Heartfelt Change in Toy Story 4

 Just when you thought Toy Story 3 was the perfect conclusion to the saga of Woody and Buzz Lightyear, comes Toy Story 4, a feel-good, touching journey that takes the toy mythology to another level.  This G-rated, animated adventure will make you make you laugh and cry, all wrapped in love.

In a flashback, the toys experience separation and loss over the years as they are moved from Andy to Bonnie, who ‘makes’ a new toy, Forky, who subsequently runs away.  As Woody (Tom Hanks), Buzz (Tim Allen), and the other toys band together to rescue Forky, their pursuit leads to a carnival and an antique store, where a group of mysterious toys awaits. Old faces appear, and new relationships are forged as the toys’ world is upended.   

The film encompasses important themes of acceptance and having a purpose and the need to belong to a child. The aspects of loyalty and self-sacrifice loom heavily, and what has always been the hallmark of these films is the redemption of characters when all seems lost. 

Woody leads the narrative with strong support by Bo Peep (Annie Potts) and Buzz, who listens to his ‘inner voice’ recordings.  Comedians Key and Peele (yup Jordan Peele) as plushy, wisecracking animals and Keanu Reeves as a motorcycle daredevil, Duke Caboom, are a riot.

The computer animation is remarkable and renders characters and backgrounds in brilliant detail. Sharp eyed viewers may catch Easter Eggs from other Pixar films, and the voice credits may surprise you too.

There are wild, exciting scenes, funny gags, and engaging pathos as the film builds to an emotional climax, and a new dynamic emerges that promises new, exciting adventures. Toy Story 5, anyone? (Stay through the end credits for bonus fun.)

**** of **** stars

Romantic Longings In YESTERDAY

A fanciful, ‘what if’ tale that is a kinder, gentler Twilight Zone, Yesterday is a valentine to dreamers and fans waxing nostalgic for The Beatles.  As directed by Danny Boyle (Slumdog Millionaire, 127 Hours) from a screenplay by Richard Curtis (Four Weddings and a Funeral, Love Actually), it’s an entertaining fantasy with some amusing moments.

Struggling musician/songwriter Jack Malik (Himesh Patel in an endearing performance) is ready to give up on his singing career when fate intervenes, and he awakens to a world where no one has ever heard of the Beatles.  When he sings their songs, the public responds until he becomes a global phenomenon. As fame and fortune reach fever pitch and strains his relationship with his lifelong friend and manager, Ellie (Lily James), Jack makes a life altering choice.

The film is an excuse to cover a treasure trove of Fab Four classics, and to hear these songs anew is to rediscover their charm and magic. It’s also about the creative spirit and the price of stardom, and as with most of Curtis’ best work, they are about the special relationship between a man and a woman.  There are subplot wrinkles along the way including a momentous meeting that shakes up the narrative, and the Google search engine is used to great, comedic effect.  Strong support is provided by Kate McKinnon as a ruthless music manager, Ed Sheeran as himself, and Joel Fry as a lovable roadie.  

Despite its fascinating premise that is not quite fully developed, it represents a growing genre of films where alternate realities are possible.  It’s a feel good experience with a winning cast and an endearing romance.  Time to pull out those Beatles albums!

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

ROCKETMAN and the Search for Love

Told in a stream of consciousness format, Rocketman takes off as a personal biography of rock music legend, Elton John, and showcases a rich, transformative performance by Taron Egerton (Kingsman:The Secret Service). Director Dexter Fletcher (who finished Bohemian Rhapsody,) has an eye for recreating pop icons, and this film presents John’s life as not only a musical fantasy, but one grounded in a gritty reality with its unflinching portrait of his sexuality and personal demons.

Flashing back and forth from his lonely childhood to key moments in his life, Reginald Dwight demonstrates an ear for music and playing the piano. Renaming himself Elton John, he exploits his musical acumen during a chance meeting with songwriter Bernie Taupin (Jamie Bell), and so  begins a remarkable run of hit songs (and increasingly flamboyant stage presence) and worldwide fame. Yet plagued by distant parents and questioning his sexual identity, he yearns for real love and sinks further into a life of excess and addiction to alcohol, drugs, and destructive relationships. At a crossroads in his life, his search for his authentic self begins a long road to recovery and triumph.   

It’s fascinating to experience so many of John’s catalogue of classic songs, which anchor the narrative, brought to the screen imaginatively. Egerton actually sings these himself, and it works beautifully; it’s an Oscar worthy performance. Special mention should go to Richard Madden and Bryce Dallas Howard in effective, supporting roles.

While it has a more fanciful approach than a standard drama, it compares favorably to Bohemian Rhapsody particularly in the end where it culminates with powerful, emotional heft. It leaves you wanting a bit more and compelled to go out and listen to all those tunes again.

***1/2 of **** stars (add ½* for Elton John fans)

Doris Day and the Golden Age of Hollywood

 
Multitalented Singer actress Doris Day passed away after just turning 97. She represented the heart of Hollywood's Golden Age.
A very popular singer who recorded more than 650 songs starting with Sentimental Journey, she quickly became a movie star who proved adept in dramas, thrillers, romantic comedies, and musicals from the 1940s through 1960s including Love Me or Leave Me, Calamity Jane, The Man Who Knew Too Much, Pillow Talk, and dozens more. She later found TV series success in the 1970s which featured her signature Oscar winning song, Que Sera Sera.

She was paired numerous times with Gordon McRae, Rock Hudson or James Garner, and played opposite some of the greatest leading men of all time like Cary Grant, Clark Gable, James Cagney, and Jimmy Stewart. She was for several years the number one box office star in the early 1960s.
An animal rights activist, her wholesome appeal as the girl next door with the slow burn when ruffled, served her well with her adoring fans.
She was the epitome of a movie star beloved by millions.

AVENGERS: ENDGAME is Marvel’s Emotional Pinnacle

Led by producer Kevin Feige (who needs to be considered for the Thalberg Award), directors Joe and Anthony Russo, and writers Christopher Markus and Stephen McFeely, Avengers: Endgame, is an epic, emotional adventure and direct followup to Avengers: Infinity War that ties major storylines from 21 previous films in the Marvel Cinematic Universe. 

 

Following the cataclysmic events triggered by Thanos (Josh Brolin) and six Infinity Stones which decimate humanity, the surviving Avengers including Iron Man (Robert Downey Jr.) and Captain America (Chris Evans) are coping with grief and post-trauma as they try to find a way to reverse the tragic events and bring back loved ones against unbelievable odds and unplanned obstacles.

The structure of the film places our heroes in situations that reshuffle past narratives across the universe and the passage of time. To say anymore would risk spoiling the experience of an intricately plotted and realized story. (Think Lord of the Rings and Back to the Future films.)  Just when you think you know where the plot is going and who will survive, there are surprises and new threats. The film focuses on the importance of family and sacrifice, a recurring theme, and amid bleak circumstances, there are moments of humor and compassion. 

Despite a deliberately slower paced beginning and a couple of unresolved subplots and characters, it’s an ambitious, three hour extravaganza with an incredible, grand finale that brings closure (and tears of joy and sadness) for several story arcs involving dozens of beloved characters that will reward and resonate with fans who have seen some or all of the earlier Marvel films.  There are also amazing cameos (Stan Lee appears) and callbacks galore and no post credit scenes for this ending chapter in Marvel. 

**** of **** stars for Marvel fans

Breezy Charm in SHAZAM!

A cross between Big and Superman, Shazam! is a fun loving superhero tale that is a refreshing take (from former horror director David F. Sandberg) on a comic book hero from DC Comics.

Set in 1974 and fast forwarding to the present, a powerful wizard seeks a human worthy of assuming superpowers against the Seven Deadly Sins who are desperate to wreak havoc. After growing up shuttled among foster homes, 14 year old Billy Batson has spent his life searching for his real mom.  His journey leads him to a foster home, where he learns the meaning of a real family. When he is transformed into a costumed, adult alter ego, Shazam (Zachary Levi well cast), he must learn to control his super powers and do battle with a deadly foe. It’s the ultimate battle between good versus evil. 

The film never takes itself too seriously compared to earlier, dark DC Comic films and makes for a great origin story with a bit of Harry Potter vibe. It has heart with its themes of belonging and the importance of having a loving, supportive family. It’s about Billy discovering his own truths and learning about the responsibilities of his newfound superpowers and what makes a hero. The film succeeds in focusing on the effects of abuse and trauma on children as well as depicting bullying and peer pressure in school. 

Though the climactic battle goes on a bit too long, the film never ceases to entertain as it balances the action with very funny moments especially when Shazam tests the limits of his extraordinary abilities. There are a couple of neat, surprise twists toward the end and DC Universe Easter eggs sprinkled throughout as well as two post-credit scenes.    

*** ½ of **** stars

The Reflexive World of US

Us is Jordan Peele’s followup to his Oscar winning social horror gem, Get Out, that uses a broader canvas and a more ambitious concept to feature terrific ensemble performances particularly Lupita Nyong’o.

Flashing back and forth from 1986, a young Adelaide (Nyong’o) wanders into a mysterious, carnival funhouse and witnesses a life changing vision that will haunt her.  Now married, and a mother of a teenage daughter and younger son, she and her husband (Winston Duke) take a family trip to the beach that triggers traumatic memories for her. When Adelaide’s family comes face to face with ominous doppelgangers one night, an evening of unimaginable terror follows.  

Nyong’o is excellent in a demanding, dual role, quite a contrast of personas. Told primarily from her point of view, it’s a deeply personal, frightening journey to the unknown even as her protective, maternal instincts kick in.

The film establishes the deadly threat early and compels the family to find an inner strength and resourcefulness to survive.  There are surprises and twists that will keep you wondering where the convoluted plot will go. It’s a film filled with homages to classics like The Birds, Invasion of the Body Snatchers, and The Sixth Sense, and even moments of dark humor.  Music is employed effectively as Peele plants clues and details in his devious mosaic that includes nightmarish images and instances of recurring motifs that may not be coincidences. 

There are open-ended questions like ‘Where do these people come from?’ and ‘Why are they here?’, but Peele, who wrote and directed, sustains the mounting tension from beginning to memorable end. The film will leave viewers with a lingering uneasiness, testament to Peele’s abilities to realize a classic Twilight Zone theme.

***1/2* of **** stars (add ½ star for Jordan Peele fans)

The Empowerment of CAPTAIN MARVEL

The latest Marvel comic to make the big screen, Captain Marvel, is an entertaining sci-fi adventure and origin story for perhaps the most powerful hero in the universe.

A female warrior, Carol Danvers (Brie Larson), trains with the alien Kree race as they are at war with the Skrulls, shape shifting aliens who supposedly infiltrate other worlds.  Plagued by memories of another life, Danvers begins a journey of self-discovery that involves an unplanned visit to earth and meeting young Nick Fury (Samuel L. Jackson de-aged) of S.H.I.E.L.D. (before The Avengers came into being). As Danvers is caught between Kree and Skrulls, secrets are revealed, loyalties tested, and a new superhero emerges.

The film starts a bit lackluster, but once Jackson (pre-eyepatch) enters the frame, the energy level rises leading to a rousing finale where the pieces come together. Larson, well cast, shows fearless moxie and a sense of humor, and she plays well off Jackson.  The solid supporting cast includes Annette Bening, Jude Law, and Ben Mendelsohn, and there is an adorable, special ‘cat’ named Goose.

Indie directors/writers Anna Boden and Ryan Fleck maintain their focus on Danvers’ rebellious nature and her relationships with her female bestie and with a male buddy (Fury). There is nary a male love interest which is remarkably refreshing as female characters feature prominently.

The film introduces a worthy superhero who figures in the future of Marvel films.  Is it as good as Wonder Woman? No, but it has a lot going for it and serves as a nice bridge or appetizer to the main course, Avengers: Endgame. There are Easter eggs and familiar, Marvel characters e.g. Agent Coulson (Clark Gregg), and there’s a sweet cameo by the late Stan Lee and a couple of key post credit scenes.

***1/2 of **** stars (for Marvel fans and Goose the cat)

A Giant Among Giants

André Previn passed away at 89. With a career comparable to Leonard Bernstein, he was a composer and conductor of jazz, showtunes, and classical music. He won 10 Grammy Awards and 4 Oscars. He was knighted by Queen Elizabeth II and his soundtracks and orchestrations included My Fair Lady, Gigi, Irma La Douce, and many other films. A giant among giants indeed.

Stanley Donen Is 'in Heaven'

Director Stanley Donen passed away at 94, and he was one of the last giants of Golden Age Hollywood. He started in MGM musicals and co-directed with Gene Kelly On the Town (Innovative for shooting partly on location) and Singin' in the Rain, perhaps the greatest musical ever. He branched off to make the wonderful musicals like Seven Brides for Seven Brothers, Damn Yankees, and Funny Face. Remember the animated /live action scene between Kelly and Tom and Jerry in Anchors Aweigh? Yup, that supposedly was Donen's idea. He did several movies with a rising dancer/choreographer named Bob Fosse.  He expanded in other genres to great success with Charade, possibly the greatest of Hitchcock inspired thrillers, Two for the Road, a non linear romance, and many more. One of his last films was a terrific homage to old films, Movie Movie with George C. Scott. He was given a lifetime achievement Oscar in 1998 and celebrated by singing Cheek to Cheek and doing a tap dance. There must be a place in 'heaven' for this gifted artist.

2019 OSCAR PREDICTIONS FOR 2018 FILMS

OK, I have seen all best picture nominees and a few other titles but not all.  There are very likely surprises in a couple major categories.  Enjoy

PICTURE-Tight race-my heart says The Green Book and my mind says Roma.

ACTOR-Rami Malek really nailed it in Bohemian Rhapsody even though Christian Bale completely transformed for Vice.

ACTRESS-Olivia Colman in The Favourite is so good and Lady Gaga in A Star Is Born was phenomenal, but Glenn Close has the stars aligned in her career moment for The Wife.

SUPPORTING ACTOR-Mahershala Ali in The Green Book hands down (It could have been a lead category.).

SUPPORTING ACTRESS-Regina King in If Beale Street Could Talk has a scene that defines this award.

DIRECTOR-Alfonso Cauron for Roma, period.

ORIGINAL SCREENPLAY-The Green Book could but The Favourite was too much fun, and deserves to win.

ADAPTED SCREENPLAY-Spike Lee gets his first Oscar with BlacKkKlansman.

ANIMATED FEATURE-Spider-Man: Into the Spider-Verse knocked it out of the park.

FILM EDITING-Vice

CINEMATOGRAPHY-Roma 

PRODUCTION DESIGN-The Favourite

ORIGINAL SCORE-If Beale Street Could Talk

ORIGINAL SONG- ‘Shallow’ from A Star Is Born gives Lady Gaga and Bradley Cooper their Oscars.

SOUND EDITING-Bohemian Rhapsody                                            

SOUND MIXING-Bohemian Rhapsody                                          

COSTUME DESIGN-The Favourite

MAKEUP& HAIRSTYLING- Vice                                              

VISUAL EFFECTS-Avengers: Infinity War Marvel gets an Oscar!

FOREIGN LANGUAGE FILM-Roma again   

DOCUMENTARY FEATURE-Free Solo by a hair over RBG

Animated Short-Bao

Documentary Short-Black Sheep

Live Action Short-Marguerite

Figure that the awards will be spreading the accolades led by Roma, The Favourite, and Bohemian Rhapsody. Ironically, Avengers: Infinity War could win an Oscar despite Black Panther’s multi nominations.

Love’s Life Struggles in IF BEALE STREET COULD TALK

 Writer/director Barry Jenkins adapts If Beale Street Could Talk, based on James Baldwin’s novel, a tale of love and tragedy amid the turbulent sixties that is extremely well-acted. In some ways it is a more accomplished film than his previous Oscar winning Moonlight.  

Set in 1960s New York City, two young black lovers, Tish (KiKi Layne) and Alonzo (Stephan James) are on the brink of happiness and a life together, when a cruel turn of fate puts Alonzo in prison after Tish announces she is pregnant.  Her family closes ranks and faces a frustrating judicial system at a critical time in civil rights history.  Tish’s mom, Sharon (Regina King), tries to find justice for Alonzo and a new trial despite the cost and sacrifice.  Lives will be changed forever even as love remains.

The film conveys the often hopelessness of a black male in the 1960s and how precious lives are upended by racism.  Despite its dire overtones, it’s also a nostalgic film about hope, the strength of family, and a mother’s love. (King has a pivotal scene that is heartbreaking and poignant, the kind that Oscar loves.)   In addition to the racial disparity, the film is also a glimpse at the traditional, old fashioned roles of wives and mothers.

The film’s structure flashes back and forth between the couple’s courtship and their desperate situation.  There are beautifully captured vignettes enhanced by a haunting music score.  At times the subjective camera pulls the audience into a more intimate point of view.

It’s a commentary and a time capsule of its period, but it is foremost a love story whose memorable, haunting sights and sounds will stay with you.  (This should have been nominated for Best Picture.)

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