Sheer perfection. Writer-director Greta Gerwig’s (actress in Frances Ha and Mistress America) coming-of-age directorial debut is a marvelous gem, while actress Saoirse Ronan has never been better. Lady Bird delivers a fresh insight on the pains of adolescence. Oscar season is upon us.
This is a must see movie of the holiday season; Lady Bird is full of heart as it reaches for the stars. Gerwig writes a poetic message on the growing pains of youth and finding yourself. If you think this is your traditional coming-of-age story, then think again because Lady Bird is an original, fresh and energetic take on the genre. On November 27, 2017, the film became the most-reviewed film ever to remain at a 100% in Rotten Tomatoes history with 164 positive reviews, beating the previous record holder Toy Story 2, which has 163 positive reviews. It stayed at a 100% until 195 registered reviews. Currently, sitting at a 99% out of 199 reviews, minus the one tainted review from critic Cole Smithey, Lady Bird proves that it is the perfect little movie with a big heart.
It screams watch me in every way, from the writing to the directing, Gerwig’s gem is a triumph. Plus, actress Ronan has never been better on screen. She blew me away with her performance and, in my opinion, I think she even topped her performance from 2015’s Brooklyn. Fingers crossed that she can earn herself a third Oscar nomination this season. Ronan’s organic form of the artistically-inclined seventeen-year-old will draw you into the story. Taking place in the early 2000s, we are introduced to Christine 'Lady Bird' McPherson (the knockout Ronan) and her turbulent relationship with her mother (the fantastic Laurie Metcalf). Christine refers to herself as ‘Lady Bird’ because this is the name she has chosen to give herself. “People go by the names their parents give them, but they don't believe in God.”
This shows us a passionate and rebellious side from the high school senior, who’s just trying to find her footing in life. Post 9/11 and set in Sacramento, California, we see a rapidly shifting American economic landscape placed in the overall background of this film. Lady Bird also attends a Catholic high school where she fights on maintaining her image in the wealthy Calvinist world. Lady Bird’s family is financially struggling and sits on the other side of the train tracks from the big houses. With her mother tirelessly working long hours as a nurse and her father hopelessly looking for a job, the family hits its ups and downs in the pathos. Lady Bird and her strong-willed mother are constantly butting heads throughout the film. Read this short piece of the script from a scene in the movie and you’ll see the brawling nature of this mother/daughter relationship.
Lady Bird: “…He barely saw that. I want to go where culture is, like New York.”
Marion (Metcalf): “How in the world did I raise such a SNOB?”
Lady Bird: “Or at least Connecticut or New Hampshire. Where writers live in the woods.”
Marion: “You couldn’t get into those schools anyway.”
Lady Bird: “MOM!”
Marion: “You can’t even pass your driver’s test.”
Lady Bird: “Because you wouldn’t let me practice enough!”
Marion: “The way you work, the way you don’t work, you’re not even worth state tuition, Christine.”
Lady Bird: “MY NAME IS LADY BIRD!”
Marion: “Well actually, it’s not, and it’s ridiculous. Your name is Christine.”
Lady Bird: “CALL ME LADY BIRD LIKE YOU SAID YOU WOULD!”
Marion: “You should just go to City College, with your work ethic. City College and then to jail then back to City College. Maybe you’d learn how to pull yourself up and not expect everyone to do everything for you...”
“They slow for a stop light and Lady Bird dramatically opens the door and rolls out of the car. Marion screams.”
Here, you can see Lady Bird’s struggle to prove to her mom that she's a real person who needs to be taken serious. On the flipside, we see a mother who is struggling at connecting with her only daughter and ends up coming down hard on her. Gerwig’s film is the perfect blend of messiness and communication. Throughout the film, we see Lady Bird grow in her relationships with friends, boyfriends and family. She confides in her best friend Julie (an outstanding Beanie Feldstein) about her need to escape her home town. She calls Sacramento "the Midwest of California.” For New York, she theorizes that college enrollment will be down in the big apple post 9/11.
As for her crushes ... a closeted gay theater geek named Danny (Manchester By the Sea's Lucas Hedges, superb) and an easygoing musician named Kyle (the breakout star Timothée Chalamet in Call Me By Your Name, also from this year). Things don’t always go as planned for Lady Bird, such is life. Nevertheless, she stays strong, confident and in the end, finds her roots that makes her who she is in this messy world of ours. Overall, it’s one of the finest examples of well-crated filmmaking this year. Gerwig’s directorial debut earns all five stars from me, I was utterly impressed. The gravity of this film will send audiences everywhere cheering in their seats. In the simplest of terms, Lady Bird is flat-out amazing.
Lady Bird is rated R (Restricted). For language, sexual content, brief graphic nudity and teen partying.
Demi Lovato opens up to her fans as she gives a heartfelt message of her past and current struggles in life. Demi Lovato: Simply Complicated peels back the layers on one of the world’s biggest pop stars.
Intimate and personal, Demi’s newest YouTube documentary is a real hit as we journey back in a time-capsule up to the creation of her sixth studio album, Tell Me You Love Me (Sept. 29). Demi’s newest album is her most raw and vulnerable music to-date. As Demi belts out her harmonics on screen we see a glimpse of the pop stars’ authentic self. The documentary is just shy of an hour and 20 minutes, but Demi doesn’t waste a beat. Within the first minute Demi states, "I actually had anxiety around this interview because the last time I did an interview this long, I was on cocaine."
This gives the audience an honest look into her past life and her openness on screen. But to know Demi best, we have to understand what she’s been through and has overcome. Throughout the documentary, we learn the depths of Demi’s battle against addiction and bipolar disorder. Through all of this, Demi helps convey these messages to her fans in her lyrics as we see them morph on screen. The doc, though at times can be narratively messy, travels from the start of her career as a child, through her collaboration with the Jonas Brothers on Disney Channel and the release of her sixth studio album.
Emotions running high, Demi’s heartfelt letter to her fans proves that she’s still growing in this messy world of ours. The deepness of her lyrics carries out to others who have also struggled with addictions in their life. Tell Me You Love Me is Demi’s most important body of work yet and shows us how she got there. Time after time, we see her fighting back and showing us her true colors of strength and empowerment. Though Simply Complicated can be a bit disjointed in its construction, nevertheless; Demi’s voice soars. “I think scars are like battle wounds - beautiful, in a way. They show what you've been through and how strong you are for coming out of it.” You can watch the full documentary right here. Check it out below!
Demi Lovato: Simply Complicated is not rated (NR).
Let's take a look back. 2016 was a great year for film and gave us some masterclass cinema, along with groundbreaking achievements. Here's my top 15 picks for that year.
Lady Gaga resonates energy into Gaga: Five Foot Two, as we see and absorb a glimpse of the superstar’s backstage life.
In the latest Netflix original documentary, Gaga: Five Foot Two, Lady Gaga shares with us a vulnerable look of her life during one of the most pivotal periods in her career yet. The doc is directed by filmmaker Chris Moukarbel (Banksy Does New York and Me at the Zoo) and is shot in the style of cinema verité, giving viewers unfiltered, behind-the-scenes access to Gaga and her backstage life. We get to spend time with her close friends and family members, as she releases her 2016 album Joanne. Gaga also deals with personal struggles throughout the film and opens up about her current and past wounds. Moukarbel's compelling portrait captures Lady Gaga's life over an eight-month period.
On top of Gaga’s professional career triumphs, viewers also see her cope with the intense emotional, physical and chronic pain caused by the onset of fibromyalgia. These moments of pain will cause the viewers to feel an enormous amount of heartache for our beloved pop star. Other moments in the doc reflect more ordinary aspects of her life, whether it's attending a family christening, visiting her grandmother or cooking and playing with her dogs at home. This helps open the door for a better understanding of normal life off the stage lights. The doc follows Gaga from the release of her fifth studio album, Joanne, to her glorious and critically lauded Super Bowl LI halftime performance.
While, there are some inconsistencies in the large portions of performance footage, nevertheless, Gaga: Five Foot Two succeeds in sending out its heartfelt message and better understanding of Gaga herself. Gaga delivers a humane performance, as she sheds light to her struggles in life but doesn't allow them to overcome her. She's on top of the world. In the end, Lady Gaga is still the high-wire queen of pop. “Don't you ever let a soul in the world tell you that you can't be exactly who you are.” – Gaga
Gaga: Five Foot Two is Not Rated (NR).
A rare sequel that both deepens and expands the universe of Blade Runner. Denis Villeneuve’s (Arrival and Sicario) masterpiece is probably one of the greatest cinematic experiences I’ve had in a long time. Blade Runner 2049 is a knockout sequel, well worth the 35 year wait.
2049 is a film that needs to be seen by the masses and by any other sci-fi fanatics out there. For Blade Runner junkies who grew up re-watching the original classic on TV, like myself, this was one of the most satisfying sequels I had the privilege of seeing on the big screen. Yes, Blade Runner 2049 is that good. It boasts a visual feast and lives up to the original title’s sci-fi virtues. 2049 is a landmark achievement in a modern world, currently full of bloated sequels and reboots. I took in every minute of Villeneuve’s lengthy 2 hours and 43-minute run time and, in the end, I could have stayed longer. Without giving away too many spoilers, in the simplest of terms 2049 comes out full throttle and ready for action.
The 1982 original is based on Philip K. Dick's book Do Androids Dream of Electric Sheep? That film focuses on a blade runner who must pursue and try to terminate four replicants who stole a ship in space and have returned to Earth to find their creator. Since its original release there have been seven different versions of director Ridley Scott’s (Alien and Gladiator) masterwork. My favorite being the original 1982 US theatrical release and 2007's The Final Cut. The theatrical release boasted Harrison Ford’s cheeky voiceover and neo-noir pulp, but was hindered by the studio’s cliché “happy ending” scene with Deckard and Rachel. In 2007, Scott's version finally came to life. Blade Runner: The Final Cut is a retro-futuristic, visually stunning landmark for sci-fi. Giving the audience a new experience every time they watch it.
Helmed at its core, this latest version of Blade Runner is the purest form of Scott’s original intent for the film. Now, we travel from 2019 to 2049 Los Angeles. Scriptwriters Michael Green (Logan) and the masterful Hampton Fancher (Blade Runner) infuse us into a world full of visual wonder and destruction. The legendary Cinematographer Roger Deakins (The Shawshank Redemption, A Beautiful Mind, No Country for Old Men and Skyfall) also makes his mark on this film. From the hazy orange and yellow tones of Las Vegas, to the deep neon blues and purples of Los Angeles; every single frame is awe-inspiring. Deakins, who has been nominated 13 times for an Oscar, deserves his trophy now. He has been well overdue for a long time.
His keen skill and perfection of 2049 sends viewers down a dazzling road of art. 2049 also showcases Ryan Gosling and Harrison Ford has the dynamic duo, who are dynamite from start to finish. Villeneuve’s mind-bending experience is one for the ages. So, here’s my short synopsis of 2049: 30 years after the events of the first film, a new blade runner, LAPD Officer K (an excellent Gosling), unearths a long-buried secret that has the potential to plunge what's left of society into chaos. K's discovery leads him on a quest to find Rick Deckard (a superb Ford), a former LAPD blade runner who has been missing for 30 years.
This iconic film should send sci-fi fans everywhere cheering from their seats, as they melt away with awe. 2049 show us a deteriorating world full of high class societies, workforce slavery (replicants) and hell bent technology infused with selling sex. Breakout star, Ana de Armas, plays Joi, an artificial intelligence who is produced by the Wallace Corporation. Joi is also K’s holographic girlfriend. Even though we can see through Joi, in the end, she shows us what it really means to be human. 2049 is full of rich cinematic senses as we gaze into K’s eyes we see the true conflict eating him away. While Deckard’s mysterious past has finally caught up with him.
Ford, for his part, is nothing less than a revelation as we see him soar to new heights. Fueled with fresh ideas and a purpose, 2049 is a film that I will hold close to my heart. It’s a masterpiece and deserves 5 stars. Powerful, brutal and deeply satisfying, it’s the must-see movie extravaganza of 2017. So please, go see this tour de force in theaters while you still can. 2049 is an event waiting to be seen and captured purely on the big screen. It will continue to ask the questions of what is the meaning of life? Or what does it truly mean to be human? "All those moments will be lost in time... like tears in rain..." "Your story isn't over yet. There's still a page left."
Blade Runner 2049 is rated R (Restricted). For violence, some sexuality, nudity and language.
Probably one of the most controversial films since Stanley Kubrick's A Clockwork Orange. At times, Mother! is compelling and others it's infuriating. I'm still trying to digest this film…
Mother! is one movie that will definitely get under your skin and then some. Its thought-provoking themes are fueled with rage and terror. Darren Aronofsky’s (Black Swan) newest creation will truly piss off many mainstream audiences. Mostly positive reviews from critics alike, but contradicted with a godawful cinematic F score from audiences, Mother! is a rare film that will be dissected in the years to come. This is a movie that will send viewers running for the hills, at times, it had me even shocked and raged.
Aronofsky has been known for his controversial films in the pass (Requiem for a Dream, Pi and Noah), but Mother! is a whole 'nother ballgame when it comes to controversy. Fueled with biblical allegories and high end shock values, you’re in for a bumpy ride. Going back to the night that I saw Mother! I had no idea what to expect. The trailers were vague, but due to its opening weekend frenzy and F score… I was intrigued. Actor’s Jennifer Lawrence and Javier Bardem helm the leading roles for the film, while actor’s Michelle Pfeiffer, Ed Harris, Domhnall Gleeson and Kristen Wiig wrap up the supporting roles. One could say that Mother! is a prophet of one’s ambitious artistic vision, while others would say that it’s nothing more than an allegory of off putting themes.
I would except both answers for this type of film because at times I was compelled and at others I was infuriated. Lawrence and Bardem bust out their acting chops from the beginning frame until the last frame. The trailer was vague, so I will leave many plot details of this film vague as well. A couple's relationship is tested when uninvited guests (Pfeiffer and Harris) arrive at their home, disrupting their tranquil existence. Pfeiffer and Harris are a knockout of terror and lustful desires. Aronofsky uses the most of his devilish elements throughout this film and will leave you with an unlawful aftertaste. He takes his time throughout the first two-acts and by the third, Aronofsky sends his viewers in an unholy inferno full of horror and chaos.
Mother! uses the most of its 115 minutes to push the envelope and for that I say job well done. At the beginning of the credits, you’ll be pondering in your seat of what you just witnessed on screen. One more quick opinion of mine after seeing this film, I believe that Bardem's character resembles God and Lawrence's character resembles Mother Nature. While their house represents our world of both good and evil. The two are sent through a living hell because of the sinful and destructive nature of humans. We witness this intensity during the last 20 minutes of pure torture and destruction. In the end, Aronofsky has the final laugh. Mother! is a movie that you’ll be trying to digest in the weeks that follow. I know that I still am.
Mother! is rated R (Restricted). For strong disturbing violent content, some sexuality, nudity and language.
The Emoji Movie is the worst movie of 2017, hands down. I won't waste my time and brain cells writing a lengthy review for this repulsive film. Instead, here's a short summary from me: I advise staying far away from this disaster. It's 80-plus minutes of excruciating mental torture. A cynical cash-grab and a second-rated version of Inside Out. It's a branding nightmare in every turn. This pile of trash receives zero stars from me.
The Emoji Movie is rated PG (Parental Guidance). For rude humor.
Director Destin Daniel Cretton (Short Term 12) captures the spirit of Jeannette Walls’ 2005 best-selling memoir. Even with its flaws, the film is upheld by a tremendous cast (Woody Harrelson, Brie Larson, Naomi Watts, Sarah Snook and Max Greenfield) and gorgeous cinematography.
A few weeks ago, I got to see my favorite book come to life on the big screen. Overall, I was satisfied with the film. The Glass Castle is beautifully shot and well-acted. Plus, Woody Harrelson did a great portrayal as the alcoholic father. Of course, the script’s narrative could have been stronger and director Destin Daniel Cretton glazed over some of the book’s darker undertones. Yet again, this book had so much depth structured inside it, that it easily could have been a 3-hour movie.
In 2005, Walls’ memoir spent a total of 261 weeks on The New York Times Best Seller list. By late 2007, The Glass Castle had sold over 2.7 million copies, had been translated into 22 languages, and received the Christopher Award, the American Library Association's Alex Award (2006) and the Books for Better Living Award. The very essence of this book captured our heart and souls. Walls digs you deep into her chaotic past as we travel with her poverty-stricken family through her years of adolescence. Larson captures Walls’ fierce posture in her adult form, while actors Chandler Head and Young Jeannette tackle Walls’ child and youth years.
The story of The Glass Castle conveys deep family heartache and trouble. It opens up old wounds and shows us what its really like for American families struggling with poverty. Jeannette (Head) is a young girl that comes of age in a dysfunctional family of nonconformist nomads with a mother (Watts) who's an eccentric artist and an alcoholic father (Harrelson) who would stir the children's imagination with hope as a distraction to their poverty. Set with awe-inspiring scenery in the distance, this is Cretton’s way of distracting the audience from the film’s narrative flaws. The emotions and characters are all still there and this is enough to keep the film afloat.
It was satisfied with the final outcome as we traveled with Jeannette’s family on screen and saw the raw misfortunes that she had to overcome. My advice, is to still read the book first. There you can grapple with the intimate written structure of Walls’ chaotic life. In the end, life is a journey and we have to make the most of it while we can. "You should never hate anyone, even your worst enemies. Everyone has something good about them. You have to find the redeeming quality and love the person for that." - Jeannette Walls
The Glass Castle is rated PG-13 (Parents Strongly Cautioned). For mature thematic content involving family dysfunction, and for some language and smoking.
Well-acted throughout and full of old school scares. It fuels Stephen King’s horror class with spirit and nostalgia. You’ll be floating by the end…
After nearly eight years of development, Stephen King’s supernatural horror, It, finally made it to the big screen. Going through three-project era’s (Kajganich, Fukunaga and Muschietti), Pennywise the Dancing Clown is finally able to sink his teeth into some meaty flesh. Based on the bestselling novel (1986), It made every reader tremble in fear after each page turn. The story follows the experiences of seven children who live in Derry, Maine. But a being lurks in the town, which exploits the fears and phobias of its victims to disguise itself while hunting its prey terrorizes the children of the town every 27 years. "It" primarily appears in the form of a clown to attract its preferred prey of young children.
It was originally turned into a two-part TV mini-series (1990) and the brilliant Tim Curry played the title character. However, ABC’s mini-series missed a lot of the book’s primitive focus and was blogged down with cheap effects. Director Andy Muschietti (Mama) stays more true to King’s original story. At its core the film boasts an emotionally affecting story and is fiendishly frightening alike. What struck me were the strong performances by the young cast (Jaeden Lieberher, Jeremy Ray Taylor, Sophia Lillis, Finn Wolfhard, Wyatt Oleff, Chosen Jacobs and Jack Dylan Grazer), who all excelled in The Loser’s Club.
Bill Skarsgård who plays Pennywise the Dancing Clown also gives us a bravura performance throughout the film. Skarsgård adds both fear and laughter onto the screen, leaving a haunting perplexity ingrained into your mind. Instead of taking place in the ‘50s, Muschietti decides to move the film to 1988 for the first part of the story. This works well throughout and never looses a beat. Behind our band of misfits, are kids, who are just trying to learn the young treasures of life. Bill (a confident Lieberher) is the leader of The Loser’s Club, who’s lost his little brother, Georgie, to “It” down the sewer drain.
Bill has a stutter problem, but continues to grow and face his fears. Wolfhard plays Richie, the funny one; Grazer is Eddie, the germaphobic one; Taylor is Ben, the chubby one; Oleff is Stanley, the Jewish one; Jacobs is Mike, the African-American one; and Lillis plays Beverly, the female of the group. Combined, we follow these kids from beginning until end. Rooting for them to kill the clown and to overcome their fears. The group is the heart of the story, as we learn that there is something more rudimentary flawed with Derry than just an evil clown. The adults of Derry are mostly absence throughout and point a greater concern to their ignorance.
Also striking, are the bullies of Derry. Their leader is Henry Bowers (Nicholas Hamilton), is a young sociopath, who at times is more evil the Pennywise himself. Leaving The Loser’s Club to fend for themselves against incoherent parents, a gang of bullies and a shape-shifting creature who preys on their fears. Muschietti also roots back to the good ‘ole jump scares, making It a real treat in the theaters. Well crafted, beautifully shot and the spirit of pure horror at its center. It marks a fresh opening for a recently sinking summer box office. Taking home $123.4 million on its opening weekend, while it’s bound to break more records this year. Go see it in theaters as soon as you can. You’ll scream, you’ll laugh and you’ll surely float too.
It is rated R (Restricted). For violence/horror, bloody images, and for language.
Dunkirk is a masterpiece, no questions asked, and it’s one of the best films to arrive in theaters this year. Go see it in the glorious 70mm!
Believe the hype… Dunkirk is not only a great film it’s one of the best films of this year, if not the best. Writer-Director Christopher Nolan (The Dark Knight trilogy, Inception and Interstellar) soars with this brilliantly crafted work of art. Dunkirk will get your blood rushing, keeping you on the edge of your seat throughout its entirety. Nolan’s film serves up as an emotionally satisfying spectacle and helps break new ground in the war genre. Dunkirk serves as a grand example of spectacular writing, acting and directing.
There’s a reason why we continue to go to the movies and Dunkirk is one of those reasons. Nolan’s craft and form have never been better, delivering his best film to-date. This is Nolan at his most mature state, sending crowds everywhere cheering from their seats. Upholding Nolan’s direction is his well ensemble cast (Mark Rylance, Tom Hardy, Cillian Murphy, Kenneth Branagh, Harry Styles and newcomer Fionn Whitehead) and the musical genius himself, Hans Zimmer. The score is one of Zimmer’s very best pieces of work and will fully engulf you into the film.
Zimmer hits hard in this memorizing score, creating something even more beautiful. Zimmer is a master composer of our time and deserves an Oscar. Listen for the constant ticking of a watch throughout the film. The rising tension in the score will keep viewers on edge as it molds the story seamlessly. Nolan uses a different approach in storytelling to this WWII epic, by showing us a non-linear plot formed around three stories. These stories being i. The Mole, ii. The Sea and iii. The Air. The film's narrative follows the three major threads covering different periods of time: the land is a period of one week, the sea is a period of one day, and the air is a period of one hour. All are perfectly interwoven throughout the film.
In an introductory text, it states that “in 1940, after the invasion of France by Nazi Germany, thousands of Allied soldiers retreated to the seaside city of Dunkirk. As the Allied perimeter shrinks, the soldiers await evacuation, a seemingly hopeless situation.” Nolan takes his time focusing on the British soldiers, never showing us the enemy but from a far. This gives the audience an uncomfortable feeling of not knowing where they will strike next. With very little dialog, Nolan throws his camera on the backs of his actors. Displaying each spotlight tightly on them, never shifting the focus. Newcomer Whitehead gives us an Oscar-worthy performance full of courage and reflection. Oscar-winner Rylance shows us the bravery of a civilian sailing to help the stranded soldiers.
Oscar-nominee Hardy shows off his brawn and keen of eye skill as an air pilot. Oscar-nominee Branagh gives us hope as the commander waiting for his men to be rescued. Actor Murphy shows us a broken soldier escaping from Dunkirk and how selfishness can turn into deadly consequences. Making his acting debut, singer Harry Styles is a revelation delivering some of the film’s most intense scenes. Like Paths of Glory or Saving Private Ryan, Dunkirk is a monumental achievement on the war in cinema. Some amazing facts about this film are that it used real ships and planes and the film uses very little CGI. All the effects are practically done.
About 75 percent of the film was shot on IMAX cameras, which is why seeing it in the glorious 70mm is more raw and intimate. Nolan also used cardboard cutouts for boats and people, making the illusion ever more real. And finally, Nolan shot the entire film where the actual historic event took place. Dunkirk is an unforgettable film and ranks as the best war movie of the decade. It proves that big-budgeted movies can, in fact, be called art. It has heart, soul and a vision that honors the fact-based story. This phenomenal film receives the highest honor from me, 5 stars. Dunkirk is a masterpiece, no questions asked. The Oscar race for Best Picture is officially a go! “When 400,000 men couldn't get home, home came for them.”
Dunkirk is rated PG-13 (Parents Strongly Cautioned). For intense war experience and some language.
The Big Sick is the best romcom of 2017, hands down. Real, funny and heartwarming; The Big Sick comes in as a late-summer surprise full of rich rewards.
Like most romantic comedies, they fall into the same dark routines full of formulaic relationships and lazy plot lines. Luckily, The Big Sick’s cross-cultural themes and appealing leads (the fantastic Kumail Nanjiani and the charming Zoe Kazan) help redefine the genre. Based on the real-life courtship between Kumail Nanjiani and Emily V. Gordon (screenwriter for the film); The Big Sick tells the story of Pakistan-born aspiring comedian Kumail (Nanjiani, himself), who connects with grad student Emily (Kazan), who is white, after one of his standup sets in Chicago, IL. Kumail and Emily’s connection sparks on contact.
What they thought would be just a one-night stand blossoms into the real thing. So, after a series of back-and-forth, Kumail and Emily decide to date. Unfortunately, this complicates things for Kumail because his parents are traditional Pakistani Muslims, who believe in arranged marriage. Kumail begins to worry about telling his family, knowing they would disapprove and disown him. Emily discovers a cigar box, in Kumail’s room, which contains the pictures of all the Pakistani-women his parents have tried to set him up with.
Kumail tells Emily that he is uncertain about seeing a future with her, thus ending their relationship. But when Emily is beset with a mystery illness, it forces Kumail to navigate the medical crisis with her parents, Beth and Terry (a brilliant Holly Hunter and a funny Ray Romano) who he's never met. An emotional tug-of-war begins to develop in Kumail for his family and his heart, Emily. Director Michael Showalter (Hello, My Name is Doris) gives this romantic comedy depth and direction. Showing us real people, in real situations and how they overcome them together through life.
This film will send you laughing and crying all at the same time. A dynamic movie with an enormous heart, The Big Sick is one of the best films to hit theaters this year. Kumail and Kazan are stellar, while Hunter, Romano, Anupam Kher, Zenobia Shroff and Adeel Akhtar all solely standout in their performances well. The dialog is crisp, while tapping into your inner heart. For all of this, The Big Sick receives 5 out of 5 stars from me. I loved this movie and you will too.
The Big Sick is rated R (Restricted). For language including some sexual references.
Wonder Woman is fierce, colorful and full of heart. It’s a complete 180° for the DCEU (Extended Universe) and probably one of the best superhero films to-date.
Gal Gadot soars as the woman in red, gold and blue. Her charismatic performance helped the film succeed in spectacular fashion throughout. In regards to the DCEU, the fourth time is a charm. Wonder Woman is the best film to come from the extended franchise and leaves audience’s everywhere eager for more. Forget the mediocracy of Man of Steel, and forget the sheer awfulness of Batman V. Superman and Suicide Squad because those films are a thing in the past.
Dial back to 1918, as director Patty Jenkins (Monster) takes us to the lively origin story of Wonder Woman. But before Gadot can throw around the lasso, she has to go through training. And before she was Wonder Woman, she was Diana (a wondrous Gadot), princess of the Amazons, trained warrior. Her and the rest of the Amazon people are fueled with rich, Greek mythology. But when a pilot (the charming Chris Pine) crashes and tells of conflict in the outside world, she leaves home to fight a war, discovering her full powers and true destiny.
Set during World War I, Diana decides to join Steve (Pine) and his crew to eliminate the threat. Wonder Woman does many things right, one of them being justice to the origin story. Jenkins gives us characters that we care about and keeps the plot rolling. The other wonder from this film is that Gadot and Pine’s chemistry is dynamic. These two work great with each other, giving off an emotional and romantic bond. Another big plus for the film is that Wonder Woman's character is not sexualized. No misogyny here.
Gadot’s incarnation breathes fire and packs in a punch. Since the release, Wonder Woman has broken multiple records. Here are some of the records broken thus far: the highest-grossing live-action film directed by a woman, the highest-grossing opening weekend from a female director, ever, the highest-grossing woman-led superhero film, ever, the first Marvel or DC Film ever directed by a woman and it is now the biggest domestic earnings in the DC Extended Universe. Nearly flawless, Wonder Woman ends on a high note. Jenkins has done herself proud, while Gadot showed off her true warrior roots. Wonder Woman will, without a doubt, slap a smile on your face. It’s a 141-minutes of pure fun.
Wonder Woman is rated PG-13 (Parents Strongly Cautioned). For sequences of violence and action, and some suggestive content.
Ridley Scott returns to his Alien roots with another haunting visual grandeur. While, I did enjoy Prometheus more, nevertheless; Alien: Covenant is still a thrilling deep-space terror.
Yes, Alien: Covenant doesn’t take the franchise in any new directions… that’s the bummer. On the flipside, Covenant is a haunting thrill-ride waiting to be unleashed. Director Ridley Scott (Alien, Blade Runner, Gladiator and Prometheus) returns with blood. After divided fan criticism on his prequel (Prometheus), Scott decided to return more to his Alien roots and released his audience into a world of living hell. Covenant is a new chapter to the Alien franchise and stands-in as a sequel/prequel.
The crew of the colony ship Covenant, bound for a remote planet on the far side of the galaxy, discovers what they think is an uncharted paradise, but is actually a dark, dangerous world. When they uncover a threat beyond their imagination, they must attempt a harrowing escape. Actor Michael Fassbender returns as the mysterious android, David and his brother-android, Walter. Fassbender is exceptional as ever, delivering a groundbreaking performance that holds the film steady. Actors Katherine Waterston, Billy Crudup, Demian Bichir, Danny McBride, Jussie Smollett, Amy Seimetz and Carmen Ejogo all join the Covenant crew this time around.
Some becoming alien meat and others surviving until the last frame. While, Covenant didn’t impress (numbers wise) at the box office, Scott is still planning on making two additional Alien sequel/prequels leading up to the very first film (1979). In the end, I enjoyed Prometheus more for its approach to the slow-building suspense and terror. At times, Covenant felt like a constant bloodbath that was never going to let up. In all, Covenant continued to deliver deep-space thrills with mysterious plot lines still left unanswered.
Alien: Covenant is rated R (Restricted). For sci-fi violence, bloody images, language and some sexuality/nudity.
The coolest movie of the summer has finally arrived. Baby Driver is driven with great writing, acting and direction. Plus, the film features a killer soundtrack!
Put the petal to the metal, Baby Driver is a summer movie sensation. Fueled by fast-paced action that is both smartly written and character driven. Writer-director, Edgar Wright (Shaun of the Dead and Hot Fuzz) hits a new high is his superb career. In a world, full of bloated CGI, Baby Driver goes retro as there is little to no CGI or green screen used in the car chase sequences. The driving is all practically done. The intensity you feel rush through your bones, while watching the thrilling car chase scenes was captured in real time and live stunts.
This just goes to show how brilliant Wright really is as a filmmaker. Without giving away too much of the plot, after being coerced into working for a crime boss (a vicious Kevin Spacey), a young getaway driver (a fantastic Ansel Elgort) finds himself taking part in a heist doomed to fail. That’s all I will say about the plot and the rest is waiting for you to experience on the big screen. Alongside, the exceptional writing is the star-studded character development. Elgort plays Baby, a getaway driver, who through his charm and “Kubrick look” will win your heart. Spacey plays Doc, a vicious mastermind behind the planning and execution of the ongoing robberies.
Doc calls Baby his lucky charm because he has used him for multiple heists. Lilly James plays Debra, a young waitress and Baby’s girlfriend. James evolves perfectly into her character and doesn’t run into the cliché girlfriend role. Jamie Foxx plays Bats, a psychopath who would creepy out even your average, everyday psychopaths. John Hamm plays Buddy, the handsome criminal who you don’t want to cross. Eiza González plays Darling, Buddy’s dame and faithful partner in crime. Wright takes his time with each character showing us their strengths and weaknesses throughout the film. Baby Driver also has a killer soundtrack that packs in a punch.
Songs like Bellbottoms by Jon Spencer Blues Explosion, Harlem Shuffle by Bob & Earl, Easy by The Commodores, B-A-B-Y by Carla Thomas, Debra by Beck, Every Little Bit Hurts by Brenda Holloway, Hocus Pocus by Focus, Radar Love by Golden Earring and Never, Never Gonna Give Ya Up by Barry White. Needless to say, Baby Driver delivers and is not only one of the best films of the summer, it’s one of the best films of the year. Masterfully crafted and well-executed, Baby Driver will leave you wanting more after the credits roll. It receives all 5 stars from me and in time will go down as a new American classic. I had a blast from the opening scene until the very last and I hope you do as well. Yes, the coolest movie of the summer has finally arrived. Check it out now!
Baby Driver is rated R (Restricted). For violence and language throughout.
The most catastrophic film to hit the theaters this summer. This review will be short, painless and straight-to-the-point. Transformer: The Last Knight is this year's worst film and receives zero stars from me.
149 minutes… think about that? With the constant crashing and scrapping of sluggish metal, at the end of this disastrous film my head was about to explode. Yes, The Last Knight is that bad. It’s Michael Bay’s (Transformers franchise) worst Transformers movie to-date. Worse than Revenge of the Fallen, Dark of the Moon, and Age of Extinction combined. I know, it’s hard to believe but the incompetent franchise has sunk to a new low. There’s not fun, no heart and no point to the very existence of this film. The Last Knight is thinly plotted and bloated with special effects to the state of grotesque.
Here’s the ludicrous plot: Autobots and Decepticons are at war… again, with humans on the sidelines. Optimus Prime is gone. The key to saving our future lies buried in the secrets of the past, in the hidden history of Transformers on Earth. A.K.A. cue King Arthur battle sequences with ancient metals of junk and a Stonehenge shindig, full of Bay’s most famous trademark… blowing crap up. Actors Mark Wahlberg, Anthony Hopkins, Josh Duhamel, Laura Haddock, Tyrese Gibson, John Turturro and Stanley Tucci get lost amongst the chaos. Alongside, Bay’s controversial trademark makes multiple appearances throughout this mess.
What's that you ask? The controversy is Bay’s relentless camera focus on women and objectifying them. Haddock is the unfortunate soul here who gets bombarded by Bay’s uptight and perverted camerawork. In the end, it’s not just me who has gotten very tired of this topsy-turvy franchise. Over time, the stats have proven that audiences around are also becoming weary. The Last Knight’s opening weekend in the U.S. was a franchise low, bringing in only a mere $69.1 million in the first five days. The Last Knight was down a stunning 31% from 2014’s Age of Extinction. This proves even more that Bay’s tired and bloated franchise will hopefully see an end. In all, Bay’s fifth outing came, squabbled and sunk. Who are we kidding? Of course, it’s not good.
Transformers: The Last Knight is rated PG-13 (Parents Strongly Cautioned). For violence and intense sequences of sci-fi action, language, and some innuendo.
The dead may be alive, but this mummy should have stayed buried…
One of the worst summer blockbusters to-date, period. The Mummy (2017) lacks the campy-fun of Brendan Fraser’s '90s cheese fest and remains hallow of any monster-movie thrills from the original 1932 classic. A bad start for the Dark Universe series, The Mummy will leave viewers with a bad aftertaste of anger and disgust. Universal might have gotten ahead of themselves for planning an entire extended universe without waiting on the final results of their first entry. The Mummy is so-bad that it makes Brendan Fraser’s '90s cheese fest look like a monster-masterpiece.
Alex Kurtzman's (Transformers and Star Trek) reboot is a mess from the very beginning. Bloated with bad special effects and a ludicrous plot, actor Tom Cruise had no chance in saving the film from utter disaster. The plot follows an ancient princess (a so-so Sofia Boutella) who’s awakened from her crypt beneath the desert. With her power, she’ll bring malevolence and terror that defies human comprehension. The narrative in retrospect, is so chaotic that it should have remained dead.
The Dark Universe is off to a rather shaky start, but Universal is still planning on having multiple films apart of this franchise. Films like, Bride of Frankenstein, Creature from the Black Lagoon, Invisible Man and many more similar monster-flicks. The Bride of Frankenstein is already scheduled for February 14, 2019… we’ll see if the Universal will be able to pull a 180° by then. All-in-all, if you’re looking for a summer disaster filled with hamstrung actors (Cruise, Boutella, Russell Crowe, Annabelle Wallis, Jake Johnson and Courtney B. Vance), bloated CGI and terrible dialog, then this is the movie for you. For the rest of us with a brain, go in peace and stay far away from this rotten tomb.
The Mummy (2017) is rated PG-13 (Parents Strongly Cautioned). For violence, action and scary images, and for some suggestive content and partial nudity.
14 years later and Johnny Depp is still sailing upon his voyage in murky waters.
While Pirates of the Caribbean: Dead Men Tell No Tales had its moments, nevertheless; the film resulted in another been-there-done-that goofy adventure. Depp’s famous Captain Jack Sparrow still amuses us with his time on the big screen. Whether its robbing a bank or fighting zombie sharks (yes you heard that right), Captain Jack can still put a smile on your face. As for the rest of the film, Pirates 5 sails into murky waters full of bloated CGI backed by a shaky narrative. Not even a switch in new direction from directors Espen Sandberg and Joachim Rønning (Kon-Tiki), could help the film succeed.
Javier Bardem's undead pirate wasn't enough to set sail for the franchise. Instead, Bardem’s incarnation, Captain Salazar, becomes the most underwhelming Pirates villain to-date. Keeping the plot to a bare minimum, Captain Jack (a cheeky and sometimes drunk Depp) searches for the trident of Poseidon while being pursued by an undead sea captain (A.K.A. the underwhelming Bardem) and his crew. Since the Pirates franchise took off in 2003, it has grossed $4 billion worldwide. Sadly, the series as a whole has had its constant ups and downs. Although, none of the sequels (Dead Man's Chest, At World's End, On Stranger Tides and Dead Men Tell No Tales) could ever live up to heights of the first installment (The Curse of the Black Pearl).
Pirates 5 does have its moments, like the fun chemistry between Sparrow and Barbossa (the grand Geoffrey Rush) or both Orlando Bloom and Keira Knightley respectively respiring their roles. All-in-all, Pirates of the Caribbean: Dead Men Tell No Tales is a harmless sequel to the already bloated franchise. When in doubt, viewers should just watch the original. For me, I saw it as a double feature with Guardians of the Galaxy Vol 2 at a Drive-In movie theater. So, maybe I’m not being as harsh on the film as I should? Either way, I was more anxious for Guardians 2 to start up as soon as Captain Jack’s latest sail ended.
Check out one of the coolest Drive-In movie theaters I've ever been to below! Named one of the Top Ten Drive-Ins in USA TODAY.
49'er Drive-in Theatre
Pirates of the Caribbean: Dead Men Tell No Tales is rated PG-13 (Parents Strongly Cautioned). For sequences of adventure violence, and some suggestive content.
The Fate of the Furious is nothing more than a continuation the franchise’s fueled trademark, consisting of over-the-top action and thrills.
You already know what you’re getting into before you go in, so The Fate of the Furious A.K.A. Fast & Furious 8 shouldn’t disappoint hardcore fans. It’s been 16 years since the first Furious film was realized and since then, the franchise has become Universal’s highest grossing franchise of all time. The $5.1 billion franchise has gone through many loopholes to get here, nevertheless; these beat-up cars keep on driving. F8 has grossed over $1.2 billion worldwide, making it the thirtieth film to gross over $1 billion, the second highest-grossing film of 2017 and the eleventh highest-grossing film of all time. The film grossed $532 million worldwide during its worldwide opening weekend, setting the record for the highest-grossing worldwide opening of all time, ahead of Star Wars: The Force Awakens ($529 million).
Taking on the director’s chair this time around is director F. Gary Gray (Straight Outta Compton). Your traditional speed cast returns consisting of Vin Diesel, Dwayne Johnson, Jason Statham, Michelle Rodriguez, Tyrese Gibson, Ludacris, Nathalie Emmanuel and Kurt Russell. Actors Charlize Theron, Helen Mirren and Scott Eastwood also join the ride. The plot goes along the lines of this: When a mysterious woman seduces Dom (Diesel) into the world of terrorism and a betrayal of those closest to him, the crew face trials that will test them as never before. Cue, cheeky dialogue, fast cars, submarines and lots of explosions. When Dom and his crew take the cars on ice, you know that you’re in for a real treat. F8 is pure action escapism, so sit back and enjoy the ride.
The Fate of the Furious is rated PG-13 (Parents Strongly Cautioned). For prolonged sequences of violence and destruction, suggestive content, and language.
Guardians of the Galaxy Vol. 2 is nothing more than lively popcorn entertainment. Director James Gunn (Guardians of the Galaxy) returns his band of space misfits to the big screen, in a colorful and explosive sequel.
Quill’s (a charismatic Chris Pratt) Awesome Mixtape #2 is just as good as it’s predecessor’s tunes that fueled the theaters back in 2014. Vol. 2 displays a packed plot with dazzling visuals that will leave viewers anxious for more. Gunn’s sequel is almost as fun as his triumph in 2014, as we continue to follow our heroes on another space-operatic adventure through the cosmos. Gunn keeps the plot rolling with sharp dialogue and cheeky humor. New beats include "Mr. Blue Sky" by Electric Light Orchestra, "Fox on the Run" by Sweet, "Lake Shore Drive" by Aliotta Haynes Jeremiah, "The Chain" Fleetwood Mac and "Brandy (You're a Fine Girl)" by Looking Glass.
Continuing to expand the Marvel Universe, Quill is accompanied by his friends consisting of Gamora (a fierce Zoe Saldana), Drax (a wild Dave Bautista), Rocket (voiced by Bradley Cooper) and the adorable Baby Groot (voiced by Vin Diesel). Baby Groot's innocence and goofy sense of nature will steal your heart. Trying not to dwell into spoiler territory, the Guardians advance their journey through the cosmos as they discover the mystery of Quill’s true parentage. A.K.A. the bombastic Kurt Russell as Ego. That’s all I’ll say. Cast members that also shine in the sequel include Michael Rooker, Karen Gillan, Pom Klementieff and Sylvester Stallone. Vol. 2 might not be as fresh as Vol. 1, nevertheless; its thrills and visuals are more than enough to keep audiences entertained for now.
I got to experience Vo. 2 at one of the coolest Drive-In movie theaters I've ever been to. 49'er Drive-in Theatre was named one of the Top Ten Drive-Ins in USA TODAY.
Guardians of the Galaxy Vol. 2 is rated PG-13 (Parents Strongly Cautioned). For sequences of sci-fi action and violence, language, and brief suggestive content.
The Circle is one of the most disappointing movies of 2017.
This lackluster film hit the theaters a few weeks back and while it assembles an impressive cast (Emma Watson, Tom Hanks, John Boyega, Karen Gillan and Ellar Coltrane), nevertheless; The Circle is not able to overcome its half-hearted themes. We follow a woman (Watson) who lands a dream job at a powerful tech company called the Circle, only to uncover a nefarious agenda that will affect the lives of her friends, family and that of humanity. The film floats an intriguing premise, but lands it with a gigantic thud. Actor’s Hanks and Watson failed to overcome director James Ponsoldt’s (The Spectacular Now) botched direction. This so-called technology thriller ends up being a sloppy mess with ham-fisted finishing touches. The future is scary, but The Circle is not…
The Circle is rated PG-13 (Parents Strongly Cautioned). For a sexual situation, brief strong language and some thematic elements including drug use.
Get Out is a social critique that's laced with racial tension and packaged in a horror/comedy duo. It’s the best film of 2017 thus far.
I know that I’m late to the party, but Get Out is a thought-provoking thrill ride seamlessly weaved through the mastermind of Jordan Peele (Key & Peele). Peele’s directorial debut could go into the books as one of the most successful first tries ever achieved on film. Get Out will have your heart pumping with your hands on the edge of your seat from the first frame until the last. Spiraling around the story of a young African-American man (the terrific Daniel Kaluuya) who visits his Caucasian girlfriend’s (a wonderful Allison Williams) mysterious family estate. Peele unleashes racial paranoia in an effective horror/comedy mash-up.
Get Out not only parallels real world events, but also captures the fears of what real black men and women face every single day. In my opinion, Peele’s first film receives all 5 stars for its sheer brilliance in writing, acting and directing. Get Out’s scarefest will surely leave viewers shaken and stirred. A searing satire that's scary enough on its own terms. In a twist, Get Out finds its tension in black people's fear of white people's fear of black people. Furthermore, I’ll let you enjoy the rest of this madness on your own.
Get Out is rated R (Restricted). For violence, bloody images, and language including sexual references.
Kong: Skull Island is eye candy grandeur, filled with the nostalgia of the ‘70s and classic rock 'n' roll hits.
You’ve seen this all before, but Kong continues to show us why he’s still “king of the jungle.” In Kong: Skull Island, we get a fast-paced story fueled with more monster mythos. Director Jordan Vogt-Roberts’ (The Kings of Summer) newest incantation of the mighty ape never lives up to the original classic. Yet again, this version of Kong never tries to. Vogt-Roberts pumps the story full of homage to past war films like Apocalypse Now and Full Metal Jacket.
Backed by the film's anti-war message, cheeky dialogue and a soundtrack to die for, you’re in for an adventure. Kong's rockin’ tracklist consists of songs like: "We Gotta Get Out of This Place", "Time Has Come Today", "White Rabbit", "Long Cool Woman In a Black Dress", "Down On the Street", "Paranoid", "Bad Moon Rising" and “Run Through the Jungle.” Vogt-Roberts also grabs a stellar cast consisting of Tom Hiddleston, Samuel L. Jackson, John Goodman, Brie Larson and John C. Reilly. Kong: Skull Island is an action-packed fest full of brainless fun. Brewed with vivid portraits of the Vietnam era, this Kong packs in a punch and delivers a blow.
Kong: Skull Island is rated PG-13 (Parents Strongly Cautioned). For intense sequences of sci-fi violence and action, and for brief strong language.
Let the magic begin! Beauty and the Beast has stormed to theaters with a force of heart, nostalgia and new faces. Your invitation awaits here, while we return back to the castle as familiar guests.
You’ve seen this all before, nevertheless; a “Tale As Old As Time” continues its legacy as the magical gem it has come to know and be. Like clockwork, Disney continues their effort to remake all of their original animated classics into live-action features. Over the years, there have been highs (Cinderella and The Jungle Book) and there have been lows (Alice in Wonderland and Maleficent) with the remakes. Luckily, director Bill Condon (Dreamgirls and Mr. Holmes) retelling of the tale comes out as a high. Condon doesn’t overdo it with the CGI here and instead focuses more on the musical score and character development in this newest adaption.
The little ones will be widely entertained for the full 129 minutes, as will the adults. Now, of course, the live-action remake will never succeed the heights of the original animated classic that soared to theaters over 25 years ago. Back in 1991, the animated version broke a record with begin the first and only animated film to receive a Best Picture nomination. The film also won two Oscars for Best Music, Original Song and Best Music, Original Score. Likewise, 2017’s live-action remake has broken five box office records over its opening weekend. This includes: top domestic opening of all time for a film rated PG, No. 7 launch of all time for any movie, biggest debut of all time for a female-fueled film, biggest domestic bow in almost a year and biggest opening for this genre of Disney live-action remakes.
Condon’s film has already taken in $750 million worldwide and is currently eyeing the billion-dollar club. But enough talk about records, let’s shift our focus to the music and performances. No doubt, that the musical score transcribed wonderfully over and I am pleased to say that all of the performances done by the cast (live and voice) did an outstanding job. While Emma Watson’s Belle is no Paige O'Hara, fear not; Watson continued to show us her fierceness and the range of her singing chops. Dan Stevens (former Downtown Abbey star) does a fantastic job fitting into the beast’s shoes. I saw a lot of “Matthew Crawley” mannerisms expressed in Stevens' emotions throughout.
Josh Gad plays a quirky/gleeful LeFou (no controversy here), while Luke Evans steals the show as the egotistical Gaston. Evans’ version of Gaston was spot on and his acclaimed performance stole the spotlight for me in almost every frame. Lastly, the voice cast (Ewan McGregor, Ian McKellen, Emma Thompson, Audra McDonald and Stanley Tucci) filled in the rest of the cracks for the film. Their voices were flawless as the cursed furniture wooing Belle with “Best Our Guest” and many more delightful songs.
The visuals will stun you, as will the costume design full of piazza and wonder. Beauty and the Beast may fault on familiarity, but it’s one that offers a faithful retelling to the beloved source of material. The enchanting cast with beautifully crafted songs are a glitter to one’s eye. Song likes “Belle", "Gaston", "Be Our Guest", "How Does a Moment Last Forever", and "Evermore" will steal your heart to the very last beat. In the end, Beauty and the Beast’s re-invitation has been well received.
Beauty and the Beast is rated PG (Parental Guidance). For some action, violence, peril, and frightening images.
At Last, we have finally reached Hugh Jackman’s final outing as the claw-shredding hero. In Logan, we get that final goodbye helmed through blood, sweat and tears.
Jackman returns in a final outing as a beaten and bruised Logan wondering the deep south in 2029. This near future dystopian gives us a glimpse in the mutant barren world, as we follow Logan (the never better Jackman) and Professor Charles Xavier (the mesmerizing sir Patrick Stewart). Logan’s claws don’t work like they use to and his healing powers are getting slower by the minute. While, Charles has grown older and wearier in his telepathic abilities.
Charles is also suffering from Alzheimer's disease, which is making his telepathy ever more dangerous. Make no mistake, Logan will tear through your heart and bring tears to your eyes as we see our beloved heroes pain be revealed on screen. Earning every right of a hard 'R' rating, Logan is a bloody, brutal and bleak depiction of life. Director James Mangold (3:10 to Yuma and The Wolverine) returns for the third chapter in The Wolverine series, delivering a grand superhero experience that redefines the genre.
Loosely inspired by the Old Man Logan comics, Mangold’s movie feels more like a superior western film, filled at the center with heart and soul. As we continue in isolation, Logan is drinking his days away in a hideout on a remote stretch of the Mexican border, picking up petty cash as a driver for hire. His companions in exile are the outcast Caliban (a fantastic Stephen Merchant) and an ailing Charles. But Logan's legacy abruptly ends when a mysterious woman appears with an urgent request--that Logan shepherd an extraordinary young girl (newcomer Dafne Keen) to safety. The plot then sets the time-worn warrior on a path toward fulfilling his destiny.
As many ups and downs that the X-Men franchise has been through in the last 17 years, Logan marks as a franchise high for the series. It’s the most real, raw and brutal force superhero film you’ll seen on the big screen. The dialogue is crisp and the action is razor sharp. Emotions running deep through your veins, director Mangold’s film plays like a road-western high running off into the sunset. Hugh Jackman came, saw and conquered the man with claws right down to the very last frame. Sadly, like every hero realizes their time is short and all have an end. In Logan, we get just that and a fulfilling conclusion to the Wolverine.
Logan is rated R (Restricted). For strong brutal violence and language throughout, and for brief nudity.
John Wick: Chapter 2 continues the series winning streak of more gut-punching fun.
Full of thrilling non-stop action and grand choreographed fight scenes, John Wick: Chapter 2 comes to the theaters with a bang! Director Chad Stahelski (John Wick) returns to the director’s chair for another explosive outing. Alongside him is actor Keanu Reeves who plays Wick and has never been better. Legendary hitman Wick (the fantastic Reeves) is forced back out of retirement by a former associate, Santino D'Antonio (Riccardo Scamarcio), plotting to seize control of an underground international assassins' guild. Bound by a blood oath to help him, John travels to Rome to square off with some of the world’s deadliest killers. John Wick: Chapter 2 does what any action sequel should, double down on the escapism and fuel it with stylized violence. In the end, Wick is here to stay and will have every action junkie out there applauding by the very last frame.
John Wick: Chapter 2 is rated R (Restricted). for strong violence throughout, some language and brief nudity.
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