Posts by Jeremy Butler

Let me start by saying that my daughter was all about this movie. Leading up to the watching of the film, she literally asked me almost like clockwork when we were going to watch the movie. With me there is always a bit of reservation when it comes to animated films since becoming a parent. I suppose you can call it bias, but I prefer the cartoons (as we used to call them in my day) of my childhood over the present content. I think that opinion is one many share. To Trolls World Tour’s credit, it does impart a lesson that I believe is very important in the present climate that the world is facing. To that end, I can say that I found the film to be quite enjoyable. The comedy was more of a situational variety and very clearly directed towards a younger audience, which meant that most of it went over my head, but the aforementioned lesson that the film taught was time-honored and showed the importance of diversity and tolerance. Anna Kendrick and Justin Timberlake reprise their roles from the 2016 original film and are joined by a host of celebrities that include Kelly Clarkson, Sam Rockwell, Rachel Bloom, and music legends Mary J. Blige and George Clinton.

Picking up after the events of the last movie, Poppy (Anna Kendrick) has been crowned queen and is looking forward a long and prosperous reign. Meanwhile, her companion, Branch (Justin Timberlake) tries to find the words to confess his feelings for her. Poppy finds her reign threatened by another tribe of trolls, the Hard Rock trolls, led by Queen Barb (Rachel Bloom), who invites her to join her on a world tour. Believing this to a sincere offer of friendship, Poppy looks forward to the Tour; however, her father, King Peppy, warns her of the danger: each tribe represents a specific genre of music (Pop, Funk, Classical, Techno, Country, and Hard Rock) with each tribe possessing a magical string that powers the specific genre of music. Years ago, the tribes lived in harmony until an uprising caused each tribe to take their string and separate from the others. Peppy believes that Hard Rock intends to steal the other tribes’ strings for the purposes of taking over all music.

So knowing nothing of this series as it pre-dates my existence, I did not expect to identify with it at all. I expected for the jokes to be generational, and for the subject matter to be irrelevant. Fortunately, this was not the case, as Head of the Class appears to be a series that in my opinion stands the test of time and provides invaluable life lessons that society is still very much in need of. It stars WKRP in Cincinnati’s Howard Hesseman as Mr. Moore, a substitute teacher who finds himself subbing for a high school’s Individualized Honors Program (IHP), an elite program for the kids with the highest IQs. Expected to little more than read magazines while the kids basically educate themselves, this idea does not sit well with Mr. Moore. Though a laid-back person by nature, he endeavors to do more than just sit back and pass the time, much to the chagrin of Principal Dr. Samuels, who prides himself on the program he designed as well as pushing its participants to academic excellence. Though academically advanced, these students know little of the world, as well as never venture out of their comfort zone. This is where Mr. Moore has the opportunity to make a difference by showing them that they can be more than what society expects them to be.

This philosophy is on display very early on, in the first episode, which features an upcoming dance, and the IHP students do not intend to attend. When investigating their reasons for their non-attendance, we discover evidence of self-esteem issues, parental embarrassment, and fear of rejection. Without really meaning to do so, given his own words to Dr. Samuels, “I’m only here for two days, how much damage can I do?” Mr. Moore manages to get several students to step out of their comfort zone, prompting them to overcome their very reasons for their initial refusal of the dance. This is most evident with Arvid (Dan Frischman), who overcame multiple issues and held firm to the principles that were imparted on him. Long story short, it was a very strong opening episode. It changed my feelings regarding reviewing this; it made me hopeful about the next episodes, although I was skeptical about whether the series would be able to keep this momentum going. I wondered about how many life lessons could be imparted or the methods in which Mr. Moore would utilize to impart them.

I do believe that this film was deserving of a theatrical release. I don’t think it would have been a box office hit, but it deserved to reach a wider audience. That is not to disparage home media, which I’ve been plenty thankful for the many hours of entertainment that it has provided me given the state of affairs lately. Jeffrey Dean Morgan stars in this film based off a book from crime writer, James Patterson and Swedish journalist/crime writer Liza Marklund. The background of this collaboration was a particular interest to me, as the two reportedly corresponding back and forth via email, with Marklund writing the first draft and Patterson doing the second draft. Both are established crime writers and their decision to co-author a book together is a clear example of their respect for one another’s contribution to the field. Thanks to this mutual, a book that served as the basis of this adaptation, got off to the right start. Joining Morgan is the Good Fight’s Cush Jumbo as well as Taken’s Famke Janssen. I swear I am not trying to give you a history lesson, but the origins of this film is very interesting in my opinion, as it spent several years in what is known as development hell (media jargon for a project that spends a long time in the development phase, usually resulting in changing of production crews, scripts and actors dropping in and out of the project), and was originally slated for Patrick Dempsey in the lead role and Dakota Fanning in the supporting, which then changed to Britt Robertson in the supporting role that eventually went to Jumbo. Truth be told, I think that this situation worked out for the best, as well I can’t imagine someone else doing the role of Jake Kanon the justice that Morgan did.

When his daughter and her husband are murdered on their honeymoon, NYPD Detective Jake Kanon travels across to Europe to find her killer and bring them to justice. In a foreign land with no authority, he finds that the investigating officers are not keen to share information with an American, who they believe is likely out for revenge. Unwavering, Kanon continues to investigate on his own, making headway despite being impeded at nearly every turn. With limited resources, he is able to determine that the killer’s modus operandi is not that of an amateur but a skilled and meticulous killer. Not only does this killer leave no forensic evidence, the manner in which he poses his victims, the killer has a daring way of announcing the message behind the murders: a postcard.

Jane Austen is a novelist from the 18^th century whose novels continue to stand the test of time; though she gained prominence during her lifetime, I would dare say that she has become very fashionable, with many of her novels being required learning for most schools or at the very least on the summer reading list. Her credits include Sense and Sensibility, Pride and Prejudice, and Mansfield Park; however, the novel that serves as the basis for the film we are reviewing today may be her most famous work, Emma. This property is no stranger to adaptation, having been adapted in the form of a 1996 television film starring Kate Beckinsale, as well as that same year into a theatrical film starring Gwyneth Paltrow. This time around, the film stars Anya Taylor-Joy in the titular role. Though this is not the film I was hoping to see Taylor-Joy in this year (this is my subtle ploy to demand the release of The New Mutants), I must admit that she does a fine job of taking on the role that has already been tackled by top talent. Granted, this is not the type of movie that I am normally drawn to; it is my wife’s bread and butter, so naturally it was an experience that we shared. Basically a period piece romantic comedy, as anticipated it was a big hit with her, and fortunately there was some humor for me to appreciate as well.

Emma Woodhouse is an affluent young woman, who after her governess weds, believing she bears some responsibility for the union, imagines herself a matchmaker. Despite the objections of her father (Bill  Nighy), she attempts to find a suitable match for her latest governess, Harriet Smith (Mia Goth). This proves to be quite an undertaking as her matches prove a number of times to be unsuccessful for a number of reasons, including a social mismatching, as well as them having eyes for another (i.e. Emma herself). During this period, she also encounters Mr. Knightly (Johnny Flynn), a kind and compassionate person for whom she begins developing feelings; however, her affections may have competition in the form of the very woman she is attempting to set up.

So I had an interest in this film since I saw the preview for it; Blake Lively cast in her own revenge film. I know there is no shortage of this type of film. Luc Besson has actually made a career out of this type of film archetype, with each film being excellent in my opinion. Lively has never attempted anything of this nature, which I always find intriguing, to see an actress stretch her creative muscles. Sadly, I wasn’t able to convince my wife or my friends of the film’s potential, so on the rare occasion that I attend movies in a personal nature, I wasn’t able to steer anyone towards seeing this film with me. I mean, Blake Lively, Jude Law, and Sterling K. Brown -- you would have thought I wouldn’t have to do that much convincing, but sadly everyone I showed the trailer to felt that the film’s premise had been done before. I won’t dispute that there have been several films that are similar, but in my opinion, The Rhythm Section brings a unique grittiness to the genre. It took some type to see the film, and though I do feel that the film rushed its conclusion, I thoroughly found it enjoyable, and the mentor/mentee dynamic between Law and Lively was a huge selling point for the film.

Lively plays Stephanie Patrick. After her family is killed in a plane crash that she was meant to be in, she retreats into a life of drugs and prostitution. One day she is approached by reporter Keith Proctor (Raza Jaffrey, Homeland), who informs her that the plane crash, which was initially believed to be a tragic accident, was actually a terrorist attack that was covered up. Stephanie immediately is drawn into the world of covert intelligence as she attempts to unravel who was behind the crash. Aided by a former British intelligence agent (Jude Law), she trains to exact her revenge on the people who killed her family. However, in the world of espionage, everything isn’t always what it seems.

“If you take Alaska’s genetic code, add her life experiences, and relationships she had with people, and then you take the size and shape of her body, you do not get her.”

First impressions were that this was an experience that could by shared with my daughter. However, it wasn’t long before she found herself sent away due to the mature nature of the content. Little did I know that this series was Hulu’s answer to Netflix’s 13 Reasons Why. That said, though there are clear correlations between the two properties, such as they are both based on popular novels and cover highly emotional and serious topics such as suicide and the importance of connection with people. Looking for Alaska manages to infuse some levity into its plot. This inclusion goes a long way towards solidifying the limited series’ (as I understand it, there are no plans for another season) individuality and providing an enjoyable balance to what comes to a somber conclusion.

Here comes the ultimate comedy about a codependent relationship; however, though that may not sound that good, in this film it is very entertaining thanks on no small part to Tiffany Haddish and Rosa Byrne. Haddish and Byrne play Mia and Mel respectively, two independent women with their own cosmetics storefront. Though their line is very popular, their revenue does not reflect their popularity due to an inability to mass produce, causing them to fall into deep debt and in danger of losing their store. Then along comes a spider in the form of Salma Hayek’s Claire Luna, the head of a internationally successful cosmetics conglomerate that offers to invest into their company. Haddish and Byrne are both well established in the comedy genre, but the combination of the two made for one the best comedy experience that I’ve had this year. My wife kept telling me that I would enjoy the film (this was one of the rare occasion where she went to a movie unaccompanied by me), but given our different taste cinema-wise, I was expecting a film full of cliché, especially given that it seem like the entire film was given away in the previews. Well, honey, let me say for the record that you were right.

An important focal point of the film is the importance of friendship, and it is displayed among multiple characters throughout the film, but none more prominent than with the two main characters. The backstory that Mia’s family essentially adopted Mel as a child due to her mother being unfit went a long way towards building the relationship between the two characters, as well as explaining the dynamic between the two that carried on in later years. Basically, Mel has great loyalty to Mia for what her family did for her as a child; that causes her to act as the more responsible of the two. This is evident in the opening scene at their storefront where she resigns herself to cleaning up Mia’s messy workstation for what is clearly not the first time. Mia, though she does value Mel immensely, does tend to put the responsibilities of managing their business on Mel, while she focuses more on enjoying herself.

“Welcome back to Jumanji!”

It would seem that welcoming the audience back to the jungle is in order. Now here is a sequel that when I heard it was being made, all I could do was shake my head. I just couldn’t fathom a reason for a sequel to be made. The film was already a continuation of the previous installment. I also couldn’t fathom a worthwhile story being told. And if it wasn’t for the hard work of Jack Black, who basically made the movie, I believe that my opinion would not have been changed otherwise. After barely escaping the game the first time, the group finds themselves drawn back into the world of Jumanji in order to save one of their own. However, the stakes are higher, as not only is the gang venturing into brand new territory; they are hampered due to being saddled with two new players in the form of franchise newcomers Danny DeVito and Danny Glover. The previews did not do the film justice, as it truly turned out to be far better than I was initially anticipating. It does get a bit long-winded, but for the most part it is a good, fun, and funny return to the established universe.