I am providing the brief review.
Based on the Mattel action figures of the same name, the teenager Max McGrath (Ben Winchell) and the alien companion Steel (Josh Brener) must control and combine energy to generate the superhero Max Steel.
“Max Steel” is a random superhero adaptation – desires to be the next big thing. From the substandard performances to the incomprehensible nonsense origin narrative, “Max Steel” demonstrates the Marvel Studios consistently aces with few stumbles here and there. The toys should remain toys to avoid the tedium and the catnap. D
I am providing the brief review.
The Treasury Department – Ray King (J.K. Simmons) and Marybeth Medina (Cynthia Addai-Robinson) investigates the mathematics pundit Christian Wolff (Ben Affleck) and friend Dana Cummings (Anna Kendrick).
“The Accountant” provides a modest twist to the standard crime film. Wolff necessitates an unfamiliar flaw other than autism to demonstrate the occupation is worthwhile. We understand autism is a common disorder and hence, I was the former friend to an autistic man (nothing against these folks; however, this film negatively depicts autism). Nonetheless, the brilliant performances reinforce the feature film. The mysterious accountant should’ve determined the risk and the siesta circumstances. B-
Kevin Hart is a universal comedienne. He is able to connect with almost everyone, regardless of the gender, age, and ethnicity. (By the way, this film critic is an Asian American and she giggled her ass off during this movie.)
Based on the stand up tour of the same name, Mr. Hart performs to 50,000 people at the Philadelphia Lincoln Financial Field.
Tim Story’s unnecessary “Casino” segment, featuring Hart, Halle Berry, and Don Cheadle perfectly introduces “What Now?” The “mini movie” provides the few chuckles yet demands the coherent purpose. The “Casino” snippet assures the event necessitates the feature film.
“What Now?” reinforces Hart’s eclectic filmography – the likes of “Central Intelligence” (2016), “Ride Along 2” (2016), “The Secret Life of Pets” (2016), “Get Hard” (2015), and “The Wedding Ringer” (2015).
Hart is outrageously witty here. The documentary contains at least three humorless sections. The mostly relevant quips tap into the zeitgeist. The satire understands the diverse audience and accordingly, Hart's signature flair enhances the foolish farce to brilliance.
What now, Kevin Hart? Laughter is the incomparable medicine. B
I am providing the brief review.
Based on the novel of the same name by Rosalie Ham, the glamorous Myrtle “Tilly” Dunn age (Kate Winslet) arrives to the hometown Dungatar in rural Australia and inflicts revenge to the various townsfolk.
“The Dressmaker” provides the mundane yet unusual revenge narrative. The “cursed” townspeople are the sudden shock during the conclusion. Winslet is brilliantly sexy and accordingly, complements the lackluster supporting performances. You may skip this dress fitting and travel elsewhere to discover beautiful attire. C
The Milwaukee Repertory Theater is presenting Marco Ramirez’s “The Royale”.
I was not immediately raving about “The Royale” afterward. My reaction was: The Milwaukee Repertory Theater is an awesome venue! This play not so much. Passable performances, excellent background score, and too much overpowering lighting. I’m gonna need to see another Milwaukee Rep production during this year no ifs ands or buts. I will scribe about “The Royale” in terms of the CTA 130 Production Critique. Whereas I love the Milwaukee Chamber Theater’s “A Lovely Sunday For Creve Coeur”, I admired “The Royale” for what it is.
I immensely love the Milwaukee Repertory Theater venue and accordingly, I am witnessing “The Foreigner” in the Quadracci Powerhouse during the November 2016. I am attending the aforementioned play to relish. [The previous plays – “A Lovely Sunday For Creve Coeur”, “The Royale”, and “The Good Doctor” (the university Fall theater production) are concerning the Production Critique.] Hey, I am not fond of “The Royale” and I sorta need to see what this lovely venue offers in terms of plays.
Live theatre uplifts and possesses me once I attend one musical or play during the year. Cannot receive enough of the professional theatre. Theatre is damn addicting, akin to the motion pictures.
Three plays within one year is a miracle here. Just the fact I am attending plays is a secondary miracle. (The darn Introduction to Theatre course constantly reminds me I do not attend enough live theatre, specifically plays! Thank you once again to Professor Decker!)
“The Royale” is a modest recommendation. I insist witnessing some boxing movie instead.
“The Royale”: A Milwaukee Repertory Theater Production. Directed by Kevin Ramsey. Marco Ramirez, playwright; Scott Davis, scenic designer; Alison Siple, costume designer; Thom Weaver, lighting designer; Josh Schmidt, sound designer; JC Clementz, casting director; Richelle Harrington Calin, stage manager. Sade’ E. Moore (Nina); Xavier Scott Evans (Fish); David St. Louis (Jay “The Sport” Jackson); John Gregorio (Max); Cedric Turner (Wynton).
September 28, 2016 to November 6, 2016 at the Milwaukee Repertory Theater’ Stiemke Studio. 108 East Wells Street, Milwaukee WI 53202.
Middle school is mostly uneventful, except I admired a few instructors – Ms. Poetzel, Ms. Wolff-Kirt, and Mr. Leffel. “Middle School” may remind you thank goodness the good ol’ days are bygone. (I apologize to the aforementioned instructors for using your name in this review without prior inquiry.)
Based on the novel by James Patterson and Chris Tebbetts, Rafe Katchadorian (Griffin Gluck), Leo (Thomas Barbusca), and classmates violate every single rule in the school manual. Principal Dwight (Andrew Daly) and Vice Principal Ida Stricker (Retta) are the extremely vicious administrators.
The mandatory education is a perfunctory routine – surviving the predictable school year and completing homework punctually. The higher education (college) is fun and exciting. The professors are still awesome in the midst of assigning five homework projects due the following lecture period.
“Middle School” is tolerable in every sense of the word: Mediocre performances, delightful yet formulaic narrative, and satisfies the target audience. The adults may enjoy nostalgia, especially the university students due to the mandatory education is still fresh in the mind. The dispersed cartoon segments are superior to the live action sections. I would love to witness the cartoon adaptation.
The strict principals and instructors ingrain the hidden life lessons; however, the mandatory education is unlike a prison akin to the “Middle School” depiction. C-
Fox Searchlight Pictures acquired Nate Parker’s debut film for $17.5 million at the Sundance Film Festival. “The Birth of a Nation” received extremely premature and unnecessary Awards buzz and accordingly, it does not live up to the unreasonable expectations.
Parker’s accusation of raping an unidentified woman at the Penn State University recently resurfaced. Ignore the sexual abuse scandal during the screening. The filmmaker’s personal life should not interfere with the film experience. “The Birth of a Nation” could moderately resolve the #OscarsSoWhite controversy; however, this is an undesirable movie to fix the problem (perhaps wait to witness “Moonlight”).
Similarly, Fox Searchlight Pictures delivered the masterful “12 Years a Slave” (2013). It’s safe to assume the studio considered “The Birth of a Nation” would provide the identical results. Absolutely wrong.
The literate slave and preacher Nat Turner (Parker) organizes the rebellion against Samuel Turner (Armie Hammer) and various slave owners in the antebellum South. Elizabeth Turner (Penelope Ann Miller) instructs Mr. Turner how to read (specifically the Bible) during the childhood.
“The Birth of a Nation” dazzles during the subtle moments – the remarkable performances and relevant narrative. Whereas “12 Years a Slave” provides constant fervent oomph, “The Birth of a Nation” barely attempts to elicit sobs, particularly during the slave rebellion sequence. The nonexistent emotional resonance establishes the one dimensional feature film. Formidable introductory and final sequences; however, tedious and dozy midpoint section.
“The Birth of a Nation” reinforces diversity and inclusion. Hollywood is a white male driven industry: Slow progress is superior to no improvement. Let’s hope the #OscarsSoWhite trend will not occur once more during the 89th Academy Awards. “The Birth of a Nation” confirms premature Awards buzz does not result to the anticipated outcome. B-
“The Girl on the Train” and “Gone Girl” (2014) share several similarities. The latter achieves everything that the former does not in various capacities.
Based on the novel of the same name by Paula Hawkins, alcoholic Rachel Watson (Emily Blunt) travels the train and passes the former house every day. She daydreams Megan and Scott Hipwell (Haley Bennett and Luke Evans) during the commute; however, Ms. Hipwell is missing and presumed dead. Rachel visits the neighbors Anna and Tom Watson (Rebecca Ferguson and Justin Theroux). Detective Riley (Allison Janney) investigates the case.
“The Girl on the Train” is the unofficial “Gone Girl” remake. Whereas “Gone Girl” is tense, “The Girl on the Train” could air via the Lifetime Movie Network (LMN). Tate Taylor’s previous films “The Help” (2011) and “Get on Up” (2014) are profound and poignant; although, the latest film is extremely melodramatic.
The convoluted narrative structure complements the mediocre whodunit tale. Taylor provides the loose interpretation: Did Megan, Anna, or Rachel execute the murder? Did Tom or Scott accomplish the murder? One occasion is Megan, another is Rachel, and the other is Anna. The ladies are suspicious during the countless guesses. You may not be able to predict the confirmed murderer if you have not read the novel. The brilliant performances counterbalances the underwhelming feature film. Abolish the obvious and sprinkle additional excitement and sensuality to fulfill improvement.
You may avoid the train and witness the superior “Gone Girl” instead. C+
“Masterminds” robs the magical film escapism.
Based on authentic events, Kelly Campbell (Kristen Wiig), David Ghantt (Zach Galifianakis), and Steve Chambers (Owen Wilson) executes the Loomis Fargo bank heist during October 1997. FBI Special Agent Scanlon (Leslie Jones) investigates the crime. Conversely, Jandice (Kate McKinnon) is Ghantt’s former fiancée.
Relativity Studios, formerly Relativity Media endured bankruptcy and delayed releasing some films. “Masterminds” was allegedly to theatrically release during 2015; however, the bankruptcy transpired and finally theatrically released during Friday, September 30, 2016. You might’ve forgotten the film existed in the meantime.
“Masterminds” deserves the video on demand (VOD) release (simultaneously enjoying the overdue theatrical release) – provides monotonous performances and formulaic caper narrative. Despite the attempt and failure to hit the funny bone, McKinnon and Jones slightly rescue the day. “Masterminds” essentially undermines your precious money and time. D
I am providing the brief review.
Based on “The Queen of Katwe: A Story of Life, Chess, and One Extraordinary Girl’s Dream of Becoming a Grandmaster” by Tom Crothers, Robert Katende (David Oyelowo) enlightens Phiona Mutesi (Madina Nalwanga) to chess in Uganda. The mother Nakku Harriet (Lupita Nyong’o) is initially hesitant yet eventually welcomes chess and Mr. Katende.
Disney continues to brilliantly cater to the family audiences. Despite “Queen of Katwe” delivers the conventional sports narrative, the singular performances and the accessible message (never abandon the aspirations) may cause you to feel tingly and exhilarated. “Queen of Katwe” won chess with few errors. Checkmate. B
Tim Burton’s latest film cannot distinguish the difference among the traditional and queer notions.
Based on the novel of the same name by Ransom Riggs, Jake (Asa Butterfield) discovers Miss Alma LeFay Peregrine (Eva Green), the home, and the residents – Emma (Ella Purnell), Bronwyn Bruntley (Pixie Davies), and others. The peculiar children inhabit a time loop due to Barron (Samuel L. Jackson) desires to destroy the powers.
“Miss Peregrine’s Home for Peculiar Children” demonstrates Burton abandoned his unique flair. Anyone but Mr. Burton could’ve helmed this movie. Miss Peregrine could’ve adhered to Burton’s signature style (consider “Edward Scissorhands”); however, it is equivalent to the previous Young Adult film adaptations.
The Peregrine clan echoes the predictable YA films: Mundane performances, stereotypical characters, tedious and convoluted narrative, and satisfies the target audience.
Peculiarity is awesome. Conversely, Miss Peregrine said otherwise during this instance. D+
Heroism is able to result to two outcomes: Inspirational or maudlin. “Deepwater Horizon” is the former without excessive exaggeration.
Based on the New York Times article “Deepwater Horizon’s Final Hours” by Stephanie Saul and David Rohde, Mike Williams (Mark Wahlberg), Andrea Fleytas (Gina Rodriguez), and colleagues survive the Deepwater Horizon explosion during April 2010. The aforementioned offshore drilling rig produced the worst oil spill during the United States history.
“Deepwater Horizon” adheres to the mundane survival narrative; however, the brilliant performances, fierce action sequences, and poignant final act counterbalance the mistake. The accessible characters provide sudden nuances yet require development. Some sequences are difficult to witness and accordingly, you may sob.
The “based on true events” is the norm during the Awards Season; although, “Deepwater Horizon” is destined to be disregarded during the following several months. “Deepwater Horizon” should not be overlooked in terms of the scope and visual effects.
“Deepwater Horizon” maintains sufficient relevance to mesmerize the audience. Admire the bravery once more. B-
I am providing the brief review.
The Hollar family: Sally (Margo Martindale), Don (Richard Jenkins), Rebecca (Anna Kendrick), John (John Krasinski), and Ron (Sharlto Copley) reunite prior to and following Sally’s brain surgery.
“The Hollars” provides the ace talent yet the underwhelming and standard delightful narrative. It’s devastating to witness the undeniable cast confronting a tale that does not match the drawing power. Conclusively, do not summon the Hollar family to rescue your woes. C
The Milwaukee Chamber Theater is presenting Tennessee Williams’ “A Lovely Sunday For Creve Coeur”.
“A Lovely Sunday For Creve Coeur” chronicles the civics teacher Dorothea (Kay Allmand) fantasizing the future spouse T. Ralph Ellis; however, the roommate Bodey (Kelly Doherty) conceals the news that Ellis is engaged to someone else (discovered in the newspaper's society section). Dorothea intends to relocate to friend Helena's (Molly Rhode) apartment. The German immigrant neighbor Sophie Gluck (Karen Estrada) is recovering the mother’s death amid the commotion. The events transpire precedent the scheduled Creve Coeur Park picnic during the 1930s St. Louis.
The Milwaukee Chamber Theater is an elegant and quaint theater. Nonetheless, “A Lovely Sunday For Creve Coeur” is authentic brilliance from start to finish. Astonishing performances and set design. Poignant, heartbreaking, and genuine, “A Lovely Sunday For Creve Coeur” caused me sob during the conclusion. I craved to hug the characters (never mind and dang it, the actors are portraying the characters).
One cannot deny live performances no matter the venue. Live performances arguably enrich your arts and cultural appreciation. I may be acclimated to musicals; however, I desire to witness additional plays in the near future. I’ve set my mind to witness another Milwaukee Chamber Theater production during 2017.
“A Lovely Sunday For Creve Coeur”: A Milwaukee Chamber Theater (MCT) Production. Directed by Leda Hoffmann. Tennessee Williams, playwright; Courtney O’Neill, scene designer; Andrea Bouck, costume designer; Noele Stollmack, lighting designer; Madelyn Yee, properties master; Megan B. Henninger, sound designer; Michelle Lopez-Rios, dialect coach; C. Michael Wright, MCT Producing Artistic Director. Kay Allmand (Dorothea); Kelly Doherty (Bodey); Molly Rhode (Helena); Karen Estrada (Sophie Gluck).
September 21, 2016 to October 16, 2016 at the Milwaukee Chamber Theater’ Studio Theater. 158 North Broadway, Milwaukee WI 53202 (Historic Third Ward).
I am providing the brief review.
The storks Junior (voiced by Andy Samberg) and Jasper (Danny Trejo) routinely delivered babies; however, Nate Gardner (Anton Starkman) dispatched the letter to the Storks requesting the Ninja toddler. This event initiates the following incidents: Sarah and Henry Gardner (Jennifer Aniston and Ty Burrell) bonds with the son and Jasper’s orphan Tulip (Katie Crown) discovers the family. The Storks currently deliver Cornerstone.com (consider Amazon.com) packages.
“Storks” is heartfelt, cute, and humorous. The potent voices and banter enrich the formulaic narrative. The Lego Ninjago short film “The Master” is superior to the precedent feature film (usually the opposite occurs). C+
The magnificent seven are not really magnificent: Just mediocre Wild West men collaborating to destroy a thief. Yes, handsome men – but ignore the fact.
Based on the film of the same name by Akira Kurosawa, the fugitives Sam Chisolm (Denzel Washington), Josh Faraday (Chris Pratt), Goodnight Robicheaux (Ethan Hawke), Jack Horne (Vincent D’Onofrio), Billy Rocks (Byung-hun Lee), Vasquez (Manuel Garcia-Rulfo), and Red Harvest (Martin Sensmeier) collaborate to destroy the industrialist Bartholomew Bogue (Peter Sarsgaard) in Rose Creek during the 1870s.
“The Magnificent Seven” is an underwhelming neo Western film. It required Quentin Tarantino’s (the guy is a Western master, consider the brilliant “The Hateful Eight”) supervision and the R rating to produce the zing.
“The Magnificent Seven” provides a traditional and tedious Western narrative. The violence necessitates bloodlust to generate irresistibility. You may modestly snooze if Westerns aren’t your thing. I slightly rested without pondering the notion due to the tedium. Nonetheless, Washington and the company deliver tolerable performances and rapport.
“The Magnificent Seven” demonstrates the remake of the remake – “Seven Samurai” (1956) and “The Magnificent Seven” (1960) is able to enjoy success once or twice, but not three times. The classic films should not be disturbed.
“The Magnificent Seven” did not achieve glory. The majestic life originates elsewhere. Goodbye to the Wild West. C-
I am providing the brief review.
The Australian based band Hillsong soars to the international church success. Senior pastors Bobbie and Brian Houston and worship leaders Taya Smith, Dylan Thomas, Michael Guy Chislett, Matt Crocker, Adam Crosariol, Jonathan Douglas (a.k.a. J.D.), Jad Gillies, Joel Houston, Simon Kobler, and Benjamin Tennikoff alter various lives through Jesus Christ.
God is awesome; however, “Hillsong – Let Hope Rise” is an underwhelming faith based film. The poignant tunes may remind you Jesus Christ is the savior. The live Hillsong concert (sermon) is superior to the members’ narration. “Hillsong – Let Hope Rise” demonstrates nothing surpasses attending the church. C
“La La Land” is my personal exceedingly anticipated Awards contender. I love Damien Chazelle’s “Whiplash” (2014) and therefore, my extreme expectations are a tad ridiculous. The teaser trailers tap into my soul and the following reflection occurs – I cannot wait to see this movie! When will the damn December arrive to mama? I admit “Manchester by the Sea” and “Arrival” are near alternatives.
Without further ado, the five reasons you should be excited to see the film.
1. Damien Chazelle. Most debut directors fail during the first feature film attempt. Chazelle precisely nailed it during the initial attempt. No errors and mishaps. Just dedication and laying his bare heart on the table for us to witness.
2. Emma Stone and Ryan Gosling. Based on the marketing campaign, one may argue Ms. Stone and Mr. Gosling are the hottest couple in Hollywood, alongside Alicia Vikander and Michael Fassbender (currently are able to be seen in “The Light Between Oceans”). The contagious affair constantly tingle my essence.
3. The Tunes. “City of Stars” and “Audition” are authentic brilliance. I am able to only imagine the complete soundtrack. Anticipate extensive awesomeness here. “Whiplash” is genius drumming; “La La Land” is presumably powerful crooning.
4. The Festival Buzz. While Nate Parker’s “The Birth of a Nation” Awards buzz slightly dwindled, “La La Land” is steadily arriving to the Awards forefront. It received rapturous applause at the Telluride Film Festival (TFF) and the Toronto International Film Festival (TIFF). The gut instinct is announcing this film will be huge during the theatrical release. The Awards discussion is occurring right now. I guess the buzz is only able to intensify henceforth.
5. The Genre – Musical. The musical is an acquired taste, just like Woody Allen movies. In my instance, I love musical films. “La La Land” is possibly the best contemporary musical; however, the time will eventually tell. Ultimately, Damien Chazelle’s latest film could revive and alter the musical genre.
Salute! Bridget Jones revisits the journal to discuss love triangles and motherhood.
Based on the story and characters by Helen Fielding, Bridget Jones (Renee Zellweger) enjoys sexual intercourse with ex husband Mark Darcy (Colin Firth) and friend Jack Qwant (Patrick Dempsey). Ms. Jones’ career is interrupted to determine the child’s father.
“Bridget Jones’s Baby” continues the “Bridget Jones’s Diary” (2001) series. The generic extension is female counterprogramming opposite “Snowden”, “Blair Witch”, and “Hillsong: Let Hope Rise”.
Women are an underserved audience; however, “Bridget Jones’s Baby” demonstrates robust narratives would tremendously help in various instances, including this occasion. The lackluster performances and artificial witticisms allow you to disregard “Bridget Jones’s Baby”. Nonetheless, I relished the narrative and sporadically chuckled.
It’s time to complete the diary and report to us during the elderly years, Ms. Jones. C+
Edward Snowden leaked classified National Security Agency (NSA) information. Accordingly, Oliver Stone’s latest film “Snowden” sheds some light on the sensitive subject.
Based on the nonfiction accounts “The Snowden Files” (Luke Harding) and “The Time of the Octopus” (Anatoly Kucherena), Edward Snowden (Joseph Gordon Levitt) publishes the NSA illegal surveillance techniques and classified documents to the press. Snowden’s partner Lindsey Mills (Shailene Woodley) endures the stress and everything. Documentarian Laura Poitras (Melissa Leo) assist Snowden to reveal the secrets.
If you haven’t seen the Academy Award victor “Citizenfour” (2014), “Snowden” constantly reminds you – I must see that darn documentary. “Citizenfour” is the prerequisite to witness the dramatization.
“Snowden” is unbiased. It allows you to favor the hero perspective or the enemy position. Snowden disclosed shocking information to the world. Conversely, he did not protect the NSA’s intelligence. “Snowden” embraces various unexamined themes and therefore, it’s impossible to investigate in a two hour feature film. It could allow at least twelve feature films. Whereas the documentary structure would allow a thorough narrative, the dramatization narrowly touches the surface.
Woodley is superior here than the crappy “Divergent” series movies. Levitt deserves Awards attention; he never hesitates to provide the best. Leo is authentic brilliance; you may consider the real Ms. Poitras is onscreen.
“Snowden” is the Awards Season preparation exercise. It requires extensive discussion during the theatrical run to enter the Awards race. Based on my perspective, “Snowden” provides unlikely Awards potential. Nonetheless, the Academy is bound to deliver unforeseen revelations.
One may argue narrative filmmakers should delay to unfold the Snowden tale. “Snowden” demonstrates recent events do not naturally resonate with audiences. Allow it to simmer to preserve relevance. B-
For Your Consideration: Best Actress in a Supporting Role (Melissa Leo), Best Actor in a Leading Role (Joseph Gordon Levitt), and Best Adapted Screenplay
I am providing the brief review.
Naomi Bishop (Anna Gunn), Erin Manning (Sarah Megan Thomas), and Samantha (Alysia Reiner) must resolve corruption due to the financial scandal.
“Equity” provides a credible female perspective; however, the tedious narrative contains extensive office montages. Accordingly, it delivers extremely deliberate progression (snoozefest). I love female driven films; although, “Equity” demands a tenacious oomph to sympathize with the characters. “Equity” establishes the unreasonable ambitions and hence, fails to achieve the career advancement. C
“When the Bough Breaks” is the “No Good Deed” (2014) and “The Perfect Guy” (2015) combination.
Laura and John Taylor (Regina Hall and Morris Chestnut) recruit the surrogate Anna Walsh (Jaz Sinclair). Nevertheless, Ms. Walsh seduces the husband, demonstrates the insane behavior, and betrays the couple.
The bough evidently breaks: Monotonous performances, standard psychological thriller narrative, and uneventful twists and turns. Regardless, it is surprisingly tolerable. “When the Bough Breaks” does not achieve “it’s so awful that I cannot handle it anymore” magnitude.
“When the Bough Breaks” could avoid the theatrical release and broadcast on the Lifetime Movie Network (LMN). It still beguiles you to believe the film does not belong to LMN. “When the Bough Breaks” hates to admit it’s a natural Lifetime movie if Sony’s Screen Gems did not own the distribution rights.
Accordingly, “When the Bough Breaks” indicates everything could fail with a psycho surrogate. Remain selective no matter the circumstances. C-
I am providing the brief review.
Based on “Robinson Crusoe” by Daniel Defoe, parrot Tuesday (voiced by David Howard Thornton) and friends assist Robinson Crusoe (Yuri Lowenthal) construct shelter and collect food near a stranded island.
“The Wild Life” attains the “Norm of the North” (2016) atrocity. Children will like “The Wild Life”; however, adults may be able to snooze during the film. The substandard narrative and voices allow the film to remain deserted. Nothing really compels you here. Ultimately, “The Wild Life” is a significant cartoon hiccup. F
Side Note: “The Wild Life” is internationally titled “Robinson Crusoe”.
It's difficult to believe the Miracle on the Hudson really occurred.
Clint Eastwood's latest film chronicles Captain Chesley Sullenberger (Tom Hanks) and First Officer Jeff Skiles (Aaron Eckhart) landing along the Hudson River following a bird strike during January 15, 2009. Various assistance rescues one hundred and fifty five crew and passengers. Despite the National Transportation Safety Board (NTSB) investigation, Sullenberger is a hero.
"Sully" promptly commences the Awards Season. It's the additional biopic; based on the memoir "The Highest Duty" by Sullenberger and Jeffrey Zaslow. From the brilliant performances to the poignant narrative, you cannot misfire with Eastwood & Company.
"Sully" utilized the IMAX cameras. Holy shit, every frame is crisp and clear. It almost transports the viewer to the unbelievable past. "Sully" may be mostly transcendent; however, it works best as a short film. All we demand to witness is the breathtaking plane sequences; we recognize the conclusion. The extensive padding does not deliver the powerful oomph.
"Florence Foster Jenkins" was the rehearsal (literally) and "Sully" is the proper introduction to the Awards Season. The Eastwood and Hanks collaboration results to onscreen bravery at the finest standard. B
For Your Consideration: Best Director, Best Actor in a Leading Role (Tom Hanks), Best Cinematography, and Best Editing
Have a blessed Labor Day, my readers. I did not attend the 43rd Telluride Film Festival; however, I've read various social media reactions.
The 43rd Telluride Film Festival commenced during Friday, September 2, 2016 and concluded during Monday, September 5, 2016 in the Colorado mountains.
Damien Chazelle's "La La Land" received rapturous applause and confirmed the definite Awards contender status. Some folks are announcing "La La Land" the Best Picture victor; although, it's extremely early to announce the top prize winner.
The German Foreign Language submission "Toni Erdmann" established the frontrunner status to win the aforementioned category. Kenneth Lonergan's "Manchester By The Sea" still remains in the Awards race.
Denis Villeneuve's "Arrival" received euphoric acclaim. The attendees vocalized Villeneuve's latest is a groundbreaking science-fiction film and endure difficult Awards chances ahead.
On the one hand, the adored "Moonlight", a film about the African-American man confronting childhood and adulthood is the best film to emerge at the festival. On the other hand, "Una" is an uncomfortable film. The few attendees walked out of the screening.
Clint Eastwood's "Sully" claimed mix reception. The attendees declared the plane sequence is excellent and the rest lacks emotional resonance.
The Telluride-Toronto-Venice Film Festivals commences the festival and Awards Season. One two three punch and we are set.
Review Structure Key
Regular reviews ~ Word count varies.
Mini reviews ~ Positives and negatives (+/-) analysis.
Brief reviews ~ One hundred words, more or less.