The Reel World

For a while it was looking like 2019 was going to be a lackluster year for films. Once fall rolled around, we seemed to get bombarded with some quality award-worthy films, but aside from Once Upon a Time in Hollywood, nothing jumped out at me as Best Picture.  Sure, Joker was great, and I had a great time with Uncut Gems, but when 1917 rolled around, this was the film that left me in awe. Sure, there have been some great war films over the years. Platoon and Apocalypse Now are great Vietnam films; Saving Private Ryan is definitely a contender as the best film about WWII. Really, it would have been difficult to say what’s the best war film out there … well, that is, until now.  It’s a bold statement, and I know many will disagree with me, but after two screenings of 1917, I’m feeling pretty confident when I say this is the best and my favorite war film.  What’s even more impressive is how 1917 manages to stand out from the big blockbusters, sequels, and comic book films and stand alone as a film that can remind viewers about that magic that comes with seeing a movie on the big screen and in Dolby sound.
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It was 1978 when it all began. That’s when George Lucas and a fairly unknown band of filmmakers and actors introduced us to that galaxy far, far away. We met characters like Han Solo and Princess Leia. We fell in love with droids named R2D2 and C3PO. We booed and hissed at the classic villainy of Darth Vader. And the hero of it all was a young farmer boy who pined for adventure on a backwater planet where nothing exciting ever happened. That’s where we met Luke Skywalker, and for three films ending in 1983, we were treated to an epic adventure. This unknown band would become cultural icons, but it was all over after five years of space swashbuckling and good old good versus evil. At some point Lucas made it known that the first Star Wars film was actually the fourth film in a trilogy of trilogies. Star Wars would gain the tag A New Hope, followed by The Empire Strikes Back and Return Of The Jedi. Of course, while Lucas teased there was a prequel trilogy and a sequel trilogy, we were told not to get our hopes too high. But in the 1990’s Lucas felt ambitious, and he delivered on that prequel trilogy with underwhelming result. Surely the rest of the story would remain untold.
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This film proves that not all things need to be adapted for the silver screen. This re-imagining of this Broadway musical was best left on the stage. Now I am saying this having never seen the musical, but given the execution of this film, I am forced to make that the assumption that the musical has to be better than what I witnessed at the theater. Despite having a top-shelf cast that included Idris Elba, Judi Dench, Ian McKellen, Rebel Wilson, Jennifer Hudson, and Taylor Swift, the film fails to entertain. This isn’t just a biased opinion, either; my wife, who was very excited for the film, fell asleep at multiple points and was highly annoyed by the story. I have no idea what was initially hoped for this adaptation, but I am hard pressed to believe that it was this. As much as I want to put the film behind me, there is one song regarding a magician cat that is just staying with me, furthering my frustration. The film was already going to have a difficult time making its mark based on the fact that is going against a film that is basically guaranteed to win not only this week but also subsequent weekends at well. Given the cult status of the musical, I assume that the die-hards will make the trip to the theater, and I would be curious to speak with any of them and find out if they were as disappointed as I was.
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“There’s a bomb in Centennial Park. You have thirty minutes.”

Clint Eastwood is about to hit 90, and there are no signs that it’s slowing him down. Last year he even returned to the front of the camera for The Mule. Now he’s back as just the director, and it appears that Eastwood has found two of his favorite subjects in one film. He’s always been attracted to the isolated man. If you look back at the men he himself has portrayed over the years, they were misunderstood loners. In recent years he has taken a bit of a shine to telling true stories that usually deal with unlikely heroes who are thrust into a dangerous situation and must act. Heroes like Chris Kyle in American Sniper, airline captain Chesley Sullenberger, the WWII heroes who raised the iconic flag at Iwo Jima in Flags Of Our Fathers, and the brave ordinary tourist who stopped a terrorist attack on a passenger train in The 15:17 To Paris. These heroes always pay a price for their actions, and often they are even persecuted for what they’ve done, as in the case of Sully. Eastwood has combined that true story and unlikely hero for his latest work, Richard Jewell. It’s a cautionary tale that is worth watching, particularly in an age where we are constantly told that if we see something, we must say something. After watching Richard Jewell, you might just experience a potentially catastrophic hesitation. And who could blame you?
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“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.
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Dark Waters is an alarming, based-on-true-events thriller that will have you more than little worried about your cookware. Mark Ruffalo plays Robert Bilott, an attorney who is drawn into a conspiracy involving a chemical conglomerate that resulted in hundreds of unexplained deaths. Anne Hathaway is his wife, who has to endure her husband’s over-twenty-year obsession with bringing down this company, all while trying to hold their family together. As I said, this was truly illuminating movie based on the 2016 New York Times article, “The lawyer who became Dupont’s worst nightmare.” The idea that something like this could happen for so long without any real consequences makes this story worth telling. Robert Bilott is a corporate defense attorney and partner at his firm. He is married with a baby, and he seems to have his life and career trajectory well in hand. That is, until an acquaintance of his grandmother shows up at his office unannounced, demanding his help suing a chemical company for the deaths of his cows. Robert initially wants nothing to do with the situation and is unconvinced that there is even a case to be made until he travels Parkersburg, VA and sees the devastation firsthand. Soon he finds himself caught up in a long-running conspiracy with life-threatening consequences and the involvement of one of the worlds largest companies that has been making billions as a result.
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Who killed renowned novelist Harlan Thrombey? Was it the dutiful son? Was it the rebellious grandson? Was it the sweet caretaker? The answer to this question is actually far more complicated than I expected, as Knives Out delivers a very engaging and extremely entertaining murder mystery in time for the Thanksgiving weekend. This story is chock-full of twists and turns that will keep you guessing until the ending credits. This Rian Johnson-helmed film is worth a trip to the theater because of its excellent plot and all-star cast that includes Chris Evans, Jamie Lee Curtis, Daniel Craig, Christopher Plummer, Michael Shannon, and many more. Harlan Thrombey is cleaning house on his birthday, looking to stop indulging his spoiled and entitled children and grandchildren. After years of catering to their every whim, he has decided that he will no longer bankroll their lifestyles. Well, that sounds like a motive for murder if I ever heard one, and that is just what happens when his body is discovered the day after his birthday. Initially suspected to be suicide, the knives come out when renowned private detective Beniot Blanc arrives and announces that he suspects foul play.
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“It’s a beautiful day in this neighborhood. A beautiful day for a neighbor. Would you be mine?
Could you be mine?”

Anyone who was a kid from the 1960’s to the 1990’s and beyond recognizes Mr. Rogers and his neighbor song. The man defined children’s programming for television, and he did so from a small studio tucked away in Pittsburg, Pennsylvania for almost 40 years. There aren’t many people living in this country who don’t at least know who Fred Rogers was. It would be a complete waste of my space and your time to tell you very much about the man in these lines. Truthfully, you’ll make the kinds of discoveries into the nature of who he was by spending a short 90 minutes watching the documentary Won’t You Be My Neighbor that appeared last year. It will be time well spent no matter how little or much you think you know about him. But now hot on the heels of that incredible documentary comes a film staring Tom Hanks as the lovable neighbor we all used to wish we had. Recently Ancestry.com confirmed that Tom Hanks and Fred Rogers are related. Of course you have to go back the pre-revolutionary days of 1734 to find this elusive relative. But you won’t have to time travel to spend a magical time with Mr. Rogers and Tom Hanks. In 2019 they happen to be the same man.
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“We got twenty-one bridges in and out of Manhattan. Shut them down. Three rivers. Close them. Four tunnels. Block them. Stop every train and loop the subways. Then, we flood the island with blue.”

Chadwick Boseman looks to be trying to bring back the days of Dirty Harry in this film as a cop known to kill cop killers. 21 Bridges is an action-packed film where nothing is really what it seems. Also featuring Sienna Miller, Taylor Kitsch, J.K. Simmons, and Keith David, I have to admit that some of these cast members’ appearances were more like cameos, as the action primarily focused on Boseman as he attempted to hunt down his target by any means necessary. Sorry, I just always wanted to say that, but for the context of this movie it rings true, as from the quote above you can see the extent he was willing to go to.
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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.
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“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.
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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.
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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.
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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.
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“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.
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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.
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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.
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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.
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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.
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Well, well … it would appear that this weekend is the weekend of sequels with two movies worthy of 31 Nights of Terror. First is the return of Angelina Jolie as Maleficent. When we last saw the Mistress of Evil (which also happens to be the title for the sequel) she was more of a hero rather than villain. However, the sequel sees her return to her previous status as the feared fairy that ruled the Moors. How quickly people forget her contributions. Though not traditionally scary, the film features plenty of magic and carnage courtesy of Jolie. Additionally, the film features the return of Elle Fanning, Sam Riley, and Harris Dickson as Aurora, Diaval, and Prince Philip. With the addition of Chiwetel Ejofor and Ed Skrein, as well as Michelle Pfeiffer as Queen Ingrith, Philip’s mother, who gives Maleficent a run for her money for the title of Mistress of Evil.
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It may be similar to other sci-fi films of its kind, but Gemini Man tips the scale with action and storyline.  The CGI is incredible, and the re-aging of Will Smith amazing in this assassin vs. clone movie that will knock your socks off. Oh, and the answer is yes, Will Smith plays both parts with seamless detail. A crack shot and assassin for a US government special ops, Henry Brogan (Will Smith) has set himself up on a hill readying himself to kill someone in a fast moving train.  As the train passes by he makes the kill shot, but it almost puts a bullet in a child nearby.  Deciding to retire, he tells his boss that it’s time because there’s a good chance he’ll botch the next job.
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“They’re creepy and they’re kooky, Mysterious and spooky, They’re altogether ooky, The Addams Family.”

That is for those who read my Addams Family Double Feature post regarding the Addams Family theme song. Of course that is merely the first verse of the song. Have no fear, as the animated film features the full version. It must be kismet, as I had the privilege of reviewing the animated film so soon after reviewing the double feature, though I suspect that this was by design. It is also kismet that this film comes in time to be part our 31 Nights of Terror. Though this cartoon does not fit the traditional view of what a horror film is, I would argue that the subject matter is more than enough to grant it entry. Featuring a lighter tone than its subject material, this incarnation is an enjoyable experience that can be shared with the whole family, which was my experience as I was able to bring my daughter to the film with me, and I’m happy to say it got her stamp of approval.
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“Art is dangerous.”  It’s a quote that has been passed around over the decades, and it’s something I tend to agree with.  Over the weeks building up to the release of the film, there seems to be a manufactured panic about what could happen when Joker releases onto the big screen.  In Aurora, Colorado, they’ve elected to not show the film as a way to not trigger local residents who were involved in the 2012 shooting. This I can understand, considering the shooter did indeed dress as the Joker when he committed his act of violence.  As for other parts of the US, the local police and military have been placed on high alert, all because people are worried about the gun violence and how it may motivate deranged fans to go on shooting sprees.  This obviously is not what the studios or filmmakers ever intended, but it is unfortunately a sign of the times that we are living in.  No one should have to fear going to the movies. The theater for many is the place for audiences to escape for two hours and forget the troubles and the horrors of the real world, and my hope is audiences will be able to do so without violent incidents.
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“Sometimes I wish upon a star…”

Sometimes the brightest stars shine for the shortest times. That could certainly be said for Judy Garland. 2019 marks the 80th anniversary of the release of The Wizard Of Oz. There have been plenty of celebrations, but it’s fitting that we also use this milestone as a chance to do some tribute to Judy Garland, who as a young girl brought the central character of Dorothy to life for generations of movie fans. It’s an entirely appropriate time to offer some empathy to her, and that’s exactly why Judy couldn’t have come at a better time. It’s based on the stage play End Of The Rainbow by Peter Quilter. The film offers us a rather intimate look at a time in the life of the actress just a year before she died from a drug overdose.
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”AQUARELA takes audiences on a deeply cinematic journey through the transformative beauty and raw power of water. Captured at a rare 96 frames-per-second, the film is a visceral wake-up call that humans are no match for the sheer force and capricious will of Earth’s most precious element. From the precarious frozen waters of Russia’s Lake Baikal to Miami in the throes of Hurricane Irma to Venezuela’s mighty Angel Falls, water is AQUARELA’s main character, with director Victor Kossakovsky capturing her many personalities in startling cinematic clarity. The film will be shown in theaters at 48 frames-per-second, double the typical 24 frames-per-second, as projectors with the ability to project at 96-frames-per-second are extremely rare today, but when the time comes that the capacity is there, AQUARELA will be one of the first films to be shown at that speed.”

When you turn on the faucet and out comes water, do you really know where it all comes from and how much of it flows on the Earth? Enter the documentary Aquarela, with its lavish cinematography of water in all forms everywhere. The movie was made by Victor Kossakovsky, in which he says that his movie “takes audiences on a deeply cinematic journey through the transformative beauty of the raw power of water.” The film is not a political statement for a cause or even a warning of any kind.
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