MARY QUEEN OF SCOTS
Starring: Saoirse Ronan, Margot Robbie, Guy Pearce, Joe Allwyn, Jack Lowden
Directed by: Josie Rourke
Rated: R
Running Time: 124 minutes
Focus Features

By many accounts Mary Queen of Scots had a tragic life. The monarch was widowed at eighteen and eventually beheaded decades later only after nineteen years in captivity in England. She can easily be seen as a victim of the machinations of the men who surrounded her. The film version of her life however, from lauded stage director Josie Rourke and scripted by “House of Cards” creator Beau Willimon, would not have you simplify it as such. Instead, the film Mary Queen of Scots, presents an intimate portrayal of a passionate young woman navigating the troubled political waters of both Scotland and England. Although at times it can be hard to keep track of everyone in play, Rourke delivers a strong, richly designed film lead by a confident Saoirse Ronan.

Rourke’s take on Mary benefits heavily by opening up its scope to include the simultaneously eventful reign of Queen Elizabeth I (Margot Robbie). From the opening of the film, we know both that Mary’s very existence threatened Elizabeth’s claim to her throne and that Mary would be condemned to die by that same cousin. Yet, with this is mind, the film never quite pits them against each other. Instead Rourke is able to take a more modern look at how each of them faced no-win choices when being challenged by contemporaries frowning upon female rulers. Elizabeth for her part is always wary of taking a husband or providing the heir that her privy council demands while Mary is viewed as a harlot for doing exactly that—but the wrong husband. This dichotomy of the spinster and the slut stereotypes is keenly observed by Rourke and never too on the nose.

Among the menfolk in this story is where I found some difficulty keeping up. It’s a little difficult at first to grasp onto which lord or musician giving Meaningful Looks from the shadows will evolve into an actual relationship for these women. They can be a bit of a blur of beards. Often times when they were talked about while off screen, I regretted not doing a quick wikipedia read of Mary to get a handle on which of them really warranted attention. Still, David Tennant as a vicious Scot priest set firmly against Mary is a snarly delight in this crowd. Buoying every performance, it cannot be understated, is some truly beautiful costume design by Alexandra Byrne .

Finally of course though, the film rests heavy upon its titular monarch and even though she shares much of the marketing with Robbie, this is Ronan’s film. She is by turns steely and vulnerable, whether on the battlefield or in the private company of her lifelong handmaidens. Rourke’s film shines when it spends more intimate time with Mary than many period films usually do with their subjects. Meanwhile, Ronan seizes her titular responsibility with relish and infuses Mary with such conviction that I was rooting for her even as I knew she was doomed. 

FANTASTIC BEASTS: THE CRIMES OF GRINDELWALD
Starring: Eddie Redmayne, Katherine Waterston
Directed by: David Yates
Rated: PG-13
Running time: 2 hrs 14 mins
Warner Bros.

Is “Fantastic Beasts: The Crimes of Grindelwald” fantastic or criminal? The answer falls somewhere in the middle. This second installment of what is intended to be a series of “Fantastic Beasts” films, all from the mind of “Harry Potter” creator J.K. Rowling, is a long-winded tale that lacks the charm of its 2016 predecessor. The story is predictably darker in tone, but a bulk of the over two-hour running time is a snooze fest.

Set in 1927, “Crimes of Grindelwald” begins excitingly enough as we watch Johnny Depp play the steely fanatical villain Gellert Grindelwald, regarded as one of the two most powerful wizards around, make a daring yet well-planned escape from the British Ministry of Magic. That’s when the story comes to a screeching halt as we are then forced into the world of mild-mannered Magizoologist Newt Scamander (Eddie Redmayne) as he tries to get his international travel ban lifted.

Not much has changed with our hero since the original – he refuses to take sides, rarely makes eye contact with anyone, and has trouble communicating with the opposite sex. Newt is offered the chance to work alongside his brother for the Ministry of Magic in order to locate the powerful yet troubled Obscurial Credence Barebone (Ezra Miller, “Justice League”), but he refuses. However, he cannot turn down his former teacher Albus Dumbledore (Jude Law) so he travels secretly to Paris with his Muggle sidekick in-tow, Jacob Kowalski (Dan Fogler) who’s fighting with wizard girlfriend Queenie Goldstein (Alison Sudol).

It’s all rather sluggish and overly contrived as we are bombarded with a dizzying array of plot points for not only this film, but also for the “Fantastic Beasts” sequels that are already planned. There is little in the way of suspense even though more and more characters are introduced who are trying to find Credence for a variety of reasons, some more mysterious or nefarious than others. Rowling’s story also tries to rekindle the endearing romance in the first film between Newt and Tina Goldstein (Katherine Waterston). Unfortunately, Rowling’s screenplay fails as their bumbling stumbling relationship feels like something straight out of a TV sitcom.

The character of Newt ends up becoming a boring, overshadowed distraction instead of a hero as we are left with wanting more of Law and Depp. Both are a treat to watch on the silver screen with Law successfully being able to make his own mark on a character already forged in the minds of “Harry Potter” followers by Michael Gambon and the late Richard Harris. Depp delivers one of his better performances as Grindelwald as he stays away from being overly quirky and gives his character a magnetic solemnity.

The pace is picked up in the last third of “Crimes of Grindelwald” as secrets are revealed, characters die, and those still living chose sides. Plenty of magical special effects abound but none are necessarily ground breaking or spell binding. Maybe it’s a sophomore slump and the “Fantastic Beasts” series will get better, but in the meantime it’s a disappointing pill to swallow.

Starring: Viola Davis, Michelle Rodriguez and Elizabeth Debicki
Directed By: Steve McQueen
Rated: R
Running Time: 129 minutes
20th Century Fox

“Widows” begins with Harry Rawlings (Liam Neeson) and his partners in crime meeting a quick, fiery end, before we even really get to know any of them. But we quickly learn that the ripples from their deaths have major implications on a bitter election campaign in one of Chicago’s most blighted neighborhoods, along with millions in dirty money that needs to be repaid. Unfortunately caught up in all this, is three grieving widows. Veronica (Davis), Rawlings’ widow, decides to use a notebook left behind by her late husband, detailing his next planned heist, to prevent herself from being another victim.

“Widows” is the kind of movie we’ve seen before. Any number of political thrillers, revenge, or crime and heist movies come to mind. But what makes “Widows” unique is how much it subverts tropes or incorporates them into themes that touch upon racism, police brutality, class warfare, gender politics, and more. Sometimes the themes are heavy, layered on thick so that a general audience can understand. Other times they’re casually sprinkled in, only coming through the film’s visual aesthetics or the director’s incorporated camera techniques.

The blueprint for “Widows” could have easily been used to craft a well-made summertime popcorn flick that would have delighted the masses. “Widows” will still delight those masses, but it’s nourishing because of the sustenance it finds in the script and it’s performances. When the film could have easily told the audience what’s happening, it shows it. And when the actors could have easily read through plot points and pertinent topics, they etch everything we need to know on their faces and through their actions.

Davis, who should seriously be on everyone’s radar in Hollywood by now, channels a primal feminine rage about the destruction left behind by the men in her life, whether it be personal or circumstantial. Rodriguez and Debicki, playing the other two widows brought in for the all-female heist, feed off of Davis’ energy. Even in scenes where Davis’ is paired alongside any of her male cohorts, she seems to tower above them in terms of dramatic acting chops.

There is no small role in “Widows” as the likes of Colin Farrell, Jacki Weaver, Matt Walsh, and others provide another layer for viewers to peel back. The nuances of every role in this film beef up the main players, but also supply much life to an already bleak backdrop. Steve McQueen has entered the mainstream with a stellar ensemble crime heist film that interjects weighty thematic material that’s easily digestible and relevant. “Widows” is one of the must-see films of the years, for general audiences and cinephiles.

WILDLIFE

Starring:  Ed Oxenbould, Carey Mulligan and Jake Gyllenhaal
Directed by:  Paul Dano
Rated: PG 13
Running time:  1 hr 45 mins
IFC

It’s amazing what a little pride will do to a family.  Take the Brinsons.  Things go to bad when man of the house Jerry (Gyllenhaal) is fired from his job.  They go to worse when he is offered his job back but, because of his pride, refuses to accept it.  With a family to support – wife Jeanette (Mulligan) and 14 year old son Joe (Oxenbould) – he leaves home to take a dangerous job as a firefighter.  He should have just gone back to work.

I don’t know what is happening in Hollywood, but so many young actors are taking the reins and writing and directing their own features.  This film was directed by Paul Dano (the co-star of such films as “Little Miss Sunshine” and “There Will Be Blood”) and written by Dano and fellow actress Zoe Kazan (“The Big Sick” and the granddaughter of the great director Elia Kazan) and while it starts off a little slow, as the story grows you begin to embrace it.

The performances are smartly delivered, with Gyllenhaal at his most hang-dogged at times and Mulligan her beautiful but unsure self.  The story is told through the eyes of Joe and Oxenbould is fine as the central story point.

Technically the film is beautifully presented, with long shots of mountains and sky as far as the eye can see.  Credit this to director Dano and cinematographer Diego Garcia, who give the film almost a “postcard” quality and Mr. Dano a very strong freshman effort from behind the camera.

BOY ERASED

Starring:  Lucas Hedges, Nicole Kidman and Joel Edgerton
Directed by:  Joel Edgerton
Rated: R
Running time:  1 hr 54 mins
Focus Features

ARKANSAS.  THE LAND OF OPPORTUNITY.

So reads the license plate that is the first thing we see at the beginning of “Boy Erased.”  But opportunity for who?  It’s certainly been good to the Eamons family.  Father Marshall (Russell Crowe) is not only the town preacher, he also owns the big car dealership in town.  Wife Nancy (Kidman) is busy in the community.  And son Jared (Hedges) is a popular high school boy who dreams of being a writer.  But Jared has a secret, one that will pit him against those he loves because of those he loves.

Based on the experiences related in the book “Boy Erased” by Gerrard Conley and written by director and co-star Edgerton, the film follows Jared as he is outed to his parents and made to attend a program that will “cure” him of his supposed misdeeds.  He is taken to a campus run by Victor Sykes (Edgerton).  The rules are strict.  No cell phones allowed in classes.  They are actually confiscated each morning, with the staff informing the owners that they will be checking their contacts and calling random numbers to ensure there is no evil happening on the other end of the line.  No contact, except for the briefest of handshakes.  Heck, you have to take a counselor with you when you use the bathroom.  Most important…you do not discuss the therapy with anyone outside the campus.  Jared wants so much to please his parents but as his therapy continues he realizes that to deny his true feelings is to deny himself.

I was a huge fan of Edgerton’s previous writing/directing project, 2015’s “The Gift” and he continues to show with his work here that he is one of the most gifted filmmakers working today and one to be reckoned with for many years.  It can’t be easy pulling double duty both in front of and behind the camera, but he keeps the story moving while allowing the audience to absorb the happenings on screen.  He also pulls amazing performances out of both Hedges and Kidman, with both of them doing some of their best work in recent years.  Add to the acting kudo list Edgerton himself, as well as supporting work by Flea, Jesse LaTourette, Britton Sear, Theodore Pellerin and David Joseph Craig, whose smug face and attitude made me want to punch him every time he came on screen.

Awards season is coming and “Boy Erased” has easily put itself in the running for some end of the year gold.

Starring the Voice of: Benedict Cumberbatch, Rashida Jones and Kenan Thompson
Directed By: Scott Mosier and Yarrow Cheney
Rated: PG
Running Time: 90 minutes
Universal Pictures

“Dr. Seuss’ The Grinch” is a moderately safe viewing experience for children. I say this because the past several films churned out by Illumination have been less than stellar with questionable ethics, and they were more about selling toys than they were about telling a genuine story. Illumination has managed to create a crowd pleaser for kids new to the story. But while its super sugary goodness may satisfy kids, it’ll certainly give their parents a toothache.

“The Grinch” is fairly similar to the book and the television special that followed, give or take a few creative liberties that are equally distracting or amusing. Benedict Cumberbatch voices the furry green creature that loathes Christmas, and honestly does a spectacular job. He’s likeable, yet cruel, as well as casually dorky, yet firm with his voice. The rest of the voice talent, Kenan Thompson, Rashida Jones, and others, feel like they were only given a few hours to rehearse and read their lines.

When taking into account, the films based on Dr. Seuss’ work, “The Grinch” stands firmly near at the top by default. It’s not gross and obnoxious like the live-action “Cat in the Hat” or a complete misfire like “The Lorax,” another Illumination film. It’s possible the studio learned from those mistakes, catering towards fans of the original work while making sure they didn’t make it to obnoxiously modern with pop-culture references.

The criticisms of commercialism aren’t lost on the 2018 update on Dr. Seuss’ classic tale. “The Grinch” spends several moments touching upon how the title character is transfixed on the buying, receiving and gluttony of the holidays. It’s the viewpoint of a curmudgeon who’s spent his life loathing a holiday that’s beloved by all. You probably know the story by now about how the cynic softens and how his heart grows multiple sizes by the tales end. It’s hard to take that message at face value when Illumination’s only reason for retelling this tale is for financial reasons.

There are several attempts by the creative team to inject some original, unique ideas into the timeless tale, but only one seems to actually stick. The idea that the Grinch is an orphan, whose deep-seated dislike for Christmas stems from his parentless childhood and the PTSD that follows helps bring everything around in a more complete circle. Other subplots brought in to help the movie don’t resonate at all, like a group of kids in town plan on capturing Santa or Cindy Lou Who’s mom who’s in desperate need of some R&R.

Just like Ron Howard’s film in 2000, this film doesn’t hold a candle to the 1966 television classic. But with television sliding to the wayside with the rising of streaming services, “The Grinch” actually has a legitimate shot at replacing that hand drawn classic. “The Grinch” is bright, flashy and silly; a perfect combination for young children who’ve had their parents read them the Dr. Seuss’ book throughout their young life during the holidays. Honestly, there’s nothing wrong with that. That’s the kind of comment that could get a critic crucified in the domain of public opinion, but anytime Dr. Seuss’ works are adapted for TV or screen, it’s a cash grab regardless of how good and wholesome the final product is.

Starring: Sunny Suljic, Lucas Hedges and Katherine Waterston
Directed By: Jonah Hill
Rated: R
Running Time: 84 minutes
A24

I’m not sure who this movie is for. Sometimes coming-of-age films ring true for everyone because it speaks specifically to those who lived the generation it represents and still manages to slip in some universal truths. “Mid90s” seems specifically niche: stoner skateboarders who grew up on “Ren and Stimpy” cartoons and played NES video games. It’s not necessarily a bad thing because the film manages to stretch outside those confines, painting a broad picture of children who’ve come from single parent homes or troubled living conditions. You just have to squint a little hard to see it.

The film focuses on 13-year-old Stevie (Suljic), who actually looks a lot more like he’s 10. He seems to take daily beatings from his older brother, Ian (Hedges), who’s just turned 18. Their single mother, Dabney (Waterston), loves them unconditionally, but seems to have taken a hands-off approach during their pubescent years. Ian and Dabney become background noise in Stevie’s life when he’s accepted into a group of rebellious young boys hanging out at a skateboard shop. This misanthropic brotherhood doesn’t seem to have much in common, but the glue that binds them is their status as outcasts at home, school and in life. The alpha dog of the group, Ray (Na-Kel Smith), also manages to keep them all in line, even when they’re at each other’s throats.

“Mid90s” is the kind of movie “Lords of Dogtown” wishes it was, even though the target audience might fight me on that unpopular opinion. “Mid90s” prevents itself from being overly dramatic and unrealistic thanks to Hill’s raw script which highlights the politically incorrect vernacular of the time while unflinching capturing troubled youth in Los Angeles. However, there are a lot of gaping flaws in how everything is presented. The comedy sprinkled throughout sometimes works, but also undercuts the seriousness of several situations. It also may not be funny for those uncomfortable with how carefree some slurs were used by teens in the 90s. There’s also one scene in particular that quickly goes from uncomfortable to borderline exploitive.

There are flashes of creativity with Hill’s directorial debut, but too often he limits his characters and the stories they have to tell. There’s an inventive subtleness to what Hill reveals about Stevie and his crew, but too often we’re left with more questions than answers. The scope is so narrow that the average moviegoer may find “Mid90s” to be too brash and at times, a bit derivative. But underneath its crass nature, are good-intentions and a unique perspective on growing up that we’ve rarely seen.

BOHEMIAN RHAPSODY
Starring:  Rami Malek, Lucy Boynton and Joseph Mazzello
Directed by:  Bryan Singer
Rated: PG 13
Running time:  2 hrs 14 mins
20^th Century Fox

I’m going to confess something here.  On my list of life regrets, one of the ones near the top has to do with the fact that I had a few opportunities in my lifetime to see the band QUEEN live in concert and never went, always telling myself, “I’ll see them the next time they come around.”  Sadly, on November 24, 1991 that statement became moot, as the world mourned the death of the bands flamboyant lead singer, Freddie Mercury (music trivia purists will also note that Eric Carr, the 2^nd drummer for KISS, also passed away on that date).  Director Bryan Singer’s new film, “Bohemian Rhapsody,” containing an amazing star-making performance from Rami Malek, lets the world know that Freddie isn’t dead!

London, 1970.  When we meet Farrokh Bulsara (Malek) he is unloading luggage at Heathrow Airport.  He is not happy in his work, especially when his co-workers refer to him as “Paki.”  “I’m not Pakistani,” he constantly reminds them (he was actually Parsi, having been born on the island of Zanzibar before his family moved to England).  While his mother and sister dote on him, he knows his father is ashamed of him, scolding him for going out late at night and imploring him to follow his father’s words of “Good Thought.  Good Words.  Good Deed.”  Farrokh has the opportunity to meet a band who has just lost their lead singer and he soon gets the gig.  A few changes, including the name of the band (and its lead singer) and QUEEN, as well as Freddie Mercury, are on their way.

Full of the music you will fondly remember and featuring one of the most immersive performances by an actor EVER, “Bohemian Rhapsody” is a musical masterpiece.  And while the film is definitely designed around the flamboyant Mercury, the other band members – Brian May (Gwilym Lee), Roger Taylor (Ben Hardee) and John Deacon (Joseph Mazzello) – are given ample screen time, allowing their characters to be as fleshed out as possible.  They enjoy the musical ups (concert tours and success) and downs (the head of the record company hate’s their music and concepts, critics hate the song “Bohemian Rhapsody”) together, as a family.

However, anyone familiar with the QUEEN story knows this may not be a family you or I would like to be a part of.  Besides the “getting better through science” fast track that Freddie s drug abuse puts him on, there is the same kind of in-fighting and arguments between the members of the group.  There is also the subject of Freddie’s sexuality.  He meets the “love of his life,” Mary (Boynton) but she understands that there will always be an unsaid “thing” between them that will keep them apart.

The film follows the band through their appearance at 1985’s LIVE AID.  It is here that they cemented themselves as one of the greatest bands of all time.  Four decades later, they still hold that distinction.

Confession number two:  I’m old enough to say that my first concert was Elvis Presley (Valentine’s Day – 1977) so when I say I’ve seen them all, I’ve seen them all.  And I’ve said for years that the greatest front man EVER was Freddie Mercury.  If you care to disagree, drop me an email and we’ll talk about it.

HALLOWEEN

Starring:  Jamie Lee Curtis, Judy Greer and Will Patton
Directed by:  David Gordon Green
Rated:  R
Running time:  1 hr 46 mins
Universal

There are a handful of films that can be pointed to and described as “game changing” in Hollywood history.  “Citizen Kane” broke all the rules as to how a film is made.  “Jaws” gave us the summer blockbuster.  “Star Wars” ensured that sci-fi fans would always have a voice.  And where do you start when you talk about the Marvel Cinematic Universe?  In 1978, another film arrived and changed the face of the horror genre’ forever.  That film was “Halloween.”

We “meet” Michael Myers as an adult, standing alone in a squared-in area of a state-run mental institution.  He is being visited by a film crew working on solving a mystery:  why did 6-year old Michael stab his sister to death on Halloween night, 1963 and why, after escaping from captivity, did he return to his hometown 15 years later and kill again?

One thing to note here for fans of the series, or just those that are interested.  Despite a plethora of “sequels” to the 1978 original, they are treated here as non-existent, making THIS film a continuation of the original.  And I’ll say here that the film, with some tongue in cheek references to other films, works well.  The scares are legit and the performances, led by the amazing Jamie Lee Curtis, are well delivered.

I was surprised to learn that this film was co-written by the always funny Danny McBride.  Good job.  The script is solid, with some nice set-ups inter-spliced with some emotional family moments between Curtis’ Laurie Strode and her estranged daughter and granddaughter.  But you go to these films to see the boogeyman get his comeuppance.  So, what are you waiting for?

BEAUTIFUL BOY
Starring: Steve Carell, Timothee Chalamet, Amy Ryan, Maura Tierney
Directed by: Felix Groeningen
Rated: R
Running Time:  2 Hours
Amazon Studios

Felix Van Groeningen spins a pair of true life father and son memoirs about the latter’s struggle with drug addiction into two really touching turns from both Steve Carell and Timothee Chalamet in Beautiful Boy. The film opens in limited release today and despite some heavy-handed technical choices, succeeds on the authenticity of Carell and Chalamet’s performances.

Steve Carell is instantly sympathetic as David Sheff, who we meet in the midst of his son Nic being missing for a few days—a not unusual occurrence as it turns out. I was relieved when early on his wife (Maura Tierney, bringing a lot to a smaller role) gave him a hug because you can just read on his face such a high level of fragility. He’s worn down by Nic’s habits and tired but also terrified and barely holding it together, he needs that hug! Meanwhile Chalamet suppresses any temptation to overact Nic’s drug addled tics. Instead he keeps all the manic energy behind his eyes and in his slightly unbalanced physicality. Some of the strongest scenes come when Nic is desperately trying to deny that he’s relapsed to get money from an unbelieving David. The film’s greatest strength is resisting the temptation to come down hard on either side of this struggle. “Relapse is part of recovery” becomes David’s mantra when Nic disappoints but that doesn’t mean he’s wrong when he needs to refuse Nic for his own sake. At these moments Carell is almost painfully affecting (frankly, I wanted to hug him too) and I felt my heart racing at times when he, understandably, has to snap and really argue with Chalamet.

There are number of choices Van Groeningen makes however that jar you right out of the story in drastic ways. The music over the opening of the film when we’re introduced to Dave and young Nic’s relationship is so overwrought I felt as though we’d dove right into the climax instead of the titles. These heavy-handed musical interludes occur over and over either in instrumental or lyrical form but I only felt emotionally touched—because how can you not be?—by the titular John Lennon tune which Carrell sweetly sings to young Nic as he tucks him in.

And while I’m discussing Young Nic, besides Chalamet—who, at most is meant to play Nic in his twenties—not just one, but three other boys are deployed to play a younger Nic in flashbacks. It’s distracting not only for the quantity of actors but because the first young Nic is none other than It‘s Jack Dylan Glazer. Glazer himself is fast becoming as recognizable A Name as Chalamet, so when he also gets replaced by still younger models it starts not to feel like the same character. More like props for David. The film is a vital story for a time when America is seeing an epidemic of young people overdosing but in these odd choices, the film gets in the way of itself. When it backs off and let’s the actors take control, A Beautiful Boy shines.

A STAR IS BORN
Starring:  Lady Gaga, Bradley Cooper and Andrew Dice Clay
Directed by:  Bradley Cooper
Rated:  R
Running time:  2 hrs 15 mins
Warner Bros.

To quote “Beauty and the Beast,” it’s a tale as old as time.  Big star on the way down meets rising star on the way up.  They fall in love.  One embarrasses the other and their love is tested.  The tale is so old that it’s already been told, very well, three times before.  But the fourth time may be the best!

Jackson Maine (Cooper) is a popular singer who has lived his life on the road.  Once enjoying his time on stage, now he gets by with alcohol and drugs, showing up, plugging in then hurrying off-stage to the seclusion of his limo.  One night, while looking for a place to stop, he ends up at a drag club, where he gets the chance to listen to a young woman named Ally (Lady Gaga – I was just going to put “Gaga” but I’m not sure how the first name/last name thing works here.  I guess I could have put “Stefani Joanne Angelina Germanotta” but that would probably confuse you even more.  Ally does an old Edith Piaf song and soon Jackson is mesmerized by her voice.  He invites her out with him, where they buy some beer and talk about music.  When he drops her off at home she figures that’s the last time she will see him.  It isn’t.

A familiar story with enough new twists and turns to keep it fresh, “A Star Is Born” is a triumph.  Much of this praise must go to my rival Bradley Cooper.  (I know my wife loves me, but if Bradley Cooper came knocking I would be just a memory J).  As a first time director, especially in a film starring himself, there is an opportunity to make everything BIG and LOUD and, worse of all, put yourself front and center.  Cooper directs with a restraint that is almost unheard of with newbies.  He frames the story almost as if he’s shooting a documentary, and that close, inside look draws you into the story.  As an actor, Cooper is equally up to the task here.  His voice low and gruff (there’s a great line in the film where Sam Elliott, who plays his brother and who was also a musician, accuses Jackson of “stealing my voice”), he gives quite possibly the best performance of his career, which is saying a lot for a man who has already been nominated for the acting Oscars already in his career.

As Ally, Lady Gaga is outstanding.  We already know she can sing.  I haven’t heard a lot of her songs but I still include the night she showed up at the Academy Awards and sang “The Sound of Music” as one of my favorite all-time Oscar moments.  Not only is she in great voice, she has incredible acting chops.  Both the 1937 and 1954 versions of the film earned Oscar nominations for its stars.  The 1976 version swept the Musical Film Category and I’m predicting that both Lady Gaga and Cooper get nods for their work here.  Great supporting work from Andrew Dice Clay, Sam Elliott and Dave Chappelle make the film even more enjoyable.