Film Review: “Dungeons & Dragons: Honor Among Thieves”

 

DUNGEONS & DRAGONS: HONOR AMONG THIEVES
Starring: Chris Pine, Michelle Rodriguez
Directed by: John Francis Daley and Jonathan Goldstein
Rating: PG-13
Running Time: 2 hrs 14 mins
Paramount Pictures
Based upon the popular role-playing game, “Dungeons & Dragons: Honor Among Thieves” delivers what the game’s players have desired for years – a good, entertaining movie that comes at least close to capturing its essence. While there is not a lot of depth to its story and its fight sequences come off as a little too staged, “Dungeons & Dragons” remains entertaining popcorn flick that parents can at least take their older children to.
After losing his wife to an evil Red Wizard, Edgin Darvis (Chris Pine), a bard and former member of secretive group called the Harpers, turned to the life of a thief to provide a better life for his infant daughter. Accompanying him was exiled barbarian Holga Kilgore (Michelle Rodriguez), amateur sorcerer Simon Aumar (Justice Smith), and rogue/con artist Forge Fitzwilliam (Hugh Grant).
Edgin became obsessed with retrieving an artifact that would bring his dead wife back to life, but the group is betrayed. For two years, Edgin and Holga languish in a prison before making their escape. Much to their chagrin, they discover Forge has become rich and powerful while assuming the title of Lord of Neverwinter. Worse still is that Edgin’s daughter has been turned against him.
Desperate to get his daughter and dead wife back, Edgin forms a new team of thieves that includes a reunion with the hapless Simon and the additions of Doric (Sophia Lillis), a shapeshifting druid, and
Xenk Yendar (Rege-Jean Page), a paladin who ages more slowly than normal humans. Together, they set out on a perilous journey filled with traps, artifacts, undead, and one obese dragon.
“Dungeons & Dragons” is nothing less than pure evening of fun at the movie theater even for non-roleplaying game enthusiasts. Pine is well-established as a talented actor, and he does not disappoint with the film’s most well-rounded performance. He also shares good chemistry with Rodriguez who plays the tough girl with a heart of gold. Finally, Grant is quite entertaining as the sleezy turncoat.
The Red Wizards are given a rudimentary backstory, but their villainy is paltry at best. This is emblematic of character development which is a little threadbare. Additionally, the action sequences are stilted at times and come off as unnatural and wooden.
Overall, “Dungeons & Dragons” remains a fun film anyone can enjoy.
“Dungeons & Dragons: Honor Among Thieves” receives three stars out of five.

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Kansas City Theater Review: HAMILTON

  • HAMILTON
  • Music Hall
  • Kansas City, Missouri
With an ensemble cast that is second to none in terms of talent, the hit Broadway musical “Hamilton” has taken the Music Hall by storm. Impressive set and lighting designs, terrific costumes, and well-executed choreography on the stage makes this popular production a definite crowd pleaser.
Based upon the 2004 biography “Alexander Hamilton” by American biographer Ronald Chernow, who won a Pulitzer Prize for his 2010 work “Washington: A Life,” “Hamilton” the musical premiered off-Broadway on January 20, 2015, at The Public Theater in New York City. Adapted for the stage by Tony Award winner Lin-Manuel Miranda, who originally starred as the title character, “Hamilton” exploded from its humble beginning and went on to received 16 nominations at the 70th Annual Tony Awards in 2016 and won 11 categories including Best Musical.
Following the life of one of our nation’s founding fathers from the Revolutionary War until his untimely death in 1804, “Hamilton” explores the complexities of Alexander’s life, most notably his increasingly strained relationship with his eventual killer, Vice-President Aaron Burr. In two lengthy acts, his story is told through fast-paced song and rap lyrics. The latter of which can be difficult to understand at times, especially for those that are new to the show, and consequently makes the story a little challenging to follow.
The performance quality was a team effort as no one cast member necessarily outshined the rest. However, some of the biggest crowd responses occurred when King George III (Peter Matthew Smith) came onto the stage during the first act with the songs “You’ll Be Back” and “What Comes Next.” Also of note was the powerhouse vocals by Alysha Deslorieux as Eliza Hamilton, wife of Alexander. Her vocal range and control were nothing short of extraordinary.
Overall, the musical stays mostly true to the biography that inspired it with only a few inaccuracies or liberties taken – as when Burr is among those who confront Hamilton about money he used to hush up an affair. Burr was not present during the confrontation nor were Thomas Jefferson and James Madison as the production portrays. Be that as it may, “Hamilton” is worthwhile theatrical experience that you must have.
“Hamilton” will run through April 2 at the Music Hall in Kansas City and is currently touring through June 2024.  For ticket information, please click HERE.

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Film Review: “John Wick: Chapter 4”

JOHN WICK: CHAPTER 4
Starring: Keanu Reeves, Donnie Yen
Directed by: Chad Stahleski
Rating: R
Running Time: 2 hrs 49 mins
Lionsgate
When a film series is first launched, whether by design or by wild accidental success, the quality dims with each successive title. How many times have you heard someone say, “Yeah, I like number three but the original was so much better.” This is what makes the “John Wick” series so remarkable because each one somehow exceeds expectations and is better than the previous one. This is true of “John Wick: Chapter 4,” which is an edge-of-your-seat, action-packed film from start to finish.
We last saw John Wick (Keanu Reeves) bruised and battered after being shot multiple times, which was before falling several stories off a building. Since then, the has been hiding in the New York City underground thanks to the assistance of the charismatic Bowery King (Laurence Fishburne). His mission is simple – get revenge against the High Table. However, while killing the Elder, the only person above the High Table, grants him some initial satisfaction, it ends up causing a rippling effect across the assassin community.
One immediate effect is the arrival of Marquis Vincent de Gramont (Bill Skarsgard, “It”), a High Table senior member, at the Continental Hotel in New York City. Because of their failure to kill John, the Continental’s manager Winston (Ian McShane) and his concierge Charon (the late Lance Reddick) are stripped of their duties. This is just the beginning of a thirst for vengeance by the Marquis who forces Caine (Donnie Yen, “Rogue One”), a retired and also blind High Table assassin, to kill John. The twist is that the two assassins are old friends.
John seeks refuge in the Osaka Continental where another friend, Shimazu (Hiroyuki Sanada, “The Wolverine”), is the manager. But there is no hiding from the High Table and the Marquis’s assassins are soon swarming around John who is forced to kill more bad guys than in the previous three films combined in order to survive. Whether or not John gets his revenge is up to you to find out.
A continued strong attribute within the “John Wick” series is its choreography. A flaw for most action flicks with multiple fight scenes is that they come across as stilted. In the case of “John Wick,” its fight scenes have a chaotic fluidity that boils over into an operatic frenzy. It’s nothing short of masterful and credit to Reeves to being devoted to making his own scenes as realistic as possible.
Continuity is important as well. This comes in the form of director Chad Stahelski who has helmed every John Wick film since the series began nine years ago. The pacing and style remain as consistently entertaining now as it did in the beginning. More importantly, the continually evolving story is engrossing as it sucks you in from start to finish.
Some actors are seemingly born to play certain roles – Robert Downey, Jr. as Tony Stark, Sean Connery as James Bond, Sally Field as Norma Rae. Reeves was born to play two – Neo and John Wick. He still brings a fierce passion to the latter even though this is now his fourth time as this popular character.
Overall, “John Wick: Chapter 4” is easily the best film so far of 2023 and if you haven’t seen the previous three films then only one question remains – why haven’t you?
“John Wick: Chapter 4” receives four stars out of five.

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Film Review: “TAR”

  • TAR
  • Starring: Cate Blanchett, Noémie Merlant
  • Directed by: Todd Field
  • Rating: R
  • Running Time: 2 hrs 38 mins
  • Focus Features
With the 95th Academy Awards ceremony just days away, time is running short to get prepared for your Oscar party. To help you get caught up, here is my take on the drama “Tár,” which contains arguably the greatest performance of Cate Blanchett’s career. Nominated for six Oscars, including Best Motion Picture of the Year and Best Director, “Tár” is a tale submersed in the classical music world featuring a renowned yet complicated conductor who in part falls prey to the cancel culture phenomenon.
A protégé of the great Leonard Bernstein, Lydia Tár (Cate Blanchett) has risen from humble beginnings in Staten Island to become the first female conductor of the Berlin Philharmonic. We meet her as she is promoting her upcoming live recording of composer/conductor Gustav Mahler’s Fifth Symphony at the New Yorker Festival. We also quickly discern that Lydia is heavily reliant on her personal assistant Francesca Lentini (Noemi Merlant) and her wife and concertmaster, Sharon Goodnow (Nina Hoss).
As the moment of her greatest achievement looms, storm clouds begin to brew on the horizon when a former student of Lydia’s named Krista commits suicide. Rumors lurk of a possible inappropriate relationship between the two and Lydia encourages Francesca to delete all emails involving Krista as the deceased girl’s parents threaten to sue.
We never get to know Krista nor the exact details of her relationship with Lydia, only rumors and innuendo. The one point of validation the story provides is that Lydia becomes drawn towards a young Russian cellist, which causes fractures to form in Lydia’s marriage with Sharon. Lydia is also shown to be a bit of an egotistical bully who begins to lose her grip on reality. The final straw is a newspaper article that accuses her in the court of public opinion as being a predator, which in turn threatens her career.
Classical musicophiles will undoubtedly love the film’s musicality and the nuanced intricacies portrayed between a conductor and orchestra. Those who are not could be lost by it all. The true strength of writer/director Todd Field’s work is his dialogue as it rivals the genius of Aaron Sorkin. Its richness is second to none even though the story itself can at times be as dry as burned up toast and a little vague.
The true star of the show, of course, is Blanchett who delivers Field’s words with epic perfection. The demands of her are high with some fairly long scenes yet she succeeds time after time. Blanchett makes us simultaneously dislike Lydia while also being intrigued by her. Ultimately, she is a pitiable character as she loses everything because of assumptions and rumors not based on any hard evidence.
“Tar” receives 3.5 stars out of 5.

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Film Review: “All Quiet on the Western Front”

 

  • ALL QUIET ON THE WESTERN FRONT
  • Starring: Felix Kammerer, Daniel Bruhl
  • Directed by: Edward Berger
  • Rating: R
  • Running Time: 2 hrs 28 mins
  • Amusement Park
Nominated for nine Academy Awards, including Best Picture, Best Adapted Screenplay and Best International Feature, “All Quiet on the Western Front” is a cinematic masterpiece and one of the few truly stand-out films of 2022. A superb script, terrific acting by the entire cast and flawless direction makes this film a must-see before your March 12th Oscar watch party.
“All Quiet on the Western Front” is based upon the 1929 novel of the same name by German-born novelist Erich Maria Remarque (1898-1970), whose inspiration came from his experiences as a soldier in the Imperial German Army during World War I. It was first adapted to the silver screen in 1930 and has been routinely regarded as a cinematic classic and was the first film to win an Oscar for both Best Picture and Best Director. The 2022 version had some big shoes to fill, and it does not disappoint.
When 17-year-old Paul Bäumer (Felix Kammerer) enlists in the Imperial German Army in 1917, he and three of his friends share a romantic view of war. Brimming with patriotic zeal fueled by a school official, they are excited to experience the glory of combat in the defense of Germany. Soon after their deployment to the western front in northern France, the quartet discover just how terrible the realities of war are.
As time passes, Paul loses an increasing number of comrades as the German High Command tries to press forward with one bloody, pointless assault after another. By November 1918, Paul and all of Germany had become war weary to the point of exhaustion. It is what spurs German official Matthias Erzberger (Daniel Bruhl) to persuade the German military to pursue armistice talks with the Allied powers. Germany’s surrender means an end to the carnage, but one German general refuses to accept defeat and orders one last meaningless charge before the deadline that results in even more tragedy.
Like its 1929 predecessor, “All Quiet on the Western Front” does everything it can to demonstrate how horrific war is, which unfortunately is being played out daily on the battlefields of Ukraine. The film is darkly sobering, punctuated by battle sequences that are as close to real as cinema can make them. German-born director Edward Berger has created nothing less than a classic. Kammerer is nothing short of mesmerizing as he deftly portrays a young man who becomes a bruise and battered old soul within a short amount of time. It’s certainly an Oscar caliber performance even if he wasn’t nominated.
Overall, “All Quiet on the Western Front” should be a part of any cinephile’s movie collection.

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Film Review: Ant-Man and the Wasp: Quantumania

 

  • ANT-MAN AND THE WASP: QUANTUMANIA
  • Starring: Paul Rudd, Evangeline Lilly
  • Directed by: Peyton Reed
  • Rating: PG-13
  • Running Time: 125 minutes
  • Marvel Studios
After a long and sometimes lackluster collection of full-length movies and Disney+ series, Marvel’s Phase 4 came to an end with “Black Panther: Wakanda Forever,” which was a high note for the franchise as it nabbed five Academy Award nominations. The dawn of a new phase of Marvel movies has arrived with “Ant-Man and the Wasp: Quantumania,” again featuring Kansas City’s own Paul Rudd as the titular hero. While “Quantumania” lacks the dramatic depth of “Black Panther,” it does showcase an entertaining story with good character development, particularly with Rudd’s character, and a great performance by Jonathan Majors as the time traveling villain Kang the Conqueror.
We find Scott living a peaceful life with his teenage daughter, Cassie (Kathryn Newton) while his girlfriend, Hope Van Dyne (Evangeline Lilly) aka The Wasp has become a corporate executive. During a visit at the home of Dr. Hank Pym (Michael Douglas) and Janet Van Dyne (Michelle Pfeiffer), Cassie, with encouragement of Hank, has somehow pulled a Tony Stark by building a device that can act as a satellite in the Quantum Realm. This is much to the chagrin of Janet who demands to have it turned off, but alas she is too late as a portal opens up and sucks them all down to the Quantum Realm.
Scott and his annoying daughter stumble into a rebel camp where they are initially treated as prisoners. Meanwhile, Hank, Janet, and Hope travel to a city where Janet divulges secrets from her 30 years in the Quantum Relam, including her relationship with the time traveler known as Kang the Conqueror (Jonathan Majors). As it turns out, Kang, the Quantum Realm’s despotic ruler, is trapped and needs a complex power core to escape.
After being captured by his subordinate, M.O.D.O.K. (Corey Stoll), formerly Darren Cross who was thought to be dead, Scott is forced to reacquire the power core so Kang can enact his revenge against those who banished him. Scott soon learns the hard way that Kang was right in telling him that he is out of his league.
The first appealing thing about “Quantumania” is Scott’s development as a character during the course of the three films featuring him. Unlike Thor, who has become regressed into a buffoon and Peter Parker, who can’t seem to grow up, Scott has grown from just being a bumbling burglar. Of course, it could be more but there is obviously a reluctance to get too far away from having comedic elements in his story.
Pfeiffer is also a delight to watch as she simply takes over her scenes as the story peels away the layers of her character. However, the true star of the entire film is Majors, who already played a version of Kang in the outstanding Disney+ “Loki” series. Majors plays him with an ease as Kang vacillates between stoicism and pure rage. His Kang is easily on par with Thanos as the greatest villains in the Marvel franchise.
While the special effects are outstanding, they are simply window dressing as sometimes the settings and the story itself appear to have been copycatted elements of a pair of “Star Wars” films. The pacing is a little disjointed at times, but the biggest grievance is Cassie. She is arguably the most annoying character in any Marvel movie or series. While Newton is obviously a talented actress because she did get the part, her performance is akin to listening to someone running their nails down a chalkboard. Poorly written character and an equally unlikable performance that drains some of the life out of the film.
Overall, “Quantumania” is an entertaining flick that at least lays the groundwork for a hopefully a much better and well-rounded slate of Phase 5 films.

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Film Review: Guilermo del Toro’s PINNOCHIO

  •  GUILLERMO del TORO’S PINNOCHIO 
  • Starring: Ewan McGregor, Gregory Mann
  • Directed by: Guillermo del Toro
  • Rated: PG
  • Running time:  1 hr 57 mins
  • Netflix
Nominated for an Oscar in the Best Animated Feature Film category, “Guillermo del Toro’s Pinocchio,” or just “GDT’s Pinocchio” from here on out for brevity’s sake, is a delightful, stop-motion animated take on the 1883 Italian novel “The Adventures of Pinocchio” by Carlo Collodi (1826-90). Packed with talented voiceover work, del Toro’s effort often pulls at the heartstrings. However, it is a much darker version than the 1940 Walt Disney film and should probably be viewed by slightly older children.
The story begins in Italy during World War I when talented yet humble carpenter Geppetto (David Bradley, best known as Argus Fitch in the “Harry Potter” series) loses his son and only child, Carlo during an aerial bombardment of his village by the Austro-Hungarian air force. Devastate, Geppetto plants a pine cone at Carlo’s grave and for the next 20 years as the tree grows he grieves continuously for him.
Enter Sebastian J. Cricket (Ewan McGregor) who establishes his new home inside the pine tree only to see it cut down by a drunk Geppetto. Filled with rage, Geppetto begins to carve a wooden puppet boy from the pine tree, but passes out before he is finished. While he is asleep, a wood sprite (Tilda Swinton) brings Pinocchio to life and grants Sebastian a wish so long as he acts as the wooden boy’s guide.
When Geppetto wakes up he is terrified at what he sees as Pinocchio exhibits an uncontrollable zest to ask questions, get into trouble and not do what he is told since he has no sense of right and wrong, despite Sebastian and Geppetto’ best efforts. What follows are a series of misadventures for Pinocchio that include becoming an enslaved circus attraction and later a trainee in Mussolini’s fascist army.
The director of such previous works as “Hellboy,” “Pacific Rim,” and “The Shape of Water,” del Toro once again delves into a world with fantastical beings and how humans interact with them. And once again his story, which is also part musical, is intriguing to watch as it unfolds. Filled with tragedies and triumphs as Pinocchio learns the hard way what it means to be human, del Toro’s effort is bolstered by wonderful voiceovers that include other notables as Cate Blanchett, Ron Perlman, John Turturro and Christoph Waltz.
Overall, “GDT’s Pinocchio” is an imaginative, darkly whimsical film that will set you on an emotional pendulum from start to finish.

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Theater Review: “Hairspray”

Starlight Theatre
Kansas City, Missouri

With one of the most energetic productions you could ever hope to see, “Hairspray” is a beat you just can’t stop. Currently playing at Starlight Theatre in Kansas City, Missouri, the national tour of the hit Broadway musical, which won eight Tony Awards in 2003, is a delightful show overflowing with wonderful dance choreography, terrific vocals, and a timeless story about the power of love.

In 1988, the first incarnation of “Hairspray” was released in movie theaters with Ricki Lake in the lead role as Tracy Turnblad. Crafted by director John Waters, the film’s screenplay was based upon a 1950s and 1960s era Baltimore dance party television program called the “Buddy Deane Show.” That real life program served as the inspiration for the fictional “The Corny Collins Show,” an equally popular show in our story set in June 1962.

An overweight high school girl named Tracy Turnblad (Niki Metcalf), who gets in trouble at school for having “inappropriate hair height,” dreams of being on the dance show. So, it’s no surprise that she begs her shy, overweight mother, Edna (Andrew Levitt) for permission to go to an audition being held for a newly opened dance spot. Edna refuses out of fear Tracy will be ridiculed because of her weight. However, Tracy gets permission from her happy-go-lucky father, Wilbur (Christopher Swan) who is always encouraging her to pursue her dreams.

Edna’s world changes forever after her arrival at the television studio where Corny Collins (Billy Dawson) hosts his show. She swoons over teen heartthrob Link Larkin (Will Savarese), gets in the crosshairs of the show’s racist producer Velma Von Tussle (Addison Garner) and her prima donna daughter, Amber (Kaelee Albritton), and sees firsthand the ugliness of racism, which ultimately pushes her to be an agent for change.

Metcalf is nothing less than a pure bundle of delightful energy while on the stage. Her vocals were spot-on all the while she was seemingly forever dancing across the entire Starlight venue. Still, the most memorable moments of the opening night performance came first during a duet between Levitt and Swan. Their characters are suddenly destitute, but they express with humor and love how they can never part from one another in the sweet song “You’re Timeless to Me.” It easily produced some of the night’s biggest laughs. The moment that completely stole the show, though, came when Sandie Lee as Motormouth Maybelle, a confident and strong-willed downtown record shop owner and host of “Negro Day” on “The Corny Collins Show,” belted out “I Know Where I’ve Been.” After lots of humor, it was a starkly serious moment in the production as Motormouth sings about the struggles against racism. It was powerful and soul stirring. If it had been at the end of the show, it would have brought about a standing ovation from the audience. Lee’s voice was superb and the emotions she put into the song struck a chord with everyone there.

Overall, “Hairspray” provides a rousing night of entertainment for all.

“Hairspray” will run through June 12th at Starlight Theatre.

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Film Review 3: Top Gun: Maverick”

 

  • TOP GUN: MAVERICK
  • Starring: Tom Cruise, Jennifer Connelly
  • Directed by: Joseph Kosinski
  • Rating: PG-13
  • Running Time: 2 hrs 11 mins
  • Paramount Pictures
Pure, blissful summertime entertainment. Over thirty years in the making, “Top Gun: Maverick” lives up to all the hype and box office returns it has garnered over the past few days. It is nothing less than an epic thrill ride as Tom Cruise proves that a film does not need costumed heroes, grandiose special effects, or special cameos to be a great movie experience. In that respect, Cruise is a throwback to when a movie could be carried by the weight of the just one star’s name at the top of the movie poster. “Top Gun: Maverick” is moviemaking at its best and is a guaranteed good time at the theater.
Naval aviator Captain Pete “Maverick” Mitchell (Cruise), whose insubordination has prevented him from ever rising up the ladder in rank, comes close to being kicked out of the military by Rear Admiral Chester “Hammer” Cain (Ed Harris) after he crashes an experimental aircraft. Instead of having to return to civilian life, Maverick’s champion, Admiral Tom “Iceman” Kazansky (Val Kilmer) gets him transferred to the Top Gun school where he first made a name for himself. It’s not an option to his liking, but Maverick is left with little choice.
When he arrives in San Diego, Maverick is told he is to train an elite group of U.S. Navy aviators for a high-risk mission to knock out an underground uranium enrichment facility in an unnamed, rogue state. Complications abound as he not only has to deal with an antagonistic, clearly jealous superior officer in Admiral Beau “Cyclone” Simpson (Jon Hamm), but he also has to be the teacher of Lieutenant Bradley “Rooster” Bradshaw (Miles Teller), the son of his late wingman, Goose. It’s an estranged relationship and Maverick continues to be haunted by the tragic accident that occurred in the original film.
Of course, the film would not be complete without a bit of a love story, which comes in the form of Penny Benjamin (Jennifer Connelly), the bartender of a local drinking establishment. Their relationship is of the on-again, off-again variety and while Penny was not in “Top Gun” she was mentioned by name as being an admiral’s daughter.
Cruise is in top form with a role reprisal that has him dig far deeper into his character than he ever did before. While there is still a reckless abandon about Maverick, Cruise and the script take it to a whole new level. It’s not that he has a death wish, but he is willing to take any risk afforded to him to seemingly fill a void. There is a deep seeded pain in his soul that is nothing less than PTSD from the experience of losing Goose. It haunts him daily and nightly, and the risks appear to be a way to drown it out. Cruise dominates the silver screen with his presence as he pulls off an incredible performance, punctuated in part by a heart-tugging scene with Kilmer.
Director Joseph Kosinski shot some of the greatest fighter jet footage ever put on film. The visuals are jaw droppingly wild with clearly some of the best pilots in the world demonstrating some absolutely insane skills. No greater recruiting film for the U.S. Air Force or Navy has ever been made.
Overall, if you have not seen “Top Gun: Maverick” yet, then why haven’t you?

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Film Review: “Firestarter”

 

  • FIRESTARTER (2022)
  • Starring: Zac Efron, Ryan Kiera Armstrong
  • Directed by: Keith Thomas
  • Rating: R
  • Running Time: 1 hr 34 mins
  • Universal Pictures
In 1980, one of author Stephen King’s most iconic novels was published – “Firestarter.” The 426-page epic blend of science fiction and horror is just as good of a read now as it was then. As with a lot of King’s works, an inevitable movie adaptation was released in 1984 starring a young Drew Barrymore as the title character with the legendary George C. Scott and Martin Sheen playing her antagonists. While it remained relatively faithful to the book, the film was roundly panned by critics of the day and King himself was dismissive of the effort. Flash forward to present day when someone decided it was a great idea to remake the story with near-total disregard to King’s work. The newest incarnation of “Firestarter,” currently in theaters, is a jaw-droppingly bad film with a bland script, boorish acting and bad direction.
Through an experimental drug known only as Lot 6, college students Andy (Zac Efron) and Vicky (Sydney Lemmon, “Helstrom”) develop supernatural powers – telepathy for the former and telekinesis for the latter. They prove to be the only ones who survive experiment, or at least the only ones who remain sane. When they went on the run from a company known as DSI is unclear, but we are left to assume it started after the baby they had together began to exhibit pyrokinetic abilities.
After Captain Jane Hollister (played with melodramatic zeal by Gloria Reuben) is notified of their possible location, she reinstates cold-blooded assassin Rainbird (played with one dimensional abandon by Michael Greyeyes, “I Know This Much Is True”), who was also a guinea pig for Lot 6, to retrieve Charlie for study at her secret facility. Initially, he fails in his assignment as Andy and his 11-year-old daughter Charlie elude him. However, their freedom is short-lived when Andy is captured after they become separated. Desperate to return to her father, Charlie works to control her powers, which are numerous, over the course of just a few hours in the woods.
The newest incarnation of “Firestarter” should have never been released in theaters. It is not even worth a direct-to-streaming release. Its final destination should have been the scrap heap of horrible ideas. Ideas that involve someone thinking, “Hey, let’s ignore an already perfectly written story and turn it into a trainwreck.” There is nothing redeemable about this film. Period.
Efron’s performance exhibits the same amount of range as a tone-deaf piece of wood. There’s nothing in it to pulls us in and care about his character. However, this can be said of virtually every other bit of acting in the film. Armstrong is unable to shed tears when needed to and when one tragic event occurs, neither she nor Efron react with any sense of loss.
The pacing is boring, and the lack of suspense is palpable. If King didn’t like the 1984 film, which looks like a classic compared to this one, then he must despise this version ten-fold as it bears almost no resemblance to his book. Overall, stay away from “Firestarter” or you may get burned.

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Film Review: “Memory”

 

  • MEMORY
  • Starring: Liam Neeson, Guy Pearce
  • Directed by: Martin Campbell
  • Rating: R
  • Running Time: 1 hr 54 mins
  • Open Road Films

 

Liam Neeson’s long career was reinvented in 2008 with the thriller “Taken.” Fifty-six years old at the time of its release, Leeson went on to play in numerous action films including “Cold Pursuit,” “The Grey,” “The Commuter” and, of course, two more “Taken” flicks just to name a few. Now at the age of 69, Neeson stars in yet another action film titled “Memory,” which is about an aging hitman struggling with the onset of dementia. Initially a discombobulated story, “Memory” remains at least interesting throughout simply to watch Neeson navigate his tough guy character through the struggles of a losing war against an unstoppable enemy.
A remake of the 2003 Belgian film “The Memory of a Killer,” “Memory” introduces us to hitman Alex Lewis (Neeson) when he eliminates one of the many targets of his career. Already forgetting small things, which forces him to write notes on his arm as reminders, Alex lets a colleague know that he wants out. Begrudgingly, he accepts a contract that takes him to El Paso, Texas. After he completes his first task, Alex refuses to proceed further when he discovers his second target is a young girl and that she is the victim of a sex trafficking ring. At this point, Alex decides to take justice into his own hands.
Meanwhile, an F.B.I. task force led by Special Agent Vincent Serra (Guy Pearce) is investigating a sex trafficking operation with the assistance of a law enforcement liaison from Mexico, Det. Hugo Marquez (Harold Torres). Serra’s investigation is upended when a sting goes wrong, but a series of killings by an unknown hitman causes his superior to force him to assist local law enforcement with the case. Somehow, Serra and his team are always one step behind Alex, a man you may recall who has dementia. Needless to say, the F.B.I. and police look like Keystone Cops at times. It all leads to a crescendo of violence and “ah-ha” moments that do not take your breath away.
Director Martin Campbell has a history of either making a hit (“Casino Royale”) or a dud (“Green Lantern”), and “Memory” is more on the dud side of the equation. The story is often like a bunch of jigsaw pieces that have been tossed up in the air, the pacing is all over the place, and more focus should have been placed on Neeson’s character. The script is so poor, that Pearce’s Serra and the other supporting F.B.I. characters are irritating distractions without much substance beyond cliches. James Bond alum Monica Bellucci has proven in the past to have the ability to chew up a scene with her skill, but her antagonist character is so badly developed that her performance is sadly underwhelming.
Overall, while Neeson has some good moments on the screen, “Memory” is a film that you may want to forget about after seeing.

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Film Review: “The Innocents”

 

  • THE INNOCENT
  • Starring: Rakel Lenora Flottum, Sam Ashraf
  • Directed by: Eskil Vogt
  • Rating: unrated
  • Running Time: 1 hr 57 mins
  • IFC Films
Once upon a time, there were a plethora of western movies and television shows. Now, decades later after their demise in popularity, the superhero genre has become its replacement. Most films involving people with incredible abilities are generally straightforward. However, there are those that attempt to take a different path. The M. Night Shyamalan trilogy – “Unbreakable,” “Split” and “Glass” – comes to mind or the 2012 film, “Chronicle.” The newest addition to the more offbeat stories involving comic book-like powers comes from Norway in the form of the sci-fi/thriller “The Innocents.” Written and directed by Norwegian filmmaker Eskil Vogt (“Thelma”), “The Innocents” is a spine-tingling, edge-of-your-seat story that lingers long after its final credits have ceased rolling.
“The Innocents” is set entirely in a Norwegian housing complex where nine-year-old Ida (Rakel Lenora Flottum), her nonverbal older sister, Anna (Alva Brynsmo Ramstad) and their parents have recently moved in to. Anna receives a lot of attention from their parents as she has a severe form of autism. This makes Ida jealous, which often causes her to do things that are petty and mean.
Ida soon befriends Ben (Sam Ashraf), a young boy about her age who transforms from being a lonely, sympathetic kid to a burgeoning sociopath who has no problems crushing an animal’s head while it’s still alive. Amid it all, Ben shows Ida his special talent – telekinesis. It starts off with being able to move a bottle cap, but the more he practices the more he can do with it.
Ben turns out to be not the only who has a gift when another little girl, Aisha (Mina Yasmin Brenseth Asheim) begins to play with Anna. The duo demonstrates some type of telepathy and when all four are together, their powers are enhanced. As Ben’s darker side grows, so does the suspense as he becomes increasingly challenged by the girls.
While “The Innocents” could be construed as an origin story, it’s more of a one-off tale with a simmering build-up of suspense with a pinch of horror tossed in for good measure. The four central characters are thrust into a world they don’t quite understand yet as they grasp the concepts of good versus evil. Vogt keeps us in the dark as to how the children got their powers in their first place, which is fine because no knowing is better than trying to be convinced it is the result of touching a weird, glowing crystal in a cave. Nor does Vogt overwhelm us with an overabundance of special effects. Instead, he lets his intelligent, breath-of-fresh-air story do the talking. All four young actors handle themselves well throughout the film, although none of their performances are particularly awe inspiring.
Overall, “The Innocents” is one of the best “superhero” films you can possibly see. Just be prepared to jump in your seat a couple of times and be ready to discuss it long afterwards.

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Film Review: “The French”

  • THE FRENCH
  • Starring: Bjorn Borg
  • Directed by: William Klein
  • Ratied: unrated
  • Running Time: 2 hrs 10 mins
It was the Spring of 1981. A former Hollywood actor was the new president. The Soviet Union was a threat to world peace. (Some things haven’t changed.) Tennis rackets were predominantly wooden, but the sport itself was alive and thriving in what was truly a golden age. Originally released in 1982, “The French” is a re-released documentary that gives us unfettered access to some of the greatest legends of tennis as they make their way through the French Open tournament. Thanks to filmmaker William Klein, who is now 96 years old, tennis enthusiasts can bask in the nostalgia of watching the likes of Bjorn Borg, John McEnroe, Jimmy Connors, Chris Evert, and Ivan Lendl during their peak.
Taking placed from May 25th through June 7th, 1981, the 85th French Open was held per tradition on the outdoor clay courts at Roland Garros in Paris. Klein gives us a backstage pass that allows us to watch private interactions between players as they warm up or as they hang out in the locker room. Better than any “Hard Knocks” episode, “The French” is honest without any frills. We get a true sense of the almost happy-go-lucky nature of Yannick Noah compared to the somber, cool, and determined Borg.
This was an age of tennis when there were all sorts of personalities involved, and the game was played in a much purer form rather than today’s version where titanium rackets smash tennis balls at over 100 mph. The film’s pacing barely hits the speed limit, though, as it often drags along with way too many elongated shots of the crowd rather than focusing more on the players. Furthermore, “The French” focuses most of its time on the men while the female greats are left as almost an afterthought with Evert getting the bulk of the screen time.
The film’s biggest highlight is when McEnroe faces off against Lendl in the quarterfinals. Younger generations have no clue about his legendary tirades on the court and McEnroe does not disappoint during his match. Overall, the lone notable fact about the 1981 tournament is that it was Borg’s 11th Grand Slam title and would ultimately be his last.
Overall, “The French” is a neat look into a time capsule, but will be most enjoyed by tennis fanatics with little appeal beyond that.

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Film Review: “Dr. Strange in the Multiverse of Madness” – REVIEW 2

 

  • DR. STRANGE IN THE MULTIVERSE OF MADNESS
  • Starring: Benedict Cumberbatch, Elizabeth Olson
  • Directed by: Sam Raimi
  • Ratied: PG-13
  • Running Time: 2 hrs 6 mins
  • Walt Disney Studios
Second only to the Oscar-nominated “Black Panther” of 2018, “Doctor Strange in the Multiverse of Madness” is the best Marvel film to be released to date. Having made over $230 million domestically in its first seven days of release (Box Office Mojo), the Sam Raimi-helmed story about everyone’s favorite doctor of mystical arts is a visual spectacular with plenty of excitement, great acting, and a complicated story that demands your full attention. It is nothing short of marvelous and easily the finest since “Avengers: End Game.”
(For those who have yet to see the newest “Doctor Strange” don’t worry, you won’t find any spoilers here.) We are instantly thrust to a weird place in between universes where a pony-tailed version of Stephen Strange (Benedict Cumberbatch) and a teenager named America Chavez (Xochitil Gomez) are chased by a demon as they try to reach a powerful spell book. The incredible situation goes from bad to worse before America, who has the ability to travel across the multiverse, ends up in “our” universe where she is saved by Strange and Sorcerer Supreme Wong (Benedict Wong).
After realizing there were witchcraft runes on the demon that chased America, Stephen finds Wanda Maximoff (Elizabeth Olson) to request her help. He soon discovers, though, that what transpired during the events of “WandaVision” have left Wanda psychologically imbalanced. In fact, she reveals her full embracement of her dark alter ego – The Scarlet Witch. She demands Stephen turn America over to her so she can be with her children in an alternate universe. This leads to an epic magical showdown at Kamar-Taj from which Stephen and America flee across the multiverse to another Earth that is governed by a powerful group named the Illuminati.
Stephen does not receive a warm welcome from the Illuminati council despite his grave warnings about the impending arrival of the Scarlet Witch. Ultimately, he must rely upon his ex-romantic partner Dr. Christine Palmer (Rachel McAdams), who on this version of Earth is an expert on the multi-verse, to help him and America defeat the increasingly unhinged Scarlet Witch.
Cumberbatch gets to explore many more facets of a character who when first introduced to us was an egotistical narcissist on the same level as Tony Stark. However, Stephen grows significantly in this newest story and becomes a hero that can be fully embraced and understood. (A stark contrast to Peter Parker who never seems to mature past be a mistake prone, bumbling stumbling man child.) Stephen Strange may still have elements of over-confidence, but with Cumberbatch’s undeniable skill and some solid writing, he becomes fully developed hero in this second film devoted to the Master of Mystic Arts.
“Doctor Strange in the Multiverse of Madness” easily has some of the best eye candy of the entire Marvel collection with dazzling special effects and colorful imagery. It is also has some moments of brutal violence, hence the PG-13 rating, as it alternates between dark moments of despair and flashes of levity that we have come to expect in all of the Marvel flicks. The assembled cast is nothing less than fantastic with particularly stand-out supporting performances from Olson and McAdams.
In the end, “Doctor Strange and Multiverse of Madness” is the best entertainment you will find currently at any cinema.

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Film Review: “The Northman”

 

Starring: Alexander Skarsgard, Anna Taylor-Joy
Directed by: Robert Eggers
Rated: R
Running Time: 2 hrs 17 mins
Focus Features

If you have not seen the Viking action/drama “The Northman” yet, then you are missing out on a classic work of historical fiction by director Robert Eggers (“The Lighthouse,” “The Witch”). Headlined by a superb performance from Alexander Skarsgard, “The Northman” is based upon a Scandinavian folktale written by Danish historian Saxo Grammaticus (c. 1150-c. 1220), which served to later influence William Shakespeare’s writing of “Hamlet.” Eggers’s glorious cinematic take on the ancient story of Amleth is violent to the core with an emphasis on historical detail and Viking mythology.

The story, which is a tad slow occasionally, begins in the year AD 895 when King Aurvandil War-Raven (Ethan Hawke) returns to his island kingdom of Hrafnsey. A celebration, organized by his wife, Queen Gudrun (Nicole Kidman) is held to honor his triumphant return. However, King Aurvandil, who bears a terrible wound, refrains from too much revelry as he is focused on preparing young Amleth to be his successor. As such, they participate in an ancient ritual overseen by the king’s jester, Heimir the Fool (Willem Dafoe).

During the morning after the king’s return, he is betrayed by his brother, Fjolnir the Brotherless (Claes Bang, “The Square”) and Amleth must flee the island to stay alive, but not before he vows repeatedly to get his revenge. This fire within serves him well as he is taken in by Vikings who raise him as a berserker. During one of their forays into the lands of the Rus people, which encompasses parts of modern-day Belarus, Russia, and Ukraine, Amleth (Skarsgard) learns that his uncle was overthrown by King Harald of Norway and lives in banishment in Iceland.

Seizing the opportunity to get his vengeance and rescue his mother, Amleth disguises himself as a slave before slipping onto a ship bound for Iceland. It is during the voyage that he meets a Slavic slave named Olga (Anya Taylor-Joy, “The Queen’s Gambit,” “The Witch”) who claims she is a sorceress, something she proves later. A connection develops between them as Amleth bides his time while continuing his ruse under his uncle’s nose.

Skarsgard, a native of Sweden who had long wanted to do a film about Vikings, is a powerful, physically imposing presence on the screen. He makes Thor the God of Thunder look weak and insignificant and could have possibly been a better choice for that role as he immerses himself into Amleth as seamlessly as Daniel Day Lewis on his best day. The one quibble with his performance is that sometimes it is a little difficult to understand his dialogue.

While Hawke is delightful in his role, his performance is all too brief, and it feels like he was underused. Kidman enjoys a little more screentime, but her presence is overshadowed by Taylor-Joy’s who is enchanting. While Olga may have some magical abilities, Taylor-Joy doesn’t let it be the defining characteristic of her pivotal role.

Eggers’s work is genuine homage to Viking culture and lore without losing itself in special effects-generated magic. Sure, you can sense a pinch of “Conan the Barbarian” and even “Lord of the Rings” in parts of “The Northman,” but in the end it remains true to itself and retains its own special identity.

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Filed Under: Film Reviews Tagged With: film, northman, review
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