I haven’t seen Cyrano for many years…and had totally forgotten just how wonderful a story it is. And this production of it, with Kevin Kline (Last Vegas) as the titular man with the nose, is transcendent. His control of the language and the emotion is gripping.
And then there is the rest of the cast. While Jennifer Garner (Wonder Park), as Roxanne, eventually finds her feet in this play, she’s nothing particularly wonderful. On the other hand, Chris Sarandon (Fright Night) is more than up to the task of playing Kline’s nemesis, as is Daniel Sunjata (Manifest) for playing his handsome but dim-witted rival.
Filmed stage plays aren’t always successful. They often feel too distanced or too forced. But director Matthew Diamond guided the play and preserved the performance wonderfully. And the staging and set are clever, functional, and flexible. In other words, it is a feast for all the senses and aspects of theatre love.
Make time for this when you can. Honestly, it is so much better than you likely remember, in large part due to the fabulous Anthony Burgess translation, but also for the sheer romance and comedy of it all, no matter how dark some of it may get.
A rumination on the nature of love, life, and family against the beautiful backdrop of Sintra, Portugal. In many ways, Frankie is After the Wedding’s less overwrought cousin. There are several common themes and dynamics, though the stories are driven by different stakes and pressures.
Isabelle Huppert (Greta) is the lynchpin at the center of a blended family that spans multiple marriages. Her sense of entitlement as well as her own sense of self keeps bumping up against her recognition of the realities of that complexity, but all in very quiet and introspective ways. There are few histrionics despite the tensions between people and the situation in which they are mired. It is all about the reactions and silences, which director and co-writer Ira Sachs (Love is Strange) orchestrates with great confidence.
This isn’t a fast movie, but it is gripping in a very quiet way. And, ultimately, it brings together its point and moments in a wonderful bit of visual metaphor that is simply presented for us to absorb and enjoy. Frankie is about life and legacy and the meaning and complications of love. It is certainly bittersweet, but manages to avoid being maudlin or at all self-righteous. It’s simply a view and point of view of a collection of lives bound by blood and circumstance. And, like Sachs other works, emotionally hypnotic through to the end.
Romcoms never quite go out of style, though only a few retain their well-intentioned joy as years go by. Only You is somewhat on the cusp of losing its mandate due to cultural shifts. However Norman Jewison’s (Moonstruck) light romance, echoing Roman Holiday, had one aspect really going for its longevity: it’s cast.
Long before they were to match up (non-romantically) in Spider-Man, Marisa Tomei and Robert Downey Jr. got tangled up in this light comedy. And while Downey certainly has some fun and commands the screen, Tomei is the one to watch here. She is as luminescent as Audrey Hepburn, with the same vulnerability and strength. She takes the weakest of lines and moments and turns them into something magnetic, keeping the story rolling along despite any of outlandish choices Diane Drake’s (What Women Want) script forces her to make.
This isn’t a brilliant film. And, as I mentioned, it’s showing its ages at the seams. However, it is a reasonable distraction just to see Tomei work the screen and glow as she does. So if you’re in the mood for a light romance and to see a couple of stars in their younger days, turn this one on and let it wash over you. Just don’t expect too much or think too hard.
Yes, it’s a manipulative and predictable Romeo and Juliet riff, with cystic fibrosis as the wall between them, but it is executed relatively well if you’re in the mood for it.
Haley Lu Richardson (The Edge of Seventeen) and Cole Sprouse (Riverdale, but more amusingly Grace Under Fire) are an inevitable couple, far too sharp witted and special for their own good. But, of course, we root for them as they discover what’s really important in life.
My biggest gripe, outside of a few saccharine moments, is that the one gay character, Moises Arias (Ender’s Game), is there for comic relief and to serve other cheap purposes in the script. He did well with the role, but his existence felt forced. While I get that this was a standard love story with a twist, it’s a shame they had to make the story so patently non-inclusive.
This is the first feature for director Justin Baldoni (better known as an actor in shows such as Jane the Virgin), as well as a first script for Mikki Daughtry and Tobias Iaconis. As a first attempt, this is fairly polished and tight tale. It isn’t groundbreaking, but it is pleasantly distracting for a night of light romance with a bit of medical issues. It will be interesting to see what lessons all involved take into their next projects.
I know what you’re thinking: It’s damned early in the year for a Christmas movie. And too bloody right you are. However, I am a sucker for a well-done romance. Fortunately, Last Christmas delivers more to the romance with a slightly cynical/amused eye to the holiday. A solid script, co-written by Emma Thompson (Late Night), and direction by Paul Feig (A Simple Favor) give it a leg up with sharp English wit and intelligence amid the holiday sweetness.
As a solid date night film, with just enough brains and bittersweet in it to keep it from collapsing under its own weight in sugar, this is a fun outing. And I say that even if it is way too early to be starting the themed stories this year. Though, admittedly, it may well have gotten lost in the crush of tentpoles if they’d waited. Take someone you care about and enjoy being played like the proverbial piano in a way that will leave you warm, happy, and high on life.
Yesterday delivers one of the best films of the summer so far. It embraces the kind of sweet magic that Mamma Mia delivered (if not its sequel), but with a more adult and wry edge. It is funny, romantic, honest, and not a little subversive in its way, offered up with care and love by two of the best story tellers out there behind the camera: director Danny Boyle (Trainspotting 2) and writer Richard Curtis (About Time).
Boyle (Trainspotting 2) is one of the most diverse directors out there, often slipping between genre without missing a step (Sunshine aside). And with Curtis (About Time) laying the trail, the two take us on a journey that is both nostalgic, current, and toe-tappingly hypnotic.
Himesh Patel, basically an unknown in the US though a constant on Eastenders for 11 years, carries this story solidly. Opposite him, Lily James (Mama Mia! Here We Go Again) is the sweet embodiment of missed chances. There are a slew of other players, too many to mention, but Joel Fry (Requiem) and Kate McKinnon (Leap!) are among them. And watch for several credited and uncredited appearances throughout the film, most notably one by Robert Carlyle (Trainspotting 2).
As a side note, I have to say that McKinnon surprised me. While talented, she usually goes way to far with her comedy, destroying reality for the laugh. Boyle kept her very restrained, making it one of her best and most believable performances…edgy and out there, but within the bounds of the story till near the end.
This is must see film for the summer for anyone who enjoys music, comedy, and romance… and it’s the cure for CGI and action-laden madness that crowds the screen through the hot months. That kind of film can certainly be fun, but Yesterday proves it isn’t the only reason to catch a film on the big screen. And, for all its silly fantasy and sweet romance, there is a point to Yesterday. It starts to crystallize near the end, with a hint in the credits if you miss it. Honestly, it turns the whole idea on its head and gives you one last smile as you leave the theater. But even if that slips by, the journey and the resolution are worth your time. Don’t miss this one.
Happy Death Day was one of the better surprises of last year’s horror offerings. It was full of humor and scares and tackled the Groundhog Day trope with verve. Did we need a follow-up? Probably not, but this one actually managed to build on the original and keep up the entertainment. And, while they force an explanation onto all the craziness of both the first and current film, Christopher Landon managed just enough hand-waving goodness in his writing and directing to let you accept it and move on.
From a character point of view, even more than the first film, this is Jessica Rothe’s (Please Stand By) movie. She doesn’t start the story this time, but she completely takes it over and drowns out all other characters. So much so that the others really don’t matter in the end. This is her journey and resolution. And while they’ve left the door open for a third through a mid-credits tag, my hope is that it was a final joke rather than a heralding of a third film. This vein, fun as it is, is tapped.
Basically, if you liked the first set of loops, you’ll like this set. They are substantially the same stories, but each with a different focus and driver to keep them separate and fresh. And they are both loaded with silly fun tempered with just enough reality to make it work. Definitely a popcorn evening to share with someone of like humor.
It may not have the polish and flow of Crazy Rich Asians, but it has the sentiment and a wonderful sense of reality amid the hijinx. Randall Park (Ant-Man and the Wasp) and Ali Wong (Ralph Breaks the Internet) paired up on the script and on the screen with a slightly outlandish, but sweet tale of destined love.
At the helm, director Nahnatchka Khan makes the jump to the large-ish screen well. But, despite the range of years and geography, it still feels more like a TV movie than big-screen fare. That doesn’t make it bad, it’s just a reaction to the sense of it. For that reason, Netflix was a perfect release vehicle. It is entertaining and flows well, but would have probably had a very limited release in theaters, and likely a small audience. Netflix gave it a wider audience who may never have found it otherwise, and it did so out of the gate.
This is definitely worth your time, especially for an evening to cuddle up with someone you care about. Everyone will find something in there they’ll recognize in their relationships and actions.
I wanted to like this more than I did. It is funny and distracting, but, for me, the humor was just a little too stretched at times. Over and over again, just as I would invest and believe, the characters would fall into broad slapstick and lose credibility. That doesn’t mean it wasn’t funny, or even poignant at times, but it lacked consistency and an over-all believability.
Taraji P. Henson (Ralph Breaks the Internet) gives a fine comedic and emotional performance, backed by Aldis Hodge (Jack Reacher: Never Go Back), Josh Brener (The Front Runner), Max Greenfield (Hello, My Name is Doris). And with ultimately throw-away performances by Jason Jones and Kellan Lutz (The Expendables 3), there are a lot of avenues to travel. However, despite the female empowerment message, and even plotting, you’ll notice that the cast is dominated by men rather than women. There are female characters, Erykah Badu in particular, but it is the men that stand-out around here. Some of that is the focus of the story…it is the men’s heads she’s focused on…but it’s far from a woman’s movie (like Sex and the City or even Mama Mia!); it is more a comedy for women than about them.
Director Adam Shankman (Hairspray) is no stranger to outlandish comedy. This movie, however, slips in and out of that sensibility rather than holding onto an approach. The effect is like being whipsawed on a roller-coaster as the transitions are abrupt from scene to scene rather than eased into and out of, generally. I had fun, but this isn’t a new classic comedy, or even one I’d likely go back to watch again, because it just isn’t that smoothly done. Once the jokes are delivered and the message complete, there isn’t much left there to return to. See it once and laugh with someone, but then you can confidently forget it and move on to the next empty comedy.
Remember when films were ephemeral events…before it was all stored and streamable from the cloud? How exciting is it that we’re still in an era where movies can be rediscovered after vanishing from screens for decades. Thanks to The Palm Springs Noir Fesitival one of these, The Scarlet Hour, was presented with a pristine new print supplied by Paramount. And what a treat.
Noir is definitely a matter of taste. The style is delightfully (or painfully) arch and the character types are amusing or insulting, depending on your point of view. But when lines like, “If I were dead, you couldn’t take me to the morgue,” get bandied about, I lean more toward the amused entertainment side of interpretation.
But this isn’t just about femme fatales, malleable good guys, and mustache twirling bad guys, not to mention just simply bad choices, it is about moral indignation and escapism. And, when done well or with the right cast, a rewatchable classic.
But it is Elaine Stritch (Just Shoot Me), in her film debut, that steals this movie utterly. She is the most believable and displays the trademark wit and timing that would distinguish her career for the next 60 years.
The movie knows what it is…even going so far as to have a copy of White Christmas in a bargain box at a record store in one scene. It doesn’t apologize for the heightened emotions and choices. It gobbles down the genre while still providing some nice variations and unexpected moments. It probably helped that Frank Tashlin adapted his own novel for the script, with the help of John Meredyth Lucas and Alford Van Ronkel. The final moments are all very much in question as the story unspools. It isn’t entirely satisfying, but it is certainly genre-acceptable.
There are many reasons to see this flick if you get the chance. The actors, the director, the silly fun of it all. But it is also a piece of history and a lens into time and style. And Curtiz distills a lot of it nicely and with a bit of a knowing wink.