As Memorial Day has come and gone, it’s time once again to take a look at some of the films being offered to us for our air conditioned enjoyment. As always, special thanks to our friends at the Internet Movie Database for some synopsis information. Opening dates shown are subject to change at the whim of the studios. (*) denotes a film that one of Media Mikes’ critics are especially looking forward to.
*ROCKETMAN Starring: Taron Egerton, Jamie Bell and Bryce Dallas Howard Directed by: Dexter Fletcher
At first I was shocked when I heard about this film. Harlan Williams playing Elton John??? Then I realized it was a different Rocketman. Following in the footsteps of “Bohemian Rhapsody,” this bio-pic tells the story of one Reginald Dwight, who the world knows as Sir Elton John. Director Fletcher took over for Bryan Singer on “Bohemian Rhapsody” and early reviews say this film is equally good.
GODZILLA: KING OF THE MONSTERS Starring: Godzilla, Rodan, Mothra Directed by: Michael Dougherty
The big guy is back and he’s bringing his pals with him.
MA Starring: Octavia Spencer, Juliette Lewis Directed by: Tate Taylor
The Podcast gang spent a lot of time trying to come up with the plot to this one. Give it a listen and let us know if we got it right.
DARK PHOENIX Starring: Sophie Turner, James McAvoy and Michael Fassbender Directed by: Simon Kinberg
Jean Grey begins to develop incredible powers that corrupt and turn her into a Dark Phoenix. Now the X-Men will have to decide if the life of a team member is worth more than all the people living in the world. Though it’s being released by Disney, this was originally a 20th Century Fox property. Now that the MCU is ALMOST one big happy family, I’m curious if the X-men will show up in a future Avengers film.
*LATE NIGHT Starring: Mindy Kaling, John Lithgow and Emma Thompson Directed by: Nisha Ganatra
A late night talk show host suspects that she may soon be losing her long-running show. Kaling is always fun to watch and I’ve been in love with Emma Thompson since “The Tall Guy!”
*THE SECRET LIFE OF PETS 2 Starring the voices of: Kevin Hart and Patton Oswalt Directed by: Chris Renaud, Jonathan del Val
Continuing the story of Max and his pet friends, following their secret lives after their owners leave them for work or school each day. Hopefully in this one, Hart’s Snowball isn’t homicidal.
AMERICAN WOMAN Starring: Sienna Miller, Aaron Paul Directed by: Jake Scott
A woman raises her young grandson after her daughter goes missing.
*MEN IN BLACK: INTERNATIONAL Starring: Chris Hemsworth and Tessa Thompson Directed by: F. Gary Gray
The Men in Black have always protected the Earth from the scum of the universe. In this new adventure, they tackle their biggest threat to date: a mole in the Men in Black organization. Sadly, the newbies won’t be trained by agents J or K.
CHILD’S PLAY Starring: Aubrey Plaza, Tim Matheson Directed by: Lars Klevberg
Hollywood again picks the bones of a dead franchise and tries to breathe new life into it. The bad news: Brad Dourif is not the voice of Chucky. The good news: Mark Hamill is.
TOY STORY 4 Starring the voices of: Tom Hanks, Tim Allen Directed by: Josh Cooley
When a new toy called “Forky” joins Woody and the gang, a road trip alongside old and new friends reveals how big the world can be for a toy. Disney’s movie about toys dolls is going to kick the crap out the Universal’s movie about a toy doll at the box office.
ANNABELLE COMES HOME
Starring: Vera Farmiga, Patrick Wilson Directed by: Gary Dauberman
Determined to keep Annabelle from wreaking more havoc, demonologists Ed and Lorraine Warren bring the possessed doll to the locked artifacts room in their home, placing her “safely” behind sacred glass and enlisting a priest’s holy blessing. But an unholy night of horror awaits as Annabelle awakens the evil spirits in the room, who all set their sights on a new target-the Warrens’ ten-year-old daughter, Judy, and her friends. The real Lorraine Warren recently passed away, for those of you keeping score at home.
Starring: Himesh Patel, Lily James Directed by: Danny Boyle
A struggling musician realizes he’s the only person on Earth who can remember The Beatles after waking up in an alternate timeline where they never existed. Written by the great Richard Curtis – who also wrote “The Tall Guy,” the movie I first fell in love with Emma Thompson with.
*SPIDER-MAN: FAR FROM HOME Starring: Tom Holland, Jacob Batalon and Marisa Tomei Directed by: Jon Watts
Following the events of “Avengers: Endgame,” Spider-Man must step up to take on new threats in a world that has changed forever. I’m guessing the start of Phase 3 of the MCU? Love Holland as Spidey and Batalon’s Ned is one of my favorite movie side-kicks ever.
*STUBER Starring: Kumail Nanjiani, Dave Bautista Directed by: Michael Dowse
A detective recruits his Uber driver into an unexpected night of adventure. As someone that has driven for Uber I will admit I’m intrigued. The most exciting thing that ever happened to me was a woman breaking up with her boyfriend in the back of my car!
THE LION KING Starring the voices of: Seth Rogen, Donald Glover and Beyonce’ Directed by: Jon Favreau
For those of you who have been on Mars for the last 25 years: After the murder of his father, a young lion prince flees his kingdom only to learn the true meaning of responsibility and bravery. Favreau worked miracles with his version of “The Jungle Book” and Disney is hoping this is another “Aladdin,” not “Dumbo.”
*ONCE UPON A TIME IN… HOLLYWOOD Starring: Brad Pitt, Leonardo DiCaprio and Margo Robbie Directed by: Quentin Tarantino
It’s the summer of 1969 and a lot of things are happening in Hollywood. Sex. Drugs. And Charles Manson. As advertised, this is the 9th film directed by Tarantino, who has always said he plans on making 10 and retiring. I challenge you to find a filmmaker that has made as many films as he has without making a dud. Even my favorite director, Steven Spielberg, has made a misstep (I’m looking at YOU, “Hook”).
FAST AND FURIOUS PRESENTS: HOBBS and SHAW Starring: Dwayne Johnson, Jason Statham and lots of cars Directed by: David Leitch
When the eighth film in this franchise came out I joked on our Podcast that the next one would be called “Fine and Furious,” because “fine” rhymes with “nine.” However, to avoid paying me money, Universal has chosen this title. Lawman Luke Hobbs and outcast Deckard Shaw form an unlikely alliance when a cyber-genetically enhanced villain threatens the future of humanity. I’ve only seen the original and part 5. However, the addition of Idris Elba as the villain might pull me into the theatre for this one.
*SCARY STORIES TO TELL IN THE DARK Starring: Michael Garza and Austin Zajur Directed by: André Øvredal
A group of teens face their fears in order to save their lives. Podcast co-host Loey Lockerby says that these books scared the hell out of her when she was a kid.
47 METERS DOWN: UNCAGED Starring: John Corbett, Nia Long Directed by: Johannes Roberts
Four teen girls diving in a ruined underwater city quickly learn they’ve entered the territory of the deadliest shark species in the claustrophobic labyrinth of submerged caves. Why isn’t this being called “48 Meters Down?”
*WHERE’D YOU GO, BERNADETTE Starring: Cate Blanchett, Kristin Wiig and Laurence Fishburne Directed by: Richard Linklater
A loving mom becomes compelled to reconnect with her creative passions after years of sacrificing herself for her family. Her leap of faith takes her on an epic adventure that jump-starts her life and leads to her triumphant rediscovery.
PLAYMOBIL THE MOVIE Starring the voices of: Daniel Radcliffe and Kenan Thompson Directed by: Lino DiSalvo
Animated feature film inspired by the Playmobil brand toys. Are you ****ing kidding me??? PLAYMOBIL THE MOVIE???? A movie about the little toys my grandchildren play with?? Quick, get me Hollywood…I want to make a movie about the game of Jacks! Believe it or not, Daniel Radcliffe was not only Harry Potter but did “Equus” on Broadway. How the mighty have fallen. Look for him to reprise the role of Harry Potter when he leads tours around Universal Orlando.
In April 1986 the most catastrophic man-made incident the planet had ever seen occurred when reactor 4 of the Chernobyl nuclear plant exploded during what should have been a safety test. The effects of the accident still wreak havoc over the landscape and containing the fallout has become an industry unto itself. It’s a job which will require centuries of human support. Tonight on HBO, Craig Mazin’s five-part miniseries, CHERNOBYL, dives deep into the the accident as it happened and the human cost and bravery it required to ensure that this tragedy did not engulf still millions more.
This past week at the Tribeca Film Festival, Mazin and his talented cast debuted the first two episodes of the series on the accident’s 33rd anniversary. The premiere episode was nothing short of a nightmare as the series delves into, in brutal detail, the accident and the shocking mishandling of both the initial fire and the surrounding population in those crucial first hours and days of fallout. It was a tense first hour and a brilliant setup into the second which saw the introduction of the scientists and politicians who then had to set about handling what was to come. The second episode in particular sees a stellar performance from Stellan Skarsgard as he plays a man coming to grips with his own mortality and entreating fellow countrymen to show selflessness so that millions can be saved. I spoke with Skarsgard, who also offered brief comments on his upcoming work in DUNE, as well as co-star Emily Watson on the red carpet about their own knowledge of the accident as it happened and the timely message this series has to offer in regards to listening to scientists.
Emily Watson plays Ulana Khomyuk, a character created for the show as an entry-point into the role of a collection of European scientists in the fallout of Chernobyl.
Lauren Damon: Your character isn’t one specific person, but represents a collection of people involved with the accident, did you speak to people who experienced this?
Emily Watson: No. It’s sort of in tribute to many of the scientists who worked on the discovery of what happened. So I kind of had a bit of a blank sheet really to make up what I wanted to do. But Craig had written the character as coming from Belarus, which is a place that suffered terribly in the second world war. And she would have been a young child at that time, so that gave me a sense of just finding someone who was very very tough. It made her the perfect person really to go after the truth and find out what happened.
Do you remember when you were first aware of the Chernobyl accident in your life?
Watson: Yeah, I was a student at university and I remember there were students at my college who were on a year out, away in Kiev, and they all had to come home pretty quickly, it was very scary.
Did you have any misconceptions about the event going into this project that the script changed for you?
Watson: Oh my god, when I started reading the script, I had no idea that sort of within a few days–sort of 48 hours after the first explosion–there could have been one that was ten times worse. That would have taken out half of Europe.
In theory you could have been in range of those effects?
Watson: Definitely in range of radiation fallout…But yeah, it could have been much much worse. It was due to the heroism of the people on the ground who contained it and prevented it from being much worse.
What’s the biggest take away you’d like viewers to get from this series?
Watson: I think it’s a parable for our times. I think you ignore the truth and scientists at your peril.
Stellan Skarsgard plays Boris Shcherbina, the Deputy Head of the Soviet Government at the time.
What did you find surprising from hearing about Chernobyl originally in 1986 and then from working on this project?
Stellan Skarsgard: What I knew from ’86 was what you got from news media, which gave you a sort of superficial idea of what actually happened. What we learned through working with this material is I know now what technically went wrong, how the reactor works and what the mistakes they made were.
You also learn about it [was] more grave, the sort of the political system–the impact that had on the accident. When you have a system that is supposed to be perfect, you cannot allow any dissent in terms of somebody criticizing anything you do or any flaws cannot be accepted. And that then means that the truth was suppressed. It was all over the Soviet Union at the time. I mean truth is suppressed also for other reasons in the west now. I mean when you talk about Fukushima that was money that suppressed truth and created disaster there. In Boeing, you sent planes that are not fit for flying because you want to make money. So another way of suppressing truth and science. I think it’s important, an important film because it–not only because it talks about what we’re doing to this planet, the environment, which is really scary, but it also talks about how important it is that we listen to people who know what they’re talking about.
Facts are facts. They are not just individual ideas. Some facts you have to deal with and you have to accept and we have to listen to scientists. I mean 98% of the scientists in the world say that we are heading for a catastrophe in terms of global warming. We cannot ignore that. Do not ignore that.
Tell us about your character
Skarsgard: My character I’m playing Boris Shcherbina who was a minister in the government and who got the responsibility for cleaning up the mess. And he’s a man who spent his entire life working within the system and defending the system and he ends up realizing that this accident is a result of the system. And he has to question the system and he also has to decide whether he should keep on defending the system that is flawed. Or if he should start defending the truth.
Skarsgard’s next film role is in the highly anticipated adaptation of Frank Herbert’s sci-fi classic, DUNE, where he’ll play the villainous Baron Harkonnen
Lauren Damon: Have you begun work on DUNE as Baron Harkonnen?
Skarsgard:I haven’t started shooting yet, we’re still doing prosthetics work
That’s what I was wondering! Because the Baron is such a grotesque character but when you were cast I remember looking at a shot of you as Bootstrap Bill [Skarsgard’s heavily barnacled Pirates of the Caribbean role] and thinking ‘This man can handle anything they put on him!’
Skarsgard: [Laughs] That’s very nice of you! Thank you. I will probably spend probably six to eight hours a day in makeup and it will look fantastic.
What are you most excited about in doing that project?
Skarsgard: It’s a great story. It’s a fantastic world and Denis Villeneuve is a director that I’ve always wanted to work with. So I’m really happy, he’s a wonderful man and a great director. So I think–except for the eight hours in makeup–I think I’ll have a fun time.
The month of May is known for many things. Flowers. The first beginnings of summer. And, here in the Midwest, another great Classic Film Screening presented by Omaha film historian Bruce Crawford.
Over the years, Bruce has put together some amazing screenings, including “Jaws,” “The Godfather,” “Young Frankenstein” and many more. On May 24th Crawford will present a special screening of James Cameron’s sci-fi classic “Aliens,” with the film’s co-star, actor Michael Biehn, in attendance.
The screening will be held on Friday, May 24, 2019 at the beautiful Joslyn Art Museum, 2200 Dodge Street in Omaha. Mr. Biehn will address the audience prior to the film and will have a meet and greet autograph session with fans after the show.
Tickets go on sale Thursday, May 2nd for $24 each and can be purchased at the customer service counters of all Omaha-area Hy Vee food stores. Proceeds will benefit the Nebraska Kidney Association. Tickets are not sold by the Joslyn Art Museum. For more information call (402) 932-7200 or (308) 830-2121 or click HERE.
ASK DR. RUTH Starring: Dr. Ruth K. Westheimer Directed by: Ryan White Running time: 100 mins. Hulu/Magnolia Pictures
Dr. Ruth Westheimer–or as the world knows her simply “Dr.Ruth”–is an icon of modern pop culture both for broadening the discussion of sexuality in the mainstream as well as her larger than life personality. At just 4’7″, the diminutive German radiates a warmth and sense of humor that easily draws people to share their deepest personal concerns with her. Dr. Ruth has been on the world’s radar since her debut radio show “Sexually Speaking” in 1980 but at ninety years old, there is so much more of her story to be told. Fortunately for film goers, director Ryan White has chosen to take a thorough look into this extraordinary woman’s history. This internationally loved figure survived the Holocaust and time as a sniper in war-torn Jerusalem all before she reached Ellis Island to begin life in America as a single mother at a time when that was far from the norm. And then she took the media by storm. The documentary itself is as accessible and often light-hearted as its titular sex therapist while not shying away from her tragic beginnings.
Dr. Ruth was born in 1928 as Karola Ruth Siegel to Orthodox Jewish parents in Germany. As WWII was brewing, Karola saw her father arrested and she was sent away by her grandmother as part of the Kindertransport to an orphanage in Switzerland. The small Karola did not know she would not see her parents again but she kept up writing letters with them as long as they could in addition to her detailed journals. Dr. Ruth’s own records are a boon to this doc and her diligence in conserving them is rewarded with some lovely animation work that White introduces to bridge the time before she came to the public eye (though White’s choice of an unaccented young American woman reading her diaries is at times jarring). The film also has a nice blend of her home movies chronicling her life as she finally reached America.
There’s no doubt that the strength of this documentary is owed to its magnetic subject. Watching Dr. Ruth query an Amazon Alexa in her uber-thick accent (and it takes a few tries for the electronic helper!) is a pure delight. Fortunately for White, Dr. Ruth also surrounds herself with equally well-spoken company. Her two grown children, her quartet of grandkids and even her first “boyfriend”, a fellow Holocaust survivor, are welcome additions to rounding out her life off-camera. Finally and naturally, White doesn’t skimp on emphasizing her media impact. There’s highlights from the times she embraced a certain kitsch take on her pop persona–I am guilty of first being aware of her as a kid due to that cheesy ‘sex-noises’ Herbal Essences ad from the 90s–as well as the more critical role she played in the conversation during the AIDs crisis. There is so much of the human experience packed into Dr. Ruth’s tiny frame that this documentary is an embarrassment of riches.
Ask Dr. Ruth has its New York premiere tonight as part of the 2019 Tribeca Film Festival. Fest screenings will be followed by a limited theatrical release on May 3rd and will debut on Hulu on June 1st.
Following the success of ‘Mandy,’ Nicolas Cage reuniteswith RLJE Films.
LOS ANGELES, April 23, 2019 – RLJE Films has acquired the action-thriller A SCORE TO SETTLE. Written by John Newman (“Get Shorty”) and directed by Shawn Ku (Beautiful Boy), produced by Goldrush Entertainment’s Eric Gozlan (Beautiful Boy) and Minds Eye Entertainment’s Kevin DeWalt (The Humanity Bureau), and Danielle Masters (The Recall), the film stars Nicolas Cage (Mandy), Benjamin Bratt (Doctor Strange) and Noah Le Gros (Wolves). A SCORE TO SETTLE will be In Theaters and On Demand on August 2, 2019. Mark Ward, Chief Acquisitions Officer for RLJE Films, made the announcement today.
“We are excited to collaborate for the fifth time with the legendary Nicolas Cage,” said Ward. “Following the success of Mandy, we cannot wait to take audiences on another adventure.”
In A SCORE TO SETTLE, Frank (Cage), a former mob enforcer, is released from prison after serving 22 years for a crime he didn’t commit. Now free, he sets out on a path for revenge against the people who wronged him.
Ward and Jess De Leo from RLJE Films and Arianne Fraser and Alana Crow from Highland Film Group negotiated the deal on behalf of the filmmakers. Highland Film Group is also handling international sales.
Fraser commented: “After our experience collaborating on Terminal, we are delighted to be partnering again with Mark and the team at RLJE Films. A SCORE TO SETTLE has found its perfect home and we can’t wait for audiences to experience this action-packed ride come summer!”
“We at Goldrush Entertainment are thrilled to have worked with Nicolas Cage whom brilliantly embodied the complex character of Frank Carver,” says Producer Eric Gozlan of Goldrush Entertainment. “We are ecstatic to have found a home for A SCORE TO SETTLE at RLJE Films!”
“It has never been more difficult to produce a truly independent film,” says Producer Kevin DeWalt of Minds Eye Entertainment. “We are delighted to have amassed such an outstanding cast for A SCORE TO SETTLE and to be working with great distribution partners such as the Highland Film Group and RLJE Films.”
A SCORE TO SETTLE is a Goldrush Entertainment and Minds Eye Entertainment Production and was produced by Spartiate Films in association with Paragon Media Productions. Produced by Eric Gozlan, Kevin DeWalt and Danielle Masters, the film is Co-Produced by Benjamin DeWalt and the Executive Producers are Nicolas Cage, Richard Iott, Mark Weissman, Robert Bricker, Arianne Fraser, Delphine Perrier, Henry Winterstern, Daniel Negret, Stephen Dailey, Simon Williams, Silvia Schmidt, Sam Ai, Mike King, Jeff Rice, Luke Daniels and Co-Executive Producer Ryan Winterstern.
ABOUT RLJE FILMS
A privately-owned subsidiary of AMC Networks, RLJ Entertainment, Inc. is a premium digital channel company serving distinct audiences primarily through its popular OTT branded channels, Acorn TV (British TV) and UMC (Urban Movie Channel), which have rapidly grown through development, acquisition, and distribution of its exclusive rights to a large library of international and British dramas, independent feature films and urban content. RLJE’s titles are also distributed in multiple formats including broadcast and pay television, theatrical and non-theatrical, DVD, Blu-ray, and a variety of digital distribution models (including EST, VOD, SVOD and AVOD) in North America, the United Kingdom, and Australia. Additionally, through Acorn Media Enterprises, its UK development arm, RLJE commissions and co-produces new programs and owns 64% of Agatha Christie Limited. For more information, please visit RLJENTERTAINMENT.COM.
Live-Streamed Production of Ten Original Full Moon Feature Films
HOLLYWOOD, April 20, 2019 – DEADLY TEN is an immersive cinematic initiative that will see Full Moon Features boldly producing a series of ten original genre films, live-streamed in front of fans. These ten films will include sequels of beloved Full Moon franchises, a spin on classic cult favorites, and daring soon-to-be essential genre films. Principal photography will begin shooting in June 2019 and continue throughout the year in Europe and North America. Release for the DEADLY TEN is slated for Spring 2020, and will premiere exclusively on Full Moon’s Amazon Prime Channel.
In an unprecedented move, Full Moon will be giving fans an all access pass to this unique production by providing an inside peek into the magic of genre filmmaking. Fans will be able to log into the DEADLY TEN website (www.DeadlyTen.com) and watch the current motion picture being shot in real time. Live feeds, exclusive on-set interviews, special effects secrets, pre-and post-production videos, interactive director’s blogs and more. Through this immersive experience, cineastes and budding young filmmakers can delve deep into mechanics of the movies and learn first-hand all about the joys, struggles, creativity, and hard work that goes into making a fully produced, independent feature film.
“This is one of the most exciting Full Moon production initiatives since our ’90s video store heyday,” says Full Moon founder and cult movie legend Charles Band. “It’s ambitious, high concept, a bit insane and there’s never been another interactive filmmaking concept quite like this. As Full Moon thrives in the new terrain of streaming and takes viewers to places not many have gone before, we hope fans will love being a part of our new adventure!”
The DEADLY TEN film slate will include:
BLADE: THE IRON CROSS (Dir:John Lechago)
BRIDE OF THE HEAD OF THE FAMILY (Dir: Charles Band)
NECROPOLIS: LEGION (Dir: Chris Alexander)
SORORITY BABES IN THE SLIMEBALL BOWL-O-RAMA 2 (Dir: David De Coteau, Brinke Stevens)
BLOOD RISE: SUBSPECIES V (Dir: Ted Nicolaou)
HALLOWEED NIGHT (Dir: Danny Draven)
THE HOURGLASS (Dir: Ryan Brookhart)
FEMALIEN: COSMIC CRUSH (Dir: Lindsey Schmitz)
THE SHADOWHEART CURSE (Dir: Charles Band)
THE GRIM RAPPER (Dir: Billy Butler)
ABOUT FULL MOON FEATURES Founded in 1989 by iconic independent film producer and director Charles Band, Full Moon is the successor to Band’s groundbreaking Empire Pictures Studio from the 1980’s. With Empire, Band created now-classic horror films like RE-ANIMATOR, FROM BEYOND and GHOULIES. Band’s films helped launch the career of many of Hollywood’s biggest stars including Demi Moore (PARASITE), Helen Hunt (TRANCERS), and Viggo Mortensen (PRISON), to name a few. With Full Moon, Band has produced over 150 films, including the PUPPET MASTER franchise, SUBSPECIES, PIT AND THE PENDULUM, CASTLE FREAK, DOLLMAN, DEMONIC TOYS, PREHYSTERIA!, EVIL BONG and many more. As well as feature films, Full Moon produces original series, toys, collectibles, merchandise, comic books and publishes the popular horror film magazine DELIRIUM.
Starring: Taylor Schilling, Brian Tyree Henry, Kate McKinnon, Allison Tolman, Bryn Vale
Directed by: Laura Steinel
Running time: 85 mins
The Film Arcade
At the start of Laura Steinel’s Family, we find hedge fund manager Kate (Taylor Schilling) getting beaned in the head with a bottle of orange soda at the Gathering of the Juggalos. It’s an ambitious and fitting start for a film whose primary appeal is celebrating outcasts. As it turns out, Kate is hunting for her niece, Maddie (Bryn Vale), a middle school oddball who was entrusted with her aunt for the week while her parents dealt with grandma’s hospice care. Overworked city-dweller Kate is not the least suited for childcare but winds up being the kind of outside perspective that Maddie needs in her life while her hover-parents are distracted. Though it strays unnecessarily at times, at its best moments Family works as a well meaning tribute to letting your freak flag fly.
Kate is some sort of financial guru who’s climbed the corporate ladder by presumably shirking personal attachments and steadily getting drunk with important clients. It’s the kind of movie where office drones scramble over gaining or losing “THE IMPORTANT SOUNDING NAME ACCOUNT!” but you never know what they’re actually doing because it doesn’t matter. If that set up makes you roll your eyes, I get it, I’m really reluctant when it comes to the “cold career woman softens up with a kid” trope. That said, Schilling does well by leaning into how honest and awkward Kate can be. She says what’s on her mind without the finesse demanded by social mores and even if she’s right–and she sometimes is!–her coworkers ostracize her. I sympathized with Kate despite some of her callousness because Schilling can be so funny and charming and it rings absolutely true that a woman in this environment can more easily fall off the tightrope that is the line between “speaking your mind” and being pegged as a bitch. Her work life is interrupted when her brother calls on her for babysitting duties and she’s saddled with 14 year old Maddie. Kate is supposed to be picking her niece up from ballet but finds her instead in an adjacent karate studio where she’s been secretly studying under sensei Pete (Brian Tyree Henry, just one of a number of strong supporting cast here) for weeks. And that’s just the tip of the iceberg for the disconnect between how Maddie’s parents are raising her and where her actual interests lie.
Kate and Maddie’s relationship is definitely the strong point of the film. Bryn Vale brings a frankness to Maddie that allows Kate to open up to her. Maddie knows who she is, she knows why the other kids mock her and while she might avoid them, she is not even attempting to conform to them. Instead, Maddie takes a shine to fellow weirdos at a convenience store who introduce her to the Insane Clown Posse despite Kate trying to shoo them away. An ill-fated attempt at a makeover from Aunt Kate is a standout sequence. There’s also something very endearing about this awkward niece looking at Kate hopefully when in actuality she’s falling apart inside her business-attired exterior. The trouble comes when Steinel’s script attempts to go off on tangents with Kate–a random meetup with her father in rehab, a tacked on subplot with a nosy neighbor (Kate McKinnon)–when she should have stuck with the Maddie-Kate relationship. It’s as if Kate has to make amends with literally everyone in her life before the credits roll instead of allowing her to simply have her heroic juggalo transformation for the love of her niece.
Long time readers know how much the Mikes love the movie JAWS. Well now we want to share that love with our Kansas City area fans by giving them the opportunity to an amazing evening “Jawing” with Academy Award winner Richard Dreyfuss.
The event, which will be moderated by Media Mike’s own Mike Smith, will be held on Thursday, April 4th at the Carlsen Center at Johnson County Community College. After the event, stay and enjoy a screening of the greatest film ever made (ok, I’m biased), JAWS.
Our friends at J & S Promotions has given us passes for (5) lucky readers and a guest to attend the event. All you have to do is let us know below your favorite Richard Dreyfuss film. Five random comments will be chosen and will receive a pass for (2) to attend the event. This giveaway will end on Sunday, March 31st at 6:00 p.m. Winners will be notified by email.
To purchase tickets to the event – including a Platinum VIP Package which puts you in the green room with Mr. Dreyfuss, click HERE. Good Luck!
“Jaws 2: The Making of the Hollywood Sequel,” a book written by Media Mikes co-founder Michael A. Smith, with Louis R. Pisano, has been nominated in the category BOOK OF THE YEAR for the 17th Annual Rondo Hatton Classic Horror Awards.
The Rondo Awards have recognized, since 2002, the very best in film, television and publishing in the field of Classic Horror.
“Jaws 2: The Making of the Hollywood Sequel,” was initially published in 2015. However, Smith spent two years after its publication finding more behind the scenes photos and tracking down more members of the crew to tell their story about working on the Hollywood Sequel that launched the constant stream of films we have today.
The nominated book is a limited (to 1000 copies) signed and numbered edition, with the majority of the photos and images posted in color.
If you would like to vote for the book, send an email HERE and tell them you’d like to vote for the JAWS 2 book for Book of the Year. If you would like to order a copy, please click HERE.
WOMAN AT WAR
Starring: Halldóra Geirharðsdóttir, Jóhann Sigurðarson, Jörundur Ragnarsson
Directed by: Benedikt Erlingsson
Running time: 1hr 41 mins
The personal and political overlap in Benedikt Erlingsson’s Woman At War which opens this Friday, March 1st in New York and Los Angeles. The Icelandic comedy-drama stars Halldóra Geirharðsdóttir as Halla, to everyone in town she is the local choir director, but to only a close pair of confidants she is The Mountain Woman. Under this guise, Halla goes far into the Icelandic highlands to single-handedly sabotage a nearby aluminum plant and make global investors wary of further industrializing her country. In addition to Geirharðsdóttir’s passionate lead performance, there’s gorgeous scenery and some quirky narrative choices which make this timely, but never preachy, film well worth checking out.
As she sets about doing the opening mission of Erlingsson’s story, Halla marches to the beat of her own drum, literally. When she draws back her bowstring to let loose an arrow which will fell power lines of a whole factory, Erlingsson’s film composer, Davíð Þór Jónsson, and two additional musicians are diegetically staged behind her drumming (and sousaphoning) along in support. This deadpan trio make recurring appearances each time Halla’s actions tend towards the illegal, sometimes even before she knows she’s in hot water. At least they’re visually charming harbingers. Halla appears to be a lone wolf but she finds support in a local farmer, as well as a choir member who happens to be high up in the government team on Halla’s tail. With all this already on her plate, she also learns that years after submitting her paperwork to adopt a child, the agencies have dropped their age limits and she’s the candidate to take on a daughter from the Ukraine. The additional prospect of motherhood also introduces a beautiful trio of female Ukrainian choir singers who, at the best of times in the film, join Jónsson’s instrumental trio to lovely effect.
Erlingsson doesn’t get too bogged down in the whys of Halla’s quest to save the planet she literally hugs at times because his biggest ally in this is his DP, Bergsteinn Björgúlfsson. The wide shots of the Icelandic countryside are breathtaking and stand in stark contrast to the industrialized locales that Halla is railing against. In some of the films stunning helicopter and drone chase sequences, the quick-thinking Halla could have easily been a goner but for the natural resources and shelters offered up by the countryside she so loves. And while the film’s core cast is small, Erlingsson takes many opportunities to touch upon what’s at stake here whether through background telecasts, school girls posing in support of The Mountain Woman’s manifesto, or a finale that hinges on a flood that’s more than likely influenced by climate change. Seeing all this and knowing that Halla had retired her hopes for motherhood before seeking a way to save the world for its own sake, for me, makes her a woman to root for.
ARCTIC Starring: Mads Mikkelsen Directed by: Joe Penna Rated: PG-13 Running Time: 1 hr 38 mins Bleecker Street
Every once in a blue moon a film comes along that reminds us how truly spectacular cinema can be and replenishes our passion for the artform. The stark Danish adventure/drama “Arctic” happens to be such a film. With a gripping man-versus-nature story that makes “Cast Away” and “All Is Lost” look like cocktail parties, “Arctic” is as impressive as the unyielding icy bleakness which constantly threatens to overwhelm the lone survivor of a plane crash somewhere in the Arctic Circle.
Shot entirely in Iceland, “Arctic” does not waste time with a lot of background exposition to its story, co-written by Brazilian director Joe Penna whose previous directorial work includes the 2015 shorts “Turning Point” and “Beyond.” Instead it thrusts us into an already precarious, ongoing struggle for survival by a man named Overgård (Mads Mikkelsen). He survives each day by sticking to a strict routine that includes maintaining a giant SOS carved into the snow, generating enough electricity with a hand crank to operate a distress signal, and catching fish through ice holes.
We don’t know if he is the pilot of the intact, yet charred plane he uses for shelter, but we do know that whoever was with him died in the crash. Despite all his hardships, Overgård preserves a steely resolve to stay alive and an unyielding belief that help will come. His hard work appears to pay off when his distress signal is picked up by a rescue helicopter. However, Mother Nature denies his victory with a vicious storm that causes his would-be saviors to crash nose first into the unforgiving ice below. Overgård stabilizes the helicopter’s badly injured co-pilot, but the new situation pushes his abilities to keep them alive to the limits. Ultimately, he is faced with a terrible choice of whether to stay put or risk traveling across the Arctic wasteland to find salvation.
Whether it’s playing the nemesis of a Marvel wizard in “Doctor Strange” or being a falsely accused teacher in “The Hunt,” Mikkelsen has repeatedly demonstrated an ability to delve into any role thrown at him. One of the most underrated actors in cinema today, Mikkelsen is a force of nature himself in “Arctic.” He attains a level of intensity that Tom Hanks and Robert Redford were never able to achieve in their respective films as he musters emotions as raw as the fish his character eats. Our hearts beat as his does with jubilation when it appears that he is going to be saved and they sink to the depths when he bottoms out in despair. It’s all done with pure emotional power performed flawlessly by Mikkelsen.
For his first attempt at directing a feature-length motion picture, Penna does his craft proud with a fluid story that offers a few nice twists and plenty of dramatic suspense. Overall, “Arctic” is a must-see that any cinema lover should put on their to-do list even if the film’s setting makes us feel like winter is never going to end.
ALITA: BATTLE ANGEL Starring: Rosa Salazar and Christoph Waltz Directed by: Robert Rodriguez Rated: PG-13 Running Time: 2hrs 2 mins 20th Century Fox
BREAKING NEWS: James Cameron movies are generally more about style over substance. As a screenwriter, his simplistic scripts often play second fiddle to grandiose special effects. A bright, shining example would be 2009’s “Avatar,” which was a fantastic 3D experience that sugar-coated a “Dances with Wolves” meets “Braveheart” storyline. (I can hear someone shouting, “Aren’t you forgetting ‘Titanic?’” Sorry, 14 Oscar nominations but none for screenplay.) Apparently, you can’t teach an old screenwriter any new techniques because Cameron’s latest producer/writing endeavor, “Alita: Battle Angel” is all about shock and awe but lacks a soul.
The story is set in the year 2563 where a dystopian society exists after a mysterious war called “The Fall” has wiped out much of Earth’s population. All we know that is left is a trash heap of a town known as Iron City, which sits directly below Earth’s last floating city – Zalem. Iron City is literally the junk yard for the wealthy Zalem and it is there where mild-mannered Dr. Dyson Ido (Christoph Waltz, “Inglourious Bastards,” “Django Unchained”) finds a disembodied female cyborg with a living brain still intact.
How this cyborg ended up in the trash is a mystery, but nevertheless Dr. Ido rebuilds the cyborg and names her Alita (Rosa Salazar, “Maze Runner”) after his deceased daughter. Alita, a bright-eyed child with no memory of her past, soon befriends Hugo (Keean Johnson, “Nashville”), a teenage street hustler with dreams of getting enough money to buy his way into Zalem. It is through him that Alita is introduced to the violent sport of Motorball, which resembles a souped-up version of 2002’s “Rollerball.”
Thanks to Dr. Ido’s side job as a Hunter-Warrior, which is a fancy title for bounty hunter, Alita becomes exposed to a part of Iron City that leads her on a path to realizing her full potential, which involves a United Republics of Mars berserker battle suit. We are given scant background information about all of this except that there was a whole lot of fighting and some guy named Nova sees all atop his perch in Zalem, which sounds like an over-the-counter sleep medication. Of course, everything leads to a resounding conclusion as the unknown underdog attempts to overcome all odds. How original!
Directed by Robert Rodgriguez (“Sin City,” “Spy Kids”), someone else who is often more about style over substance, “Alita” stylistically is pleasing to watch and there is plenty of action to fill your plate. It doesn’t hurt that the cast contains three Academy Award winners including Waltz, Jennifer Connelly, who plays Dr. Ido’s estranged wife, and Mahershala Ali as Alita’s primary nemesis. They all give a level of gravitas that would have otherwise sunk the film faster than if it was struck by an iceberg in the north Atlantic. While their lines are often unimaginative and cliched, the cast delivers them with such polish that you almost forget how blasé it is.
For pure popcorn flare, “Alita: Battle Angel” does provide some fun for your time at the theater thanks to its talented cast and visual effects. Don’t expect a satisfying climax though as it sets itself up for a sequel, which may not happen if it cannot at least recuperate its massive production costs. Don’t worry though, you will get to see more James Cameron epics as more “Avatars” are set to be released.
“Roma,” director Alfonso Cuaron’s black and white reminiscence of his childhood, and the period film “The Favourite” led the way when the nominations for the 91st Annual Academy Awards were announced today. Each film earned a total of ten nominations, including Best Picture. Cuaron himself received five nominations (Picture, Foreign Film, Director, Original /Screenplay and Cinematography}. The film also received nods for Best Actress (Yalitza Aparicio), Supporting Actress (Marina de Tavira), Sound Mixing, Sound Editing and Production Design.
Besides Best Picture, “The Favourite” scored nods for Best Director (Yorgos Lanthimos), Best Actress (Olivia Colman), Supporting Actress (both Emma Stone and Rachel Weisz), Original Screenplay, Film Editing, Costume Design, Production Design and Cinematography.
Another multiple nominee was Bradley Cooper, who was recognized for Best Actor, Best Adapted Screenplay and Best Picture for “A Star Is Born,” which also earned two nods for Lady Gaga (Best Actress and Best Original Song) and netted Sam Elliott his first Oscar nomination as Best Supporting Actor. In total, the film earned eight nominations.
The other nominees for Best Picture are a worthy and diverse group. “Black Panther” becomes the first comic book film to earn a Best Picture nod. Joining it, “A Star is Born,” “The Favourite”and “Roma” are “BlacKkKlansman,” Bohemian Rhapsody,” “Green Book” and “Vice.” A total of ten films can be nominated in this category, though only eight made it this year.
Other director nominations: Spike Lee (“BlacKkKlansman), Paweł Pawlikowski (“Cold War”) and Adam McKay (“VICE”)
In the Best Actor race,Cooper is joined by Christian Bale (“VICE”), Willem Dafoe (“At Eternity’s Gates), Rami Malek (“Bohemian Rhapsody”) and Viggo Mortensen (“Green Book”). Along with Misses Aparicio, Colman and Lady Gaga, the Best Actress race includes Glenn Close (“The Wife”) and Melissa McCarthy (“Can You Ever Forgive Me?”).
Best Animated Feature nominations went to “Incredibles 2,” “Isle of Dogs,” “Mirai,” “Ralph Breaks the Internet” and “Spider-man: Into the Spiderverse.”
Below is a complete list of this year’s nominees. The 91stAnnual Academy Awards will be presented on Sunday, February 24th.
A Star is Born
ACTOR IN A
Christian Bale- VICE
Bradley Cooper – A Star is Born
Willem Dafoe – At Eternity’s Gate
Rami Malek – Bohemian RhapsodyBohemian Rhapsody
Viggo Mortensen – Green Book
ACTRESS IN A LEADING ROLE
Yalitza Aparicio – Roma
Glenn Close – The Wife
Olivia Colman – The Favourite
Lady Gaga – A Star Is Born
Melissa McCarthy – Can You Ever Forgive Me?
ACTOR IN A SUPPORTING ROLE
Mahershala Ali – Green Book
Adam Driver – BlacKkKlansman
Sam Elliott – A Star Is Born
Richard E. Grant – Can You Ever Forgive Me?
Sam Rockwell – Vice
ACTRESS IN A SUPPORTING ROLE
Amy Adams – Vic
Marina de Tavira – Roma
Regina King – If Beale Street Could Talk
Emma Stone- The Favourite
Rachel Weisz – The Favourite
ANIMATED FEATURE FILM
Isle of Dogs
Ralph Breaks the Internet
Spider-Man: Into the Spider-Verse
Never Look Away
A Star Is Born
The Ballad of Buster Scruggs
Mary Poppins Returns
Mary Queen of Scots
Paweł Pawlikowski – Cold War
Spike Lee – BlacKkKlansman
Yorgos Lanthimos – The Favourite
Alfonso Cuarón – Roma
Adam McKay – Vice
Hale County This Morning This Evening
Minding the Gap
Of Fathers and Sons
DOCUMENTARY (SHORT SUBJECT)
A Night at the Garden
Period. End of Sentence.
FOREIGN LANGUAGE FILM
Never Look Away
MAKEUP AND HAIRSTYLING
Mary Queen of Scots
MUSIC (ORIGINAL SCORE)
If Beale Street Could Talk
Isle of Dogs
Mary Poppins Returns
MUSIC (ORIGINAL SONG)
“All the Stars” from “Black
“I’ll Fight” from “RBG”
“The Place Where Lost Things Go” from
“Mary Poppins Returns”
“Shallow” from “A Star Is Born”
“When a Cowboy Trades His Spurs for Wings”
from “The Ballad of Buster Scruggs”
ON THE BASIS OF SEX Starring: Felicity Jones, Armie Hammer Directed by: Mimi Leder Rated: PG-13 Running Time: 2 hrs Focus Features
In the era of the Me Too movement, the biographical drama “On the Basis of Sex” has the appearance of fitting in with the times as it highlights the early struggles against oppressive sexism by current U.S. Supreme Court Justice Ruth Bader Ginsburg. While it contains all the necessary components of a story that you know will be uplifting in the end, it often feels like it should come with shiny wrapping paper and big red bow. While the story makes it clear how difficult it was for Ginsburg to launch her legal career simply because of her gender, the film is too generic for its own good. Inspiring? Yes. Different from a myriad of other inspirational, biographical dramas? Not so much.
It’s 1956 and director Mimi Leder (“Deep Impact,” “The Peacemaker”) does a great job with the first shot of the film by having a sidewalk crammed with emotionless male law students and professors walking to class clad in drab suits. In the middle of it all there is a singular woman in a blue dress standing out from the nameless crowd. The talented Felicity Jones (“The Theory of Everything”) generates a sense of wide-eyed excitement as Ruth, but she also manages to show us there is a determined confidence within the aspiring attorney.
Ruth not only has to force reluctant Harvard professors to pay her any serious attention, embodied by a law dean (Sam Waterston) with a paternalistic attitude towards his few female students, but she also has to balance being newly married to aspiring tax attorney Martin Ginsburg (Armie Hammer) and being a new mother. Further complications arise when Martin is given a grim diagnosis of testicular cancer with less than a 10% chance to survive. Ruth’s resolve is such that she attends Martin’s classes as well as her own as he battles his illness.
Ultimately, Martin recovers and becomes a rising star at a law firm while Ruth is unable to get any jobs because of her gender. She relents her pursuit and by 1970 has established herself as a law professor at Rutgers University. Her life and career are forever changed, though, when Martin presents her a gender-based tax case involving a bachelor who was denied a tax deduction based upon the fact he never married. The Ginsburgs see it as an opportunity to start breaking down every law in the country that discriminates against gender, but first they must win their case, which proves to be more daunting than Ruth could have ever imagined. It all sets up a dramatic courtroom climax that we have seen in some variation or form many times before.
“On the Basis of Sex” is an inspiring film with nice performances and a nice story. However, there isn’t a wow factor to it or anything that leaves a lasting impression afterwards, with a possible exception of Jones’ solid performance. Ginsburg’s impressive legal career is already well-documented, yet we don’t see enough of what her private life was like, much less what she was like while growing up. There is an emotional connection we are not able to quite establish with her because of this void, albeit there is one brief story Martin relates to their teen daughter about Ruth’s relationship with her mother.
The story flows easily but it fails to get down and dirty considering the offensiveness of the situation women of the times faced then, and still face today. And to be fair, where is the inspirational movie about the first woman on the U.S. Supreme Court – Sandra Day O’Connor? Shouldn’t her tale of sacrifice and ceilings shattered be told as well? “On the Basis of Sex” is a decent film that’s enjoyable but not impactful.
1.VICE – Like his Oscar winning THE BIG SHORT, writer/director Adam McKay gives a humorous take on the life and times of our 46th Vice President.
2. BOY ERASED – Stellar performances by Lucas Hedges and Joel Edgerton (who also wrote and directed) in a film dealing with “conversion” training. Edgerton is beginning to look like he will be one of the best filmmakers of the next generation.
3. BOHEMIAN RHAPSODY – The story of Freddie Mercury and his musical group QUEEN. Some complained that Mercury’s X-rated lifestyle was tamed down too much but Rami Malek’s award worthy performance is the real story here.
4. A STAR IS BORN – Damn you, Bradley Cooper! Is there nothing you can’t do? Cooper stars and directs in the fourth telling of the familiar tale, adding enough twists to make it seem new. Extra points for casting the amazing Lady Gaga.
5. BLACKKKLANSMAN – Easily Spike Lee’s best film since DO THE RIGHT THING, the film’s 1970’s era message is just as important today.
6. MISSION: IMPOSSIBLE – FALLOUT – The best of the M:I films, with Tom Cruise once again risking life and limb for our entertainment.
7. CHAPPAQUIDDICK – An early film this year that looks into the fateful accident that derailed the Presidential dreams of Ted Kennedy.
8. BLACK PANTHER – Not a great Marvel Movie…just a GREAT MOVIE. With FRUITVALE STATION and CREED already on his resumé, director Ryan Coogler has proven to be a voice to be listened to.
9. HOSTILES – A January release, this is an outstanding period western starring Christian Bale, Rosamund Pike, Wes Studi and, sadly, Scott Wilson in one of his final roles.
10. CAN YOU EVER FORGIVE ME? – Award worthy performances from stars Melissa McCarthy and Richard E. Grant highlight this true story about an author who had to resolve to forgery to make any money.
1.BAD TIMES AT THE EL ROYALE – I cannot speak highly enough of Drew Goddard’s follow up to one of my Halloween faves, THE CABIN IN THE WOODS. Once again Goddard holes up his small cast in a single location that is not quite what it seems and is a joy to explore. And what a cast! While bigger names like Jeff Bridges and Jon Hamm deliver reliably solid performances (the latter chewing all the scenery with a fabulous southern accent), the real revelations are from relative newcomers Cynthia Erivo and Lewis Pullman. The Tony-winning Erivo is the film’s heart as a struggling singer who checks into the El Royale ahead of a nearby gig. When she gets wrapped up in a scheme with Bridges’ character, Goddard uses her powerhouse voice to deliver “You Can’t Hurry Love” in easily my favorite single sequence of the year. Meanwhile Pullman is just barely holding everything together as the hotel’s lone caretaker whose role entails much more than cleaning towels and whose past is bubbling beneath his boyish, twitchy surface. I really just wanted to hug him. Finally, as with CABIN, Goddard goes ahead and subverts Chris Hemsworth’s affable hero persona. This time by casting him as a vile Charles Manson type–this is the 60’s in California after all– whose limited screen time serves merely to concentrate the sinister vibes emanating off his gyrating abs. Everyone is supported by top notch production design, a rocking soundtrack and some gorgeous Seamus McGarvey cinematography. It just really sizzles.
2. HEREDITARY – This slow burning descent of one family after the death of their secretive matriarch may be an all time fave viewing experience in a packed theater. Where a lot of modern horror relies on jump scares, Ari Aster held us captive in many scenes by showing the terrors just slightly to the side in the gloom of the frame or holding on the silence after a traumatic event–all while my audience slowly lost its mind. Which was fitting, because we were watching Toni Collette’s character doing roughly the same. It’s a crime that Collette isn’t in the major film awards conversations (yet? C’mon Academy!) because she was so engrossing and almost painful to watch.
3. BLACK PANTHER – Ryan Coogler’s brilliant entry into Marvel was remarkable for so fully realizing a whole new world within a “Universe” we’ve already been living in for the past decade. And unlike some chapters of the MCU, he did it right here on Earth. Wakanda was beautiful and populated by such a well drawn cast of characters, it was nearly impossible to pick a favorite (but it’s Shuri, come on). Meanwhile, unlike some big purple menaces, Erik Kilmonger’s (Michael B Jordan) ‘villainous’ motives were some of the most complex that the franchise has dealt with. So much so that Chadwick Boseman’s T’challa had to face a real crisis of conscience that not many Marvel heroes do!
4. SORRY TO BOTHER YOU – I feel like the less I say about this film, the better new viewers’ experiences will be. Boots Riley’s take on the desolate modern economic landscape just throws a LOT at you with a notable hard turn in the second half that will likely decide where you land on this one. As someone who is rarely surprised at movies today, I was fully on board.
5. AVENGERS: INFINITY WAR – I knew going in that every outlet in the Disney-Marvel Marketing Machine kept saying “It’s Thanos’s movie, it’s really going to belong to Thanos” but boy, I was not prepared for…Thanos’s movie! Not only did the Russo brothers bring to life a presence worthy of scaring the bejeezus out of ten years of assembled super heroes, but that they let him Do That was a true shocker. It’s hard for me to judge INFINITY WAR fully until I see what goes down in ENDGAME because, to quote THE PRESTIGE, “making something disappear isn’t enough; you have to bring it back.” But for now, I sit stunned.
1. BLACK PANTHER – The best movie of the year, BLACK PANTHER proves to be one of the two or three best titles in the 10-year Avengers odyssey. Directed by the brilliantly talented young filmmaker Ryan Coogler (CREED, FRUITVALE STATION), this supremely entertaining, comic book epic has a superb cast and an engaging, intelligent story. Its story of a young king who thinks he knows what it takes to be a ruler but is faced with a day of reckoning that turns his views upside down is a potent one. The climax is tragic to the point that it’s Shakespearean and it’s all assisted by one of the most consistently good performances by an entire cast that you will see, especially in an action movie. Michael B. Jordan, who was cheated out of an Oscar nomination for his role in CREED, is a powerful presence in the film as its lead antagonist. BLACK PANTHER has everything you could ever want in not only a superhero movie but in a movie period.
2. A QUIET PLACE – In terms of creativity and originality, A QUIET PLACE is only rivaled in recent times by last year’s masterpiece “Get Out.” A brief, yet sophisticated sci-fi horror tale brimming with mystery, A QUIET PLACE stars the husband/wife team of John Krasinski and Emily Blunt as a couple struggling to keep their family alive in a world taken over by aliens who react to sound. You must pay attention to the little details in this one to spot clues to the backstory, which itself is horrifying. The story has a bit of a Stephen King-like vibe to it as the suspense builds around the impending birth of a new baby. A must-see.
3. FIRST REFORMED – Ethan Hawke shines in what is arguably writer/director Paul Schrader’s greatest cinematic endeavor. It is a work of art in every sense of the word as Hawke plays the minister of a tiny congregation in an old church in upstate New York. His character is haunted by a past that riddles him with guilt and leads him to drink. When we meet him, he has begun to keep a diary of his tormented thoughts as he tries to mentor those that are just as much pain as he is. Hawke is mesmerizing in the most brilliant performance of his career with strong supporting help from Amanda Seyfried and a nice dramatic turn by Cedric the Entertainer. The ending is haunting to say the least and will leave you and anyone you watch it with debating what it all means.
4. THE FAVOURITE – With some of the best costume designs you will see in any film, THE FAVOURITE is a wonderful historical drama containing the most splendid, witty dialogue of the year. Set against the backdrop of early 18th century England, two women (Rachel Weisz and Emma Stone) vie to be the favorite of the increasingly sickly Queen Anne (Olivia Colman). The political intrigue is delightful as Weisz and Stone’s characters will go to any lengths to be the apple of Queen Anne’s eye, thereby having access to tremendous power. Colman delivers the best performance by an actress in 2018 and it’s not even close. She is brilliant in every sense of the word as portrays a woman teetering on insanity after having had 18 pregnancies but no living children. There are ultimately no winners in all of it. Just tragic losers.
5. LEAVE NO TRACE – While watching the powerful performance delivered by New Zealand-born actress Thomasin McKenzie in the drama LEAVE NO TRACE, it is impossible to not think about what director/writer Debra Granik once pulled out of a relatively unknown young actress named Jennifer Lawrence. It is perhaps an unfair comparison considering that Lawrence received the first of her four Oscar nominations for her role as a tough, teenage Ozarks girl in 2010’s WINTER’S BONE. However, as Tom, McKenzie provides something that is special to watch on the silver screen. Through her eyes alone she projects her character’s tough, determined nature which she also reveals is just a façade masking a 13-year-old girl’s desperation to please a father (Ben Foster) traumatized by war. Foster once again demonstrates how skillful he has become in recent years. Pain leaks out of every pour in Foster’s skin as his character is so consumed by PTSD from combat that he puts Tom in danger every day they are on the run without thinking about what he is doing. Based upon the 2009 book My Abandonment by American novelist Peter Rock, LEAVE NO TRACE, which premiered at the 2018 Sundance Film Festival, is a moving work of genuine sadness that will pull at the heartstrings of anyone who has a heart.
6. BLACKKKLANSMAN – In what is Spike Lee’s best effort in years, BLACKKKLANSMAN is an engrossing crime drama loosely based upon real events. It tells the tale of new African American, Colorado police officer Ron Stallworth (John David Washington) who infiltrates a local branch of the Ku Klux Klan in the 1970s via the phone. To represent himself in person, he convinces a Jewish detective (Adam Driver) to be his face. While it’s an entertaining piece of work that takes a lot of dramatic license, Lee’s effort tackles racism head-on and reveals its ugliness likes few films do. As such, it’s not without controversy but because of that it accomplishes the goal of making people talk and think about racism in America.
7. GREEN BOOK – Inspired by a true story, this period drama is a surprisingly complex, emotional work considering its director, Peter Farrelly, is best known for comedic fare like SHALLOW HAL and DUMB AND DUMBER. With GREEN BOOK, Farrelly captures the stark racial divide of 1962 America with an exploration of the relationship between white bar bouncer Frank “Tony Lip” Vallelonga (Viggo Mortensen) and black pianist Dr. Don Shirley (Mahershala Ali) as they travel across the Midwest and Deep South. Mortensen dazzles with his knack to bring to life every subtle nuance of the characters he plays. This role is no exception as he helps make Tony Lip someone we can truly care about even though in the beginning it’s a little tough to do. Ali, a 2017 Oscar winner for MOONLIGHT, gives Don a vulnerable sophistication while also breathing out a certain degree of naïveté without seeming to break a sweat. It all adds up to GREEN BOOK being the type of rare movie where everyone can feel a little bit happier about the world when the lights go back on.
8. WON’T YOU BE MY NEIGHBOR? – Like many other people, I grew up on Mr. Rogers so perhaps I’m a little biased, but this documentary feels like a warm and cozy sweater vest. It dispels a lot of myths about the man who wanted nothing more than to work with children. We learn a lot about this kind, gentle soul from those closest to him and it’s refreshing in this age of cynicism and character assassination to discover he was pretty much exactly like he was on the TV.
9. HEREDITARY – Simply put, this is one of the most messed up movies you will ever see. HEREDITARY is tale of a family being turned upside down when the family matriarch’s death starts a sequence of horrifying events that lead to a supernatural, head-scratching, unsettling climax. Toni Collette is fantastic as the mother of two who becomes increasingly unraveled thanks to a plan set into motion by her recently deceased mother. It goes without saying that a film is automatically creepy when it silently begins with a nondescript obituary on the silver screen. Don’t stay up too late to watch this. Otherwise you will feel the need to keep all the lights on and the covers over your head.
10. BOHEMIAN RHAPSODY – Some of have criticized this film for not devoting more time to the exploration of the late Freddie Mercury’s private life. However, this rock biography is not titled “The Freddie Mercury Story.” Instead it focuses on the rise of a band with a singer who had a rock voice like none other before or since. While the story is admittedly a little glossy, the core strength of BOHEMIAN RHAPSODY is the incredible performance by lead Rami Malek who absolutely commands the screen. He masters every movement, every voice inflection, every insecurity, every bit of bravado of the real Mercury. It is a legendary accomplishment and is worth every penny to see.
1. EIGHTH GRADE -Back in August I wrote, “Cringy. Heartfelt. Anxiety inducing. Unflinching. Heartbreaking. Hopeful…Bo Burnham’s debut film seemingly has it all, and it does.” That still rings true after a few rewatches. Four months later, along with dozens and dozens of screeners, EIGHTH GRADE, is still my favorite film of the year because of how raw and emotional it is. It’s good for the souls of the young and old.
2. BLACKKKLANSMAN -Last year, GET OUT made me feel what it’s like to be a black man in a predominantly white situation or setting. This year, BLACKKKLANSMAN made me feel my own white guilt. Both movies are timely and timeless. BLACKKKLANSMAN is a church sermon that needs to be heard by everyone within an earshot. This is easily Spike Lee’s best film since DO THE RIGHT THING if not his magnum opus.
3. SPIDER-MAN: INTO THE SPIDERVERSE – Phil Lord and Chris Miller should just have their own animation studio. They were robbed of an Oscar for 2014’s LEGO MOVIE and it’ll be another crime if SPIDER-MAN: INTO THE SPIDERVERSE doesn’t win best animated picture this year. It’s a trippy journey that blurs the line between comic book and cinema. Not only is it the best animated film of the year, it may be the best superhero movie of the year. Sorry Disney.
4. SORRY TO BOTHER YOU -What begins as a satire, quickly becomes a hyper absurd sci-fi that blends commentary on racism and classism, along with jabs at America’s path towards corporatocracy. Boots Riley brings a fresh voice and unique criticism that’s familiar, yet distinct. It’s the kind of film with no middle ground. You’ll either love or hate it.
5. WON’T YOU BE MY NEIGHBOR? -In today’s climate, the world might need another Mr. Rogers, if that’s possible. Without mentioning any names or incidents, WON’T YOU BE MY NEIGHBOR? feels like a pertinent documentary about the impact kindness and compassion has. Even the iciest of hearts will have a tear in their eye by the end credits.
6. VICE -Comedy doesn’t quite the praise it deserves. Ask any actor or creator how hard it is to craft something funny. Now add in a dose of reality and seriousness. Just like in THE BIG SHORT, Adam McKay tackles a difficult subject and makes it palatable for general audiences. VICE is a dark riot, making us laugh and realize the expanding power of the Executive Branch.
7. BOY ERASED -Not only is this a powerful story about sexual identity, but it’s a somber reminder about how one of the America’s most heinous acts, conversion therapy, remains legal. The film does a nuanced job of highlighting the emotional, mental, and sometimes physical cruelty that conversion therapy puts it’s victims through. It’s simply tragic.
8. MANDY– What if heavy metal music became a movie? You’d have MANDY, an 80’s acid nightmare come to life, with the help of a gonzo, smiling Nicolas Cage, covered in blood. This is a midnight film that will surely develop a cult following, or at the very least, a legion of Cheddar Goblin fans.
9. WIDOWS – This is Steve McQueen’s most mainstream film, yet it’s still visually intellectual like his previous films. McQueen is a master behind the camera and weaves a caper that’s not only rich with heavy material and social themes, but engaging from beginning to end.
10. THE FAVOURITE – THE FAVOURITE is devilishly funny and cynical. It’s the kind of movie that could delight those who loathe period piece dramas, like myself. The humor and dialogue crackle for two hours as the film’s three leading ladies find new, humorous ways to stab each other in the back.
HONORABLE MENTIONS : SUSPIRIA, ANNA AND THE APOCALYPSE, FIRST REFORMED, ISLE OF DOGS, ROMA, BLOCKERS, THE BALLAD OF BUSTER SCRUGGS, LOVE,SIMON, CRAZY RICH ASIANS, MOM AND DAD
1. JURASSIC WORLD: FALLEN KINGDOM -The bigger the budget, the more it should be looked down upon. This movie cost nearly $200 million and it stunk like one big pile of dino crap. Just think how many good, small budget films could have been made instead, but that wouldn’t have raked in over a billion dollars, now would it?
2. BOOK CLUB -Not only do they still make crap like this, but they release in theaters and trick good actors and actresses to star in it. This is pure drivel. Keep this crap off the silver screen and keep it on the Lifetime Network.
3. WELCOME TO MARWEN -The more I think about it, the more this film makes me mad. It’s a steaming crap that’s beneath the actors in it, it soils Zemeckis’ good name and unfortunately mishandles a true story. Unlike most train wrecks, you can look away from this one.
4. SUPER TROOPERS 2 -Careful what you wish for. Fans of the original should have looked towards other fanbases who asked for a sequel, like GHOSTBUSTERS, THE HANGOVER, etc. and got a big pile of crap instead. This movie is an unfunny dumpster fire that should offer a refund to it’s IndieGoGo supporters.
5. TERMINAL – Didn’t hear about this one? Good. To reiterate my favorite word in this list, it’s crap. This is the kind of film I could easily placed at the top, but it’s not as deserving as my scorn as the other films noted above because it quietly came and went without ruffling too many feathers. Still though. This one is crap. Don’t even bother looking it up out of curiosity.
Michael A. Smith:
1.LIFE ITSELF – As I say on our Podcast, I’ve never been so happy to see someone hit by a bus. THIS IS US plots work in small doses, but on the big screen, they suck!
2. THE MEG – If my 230 pound body can’t swim by people without attracting notice, then a 50 foot shark sure as hell shouldn’t be able to.
3. OCEANS 8 – Boooooooooooorrrrrrrrrring!
4. LOVE, SIMON – What could have been a film that delivered a great message takes the easy way out by making everything peachy too easily.
5. GRINGO – I had so many high hopes for this film. Sadly, Nash Edgerton did not get any of the film making skills his brother Joel inherited.