Review of “Eddie the Eagle”

Michael “Eddie” Edwards (Taron Egerton) had dreamed his whole life of going to the Olympics. Weak knees meant Eddie had to wear leg braces until he was 15. Once they were taken off, Eddie began training. While not the strongest, fastest and most graceful, Eddie never gave up on his dream of one day going to the Olympics despite the vocal doubts of his father Terry (Keith Allen). His doting and supportive mother Janette (Jo Hartley) always backed her son no matter how improbable his dreams appeared. Downhill skiing seemed like his sport and he did pretty well on the junior circuit; but he was denied even an attempt to try out for the Olympic team by the head of the British Olympic committee Dustin Target (Tim McInnerny). Eddie believed it was because he was from a lower-class working family and didn’t have the right pedigree. Eddie is about to give up on his dream when he sees a corner of a poster hanging on his wall that had been covered by other pictures. It showed ski jump hills. Britain had not had a ski jump team since 1929 and had no plans to send a team to the Calgary Canada Olympics of 1988. Eddie thought there would be no competition to get on the team so he decided to run off to Germany and practice at a training center there. After several crashes, Eddie is approached by Bronson Peary (Hugh Jackman) who oversees maintenance and grounds keeping of the ski center. Peary tells Eddie to give up as he expects him to break his neck. Eddie finds out Peary used to be an elite ski jumper for the United States but had a falling out with his coach Warren Sharp (Christopher Walken) and gave up the sport for booze. Eddie badgers Peary into coaching him so he can compete in the Olympics. When Eddie lands a qualifying jump in a competition he believes he’s on his way to Calgary; however, Mr. Target and the British Olympic committee change the rules to keep Eddie out as he’s seen as an embarrassment. Eddie and Peary then begin traveling around Europe, competing in every competition in an effort to meet the new requirements. Peary still believes Eddie is out of his mind but admires his dedication.

“Eddie the Eagle” is based on the true story of a guy who wears incredibly thick glasses and has a chin that appears to stick out a foot further than it should. He is an unlikely hero for a movie much less a worldwide phenomenon in a time before the internet. He is about the only thing I remember from the 1988 Olympics or, aside from the Miracle on Ice from 1980 and the massacre in Munich in 1972, any Olympics. It is a story of how the journey is more important than the destination and how trying is more important than winning. It turns Eddie into a lovably myopic zealot for his sport that must fight for the opportunity to compete simply because he doesn’t have the right look or upbringing in the eyes of the powers that be. While the facts of the real Eddie the Eagle aren’t quite as uplifting as are told in the movie, taking some cinematic license with events and characters makes the film quite an enjoyable and heartening time.

Taron Egerton looks quite different than the last time I saw him on screen in “Kingmen: The Secret Service.” With Eddie’s trademark coke-bottle-bottom glasses and jutting out his chin, Egerton at times looks mentally challenged. His mouth occasionally has a tick and when he gives a “thumbs up” it always looks stiff and awkward. Egerton gives a charming performance as the title character. It never feels like he’s trying to manipulate the audience into feeling sorry for Eddie. All the while we support what Eddie’s trying to do as he is making the effort for what appear to be the right reasons. Egerton does nothing flashy in the role and the performance is enhanced by how simple it is.

Hugh Jackman is, well, Hugh Jackman. His character, created from whole cloth, appears designed to be as opposite to Eddie as possible. Jackman’s Peary smokes and drinks and takes life very casually. Eddie does none of that. Dramatically it is a device as old as time but these two actors make it work. Jackman is such an easy and smooth presence on screen it should be against the law. He manages to make what should be an unlikable character into a kind of anti-hero. Despite all Peary says to Eddie to dissuade him from jumping he never comes off as mean or negative. While his decision to help Eddie feels a bit too easy and convenient, Peary as Eddie’s coach takes on a fatherly air, providing the kind of emotional support Eddie’s real father didn’t. Jackman slips into the role like it’s a comfortable old sweater and his performance is just as warm.

The story of “Eddie the Eagle” isn’t complicated and is told about as cleanly and efficiently as one could imagine. The film doesn’t waste any time in setting up the characters and situation. There are a few scenes that have an odd tone, such as when Eddie is found sleeping in a storage room by the female owner of the bar next to the German training facility and she attempts to seduce him. Also, the scenes where the British Olympic official attempts to keep Eddie from competing and Eddie has a prank played on him by another member of the British team feels a little heavy handed. The movie beats the class difference between Eddie and those that try to keep him off the team like a drum. It briefly takes the film down a darker path but fortunately these scenes don’t last very long. Fortunately director Dexter Fletcher gets the film back on its lighter track quickly after these brief reminders of who the world is always trying to beat Eddie down.

“Eddie the Eagle” is rated PG-13 for some suggestive material, partial nudity and smoking. The aforementioned attempt at seduction is somewhat suggestive. Eddie walks into a sauna and is confronted with the Norwegian men’s ski team nude. No full frontal or backsides are shown. There is one act of violence as a character gets punched in the face. There are also several ski jumping crashes shown. There is no foul language.

“Eddie the Eagle” is clearly a fantasy about a real person. Many facts were changed and people invented to tell a story that could have its emotion and inspiration amplified to the point where it’s nearly deafening. That said, the filmmakers have created a movie that will not offend anyone and many will find it makes them feel good as they walk out of the theatre. Its sweetness may be a bit overdone; but considering the climate of the world many will find it a refreshing change of pace.

“Eddie the Eagle” gets five stars.

This week, an action sequel goes across the pond, a journalist shows us the lighter side of war and animals are people too. I’ll see and review at least one of the following:

London Has Fallen—

Whiskey Tango Foxtrot—

Zootopia—

Follow me on Twitter @moviemanstan and send emails to stanthemovieman@comcast.net.

Review of “The Witch”

At a mid-17th century British settlement in New England, a family is banished because of the father’s deeply held religious beliefs and how they clash with the town elders. William (Ralph Ineson) takes his wife Katherine (Kate Dickie) and their five children with all their belongings on the back of a horse-drawn cart into the wilderness to start anew. Finding a suitable plot of level ground near a stream, the family builds a small house, barn and stable and plants a crop of corn. While watching her baby brother Sam, eldest child Thomasin (Anya Taylor-Joy) is playing a game of peek-a-boo when a witch (Bathsheba Garnett) who lives in the nearby woods takes the boy and uses his blood to bathe in. Thomasin didn’t see the witch take Sam and believes he was snatched up by a wolf. On top of this loss, their corn is struck with blight and doesn’t produce enough to hold them through the winter. Katherine begins to believe the family is cursed. William takes oldest son Caleb (Harvey Scrimshaw) out on a secret hunt into the woods as Katherine believes them to be haunted. There they check traps William had already set but find them empty. Later, Caleb and Thomasin secretly go out to check the traps again but get separated. Caleb stumbles upon the home of the witch and she appears to him as a beautiful woman. They kiss but it’s a trap and Caleb goes missing. Thomasin stumbles home and is questioned about where she and Caleb went. Being evasive with her answers leads Katherine to believe Thomasin might be a witch and responsible for the calamity that has befallen them.

Anyone heading to see “The Witch” expecting it to be a standard horror flick will be in for a surprise. Whether that’s a pleasant or unpleasant surprise depends on your willingness to accept the movie for what it is. I have yet to piece together exactly what I believe “The Witch” to be for myself. I can tell you what it isn’t: It’s not like anything you’ve seen in recent memory.

In a title card that comes up in the closing credits we learn much of the dialog for the film was taken from journals, newspaper accounts and trial transcripts from the time. The language of “The Witch” can be a bit difficult to follow as it is undiluted Olde English. Careful attention will find the viewer being able to figure out the meaning if not the exact words used in a scene.

Understanding what’s going on in some of these scenes is due largely to an extremely talented cast of largely unknowns. These actors are committed to bringing life and emotion to these characters. Ralph Inesdon, Anya Taylor-Joy and Kate Dickie are the backbone of this troupe and they deliver performances that are riveting. The tone and cadence of Ineson’s speaking voice is nearly melodic. His gravely bass voice adds an air or legitimacy and gravitas to his words. Kate Dickie is capable of running the gamut from loving mother to shrieking shrew and making each extreme believable. Anya Taylor-Joy is an angelic beauty. Her wide-eyed innocence makes the events that swirl around her seem especially unfair. We side with Thomasin as she faces unfounded allegations, wanting her to break free and suddenly be transported to a place and time where she can live in peace. The entire cast does an amazing job at making us both love and hate them as they try to survive.

Living in a time and under conditions none of us could imagine, this family must work together and constantly put aside thoughts of self. None of the players is shown in the best light or wearing the nicest clothes. This is a time of drudgery, of hard work and no guarantee of survival. Once they are banished, any meager support they might have had from their community is gone. There is no market just down the street and no doctor. The actors and the setting combine to give the movie a feeling of isolation that makes the growing paranoia amongst the adults almost understandable.

Despite all that’s right with the movie, “The Witch” still fails to do what any good horror film should and that’s scare the audience. While I enjoyed the history lesson, the efforts of the actors, the production design, the soundtrack and the film as a whole, it has no scares. It effectively builds tension with discordant music and sudden blackouts but never delivers the kind of scare today’s modern horror audience craves. While there are moments when seeing a shadowy figure standing in the woods as a character walks by oblivious seemed appropriate or even necessary, none of these moments or any other Horror Movie 101 events occur. Director and writer Robert Eggers appears to believe a spooky atmosphere and the occasional glimpse of a naked old woman is frightening enough; however, it isn’t. Eggers probably believes the horror is the paranoia and religious fundamentalism of the mother and father and how they begin to suspect Thomasin is witch and plan to have her tried back at the village. This is certainly horrifying in its own way but doesn’t lead to a quickening of the pulse or the gripping of the arms of your theatre chair. That’s more akin to hearing a political candidate make promises in a speech that are clearly unconstitutional and hearing his audience cheer.

“The Witch” is rated R for disturbing violent content and graphic nudity. Much of the more gory violence occurs in shadow and is suggested rather than shown; however, we do see the witch stirring up a red, chunky mixture that we assume is the remains of the baby then bathing herself and a stick with the substance. A man is gored to death by an animal. A character is stabbed to death. A character is picked at by a crow, drawing blood. We see the witch, again obscured mostly by shadow, fully nude. There is a ring of nude women dancing around a fire. There is no foul language.

The frightening parts of “The Witch” are mostly psychological. The longer the family is separated from not only the village but from their roots in England, the more they begin to turn on each other. Initially finding strength in their faith, it is turned into a weapon to explain their situation and place blame where it doesn’t belong. While the witch of the title is ultimately responsible for this family’s doom, they have been coming apart at the seams for a while. I’m sure the filmmakers probably want “The Witch” to be viewed as more of an allegory for modern life and allowing fear to turn us against each other. In that sense the movie is a success. As a horror film, “The Witch” is mostly interesting to watch but doesn’t provide any memorable scares. While there are things that go bump in the night, they are metaphors for racism and power-hungry politicians. While scary, it’s not what most people are looking for in a horror movie.

“The Witch” gets two stars out of five.

This week, the story of a lovable loser, clashing gods and a bank heist hit theatres. I’ll see and review at least one of the following:

Eddie the Eagle—

Gods of Egypt—

Triple 9—

Follow me on Twitter @moviemanstan and send emails to stanthemovieman@comcast.net.

Review of “Deadpool”

Wade Wilson (Ryan Reynolds) is a former Special Forces soldier who is now a mercenary for hire. If you have a problem and aren’t real concerned with things like laws and ethics, Wade is the man that can solve your problem. While hanging out at a bar frequented by more of his kind and run by his friend Weasel (T.J. Miller) he meets Vanessa (Morena Baccarin), an escort who is as tough and foul-mouthed as Wade. They quickly begin a relationship that seems destined for marriage; however, one night Wade passes out. At the doctor the next day, he and Vanessa find out he has terminal cancer. Vanessa is hopeful there is a treatment that might save him but Wade is certain he will die and doesn’t want to put her through the trauma of watching his decline. At the bar, Wade is approached by a recruiter (Jed Rees) who claims he can cure his cancer. Initially skeptical, Wade packs up in the middle of the night and leaves for the program without telling Vanessa. There he is strapped to a gurney and rolled through a chamber of horrors. A man in a lab coat calling himself Ajax (Ed Skrein) tells Wade they will inject him with various chemicals to activate any mutant genes in his DNA. He will then be subjected to various physical tortures to activate the mutation. If he survives the treatment and his mutation activates, he will likely be cured of his cancer but will then be a slave to the project and never go home. Locked in an airtight chamber, Wade is deprived of oxygen. This activates his mutation, giving him quick healing power but scarring all the skin on his body. Wade manages to escape the chamber and fights Ajax, whose real name is Francis Freeman, who has himself gone through the treatment and does not feel pain and possesses enhanced strength. Wade is left for dead but is actually on a path of revenge. He is looking for Francis with the mission of getting him to fix his skin and he doesn’t care who he has to kill to find him. Weasel suggests a mask to cover his face while Wade comes up with a catchy name for his merc with the mouth: Deadpool.

“Deadpool” is not your usual superhero movie. Most noticeably, it’s rated R and deservedly so. The violence, language and nudity in the film are unlike anything ever seen before in this genre. The character of Deadpool is also unlike your everyday superhero. He is willing, almost eager, to kill those that fight against him. He seems to enjoy inflicting pain his enemies. Even the opening credits of the film take potshots at superhero movies. This isn’t a film for the easily offended… and I think the format could use more like “Deadpool.”

The movie moves at a brisk pace with the story told in a combination of flashbacks and present time. While the origin story is a bit slow at times the rest of the film more than makes up for it with snappy action sequences, funny lines and so many in-jokes that you probably need to see the movie more than once to catch them all. It is certainly a feast for those wanting to see the character get a bit of redemption after it was so poorly handled in “X-Men Origins: Wolverine”
(which also gets skewered in the film). With its tongue firmly planted in its cheek, “Deadpool” is well aware everything we are seeing is utter ridiculous and even characters that are treated seriously are played as superhero/villain stereotypes making them easy targets for satire.

Ryan Reynolds is a perfect choice for the Merc with the Mouth. Reynolds has the smartass delivery that makes this character pop. Whether he’s making goofy sweet talk to Vanessa, bro bud talk with Weasel or tough talking Francis, Reynolds gives Wade Wilson/Deadpool the kind of nimble comedic repartee necessary for the character not to come off as trying too hard. Busting balls is second nature to the character and I believe to Reynolds as well.

Morena Baccarin is a perfect mix of sexy and tough, playing Vanessa as a woman who doesn’t need a man to protect her or complete her. In her relationship with Wade, Vanessa gives as good as she gets (sometimes literally) and is about as equal a partner as has ever been seen in a superhero movie; however, the script turns Vanessa into a hovering mother when Wade receives his diagnosis. For some reason, screenwriters Rhett Rees and Paul Wernick fall back on tried and true sexual stereotypes. Vanessa originally seems like the kind of woman who wouldn’t allow her partner to wallow in self-pity the way Wade does. She would demand Wade fight. Sadly, Rees and Wernick turn this strong, modern woman into a 1950’s housewife. Tonally it doesn’t fit with the rest of the movie.

That could also be said of the standard issue finale. I won’t give anything away but if you’ve seen one superhero film you won’t be surprised about how “Deadpool” ends. While the character does throw in a small twist it isn’t one that isn’t obviously coming from the beginning of the movie. Considering whom Vanessa is in the comics, they could have set up a mind-blowing sequel by showing us her abilities and what kind of heartache was in store for Deadpool. Perhaps that’s on the drawing board for a future film but considering everything else “Deadpool” did to separate itself from most other genre movies, a last-page-of-the-comic twist would have fanned the flames of viewers’ interest even more than the snarky post-credits scenes that may or may not tell us what’s going on in the sequel.

“Deadpool” is rated R for language throughout, graphic nudity, sexual content and strong violence. There are beheadings, dismemberments, stabbings and gory gunshot wounds galore. There is both male and female nudity and an extended sexual montage that may change the way you look at mashed potatoes forever. Foul language is common but not overwhelming.

Opening to a box office total well over projections and a fair amount of critical love, 20th Century Fox basically had no choice but to greenlight a sequel. While this film is certainly far different from any other Marvel superhero movie we’ve had since the premiere of “Iron Man” in 2008 and that uniqueness likely encouraged possibly comic-book-film-fatigued fans to turn out, “Deadpool” still couldn’t escape the predictable third act heroics of a character that boasts about how he is not a hero. Perhaps the makers of the next film will have the courage to fight studio pressure to turn the Merc with the Mouth into just another spandex-wearing goody-two-shoe. That’s the way Wade Wilson would want it.

“Deadpool” gets four stars out of five.

A film of bravery, a film of faith and a film of dark magic open this week. I’ll see and review at least one of the following:

Race—

Risen—

The Witch—

Follow me on Twitter @moviemanstan and send emails to stanthemovieman@comcast.net.

Reviews of “Hail, Caesar!” and “Pride and Prejudice and Zombies”

Hail, Caesar!

Movie star Baird Whitlock (George Clooney) is kidnapped by a group of Communist script writers who feel they are undercompensated for their work. Eddie Mannix (Josh Brolin) works for the studio as a “fixer” who tries to keep movie production running smoothly by taking care of any problems for the actors and directors. Mannix gets a ransom note asking for $100,000 for the return of Whitlock. Whitlock is the star of a big-budget Roman Empire film called “Hail, Caesar: The Story of the Christ” and is needed back on set as quickly as possible. He also wants to keep Whitlock’s disappearance out of the two gossip columns written by feuding twin sisters Thora and Thessaly Thacker (both played by Tilda Swinton). Mannix is also dealing with the pregnancy of unwed starlet DeeAnna Moran (Scarlett Johansson), and monosyllabic cowboy actor Hobie Doyle (Alden Ehrenreich) being shoehorned into an upscale costume drama much to the chagrin of director Laurence Laurentz (Ralph Fiennes). As if this wasn’t enough, Mannix is also considering a lucrative job offer from aircraft manufacturer Lockheed and is also trying to quit smoking.

Joel and Ethan Coen are the talented writers, directors, editors and producers behind some of the best movies in history (“Fargo,” “No Country for Old Men,” “Raising Arizona,” “O Brother, Where Art Thou?,” “The Big Lebowski,” “True Grit” to name a few). They have also given us some interesting films with unique characters and a skewed view of the world. These films aren’t quite great but are certainly worth a look. Where “Hail, Caesar” falls on the list from worst to first will probably require some time to decide and may depend on your mood when you see it but, for me, it doesn’t quite reach the heights of their best efforts.

Right off the bat, you know you’re watching a Coen Brothers movie. The look of the sets, the way the characters are filmed and the often amped up energy between the actors are all signatures of a Coen Brothers joint, especially one of their lighter films. Adding to the mood is the utter self-absorption of some of the movie’s characters. They cannot see past their own wants, needs and desires to consider all the trouble they are causing. They need someone like Mannix to take care of the problems they are ill equipped to handle or blindly stumble upon. The film, set in the late 1940’s or early 1950’s, gives the audience a peek behind scrubbed clean facades and into the dirty lives of Hollywood stars from the era. Reading a little of Hollywood history shows there were plenty of pregnancies, closeted gays and lesbians, and substance abuse to cover up keeping the real versions of Eddie Mannix busy. Watching the small emergencies and major catastrophes Mannix deals with fill his day made me wonder if what he does only enables the actors and directors bad decision making. Of course, the answer is “yes” since he was hired by the studio to keep the actors and directors working, on schedule and within budget.

Watching Mannix work is probably the most interesting thing about “Hail, Caesar!” making the subplot about the kidnapping of Baird Whitlock almost an afterthought. Sadly, that part of the story is written that way as well. There is a great deal of Communist ideology spewed by the group of writers holed up at a beachside bungalow. Granted, it’s all done in a friendly fashion, leading to a case of Stockholm syndrome for Whitlock. Nothing about this group is terribly interesting aside from the petty sniping between members. I suppose I expected a more aggressive gang hoping to convert Whitlock as a vocal and public advocate for their cause. Instead, Whitlock doesn’t really get it and is treated like the slow cousin at the family reunion with everyone just nodding and smiling as he tries to play along. Pretty much everything at the beach house feels like filler and tends to bring the movie to a bit of a narrative stop.

Far more entertaining are the films within the film being filmed. A water ballet featuring Johansson’s pregnant DeeAnna Moran in a mermaid costume and a big dance number with Channing Tatum’s Burt Gurney leading a group of sailors tap dancing on tables at a bar the night before they ship out contain dazzling visuals, impressive choreography and catchy tunes. I almost wish they had just made a movie that stitched these scenes together with a Hollywood backlot story about Eddie Mannix and left the Communist kidnapping plot out. Even watching Clooney chew the scenery in the sword and sandals epic his character is filming beats anything that happens after his kidnapping. It’s the dichotomy between what Hollywood is trying to sell us and what this movie is trying to show us about the real world that drags the film down a peg or two. It’s far from awful but I could have used a bit more screwball action and a lot less Communist manifesto.

“Hail, Caesar!” is rated PG-13 for some suggestive content and smoking. The suggestive content is very mild and hardly noticeable. Smoking is common throughout the film.

One of my favorite Coen Brothers movies is “Raising Arizona.” It is goofy and sweet and features some very memorable characters. From time to time, for no reason, my wife will just suddenly announce, “Short of Edwina. Turn to the right!” which is a line Holly Hunter’s character says on her first meeting with Nic Cage. “Raising Arizona” has more memorable lines. Perhaps that’s what “Hail, Caesar!” lacks…scenes and dialog that burrow into your brain and pop up for no particular reason in conversation. While that isn’t a requirement for a great movie, it does help.

“Hail, Caesar!” gets four guitars.

Pride and Prejudice and Zombies

The Bennet family lives on a nice estate in the English countryside. The five Bennet daughters have all been schooled in Chinese martial arts as all good young women should be in a land plagued by a zombie scourge. Elizabeth Bennet (Lily James) meets and takes an instant dislike to Col. Darcy (Sam Riley), a well-known zombie killer, at a reception at the home of Mr. Bingley (Douglas Booth). Mr. Bingley sees Elizabeth’s sister Jane (Bella Heathcote) and is instantly smitten, making Jane’s mother, Mrs. Bennet (Sally Phillips), quite happy as she hopes to marry her daughters off to wealthy families as her own is not as financially secure as she would like. The zombie plague is beginning to overrun most of London’s defenses and Mr. Wickham (Jack Huston) is brought in to improve them. Darcy and Wickham have a strained history going back several years that Wickham blames on Darcy. This drives a further wedge between Darcy and Elizabeth.

“Pride and Prejudice and Zombies,” henceforth to be referred to as “PPZ,” is a brilliant idea on paper. The juxtaposition between the mannered and stuffy British upper class and the mindless hunger of zombies should have been a no brainer (pardon the expression). Sadly, this theatrical representation of a genre mashup is about as dry and dull as a British costume drama without the ravenous undead.

“PPZ” isn’t funny, isn’t scary and isn’t otherwise much of anything. It seems to have taken more of the tone of the original Jane Austen work and left any of the excitement of Seth Grahame-Smith’s modification on the page. While there are moments when Austen’s words are said during a fight scene between two characters and that does provide some visual humor it doesn’t translate into actual laughs. Perhaps Grahame-Smith’s book wasn’t intended to be funny; however, if you want a film like this to appeal to a broad audience, it needs some laughs that aren’t the polite chuckles this film only occasionally provides.

The movie isn’t scary in the least. These zombies still possess some of their former intelligence and can maintain their composure at least until they consume human brains. After they get their first taste of grey matter, they become ravenous and aggressive. The world of 19th Century England dealing with zombies is somewhat interesting and the modified history, construction of a massive wall and deep moat to block zombie progress, is a nice touch of background; but it doesn’t do much to carry the story past the opening credits.

I suppose the filmmakers were hoping to attract fans of Austen’s work AND people that enjoy “The Walking Dead.” The Venn diagram of those two audiences doesn’t have a great deal of overlap and you need an audience big enough to justify making the sequel suggested in the film’s closing image. Considering the anemic opening weekend box office, a second film seems unlikely.

“Pride and Prejudice and Zombies” is rated PG-13 for zombie violence and action, and brief suggestive material. We see a few zombie heads explode when they are shot. An arm is severed and zombies often appear to have severe injuries to their faces. We also see some corpses with large holes in the tops of their heads and their brains removed. Suggestive material is limited to the occasional sight of the tops of a heaving bosom.

When I heard “PPZ” was being made I was actually a little excited to see it. I believed it might be possible to turn a one-note premise into an entertaining movie. Sadly, I was wrong. With such a serious tone and ignoring its humorous potential, “PPZ” is largely a lifeless mess.

“Pride and Prejudice and Zombies” gets two stars out of five.

This week, comic book fans get what could be a cinematic Valentine’s card from a much anticipated character. There is also a comedy about dating and a revisit from Blue Steel! I’ll see and review at least one of these films.

Deadpool—

How to be Single—

Zoolander 2—

Follow me on Twitter @moviemanstan and send emails to stanthemovieman@comcast.net.

Review of “The Forest”

Being released in January is usually not a good sign for anything other than children’s movies. Early January and late August are often dumping grounds for movies the studios don’t believe have much potential for great critical or box office success. Naturally, this doesn’t apply for films that got limited releases in December to qualify for awards season then go wide after the first of the year like “The Revenant” and “The Hateful Eight.” One of this year’s orphans dumped at the doorstep of the New Year is “The Forest,” a low-budget horror flick starring Natalie Dormer from “The Hunger Games” series and “Game of Thrones.” A horror movie released two weeks after Christmas is Hollywood’s version of tossing a towel into the boxing ring when that corner’s fighter is hopelessly outmatched. Does “The Forest” stand a punchers chance?

Sara Price (Natalie Dormer) is concerned when she is informed by Japanese authorities her identical twin sister Jess, teaching English to students at a school in Tokyo, has gone into the Aokigahara Forest at the base of Mt. Fuji and has not been seen in a couple of days. Aokigahara is known as a place where people go to commit suicide. Sara believes Jess is still alive because she can still feel her presence. She describes it as a sound too low to hear but she still is aware of it. The girls were raised by their grandmother after the tragic deaths of their parents in an auto accident. Sara flies to Japan and goes to the forest to look for Jess. The night before she begins her search, Sara meets travel journalist Aiden (Taylor Kinney) in the hotel bar. Aiden knows of a park worker named Michi (Yukiyoshi Ozawa) who looks for people who have either committed suicide in the forest or are camping and still considering it. Aiden contacts Michi and he agrees to guide Sara through the forest to look for Jess. Aiden will come along as he plans on writing a story about the sisters for his magazine. Michi warns Sara the forest is filled with yurei or angry spirits. They prey upon the fears and sadness of the living and she should remember anything out of the ordinary she sees is in her head. Sara believes it’s all just superstition but soon begins experiencing strange occurrences.

The first of the film’s many sins is it isn’t very scary. While there are a couple of jump scares scattered throughout the film’s 90 minute or so running time they are few and far between. Director Jason Zada is capable of creating some spooky, dimly lit settings, allowing the building of music and the clichéd rumblings, rustlings, scratches and bumps of natural sound to pile onto each other until we are given a mild “Boo” and the letdown of knowing more underwhelming scares are likely to follow. Watching the film, one might think we are being lulled into a false sense of mundanity and will be blasted with the scariest scare to ever have appeared on film. Sadly, that theory is shot down as the movie lurches to its conclusion.

It wouldn’t be giving much away to say the story depends on Natalie Dormer’s Sara giving in to the paranoia and fear the forest is generating; however, the writers can’t seem to make up their minds about the various obstacles thrown in Sara’s way. The movie has the feel of one that was rewritten while on set with ideas thrown out and then shot based on what settings the crew could create. This makes the movie somewhat jerky with sections feeling like filler and not providing much to the story. There are also story elements that feel somewhat unnecessary and poorly thought out. Without giving too much away, a character suddenly appears providing tons of information Sara accepts without question. Granted Sara is desperate by this point and willing to believe anyone claiming to have information about Jess but a little critical thinking and skepticism from Sara could have opened up whole other avenues for possible frightening events. Instead, we are given a character so beaten down by her fear and sadness she is willing to accept any positive information as fact. The female character is easily misled while the male character keeps his cool and doesn’t appear susceptible to the pressures of the situation. It smells a bit stereotypical in its depiction of men and women.

Natalie Dormer is very good in the dual role of Sara and Jess. Despite being surrounded by a less than great movie, Dormer is convincing and sympathetic as Sara. We want the pair to be reunited so they can try to live the happy life the tragedy of their childhood seemed to take away from them. Taylor Kinney has the thankless job of trying to be the voice of reason and calm in a situation that is adverse to both. While his character is written a bit bland, Kinney is a likable presence on screen. We’re never quite sure what his true motivations are for helping Sara, but Aiden never appears to be a villain or using Sara for his own gain despite initially hitting on her in the hotel bar. I suppose Aiden is supposed to be the anchor to reality of Sara as she travels through this forest of despair. Again, it smacks of sexism in the portrayal of the characters but that isn’t the fault of the actors.

“The Forest” is rated PG-13 for disturbing thematic content and images. There are images of dead bodies both on slabs and hanging from a tree. There are some bloody injuries depicted with one showing maggots in a wound. There are also images of a murder/suicide as well as discussion of suicide. Foul language is scattered and mild.

While some don’t understand it, I love a good scary movie. The tingle of anticipation running up my spine as a character investigates a strange noise down a dark hallway and the sudden release of adrenaline as the ghost/monster/psychopath jumps out and attacks makes me feel alive! I relish those times in a darkened theatre with a packed house or a precious few waiting for the next explosion of fear and the equally strong wave of relief as I tell myself it’s just a movie. Unfortunately, “The Forest” didn’t fill me with either dread or joy as the images flickered on the screen. All I felt was a bit of boredom and a longing for the credits to start rolling so I could move on with my day. That is just about the opposite of how a horror/thriller should make you feel.

“The Forest” gets two stars out of five.

Three new movies hope to scare up some business this week. I’ll see and review at least one of them.

13 Hours: The Secret Soldiers of Benghazi—

Norm of the North—

Ride Along 2—

Follow me on Twitter @moviemanstan and send emails to stanthemovieman@comcast.net.

Reviews of “The Big Short” and “The Hateful Eight” 70mm Roadshow Version

The Big Short

Seeing the impending collapse of the housing market, hedge fund manager Michael Burry (Christian Bale) creates a fund that bets against the massive mortgage funds sold by the biggest banks called a credit default swap market. Believing they will rack up huge fees and never have to pay off his investment, many major banks agree to the fund. Meanwhile, investor Jared Vennett (Ryan Gosling) hears about Burry’s fund and begins finding his own investors for the credit swap market. A chance wrong number phone call catches the interest of stock trader Mark Baum (Steve Carell) and he invests millions with Vennett. Two young investors, Jamie Shipley and Charlie Geller (John Magaro and Finn Wittrock), see a prospectus for Vennett’s fund and approach friend and retired trader Ben Rickert (Brad Pitt) to help them get in on the growing market betting on the failure of mortgage funds. Through greed, manipulation and lax regulation, the American economy and millions of home owners, retirees and small investors were about to lose trillions of dollars while a select few were reaping huge profits from their misfortune.

“The Big Short” is not a film for someone with a short attention span. The labyrinthine collection of funds, abbreviations and acronyms for various packaged mortgage debt is dizzying but essential to having a grasp on what’s going on in the film and why it led to the meltdown of the world economy. Director/co-writer Adam McKay (best known for his work with Will Ferrell) and writer Charles Randolph have done their best to explain what happened in the simplest terms and using Margot Robbie, Anthony Bourdain and Selena Gomez as themselves explaining the more complicated concepts directly to the camera in ways the audience can understand. It is a brilliant way to take a hugely complex issue and turn it into somewhat understandable nuggets with humor and a fair amount of rage.

The main cast is broken up into three segments with Bale’s Burry starting things off by figuring out the mortgage market was a house of cards with a time bomb ticking away at its base. Gosling and Carell get involved once the debt market is opened. Magaro, Wittrock and Pitt bring up the rear. While the three groups never interact, they are all dancing in the same financial ballet. The entire cast is pretty brilliant with Gosling and Bale delivering standout performances. Gosling is a slimy Wall Street investor with a slick pitch, spray tan and an utter disdain for his assistants. He berates them when they say anything during his sales pitch. He’s the boss from Hell that still manages to inspire loyalty. Bale has probably the most difficult role as he plays Michael Burry as if he was on the autism spectrum. In the film, Burry displays obsessive behavior, often staying up for days at a time, working in his office with loud heavy metal music playing through speakers or in his earbuds. His ability to focus on the intricacies of subprime mortgages and wade through mountains of reports allows him to see what others cannot. Bale makes subtle decisions with the character that keep Burry from turning into some kind of “Rain Man” caricature. While Burry clearly is wired differently from most others he doesn’t come off as someone who is completely out of place.

If there is any part of “The Big Short” that struck me wrong it was Steve Carell’s Mark Baum. Due to a personal tragedy, Baum is a constant ball of anger and frustration who can’t keep his opinion to himself. He has an investment firm with three other people and works directly with one of the major banks. It seems unlikely he could keep any of these business arrangements considering how quickly he flies off the handle. Carell does the best he can with the part and despite my finding his character grating, Baum is still one of the more sympathetic figures in the movie as his frustration at the impending collapse is based on his revulsion at how the system is so thoroughly corrupt; however, that doesn’t stop him from profiting from the suffering of others. Carell is also wearing an odd wig that looks like it doesn’t quite fit. I found his hair to be a distraction.

“The Big Short” is rated R for pervasive language and some sexuality/nudity. There are two scenes involving strippers. Foul language is common throughout the film.

Much like a liquid medicine that has a flavor added so your first impression is pleasant then once you swallow the bitterness causes you to shiver, “The Big Short” wraps its message of utter contempt for the banking industry and those who oversee it in a humorous package. There are some decent laugh-out-loud moments in the film. Once you reach the end, that shiver begins to run down your back as you realize the sins of the late 1990’s and early 2000’s are probably being committed again as you read this. There’s a saying about learning from history otherwise we are doomed to repeat it, making “The Big Short” required viewing for anyone with a mortgage.

“The Big Short” gets four stars out of five.

The Hateful Eight

Eight people are waiting out a blizzard at a store/way station called Minnie’s Haberdashery in the mountains of Wyoming in the late 1800’s. John “The Hangman” Ruth (Kurt Russell) is a bounty hunter who has Daisy Domergue (Jennifer Jason Leigh) manacled to his wrist. She is on her way to Red Rock to be hanged. Major Marquis Warren (Samuel L. Jackson) is also a bounty hunter with three dead outlaws strapped to the top of a stagecoach he was sharing with Ruth and Domergue. Chris Mannix (Walton Goggins) was picked up walking through the snow by that same stage coach. He claims his horse broke its leg as he was riding to Red Rock to be sworn in as sheriff but both Ruth and Warren have their doubts about his story due to his family history. Arriving at the store to wait out the storm, they find Oswoldo Mobray (Tim Roth) who identifies himself as the hangman for the territory, Joe Gage (Michael Madsen), a cowboy on his way to visit his mother for the holidays, General Sanford Smithers (Bruce Dern), a Confederate general who is on his way to visit his son’s grave, and Bob (Demian Bichir), the Mexican handyman who is watching the store for the Minnie and her husband Sweet Dave while they go visit family on the other side of the mountain. Ruth is not the trusting type and suspects one or more of the people at the store are working with Daisy to kill him and set her free. Despite his reservations, Ruth enters an agreement with Warren working together to make sure Daisy meets her maker at the end of a rope.

I saw the much hyped 70mm version of Quentin Tarantino’s “The Hateful Eight.” The things you won’t get in the regular version that will play in most theatres is an overture before the film, some alternate versions of some scenes due to the way they will look on smaller screens and an intermission. What you may miss most is the intermission as even the shorter cut is still two hours and 47 minutes. “The Hateful Eight” is filled with beautiful scenery, long tracking shots of characters crossing the one large room in which most of the action takes place and buckets of blood with chunks of flesh added for realism. It is an orgy of set and costume design as well as special effects provided by Greg Nicotero, the man behind the zombies of “The Walking Dead.” And despite all the cursing and racial epithets, the script is something akin to poetry as Tarantino has structured each bit of dialog to be like a verse of a song, providing both information and entertainment. We learn a great deal about most of the characters in “The Hateful Eight” and often times we are taught in a humorous way. And, as with all Tarantino films, there are homages to the westerns of the past that shaped the director’s vision in his youth and, of course, he uses a soundtrack done by Ennio Morricone, the man behind the music for Spaghetti western auteur Sergio Leone. This is probably the most “Quentin Tarantino” movie the director has ever made. Why then was I not that impressed.

Probably the biggest issue was the length. At just over three hours (overture and intermission included), “The Hateful Eight” is a film that takes its sweet time getting moving. Early on we get long views of snow-covered mountains and trees. There is a shot of a statue depicting Christ on the cross that agonizingly slowly pulls out to show us a stagecoach approaching the camera (this includes the opening credits but it still felt leaden). Later, there long dialog scenes that last an eternity. While I praised the script earlier, there are a lot of scenes that are unnecessarily long with Tarantino showing off how he can make his characters say awful things to one another, so much so that after a while it fails to have much impact.

The ending of the film I also found disappointing. After investing one-eighth of a day in watching these characters dance around each other and then endure an orgy of blood and viscera, the movie staggers to a conclusion that fails to deliver any kind of meaningful emotional payoff. It lays there like a fish out of water, the life slowly oozing from it as it gasps for a last breath. Tarantino asks a great deal from his audience in “The Hateful Eight” and he puts on, for the most part, quite a show; however, when he should have put forth his best effort, he seems to have done just barely enough to get to the closing credits. It’s like being on a plane for 18 hours thinking when you land you’ll be on the other side of the world but finding out you’ve just been circling your home airport. You’ve spent an awfully long time traveling but discover it really wasn’t worth the trip.

“The Hateful Eight” is rated R for strong bloody violence, some graphic nudity, language and violent sexual content. It’s a Tarantino film so the bloody violence is a given. I won’t give specifics as not to spoil it for you but there are numerous shootings with various degrees of bloodiness and goriness. Some limbs get separated from bodies at times as well as one head. One character is punched numerous times producing a great deal of blood. There is a scene showing a naked man walking through snow and there is full frontal nudity. A sex act is shown and graphically described. Foul language is common.

Tarantino has been interviewed numerous times in the run-up to the release of “The Hateful Eight” and has described in glowing terms how much better film is than digital photography. In the past, Tarantino has called digital projection “TV in public.” Having seen this film in 70mm widescreen, I would point out to the director I could see the graininess of the film. The print I saw already had nicks and scratches in it during what was only its fifth screening. Using a lens that hasn’t been on a camera since Charlton Heston’s “Ben Hur” was filmed is great for nostalgia but doesn’t really do anything to advance the art of filmmaking.

Tarantino loves old movies so much he bought a theatre in Los Angeles, CA and programs only the films he thinks should be seen and remembered. That’s great if you’re a rich director and need a hobby. As a moviegoer, I want directors to push the envelope and use all the tools science and industry gives them to create images and stories I’ve never seen before. While “The Hateful Eight” is a beautifully shot and impeccably designed movie, it lacks an emotional connection that Tarantino should be a master at creating by now. His desire to show just how good of a moviemaker he is has gotten in the way of connecting his story to his audience. It was nice to look at but I didn’t want to live there.

“The Hateful Eight” gets three stars out of five.

No new movies are opening this week so it will be two weeks when I review my next film and that is the horror movie, “The Forest.”

Follow me on Twitter @moviemanstan and send emails to stanthemovieman@comcast.net.

Review of “Star Wars: The Force Awakens”

It’s been 32 years since the release of the last “good” “Star Wars” film. “Return of the Jedi” had some goofy elements to it (Ewoks, Chewbacca’s Tarzan yell) but it also had a satisfying conclusion to the Darth Vader/Luke Skywalker storyline. It was a happy ending that most fans found satisfying. Then came “Star Wars: The Phantom Menace” with an enormous amount of good will from fans excited to see how the story began. What we got was something akin to a civics lesson wrapped in economics class. While all three prequel films were economically successful, they had lost the joy and magic that made the original trilogy an anchor in American pop culture. With the sale of Lucasfilm to Disney and the announcement of a new trilogy plus extended universe films about a young Han Solo and others, fans were cautiously optimistic about the future of Star Wars. J.J. Abrams being announced as the director of Episode VII caused a bit of concern amongst those who weren’t fans of his work in the “Star Trek” big screen reboot; however, I can say those fears are ungrounded as Abrams has given fans of the original films a love letter that shows just how much he cares about the events of a long time ago in a galaxy far, far away.

Normally here is where I give a plot synopsis but not this time. I don’t want to spoil the experience for anyone wanting to see the film. Disney and Lucasfilm have done a spectacular job of keeping story leaks down to nearly nothing. With many films I’ll scour the internet looking for bits of plot information and while I read some articles that speculated on the story I didn’t dig real deep as I didn’t want my first viewing tainted by too much knowledge. This was a good choice on my part as I experienced “Star Wars: The Force Awakens” with a similar excitement as when I sat in a darkened theatre in 1977 waiting to see “Star Wars” for the first time. It wasn’t subtitled “A New Hope” since George Lucas had no idea he’d get to make more films in the series. I was 15 and my older brother took me to see the movie. This was a bit odd since he was 12 years older than me and wasn’t exactly my best pal.

This is an example of the power of “Star Wars.” While my brother and I were practically from different generations (I was in high school and he was a college graduate who had been married for a couple of years) we had a common interest in seeing this new space movie that was generating a great deal of buzz in a time way before the internet. We had both seen the news stories about lines forming around the block at theatres showing “Star Wars.” We often had to wait for movies to open in Knoxville, TN at least a couple of weeks after they were shown in bigger cities since the age of the 10-plus screen multiplex was a decade or so away. Leaving the film with my brother, I couldn’t wait to go see it again. I have a similar feeling about “Star Wars: The Force Awakens.”

The best thing about this new film is the return of comradery between the various teams of characters: The characters of Rey, Finn, Han Solo and Chewbacca are written like they care for one another. That is something that couldn’t be said for any of the prequels. This might be considered a very, very minor spoiler; however, Han Solo is probably the lead character for the movie. He’s involved in a great deal of the action from about a third of the way in. It feels like no time has passed since the last time Han and Chewie were in a scrape they had to shoot and quip their way out of. The jokes are crisp and don’t distract from the story. The playful jabbing between Han and the younger characters also works in a way that doesn’t feel forced (pardon the expression).

Rey and Finn are obviously the new heroes for the next two films. Her backstory is still something of a mystery that will probably fuel internet rumor and speculation until Episode VIII is released in 2017. Rey are Finn are perfect “Star Wars” heroes in that they are far from perfect. Each has their fears and their weaknesses that will test them and trip them up from time to time. Kylo Ren is their Darth Vader. He has a history that was briefly touched on but I’m sure there are more layers yet to be uncovered and we know almost nothing about Supreme Leader Snoke. Watching these heroes and villains grow and battle is something I’m really looking forward to.

Another high point in the film is the visuals. A great deal was made about how the movie would use practical effects whenever possible. Those real effects show in the best way possible. The special effects look a little messy and dirty. This isn’t a criticism as the perfection of CGI, while impressive in the proper context, came off as cold and clinical (along with the script) in the prequels. Here, the ships, creatures, weapons, and sets all feel like solid, three dimensional creations. It’s the kind of throw-back filmmaking that I believe more producers and directors will rediscover. The flying scenes with ships dodging blaster bolts and other obstacles are amazing. There are even a couple of shots that reminded me of the original trilogy in their movement and composition. The various creatures seen throughout the film are also spectacular. Many are animatronic or are people in full costume. There is a section that reminded me of the Cantina scene in the original. The film is a sure bet for a special effects Academy Award nomination and will probably win.

There has been some criticism of the underuse of some characters and the lack of development of others. J.J. Abrams had a huge responsibility to give fans of the “Star Wars” universe a film that was both new and familiar. He had several new characters to introduce (as well as the original characters to work in) and an entire new story and, to some degree, new mythology to establish. That is a great deal of exposition and character progress to work into a two and a quarter hour movie. While I would have liked some more time with some of the old characters and a bit more information on what brought the story to this point, it cannot be overstated what a great job writers Lawrence Kasdan, J.J. Abrams and Michael Ardnt did in bringing this franchise back to life after Episodes I-III nearly killed it. And for those that really want to know more, maybe we’ll get some movies exploring the years between “Return of the Jedi” and “The Force Awakens.” Granted, it’s unlikely but you never know.

“Star Wars: The Force Awakens” is rated PG-13 for sci-fi action violence. Numerous stormtroopers are laser blasted. A couple of people are felled by light saber. A giant creature consumes a couple of people. There is also a scene of torture done using the Force. Foul language is limited to one or two very mild words.

Some things never change in a galaxy far, far away: Stormtroopers still can’t shoot, the Millennium Falcon will still break down at the worst possible time and the Kessel Run was still done in 12 parsecs. What also is unchanged is the feeling of pure joy watching this film caused in that it reminded me of how I felt after seeing the original “Star Wars.” It is a celebration and homecoming for those who love Episodes IV-VI as well as an introduction to the children and grandchildren of those first fans. The next two films in this trilogy will be written and directed by different people. I hope they have the same respect for the originals as J.J. Abrams obviously has.

“Star Wars: The Force Awakens” gets five very bright stars.

Follow me on Twitter @moviemanstan and send emails to stanthemovieman@comcast.net.

This week, the Christmas sees the gift of four new releases. I see and review at least one of them.

Concussion—

Daddy’s Home—

Joy—

Point Break—

Review of “In the Heart of the Sea”

Author Herman Melville (Ben Whishaw) has travelled to visit former seaman Tom Nickerson (Brendan Gleeson) to interview him about the last voyage of the whaling ship Essex. Nickerson is reluctant at first but is convinced by Mrs. Nickerson (Michelle Fairley) to talk to the writer. Nickerson recalls setting sail as a greenhorn (played as a teen by Tom Holland) on his maiden voyage with first-time captain George Pollard (Benjamin Walker) and first mate Owen Chase (Chris Hemsworth). Chase should have been captain but the company that owned the ship was run by Pollard’s father. Pollard and Owen didn’t get along but worked together as best they could to fill their hold with whale oil and return to port as quickly as possible. A scarcity of whales drives the men and ship into the middle of the Pacific where they encounter a massive white sperm whale. In protecting its herd the whale attacks the Essex, damaging her beyond repair and forcing the men to abandon ship. Setting off in small whaling boats the crew soon faces starvation and must do the unthinkable to survive.

“In the Heart of the Sea” is epic film making. It takes a fantastic tale of survival against all odds and narrows its focus down to a few common men. Despite the presence of Thor and Spider-Man, there are no great heroes that save the day. These are merely men doing what had to be done to get home. It’s the kind of movie that features incredible visuals and small emotional moments in equal measure. It also has a strong environmental message that becomes a bit overbearing at times. It is far from perfect but it still manages to be effective in producing an emotional response.

While the trailer for “In the Heart of the Sea” sells the story as more of a monster movie with a man fighting against an unnaturally intelligent and aggressive whale, the beast plays a fairly minor role. It is the struggle between the survivors and the elements that makes up the biggest part of the story. There is also a secondary story of clashing egos as Captain Pollard and First Mate Owen Chase clash in an effort to establish who is in charge. Pollard has little experience and is the captain only because his father is a powerful businessman within the whaling industry. Chase is told by his bosses to make sure the crew respects Pollard but Chase quickly sees his new captain is in over his head. How can he make the crew respect Pollard if he doesn’t? It is a conflict that roughly mirrors the struggle the crew has to survive after the attack of the whale: The arrogance of Man believing he is ordained by God to control and use all the beasts of the sea is quickly and violently shown for what it is when a single whale destroys their boat and leaves them to die in the middle of the ocean.

The struggle for survival occupies about half of the film’s two hour running time and it gets bleak. Star Chris Hemsworth, best known of the physique he shows as Thor in the Marvel superhero movies, and the rest of the cast of survivors lost huge amounts of weight living on 500 to 600 calories a day. The gaunt faces, made even more so by makeup highlighting their cheekbones, are haunting. At one point, those left alive appear to barely have the energy to breathe. Director Ron Howard chooses to focus on the faces of those left alive, making it impossible not to feel a little guilty for sipping on the giant over-priced drink from the concessions stand while looking at the cracked lips, sun-bleached hair and burnt skin.

Chris Hemsworth, Benjamin Walker, Cillian Murphy and Tom Holland are outstanding in their roles. Hemsworth plays the hardened whaler Chase with a tinge of playfulness that comes out around the greenhorn deckhand Nickerson played by Tom Holland. Chase acts as something of a father figure for Nickerson who is an orphan. Walker’s Captain Pollard is a man of privilege who knows he’s only captain because of his father. Seeing Chase scramble up the rigging to fix a problem, knowing he would be incapable to doing the same thing, makes Pollard embarrassed and jealous of his first officer. We see Pollard grow to respect and even like Chase as they struggle to survive. Cillian Murphy plays Second Mate Matthew Joy, a long-time friend of Chase. He seems to be playing both sides of the fence in his relationship to the two men, acting as a kind of peacekeeper and moderating influence on both. Tom Holland’s wide eyed wonder at seeing whales for the first time and then being introduced to the interior of one that’s been killed and in the process of being butchered gives him and the audience the introduction to both the beauty and the savagery of his job. Brendan Gleeson plays Tom Nickerson as an adult and gives a moving performance as a man being forced to remember all he had to do to survive over three months lost at sea. The pain and anguish play out over Gleeson’s face in a way that makes you worry for the sanity of the character.

Visually, “In the Heart of the Sea” is stunning. The TV commercials don’t do what the special effects team has accomplished justice. The scenes of whale hunting and when the sperm whale attacks the small whaling boats and the Essex are spectacular. We see the attempt at survival of a harpooned whale from the beast’s perspective, diving down deep in an effort to escape what is attacking it. We witness playful dolphins and huge whales gliding effortlessly through the water. We also see what happens when a whale is killed then brought alongside the ship to be butchered and its oil harvested. The beauty and savagery of nature and whaling are put on full display and in vivid detail.

The movie makes a point of stressing how wrong whaling is and that tends to bring the film to nearly a dead stop. At the time in the early 1800’s, whale oil was the best fuel to light lanterns and streetlamps. It made many people rich in the buying and selling of whale oil. With the discovery of petroleum products and the introduction of vegetable oils, the use of whale oil declined and was eventually outlawed by environmental laws. Despite all this history, the film makes a big deal about how wrong it was to hunt whales. The character of Pollard, who is usually shown on the wrong side of things, points out how God gave man dominion over the animals including the beasts in the sea and it is our duty to exert our control over them. Chase questions whether that’s the right thing to do. This happens, in one form or another, a couple of times in the film. While I agree we don’t need to hunt whales any more, it seems like a waste of time to include these scenes in the movie. We could have been shown Chase’s wife waiting and longing for her husband or the leaders of the whaling company lamenting the apparent loss of their ship and money. It feels like the time could have been better spent on the surrounding drama of their situation.

“In the Heart of the Sea” is rated PG-13 for intense sequences of peril, intense sequences of action, brief startling violence and thematic material. The attack of the whale on the smaller boats and the Essex leads to the death of some crewmen and the injury of others. There is a scene where one crewman is trying to escape the ship as it is sinking and on fire. One character is shown shooting himself in the head. What is done to survive at sea, while not shown, is discussed and described. Foul language is scattered.

“In the Heart of the Sea” tells a bleak and depressing story that doesn’t get much happier by the time the end credits roll. It shows men pushed to their limits and forced beyond them by nature and their circumstances. It wants to teach the viewer a lesson about how Man is a minor player on the stage of life and the elements don’t care if you live or die. The movie does a pretty good job pounding that into the consciousness of the audience but it continues that message to the point of assault. We get it: Whaling is unnecessary in the modern age. Perhaps those living in the most extreme polar regions need to harvest a few whales a year to survive but the rest of the world needs to leave these intelligent and majestic creatures alone. The aggressive environmental evangelizing degrades what is otherwise an impressive bit of film making. Despite the less than subtle preaching, “In the Heart of the Sea” is worth the time to watch.

“In the Heart of the Sea” gets four guitars out of five.

Animated animals, dissimilar siblings and a galaxy far, far away are on screens this week. I’ll see and review at least one (can you guess which one?).

Alvin and the Chipmunks: The Road Chip—

Sisters—

Star Wars: The Force Awakens—

Follow me on Twitter @moviemanstan and send emails to stanthemovieman@comcast.net.

Review of “Krampus”

Christmas is for children. It’s the kind of sentiment expressed by those who see the holiday as an obligation: Buying presents for people you barely know or don’t like that much because it is expected of you. You must wade into massive crowds of people doing exactly the same thing you are, choosing to purchase anything that might be considered appropriate just to check a name off a list, spending your last dime and/or going into more debt, not out of the spirit of giving but a sense of requirement. While a few people may be able to find some joy in this orgy of consumerism, most feel their soul die a little bit and can’t wait for it to be over. This can lead to an outright death of the Christmas Spirit which opens the door to something much darker: Krampus.

Max (Emjay Anthony) is the youngest child of Tom and Sarah (Adam Scott and Toni Collette). It’s almost Christmas and Max wants everyone to enjoy the traditions he’s remembered all his life. Sadly the pressures of preparing for Sarah’s sister Linda and her husband Howard (Allison Tolman and David Koechner) and their four kids and bulldog has sapped the joy from both his parents. His sister Beth (Stefania LaVie Owen) just wants to leave everyone behind and be with her stoner boyfriend. The only person who seems to have any Christmas Spirit is his German grandmother Omi (Krista Stadler) as she continues to bake cookies and other treats in the kitchen. The big dinner with the whole family, and the surprise edition of crusty Aunt Dorothy (Conchata Ferrell), turns into a catastrophe when a couple of Howard’s kids get a hold of Max’s letter to Santa Claus, reading it out loud at the table and exposing some of the barely hidden cracks in both families. Max attacks his cousins and gets the letter back. Later in his room, Max tears up the letter in disgust and throws it out the window where it is sucked up into the sky by a sudden violent wind. Almost immediately a blizzard begins and the power goes out. Everyone assumes the lights will be back on soon but Omi knows something much more ominous is heading their way to punish them for their lack of Christmas Spirit.

“Krampus” is possibly the new American holiday classic that will not be that popular in its initial release but will find a second life and cult following on cable in future years. The opening scenes of chaos at a big box store (customers fighting over stuffed animals, trampling each other, getting tazered by security officers, crying children huddled under Christmas trees) all shown in slow motion and set to a Bing Crosby holiday song could be the stock footage shown on the news on Black Friday. Christmas seems to bring the worst out of some people who are perfectly normal and pleasant any other time of the year. “Krampus” is the kind of movie Fox News would attack as being part of the “War on Christmas” when in fact it is an indictment of consumerism and letting the spirit of the holiday be extinguished by all the peripheral garbage we’ve added on to it.

Everything about the families in “Krampus” screams success: Tom and Sarah have a big, comfortable house that is tastefully furnished, Howard and Linda drive a massive Hummer and their kids are involved in sports both as participants and as fans. Howard even makes a crack about how Tom and Sarah are rich. Despite their apparent monetary success, neither family is shown as being satisfied. Both are examples of the saying “Money can’t buy happiness.” Max is the character that exemplifies the innocence of youth and, by extension, the desire of the audience to be returned to a simpler time as shown in movies like “It’s a Wonderful Life” and “White Christmas.” Max also shows how that’s impossible and sets off the events that lead to the arrival of Krampus and his evil minions.

While I enjoyed the film and the performances of the excellent cast, I don’t think the filmmakers went as far as they needed to with either the horror or the humor. While the movie features a massive monster you never get a really good look at along with other nasty creatures including deadly gingerbread cookie men, there isn’t really anything scary about the movie. Some scenes promise a fright with a tense build up but the payoffs are rather mild and nothing gets the pulse racing. With several cast members known for their humorous roles, the film is largely devoid of any major laughs as well. Oddly enough the character that most consistently delivers a funny line is Conchata Ferrell’s Aunt Dorothy. She’s ready with a zinger at just about every turn. Even her last line during one of the major action scenes is designed for a laugh. Sadly, the funny isn’t as consistently delivered by the rest of the cast. I understand that considering it’s supposed to be a horror movie; however, the scary isn’t there as much as it needs to be either so the absence of each amplifies the need for both.

“Krampus” is rated PG-13 for some drug material, sequences of horror violence, language and terror. A bong is shown in one scene. There are a couple of scenes where something is under the snow chasing a character and dragging them under with the sound of a “chomp.” We see various scary looking creatures chasing and capturing family members. Guns are fired at various times at the creatures. A Christmas tree gets set on fire nearly destroying the house. Foul language is scattered but there is on “F-bomb.”

I identify with the feelings of young Max in “Krampus” a bit too closely for comfort. I would like to experience the same wonder I did as a child and as a young adult for that matter at the sight of a Christmas tree, the joy from hearing the first holiday song and the tingle of anticipation as the gifts would begin to stack up under the tree. I’m afraid all that is lost to me now as the hassle of crowds in stores and the mounting pressure of how to pay for all the holiday cheer has turned me into a coldhearted grown up. I suppose I’d best prepare my wife for the arrival of the shadow of St. Nicholas and to just accept the consequences. You, on the other hand, can save yourself by making a donation to the charity of your choice instead of buying a couple of needless Christmas gifts for someone who doesn’t want or need anything.

“Krampus” gets four stars out of five.

Only one new film in wide release this week as we prepare for the craziness that is “Star Wars: The Force Awakens.” I’ll be seeing and reviewing “In the Heart of the Sea.”

Follow me on Twitter @moviemanstan and send emails to stanthemovieman@comcast.net.

Reviews of “The Good Dinosaur” and “Creed”

This week, I saw two very different movies; however, if you look at them a bit more closely, it becomes clear these two films have a fairly similar theme: Sons trying to live up to the example and expectations of their fathers. “The Good Dinosaur” and “Creed” approach their subjects from wildly different perspectives with one being aimed at children while the other is purely for adults. That said, each features a main character that is trying to be his best because of the loss (or lack) of a father. Each succeeds because the filmmakers avoid falling into the trap of depending on sentimentality to sell their tales and use great characters and compelling stories to make us cheer and weep.

The Good Dinosaur

The asteroid, which 65 million years ago put the nail in their coffin, missed and the most intelligent form of life on Earth is the dinosaur. Born on his family’s farm, Arlo (voiced by Raymond Ocha) is the runt of the litter. His sister and brother are both bigger and neither seems to fear anything while Arlo is afraid of his own shadow. His poppa (voiced by Jeffrey Wright) and momma (voiced by Frances McDormand) love Arlo and do what they can to help him past his fear. Something is getting in their corn silo and eating up the crops they will depend on in the winter for food. In an effort to give him confidence, poppa puts Arlo in charge of capturing and killing the pest. The trap is sprung and Arlo sees it is a feral human boy. Attempting to escape, the boy gets tangled up in the trap lines and is being choked to death. Arlo releases the lines and the boy runs away. Poppa makes Arlo join him in tracking the boy through the woods and along the river. A storm builds up causing a flash flood and poppa is swept away and dies. Arlo feels responsible for his father’s death as well as angry at the boy. When he sees the boy in the silo again, Arlo chases him down by the river where the pair falls in. Arlo hits his head on a rock and is knocked unconscious. Waking up far from home and without the familiar landmarks he’s seen all his life, Arlo is scared and doesn’t know what to do. Unprepared for life in the wild, Arlo is sometimes helped by the boy. He protects him from predators and brings him food. Despite his feelings of anger, Arlo begins to like and depend on the boy he eventually names Spot (voiced by Jack Bright). Together, Arlo and Spot try to find their way back to Arlo’s family farm. Along the way, they encounter a tyrannosaurus family of ranchers, velociraptor cattle rustlers and a group of murderous pterodactyls.

The story of “The Good Dinosaur” is a familiar one with a protagonist in a situation for which he is wholly unprepared and teamed with a partner he initially dislikes that then begins to learn about survival and himself while learning to love his former enemy. “Cars,” “Finding Nemo,” “Inside Out” and “Toy Story” among others have similar plots. While those films may be aimed at a slightly older audience, “The Good Dinosaur” manages to adapt the story for younger eyes and ears and keep their parents entertained as well.

Visually, “The Good Dinosaur” is a wonder to behold. There are times the wilderness scenery looks like something from a travelogue. Rivers flow, trees bend in the wind, grasses sway, dust clouds billow all in ways that look like they were filmed, not drawn in a computer. While the dinosaurs and humans are rather stylized and somewhat simplistic in their appearance, the way they move and how they interact with their environment feels and looks real. Pixar constantly works on their software to make CGI look and react in line with the laws of nature. It is a feast for the eyes.

“The Good Dinosaur” isn’t as emotionally complex as “Inside Out” but it still delivers a powerful message of love and acceptance. Arlo doubts himself and that he can ever measure up to his father; but his father never puts him down or belittles him and works to instill a sense of purpose and pride in his son. Arlo is a bit of an outcast within his own family. His brother and sister are both bigger and strong than Arlo. While he tries, Arlo is timid and afraid he isn’t up to the task. It is a powerful message for young viewers to see a character that isn’t able to succeed at everything he tries and still receives the support of his family. It doesn’t take much searching to find stories of real children that aren’t so lucky.

The characters of Arlo and Spot spend a great deal of time on screen together without other characters. Spot only speaks in grunts and howls leaving the majority of the voice work to Raymond Ochoa. The teenager is terrific as the young Arlo, running through a full range of emotions. The movie lives or dies based on his performance and he is more than up to the task. Another standout in the cast is Sam Elliott as Butch, the leader of the T-Rex family. Elliott has an instantly recognizable voice and seemed to have been coached into turning up the drawl and the growl. It could have come off like parody but considering he is voicing a T-Rex it actually works. As poppa, Jeffrey Wright delivers a warm and earnest performance that at first feels almost too soft and cuddly. Later, when Arlo lets Spot out of the trap, he flares up in anger and makes his dinosaur all too human. While it is brief, Wright’s performance is effective.

“The Good Dinosaur” is rated PG for action, thematic elements and peril. Arlo has confrontations with various characters along his journey home. Some involve mild violence and the threat of injury of death. The loss of a parent and the desire to take revenge are parts of the story. There is no foul language.

While it may not be a masterpiece like “Inside Out” or “Toy Story,” “The Good Dinosaur” is still a moving adventure of self-discovery. It has characters with which it is easy to identify and a message that even the youngest of viewers should have no trouble grasping. And, as with nearly all Pixar films, have a tissue handy for the last 10 minutes or so as you will likely need it.

“The Good Dinosaur” gets five stars.

Creed

Adonis Johnson (Michael B. Jordan), Don or Donny to his friends, has had a troubled upbringing. His father was nowhere to be found and his mother died when he was young. Bounced from one foster home to another, Donny is an angry kid who gets in fights. He winds up in a juvenile detention facility when he is visited by Mary Anne Creed (Phylicia Rashad). She invites Donny to live with her because he is the son of her late husband, championship boxer Apollo Creed, the product of an affair he had. Now an adult, Donny works at a securities firm but heads to Tijuana on the weekends to compete in bar fights. He has won 15 in a row and approaches a trainer in his home town of Los Angeles to take him on but he refuses. Donny quits his job and moves to Philadelphia to find Rocky Balboa (Sylvester Stallone) and convince him to be his trainer. At first reluctant, Rocky decides to take on the persistent young man. Donny also begins a relationship with Bianca (Tessa Thompson), an aspiring singer who lives in his building. After winning his first professional fight, word of his parentage is leaked. Meanwhile, the light heavyweight champ “Pretty” Ricky Conlan (Tony Bellew) is looking at a jail sentence for a gun charge in his native UK. Looking for one final payday before he goes to prison for possibly seven years, Conlan’s trainer Tommy Holiday (Graham McTavish) contacts Rocky about pairing Donny and the champ in a fight on the condition that Donny changes his last name to Creed. Let the training montage commence.

I’ll admit I didn’t want to like “Creed.” It seemed like an unnecessary rehash of a well-worn franchise; however, the story and performances beat down my objections like a Golden Gloves boxer taking on a world champion pro. “Creed” is a knockout.

Michael B. Jordan delivers a performance that should eliminate the bad memory of the “Fantastic Four” reboot from everyone’s minds. Jordan is electric as Adonis Creed. He captures a troubled young man that is trying to make the father he never knew proud. It is a fruitless pursuit that is made moving and dynamic by Jordan’s nuanced and riveting performance. There’s far more going on in “Creed” than just a boxing movie and Jordan is the primary reason why. Donny is driven, stubborn, volatile, passionate, determined and still manages to be caring and empathetic. His relationship with Bianca, which could have been played as a distraction and in many lesser movies it would have, merely makes Donny a more interesting character.

While Donny is the focus of the story, the character that will draw many people to the movie is the aging champ, Rocky Balboa. Sylvester Stallone gives a subtle and restrained performance. Often acting as a father to young Creed, Rocky treats Donny with tough love and respect. It is the kind of relationship many sons would love to have with their fathers. It is playful at times as well as instructional. Stallone is obviously passing the torch to the next generation.

If the film has a weakness, it is the predictability of the story. It follows the familiar path of countless movies before with the hero facing numerous challenges, becoming disillusioned with his path and separated from his friends and mentors, then finding his way back. It is a tried and true story arc that could have lessened the impact of the film; however, “Creed” succeeds in spite of its familiar tale. The performances and the soundtrack combine to drag the audience along kicking and screaming. It is a rousing, feel-good film that dares you not to be moved by Donny’s struggle.

“Creed” is rated PG-13 for violence, some sensuality and language. Naturally, there are numerous fights both in the ring and out. There is some blood from various cuts and pools of bloody water. There is a brief sex scene that has no nudity. Foul language is scattered but the film does have on “F-Bomb.”

“Creed” is essentially a remake of the original “Rocky.” While it throws in a few more story elements, if you’ve seen the original you’ve basically seen “Creed.” Please don’t let that stop you as “Creed” is a crowd-pleasing tale of hard work and dogged determination performed by a gifted main cast. It might even make you consider running up the stairs at your local museum and pumping your fists in the air when you reach the top.

“Creed” gets five stars.

This week, only one new film opens in wide release but there are others playing in my town that could have potential Oscar chances. I’ll see and review at least one of these.

Krampus—

Room—

Spotlight—

Follow me on Twitter @moviemanstan and send emails to stanthemovieman@comcast.net.

Stan The Movie Man Movie Reviews

Checking out the latest films and giving you my uneducated opinion

Movie review

Review of “Eddie the Eagle”

Review of “The Witch”

Review of “Deadpool”

Reviews of “Hail, Caesar!” and “Pride and Prejudice and Zombies”

Review of “The Forest”

Reviews of “The Big Short” and “The Hateful Eight” 70mm Roadshow Version

Review of “Star Wars: The Force Awakens”

Review of “In the Heart of the Sea”

Review of “Krampus”

Reviews of “The Good Dinosaur” and “Creed”