Bombshell

Bombshell (2019)

Starring Charlize Theron, Nicole Kidman, Margot Robbie, John Lithgow, Malcolm McDowell, Allison Janney, Kate McKinnon, Connie Britton, Liv Hewsen, Brigette Lundy-Paine, Mark Duplass, Rob Delaney, Stephen Root, and Robin Weigart

Directed by Jay Roach

Written by Charles Randolph

Click here for my Letterboxd review

The RyMickey Rating: C

Tully

Tully (2018)

Starring Charlize Theron, Mackenzie Davis, Mark Duplass, and Ron Livingston 

Directed by Jason Reitman

Written by Diablo Cody

Click here for my Letterboxd review

The RyMickey Rating: C+

Movie Review - Kubo and the Two Strings

Kubo and the Two Strings (2016)

Featuring the vocal talents of Charlize Theron, Art Parkinson, Ralph Fiennes, Rooney Mara, and Matthew McConnaughey

Directed by Travis Knight

The stop-motion animation from Laika Studios is always exquisite.  When their films begin (be it Coraline or Paranorman or The Boxtrolls) I find myself completely enthralled by the hand-crafted nature of the work and that awe was no exception with Kubo and the Two Strings, the company's latest venture.  Unfortunately, as is also the case with films by Laika, I find myself disappointed with the story and the company's inability to pace their films properly throughout.  Promising starts always lead into disappointing middle acts which are sometimes lifted in the finales.  Gorgeous animation can only get you so far.

That isn't to say that Kubo and the Two Strings is bad by any means.  It certainly is successful during its first half when we are introduced to our title character, a young one-eyed boy (voiced by Art Parkinson) who lives in a secluded cliffside cave with his depressed and sickly mother.  Every day, he makes the trek to the Japanese village near the cave to regale the townsfolk with a glorious story about a warrior who defeats an evil warrior -- all told through magical origami that comes to life when Kubo strums his guitar.  (Yes, it sounds odd, but it's rather beautifully imagined.)  Kubo has always been told to return home before dark, but one day Kubo attends a festival in town during which the living townsfolk create remembrances of the dead.  Enthralled by the festivities, Kubo stays out too late and the ghostly visages of his mother's two sisters Karasu and Yukami (Rooney Mara) come to try and steal Kubo's good eye in order to give it to his grandfather who, legend has it, stole his missing eye.  Kubo's mother fends off her two sisters and tells Kubo to run away and hide.  Upon waking up the next morning, Kubo is greeted by Monkey (Charlize Theron) which seems to be a real-life iteration of a wooden snow monkey figurine he had his entire life.  Together, Kubo and Monkey trek across the landscape of Japan in order to find the pieces of a magical armor that will protect Kubo from his grandfather who obviously wants to do him great harm.

In and of itself, that aforementioned story is engaging, unique, and melds modern and historic Japanese traditions.  However, once Kubo's trek starts, Kubo and the Two Strings loses much of its dramatic tension, essentially becoming a road movie with Kubo meeting the warrior from his stories (Matthew McConaughey) who helps the young boy and monkey on their quest.  Sure, there is some nice repartee between the voice actors with the trio of Theron, McConaughey, and Parkinson creating an enjoyable listening experience.  And, as mentioned before, the animation throughout the entire film is stellar.  Lush landscapes, gorgeous costumes, and fascinating imagery populate the entire film, creating a visually stunning experience.  However, the story falls apart a bit and while the animation saves it -- this one ekes out a win for me thus far when it comes to the animated films of 2016 -- I really want Laika to step it up in the story department because they've got the goods visually that's for darn sure.

The RyMickey Rating:  B-

Movie Review - Dark Places

Dark Places (2015)

Starring Charlize Theron, Nicholas Hoult, Christina Hendricks, Corey Stall, Tye Sheridan, Chloë Grace Moretz, and Drea de Matteo

Directed by Gilles Paquet-Brenner

***This film is currently streaming on Amazon Prime***

Gone Girl is perhaps my favorite film of the decade thus far -- a brilliant Hitchcockian piece of cinema crafted with a deft hand from director David Fincher and a biting screenplay from Gillian Flynn adapting her own novel.  So, when I saw that another novel of Flynn's was getting a feature film adaptation, I had to check it out.  Disappointingly, there was a reason for Dark Places to get an extremely limited release last summer as writer-director Gilles Paquet-Brenner is unable to create any modicum of suspense with his story or direction thereof.

When Libby Day was eight years old, she saw her mother and sisters be brutally murdered in their Kansas house.  Libby's testimony put her brother (Tye Sheridan as a youth, Corey Stall as an adult) behind bars for the crime, but thirty years later, an adult Libby (Charlize Theron) is compelled to reexamine the murders thanks to a young true crime "enthusiast" (Nicholas Hoult), realizing that her memories may not be accurate depictions of that horrific day.

Ultimately, Dark Places fails at creating a compelling storyline.  At its center, Charlize Theron's Libby lacks the emotional gravitas to be placed front and center due not so much to Theron's performance, but moreso because of the character's forlorn and malaise-filled life.  Sure, Libby has certainly been through a lot and has every right to lead a depressing life given her past, but her journey becomes tiresome rather quickly and lacks a payoff that excites.  The twisted humor and sensibility that runs rampant through Gone Girl and elevates it beyond the typical "thriller" is nonexistent here.  Instead, we're treated to a bland story with even blander characters and even blander twists and turns.

The RyMickey Rating:  D+

Movie Review - Mad Max: Fury Road

Mad Max: Fury Road (2015)

Starring Tom Hardy, Charlize Theron, Nicholas Hoult, Hugh Keays-Byrne, Zoë Kravitz, Rosie Huntington-Whiteley, Riley Keough, Abbey Leigh, and Courtney Eaton

Directed by George Miller

Winning six Academy Awards is no easy feat -- especially for a genre film such as Mad Max: Fury Road.  I will totally agree that director George Miller's film is uniquely designed in terms of sets, costumes, and sound -- all for which it won Oscars.  However, it's rather telling to me that the film didn't receive a screenplay nod amongst its ten nominations.  After watching, it's no surprise, though, as the script is one of the biggest downfalls of the manic film that, while better than the 1979 original which I despised, is still too much of a punk-fueled visual cacophony to merit me ever wanting me to subject myself to it again.

The title of the film would have you believe that "good guy" Max (Tom Hardy) is the star of the film, but the little story that Mad Max: Fury Road has to offer isn't really about him.  Sure, the flick opens with Max attempting to escape from the army of Immortan Joe (Hugh Keays-Byrne), a tyrant who rules over a large group of people by controlling all access to water and fuel in a post-nuclear-explosion apocalyptic desert society.  When Max fails his escape, the film shifts to Imperator Furiosa (Charlize Theron), one of Joe's best warriors who is responsible for heading out into the world to bring back gas and water in a giant tanker truck.  However, on her latest mission, it's discovered that she has smuggled out five of Joe's young wives in an attempt to take them to safety.  When her treachery is unveiled, one of Joe's War Boys, Nux (Nicholas Hoult), straps Max to the front of his truck (because, you see, Nux is draining the blood out of Max in order to get healthier himself) and chases after Furiousa along with a bevy of other crazy-looking folks.

And then everything else in the entire movie is one long chase sequence after another...after another...after another.  It never ends.  There's very few moments of respite and, quite frankly, because of the nonstop barrage of chaotic sound and in-your-face visuals, I zoned out after about an hour.  Quite frankly, there's nothing here.  Sure, you've got a "woman scorned" angle with Furiosa trying to help out objectified women, but the feminist angle never really rises to the occasion.  Max himself is left with very little to do in the film and Tom Hardy continues to give us just the low-voiced growling he's become so well known for over the past several years.  

George Miller (who also co-wrote the film) feels as if he came in with the attitude of "Let's throw everything at the wall and see what sticks."  And then he proceeded to either think everything stuck or he just was too lazy to clean up, because as his camera zigs and zags crazily through the insanity he's placed onscreen, he seems to hope that the audience can't see all the nuttiness he left scattered throughout.  Mad Max: Fury Road has reasons to be recognized.  The costumes are unique and the production design was admittedly awesome, but beyond the below-the-line crafts (which certainly hold merit and helped my rating be as high as it is), Fury Road is a mess.  I can't imagine watching this on a screen bigger than my tv screen at home -- I'm not quite sure I would've been able to sit through the freneticism.  

The RyMickey Rating:  C-

Movie Review - A Million Ways to Die in the West

A Million Ways to Die in the West (2014)

Starring Seth MacFarlane, Charlize Theron, Amanda Seyfried, Giovanni Ribisi, Neil Patrick Harris, Sarah Silverman, and Liam Neeson

Directed by Seth MacFarlane

I'm not sure I ever thought I'd write a sentence containing this sentiment, but Sarah Silverman is the best part of Seth MacFarlane's much too long A Million Ways to Die in the West.  Quite frankly, it's a shame the female comic isn't in the film a bit more.  Then again, I can take Silverman in small doses so it's probably better her role as a morally conscious prostitute in 1882 Arizona is only a supporting one.  Still, her comedic timing with co-star Giovanni Ribisi as her celibate boyfriend provide the film its few and far between laughs.

In an obvious attempt to meld Mel Brooks' Blazing Saddles with modern-day Family Guy sensibilities, writer-director MacFarlane throws a bunch of jokes at the audience (at least in the first two-thirds of its two hour running time), but they mostly fall flat.  MacFarlane's comedic timing works on an animated show like Family Guy where we can easily suspend our reality, but when MacFarlane himself is onscreen rattling off jokes that overstay their welcome, we tire much easier, unable to really foster his scattershot comedic style in a live action setting.

MacFarlane is essentially playing himself (or at least the persona we've come to know) in the character of Albert, a sheep farmer who desires nothing more than to escape the wild west where death is around every corner.  When his girlfriend Louise (Amanda Seyfried) leaves him for Foy (Neil Patrick Harris), the proprietor of a mustache grooming store, Albert is heartbroken until he meets cowgirl Anna (Charlize Theron) whose no-nonsense style he falls for right away.  Anna reciprocates Albert's feelings, but she is unfortunately involved in a bad marriage with the evil Clinch (Liam Neeson) who is none too pleased when he discovers that his wife is having relations with another man.

Throw in a bunch of fart jokes, Neil Patrick Harris pooping into a hat (scratch that -- multiple hats), Sarah Silverman having a certain male bodily fluid dripping off the side of her face, and many more low-level bathroom-related jabs that any eighth grader would find hilarious and you've got A Million Ways to Die in the West.

The RyMickey Rating:  D

Movie Review - Snow White and the Huntsman

Snow White and the Huntsman (2012)

Starring Kristen Stewart, Chris Hemsworth, Charlize Theron, Ian McShane, Bob Hoskins, Ray Winstone, Eddie Marsan, and Toby Jones

Directed by Rupert Sanders

The more financially successful of the two Snow White flicks released in 2012, Snow White and the Huntsman is certainly darker than the lighthearted Mirror Mirror (which is now available to stream on Netflix), but they're essentially telling the same story we're all familiar with since our childhood.  Shockingly enough, I found both oddly enjoyable to watch in their own ways with both ultimately creating interesting enough twists on the well-known tale to make them never fall into the been-there-done-that realm.

Despite being called Snow White and the Huntsman, the film certainly revolves around the evil Queen Ravenna who is played with wicked abandon by Charlize Theron.  Sexy and alluring, but frighteningly menacing, Theron sinks her teeth into the dark side and goes for broke rather successfully.  When she isn't on the screen, you want the film to shift back to her.  [It should be noted that I said the same thing about Julia Roberts in Mirror Mirror so the role is obviously ripe for scene-stealing.]

But, despite the focus on the Queen, the film's title certainly implies that we're probably going to spend a bit of time with those two title characters, played in this film by Kristen Stewart and Chris Hemsworth, both of whom are perfectly adequate, but undeniably bland.  Hemsworth fares better than Stewart, but that really shouldn't be a surprise considering that I've yet to see Stewart show any smidgen of realistic emotion onscreen in anything.  Here, I'm not sure she even utters fifty lines -- most of the film is her simply reacting vaguely and emptily to things -- but she still manages to prove irksome to this reviewer.

Still, despite the fact that the character of Snow White in a film called Snow White and the Huntsman is a bit of a dud, the film's delving into magic and eerie fantasy is a welcome addition to the tried and true story.  Sure, the Evil Queen has always dipped her hand into the dark arts, but here that's amplified by several degrees to great success and helps to add just enough variations to the tale.  Also amusing, the dwarfs here are typical "munchkin" height, but are played by some fairly famous faces -- Ian McShane, Bob Hoskins, and Toby Jones to name a few -- which allows for some more solid acting than we're likely used to seeing from these smaller statured figures.

Overall, the comparison of Snow White and the Huntsman to Mirror Mirror ends up being a bit of a wash.  I'll admit that most will like this version better, but I can at least recognize that for more light-hearted kiddie fare, Mirror Mirror is a solid picture as well.  Neither are fantastic films, but both are acceptable interpretations of the fairy tale.

The RyMickey Rating:  B-

Movie Review - Prometheus

Prometheus (2012)

*viewed in 3D*

Starring Noomi Rapace, Michael Fassbender, Charlize Theron, Logan Marshall-Green, Idris Elba, and Guy Pearce

Directed by Ridley Scott

**There will be some spoilers ahead here...the film's been out a month now, so I feel no qualms about that.**

Prometheus - the "not-a-prequel, but really-is-a-prequel" to Alien - has its share of problems most courtesy of a script from Jon Spaihts and Lost alum Damon Lindelof, but despite what are warranted criticisms, I couldn't help but like what I saw onscreen.  I've always been a fan of Ridley Scott's Alien and James Cameron's Aliens (see my Alien Week coverage here), and what Scott does here is further the backstory behind the sci-fi series while, at the same time, creating a stand-alone film that works quite well despite a few faults.

Those delving into Prometheus thinking that they're going to see something in the same vein of any of the previous four Alien incarnations are in for a surprise.  Instead, Prometheus is one archeologist's quest to discover the reason for human existence.  We meet Elizabeth Shaw (Noomi Rapace) in the late 2080s as she and her team are exploring the rocky cliffs of Ireland.  There, they discover cave paintings that closely resemble similar paintings found all across the earth all of which seem to be pointing to the notion that something from space came to earth tens of thousands of years ago.  With the help of the Weyland Corporation (a name familiar to those who've seen other Alien flicks), Shaw and her partner Charlie (Logan Marshall-Green) are funded for an expedition to a far-off planet that seems to have the same capability as Earth for human existence with the hopes that this planet may hold some of the answers to these cave drawings.  When they land on the planet, Shaw, Charlie, and the crew of the ship Prometheus, including the captain (Idris Elba), Weyland overseer Meredith Vickers (Charlize Theron), and android David (Michael Fassbender), set out to explore and uncover some interesting finds leading us both into familiar territory for this series and quite unfamiliar territory in the overarching religious and spiritual questions it attempts to pose.

Surprisingly, the biggest problem in the film tends to be with the alien side of things.  These people just seem to act plain stupid around them.  Here you've landed on a foreign planet with unknown creatures and you're just going to go right up to these "things" and try to pet them?  I mean, really?  The characters just end up losing all credibility in these scenes and it hurts the movie in the long run.  I think that's what makes the first two Alien films so successful -- even if the characters weren't fully realized (I'm looking at you, Aliens), they still acted "truthfully" and realistically based off of their personal characteristics.  You didn't really get a sense of that here with some of the characters presented.

However, there are two really solid performances from Noomi Rapace and Michael Fassbender.  Rapace is quite good, embodying a completely different female here than Sigourney Weaver's kick-ass Ripley.  Rapace's Elizabeth Shaw is mellow and slightly timid -- two characteristics that could never apply to Ripley.  Shaw's mission isn't to kill, but to try and understand all that she can about human existence and her place (and the place of spirituality and faith) in this world.  Fassbender also continues his excellent streak of work with the robotic David.  Even lacking the ability to show emotions, Fassbender still manages to draw your eye to him in every single scene thanks to this sense of underlying (and sometimes not so underlying) menace his character exudes in nearly scene.

I actually got a very "last episode of Lost" vibe from Prometheus thanks to the similarities in tone resulting from their exploratory dives into faith, and given that Damon Lindelof co-wrote the last episode of the series, that shouldn't be all that surprising.  However, also like Lost, Prometheus doesn't provide all the answers and while some would complain about that, I'm actually okay with the open-endedness.  To me, we can't have all the answers when we're discussing something as esoteric as faith and to expect them is almost ludicrous.  I'd be more than open for a sequel that delves a bit deeper.

The film looks beautiful visually and I give much credit to director Ridley Scott for taking things in a different direction with this flick.  Yes, there are still some excellent action sequences and some great set pieces (that "computerized surgery machine" came in quite handy, didn't it?) which show that Scott still has quite a knack at filming tense action.  But we also discover that he is quite adept at the quieter moments of which this film certainly has plenty.  If only he could've convinced the writers to give him more fully-realized secondary characters than I would've been a much happier camper.  But as it stands now, Prometheus is a solid addition to the Alien saga landing right in the middle in terms of quality for the series.

The RyMickey Rating:  B

Movie Review - Young Adult

Young Adult (2011)

Starring Charlize Theron, Patton Oswalt, Patrick Wilson, and Elizabeth Reaser 

Directed by Jason Reitman

Mavis Gary is a bitch.  There's really no need to bite my tongue when saying that because it's true...and in her heart, she knows that's the case.  She was the popular one in her high school in Mercury, Minnesota, a small town outside of Minneapolis, and nearly two decades removed from those days of making out with boys in the forest behind the school during lunch, Mavis, the now popular young adult novelist with a fondness for any kind of liquor (played brilliantly by Charlize Theron) is still as self-centered as ever living the big city life in Minneapolis.   After receiving an e-mail announcing the birth of their baby from the wife of her former high school beau Buddy Slade (Patrick Wilson), Mavis gets the crazy idea to head back to Mercury and attempt to rekindle her relationship with Buddy.  Yes, that's right...Buddy just had a kid and Mavis is trying to steal him away from his wife.

That's the kind of abhorrent character Charlize Theron is given here to portray in a screenplay from Juno screenwriter Diablo Cody.  Mavis is unlikeable at the start of the film and she's no more appealing at the film's end which may explain why this flick has ultimately failed at the box office.  We in the audience don't see a character arc from bad to good.  Instead, thanks to a powerful scene at the film's end in which Mavis is actually encouraged to continue her uncouth ways, Mavis ends the film perhaps even worse than at the film's start.  That isn't to say that Mavis doesn't have revelatory moments in which she realizes some of her faults, but she doesn't necessarily feel the need to change her actions...a ballsy move in which Up in the Air director Jason Reitman fully succeeds.

Mavis's brief moments of revelation often come courtesy of Mercury resident Matt Freehauf (Patton Oswalt).  Although Matt and Mavis had lockers next to each other in high school, they barely spoke a word to one another.  Matt has had his own share of troubles as the victim of a hate crime back in high school when a group of jocks mistook him for being gay and severely beat him.  After that incident, he isn't afraid to tell Mavis his true thoughts as he finds her plan to reunite with her married ex-boyfriend a horrible idea.  Oswalt, best known for his role in King of Queens, is allowed to be the voice of reason here as the conduit that makes a movie with a character as unlikeable as Mavis more watchable and relatable to the viewer.  

The key to the film's success, however, is Charlize Theron.  Even though a thirtysomething Mavis is childish in her actions, Theron's Mavis is always thinking and it shows courtesy of the slightest of eye movements or brow furrowing -- granted, her pondering may not necessarily be "correct" or "appropriate," but Mavis's mind is always whirring with ways to make things better for herself.  It takes talent to make a reprehensible character desirable to spend 110 minutes with (those Hangover guys fail miserably in this department) and the beautiful Theron is fun to watch.  As mentioned above, much credit also needs to be given to Diablo Cody who dropped the pop culture heaviness and catchphrases that proliferated her earlier films like Juno and Jennifer's Body and graduates to a much more adult theme here.

Cody has crafted a character most actresses would be too afraid to sink their teeth into -- one who hardly ever finds herself in the good graces of the viewing audience.  Thankfully, Charlize Theron was more than willing to tackle the tricky Mavis Gary and has given one of the best performances of the year.

The RyMickey Rating:  B+

Movie Review - The Burning Plain (2009)

The Burning Plain
Starring Charlize Theron, Kim Basinger, and Jennifer Lawrence
Directed by Guillermo Arriaga

I must say that I wasn't expecting much when I popped in the Netflix streaming disc in preparation for watching The Burning Plain. It got trashed by the critics when it came out in the early fall and all its Oscar hopes (and there was a tiny bit of buzz around it) were dashed rather quickly. I'm not quite sure what the problem was with this flick. Director and screenwriter Guillermo Arriaga crafts a tale that contains multiple storylines that seemingly have nothing in common, but intersect in quite an interesting way.

Much like Arriaga's previous screenwriting ventures 21 Grams and Babel, this film contains three different tales. Charlize Theron is the lead in the first storyline. When the film opens, Theron's Sylvia is depressed for some reason, moving from one man to the next, sleeping with them in an unsuccessful attempt to find happiness. The second tale focuses on Gina (Basinger) who is a married mother of four, but finds herself in a torrid affair with a married man. Story #3 focuses on Gina's daughter, Mariana (Lawrence). This segment obviously takes place during a different time as Gina and her lover have died when the mobile home they were in exploded while they were in the midst of having sex (that certainly sounds silly, but it's not presented in a laughable way at all). Somehow these three storylines will intersect and when they do, I found it quite satisfying.

While Arriaga certainly jumps around in time, the story he's trying to tell is strong enough to make it not feel as if it's a gimmick. I was a fan of Arriaga's Babel and 21 Grams (both of which I should give another look) and in this -- his directorial debut -- I think he has quite an eye for visuals. I guess I can say that I'm a fan of this screenwriter/filmmaker and I'd probably go see something simply because he's involved.

Theron is possibly the best I've seen her here. While I liked her Oscar-winning role in Monster, her subdued performance in this is nice to watch. Young Jennifer Lawrence is new to the acting game and I was won over by her. She possibly has the most difficult role acting-wise of the three "lead" ladies and she certainly succeeds in it. Unfortunately, Basinger is the weak link. I feel like I've seen her play this role before -- a soft-spoken, quiet woman whose voice shakes whenever she gets nervous. It's that "voice shaking" that feels like a staple of Basinger's repertoire...I'm not a fan.

Still, I was quite impressed with this overlooked and under-appreciated 2009 film. Had I seen this when it came out in October, it certainly would've been on the Top Ten List for a bit. As it stands now, it certainly makes it into the Top 20. Those of you with streaming Netflix should check this one out.

The RyMickey Rating: B+

Movie Review - The Road (2009)

Starring Viggo Mortensen, Kodi Smit-McPhee, Robert Duvall, Charlize Theron, and Guy Pearce
Directed by John Hillcoat

I read Cormac McCarthy's The Road last year and it really got me started on this "I should read more" kick. I truly enjoyed the book -- McCarthy created a tale about an apocalypse with heart. Unfortunately, it's the heart and compassion that really feels like it's missing from the film adaptation. It's not that the film in and of itself is bad -- in fact, it's quite a well-crafted movie all around -- it's just that the book's hopeful soul is nonexistent.

Somehow, Earth has fallen to shambles. The sun no longer shines. All life -- trees, animals -- has died. Ash constantly falls. Earthquakes are a common occurrence. The few human survivors hunt for whatever nutrition can sustain them...even if that means resorting to cannibalism. However, a nameless father (Mortensen) and his nameless son (Smit-McPhee) will not resort to eating their fellow man and instead are on a constant search for food, shelter, and safety.

That's it. That's the story. It's surely a simple premise as we watch the man and boy travel across barren wastelands having awful things happen to them in the process. They're traveling south seemingly because that's what the man's wife (Theron) told them to do before she died. It seems that the father's dreams of his wife are pushing him on this journey...that and his strong desire to not have anything bad happen to his son.

Yes, the film certainly depicts a father's love for his son and vice versa. But the heart and soul that were in the novel seemed to be missing. And it's not that it was Viggo Mortensen's fault. He, once again, proves that he's one of the great actors of our generation (seriously, everyone should watch his badassery in the flick Eastern Promises). The love and devotion for his son certainly come through. And as his son, the young Kodi Smit-McPhee plays the role with a child-like innocence that worked to a tee. To some, the son may seem too innocent for his own good -- but to me, even though he's seen some horrific things, his father's love has somehow shielded him from the world around him. Born after the apocalypse occurred, the son's never seen anything outside of what his father has shown him -- no tv, no movies, no radio. I can see how some would be annoyed with the soft-spoken son, but it seemed spot on to me.

And as far as that missing "heart" goes, it's definitely there in a scene where the father and son come across stockpile of food in an underground shelter. That scene -- the one happy moment in the movie -- had everything that I was looking for in this movie. Unfortunately, the rest of the movie didn't have that sense of hope for me.

I realize I'm probably not making a lot of sense with this one, but I'm gonna post it this way anyway (it's 3am...). Once again, it's not that this movie was bad...in fact, the story itself was a decent adaptation. Something was missing, though. Maybe in a day or two I'll realize what that "thing" was.

The RyMickey Rating: B