The Reel World

Touching and inspirational, the movie Wonder opens the eyes of its audience to the medical anomaly of Treacher Collins Syndrome.  It’s a gene glitch that causes a facial difference that happens in one of 50,000 people*.  Based on a book by R. J. Palacio, the film handles the material in the novel in such a way that one cannot help but fall in love with a boy with TCS named Auggie Pullman.  The movie becomes an inspiration to all children and a force behind anti-bullying.

Auggie (Jacob Tremblay) was born with a facial deformity and has had limited mainstream contact of everyday outside life.  In fact, upon going out for activities he uses a toy astronaut helmet complete with a dark solar visor to hide his face. Since it has been difficult for him to take comments regarding his looks, Auggie has been homeschooled all of his life up until now.  He has finally reached fifth grade level, “middle school”, and his mother, Isabel (Julia Roberts)  has decided that he attend a public school.

"We have to be ready. You, me, the others... there's an attack coming from far away."

The DC and Marvel rivalry can be quite fierce at times. I never completely understood the polarized fan base, however. Some of us are just fans of the genre and will welcome a good comic book movie from either and preferably both studios. When it comes to a cinematic universe, however DC has had some real issues with trying to bring together a combined hero world. Most of the films leading up to Justice League have been dark and filled with brooding heroes. With Batman that kind of thing is appropriate and works. With Superman it has been a severe letdown. When the two came together in Batman vs. Superman, the disappointment started to lead to a resigned conviction that DC was doomed to repeat the same mistakes over and over again. Then came Wonder Woman, and it was no surprise that she was the single standout of the caped-hero duel. Wonder Woman, both the character and the film, appear to have changed something in the DC landscape, and she is, once again, the single most hopeful character in Justice League. And while Justice League isn't quite the movie that Wonder Woman was, there are signs that things are changing. Justice League is not a great movie. But it's not a bad film, either. Superman actually smiles and has begun to return to the "golly" innocent of his best comic years. This film may not be everything we fans of both brands were hoping for, but it's actually a good start.

"We are all in the gutter, but some of us are looking at the stars."

Going to see Wonderstruck is like going to see two movies at the same time. It's a rather clever narrative that tells somewhat parallel stories from two different ages. There is a story that happens in Minnesota in 1977, while the other takes place in 1929 New Jersey. It isn't hard to know which period you happen to be in, because they are filmed with distinct styles that match the environments of each time and place. The film is often beautiful to look at. But it's an ambitious course that does not always embrace the audience. As the two stories begin to make some sense to us as a whole, the narrative starts to disappoint somewhat. Have you ever tried to follow someone to a destination that only they know how to reach? It's up to the lead driver to glance backward from time to time to make sure the following car is still with them. Director Todd Haynes might not be my first choice in that lead car. He's not necessarily very good at making sure we're still with him. The closer he gets to his destination, the more frustrated and anticlimactic it all becomes.

I have to start by talking about the mustache. You've probably already seen the outrageous facial hair Kenneth Branagh rocks as Hercules Poirot, the brilliant Belgian detective who appeared in 33 Agatha Christie novels (including 1934's “Murder on the Orient Express”). But it is truly a sight to behold on the big screen! Up close, it looks like a fake, ridiculously twirly mustache has been layered on top of an even longer fake, ridiculously twirly mustache. I bring this up because the two things that truly separate this sumptuous, all-star take on Poirot's most famous case from previous (and superior) adaptations are the film's eye-popping production values and...well, Branagh's mustache.

“My name is Hercule Poirot, and I am probably the greatest detective in the world.”

“Maybe it’s all psychological.”

The Killing of a Sacred Deer takes its title from the tragedy “Iphigenia at Aulis” by the Greek dramatist Euripides. I’ve published more than 800 reviews for this site, and that’s almost definitely the most pretentious opening line I’ve ever written. That might sound like an insult, but it’s actually quite fitting for this deeply unsettling movie, which uses a series of grandiose and idiosyncratic flourishes to explore one of the oldest and simplest concepts known to mankind: “an eye for an eye.”

"Well, I tried to start a revolution, but didn't print enough pamphlets so hardly anyone turned up. Except for my mum and her boyfriend, who I hate. As punishment, I was forced to be in here and become a gladiator. Bit of a promotional disaster that one, but I' m actually organizing another revolution. I don't know if you'd be interested in something like that? Do you reckon you'd be interested?"

DC has finally gotten a recent comic superhero movie right with Wonder Woman. We'll know in just a few days if they can bring the streak to two films when Justice League hits the box office this month. Marvel, on the other hand, has a streak going that dates back to 2008 and reaching a truly astonishing 16 films leading up to the third Thor film, Thor: Ragnarok. With three more films on tap for next year, that run could reach 20 films very soon. Not all of these efforts have been great by any means. I found the last Thor film to be one of the franchise's weaker moments. But all of these movies do have one thing in common. With even the least of these films, they have all been entertaining. And that's exactly where Thor: Ragnarok fits the mold perfectly. I wouldn't call this Marvel's finest moment. I would call it one hell of an entertaining ride through the Marvel Universe. Fasten your safety harness. Remember to keep hands and feet inside your seat at all times. No flash photography. You are encouraged to have food and drink; however, there is a choking hazard, as some of this movie is so funny there could be fountains of popcorn and sugary syrup substances ejected toward the rider in front of you.

"Once upon a time there was a great war that brought so much sadness to so many people. Hardly anyone could remember what happiness was like. But something happened that changed all that..."

“Winnie the Pooh doesn't know what to do …” starts a popular song written by Kenny Loggins, recorded first in 1970 by the Nitty Gritty Dirt Band with a more popular and enduring version by Loggins And Messina a year later. Hundreds of millions of children since the 1920's know who Winnie the Pooh is. He's the happy-go-lucky bear who lives in the 100 Acre Wood with Piglet, Tigger, Owl, Rabbit, Eeyore, Kanga, and Roo. But Pooh's best friend of all was a young boy named Christopher Robin. The books have entertained children for nearly 100 years. Walt Disney introduced us to very different but equally as endearing animated versions in the 1960's. The stories have continued with Saturday morning cartoons, feature films, and an upcoming live action Disney production. Pooh and his friends remain a fond memory for most of us. But most of us don't know the story behind the iconic characters. Goodbye Christopher Robin does an admirable job of bringing that story to life as vividly as the stories have brought Pooh to life over the years. But this is not really a happy story at all. Real life seldom is, and I credit director Simon Curtis for being brave enough to tell the unhappy story without so many of the trappings of Hollywood and the need to have our stories end in happily ever after.

Thank You For Your Service is an enterprising look into what is like for some soldiers who return home from war. Some come back to find life has gone on without them, and so have the people they hold most dear. Some return only in body, with their minds reliving things that happened to them over there. Others will do anything just to go back, because that is the only reality that makes sense to them. All three of these circumstances are portrayed in a way that will hit close to home for some while allowing others an enriched perspective that will have them uttering those words with more emphasis than they would have in the past, “Thank you for your service.”

The story follows the return of three soldiers, Staff Sergeant Adam Schumann (Miles Teller), Specialist Tausolo Aieti (Beulah Koale), and Private First Class Will Waller (Joe Cole). The three of them survived the odds and hellish circumstances, which include IED detonations, firefights, and the loss of beloved comrades, and are returning home to resume their lives with loved ones who have been patiently awaiting their return. Although excited to be returning, each of them is struggling internally. For SSG Schumann, he is struggling to overcome the consequences to decisions that he made while in command, decisions that resulted in lives lost. Schuman also finds it difficult opening up to his wife, Saskia (Haley Bennett), who has been holding down the fort and raising their two kids in his absence.

As a director, George Clooney just hasn’t managed to reproduce the magic he had in his first effort Confessions of a Dangerous Mind.  I keep hoping that we’ll get another film at that caliber, but it seems over and over it is a swing and a miss.  Now he has his new film Suburbicon, and this could be his most divisive work to date.  There is nothing wrong with adding a social commentary to a film, but sometimes adding it can be a distraction from the film.  In the case of Suburbicon, it is a tale of two films that couldn’t be any more different from each other.  First we have a tale of a family attempting to keep their lives together following a home invasion, and then we have the story of a black family moving into a white neighborhood and the backlash that follows.

The original script was penned by Joel and Ethan Coen. This was initially what got me curious about the film, since I’ve been a fan of their work for some time.  With George Clooney’s history with the Coens in the past, I figured he would be a good fit to bring their work to the screen.  The first red flag should have been that George Clooney and his long-time writing partner Grant Heslov have writing credits to the film.  This isn’t a jab at their work, but writing-wise they wouldn’t be the go-to pair I’d pick to rewrite the Coens, since they have their own very distinct style.  As expected, you can see the jarring difference in style and tone in the film.

Andy Serkis is mostly known for pioneering the industry of motion capture performance. Most of you may not know that he's worked a bit behind the camera as well. He's led a few second units as director but had not actually directed a feature film. Breathe is his first effort, and while it has some truly nice moments, it looks like a first effort. I have no doubt that Serkis will be eventually demand notice as a director. He demonstrates an incredible base of knowledge when it comes to filmmaking. He certainly understands how to make an emotional connection with characters that aren't really there. The skills are evident. But I suspect Breathe won't be called upon in a future list of Andy Serkis masterpieces.

Robin Cavendish (Garfield) is an active adventurer who revels in physical activity, whether it be tennis or hiking in Kenya. He meets and marries Diana (Foy), who shares his adventurist life. They live a rather idyllic life until Robin is diagnosed with polio and given a short time to live. At first he falls into the expected depression and suicidal thoughts, but Diana manages to inspire him to make something of his life in spite of the terrible diagnosis. His friend Teddy (Bonneville) is a skilled engineer who develops a chair that offers more than just mobility. It has the respiration equipment he requires. Robin uses this new mobility to again travel and have adventures where he eventually becomes an inspiration and advocate for others who are disabled. He ends up living longer than anyone predicted.