The Euphoria of IN THE HEIGHTS

 

The long gestating film adaption of the Tony Award winning musical, In the Heights, finally arrives as composer Lin-Manuel Miranda’s precursor to his Hamilton makes a colorful splash with its music and visuals resulting in a dazzling experience.

Washington Heights, a largely Hispanic neighborhood in New York undergoes big changes as businesses and residents depart. Usnavi (Anthony Ramos), a shopkeeper with dreams of building a successful business abroad, has a crush on beautiful Vanessa (Melissa Barrera), who yearns for a career in fashion design. Meanwhile, Usnavi’s buddy, Benny (Corey Hawkins), loves Nina (Leslie Grace), whose desire to attend college is jeopardized despite the sacrifices of her loving father (Jimmy Smits). These relationships get tested as the city experiences a lengthy power blackout, and interconnected lives come to a crossroads with an uncertain yet hopeful future for their beloved community.

A talented cast of newcomers adds to the authenticity of the film which unfolds like a fable, introducing main characters through song and the rhythm of an infectious soundtrack (embracing a variety of styles including rap); the songs are as essential to the storyline as dialogue (and occasional subtitles).  

The film is at its best when it conveys a sense of belonging and the importance of family. Full of good natured exuberance and spirit with its messages of daring to dream and aspiring for a better future, there is a reverence for tradition and memories of the past while facing the realities of life.

The energetic pacing and rapid editing work in tandem with imaginative choreography and dazzling camerawork.  Freed from its stage origins and directed as a gorgeous cinematic experience by Jon M. Chu, this is a must for fans of musicals, one of the best in recent years.

**** of **** stars

Setting Things Right in BLACK WIDOW

 

Finally, the last original Avenger gets a standalone film in Black Widow, an exciting Marvel adventure that reveals Natasha Romanoff’s history between the events of Captain America: Civil War and Avengers: Infinity War.

A fugitive from The Sokovia Accords, Natasha (Scarlett Johansson shines) flees to Europe to find her ‘sister’, Yelena Belova (Florence Pugh steals the film), as they both share a traumatic childhood as part of the Black Widow program training lethal, female assassins in the ‘Red Room’.  Determined to end the deadly project means reconnecting with her past including her surrogate parents (Rachel Weisz and David Harbour, who hams it up in grand fashion). As Natasha gets closer to the truth, loyalties are tested, and secrets are revealed as a dark figure emerges from her past with an insidious plan that threatens her family and the world.

This is Natasha’s story as it flashes back and forth in time and how she found two families, one in Russia and The Avengers. The actors sell the relationships; credit goes to the excellent casting especially Pugh’s character who gets good lines and comebacks (and who has a future in the Marvel Cinematic Universe). There is also a mysterious Marvel villain, Taskmaster, who makes a formidable adversary with a devastating secret.

The themes (making amends, the concept of family, and female subjugation and empowerment) drive a sometimes emotional narrative that is punctuated with plot twists and borderline, over-the-top action, though the hand to hand fighting à la Bourne series works well.

It’s good to see a Marvel film after an extended shutdown, and make no mistake, this film needs to be seen on a big screen. It’s worth the wait. The post credit scene ties into a future Marvel series.

***1/2 of **** stars (for Natasha fans)

William Smith the Tough Guy

 

Actor William Smith passed at 88. This tough guy started as a child actor in films and had a long career in TV and movies mostly playing the bad guy. He hit his stride in the 1970s when he played the heavy Falconetti in the epic miniseries Rich Man Poor Man. He was a favorite of director John Milius playing the father in Conan the Barbarian and as the Russian hunter in Red Dawn. Perhaps one of his best roles was as a rival street fighter in Any Which Way you Can. His climactic showdown with Clint Eastwood is one of the great cinematic fights ever.

Director Donner Was Force in Popular Entertainment

Director Richard Donner has passed at 91. His was a stellar career that embraced the best shows in the 1960s including The Man from UNCLE and The Twilight Zone's classic Nightmare at 20,000 Feet episode. He broke into film with a major horror hit,The Omen, and followup with several popular films including The Goonies, Scrooged, and the critically acclaimed Inside Moves. He gave us Superman in 1978 which was a significant success and spurred superhero films to this day (He co-produced the first X Men film too.) He is also known for his four Lethal Weapon films that were huge successes. He was actually prepping the last sequel too. What a remarkable career.

100 Years of ASC

 The (ASC) American Society of Cinematographers celebrates 100 years of their craft with their top 100 lensed films of all time. Here are the top ten.

1. Lawrence of Arabia (1962) – Freddie Young

2. Blade Runner (1982) – Jordan Cronenweth

3. Apocalypse Now (1979) – Vittorio Storaro 

4. Citizen Kane(1941) – Gregg Toland

5. The Godfather (1972) – Gordon Willis

6. Raging Bull (1980) – Michael Chapman

7. The Conformist (1970) – Vittorio Storaro

8. Days of Heaven (1978) – Néstor Almendros

9. 2001: A Space Odyssey (1968) – Geoffrey Unsworth

10. The French Connection (1971) Owen Roizman 

Great Dads in Film

For Father's Day, some great movie dads that through a lot of adversity, were foremost strong fathers whether George Bailey in It's a Wonderful Life, Atticus Finch in To Kill a Mockingbird, Vito Corleone in The Godfather, Ted Kramer in Kramer vs Kramer, or Bryan Mills in Taken.

Remembering D Day on Film

 

In the waning hours of the anniversary of D Day, if you have not seen any of these great films set around the events of the Normandy invasion and beyond, please do. One of history's most significant moments given authentic screen treatment. The Longest Day (1962) was the first epic scale recreation of the event with dozens of stars. The Big Red One (1980) was Sam Fuller's intimate, realistic memoir of war. Saving Private Ryan (1998) was Steven Spielberg's ode to his dad's generation complete with the unflinching violence of battle.

The Thrills of A QUIET PLACE PART II

 

Director/writer John Krasinski follows up his horror hit A Quiet Place with Part II continuing his sure handed mastery of thrills and chills. It is a spare, basic premise that is executed flawlessly and is ideal summer fare.

A flashback shows the beginning of the invasion by horrific monsters attracted to sound as the Abbotts led by father (John Krasinski) and mother (Emily Blunt) flee the chaos. Back to the present, the mother and her children are forced to leave their home and meet a weary survivor (Cillian Murphy).  The Abbott’s deaf daughter (Millicent Simmonds excels in an expanded role) displays smarts and resourcefulness beyond her years as she tries to save her family, and when she bravely ventures out on a hunch, it sets off a sequence of events that may prove deadly.

The film cleverly branches into three narratives which triples the nonstop suspense as Krasinski maximizes the angst in each scene. The film wisely adds the opening sequence to show how the aliens appeared, and there are eerie sights of abandoned cars on a bridge, shoes and pocketbooks at an empty train station, and shredded rail cars.  There are last minute heroics and rescues, but there are also moments of emotion and loss. We care very much for these people which heightens the fear factor, and what really enhances the film is that key characters undergo a transformation with the story’s arc.

The film is edited for maximum impact and effectively uses sound and silence. It’s well-conceived and a more than worthy sequel that easily leaves open for a follow-up. The real life husband-wife team of Krasinski and Blunt are gold. See this in a theater.

**** of **** stars (for fans of Blunt and horror)

Eastwood and Memorial Day

Clint Eastwood has a creative link to some of the best war films. His Dirty Harry sequel, Magnum Force, was written by John Milius and Michael Cimino. A few years later, the Vietnam War was realized in grand fashion with Milius co-writing Apocalypse Now and Cimino directing and co-writing The Deer Hunter.  Eastwood would later direct war films like Heartbreak Ridge, Flags of Our Fathers, and culminating in American Sniper, each film depicting a different conflict. This Memorial Day commemorates all those who died for this country. Honor them.

The Enchanted Cottage

 I happen to catch an old black and white film The Enchanted Cottage on TCM with Robert Young and Dorothy McGuire. It's a lovely romantic fable that has elements of Somewhere in Time and other modern films. If you love simple, magical tales of hope and love, this might be worth a viewing. A special film. I won't say more.

An Offbeat Career

Actor and author Charles Grodin passed at 86. This star of stage and screen had a dry sense of humor and often played memorable, offbeat characters. He shined in the original The Heartbreak Kid and lent comedic support in Heaven Can Wait and Dave, and he starred in one of the best buddy films with Robert DeNiro, Midnight Run. He starred in various TV shows and other films like The Lonely Guy and The Beethoven films. He was also a regular talk show guest. Did you know he turned down The Graduate? He also played opposite Miss Piggy in the hilarious The Great Muppet Caper. Not bad at all.

 

93rd Oscars During Pandemic

The 93rd Oscars happened and although it sorely missed the grandness of a packed auditorium, it made up for it with a technically proficient ceremony in an altered format. It was still a suspenseful, emotional show and had a few surprises. 

Nomadland took its lion's share with Best Picture, Director, and, in a tight race, Actress for Frances McDormand who became a three time lead winner only behind Kate Hepburn with four. Most key nominees were present. In a switch, Best Actor and Actress were announced after Best Picture. Anthony Hopkins, who had last minute momentum from the British Academy Awards for The Father, stunned expected posthumous favorite Chadwick Boseman. 

There were no musical numbers or elaborate film clips, and the one terrible moment was a live "guess if the song was an Oscar winner, nominee or not". (This year's nominated songs were sung in total in a pre-Oscar show. Smart move.) Still the show ran 3 1/2 hours with acceptance speeches allowed full grace. The telecast was really amazing to pull off all things considered. Here's hoping next year returns to normal, pomp and circumstance.