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French actress Brigitte Bardot has passed at 91. This world famous star came into popularity after her film And God Created Woman in 1956. She made dozens of films and was top star in France and beyond. Perhaps her best, Jean-Luc Godard's Contempt, is a classic film on cinema. One of her most entertaining films paired her with Jeanne Moreau in Viva Maria by Louis Malle. Her career encompassed singing, modeling, and animal rights activism. She lives on as a pop culture icon of the sexual revolution.

Two rarely seen Christmas shows are my gift to you.

I give you the sixties' animated Mr. Magoo's A Christmas Carol which had Magoo play Scrooge complete with musical score and songs. It is a rarely seen gem and a fond remembrance from my childhood. 

If you are a fan of The Twilight Zone, hopefully you were pleasantly surprised and captivated (as I was) by the episode, Night of the Meek featuring Art Carney as a department store Santa. It's a beautiful story from Rod Serling.

I wish all my family and friends a Merry Christmas and Happy Holidays.

The Pleasures of STRANGER THINGS

 

I have to confess not ever watching Stranger Things on Netflix. My bad. But since it is winding down its last season (a final episode has sold very well in theatrical release) and one of its stars (Finn Wolfhard) is hosting SNL in January, I figure now is a good time to begin watching. Just finished the first season. Wow. With its Spielberg/Abrams/King vibes, it is simply a very well executed series with a great cast. Thank you Duffer Brothers. I am already into season two!

Devious Thrills of THE HOUSEMAID

Based on the bestseller by Freida McFadden, The Housemaid is a highly effective, psychological thriller that should satisfy fans of the genre especially with its twists and turns.

Millie (Sydney Sweeney) is hired by Nina (Amanda Seyfried) as a live-in housemaid for her well-to-do family which includes her wealthy, handsome husband, Andrew, and their daughter, Cece. All seems blissful until she notices erratic and troubling behavior from Nina which escalates alarmingly and threatens to not only expose Millie’s hidden past but endanger her well-being and sanity. However, this is just the beginning of a horrible truth that pushes Millie to her absolute breaking point.  

The story begins with a standard setup but leads to unfamiliar territory. Besides a sense of dysfunction in Nina’s family, there is an amusing contrast between Millie and the wealthy, female neighbors who take turns gossiping about Nina’s past.  There are clues hinting that something is amiss and a slow build to something ominous and foreboding. The film makes use of expectations and cleverly misdirects the audience with some surprises (Hitchcock would approve) that cleverly utilize familiar cinematic tropes especially near the end.  To say more would spoil a smart, harrowing tale with a well-constructed narrative that morphs into a stunning reveal.  There are aspects to the plot that center on female empowerment and echo Promising Young Woman for good reason. (A couple scenes are graphic and push towards the fringe of horror.)

With strong performances from both Sweeney (who excels here) and Seyfried, and assured direction from director Paul Feig (Bridesmaids, Arrested Development) who demonstrates his versatility outside the comedy genre, this is a film that delivers the goods with shocking turns and a satisfying ending that ties up loose ends.  A welcome, satisfying diversion. 

**** of ***** stars

 

The Finale of WELCOME TO DERRY

Welcome to Derry concluded its 8 episode run on HBO with a grand finale that ties plot threads and links with future sequels and the films It and It Chapter Two. Though not perfect, this ambitious bookend set in 1962 shows the power of Pennywise on Derry and beyond with devastating results. The young kids stick together for their friend and with the adults, try to stop the murderous monster. Though the military subplot doesnt quite work, the focus on the classmates does. There is a surprise appearance during a crucial moment and a nice link to the films at the very end. This isn't everyone's cup of tea to be sure, and there are graphic moments, but for fans, it was a pretty good, fascinating expansion of the Pennywise mythology and the Stephen King Universe. (Just the first episode alone does not follow expectations, and you will never ever think of The Music Man the same way again.) With the enormous success of this series, expect two more prequels that go back to 1935 and 1908.

Life and Death as HAMNET

 

Director Chloé Zhao proves that Nomadland was no fluke with Hamnet, a moving historical-based drama, impeccably acted and one of the best films of the year.

During the English Renaissance, Will (Paul Mescal) and Agnes (Jesse Buckley) fall in love and marry.  As they raise a family, Will is endeavoring to be a playwright instead of tutoring and spends his evenings slaving over his writings amid self-doubt. When the plague ravages the countryside, it strikes at the heart of their family and changes their lives forever.  As Will struggles to find meaning and remembrance through his work, Agnes must find her way through grief and loss. When Will’s play Hamlet is performed in public for the first time, how will the masses react, and more importantly, how will Agnes respond? Both Will and Agnes look to his latest work for solace and inspiration.    

Although not necessarily an actual history of William Shakespeare’s personal life, this fictional story surmises his early years with his wife, and it postulates how Hamlet, one of the greatest works of literature was borne out of tragedy.  Once you get past the British accents, the story comes to life with the family relationships convincingly established early on which lends empathy to their subsequent pain and suffering.    

Zhao not only directed with conviction and feeling, but co-edited and co-wrote the screenplay from its novel.  The cinematography is impressive from its panoramic tracking shots to more intimate hand held views that convey emotion.  This is an inhabited, totally believable world of old England as depicted through period sets and costumes. 

Undoubtedly, this intimate film belongs to Buckley’s outstanding acting, and she is strongly supported by Mescal.  (This would make a great double bill with the similarly themed Shakespeare in Love.)  Expect Oscar nominations all around.

***** of ***** stars

Son of a Legend Was Himself a Legend

 

Actor/Writer/Director Rob Reiner has passed at 78. Son of legendary actor/writer/director Carl Reiner, he carved a brilliant career as actor in the classic, groundbreaking TV series All in the Family for which he won two Emmy Awards.  As a writer and director, he began an astonishing run in the 1980s and 1990s with such popular and critically acclaimed films as This Is Spinal Tap, The Sure Thing, Stand by Me, The Princess Bride, When Harry Met Sally, Misery, A Few Good Men, and The American President. He continued to act in TV and films as recently as The Bear.

Emotional Sendoff for WICKED: FOR GOOD

From its stage production adapted to Wicked and its followup, Wicked: For Good brings the ambitious musical full circle and provides a reasonably satisfying conclusion to a grand production. 

Branded a villain and threat to the city of Oz by the treacherous Madame (Michelle Yeoh) and not so powerful Wizard (Jeff Goldblum), Elphaba (Cynthis Erivo) is labeled The Wicked Witch while a guilt ridden Glinda (Ariana Grande) is groomed as The Good Witch to lift the people’s spirits. With an exodus of shunned animals, Elphaba is desperate to confront the Wizard to save her friends and find true love.  Glinda is torn between fulfilling her duties and her sisterly bond with Elphaba.  Can both find their own happiness amid dark times?

The film is an emotional journey that works when it centers upon the core relationship of Elphaba and Glinda.  The pervasive theme is one of unrequited love, and the story also depicts the origins of iconic elements like the Yellow Brick Road and the Munchkins.  While this magical tale merges its revisionist take with the more familiar narrative of the original Wizard of Oz, it is telling how the story, despite having the advantage of expanded, back to back films, skirts over details involving Elphaba’s fate and the evolution of major characters like the Tin Man, the Cowardly Lion, and especially the Scarecrow.    

Lavishly produced with gorgeous sets and costumes, the film, despite its darker tone, has its redeeming moments as the dynamic duo of Erivo and Grande sparkle with their acting and glorious singing while Goldblum is splendid leading the supporting cast.  Despite any shortcoming, this is still an entertaining journey; it’s a narrative where secrets are revealed at the end with some that must remain that way.

 **** of ***** stars (for hardcore fans)

 

Third Time’s the Charm in NOW YOU SEE ME: NOW YOU DON’T

The slight-of-hand team is back in Now You See Me: Now you Don’t, a pleasing return to form of the previous two films. (Think Mission Impossible using magic.)

After ten years, The Four Horsemen, key members of The Eye, use their powers of illusion and misdirect to punish criminal entities and evildoers around the world.  At the same time a formidable trio of talented magicians and con artists want to make their mark. When a wealthy, corporate head, Veronika Vanderberg (Rosamund Pike) plans to dominate the diamond market and strengthen her ties to the underworld, the two teams are brought together and learn to combine their unique talents.  However, Vanderberg is powerful and vengeful, and the team risks not only going to jail but their lives as well.   

In a story that spans locations from the French countryside to Antwerpen to Abu Dhabi, the adventure keeps things on a brisk pace.  The plot is convoluted and a bit contrived, but these films work due to the chemistry of the cast (including Jesse Eisenberg, Woody Harrelson, Isla Fisher, and Dave Franco) and the visually impressive, set pieces of magic. In fact magic is the teams’ superpower. The team up between old and new magicians feels earned never forced or awkward. There are some surprises and fans will appreciate a couple of call backs and key characters returning.  There are moments especially in a magician’s chateaux that feels like National Treasure. 

Just don’t think too hard about the logic of all the plot points, and you will have a good, entertaining time.  This film achieves exactly what it sets out to accomplish, and if it seems like the cast is having fun, get set for another sequel in the future!

***1/2 of ***** stars