Tag Archives: film critic

“All the Money in the World” film review

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A spellbinding thriller that will hold hostage your attention. Ridley Scott’s highly anticipated historical neo-noir drama depicting the infamous kidnapping of the favorite grandson of oil tycoon J. Paul Getty All the Money in the World is an incredibly suspenseful drama that is every bit as good as you’ve been hearing. Probably the highest profile Christmas season motion picture release after the–quite literal–last minute recasting of living legend Christopher Plummer as J. Paul Getty I, this film is a non-stop search and rescue of epic proportions. The most notable element of the film is the aforementioned casting; however, there is so much more to this movie than the role played by Plummer. This film has an incredibly organic feel to it–all the way down to the practical blood effects. Although many of the roles in the film are one-dimensional, don’t let that dissuade you from buying your ticket to see it on the big screen. Each and every character in the film is played with excellence by the respective actors. No slowing down in this film, the pacing is incredibly quick but works brilliantly for this nail-biting drama that will have your attention for the entire runtime of the movie. If there was ever a real-life Scrooge, J. Paul Getty would be a contender for the famed Dickensian character. Witness the lengths a mother will go to find and free her son despite being cut off from her father-in-law’s unparalleled fortune. Love, logic, and profit are at war in this fantastic motion picture that is sure to grab the attention of the Academy of Motion Picture Arts and Sciences.

A king’s ransom. That’s what J. Paul Getty III (grandson of J. Paul Getty I) demand of the Getty family. All the Money in the World follows Paul’s mother Gail (Michelle Williams) and ex-CIA special operations Fletcher Chase (Mark Wahlberg) on their perilous journey to locate and retrieve Paul. Only one small problem, Gail’s ex-father-in-law is oil tycoon and ruthless J. Paul Getty, and he refuses to pay the ransom demanded by his favorite grandson’s kidnappers. With Paul’s very life in danger, Gail and Chase, otherwise unlikely allies because of his ties to J. Paul Getty I, are forced to team up in order to locate Paul and secure the ransom money from her former father-in-law who refuses to do anything with his money and time unless there is some sort of monetary profit in it. After Paul’s ear is found in the mail, Gail realizes that her only hope is to get J. Paul Getty to somehow agree to pay the ransom for his grandson.

From a storytelling perspective, the most notable aspect of this motion picture is the aggressively nonlinear storytelling. We begin in (then) present-day, go back to Paul’s early impoverished childhood, fast-forward to him a little older, then to the months prior to his kidnapping, back to the present-day again. We also take a look back at J. Paul Getty I in the early days of his oil business in the middle east. Although I am not typically a fan of flashbacks, it works very well for this story in order to truly understand the dysfunctional family dynamics. While his children live a life that barely gets by financially, J. Paul Getty I lives the life of the wealthiest man the modern world had ever seen. Still, J. Paul is also the embodiment of Ebeneezer Scrooge in every way shape and form. Every moment moves the story forward. Never once will you feel that the more than two-hour film is stagnated or treading water just to fill time. You will also encounter some of the most gruesome moments that Scott has ever put on screen.  The diegesis of the film is constructed with extreme precision, and it creates an overarching exemplary work of how powerful a historic crime drama/thriller can be.

But what kind of film is this? Is it a crime drama? Historic drama? Thriller? Or even classically structured and shot film noir? Often times, when writers or directors set out to create a hybrid film (meaning, more than one genre) run into the problem of the film being in a state of identity crisis. Each main genre has certain pillars and structural supports that need to be met in order to tell the genre story effectively. That doesn’t mean that you cannot have a film that has elements of more than one genre but it does mean that the more genre elements that you have, the more difficult it is to weave them all seamlessly together. Fortunately, Scott’s All the Money in the World written by David Scarpa is a masterpiece! Scarpa showcases his ability to utilize the best of the genre tropes that are in this film to tell a completely new story with a unique experience. If I were to select a genre that this film is best suited for, it would be film noir, in the vein of my review’s opening lines. For all its other elements, All the Money in the World is most closely aligned with film noir because our main character of Gail is in over her head, the non-linear storytelling, dark places and themes, Gail’s exquisite attire, and it’s a story filled with gloom, ill-fated characters, fear, and betrayal.

For those who have been to the famous Getty Museum in Los Angeles (I went a few years ago, and still remember it vividly), you will have a better understanding of how he acquired all those artifacts and art pieces, and how the museum came to be. Perhaps, much like The Founder may have caused you to call into question whether or not you want to support such an infamous legacy, you may also debate whether or not to support the museum that bears his name. Even though J. Paul Getty was a ruthless man, he did provide treasures for the American people and visitors to the states to enjoy for all time. For those who enjoy further reading after watching a historical drama, you’ll find that the Getty family continued to suffer and Paul never recovered from his kidnapping tragedy. His life was cut short after a drug overdose. This is the kind of film that you will want to watch again because of the powerful philosophical punch that pits love against money.

“The Greatest Showman” movie musical review

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Stunningly sensational! Ladies and gentlemen, children of all ages witness the larger than life movie musical adaptation of the life of P.T. Barnum directed by Michael Gracey. Dazzling! 20th Century Fox’s The Greatest Showman is an incredible work of motion picture and performing arts magic. Never before has the magic of the American circus been captured so brilliantly. As the movie stares, “a man’s station is truly limited only by his imagination.” From the costumes to the music and choreography, this film is sure to inspire anyone who has a dream and wants to realize it. The music will have you singing along, clapping, and even tapping your toes because the emotions will get you right to the core. Ordinarily, a movie like this could generate an interest in budding performing artists and showbusiness enthusiasts to “run away and join the circus,” but the big top had its swan song earlier this year. One can only speculate that had this film been released last year that the circus that still bears his name Ringling Bros. and Barnum & Bailey would still be touring today. Sadly, the circus had its final performance in May 2017. From the moment the movie opens, you will be completely immersed in the world of P.T. Barnum, a world unfamiliar with the concept of shows that were sheer spectacle, illusion, and simply designed to put smiles on faces. It’s entirely possible that this may prove to be the greatest films of 2017, and certainly one of the greatest movie musicals ever made.

Simply stated, The Greatest Showman is the film adaptation of the life of P.T. Barnum (Hugh Jackman) and depicts how he was inspired to essentially create the very concept of showbusiness. From his successes to his failures, this movie showcases the very beginning of the American circus, a tradition that would last for nearly 150 years. Filled with incredible original music, this original movie musical displays how one man’s vision became a worldwide sensation.

My first observation of this film is just how polarizing it seems to be. On one hand, some critics and websites praise it for being an absolute delight while others are rating it rotten. Unapologetically, I feel strongly that this film musical is nearly flawless. As to how accurately it reflects the life of P.T. Barnum, I cannot speak to that because I have not spent hours researching his life; however, from what I do know about him, the movie seems to have captured the inspiration and vision accurately, as well as his faults and pitfalls. While standard holiday issue biopics are nothing new, what with The Darkest Hour also on the horizon this season, Gracey turns what could have been just another biographical film about an American icon into a larger than life dazzling display of precise choreography, effective montages, and just plain fun! Ringing Bros. may have closed the bigtop for the last time, but the soul of P.T. Barnum lives on in what Feld Entertainment (parent company to Ringling Bros and Barnum & Bailey) does. Without P.T. Barnum, we may not have the concept of showbusiness as we know it today. Despite staying away from the usual meaty themes found in Christmastime biopics, this film packs a powerful punch and supports the need for entertainment and the arts in our lives.

The high degree of passion Jackman displays for his character cannot be overstated. Though Gracey shows his directing prowess in this film, it is the labor of love of Jackman who has been trying to get this movie musical made for the better part of a decade. While the cliche underdog story may not be anything new, the method through which the story is told is a must-see spectacle. What works best in the movie are the extravagant and intricately choreographed musical numbers. The infectious and inspirational songs of The Greatest Showman were written by La La Land Oscar winners Benj Pasek and Justin Paul while the brilliant choreography was staged by Ashley Wallen. Each and every musical number is powerful and truly adds to the fantastic experience of this film. Moreover, this movie musical typifies the height of the visual and performing arts in terms of the ability to create an imaginative atmosphere that generates sheer delight in the minds and eyes of the audience.

In many ways, this movie is an extension of the circus that many of us grew up watching as kids and even adults. The circus was never about deep, complex stories; it was about entertaining audiences of all ages and bringing smiles to faces. And this film will certainly bring joy into your life this holiday season! Such a perfect movie for the week leading into Christmas because it is fun for the whole family.

“Jumanji: Welcome to the Jungle” (2017) movie review

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You know what, it’s actually good! I know, right??? For months now, many of us thought the sequel to the 90s classic was going to be a disaster. The truth is, this movie is incredibly well written, directed, and acted, and will ‘suck’ you right into the story. It’s been a long time since I’ve seen a movie that was this much fun to watch. In fact, Jumanji: Welcome to the Jungle has a high degree of entertainment value and rewatchability. Honestly, the only negative critique is that the stakes are not high enough because, at the end of the day, you know the characters are in a video game whereas the actual town was under attack in the original. Although this is a completely new story and fresh take on the 1995 film, there are enough nods and references to the original that keep it within the same universe. All the characters display excellent chemistry and are lovable! You have solid writing, characters that you love and love to hate, humor, and action! In short, it’s an excellent movie. I went into the movie expecting to laugh AT the movie, and my friend and I found ourselves laughing WITH the movie. Furthermore, I was worried about the movie having way too much CGI because the characters are in a video game, but I am delighted to report that there is, for all intents and purposes, little CGI compared to many other action-adventure films.   This movie goes to show that when you have well-developed characters with well-defined external goals opposed by external forces in a visually intriguing setting supported by effective direction that you have a recipe for a successful movie. I remember in the first movie the game directions “do not begin unless you intend to finish,” and those words were taken to heart because director Jake Kasdan began and finished well. Do yourself a favor, and catch Jumani: Welcome to the Jungle this holiday season with your friends or family!

“The Shape of Water” film review

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Absolutely enchanting! Guillermo Del Toro’s The Shape of Water is a beautiful modern fairy tale told through a classical means. From the provocative first scene to the endearing final moments, this film explores the human condition in an innovative way that highlights the spirits of kindness, generosity, and love. In a film that could have so easily played out like many other-worldly science-fiction love stories, this story demonstrates the power of cinematic storytelling full of brilliantly developed characters and excellent direction from Del Toro. Positively gripping. The Shape of Water provides audiences with a fresh perspective on the “monster movie” genre by taking you on a whimsical journey into the belly of a government research facility during the Cold War where you meet characters you love and love to hate along the way. As with many of his other films, Del Toro once again crafts an imaginative experience through the creation of memorable characters grounded by solid writing, direction, and cinematography. It seems like “genre films” are becoming a thing of the past, because so many want to exist in multiple planes; however, for all the elements at its heart, The Shape of Water is a classic monster genre film but breaks new ground.

Elisa (Sally Hawkins) is a mostly isolated mute young lady who works in housekeeping at a remote, underground government research facility near Baltimore. With only her starving artist neighbor Giles (Richard Jenkins) to keep her company at home and her close friend Zelda (Octavia Spencer) to watch over and speak for her at work, she leads a rather mundane life but longs for music, adventure, and romance. Taking place during the Cold War in 1962, Elisa’s encountered the strange and questionable over her time in and out of cleaning labs. Her nondescript life will be forever changed when she discovers the lab’s newest secret–a mysterious amphibian-like creature who lives in an aquarium tank. Over the days, Elisa feels compelled to visit the creature as the two of them develop a trusting bond. When the creature’s very life is at stake, Elisa must work quickly to construct a plan for his safe evacuation.

The Shape of Water has one of the most innovative openings to a film in that it juxtaposes a serene, calming yet mesmerizing sequence of underwater shots during the opening title sequence against a rather provocative first scene. Del Toro will successfully have your attention for the entirety of the film. It isn’t often that we get fairy-tale like narration at the beginning of a monster movie, and Del Toro’s choice for the beginning narration was absolutely perfect. It not only provided strategic exposition, but set the tone of the film. What we are about to watch may contain elements of monsters and mysteries, but it is a modern romantic fairy tale. Horror and science-fiction have often been used as conduits for filmmakers to explore the human condition and all its imperfections and growth; so by combining elements from both to create an innovative monster movie, Del Toro provides audiences with a fantastic opportunity to use the film’s diegesis as a mirror to our modern lives. Although the “beauty and the beast” style love story is central to the film, the film also comments on topics such as race, marriage, and class during the 1960s. There is also a side story that alludes to how members of the LGBTQ community were treated in the workplace and within the community. An incredibly comprehensive plot that never loses focus on the main story.

What an excellent cast! Sally Hawkins brings such endearing and powerful subtlety to her mute character. Her commitment to Elisa is so exquisite that you will swear that you can hear her voice through her sign language. Much in the same way we explored interspecies communication in last year’s Arrival, we witness just how the movement of hands and facial expressions know no bounds when establishing relationships with those with whom we cannot verbally communicate. In many ways, this movie is a combination of Beauty and the Beast, TV’s Swamp Thing, Arrival, and a little Creature from the Black Lagoon. Hawkins’ exceptional performance may very well land her an Oscar nomination, and quite possibly a win. Doug Jones’ creature is a brilliant combination of monster and lover. From the moment you encounter him, you will feel a human-like connection to his character. Like with Hawkins’ Elisa, Jones’ creature exhibits the power of subtlety. That seems to be a common element of this film: subtlety. So often the techniques of the pioneers of cinema are forgotten. Hitchcock proved over and over again that the camera itself can create suspense. Of course, he took many of his techniques from silent cinema where the camera was instrumental in visually communicating so much. Del Toro utilizes this power of the camera to not only visually create emotions but to work through actors to allow subtle powers of character to enhance the experience of this movie.

Beyond our central characters, Zelda (Octavia Spencer) and Giles (Richard Jenkins) have mini-movies of their own. And indirectly, their mini-movies have an impact on the larger story; however, these side stories never eclipse the central plot and only serve to bolster the overall experience. Spencer’s character enables audiences to explore marriage in the 1960s and Jenkins’s character provides a platform for discussion regarding how ostracized members of the LGBTQ community were before more modern times. There is also a scene where a classy looking black couple was denied seating at a diner. So many societal themes that can be used as a framework through which to understand the time in which this story takes place, and now the characters can be used to explore modern themes as well. Each and every chiefly supporting player has a significant impact upon the central diegesis of The Shape of Water. Del Toro took special care in integrating every element and making sure each aspect of the story was never just filler or for shock value. Each character, each scene, each camera angle moves the story forward.

The reality of love and relationships juxtaposed against an imaginative backdrop grounded in a literal view of life in the 1960s comprise this world created by Guillermo Del Toro. Whether you enjoy an excellent monster movie or old-fashioned romance, you will enjoy The Shape of Water. The brilliance of this film can be found in how this modern fairy tale is told through classical means. I also enjoyed the references to classic Hollywood movie musicals and dramas that can each be seen in the plot of this film. No image is ever wasted in Del Toro’s film. If there is one negative critique, the second act is a little drawn out and could have been trimmed a little, and some added suspense would have been appreciated in the second act as well.

“I hate that word [comeback]. It’s a return! …”

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“…a return to the millions of people who have never forgiven me for deserting the screen.” A powerful line from the iconic Norma Desmond in Sunset Boulevard–but–this also rings true for Michelle Pfeiffer, who is returning to the big screen following a self-imposed exile from Hollywood. After a long “famine” (the term Darren Aronofsky attributes to the Oscar-nominated actress’s absence), Pfeiffer is making a triumphant return to the big screen, and in BIG ways. Whether your favorite Pfeiffer performance is her universally critically acclaimed interpretation of Selina Kyle/Catwoman in Tim Burton’s Batman Returns or as Elvira Hancock in Scarface, cinephiles and fans alike can agree that the big screen has missed Pfeiffer’s bold screen presence and incredible beauty. What makes Pfeiffer unique in the world of cinema, is her ability to be incredibly ballsy and completely vulnerable all at the same time. Few actresses possess the ability to be a tomboy one minute and the portrait of sensuality the next. Why would one of the brightest stars in Hollywood in the 1980s and 90s slip away from the silver screen so conspicuously? The long and short of it is she desired to make time to raise her children. In a rare interview with Vanity Fair, Pfeiffer stated that she required so many schedule and location accommodations for her to continue to be a working-mother that she became “unhireable.” Now that her children are grown and out of the house, she is ready to get back to work!

While many may be focussing on Pfeiffer’s return to the big screen–to movies that are a match for her talent–the larger picture here could be lost. Approaching 60, Pfeiffer is at the age when many actresses are either not hired as often and/or are placed in grandmother roles; however, she is busier than ever! And in high profile roles in highly anticipated films. For the fans of her brilliant performance as the definitive Catwoman, she is returning to the superhero genre in the new Ant-Man and more recently she commanded the screen in Murder on the Orient Express. Pfeiffer also told Variety that should would very much like to reprise her role as Catwoman in a future film but not go to the lengths she had to before (citing placing the real bird in her mouth and the iconic sexy, but uncomfortable costume). Pfeiffer’s return to the screen is a testament that Hollywood is beginning to show that older established actresses are still bankable.

Pfeiffer comments that being an empty-nester has provided her with the push to get back out there. She wasn’t even sure that she would be able to step right back into acting because she often remarks that she sometimes feels like a fraud because she never received any formal training. Her rise from grocery store clerk to household name happened nearly overnight. Just goes to show that even though formal training and education are valuable tools in a show business professional’s tool belt, formal education itself does not an acclaimed actor make. Part of preparing to return to the superhero genre in Ant-Man and Wasp has her pouring over old comic books to prepare for her highest profile role in more than a decade. It is clear from the few interviews Pfeiffer grants (she is self-admittingly scared of interviews) that her favorite role in her career IS her role as Selina Kyle/Catwoman. Even today, she says that she is met by fans, young and old, of her work in that role. She quickly gives credit to Tim Burton who was highly instrumental in providing exceptional direction and a creative genius in the, what many critics call the, Batman movie that typifies the franchise. So, her return to the superhero movie genre is one that is highly anticipated.

While she is excited to get back out there, she still admits that she will continue to be choosy in her roles. She is an actress that has to feel a connection to a character in order to bring it to life. Whereas before she turned down roles in Silence of the Lambs and Thelma and Louise because of making sure she had time to be a mom, first and foremost, she will continue to exhibit her desire to not simply get out there and act again, but thoroughly enjoy the characters she plays. Part of Pfeiffer’s timeless charm is her ability to be 100% sexy feminine and 100% humorous tomboy at the same time. It’s this dichotomy that gives Pfeiffer her unique blend of charisma and screen presence that commands your attention and makes her memorable. Of all the qualities that aid in creating the standout actress that many of us love, she is equally humble and still learns from those actresses like Judi Dench and others that she continues to admire.

This past Halloween, I did my best to emulate her iconic Catwoman costume!