The Reel World

It's been six years since Frozen became somewhat of a surprise hit out of Walt Disney Studios in 2013. No one was surprised it made a good haul at the box office, but I suspect that even the masterminds at Disney never saw this billion dollar baby when it was first being born. It's become the biggest original hit out of Disney since the original Lion King set animated feature records in the 90's. I'll give the studio credit. They didn't rush out and try to cash in on the momentum as quickly as other studios would have. They took their time and assembled the same team of directors and songwriters and allowed the process to follow a six-year process with the intent of doing it right rather than doing it fast. For the most part I think that strategy paid off, and while this film will never be the classic the original has become, it will fit rather snugly into the franchise and will delight children while possibly cursing the adults who are fated to watch the film over and over again. This is absolutely one of those kinds of movies.

It all starts in the past where we spy young Elsa and Anna playfully getting ready for bed. The King puts them to bed with a story out of the kingdom's past. He regales them with how their grandfather met the people of an enchanted forest who had magical powers over the four elements of land, fire, air and water. They are told of the great gift of peace their grandfather gave these people in the form of a huge dam. It all turns nasty when the story continues to tell of a peaceful gathering where the people of the enchanted forest suddenly attack the people of Arendelle. The elements were so angered by the act of betrayal that they separated the kingdoms and enshrouded the enchanted forest with an impenetrable fog that has isolated the forest ever since.

“You are in the presence of angels.”

After recently reviewing Charlie’s Angels: Full Throttle, it only seems fitting that I am returning to you in order to give you the scoop about the most recent installment of the franchise. It is in fact an installment into the franchise, as it exists in the same universe as the television series, as well as the two films that starred Cameron Diaz, Drew Barrymore, and Lucy Liu. However, in this installment, the Townsend Agency has gone global with agents (called angels) operating in several international cities, each with their own Bosley (a title that serves as a rank in the organization). For the purposes of this film, we are focused on Sabina Wilson, played by Kristen Stewart (Twilight), Jane Kano, played by Ella Balinska (Midsomer Murders), and Elena Houghlin, played by Naomi Scott (live-action Aladdin). Rounding out the cast are Patrick Stewart, Djimon Hounsou, and Elizabeth Banks, who also serves as the film’s director.

Director Roland Emmerich is no stranger to big-screen battles. The difference is that up until this year those battles have been against aliens, huge climactic changes, or giant lizards named Godzilla. There's no question that he understands how to shoot epic confrontation. The question I had going in to Midway was, can he deliver a battle that wasn't fiction? After nearly tow and a half hours, the answer came back somewhat mixed. This isn't the first time that the Battle of Midway has been brought to the big screen. In the 1970's Charlton Heston gave us a film that was more renowned for the trendy Sensurround gimmick than it was for the drama that unfolded on the screen. Sensurround was a fancy name for huge subs that would shake the theater, and if you were lucky enough to be seeing the film at a theater with enough money to go all the way, you might have found yourself in a seat that was wired to shake, rattle, and roll. Today the chains call that Dolby. This Midway didn't lend itself to some William Castle hustle. It's all up on the screen. The film bears no relation to that earlier effort except for the legendary battle in the Pacific that turned the tide of the Pacific theater of World War II toward the Allies. The film actually shares more in common with the classic Tora Tora Tora in that we spend a good deal of screen time with the Japanese players in the battle. Not at all like the earlier gimmick film, this movie is intended to place you squarely in the middle of the action. If that's what you came to see, you are certainly in for an immersive experience only without the hot-wired seat.

The film doesn't start with the titular battle. In fact the term Midway might just as easily describe when that famous event would occur in the film as much as it describes the actual battle itself. The film begins in 1937 a full four years before Pearl Harbor. We get a sneak peek inside the Japanese hierarchy and the seeds of what we already know is to come have been planted. From there the film spends about 30-40 minutes on the actual attack on Pearl Harbor. From there we are treated to the Doolittle raids on Tokyo, which were our direct response to the attack. At this point the focus shifts to the intelligence department of the war where intercepted information is gathered and interpreted. That information is passed along to Charles Nimitz, played incredibly by Woody Harrelson, who has to decide what the enemy is up to and the best use of America's limited naval resources to counter that action. All of the big shots think the Japanese are planning one kind of attack, but Nimitz trusts the leader of one of the intelligence teams who believes the target is Midway, a collection of small islands important most notably as a fueling station between Japan and Hawaii. That intelligence officer is Ed Layton, played by Patrick Wilson. The film spends perhaps too much time with these two talking about the intelligence. We know it's Midway. Even if you didn't do quite so well in history class, it's the name of the film, for crying out loud. Instead of the quick mention, Nimitz and Layton spend too much time with: "Are you sure?". "Yes, I'm sure!" "Are you really sure?" "Yes, I'm really sure!" "Are you really, really sure?" and so on.

Taking a lot of liberties while giving a cinematic interpretation of a time in his life, Pedro Almodovar’s movie Pain & Glory is as expressive as Roma. His directing and screenwriting is by far some of the best I’ve seen by the famous director, and yes, there’s a spark of surprise in this one, as in every one of his films. Taking extra liberties, he even shocks his audience at one point. That said, if you are a fan of Almodovar’s films, then you will not want to miss the amazing performances that bring the man’s film to the big screen. The story follows Salvador Mallo (Antonio Banderas), a screenwriter and director who has had huge success with his film Sabor. He has not written another for some time, yet he’s still known by many for his work. Now living in semi-seclusion, we find him working on a new project while visiting the past in his mind. In flashback, we see his life at an early age (Asier Flores) and his inquisitiveness that led him to become a great director. His darker side includes taking a turn with drugs and a gay lover from the past.

Beautiful and endearing scenes featuring Penelope Cruz as his mother are sensational and memorable as she enjoys trips to the river to wash clothes and sing with the other women. As a mother, she’s loving yet strong when it comes to her only son.   The beauty and touching visual sensation she shows is a sample of what Almodovar is capable of drawing out in his actors, and Cruz is one of his prime examples. Cruz always gives her all to a film, and the camera loves her in this one as she shines.

By John Delia, Jr.

During the 1950’s, being a private investigator wasn’t always a safe and sure way to make a living. But it was a popular way to make some cash for returning soldiers or ex-police officers. During these times things were beginning to modernize, and the world was becoming more dependent on advancement in the skyline. With these changes, corruption and deceit became more evident, and private investigators became more popular. When Frank Minna’s (Bruce Willis) agency gets a chance to make some real money, things begin to get ugly fast. In his crew there is Lionel Essrog (Edward Norton), an orphan with Tourette's syndrome that Frank took under his wing when Lionel was 13; they have been friends ever since. Then there is Tony Vermonte (Bobby Cannavale), Gilbert Coney (Ethan Suplee), and Danny Fantl (Dallas Roberts). Frank has known these guys for many years and trusts them with helping to investigate the cases for his company.

"There's just more to it than picking the right color. It's the texture, the weight of the material. One wrong choice, it can destroy the look of the entire room."

Film rights can be a tricky and complicated issue. Sometimes these rights aren't quite clear and lead to popular titles never making it to the home video market, or at least suffering long delays as in the 1960's Batman television series situation. Often rights are held for certain periods of time and end up moving from holder to holder. That's been the case with the Terminator franchise. The result has been some sequels that pulled in different directions and failed to provide a nice linear history from film to film. Now those rights have reverted back to a favorable situation for the likes of James Cameron. The result is an attempt to get back to the original course of the first two films. Terminator: Dark Fate picks up from T2 and ignores any of the other films made since then. It's very much like the path taken by the new trilogy of Halloween films we got a taste of last year. There isn't any denying the fact that T2 was the best this franchise has had to offer. Something was always just a little bit off with the rest of the films. There's a texture to all of this that James Cameron has a unique eye for. And while he didn't direct this film, he created the story and produced the film. Like the new Halloween direction, this is also intended to be the first film in a new trilogy. The Terminator franchise appears to be back, and on track to please the legions of fans from the old to the new.

When it comes to Rob Zombie, his films are a bit hit-or-miss. Halloween and The Devils Rejects are his biggest commercial successes, but when he delivers films like Halloween 2, fans tend to be unforgiving.  Now we have 3 From Hell, the final chapter in his Firefly family saga that began way back with House of 1000 Corpses and followed up by The Devils Rejects.  While many fans have been excited about this third film, I’ve been on the fence wondering if this is really something I want to see.  The Devils Rejects is a dark and mean little film that delivers one of the most satisfying endings for a horror film. It’s so good I have my doubts that it could ever be topped.  But in Hollywood, if there is potential to make more money off a “franchise”, then there is going to be a sequel whether you want it or not.  It’s been 16 years since the franchise began. How does he wrap it up?  Well, buckle up, it’s a bit of a bumpy ride; that’s for sure.

The film opens up with the fallout from the massive showdown from The Devils Rejects as we saw Otis (Bill Moseley), Baby (Sheri Moon Zombie), and Captain Spaulding (Sid Haig) get taken down in a flurry of gunfire. We see them taken in to the hospital where by some miracle the three survive, and then the three are put on trial for their crimes.  There is definitely a Natural Born Killers vibe to the first third of the film as Zombie does a good job at showing how this trio of psychopaths would be treated like celebrities in the media and how they develop fans. Some people are willing to even believe the three are all innocent and are being framed by the government. Sadly, though, a lot of this is rushed to build up for a big prison break to set up another murder spree led by Otis.  Sure, it’s nice seeing Otis, and we get some bittersweet moments with Captain Spaulding (a shame this will be the last time we’ll see Sid Haig but his moments on screen are memorable none the less). But what doesn’t work is Baby.  I’ve always been a fan of Sheri Moon Zombie and felt fans were kind of hard on her performances in the past, but this time around there are some groan-worthy moments.  What’s worse is when you have her performing alongside Moseley, it’s impossible not to notice the talent gap.  Joining Otis and Baby on their escape and new spree of mayhem is Richard Brake, playing Winslow Foxworth Coltrane, who is Otis’s brother.  Brake is a welcomed addition to the cinematic family, but he’s obviously not in the same league of crazy that is Baby and Otis.

We take it for granted. Every day our lives depend on the flow of electricity to our homes, workplaces, entertainment venues, and hospitals. Living in Florida where you might brush the occasional hurricane, it's the thing I dread the most when a storm approaches. I don't worry so much about damage to my home as I do the inevitable five days without power. No AC. No television. No refrigeration for the food. We are so dependent that it's hard for me to comprehend that I grew up knowing people in my own family who lived before there was any electricity service at all. In another 70 years people will be saying the same thing about the internet. We all know Al Gore invented the internet. But who got us connected with this whole electric power grid? Like most things in a capitalistic society, there was fierce competition. Companies fought for the ability to bring electricity to your home. City by city, the contest endured until eventually the entire country could bask in the glaring glow of the world's first light bulbs. The Current War: The Director's Cut takes us inside that struggle to win that race. It's a compelling story, and even if it doesn't all ring quite true, it's an entertaining journey to the moment in time when everything changed.

As the film begins we find a weary Thomas Edison (Cumberbatch) with his family on a train after a visit to the president of the United States and J.P. Morgan (Macfadyen), where Edison was forced to plead for more financing for his dream to electrify the nation. Fresh off of his creation of a stable light bulb, it was important to get power to houses, or there was really no need to buy the bulbs. He has an idea of using direct current (DC) to distribute that power from a turbine electrical generation process of his invention. On the way home he had been invited to dinner at the home of industrialist George Westinghouse (Shannon). The family made elaborate preparations for the visit, which had been accepted. But Edison was tired and decided to skip the dinner and ordered the train to just blow by the welcoming committee at the station. In the film it would be the greatest mistake of his life. Slighted, Westinghouse decides to back a plane to use alternating current (AC) and directly compete with Edison for the contract in cities across the country. Edison is also somewhat undone by his arrogant dismissal of an employee who was trying to get him on the right track. That was Nikola Tesla (Hoult). Tesla would eventually join the Westinghouse group, and together they would form what would later be called General Electric.

When it comes to writer/director Robert Eggers, despite only directing The Witch, he’s currently one of the most divisive directors working today. Personally I loved The Witch and feel it’s one of the best horror films in the past decade, while others openly loathe the film and consider it a snooze-fest. Eggers has a style that really isn’t for everyone, but for those who are fans (myself included), he’s a breath of fresh air to the horror genre, though his style is very much a throwback to the times before computer graphics and his films rely heavily on atmosphere, where his stories take time to develop as he wants us to be like a fly on the wall as we watch his characters fall apart.  The Lighthouse is very much a claustrophobic character piece that will once again divide audiences, but one thing I believe we can all agree on: the performances of Willem Dafoe and Robert Pattinson are phenomenal and deserve all the recognition that will be coming their way.

When we meet Thomas (Dafoe) and Ephraim (Pattinson), they are being taken out to the lonely island where they will be serving their time tending to the lighthouse until their replacements arrive.  The beautiful black and white cinematography sets the tone for this film and gives it a timeless feel. This is one of the factors that makes this film work, because it could easily take place in the late 1800’s or even today (though obviously there would be better equipment if it were more modern). Thomas makes it clear right from the start he is the only one who will be tending to the light, while Ephraim is expected to tend to the rest of the duties. For a good portion of the film, we are with the men as they go about their grueling day-to-day routine, and we get to see the resentment grow in Ephraim towards Thomas.  Sure, there is the push and shove of masculinity as we see Thomas overtly trying to maintain his dominance while we’re seeing Ephraim slowly break down, and it’s in this where we see the film shift as it exploits Ephraim’s mental decline.

Here comes the second addition to this sequel weekend, as well as another welcome addition to the 31 Nights of Terror. Welcome back, ladies and gentlemen, to Zombieland, and it’s like we never left. True, ten years have passed since we last saw Tallahassee, Columbus, Wichita, and Little Rock, and I was beginning to believe that the likelihood of a sequel was low given the rising profiles of each of the actors involved, but I can happily say that it is here, and it was worth the wait. When last we saw this makeshift family, they were leaving Pacific Playland amusement park after annihilating a zombie horde; romance was brewing between Columbus and Wichita, and Tallahassee finally got their hands on his beloved Twinkie. Had this been the last time we saw the group, I would have been content, but the unwritten law of Hollywood is to never let go of a profitable franchise. Now, this unwritten law can be both good and bad, as it could result in a film that is on par or better than its predecessor, or the result could be a product of the law of diminishing returns. Lucky for us, Zombieland: Double Tap is the former instead of the latter.

Double Tap picks up ten years after the events of the first film. The merry band is still together and has taken up residence in the White House of all places. Keeping their distances from other survivors, they have fallen into familiar patterns. This appears to sit well with everyone but Little Rock, who has now become a teenager and seeks a connection with people of her own age. Around the same time, Wichita begins to feel pressure in her relationship with Columbus, leading to the sister deciding to go off on their own. Both Tallahassee and Columbus are devasted by the lost of the two and handle it in their own fashion: Columbus pines, while Tallahassee provides no real comfort, deciding that it may be time to hit the road himself. It then they come across a distraction in the form of Madison (Zoey Deutch), a gorgeous albeit ditzy young woman who proves it does not take brains to survive the zombie apocalypse. She quickly annoys Tallahassee, but you can guess who is looking for a rebound.