, among many others.

The Cast and Director of Netflix’s Okja

Have you met Okja? The titular “super pig” is at the heart of Director Bong Joon Ho’s newest feature which is currently streaming on Netflix. The imaginative film follows Okja, a creature genetically engineered by the shady Mirando Corporation (headed by a boundlessly enthusiastic Tilda Swinton) as a source of new consumable meat product. In a longterm PR move, this super pig is farm-raised by a young girl in Korea named Mija (Seo-Hyun Ahn) until, unbeknownst to Mija, she is scheduled to make her big trip to NYC where Mirando aims to cash in on their investment. What follows is a wild journey to the city where Mija encounters a radical PETA-like eco-group, the ALF, as well as some harsh realities of this film’s version of the terrifying food industry.

Last month, cast members Tilda Swinton, Seo-Hyun Ahn, Lily Collins, Paul Dano, Steven Yeun and Giancarlo Esposito gathered in New York along with Director Bong to give their insight on making the film and its message.

Some minor spoilers

Seo-Hyun Ahn carries the film as Mija, an acting and physical feat, her and Director Bong spoke via translators about developing her performance:

Ahn: [I] was always thinking how Mija would perceive all of the things that are happening and [I] would say [I] was there as an intermediate state and Director Bong helped [me] constantly think about why would Mija do this? And what would Mija think? That sort of helped [me] in maximizing how Mija would think in the story.

Director Bong: Ahn is very experienced and she’s very energetic and focused. So She has enough energy to confront Tilda or Paul. And because of this high energy whenever we were shooting the scenic mountain scenes, [I] tried to distract Mija as best as [I] could. Whenever [Ahn] was focusing on the script, [I] would distract her by talking about catering and talking about snacks in the snack corner. [I] did [my] best to distract her as best as possible because if you try too hard then there are times that the performance doesn’t come out right. And because there are so many great actors and actresses around, she might have been pressured into giving a poor performance. [I] did [my] best to try to relax her as much as possible.

As Lucy Mirando, and later Nancy Mirando, Tilda Swinton enjoyed working with her Snowpiercer Director Bong:

Swinton: It’s a very simple and relaxed business when working with someone like Director Bong who invites a kind of playfulness and as he just described , a kind of relaxedness in all his company, not just the performers, but in all departments. What he knows…is he wants people to be relaxed and really bring something fresh and creative. And that’s an environment that I love. It’s like a kind of playpen, it’s like a sandbox to me, it’s like kindergarten. Especially working with him, he’s my playmate.

The Mirando sisters are reminiscent in their emphatic, almost cult-leader like energy of Swinton’s Snowpiercer character Mason, she discussed their similarities:

Swinton: Yes we worked on Snowpiercer together, Director Bong and I, and we kind of whipped up this insane burlesque, Mason, who is supposed to be beyond any reality but as it happens, it seems that we were behind the curve [laughs] With this one we wanted to come at the idea of a fool-clown-villain in a slightly different way. We wanted to find different ways—the different faces of high capitalism and exploitation. And so we decided in fact to split it in fact, either into a schizophrenic—I mean I sometimes wonder whether there are two people here, whether actually there isn’t one. You know because let’s face it when Lucy fades away, Nancy appears and vice-versa. So we wanted to look at two different ways of messing the world up. So we have Nancy, who is the—she doesn’t fall far from the tree of their toxic, horrendous father. And then Lucy, who is so determined to be different. She’s driving 180 degrees away from Nancy and trying to be all user-friendly and “woke” and squeaky clean. And lovable. So it was an opportunity to look at these two different faces. But I suppose you know, especially when you’re working together and your collaboration over projects, the conversation is kind of the same conversation that just evolves and goes into a whole new area. All sorts of conversations we had about Mason just sort of moved into conversations about the Mirandos. So yeah, they are cousins of a sort. And they ALL have teeth. [Laughs]

Director Bong is no stranger to centralizing creatures as metaphors in his stories, after his successful feature The Host, and he spoke about using them in that way:

Director Bong: [I’m] always drawn into creature films and creatures. However in The Host, the creature was a monster who attacked people and in Okja the creature is a very intimate friend of the protagonist Mija. They sleep together, they have a lot of interaction, they hug each other and because of this interaction, it required a lot of cutting edge visual effects work which was [my] first challenge. So it’s a pig and now in retrospect [I’m] wondering when [I contemplate why I] chose a pig as the animal. [I think] there’s no better animal than the pig that humans associate with food. Ham, sausage, jerky, etc etc. But in reality, pigs are very delicate, sophisticated and smart and obviously clean. [I think] that the way the two perspectives we have when we look at animals are all coalesced inside a pig. Through the one perspective, we look at animals as family and friends, as pets. And the other perspective is when we look at animals as food. And [I believe] these two perspectives co-exist inside a pig. In our every day lives, people try to separate these two universes apart. We play with our pets in the day and at night, we have a steak dinner. But in this film, we try to merge those two universes together and try to create this sense of discomfort…A creature film is a very effective tool to create special commentary and to get commentary in the world that we live in.

Lily Collins and Steven Yeun are both play part of the fictional eco-group led by Paul Dano and they talked about their views of such groups and animal rights activism in light of doing the film:

Collins: I’ve always been weirdly interested in food documentaries so during the prep of this movie, I watched more and Director Bong gave us all this ALF handbook. We saw lots of really difficult images of animals and treatment and the facilities…And I’m not a red-meat eater anyway, so it wasn’t that I changed my food habits or my eating habits but I definitely became more of a conscious consumer in many other types of products. I think the great thing about this film though is that it speaks to so many different types of themes—you know, nutrition and environment, politics, love, innocence lost. There’s just so many different things to be taken from this film that I think are dealt with in a way that never tutorialized [sic], but always just prompts conversations…I think what Director Bong is amazing at is taking so many different things and presenting them to you. Never telling you how to think, but if you leave the theater thinking something, we’ve done our job right.

Yeun: …I really enjoyed working with director Bong. Mostly because he likes to just tell it to you how it is, with all the gray. And so, when you get to dive into [something] like the ALF, I know that we were playing a characterization of people that are really doing stuff like this, but I feel like one thing it sheds a light on–at least for myself–was why does an individual sign up for something like this? And they’re all different. Especially in our little subgroup of the ALF. Every single character had a different reason for being there. Or had different ethics that were willing to go far or less than the other person next to them. And I think it an interesting study in that regard because sometimes you see the ALF, as they intend, to just be this giant glob organization, or anything in that way. But when you pick apart the specific individuals that take part in something like this it’s interesting to see that not all the interests necessarily align.

Animal rights groups in real life sometimes draw criticism for their tactics and in this film we see the ALF arguing for non-violence while taking part in it, Director Bong on that contradiction:

Director Bong: There’s definitely a level of contradiction within the group ALF. Even in the film, the ALF shout that they hate violence but you can see throughout the film that they constantly inflict it. They have a very noble cause and you can understand the cause. But the film also portrays them to at times [to] look foolish and portray them making very human mistakes. Simply put, [I think] they’re humans just like us. Even Lucy Mirando. She doesn’t feel like she’s a pure villain or villainess in the pure sense. She also has flaws and a fragility. There’s a moment in the dressing room scene where Lucy talks to Frank and she raises the super pig jerky and says ‘its a shame that we have to tell these little white lies’… That was an honest moment on her part. Whether that be the Mirando Corporation or the ALF members, [I want] to embrace them within the boundaries of humanity where they have flaws or they make mistakes. Actually every character in this movie is pathetic except Mija and Okja.

Dano: And how complicated it is to put a beautiful young girl in the middle of all that contradiction, you know? it’s really one of the special things about the story….I like that the film to me, even though it has many topical issues, I don’t think it’s overly preaching. It’s too complicated for that. Even Mija eats chicken stew, or catches the fish and throws the little fish back in. That’s such an important detail for this film to be true. And even though it has a fantasy animation-comic-book-graphic-novel sort of level to it, I like the truth in the contradictions.

Finally the cast gave their initial response to this project:

Collins:…You know, you sit down with Director Bong–my first meeting with director Bong was at 11am and he orders ice cream and starts talking about this pig, and I go ‘OK, I think I know what I’m signing on for!?’ [Laughs] And I fell in love with the idea that he could see me as this character and I don’t think a lot of people would have been able to see me as someone like this. But it’s so much. It’s a love story, it’s a drama, it’s a comedy, it’s an action movie, it’s a fantasy movie. It’s kind of everything you’ve ever wanted to see in one movie. And yeah…It was a moment of enlightenment really, when you read it.

Giancarlo Esposito: For me it was in many ways a return to innocence. Odd for me to say after having played [Mirando corporation lackey] Frank Dawson, but this story is so absolutely beautiful in its very connected relationship message. It doesn’t matter what that relationship is. It could be a child with their goldfish in the tank who is their best friend, or it could be Okja. But that warmth, that sensitivity and that understanding that’s developed in that relationship, for me, guided me back to thinking about my loss of innocence. When did I grow up? And how could I unlearn that growing up and see the world in a new light? Many times we are so smart, that we are ignorant and they say that education is learned ignorance. We, as performers who fantasize about telling our stories, that will make a comment on our–a social comment, a political comment, an artistic comment– through our creativity, are gifted with our ultimate gift to still remain somewhere in our heart and soul, that beautiful child that Mija is.

Swinton: I didn’t read the script for a long time because I was privileged to be a part of the cloud of the idea before it ever came to script stage. I remember very clearly Director Bong, when we went to Seoul for the premiere of Snowpiercer, he drove us to the airport the following day and leaned over the back of the seat of the car and showed me this drawing of the pig and the girl and that was it. That was three years before there was a script. But even before that moment, I have to say that one of the bonds we share is a great love of the master Hayao Miyazaki, in particular My Neighbor Totoro, and in fact we regularly sing the Totoro theme tune. It’s a thing we do. And so, the second I saw this drawing, I saw that. I this as an opportunity to fill to that homage. But also we talked about the twin sisters in Spirited Away, which I think was the seed of the Mirando sisters. Yeah, so I was, you know, I was in before it existed. Put it that way.

Conference has been edited for length and clarity. Okja is available to stream now on Netflix.

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.