The Grand Lady Passes

Just a brief note to mark the passing of legendary entertainer Rose Marie whose 90 year career ended at age 94. I followed her twitter feeds which she often updated on her life events and past photos. A documentary just premiered to commemorate her showbiz life. For me she will always be Sally on The Dick Van Dyke Show in the sixties. What great memories of a grand lady who kept her hand in things to the very end

Rite of Passage in LADY BIRD

A coming of age drama and a breath of fresh air from actress turned writer/director Greta Gerwig, Lady Bird features a complete performance by Saoirse Ronan and impressive support by Laurie Metcalf.

In 2002, Christine (Ronan) is having an identity crisis preferring the name Lady Bird as a senior at a Catholic high school in Sacramento, California.  Whether auditioning for a school play, prepping for the senior prom, or scrambling to find what college to attend even as her family struggles with finances, she desperately wants to fit in and impress her peers even if it means lying. Her life is constantly at odds with her stressed out mom, Marion (Metcalf), who is consumed with responsibilities at work and home.  Romance blooms, and life takes unexpected turns as friendships and loyalties are tested.

Gerwig has a filmmaking style that belies her independent film background in which the narrative is structured as a series of moments in Christine’s life.  The dialogue is realistic (and memorable) in depicting teen angst and class disparity while peppered with genuinely funny moments. 

The core of this film is inevitably the love and hate relationship between two headstrong family members, Christine and Marion.  There are touching moments which ring true about life, a mother and daughter’s love for one another, and about Christine’s painful maturation in the real world. 

The performances are quite good; expect Oscar nominations for both women.  Ronan is building an impressive body of work at a young age while Metcalf has a golden role that she mines for every nuance.  Gerwig brings a unique voice to cinema and in Ronan, she has found a perfect surrogate to depict adolescent yearnings in a drama that rings true.  

**** of **** stars

STAR WARS: THE LAST JEDI and the Battle Between Good and Evil

Writer/Director Rian Johnson (Looper) picks up where The Force Awakens ends and takes on ambitious themes in The Last Jedi. Marking the last appearance of Carrie Fisher as Leia, it is an emotional adventure with big surprises.

As the First Order, led by the supreme ruler Snoke with his apprentice, Kylo Ren (Adam Driver), pursues and annihilates the Resistance, Poe (Oscar Isaac) leads a desperate attempt to save the rebels and General Leia Organa (Fisher). Finn (John Boyega) goes on an impromptu mission with an ally, Rose (Kelly Marie Tran). Meanwhile Rey (Daisy Ridley) wants Jedi master, Luke Skywalker (Mark Hamill), who is the last hope of the rebellion, to teach her the ways of the force; what is the force, and how can it be wielded?  It’s a fascinating study in good and evil leading to a game changing climax.

This is a beautifully realized, diverse universe populated by lovable little animals called Porgs. The story alternates among Finn, Rey, and Poe who all have substantially more character development, but Hamill’s Luke dominates in every scene he appears. (In the year of Wonder Woman, Rey, Leia, and Rose stand out as strong, female heroes.)  The robot, BB-8, really shines here, and other familiar faces make welcome appearances.

The screenplay is peppered with funny lines, and while subtly referencing (including musical riffs) from the early trilogy, there are revealing plot twists that reinvigorate traditional storylines.  Production values and visual effects (including a great lightsaber battle) are top notch with John Williams back in the saddle with an energetic score. 

The film slows down a bit midway and picks up momentum for a grand finale in its 2 ½ hour running time. The Star Wars franchise has been energized in new ways by a talented director and a poignant performance by Fisher who goes out on a fine note. It is a fitting tribute that leaves this trilogy with enormous possibilities for the final film.

 **** of ****

Fanciful Tale of THE MAN WHO INVENTED CHRISTMAS

Part fact and part conjecture, The Man Who Created Christmas (from the book by Les Standiford) is a fascinating, amusing imagining of the creation of one of the all time literary classics, A Christmas Carol and features winning performances and spirit that Charles Dickens would approve.  

In 1843 in London, Charles Dickens (Dan Stevens), the world famous author of Oliver Twist, is at a career crossroads with his family financially strapped.  Plagued by writer’s block and constant interruptions, he is under pressure to deliver a Christmas story that he is making up based on familiar faces and locales.  When he creates his main character, Scrooge, (wonderfully personified by rascally Christopher Plummer), his characters comes to life in his mind, and at times it is hard to separate the fiction from reality!  As his past and present life intersect, Dickens needs a brilliant ending to his story as the Christmas season arrives.

This is about Dickens’ creative process which sometimes comes at the expense of his family and even his own sanity.  The centerpiece of the film centers on Dickens and the battle of wills with his Scrooge, who becomes an inspiration and tormentor at the same time.  The filmmakers (directed by Bharat Nalluri) convincingly recreate 19^th century London, and through flashbacks, we see Dickens’ traumatic childhood memories (marked by his absent father) that also inspired his writings.  

Of course we know how the story turns out, but the fun is how he gets there.  Fans of the Christmas mythology and holiday literary classic no doubt will enjoy this magical journey.

***  of **** stars (add ½* for Yuletide fans)

THREE BILLBOARDS OUTSIDE EBBING, MISSOURI and Its Human Soul

One of the best acted dramas in recent memory, Three Billboards Outside Ebbing, Missouri, is a showcase for Frances McDormand and a strong cast guided by director/screenwriter Martin McDonagh. It’s a thoughtful study in human behavior with ordinary people under extreme circumstances. 

A hard-nosed woman, Mildred (McDormand), buys three billboards at the edge of town to announce the inability of the local law enforcement chief to solve the long, unsolved rape and murder of her daughter.  Incensed by this public shaming, the chief, Willoughby (Woody Harrelson), engages in a war of wills with the determined mother.  As these adversaries must contend with events beyond their control, relationships are forever altered.  

McDormand bares it all emotionally eschewing makeup in favor of an unglamorous appearance. Her Mildred is totally convincing in her stubborn convictions because, as much as townspeople may oppose her, no one can possibly know her pain. Harrelson is quite good as the fatalistic chief whose legacy has a profound effect on others.  The scenes between the two of them are a treat to watch, but the surprise is Sam Rockwell in an Oscar worthy performance as Dixon, the antagonistic officer with issues of his own.

It’s an affecting story about complex characters with their own personal struggles and demons in a world where kindness and reconciliation emerge from the unlikeliest of places.  This is a film where the story takes a backseat to the acting; the plot may not be neatly resolved as in real life, but the performances are so engaging that it won’t matter.  A good film may have one or two great scenes; this one has many, and as great as McDormand is, Rockwell is a revelation. 

**** of **** stars

The Good Natured Soul Passes Away

Jim Nabors passed away at 87 and with him go fond memories of his show Gomer Pyle USMC which ran for five glorious seasons and always in the top ratings even to the last show! Amazing. As a family we would watch Sgt. Carter (Frank Sutton) berate Gomer (Nabors) on a weekly basis only to find Gomer would win the day through his sheer good natured soul. Who can forget his sayings, "Shazam", "Gollly", "Thank you thank you thank you"? Obviously influenced by the film hit No Time for Sergeants with Andy Griffith, It was Griffith's own hit show on CBS show that spawned the character of Gomer. A variety show followed briefly and Nabors was able to display his remarkable singing power which belied his mild southern voice. Good memories.

The Heart of WONDER

Stephen Chbosky directed and co-adapted the novel, Wonder, and, abetted by a strong cast, has fashioned a simple tale of love and acceptance that displays an abundance of heart and optimism.  It is a feel good movie that never betrays its emotions for manipulative sentiment but rather from well-drawn characters and situations.

A young boy, Auggie (Jacob Tremblay is wonderful in a challenging role), with a facial deformity, has been home schooled until he attends middle school amid fears of being treated differently and shunned.  Supported by his loving parents and older sister, Via (Izabela Vidovic), he frequently wears an astronaut’s helmet to avoid being seen in public.  At times, he fantasizes a safe place where friends like Star Wars’ Chewbacca welcome him with open arms. When he is befriended by a fellow classmate, his world begins to change.

What’s special is how the film isn’t just about Auggie but also those around him especially Via (who feels neglected and at a crossroads in her life) and explores their back stories, and this makes these characters richer and more believable as you feel their empathy and guilt. Julia Roberts and Owen Wilson make ideal parents; Julia is the core of this family and Owen complements her with some well-placed humor. The rest of the cast is quite good with special mention to Mandy Patinkin as a caring principal.

 

Wonder is about fragile individuals and how they support each other in hope of finding a ‘family’.  Although it’s no secret how the storyline will go, the film earns its emotional stripes, and no doubt tears will flow freely by the end and justifiably so. This is the kind of film that engenders enormous goodwill much like The Blind Side and Hidden Figures, and it’s just the sort of film that Oscar likes to nominate.

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

JUSTICE LEAGUE Sets the Table

DC Comics’ Justice League, a direct sequel to Batman vs Superman: Dawn of Justice, reverse engineers what Marvel has successfully done in its methodical building of a superhero film universe. The result is a generally satisfying adventure while serving as three mini-origin stories wrapped into one film with a lean running time of two hours.   

As the world mourns the death of Superman (Henry Cavill) amid an emboldened criminal threat, a powerful demonic being, Steppenwolf, reemerges vowing revenge on humanity. As Batman (Ben Affleck) and Wonder Woman (Gal Gadot) find themselves overmatched by the evil warrior’s army, they must recruit a team of superhumans which includes a youthful Flash, a hip Aquaman, and a cynical Cyborg. But can the team win without Superman?

There are some exciting scenes when the team is assembled with each hero well represented, and they have some nice interplay and contrast, and work together in battle.  Gadot continues to impress; Wonder Woman fans will be satisfied by her prominent role.  Ezra Miller makes an endearing Flash here (even when compared to TV’s The Flash). The rest of the cast lends good support including Amy Adams, J. K. Simmons, and Jeremy Irons. 

Director Zack Snyder (who did not complete filming) continues to show an eye for action and visuals, but he still desperately needs to balance his serious tone with more humor particularly with a team of heroes as Marvel has mastered in The Avengers. That film’s writer/director, Joss Whedon, contributes his touch here in a couple of scenes, and a few more such moments would have helped.  Another issue is the villain is nothing unique with CGI that seems to overwhelm the action.

Better than Dawn of Justice but not as good as Wonder Woman, hopefully it’s the start of something special for DC Comics, and one can hope for additional members to the Justice League in the future. Green Lantern, anyone?

*** of **** stars

THOR: RAGNAROK – The End and Beginning

With a wink to the audience and a hearty laugh, Thor: Ragnarok is a welcome departure from the serious, dark tones of the first two films. Director Taika Waititi was given a chance to bring something different to the Marvel superhero; he has delivered big time.

Thor (Chris Hemsworth) returns to Asgard and finds his half-brother, Loki (Tom Hiddleston), masquerading as Odin (Anthony Hopkins), which triggers the emergence of powerful Hela (Cate Blanchett), the Goddess of Death.  Both brothers are sent far away to another world, where Thor is imprisoned by a female Valkyrie (Tessa Thompson excels) for the Grandmaster (Jeff Goldblum hams it up) and his arena battles, where he bumps into an old friend, The Hulk aka Dr. Banner (Mark Ruffalo). Realizing he must assemble a team to defeat Hela, Thor has his work cut out for him as Ragnarok, the end of Asgard, looms.

This is essentially a mega family squabble, and there are game changing events that affect virtually every major character since the first installment.  The film is better when it focuses on individual relationships and less so on grand spectacle.  There are elements of The Hunger Games and even The Lord of the Rings, and the visual effects, while good, are occasionally over the top. 

The cast is uniformly solid with Blanchett having a ball as the baddie and Hemsworth, Hiddleston, and Ruffalo trading quips effortlessly while Idris Elba returns in a more significant role as Heimdall. There are Easter eggs, a couple amusing cameos including a certain mystical master, and two end credit scenes that point to bigger conflicts in the future.

The film does have its serious moments of action, but the key is its lighthearted tone (not unlike Guardians of the Galaxy) and some very funny moments. It’s definitely more tongue in cheek than Marvel normally allows, and that’s a welcome thing.

***1/2 of **** (for Marvel fans)

A Sense of Humor for Halloween Weekend

Since there are likely parties and get togethers going on this weekend in anticipation of Halloween. I have selected a few horror films that have a sense of humor and camp about them. I could have easily picked serious, dark classics or other comedic films, but these have a warm spot for me, and each stands on its own. Beetlejuice, An American Werewolf in London, Zombieland, and The Bride of Frankenstein.

BLADE RUNNER 2049 and Memories of Green

1982’s  Blade Runner with Ridley Scott at the helm and Harrison Ford fresh off Star Wars and Indiana Jones, was an imaginative vision of the future (based on Philip Dick’s novel) that grew in stature over the years to become a sci-fi classic. With a compelling screenplay, director Denis Villeneuve (Arrival) has accomplished the feat of building on the original’s storyline and cleverly expanding it in Blade Runner 2049.

In 2049 Los Angeles, Officer K (Ryan Gosling) is a blade runner who hunts renegade replicants for termination and discovers a buried mystery and clues that lead to a revelation with immense ramifications.  K’s search for the truth leads to the past including Deckard (Ford), a former blade runner, and a mysterious figure named Wallace (Jared Leto) who has taken over the remnants of the Tyrell Corporation, the creators of the replicants.

The filmmakers pay homage to the look and feel of the original film (and a score that honors original composer Vangelis) by vividly recreating a dark, dystopian world of overpopulated, grimy streets and saturated commercialism.  By no means a perfect film with its occasional plot holes, you get swept up by its beautiful, stunning images courtesy of cinematographer Roger Deakins.  Its narrative raises questions about reality versus implanted memories, and what it means to be human. 

Gosling and Ford are quite good and supported by a strong cast including Robin Wright and Sylvia Hoeks. There is also a virtual holographic companion named Joi well played by Ana de Armas (not unlike the artificial intelligence in Her) whose scenes with K have an emotional connection.

Dovetailing nicely with its predecessor, and at 163 minutes with its methodical, deliberate pacing, the film is always engaging, finding new wrinkles to surprise you.  For fans of this genre, it is an achievement of filmmaking that demands a big screen and is destined for Oscar recognition.

**** of **** (for sci-fi fans)

BATTLE OF THE SEXES and a Moment of Change

Battle of the Sexes recounts the fascinating, true story of two vastly different tennis stars whose lives intersect at a pivotal moment in the 1970s.  I remember watching and experiencing the hoopla and circus atmosphere surrounding this symbolic tennis match during a period of great social change with the women’s rights movement.

Billie Jean King (Emma Stone) is the reigning champion of women’s tennis who wants respect for females in a male dominated world. She fights for equal pay for female players which results in a boycott and a separate, competing tournament.  Happily married, she falls into a relationship with a female hairstylist.  At the same time, former men’s tennis star Bobby Riggs (Steve Carell), a hustler at heart, struggles with a failing marriage and, desperate for fame and fortune to feed his gambling addiction, hits on the idea to challenge the top woman’s tennis star in a match. First taking on champion Margaret Court, both he and King are on a collision course that culminates in a globally televised event.

The film does good job building to an emotional, poignant ending. Stone is marvelous as the tennis superstar on a personal journey who discovers another side of herself and risks her marriage and career. Carell embodies the physical appearance and of the narcissistic, chauvinist Riggs. They are supported by a solid cast led by Sarah Silverman, Alan Cumming, and Bill Pullman.

A defining moment brought to life by a strong cast, revealing script (Simon Beaufoy), and sensitive direction by Jonathan Dayton and Valerie Faris (Little Miss Sunshine), it’s a refreshingly entertaining film that should please Stone fans.

*** of **** stars (add ½* for Emma Stone fans)

Pushing Daisies- Tenth Anniversery of a Marvelous Show

Just wanted to commemorate the ten year anniversery of a short lived TV show, Pushing Daisies, which defied conventional broadcast television for two abbreviated, but brilliant seasons with its quirky characters and mysteries enhanced by imaginative set designs, atmospheric music, and snappy dialogue. It was equal parts fantasy, comedy and drama filled with unusual subplots and musical sequences but always surrounded by love. It was a show I looked forward to indulge each week. Created from the fertile mind of Brian Fuller (Hannibal, Star Trek Discovery, American Gods and much more), it was a gem we don't see too often in the landscape of television. It was on not nearly long enough, but I am grateful it existed at all. Ten years seems like a long time ago.

King of the Gameshows

Gameshow host Monty Hall passed away at 96 years of age, and with him go memories of a supremely talented host who ruled his timeslot with Let's Make a Deal during the heyday of gameshows in the 1960s and beyond. With his assistant, the "Lovely Carol Merrill", he would offer a choice of potential prizes to his wildly and imaginatively dressed contestants. Often it would be to select from three sources, whether it be door #1, #2, or #3 or the box on the stage or a small box in his hand. One would be a fantastic prize, and one would be a bust. Even in the last seconds of the show, he would grab anyone in the studio audience and make a quick offer -for example he offered $100 to anyone with a hard boiled egg, and once in awhile someone would have such an item! It was a thrilling, exciting show buoyed by Hall's acumen and showmanship. Somewhere, he is wheeling and dealing with co-hosts Bill Cullen (Price Is Right), Gene Rayburn (Match Game), Allen Ludden (Password), and several other beloved personalities.

2017 Fall TV Season of Plenty

Well the fall tv season is now back in full force for better or worse. A blessing and a curse-so many shows to stay on top of.
Star Trek Discovery on CBS was a teaser for its all access pay service. It opened a bit slowly but picked up steam to a solid cliffhanger. Sonequa Martin-Green is quite good as the first officer and Michelle Yeoh brings it strong as a starship captain. It's a promising start.
Meanwhile, Big Bang Theory is an immensely popular sitcom of nerds learning to grow up, and this season opener answered Sheldon's surprise marriage proposal to Amy and delivered a surprise for Howard and Bernadette. In fact, this was a very good episode with a couple of laugh out loud moments.
Now on to Brooklyn 99, The Blacklist, and more....my poor dvr.