‘The Grudge’ Just Won’t End, and That’s Fitfully Fascinating

January 2, 2020

jmunney Cinema, Movie Reviews , , , , , , , , , , 2 Comments

CREDIT: Allen Fraser/Sony/Screen Gems

Starring: Andrea Riseborough, Demián Bichir, John Cho, Betty Gilpin, Lin Shaye, Jacki Weaver, Frankie Faison, William Sadler

Director: Nicolas Pesce

Running Time: 94 Minutes

Rating: R for Dismemberment, Fire, Drowning, Stabbing, and Gunshot Wounds

Release Date: January 3, 2020

In the spirit of experimentation, I have decided that my first movie review of 2020 will be in the form of an acrostic. The letters I will be using will be those in the title (not including the “the”), that title being The Grudge, the remake of a remake (or perhaps the latest remake of the first version) about the ghostly curse that lingers in a house where an anger-filled murder has occurred. This time, it takes the form of a multi-murder mystery in which those investigating the deaths at 44 Reyburn Drive run the risk of becoming infected by the grudge themselves.

Great cast! I mean, just look at that list. That’s at least half a dozen folks that could carry a horror movie (or any movie) on their own, and here they are together. Do they elevate the material that’s on the page? Yes, and it could use some elevating.

Repeating the formula is the name of the game here, but not the Grudge formula (or not just the Grudge formula). If you’re hankering for a return to J-horror remake glory, chances are you’ve got The Ring on your mind, and so does, it would seem, The Grudge 2020, as Detective Muldoon (Andrea Riseborough) is most concerned about protecting her son from the effects of the curse that she is experiencing.

Upside-down is how you’ll be looking during one particularly grisly moment involving Lin Shaye. It’s also how you’ll be feeling when things turn metaphysical and conversations discuss how supernatural curses go hand-in-hand with time distortion.

Digits (i.e., fingers) get hacked off. In general, writer/director Nicolas Pesce is not shy about bodies becoming pummeled, ripped apart, and decayed. It’s this movie’s most effectively visceral technique.

Generosity, and a fair bit at that, is probably required to give this umpteenth entry in a long-running, occasionally ponderous franchise a chance. An effective atmosphere is met, and frankly, that is a must that must be met in this sort of challenge.

Ending… it looked like it was going to be conclusive, which wouldn’t have been a good fit for the endless hopelessness inherent in this premise. But then there’s a fakeout, and instead of a punch in the gut, you leave with more of a whoosh.

The Grudge is Recommended If You Like: Diving into the infinite reboot loop while allowing some room for hope

Grade: 2.75 out of 5 Hands Popping Out of Hair

2019: A Year at the Movies

January 1, 2020

jmunney A Year at the Movies, Cinema , , , Leave a comment

Watching it up on the Big Screen (PHOTO CREDIT: Robert Malone)

I saw a lot of movies in 2019, just like most years. Here are all the movies I saw in the theatre.

(Included with the list of titles are grades, dates, showtimes, theatre locations, and folks I saw the movies with.)

1. Escape Room – B- (1/2, 7:00 PM, Regal Union Square, New York, NY; myself)
2. Girl (2018) – (1/7, 7:00 PM, Light Iron, New York, NY; myself)
3. Perfectos Desconocidos – C+ (1/8, 7:30 PM, Cinépolis Chelsea, New York, NY; myself)
4. Arctic – B- (1/9, 10:00 AM, Park Avenue Screening Room, New York, NY; myself)
5. New Filmmakers Short Film Program (1/9, 6:00 PM, Anthology Archives, New York, NY; myself)
5a. Apophanistal?
5b. Jog
5c. Aperture
5d. A Man, Vanished
6. The Kid Who Would Be King – B- (1/12, 11:00 AM, Regal E-Walk, New York, NY; myself)
7. Glass – B+ (1/14, 6:30 PM, AMC Lincoln Square, New York, NY; myself)
8. Birds of Passage – B (1/16, 6:00 PM, Dolby Screening Room, New York, NY; myself)
9. The Image Book – B- (1/17, 6:00 PM, Park Avenue Screening Room; myself)
10. Replicas – B- (1/19, 11:10 AM, E-Walk; myself)
11. A Dog’s Way Home – C+ (1/21, 7:10 PM, Regal Court Street, Brooklyn, NY; myself)
12. The Prodigy – C+ (1/24, 10:00 AM, Dolby Screening Room; myself)
13. Everybody Knows – B+ (1/29, 6:00 PM, Digital Arts Screening Room, New York, NY; myself)
14. Miss Bala – B- (1/30, 7:00 PM, AMC Empire, New York, NY; myself)
15. Cold Pursuit – B (1/31, 3:00 PM, Bryant Park Screening Room, New York, NY; myself)
16. Alita: Battle Angel – C+ (1/31, 7:00 PM, AMC Lincoln Square; myself)
17. The LEGO Movie 2 – B+ (2/4, 6:00 PM, WB Screening Room, New York, NY; myself)
18. What Men Want – C (2/6, 6:30 PM, AMC Lincoln Square; myself)
19. Fighting with My Family – B+ (2/8, 6:00 PM, Park Avenue Screening Room; myself)
20. 2018 Oscar-Nominated Live Action Shorts (2/10, 3:10 PM, Alamo Drafthouse, Brooklyn, NY; myself)
20a. Madre
20b. Fauve
20c. Marguerite
20d. Detainment
20e. Skin
21. Happy Death Day 2U – A- (2/11, 6:00 PM, AMC Lincoln Square; myself)
22. Isn’t It Romantic – B+ (2/11, 8:00 PM, AMC Lincoln Square; myself)
23. Climax – C (2/13, 6:00 PM, Dolby Screening Room; myself)
24. Apollo 11 – B+ (2/14, 6:00 PM, Tribeca Screening Room, New York, NY; myself)
25. 2018 Oscar-Nominated Animated Shorts (2/15, 6:45 PM, BAM Rose Cinemas, Brooklyn, NY; myself)
25a. Bao
25b. Weekends
25c. Late Afternoon
25d. Animal Behaviour
25e. One Small Step
25f. Wishing Box
25g. Tweet-Tweet
26. How to Train Your Dragon: The Hidden World – B- (2/19, 6:30 PM, AMC Lincoln Square; myself)
27. Greta – B (2/20, 6:00 PM, Park Avenue Screening Room; myself)
28. They Shall Not Grow Old – B+ (2/23, 6:30 PM, Cinépolis Chelsea; myself)
29. The Mustang – B+ (2/26, 6:00 PM, Dolby Screening Room; myself)
30. Captain Marvel – B (3/4, 6:00 PM, AMC Lincoln Square; myself)
31. The Brink – C (3/5, 6:00 PM, Dolby Screening Room; myself)
32. The Hummingbird Project – C+ (3/7, 10:00 AM, Park Avenue Screening Room; myself)
33. Five Feet Apart – C- (3/12, 7:30 PM, AMC Empire; myself)
34. Hail Satan? – B+ (3/14, 6:00 PM, Park Avenue Screening Room; myself)
35. Captive State – C+ (3/14, 7:30 PM, AMC Empire; myself)
36. Hotel Mumbai – C+ (3/18, 8:00 PM, Park Avenue Screening Room; myself)
37. Us – A- (3/19, 6:30 PM, AMC Empire; Rob Malone)
38. Non-Fiction – C+ (3/20, 6:00 PM, Dolby Screening Room; myself)
39. Peterloo – B- (3/21, 5:00 PM, Park Avenue Screening Room; myself)
40. Dumbo – B (3/25, 6:00 PM, AMC Lincoln Square; myself)
41. Teen Spirit – B (3/26, 6:00 PM, Dolby Screening Room; myself)
42. Gloria Bell – B (3/27, 6:45 PM, Alamo Drafthouse Brooklyn; myself)
43. The Beach Bum – B- (4/1, 7:40 PM, Union Square; myself)
44. Her Smell – B (4/2, 10:00 AM, IFC Center, New York, NY; myself)
45. Shazam! – B (4/2, 7:00 PM, AMC Loews 34th Street, New York, NY; myself)
46. Pet Sematary (2019) – B- (4/3, 7:00 PM, AMC Empire; myself)
47. Missing Link – B (4/4, 10:00 AM, Park Avenue Screening Room; myself)
48. Little – C (4/8, 6:30 PM, AMC Lincoln Square; myself)
49. The Man Who Killed Quixote – B (4/10, 7:00 PM, Regal Battery Park, New York, NY; myself)
50. 2019 Tribeca Film Festival: The Place of No Words – B- (4/15, 6:00 PM, Tribeca Screening Room; myself)
51. The Curse of La Llorona – B- (4/17, 7:00 PM, AMC Lincoln Square; myself)
52. Rifftrax Live: Octaman (4/18, 8:00 PM, Court Street; myself)
53. Booksmart – B (4/23, 6:00 PM, Bryant Park Screening Room; myself)
54. Under the Silver Lake – A- (4/28, 7:20 PM, Angelika Film Center, New York, NY; myself)
55. 2019 Tribeca Film Festival: Making Waves: The Art of Cinematic Sound– B+ (4/30, 10:00 AM, Village East Cinema, New York, NY; myself)
56. The Biggest Little Farm – B (4/30, 7:30 PM, Quad Cinema, New York, NY; myself)
57. Tolkien – C (5/1, 6:00 PM, Park Avenue Screening Room; myself)
58. Extremely Wicked, Shockingly Evil, and Vile – C (5/2, 9:15 AM, Village East Cinema; myself)
59. Avengers: Endgame – B+ (5/4, 11:00 AM, Regal Oxford Valley, Langhorne, PA; Bob Malone)
60. The Last Black Man in San Francisco – B (5/6, 6:00 PM, Dolby Screening Room; myself)
61. Detective Pikachu – B (5/7, 7:00 PM, AMC 34th Street; myself)
62. Poms – B- (5/8, 6:00 PM, AMC Empire; myself)
63. The Hustle – C- (5/8, 8:00 PM, AMC Empire; myself)
64. John Wick: Chapter 3 – Parabellum – C+ (5/9, 7:00 PM, AMC Kips Bay, New York, NY; myself)
65. A Dog’s Journey – C+ (5/14, 6:30 PM, AMC Lincoln Square; myself)
66. Wild Rose – B (5/15, 6:00 PM, Park Avenue Screening Room; myself)
67. Aladdin (2019) – B (5/20, 6:00 PM, AMC Lincoln Square; myself)
68. Brightburn – C+ (5/21, 3:00 PM, Dolby Screening Room; myself)
69. Rocketman (2019) – B+ (5/22, 6:30 PM, AMC Lincoln Square; Yasmeen Gholmieh)
70. High Life – B- (5/23, 7:20 PM, Village East Cinema; myself)
71. Ma – B+ (5/28, 6:30 PM, AMC Lincoln Square; myself)
72. Godzilla: King of the Monsters – C- (5/29, 7:00 PM, AMC Empire; myself)
73. Late Night – C+ (5/30, 6:30 PM, SVA Theater, New York, NY; myself)
74. Dark Phoenix – C (6/3, 6:00 PM, AMC Lincoln Square; myself)
75. Long Shot – B- (6/4, 7:20 PM, Regal Essex Crossing, New York, NY; myself)
76. The Dead Don’t Die – B (6/5, 10:00 AM, Dolby Screening Room; myself)
77. Rifftrax Live: Star Raiders (6/6, 7:30 PM, E-Walk; myself)
78. Men in Black: International – C- (6/11, 5:00 PM, AMC Lincoln Square; myself)
79. Shaft (2019) – D+ (6/12, 7:00 PM, AMC Empire; myself)
80. The Farewell – B (6/19, 6:00 PM, Park Avenue Screening Room; myself)
81. Child’s Play (2019) – B- (6/19, 8:00 PM, AMC Empire; myself)
82. Anna – B- (6/23, 2:15 PM, AMC Empire; myself)
83. Annabelle Comes Home – B- (6/24, 7:00 PM, AMC 34th Street; myself)
84. Midsommar – B (6/25, 6:00 PM, Dolby Screening Room; myself)
85. Spider-Man: Far From Home – B (6/26, 7:00 PM, AMC Empire; myself)
86. Toy Story 4 – B+ (6/30, 8:30 PM, Alamo Drafthouse Brooklyn; myself)
87. Brittany Runs a Marathon – B- (7/1, 6:00 PM, Park Avenue Screening Room; myself)
88. Stuber – C- (7/2, 6:00 PM, AMC Empire; myself)
89. The Lion King (2019) – B- (7/10, 1:00 PM, AMC Empire; myself)
90. Luce – B (7/11, 6:00 PM, Dolby Screening Room; myself)
91. Aquarela – C+ (7/15, 6:00 PM, Sony Screening Room, New York, NY; myself)
92. Crawl – B (7/17, 8:35 PM, Court Street; Rob Malone, Marie Bardi, and Chadd Harbold)
93. Yesterday – C+ (7/20, 8:15 PM, Cinépolis Chelsea; myself)
94. Hobbs & Shaw – B- (7/30, 6:30 PM, AMC Lincoln Square; myself)
95. Once Upon a Time in Hollywood – B+ (7/31, 8:30 PM, BAM Rose Cinemas; Rob Malone)
96. Where’d You Go, Bernadette – B- (8/1, 10:00 AM, Park Avenue Screening Room; myself)
97. The Art of Racing in the Rain – C+ (8/1, 6:00 PM, AMC Lincoln Square; myself)
98. Scary Stories to Tell in the Dark – B- (8/10, 8:00 PM, Oxford Valley; Walt Wojcik)
99. Good Boys – B- (8/12, 6:30 PM, AMC Lincoln Square; myself)
100. Ready or Not – A- (8/13, 6:00 PM, Dolby Screening Room; myself)
101. Tigers Are Not Afraid – B- (8/14, 6:00 PM, Digital Arts; myself)
102. Rifftrax Live: The Giant Spider Invasion (8/15, 8:00 PM, E-Walk; myself)
103. The Nightingale – B (8/21, 7:00 PM, Nitehawk Cinema Williamsburg, Brooklyn, NY; myself)
104. Loro – B+ (8/22, 6:00 PM, Park Avenue Screening Room; myself)
105. Blinded by the Light – A- (8/25, 4:00 PM, Oxford Valley; Bob Malone)
106. First Love – B (8/28, 6:00 PM, Park Avenue Screening Room; myself)
107. The Death of Dick Long – B+ (9/3, 6:00 PM, Technicolor Screening Room, New York, NY; myself)
108. IT: Chapter Two – C+ (9/4, 7:00 PM, AMC Empire; myself)
109. Don’t Let Go – B- (9/5, 6:30 PM, Essex Crossing; myself)
110. Dora and the Lost City of Gold – B- (9/7, 12:40 PM, Essex Crossing; myself)
111. Hustlers – B+ (9/10, 7:00 PM, AMC Linclon Square; myself)
112. Downton Abbey – B (9/12, 6:00 PM, Park Avenue Screening Room; myself)
113. The Report – B- (9/18, 6:00 PM, Park Avenue Screening Room; myself)
114. Judy – C+ (9/19, 10:00 AM, Park Avenue Screening Room; myself)
115. Ad Astra – B+ (9/22, 2:10 PM, Essex Crossing; myself)
116. Abominable – B- (9/24, 6:00 PM, AMC Empire; myself)
117. The King – C- (9/25, 7:00 PM, Digital Arts; myself)
118. The Lighthouse – B- (9/27, 1:00 PM, Tribeca Screening Room; myself)
119. Joker – B (10/1, 6:00 PM, Warner Bros. Pictures Screening Room, New York, NY; myself)
120. Parasite – A- (10/3, 6:00 PM, Digital Arts; myself)
121. Gemini Man in 120 FPS 2K 3D – C+ (10/7, 6:30 PM, AMC Lincoln Square; myself)
122. Jojo Rabbit – B- (10/14, 7:00 PM, Park Avenue Screening Room; myself)
123. Zombieland: Double Tap – B- (10/15, 7:00 PM, AMC Empire; myself)
124. Honey Boy – B- (10/17, 6:00 PM, Tribeca Screening Room; myself)
125. Greener Grass – A- (10/20, 3:00 PM, IFC Center; myself)
126. The Current War – C+ (10/21, 10:00 AM, Dolby Screening Room; myself)
127. Terminator: Dark Fate – C+ (10/21, 7:00 PM, AMC Lincoln Square; myself)
128. Harriet – B- (10/28, 6:00 PM, Bryant Park Screening Room; myself)
129. Motherless Brooklyn – B (10/29, 6:00 PM, Warner Bros. Screening Room; myself)
130. Countdown – C+ (10/31, 7:45 PM, Essex Crossing; myself)
131. Last Christmas – B (11/5, 6:30 PM, AMC Lincoln Square; myself)
132. Doctor Sleep – B (11/6, 7:00 PM, AMC 34th Street; myself)
133. Charlie’s Angels (2019) – C (11/11, 7:00 PM, AMC Empire; myself)
134. The Good Liar – B (11/12, 7:00 PM, AMC 34th Street; Kaity Malone)
135. Dark Waters – B (11/18, 10:00 AM, Tribeca Screening Room; myself)
136. A Beautiful Day in the Neighborhood – A- (11/18, 2:00 PM, Dolby Screening Room; myself)
137. Knives Out – A- (11/20, 7:30 PM, AMC Empire; myself)
138. Queen & Slim – B- (11/21, 6:30 PM, AMC Lincoln Square; myself)
139. The Irishman – B+ (11/26, 7:50 PM, IFC Center; myself)
140. Ford v. Ferrari – B- (11/30, 6:15 PM, AMC Neshaminy, Bensalem, PA; Walt Wojcik)
141. Portrait of a Lady on Fire – B+ (12/4, 10:00 AM, Park Avenue Screening Room; myself)
142. Bombshell – B (12/6, 10:00 AM, Bryant Park Screening Room; myself)
143. Richard Jewell – B (12/9, 2:00 PM, Warner Bros. Screening Room; myself)
144. Jumanji: The Next Level – B- (12/9, 7:00 PM, AMC Empire; Yasmeen Gholmieh)
145. Uncut Gems – A- (12/11, 6:00 PM, Dolby Screening Room; myself)
146. Spies in Disguise – C (12/12, 6:00 PM, AMC 34th Street; myself)
147. Black Christmas (2019) – C+ (12/15, 2:50 PM, Essex Crossing; myself)
148. Little Women (2019) – B+ (12/16, 7:00 PM, AMC Empire; myself)
149. Cats – C- (12/17, 7:00 PM, The Landmark at 57 West, New York, NY; Rob Malone)
150. 1917 – B- (12/19, 6:30 PM, Village East Cinema; Rob Malone)
151. Star Wars: The Rise of Skywalker – B (12/20, 5:00 PM, Alamo Drafthouse Brooklyn; Kaity Malone, Rob Malone, and Erin McGill; also 12/31, 4:30 PM, Oxford Valley; Bob and Sue Malone)
152. Frozen II – B- (12/29, 2:00 PM, Neshaminy; Walt Wojcik)

‘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

‘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

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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.

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