‘Frozen II’ Only Makes Sense If You’re From Arendelle

December 30, 2019

jmunney Cinema, Movie Reviews , , , , , , , , , , , , , , , , , 1 Comment

CREDIT: Disney

In Frozen II, Elsa hears a mysterious voice calling out to her from the forest. There’s some gee-gaw mystical explanation by the end about what that’s all about, but its ultimate purpose seems to be making her realize that she ought to be living on her own out in the forest. It’s hard not to read queer subtext into that, if you’re at all open to the possibility that there could be queer subtext in an animated Disney movie. So that’s how that goes, and meanwhile, there’s plenty more going on elsewhere, as Elsa and Anna stumble across some soldiers who have been fighting each other for decades while also trying to understand the important messages their parents have left for them. Plus, Kristoff attempts to propose to Anna while she keeps misinterpreting him in maddeningly over-the-top fashion, Olaf keeps telling us that water remembers, when ALL OF A SUDDEN, I’m so overwhelmed that I’m now doing a Phil Donahue impression (or at least an impression of Darrell Hammond’s Donahue impression). Arendelle is a busy place. Sometimes it’s exhausting.

I give Frozen II One Million Voices out of a Million and a Half Water Memories.

Entertainment To-Do List: Week of 12/27/19

December 27, 2019

jmunney Cinema, Entertainment To-Do List, Television , , , Leave a comment

CREDIT: YouTube Screenshot

Every week, I list all the upcoming (or recently released) movies, TV shows, albums, podcasts, etc. that I believe are worth checking out.

Happy New Year! It’s time to get caught up on everything from 2019 that you haven’t had a chance to check out yet!

Movies
–Little Women (Theatrically Nationwide)

TV
–The Twilight Zone Marathon (New Year’s Eve and New Year’s Day on SyFy)
–Doctor Who Season 12 Premiere (January 1 on BBC America)

‘1917’s’ Gimmick is a Technical Feat, But It Gets in the Way of Some Potential Storytelling Resonance

December 23, 2019

jmunney Cinema, Movie Reviews , , , , , , , , 4 Comments

CREDIT: Universal Pictures and DreamWorks Pictures

Starring: George MacKay, Dean-Charles Chapman, Colin Firth, Mark Strong, Andrew Scott, Benedict Cumberbatch, Richard Madden

Director: Sam Mendes

Running Time: 119 Minutes

Rating: R for Explosives and Gunfire Flying Through the Air

Release Date: December 25, 2019 (Limited)/Expands January 10, 2020

The World War I men-on-a-mission-to-stop-a-mission film 1917 is one of those flicks, like Birdman or Alfred Hitchcock’s Rope, that is shot and edited in such a way as to make it appear like one long continuous take. It also has a race-against-the-clock premise, as British Lance Corporals Blake (Dean-Charles Chapman) and Schofield (George MacKay) are sent to deliver a message to another British battalion to call off an attack and thus prevent them from walking into a German trap. Chapman and MacKay display the right sort of nervous energy for a seemingly impossible, deadly task, but honestly, I wish there had been more bells and whistles on their journey. Specifically, it would have been a big help if there had been a clock in the corner of the screen letting us know how much time they had left to successfully deliver the message. That might seem out of place for a film that gets much of its power from disorientation and uncertainty, but when the premise is clear and simple, it helps to have the stakes be clear and simple as well.

Overally, 1917 is impressive and accomplished, but in a manner that often gets in the way of itself. The “almost” nature of the one-shot gimmick is not hard to suss out, as there are plenty of moments when someone turns towards a wall, or the picture becomes total darkness, and it’s clear that a cut would be very easy to do at this moment. Still, a series of several long continuous takes is tough to pull off, and the urgency that technique conveys fits with the subject matter. But … why not cut? Why not let us see the doomed battalion before they realize how doomed they are? The power of this story is in the dramatic irony of fate’s fickleness, and we get only a small portion of that by sticking on one path. Ultimately then, 1917 is a long fancy showcase to show off some filmmaking skillz instead of a fully realized narrative vision.

1917 is Recommended If You Like: The Revenant, Dunkirk, Video game cut scenes

Grade: 3 out of 5 Orders

Jeff’s Wacky SNL Review: Eddie Murphy/Lizzo

December 22, 2019

jmunney Saturday Night Live, SNL Weekly Recaps, Television , , , , , , 2 Comments

CREDIT: Rosalind O’Connor/NBC

It’s the last new Saturday Night Live of 2019, and I got a good night’s sleep and woke up refreshed to watch it recorded on my DVR. I finished writing in my dream journal while still in bed and added a very yellow banana to my cereal. I bet Eddie Murphy was also feeling refreshed, as it’s been 35 years since he last hosted (and 35+ years since he left the cast). Hopefully Lizzo was also feeling refreshed, or at least excited, as this is her first time as music guest. Incidentally, I believe that “Liz. OH!” is what you say when you realize that it’s been 35 years since Eddie Murphy last hosted.

More

‘The Rise of Skywalker’ is Frustrating and Deeply Satisfying – It’s So Great to Be Alive!

December 21, 2019

jmunney Cinema, Movie Reviews , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , Leave a comment

CREDIT: Lucasfilm

This whole review discusses plot points in detail, so … spoiler warningggggggggggg!!!

I guess J.J. Abrams isn’t the one to cure Star Wars of its reputation for clunky and/or imaginative dialogue. So many of the lines in The Rise of Skywalker are variations of “Go! Go! Go!” or “I love my friends.” Except for C-3PO. Man, that guy is golden! Does Anthony Daniels write his own dialogue? I would like to nominate 3PO for Most Consistently Charming Character in Franchise Movie History. I mean, quips like “You didn’t say my name, sir, but I’m all right” – how can one droid bless us so much?!

I liked The Rise of Skywalker more than I didn’t. But for a movie that I like (love even!), there sure are a lot of elements that drove me  batty! And some of them could have been just fine (or brilliant even) if they had been carried out a little differently. I’ll get to the big one in a bit, but first off, why is the first hour or so of this movie a hunt for a McGuffin? When characters are on the run in Star Wars, their purpose is clear and meaningful. It’s not just a hunt for a whatever device. Maybe it wouldn’t have felt so McGuffin-y if the danger weren’t dispatched so easily…

Speaking of, I’m fine with the “death” of Chewbacca turning out to be a bait and switch, but maybe give us at least five minutes to think that he might have actually died, so that it can resonate when we discover that he’s actually fine. Similarly, I think it’s perfectly okay that C-3PO’s memory wipe isn’t permanent, but let’s draw out some more mileage of the recovery of those memories. I’m sure they can easily get a tight five out of R2-D2 catching him up to speed.

Now for the big Big BIG one: I suspect that J.J. Abrams had decided that Rey was Palpatine’s granddaughter when he made The Force Awakens. But since he didn’t convey that explicitly, that left The Last Jedi free to say that her parents were nobodies. So Skywalker combines both origins, which tracks logically enough, but changes the message. Rey rejecting her Sith parentage is resonant, though it’s not as unique a message as the idea that powerful Jedi can come from anywhere. That message isn’t refuted, but it’s not underscored as much as I suspect would have been beneficial. So if JJ was married to the Palpatine-Rey connection, what if he were to instead make it a King Herod situation, wherein Palpatine senses Rey’s remarkable power and becomes dead set on hunting her down and either recruiting her or destroying her?

Hey, here’s another question I have: what did Finn need to tell Rey? My suspicion was that it was a confession of love, since he was obviously so smitten with her when they first met, and I think they’ve always been great together. But then he had possible sparks with Rose and then he has a connection with Jannah (not to mention Poe, although any romance there was only ever speculative). Meanwhile, Rey and Kylo Ben are getting ever closer to form that dyad. So maybe I misread what Finn needed to say. But whatever it was, it was clearly important to him, and it just never came up again! Why not add 30 seconds for some unburdening?

But for all those miscues, I am massively satisfied by the ending, particularly Rey declaring herself a Skywalker and the entire trilogy-wide resolution of her arc. When all those Jedi voices reach out to her, it’s transcendent. Why not have more moments like that?! But what we got is enough to leave me happy, and The Last Jedi‘s contribution of the conviction that great Jedi can come from anywhere remains intact. And the aesthetic Star Wars qualities like droids beeping and Babu Frick tinkering are as lovely as ever.

TL;DR: increase the bleep-bloops and good kind of mystical woo-doo, decrease the bad kind of mystical woo-woo.

Entertainment To-Do List: Week of 12/20/19

December 20, 2019

jmunney Cinema, Entertainment To-Do List, Television , , , , Leave a comment

CREDIT: Jeffrey Neira/Netflix

Every week, I list all the upcoming (or recently released) movies, TV shows, albums, podcasts, etc. that I believe are worth checking out.

Movies
–Star Wars: The Rise of Skywalker (Theatrically Nationwide) – The end. (For now.)

TV
–Saturday Night Live hosted by Eddie Murphy (December 21 on NBC) – Alum returns after a long absence.
–John Mulaney & the Sack Lunch Bunch (December 24 on Netflix)

‘Cats’ is a Jellicle-Only Affair

December 18, 2019

jmunney Cinema, Movie Reviews , , , , , , , , , , , 1 Comment

CREDIT: Universal Pictures

Starring: Francesca Hayward, James Corden, Judi Dench, Jason Derulo, Idris Elba, Jennifer Hudson, Ian McKellen, Taylor Swift, Rebel Wilson, Ray Winstone

Director: Tom Hooper

Running Time: 110 Minutes

Rating: PG for CGI’d Cat-People Lifting Their Legs Up Suggestively

Release Date: December 20, 2019

I admire the people who have made Cats, including all versions of the musical and this here film adaptation. The whole premise is thoroughly ridiculous, and all the little details only make it more so. So anyone who has given it their all at the Jellicle Ball has no time for the shame that such an enterprise might convey. That sort of pluck and resilience will get you far in life. It doesn’t necessarily make for good filmmaking, though. In this case, at least, it just transfers something truly baffling in one iteration into something just as baffling, in the same ways and more, in another medium.

The plot, such as it is, is immensely inconsequential, but it has something to do with new cat in town Victoria (Francesca Hayward) trying to find her place in cat society while devious cat Macavity (Idris Elba) plucks away his competition for the Jellicle Ball, which I’m pretty sure is some sort of talent show. Meanwhile, all the other cats prance about and sing their signature songs to let us know who they are. So far, so phantasmagorical. This could be appreciated as a bizarre theatrical extravaganza if the staging and choreography were decent. But director Tom Hooper has a way of shooting every scene that makes it feel like everything is so far away, even the close-ups. It confers an elusive nature that is the opposite of the extreme intimacy of high-frame rate, and thus it is difficult to connect with whatever emotional resonance the actors are able to summon. If something is going to be as unbelievable as this, it ought to also be unforgettable. Alas, Cats is just a piffle that my subconscious doesn’t even want to bother with.

Cats is Recommended If You Like: Thorough nonsense

Grade: 2 out of 5 Jellicles

Greta Gerwig’s ‘Little Women’ Demonstrates the Power of Renewed Resonance Through Reorganizing

December 17, 2019

jmunney Cinema, Movie Reviews , , , , , , , , , , , , , , 3 Comments

CREDIT: Wilson Webb/Columbia/Sony Pictures

Starring: Saoirse Ronan, Emma Watson, Florence Pugh, Eliza Scanlen, Laura Dern, Timothée Chalamet, Meryl Streep, Tracy Letts, Bob Odenkirk, James Norton, Louis Garrel, Chris Cooper

Director: Greta Gerwig

Running Time: 135 Minutes

Rating: PG for A Few Bloody Knuckles and General Adolescence

Release Date: December 25, 2019

I’m a big advocate for the value of consuming a story in whatever order you damn well please. If you get engrossed in a movie halfway through and then watch the beginning at some future point, then bully on you. If you watch the last season of a popular TV show first and then catch up on previous seasons in a random zigzagging order, that sounds fascinating. If you always skip ahead to the last paragraph of a novel and also reread your favorite chapters before you’re done the whole thing, then it sounds like you’re someone who enjoys experimenting. To all of you who fit in any of those categories, you’ve got a kindred spirit in Greta Gerwig, who plays mix-and-match with her rendition of Louisa May Alcott’s 1868 semi-autobiographical novel Little Women, one of the most beloved and oft-adapted works of American fiction.

If I were to extend my advocacy for watching something in whatever order you like to its logical end, then I could say that you could watch this Little Women in an even more chronologically mixed-up fashion than it already is. (Or you could go in the opposite direction, and I bet there is someone out there who will one day re-edit this film into a more temporally linear fashion.) But Gerwig’s chosen order of events is far from arbitrary. The opening scene and one of the final moments especially underscore the themes that she wants to bring to the surface.

There is a general air of light postmodernism to this movie, in the sense that there is a tacit understanding that the majority of the audience is already familiar with the story. Thus, Gerwig begins with scenes in which the little women are closer to, if not already, grown adults. The most iconic episodes from earlier in the March sisters’ lives do not need to be rehashed, at least not right away. Instead, Jo March (Saoirse Ronan) kicks things off by bounding into a publishing office to sell a story she’s written. It’s bought by a Mr. Dashwood (Tracy Letts), but he also tells her that if her main character is a girl, she must be married (or dead) by the end. Chances are that most viewers know that these are indeed the fates that await the March sisters, but a collective smirk is likely to form across the crowd at this moment, because we also know that the entire purpose of Little Women is that these significant lives are not just reduced to their expected conclusions.

The other essential moment comes when the far-flung temporal settings have caught up with each other, and Jo is fretting to her sisters that her completed novel, based on her own family life, is about a trivial topic and nothing important. Even though she is mightily invested in her own work, she is still subscribing to the idea that only “important” subjects are really worthy of being written about in novels. But then her youngest, always fiercely opinionated sister Amy (Florence Pugh) insists that the mere act of writing about a subject confers importance upon it. And so, because Gerwig is telling this story once again, and because it is clearly a labor of love for her, and because Emma Watson and Eliza Scanlen are there alongside her and Ronan and Pugh to round out and bring to life the March sisterhood, all of that is the reason why Little Women is important in 2019.

Little Women is Recommended If You Like: Revisiting the classics

Grade: 4 out of 5 Adaptations

‘Black Christmas,’ You Need to Get Down with Your Supernatural Self

December 17, 2019

jmunney Cinema, Movie Reviews , , , , , , , , , Leave a comment

CREDIT: Kirsty Griffin/Universal Pictures

Okay, Black Christmas 2019 Remake Version, I understand that you want to be a feminist takedown of rape culture in addition to being a bona fide slasher flick. I heard you the first 100 times, you didn’t need to tell me 100 more! I’ll allow you some leeway with your college setting, as that is a place where more people than usual will combine academic and activist language in their conversations on a regular basis. But at a certain point, you need to trust that your audience is familiar with the ideas you’re working with and get on with your own unique contribution. And honestly, when you do get around to explaining why the frat boy misogyny is a little more aggressive than usual, it’s actually interesting (it just takes too dang long to get there). There is a supernatural undercurrent that offers a terrifying vision of the insidiousness that fuels the attacks on the sorority and pairs well with Professor Cary Elwes’ devious grin.

Horror movies of the world, please take this note: don’t hide your big idea as a third-act twist when it should be the main premise.

I give Black Christmas 10 Arrows Shot Back with a Note Asking to Speed Things Up.

‘Spies in Disguise’ Preaches Weirdness, But It Could Stand to Be Weirder

December 16, 2019

jmunney Cinema, Movie Reviews , , , , , , , , , , , , Leave a comment

CREDIT: Blue Sky Studios/Twentieth Century Fox.

Starring: Will Smith, Tom Holland, Rashida Jones, Ben Mendelsohn, Reba McEntire, Rachel Brosnahan, Karen Gillan, DJ Khaled, Masi Oka

Directors: Troy Quane and Nick Bruno

Running Time: 102 Minutes

Rating: PG for A Pigeon Eating a Band-Aid, and the Like

Release Date: December 25, 2019

Spies in Disguise has two credited directors and two credited screenwriters (and a third writer with a “story by” credit), and it’s based on a 2009 short film made by someone who is none of the aforementioned writers or directors. Yet it feels like a very singular, personal vision, as though it were willed into existence by someone who really loves pigeons and wanted the world to know that they’re not just rats with wings, but rather, dignified and eminently capable creatures. The world of animated children’s films is filled with plenty of talking animals, so this isn’t out of the ordinary in that regard. But I haven’t gotten the sense that movie-going tykes have been clamoring for the pigeon niche to be filled in this genre. And yet that’s what has happened, with about as triumphant a premise as possible, as the fate of the world hinges upon what super-awesome spy Lance Sterling (Will Smith) can accomplish when he turns into a pigeon.

If there are any pigeon aficionados out there, you will certainly be pleased by how lovingly they’re treated in this film. For everyone else, you’ll probably be floored by how out of time Spies in Disguise comes across. It feels like something that should have come out twenty years ago, when CGI animation was in its infancy and Smith was known primarily as a Man in Black. I actually appreciate some of its musty style, as it commits to a full-on opening credits sequence (a rarity in this era) that follows not one, but two, cold opening scenes.But the rest of my reaction to this film is basically being flummoxed by its outdated, non-specific definition of “weird.”

The other main character is socially inept young gadget guy Walter Beckett (Tom Holland), who is the one who accidentally turns Sterling into a bird. He’s spent his whole life believing that the world needs more weird, just like his mom assured him when he was a boy. But the thing is, while he may be a little awkward, I find it hard to believe that his line of work wouldn’t consider him weird so much as technologically essential. And while a man becoming a pigeon may be unusual in our world, it’s standard practice in this sort of movie. Spies in Disguise, you need to follow your own advice and be more weird.

Spies in Disguise is Recommended If You Like: Therianthropy

Grade: 2.5 out of 5 Spies in Da Skies

Older Entries