Jungle Cruise

 Jungle Cruise (2021)

Starring Dwayne Johnson, Emily Blunt, Edgar Ramirez, Jack Whitehall, Jesse Plemons, and Paul Giamatti

Directed by Jaume Collet-Serra

Written by Michael Green, Glenn Ficcara, and John Requa

Click here for my Letterboxd review

The RyMickey Rating:  C-

Movie Review - The Phenom

The Phenom (2016)

Starring Johnny Simmons, Paul Giamatti, Sophie Kennedy Clark, Allison Elliott, and Ethan Hawke

Directed by Noah Buschel

***This film is currently streaming on Netflix***

A surprisingly serious sports film, The Phenom looks at the effect of immediate superstardom on a young baseball player thrust into the spotlight of the pro sports world.  Johnny Simmons is Hopper Gibson, a high school pitcher who decides to skip college and head straight to the pros when he's drafted by the Atlanta Braves.  Moving up the ranks rapidly, Hopper succeeds initially in his pro debut, but falls apart during a game throwing five wild pitches in one inning.  Unable to get his act together, the Braves send him to sports psychologist Dr. Mobely (Paul Giamatti) where Hopper's past rocky relationship with his mentally abusive father (Ethan Hawke) hints at the young ball player's current lack of confidence.

While The Phenom is admittedly a little slow, it gives a unique perspective for a sports film that we don't often see.  The focus isn't on the inevitable "big game" (or, frankly, any game at all), but instead on the mental highs and lows that come part and parcel with being a major league sports player.  Johnny Simmons is captivating as the title character whose cocky assurance as a high schooler (viewed in flashbacks) morphs into lots of self-doubt as he makes his way to the pros.  Considering that a huge chunk of Hopper's emotional arc occurs inside his head, Simmons succeeds at cluing the audience into exactly what his character is feeling.  Paul Giamatti is also good as the quiet, calming voice that helps Hopper try and become a bit more mentally stable in terms of his presence on the field.

Although The Phenom isn't lensed in any great fashion, writer-director Noah Buschel gives us a different spin on a tired genre.  The insular emotional nature of this piece is a difficult one to tell via a visual medium, but Buschel certainly succeeds on that front.  It's not a perfect film, but it's a good one nonetheless.

The RyMickey Rating:  B

Movie Review - The Little Prince

The Little Prince (2016)

Featuring the vocal talents of Mackenzie Foy, Jeff Bridges, Rachel McAdams, Marion Cotillard, Riley Osborne, James Franco, Benicio Del Toro, Ricky Gervais, Albert Brooks, Paul Giamatti, and Paul Rudd

Directed by Mark Osborne

***This film is currently streaming on Netflix***

2016 was a lukewarm year for animation and I was hoping this little flick -- which was supposed to be released in theaters, but was then shopped to Netflix -- would be a quirky venture that I could latch onto.  Unfortunately, the lack of a theatrical release for The Little Prince was probably the correct assessment as it proves to be much too talky and philosophical for a kids' film, but a little too childish to really engage adults.

I don't think I've ever read the popular children's book upon which this film is based so its resemblance to the source material is completely unknown to me.  However, the film revolves around The Little Girl (Mackenzie Foy) whose Mother (Rachel McAdams) forces her to live a very regimented life focused squarely on education rather than having any modicum of fun.  When The Mother and The Little Girl move to a new home, their next door neighbor ends up being a bit of a handful.  The elderly man (Jeff Bridges) was a former aviator who spends his time piecing together an old plane in his backyard.  Much to her mother's chagrin, The Little Girl ends up befriending The Aviator as he regales her with stories of his youth where he met The Little Prince (Riley Osborne) who traveled to Earth and taught him about being a better man.

The Little Prince looks lovely, there's no denying that.  The mostly typical Pixar-esque computer animation is interspersed with some charming paper-y looking stop motion work that is aesthetically appealing.  The voice acting, for the most part, is also quite good (although there are a few performances - Ricky Gervais, James Franco - that seem more celeb-driven than story-driven).  Unfortunately, it's not enough to help the philosophical mumbo jumbo that drives "The Little Prince" segments of the story which take over as the film progresses.  The film really appears to be unsure to whom it's marketing itself -- is this a kiddie film (as the first half would have you believe) or is this some deeper adult presentation about hanging onto the past and never losing the memories of what came before?  The flick isn't sure of that and it shows in its muddled nature.  Still, it's lovely to look at, but a bit boring to watch.

The RyMickey Rating:  C

Movie Review - Straight Outta Compton

Straight Outta Compton (2015)

Starring O'Shea Jackson, Jr., Corey Hawkins, Jason Mitchell, Neil Brown, Jr., Aldis Hodge, and Paul Giamatti 

Directed by F. Gary Gray

I can't say that I'm surprised the Academy didn't include Straight Outta Compton in their list of Best Picture nominees this year.  Not only is the subject matter not exactly in the Academy's wheelhouse, but the film never really steps out of the typical biopic genre in a way that's overwhelmingly or cinematically amazing.  Don't mistake the last sentence for a lack of enthusiasm from this blogger - Compton is a solid film, but it's not a top ten contender.

Like many of those unjustly ridiculed Academy members, I couldn't have cared less about the subjects of Straight Outta Compton seeing as how rap music has no place on my iPod.  However, the creation and subsequent dismantling of the rap group NWA in the late 1980s/early 1990s yields a decent story that proves to be surprisingly capable of keeping my interest.  Rappers Eric "Eazy-E" Wright (Jason Mitchell), Andre "Dr. Dre" Young (Corey Hawkins), and O'Shea "Ice Cube" Jackson (O'Shea Jackson, Jr.) each had varying degrees of difficulty in their life in Compton, California.  Eric was into the drug trade, Andre was an aspiring DJ having trouble at home with his mother, and Andre was a high school student harassed by police simply for living where he lived.  The three end up banding together (along with two other members) to create a rap album which is met with success in the local area, piquing the interest of Jerry Heller (Paul Giamatti) who eventually ends up managing the group sending them on a nationwide tour after their subsequent album which includes the controversial song "F*** tha Police" detailing injustices at the hands of law enforcement becomes a breakout hit.  The aftermath of the very un-PC song and the subsequent skyrocketing success leads to quite a bit of tumult within NWA as Ice Cube begins to question whether Jerry is really the man to lead the group to all of their dreams.

Despite following a typical storyline of a group of nobodies becoming immensely successful only to be broken apart by fame, Straight Outta Compton never has that VH1 Behind the Music feel to it in part thanks to the controlled and steady direction from F. Gary Gray who allows his film time to develop the characters at all aspects during their career.  We get time before they're successful, during their peak of fame, and post-NWA careers and this permits to audience to see the varied emotions and motivations of each of the three key members of the group.  With its lengthy, nearly 150-minute runtime, Gray doesn't rush things which is surprisingly a positive especially considering this reviewer's distaste for movies that overstay their welcome.

That said, despite the time spent delving into Eazy-E, Dr. Dre, and Ice Cube's personal stories, the screenplay (the only Oscar-nominated aspect of the film) sometimes feels oddly rushed and slipshod. Incidents that led to Ice Cube's distrust of police, as an example, feel pedestrian and forced as opposed to impactful.  Similarly, scenes depicting the LA Riots in the early 90s lack an emotional resonance and feel slightly laughable rather than riveting.  The film falters when looking at these "big picture" aspects of society, but wholly succeeds when looking at the individual struggles facing its three main characters.

Part of the reason for that success is the aforementioned direction that permits the characters' personal lives to resonate at a slowed-down pace, but the bigger surprise here is the group of three relatively unknown actors who capture the lives of rappers Eazy-E, Dr. Dre, and Ice Cube.  I'd be hard-pressed to choose who I liked best out of the trio of Jason Mitchell, Corey Hawkins, and O'Shea Jackson, Jr (the latter of whom hasn't acted before and is the son of Ice Cube).  The film gracefully moves in and out of the lives of all three and each actor more than stands his ground and makes his aspect of the story riveting.  By the time the end rolled around, I'd say Jason Mitchell may eke out the MVP award simply because his character goes through a bit more of an arc and personal struggle, but all three are impressive and really elevate the proceedings.

In the end, I can't blame the Academy for the failure to nominate Straight Outta Compton.  It's a very good film, but even I can't place it in the top ten of the year.  Will it pop up in a few RyMickey Award categories?  It's possible, but even if it doesn't quite make the cut, I must admit that I was quite surprised to have enjoyed it as much as I did.

The RyMickey Rating:  B

Movie Review - Love & Mercy

Love & Mercy (2015)

Starring John Cusack, Paul Dano, Elizabeth Banks, and Paul Giamatti

Directed by Bill Pohlad

Brian Wilson of The Beach Boys was a bit of a songwriting savant making the surf-centric group one of the most popular of the 1960s.  However, Wilson led a troubled life likely brought on by his father's disappointment in him despite his son's great success.  Following a panic attack on a plane, Wilson stops touring and spends his time developing what he thought would be the greatest album ever made -- Pet Sounds.  His intense focus on the album lost him favor with his fellow group members and began the downward spiral in the relationship with his wife.  A few decades later in the 1980s, Wilson finds himself under the care of abusive therapist Eugene Landy (Paul Giamatti), but begins to fall for car saleswoman Melinda Ledbetter (Elizabeth Banks) who feels that Wilson is being manipulated and over-medicated by Landy so that he can have control over Wilson's fortune.

The story of Love & Mercy spans both eras of Wilson's life with Paul Dano taking on the singer in the 1960s and John Cusack playing him in the 1980s.  The film's clever balancing act of showing us two aspects of the singer's life makes this biographical flick a lot more interesting than I ever thought possible with both eras getting equal play and sharing equal amounts of gravitas.  Dano rather astutely shows us the downward spiral Wilson experienced, while Cusack does a nice job of playing a man desperately trying to break out of his rigidly structured life set forth by his supposed caretaker.

The real star of the show here, though, is Elizabeth Banks in what is really a break-out role for her as the elder Wilson's girlfriend Melinda.  Banks takes what could have certainly been a throwaway role and gives Melinda depth, strength, and conviction that I wasn't expecting in the slightest.  While it's true that much of her role is reactionary to Wilson or Landy's actions, Banks imbues Melinda with so much intelligence behind her eyes.  There could have been a huge amount of sentimentality or sheer mushiness in a role that requires an actress to "save her beau" from himself, but Banks tells us more from her heartfelt, nervous, contemplative gazes than I've seen in many other roles this year.  It's truly a stellar performance and one that captivated me from the moment she stepped onscreen.  If anything, it was slightly detrimental to the earlier Brian Wilson story because Banks is so good here that I wanted the story to pivot back to her.

Love & Mercy is a nicely directed, nicely written film that definitely deserved some awards attention, but failed to garner any.  If anything, see it for Elizabeth Banks who proves that she's much more of a talent than many of us thought, but even taking Banks out of the equation, the flick is a biopic that lacks much of the sentimental gooeyness that often accompanies the genre.

The RyMickey Rating:  B+

Movie Review - San Andreas

San Andreas (2015)

Starring Dwayne "The Rock" Johnson, Carla Gugino, Alexandra Daddario, Ioan Gruffudd, Hugo Johnstone-Burt, Art Parkinson, Archie Panjabi, and Paul Giamatti

Direted by Brad Peyton

There's not much to San Andreas except for what we'd expect -- a giant earthquake wreaking mighty havoc over the southern portions of California.  Sure, there are attempts at a little more substantive story -- divorced father and mother (Dwayne Johnson, Carla Gugino) band together to find their stranded daughter (Alexandra Daddario), earthquake expert (Paul Giamatti) creates a device to predict quakes but no one will listen -- but at the heart of it all, this is simply a flick filled with special effects earthquake mayhem.

The pure special effects-driven nature works for the film's first hour quite well wasting very little time getting into the action and driving the story along from set piece to set piece.  However, as the second hour begins, the idiocy of what we're watching begins to rear its ugly head.  With Giamatti given absolutely nothing to do except hide under desks after spouting warnings similar to "This aftershock will be the biggest one yet!", the film tries to create some form of realistic story behind Johnson and Gugino attempting to find their teenage daughter in the shambles of San Francisco as the two parents are forced to face increasingly ridiculous scenarios.  How will they outrun a collapsing building?  How will their boat make it over the wave of this rising tsunami?  How will they land a helicopter with engine failure?  Seeing the chaos caused by the earthquake in the first hour seemed naturally plausible...seeing two apparent super humans try and rescue their equally superheroic daughter who McGuyvers her way out of quite a few tight spots herself makes the second hour laughable.

For the most part, the actors are game and actually do a nice job of keeping us interested in the action despite the building implausibility.  Johnson and Gugino are a nice match and Daddario more than carries her storyline with the help of British mates she meets along the way played charmingly by Hugo Johnstone-Burt and Art Parkinson.  In the end, San Andreas is about what can be expected, however, the film hurts itself by presenting a surprisingly solid first half only to dive deep into the realm of impossibility in its second half.

The RyMickey Rating:  C-

Movie Review - The Congress

The Congress (2014)

Starring Robin Wright, Harvey Keitel, Danny Huston, Kodi Smit-McPhee, Jon Hamm, and Paul Giamatti

Directed by Ari Folman

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

Robin Wright plays a version of herself in The Congress set in an immediate future in which movie studios have perfected a method of digitizing images of stars and sending the real-life actors packing, creating new movies and media personas out of these fully lifelike computerized images.  Known for being a bit of a difficult actress (in the film, that is), Robin is also an aging woman -- something Hollywood is not overly fond of it seems.  Eager to spend a little more time at home with her two kids particularly since her son (Kodi Smit-McPhee) is suffering from the early onset of Usher Syndrome in which he is gradually and irrevocably losing his eyesight and hearing, Robin agrees to a contract that allows Miramount Studios to digitize her and use her image however they see fit.

I must admit that despite the somewhat slow pace, I was mildly intrigued with what The Congress was giving me during its first half with Robin Wright giving a surprisingly nuanced and understated performance as an actress struggling to have to let go of her family's source of livelihood and income.

And then the film jumps twenty years ahead and we see Robin driving down a desolate desert road only to be stopped at a checkpoint where she is given an ampule of liquid which she sniffs...and then turns into a cartoon.  Yep.  Although the animation in the film's second half is vivid, colorful, and steeped a visually impressive 1930s/40s style, the storyline of this segment of the film was much too difficult (and/or uninteresting) for me to follow.  With a whole bunch of metaphysical gobbledygook being spewed about one's real self and true being, I found myself zoning out way too many times for the film's own good.

With about thirty minutes left, I said aloud, "Why are you doing this to yourself?  Just stop watching."  And I almost gave in to that temptation, but I continued.  In the end, I'm glad I did as The Congress did become a little more comprehensible to me by the time it concluded, but it's still much too weird and dull for it to be even remotely recommendable which is a shame because the promise of the first half and the intriguing questions it raises about ageism and sexism in Hollywood are actually quite relevant.

The RyMickey Rating:  D+

Movie Review - The Amazing Spider-Man 2

The Amazing Spider-Man 2 (2014)

Starring Andrew Garfield, Emma Stone, Jamie Foxx, Dane DeHaan, Chris Cooper, Colm Feore, Felicity Jones, Paul Giamatti, Embeth Davidtz, Campbell Scott, and Sally Field

Directed by Marc Webb

While moderately better than 2012's The Amazing Spider-Man mainly because we're able to move on beyond the re-telling of Spidey's origin story, there's something about this title character that doesn't quite click with me.  If I remember correctly, there has always been some sly, comedic aspect to Peter Parker whenever he finds himself wearing the Spiderman attire and I find it oddly disconcerting.  When faced with evil villains like Electro (Jamie Foxx), a lowly worker at the Oscorp Power Company whose obsession with Spiderman takes a nasty turn, and the Green Goblin (Dane DeHaan), who was previously Harry Osborn, son of the founder of Oscorp, Spidey just makes jokes.  Because of this, any potential for suspense is oftentimes mitigated.

When compared to the Tobey Maguire/Kirsten Dunst trilogy, I still think Andrew Garfield and Emma Stone fare better in the acting department as both Garfield and Stone more believably inhabit their characters' tumultuous relationship.  With the exception of Jamie Foxx -- who, admittedly, is given a bit more of a stock character type of role than those around him -- most of the acting is solid which certainly helps matters and makes things watchable.  However, I still find myself utterly uninterested whenever Garfield's Peter Parker puts on the Spidey suit.

Perhaps it's the lack of believable special effects.  I commented on this after watching the first film as well, but there must be something about having some guy fly around in a suit like Spidey's that makes things look incredibly fake.  Unfortunately, the fx wizards didn't fix things with this second film -- you're always well aware that you're watching animation onscreen and it's irritating, removing us from the story at times.  While there have certainly been worse superhero films, this new reimagining of the Spider-Man story doesn't really have the cinematic chops to make it worth continuing.

The RyMickey Rating:  C

Movie Review - Parkland

Parkland (2013)

Starring James Badge Dale, Zac Efron, Colin Hanks, David Harbour, Marcia Gay Harden, Ron Livingston, Jeremy Strong, Billy Bob Thornton, Jacki Weaver, and Paul Giamatti

Directed by Peter Landesman

Parkland looks at the immediate aftermath of the John F. Kennedy assassination not through the eyes of the Kennedys or the conspiracy theorists, but through the lens of "normal" folks on the ground in Dallas, Texas, that fateful day in November 1963.  While an interesting concept, the film lacks an emotional undercurrent throughout, forcing the audience to feel distanced from everything despite first-time director-screenwriter Peter Landesman's attempts to pull us in visually with his camerawork.

Landesman's film certainly is a good debut for the director, but considering the heft of the subject matter, the piece lacks that emotional connection you long to feel.  Part of the reasoning behind this is likely due to the fact that Parkland is truly an ensemble piece.  We see the doctors and nurses at the Parkland Hospital (played by Zac Efron, Colin Hanks, and Marcia Gay Harden) trying to save Kennedy at the beginning, but then we're whisked away to meet with Abraham Zapruder (Paul Giamatti) to see how he dealt with doling out his famous film to the media and the government.  We also get glimpses into the world of the various FBI and Secret Service agents (David Harbour, Ron Livingston, and Billy Bob Thornton) and their reactions to that day before we're welcomed into the world of Lee Harvey Oswald's brother Robert (James Badge Dale) and crazed mother (Jacki Weaver) and their varied reactions to the horrific events that his brother/son (Jeremy Strong) caused.

Quite honestly, all of these four story threads are quite intriguing and they're all buoyed by strong performances by the cast.  Unfortunately, with the ensemble nature of the piece, we're never with any one of them for any long period of time.  Just when we're starting to feel compassion for the medical workers and their unenviable task that November day, we shift to another storyline.  While I appreciate the different angles Landesman brings to the table, it does keep the audience at an emotional distance from the goings-on.  Nevertheless, Parkland is an intriguing piece that certainly gives a different perspective of the Kennedy assassination and if you're a history buff it's well worth watching.

The RyMickey Rating:  B-

Movie Review - Turbo

Turbo (2013)

Featuring the voice talents of Ryan Reynolds, Paul Giamatti, Michael Peña, Samuel L. Jackson, Luis Guzmán, Bill Hader, Snoop Dogg, Richard Jenkins, Michelle Rodriguez, and Ken Jeong

Directed by David Soren

***This film is currently streaming on Netflix***

About 35 minutes into Turbo, I found myself thinking that I had a nice little surprise on my hands with this fairly little seen film (in terms of mainstream animated flicks).  A NASCAR-obsessed snail named Theo (voiced by Ryan Reynolds) is the problem child of a clan of snails headed by Theo's older brother Chet (Paul Giamatti).  The snails take care of a tomato patch, but Theo seemingly causes chaos with his daydreaming about one day matching the talent of his favorite NASCAR driver Guy Gagne (Bill Hader).  Discouraged by his brother's disappointment in him, Theo wanders away from the tomato patch and, in a freak accident, gets sucked into the engine of a drag racing car wherein, through some crazy DNA fusion, he gets his veins filled with nitrous oxide causing him to be able to move as fast as the cars he's dreamed about.

While I enjoyed the tale's relationship between brothers Theo and Chet, once Theo leaves his home and becomes a souped-up snail, Turbo begins to fall apart.  Theo finds himself at Dos Bros Taco store and, perhaps serendipitously, Tito (Michael Peña), one of the Dos Bro's, races snails for fun.  (Yeah...sure...)  When he discovers Theo's prowess, Tito decides to try and get Theo -- whom he names Turbo -- into the Indianapolis 500.

While Turbo looks decent and its main voice actors -- Ryan Reynolds and Paul Giamatti -- are solid, its story just doesn't work once Theo "becomes" Turbo.  While at Dos Bros, Turbo meets a slew of other snails -- voiced by people like Snoop Dogg, Maya Rudolph, and Samuel L. Jackson -- who have ridiculously stereotypical personalities and don't do anything to advance the story whatsoever.  They all could've (and should've) been eliminated and the plot essentially could have been rolled out in the same manner.  The film's climax feels obvious and rather forced, allowing for very little tension which doesn't help things either.

The RyMickey Rating:  C

Movie Review - Saving Mr. Banks

Saving Mr. Banks (2013)

Starring Emma Thompson, Tom Hanks, Annie Rose Buckley, Colin Farrell, Ruth Wilson, Paul Giamatti, Bradley Whitford, B.J. Novak, Jason Schwartzman, Kathy Baker, Melanie Paxson, and Rachel Griffiths

Directed by John Lee Hancock

Poor Saving Mr. Banks.  Hit with articles and speeches (thanks, Meryl Streep) saying that it's a whitewash of Walt Disney's "true" misogynistic and anti-Semitic leanings, intent on being a love letter for the cherished movie company, the family friendly film all but missed the boat on Oscar nomination day failing to earn a nod beyond Best Score.  Critics of the film will tell you that the movie sets up Mary Poppins author P.L. Travers as a put-upon lady who had to succumb to "Uncle Walt's" wishes in order to finally have a film version of her classic novel placed up on the screen.  Quite honestly, I can't help but think that's a bunch of baloney as that's not at all what I saw in this movie.  Travers' headstrong personality may have kowtowed in certain areas of production, but to call her an obsequious woman trampled on by a larger than life figure misses the boat completely.  Yes, Saving Mr. Banks is a film about letting things go, but Travers isn't "giving up" her beloved Mary Poppins.  Instead, she's giving up some long-standing guilt that's she's clung to since her childhood.  The story here isn't really about the making of a movie...it's about one woman's acceptance of the past and willingness to forgive herself for things beyond her control.

Saving Mr. Banks manages to take two separate storylines and weave them together rather seamlessly thanks to a lovely script by Kelly Marcel and Sue Smith and nice (though perhaps a tiny touch heavyhanded) direction by John Lee Hancock.  First, we see an adult Pamela Travers (Emma Thompson) finding herself facing monetary trouble.  With her unwillingness to write any more novels and sales of her Mary Poppins series dwindling, London-based Travers is convinced by her agent/publisher to travel to California and meet with Walt Disney (Tom Hanks) to discuss the making of Poppins into a feature film.  Upon her initial meeting with the Hollywood mogul, Travers agrees to see what Disney, screenwriter Don DeGradi (Bradley Whitford), and songwriters Robert and Richard Sherman (B.J. Novak and Jason Schwartzman) have crafted for her beloved nanny character.  Travers is not an easy woman to please.  While some may call her curmudgeonly, she simply has a vision as to what she believes Mary Poppins should be.

The reason for that vision is because, as much as she tried to suppress it for decades, Mary Poppins is really a re-imagined telling of what she longed for her childhood to be.  In the other half of Saving Mr. Banks, we bear witness to Travers' youth.  Young Ginty (Annie Rose Buckley) simply adores her father Travers Goff (Colin Farrell), a banker whose imaginative mind created a fantastical world for Ginty and her two siblings despite the family living on a dilapidated ranch in Australia.  Travers wanted nothing more than to provide for his family, however, he was dealing with his own personal demons in the form of alcohol and young Ginty carried around the guilt for decades of not being able to "save" her father from placing his lips to the bottle.

As we discover, Ginty is really Pamela Travers with Pamela changing her name in adulthood to honor her father.  The film bounces back and forth between the two storylines with each allowing the other to become richer and more well-rounded as layers are revealed.  We begin to realize that it's her childhood experiences that shaped Pamela Travers into the no-nonsense (perhaps even crotchety) woman that she became.  She used her novel to try and cope with the demons of her past, but rather than helping her let them go, the book made them cling to them even more.  Through the making of the film version of Mary Poppins, Travers is able to release them (even if just a little bit), but this doesn't come without an emotional toll for her.

Emma Thompson is fantastic as P.L. Travers.  Admittedly, she starts off rather one note, with Travers being a woman of clipped, precise words, showing little to no emotion behind a rock-hard exterior.  However, as the film progresses, we see glimpses of her ice queen nature being melted away.  It's this change that has many of the film's critics crying fowl with the critique being that through the "magic of Disney," all of her problems were solved.  That's just not the case.  Thompson's Travers can really be summed up in the film's final scene (of which, I guess, this could be considered a spoiler, so read on with that knowledge) in which Travers sits watching the Hollywood premiere of Mary Poppins.  Without a single word and only through facial expressions and the slightest of body movement, we see Travers initially disgraced with her selling out of her beloved character, angered by the addition of animation (which she was adamantly against), yet moved by the lovely depiction of family life and of a father who wanted nothing more than his children to flourish and grow beyond what he could provide for them.  John Lee Hancock stays focused on Thompson's face and it's a fantastic moment that carries so much more emotional impact than what we're seeing on the surface because of everything Thompson brings to the role.

Although Thompson is certainly the center of the film, she's surrounded by fantastic performances all around, including Tom Hanks as the equally opinionated Walt Disney.  Disney here is a nice guy who's willing to make concessions to Travers, but not willing to forgo his knowledge of what makes "quality" movies.  The back-and-forth between the two actors is oftentimes brilliant and was a treat to watch.  A very nice and subdued supporting turn from Paul Giamatti as Travers' driver was also a nice addition.  Really, though, there's not a bad performance here at all and that's certainly something worth recognizing.

I will admit that I come to Saving Mr. Banks with some inherent bias in that I'm the biggest Disney fan I know.  However, I also approached this film with a great level of fear and trepidation that it wouldn't even come close to living up to the bar I had set for it.  In fact, I avoided watching the film for nearly a month because I simply didn't want to have my hopes shattered.  I'm beyond pleased to state that my worries were unfounded.  Saving Mr. Banks is an absolutely lovely film that carries much more emotional depth than I ever could have expected.

As a side note, stay halfway through the credits.  There, you'll hear taped recordings of Travers duking it out with the Sherman brothers and screenwriter Don DeGradi over the script.  It shows that the film's depiction of Travers was certainly true-to-form.

The RyMickey Rating:  A-

Movie Review - 12 Years a Slave

12 Years a Slave (2013)

Starring Chiwetel Ejiofor, Michael Fassbender, Lupita Nyong'o, Sarah Paulson, Benedict Cumberbatch, Paul Dano, Scoot McNairy, Taran Kiliam, Garret Dillahunt, Paul Giamatti, Alfre Woodard, and Brad Pitt

Directed by Steve McQueen

Director Steve McQueen is fairly new to the feature film scene, but his fantastic 2011 flick Shame put him onto my radar so I came to 12 Years a Slave with high expectations.  McQueen absolutely has an eye behind the camera that I find interesting, but this film lacks a tiny bit of drive to push the story along which knocks the otherwise well-done film down a notch or two.

Based on a true story, 12 Years a Slave tells the tale of Solomon Northup (Chiwetel Ejiofor), a freed black man living quite well in New York in the 1840s with his wife and two children by his side.  A musician by trade, Solomon is approached by two men (Scoot McNairy and Taran Kiliam) who desire to hire him to play music on tour with their traveling circus.  Solomon agrees and travels to Washington, D.C., where the two men wine and dine him one night to the point of Solomon getting drunk and passing out.  The next thing Solomon knows, he's chained in a dark room and his two new "employers" are nowhere to be found.  Solomon quickly comes to the realization that he was drugged and, despite his pleas, he is sold into slavery and shipped down to New Orleans where he's given the new name of "Platt" to try and conceal the fact that he was ever a free man.

The film then follows Solomon through a series of owners.  The first, William Ford (Benedict Cumberbatch), is a good man who recognizes the intelligence and education of Solomon.  Despite Ford's kindness, Solomon still finds himself working the field under the watchful eye of the nasty John Tibeats (Paul Dano) who resents the fact that Solomon is so respected by Ford.  Eventually, things get to such a boiling point between Solomon and Tibeats that Ford decides he must sell Solomon in order to keep unity amongst the slaves and the ownership.  Unfortunately for Solomon, his new owner Edwin Epps (Michael Fassbender) isn't nearly as benevolent as Ford.  Epps, who owns a cotton plantation, could care less about Solomon's education -- he only wants to know how much cotton he can pick in a day.  Adding to the tension, the married Epps is having an affair (however one-sided it is) with female slave Patsey (Lupita Nyong'o) which doesn't sit too well with Epps' wife (Sarah Paulson) and causes moments of chaos on the plantation.

I fully understand that this is a true story of a horrific journey of one man's life -- so who am I to knock it.  I will say, however, that the episodic nature of the tale -- as evidenced by the summary above -- does make the film feel a little disjointed and doesn't quite allow it to ever gain a driving momentum.  Once we finally get to the climax of one tale (the Ford chapter, as an example), we're sent to the next segment where we essentially have to start things all over again.  It's not as if either story isn't worth telling -- they certainly show the varied lives slaves may have endured in the 19th century -- but the screenplay by John Ridley, while good, doesn't quite succeed at keeping the story moving at a typical movie's pace.  Then again, maybe it's this screenplay's slow pace that attracted Steve McQueen to the project.  Many would say his previous film Shame had that same methodical tone to it and I wouldn't necessarily argue with them.  Shame was telling one story, however, whereas 12 Years a Slave almost feels as if it's telling two or three.

Still, despite my qualms, I don't want my criticism in any way to make it seem as if I didn't like the film.  This certainly is not a chore to sit through and I found the story rather fascinating in that Solomon Northup's tale of a free man being resold into slavery is something I'm not quite sure we've ever seen captured on film before.  McQueen doesn't shy away from the hardships slaves faced on a daily basis and the director seals his status as a filmmaker to watch with an incredibly long and unceasingly uncomfortable single-take scene towards the film's end of a brutal beating.  Although this long take filled me with an uneasy dread, I was fascinated by McQueen's technique, forcing the viewer to "stay with" the scene never allowing us to turn away to get a respite from the horrors endured by some African Americans in the 19th century.

There's an understated demeanor to Chiwetel Ejiofor's performance that endears him to the audience.  Behind his eyes, you can always see the longing to return home to his wife and children, but the fear that it may never happen.  Ejiofor gives a strength to Solomon that is admirable and is a commanding presence despite the character's oftentimes repressed nature.  Benedict Cumberbatch and Michael Fassbender are two of today's most talked about actors and here they're playing complete opposite sides of the spectrum in slave owners Ford and Epps.  The audience immediately admires Ford's humanity which stands in stark contrast to the bitter anger that permeates seemingly through the pores of Epps.  Fassbender is at his best in scenes involving Sarah Paulson as his wife and newcomer Lupita Nyong'o as his lover.  Fassbender excels at radiating jealousy and he's near perfect at playing such a nasty guy.  However, Paulson and Nyong'o are equally as good at playing the two women he loves.  Paulson's bitterness is spot-on (albeit incredibly nasty) and Nyong'o's pain at being forced to accept being raped on a regular basis is absolutely painful.  I will say (and this harkens back to the screenplay's problems a tad), I wish Nyong'o had a little more to do.  This actress is certainly forced to run the spectrum of emotions (brutally so, at times) and I realize this is Solomon's story, but I wanted a little more depth for Nyong'o to sink her teeth into.

12 Years a Slave isn't an easy watch, but it certainly illustrates a point in our history that needs to be remembered and explored.  I'm happy that Solomon Northup's bittersweet tale has been told and it's a film that's so close to being great, but misses the mark a tiny bit in just a few key areas.

The RyMickey Rating:  B+

Movie Review - Rock of Ages

Rock of Ages (2012)

Starring Julianne Hough, Diego Boneta, Russell Brand, Paul Giamatti, Catherine Zeta-Jones, Malin Akerman, Mary J. Blige, Bryan Cranston, Alec Baldwin, and Tom Cruise

Directed by Adam Shankman

Movies don't get much worse than Rock of Ages, one of the most dreadful films I've seen in a long time.     There's a line in Journey's "Don't Stop Believin'" which is sung two or three times in this musical that says "the movie never ends / it goes on and on and on and on," and, boy, does this movie seem an interminable mess.  I'm legitimately not sure why I watched the whole thing except to say that I knew within the first ten minutes that this was going to be the worst movie of 2012 and I needed to at least be able to have seen the movie that warranted that ignominious prize.

Somehow or another, this melange of horrible '80s rock music has been running on Broadway since 2009 and it's still going strong.  With a paper thin plot involving "small town girl" Sherrie (Julianne Hough) who moves to L.A. to make it in the music industry only to find that life is more difficult than she could have imagined, Rock of Ages throws in a bunch of perfunctory characters to try and round out the tale.  Of course, Sherrie falls in love almost immediately upon arrival with Drew (Diego Boneta), an aspiring rock star who works at the iconic rock venue The Bourbon Room run by Lonny (Russell Brand) and Dennis (Alec Baldwin) whose "witty" repartee proves groan-inducing.  The Bourbon Room is unfortunately a bit behind in paying their taxes and Dennis formulates a deal for aging rock star and nonsensical alcoholic druggie Stacie Jaxx (Tom Cruise) to play a solo performance at the establishment, much to the chagrin of the new L.A. mayor (Bryan Cranston) and his bitchy wife Patricia (Catherine Zeta-Jones), the latter of whom is on a mission to "sanitize" the city by ridding it of its bars and strip clubs.

But since bars, strip clubs, alcohol, and rock and roll are totally tubular (there's an '80s term that thankfully faded), screw the government and rock on!  At least, that's what we're supposed to feel.  Instead, I just longed for this movie to come to a close.  Filled with some of the worst performances of the year (Mary J. Blige should never get another acting job after this), there's nothing even remotely positive to latch onto.  I thought maybe Tom Cruise who is certainly taking on a different role in Stacie Jaxx than we've seen from him before might at least provide some amusement in hamming it up for the screen, but instead I just felt bad for him to be involved in this dreck.  The two leads in Julianne Hough and Diego Boneta actually come out of this the most unscathed simply because their characters were the most "normal," and despite looking all doe-eyed and innocent for much of the film, neither were given embarrassing moments to undertake like the rest of their fellow cast members.

Director Adam Shankman who did a rather brilliant job with the amusing and cheerful Hairspray several years ago should've known better.  The film jolts back and forth between its various characters too much and the musical numbers are filmed rather blandly, lacking any imagination or creativity.  I don't think you could pay me enough money to watch Rock of Ages again.  Painful...just painful...

The RyMickey Rating:  F

Movie Review - The Ides of March

The Ides of March (2011)

Starring Ryan Gosling, George Clooney, Evan Rachel Wood, Paul Giamatti, Philip Seymour Hoffman, Jeffrey Wright, Max Minghella, and Marisa Tomei

Directed by George Clooney

I'm not sure if The Ides of March was attempting to be something more thought-provoking than the simple melodrama I took away from it, but if George Clooney's film was trying to be meaningful and insightful, it didn't succeed at all on that level.  The slowly unfolding story (and I do mean slowly...particularly in the first fifty minutes of tedium) eventually turns into something rather riveting, but it's really just a glorified soap opera -- not that there's anything wrong with that if it's as well-crafted as this is in its final moments.  That said, The Ides of March tries to mask the overly dramatic moments, wanting instead to feign that it's incredibly important when, in fact, it simply reiterates what is already known -- politics is full of shady dealings and lapses in ethics by the very people who purport to be the moral pillars of society.

I knew very little going into The Ides of March and, in the end, that's probably for the best, so I'm going to reveal very little in terms of the plot except to say that the film focuses on thirty-year-old Stephen Meyers (Ryan Gosling), a young campaign advisor for Pennsylvania governor/Democratic presidential candidate Mike Morris (George Clooney).  Stephen is a strong up-and-comer and is lauded for his smarts when it comes to the political spectrum.  Stephen's partner/boss on Morris's campaign is Paul Zara (Philip Seymour Hoffman), a longtime advisor to Democratic candidates.  Paul and Stephen seem like a solid duo, offering the opposite spectrums of weathered experience and wide-eyed optimism, respectively, to the Morris campaign.  For nearly the first fifty minutes, the film simply feels like a look at these three men on the campaign trail with occasional looks at Morris's competitor's campaign headed by Tom Duffy (Paul Giamatti) who is certain his candidate will overtake Morris's apparent lead.

Finally, nearly an hour into the movie, something interesting finally happens which I won't reveal here and the movie takes the viewer on an interesting little ride which, while not full of necessarily surprising twists and turns, is at least thoroughly entertaining.  As an auteur, George Clooney (like his fellow actor/director Clint Eastwood) is very old school, utilizing very little in terms of gimmickry.  Usually, I'd be all for that, but in all of Clooney's films (much like Eastwood's) he can't move the movie along at a quick enough clip to keep me interested.  While well shot and nicely framed, the story just lacks a powerful punch for nearly half of the running time.

Part of the problem in The Ides of March is that the film doesn't give the viewer anything new to chew on.  Are we surprised that members of the same political party do anything and everything they can to defame their fellow members (shades of Herman Cain and the current Republicans perhaps)?  Are we shocked by a lack of ethics from our political candidates and their campaign workers?  There's just nothing surprising about the uncouth underbelly of politics.  The film at least comes alive when it gravitates towards the melodrama that comes hand-in-hand with lapses in morality.  The lack of vivacity and any modicum of excitement in the first half, though, doesn't push the film forward at all.  [Truth be told here...I looked at my watch about twenty minutes into the movie and I seriously felt that at least fifty minutes had gone by...I almost said aloud, "You've got to be kidding me."]

"Star" George Clooney actually takes a backseat to Ryan Gosling's Stephen, but this is still Gosling's least interesting role this year (after Crazy, Stupid, Love and Drive).  However, Gosling continues to prove that he is probably the best actor of my generation.  He plays a smooth talker here with Stephen's up-and-coming status in politics not having sullied him yet by the cynicism that permeates his fellow older co-workers' daily lives.  Clooney is fine, but is hurt by an opening hour that simply has him spouting off speeches that seemed too well-written to ring true.  Hoffman and Giamatti are both quite good in their roles of the weathered campaign advisors and Evan Rachel Wood is also strong as the young intern who has a thing for Stephen.

Still, had The Ides of March simply dropped the pompous aire of self-importance in the opening acts and skipped directly to the smart soap opera-like twists and turns that made up the rather exciting climax, this would have been a flick I could have wholeheartedly recommended.  As it stands, though, it's too bland to really amount to anything worth talking about.

The RyMickey Rating:  C

Movie Review - Win Win

Win Win (2011)

Starring Paul Giamatti, Amy Ryan, Bobby Cannavale, Jeffrey Tambor, Burt Young, Melanie Lynskey, and Alex Shaffer

Directed by Thomas McCarthy

I went into Win Win thinking I was in for some quirky low budget indie comedy (a genre that I find myself quite wishy-washy on), but what I got was a movie that has a surprising amount of heart and humor and one of the best ensemble casts I've seen so far this year including a very nice debut turn from young actor Alex Shaffer.

Lawyer Mike Flaherty (Paul Giamatti) is in a bit of trouble.  With clients few and far between, he ends up taking over guardianship of Leo, one of his elderly senile clients (Burt Young), in order to receive a monthly commission of $1500.  One Sunday morning while stopping by Leo's home, Mike and his wife Jackie (Amy Ryan) spot a teenager sitting on the front porch who, it turns out happens to be Leo's grandson Kyle (Alex Shaffer) who has run away from home and has a mother who is currently residing in a drug rehab facility.  Feeling a bit of guilt for collecting the monthly stipend from Leo, Mike takes the teen into his home and soon discovers that despite Kyle's typical teenage quirks, he's a good kid who Mike and his family begin to deeply care for as he slowly becomes acclimated to the community, even joining the wrestling team that Mike coaches at the local high school.

Director and screenwriter Thomas McCarthy has crafted an absolutely lovely dramedy here with moments of laugh-out-loud humor and bring-a-tear-to-your eye emotions.  That's due in huge part to the absolutely terrific cast led by Paul Giamatti in what I think may be his best role yet.  Yes, he's just playing a normal suburban dad, but there's just a genuine true quality to his performance that I latched onto right away.  He loves his wife; he loves his family; he (kinda) loves his job...he's just an all around good guy and, although he's certainly flawed, the audience understands that his slight imperfections are only there in order to do the best he can for his wife and two young daughters.  

Similarly, Amy Ryan is near perfect in a simple role, but one that is incredibly effective thanks to its strong roots in reality.  Bobby Cannavale as Mike's best friend and Jeffrey Tambor as Mike's assistant wrestling coach provide much of the humor and, although neither are essential to the plot, never feel shoehorned into any scenes simply to provide comedic elements.  Melanie Lynsky is turning out to be one of my favorite small-time character actresses and as Kyle's mom who comes onto the scene late in the film, she is the impetus behind many of the film's most dramatic moments.  Alex Shaffer plays Kyle as a moody teenager, but there's something oddly different, innocent, and somewhat sweet in his portrayal and it was a fresh take that was a welcome change from the typical "troubled" teens we so often see.  He plays Kyle as a good kid who's been in a bit of trouble, but has overcome a lot and deserves better than his lot in life.  

Despite a few F-bombs dropped here and there, Win Win is a really great "family-style" film that may not necessarily think "out of the box" when it comes to storytelling, but it tells its story so darn good that it makes it incredibly easy to overlook its sometimes melodramatic moments.  It's not the least bit flashy, but it is a pleasure to watch and it's a flick that I'll certainly revisit in years to come.

The RyMickey Rating:  A-

Movie Review - Cold Souls (2009)

Starring Paul Giamatti, Dina Korzun, Emily Watson, David Strathairn, Katheryn Winnick, and Lauren Ambrose
Directed by Sophie Barthes

Admittedly, this movie started out with me not enjoying it one bit. I didn't know a whole lot about it, but I knew that at 25 minutes in, I was longing for it to be over. The story of Paul Giamatti (he's playing himself...the actor) who decides to put his soul into storage in order to (hopefully) become a better actor and raise his spirits starts off way too metaphysical and psychological for me to enjoy. I always hated psychology class in college and once you start getting all deep and talking about souls and all that crap, you lose me. I kept telling myself if the next 60 minutes were going to be like this, I was in for one of my least favorite movie experiences of the year.

But then, something happened. The movie shifted from metaphysical mumbo jumbo to a real emotional tale about a nice guy (that'd be Paul) simply trying to become a somewhat better person all around. When Paul "rents" the soul of a Russian poet, I think he kind of realizes that his life isn't as bad as he thought and he soon longs to have his own soul back (although complications arise with that).

As I let this movie stew in my mind for close to 12 hours now, I must admit that I enjoyed it a bit more than I thought I did initially. Yes, I really disliked the first act of the flick, but the actors (pretty much across the board) were all damn good. I walked out of this saying that I wasn't all that overly impressed with Giamatti, but in retrospect, he certainly carried this movie and displayed a range of emotions while doing so. All the ladies in it (who, with the exception of Emily Watson were unknowns to me) were excellent as well (and pretty hot...always a nice plus, but note that this doesn't affect the rating).

Director-writer Sophie Barthes didn't win me over completely in terms of her writing, but she definitely proves to be a more-than-adequate director. I'll admit that I thought this was going to be just a mash-up of Being John Malkovich and Eternal Sunshine of the Spotless Mind, but as I was watching it, those movies didn't really come to my mind at all.

Sure it's weird and sure I didn't like the first act of the film, but I must admit that I like this movie now more than I thought I did when I left it.

The RyMickey Rating: B-

Movie Review - Duplicity (2009)

Starring Julia Roberts, Clive Owen, Paul Giamatti, and Tom Wilkinson

Written and Directed by Tony Gilroy


Despite the fact that there are four really good actors in Duplicity (and, yes, I am including Julia Roberts in that bunch), this spy "comedy" just sits there onscreen, not really doing a thing to engage the viewer.

Roberts and Owen are Claire and Ray, two corporate spies who, after meeting and falling in love, team up to try and swindle their bosses (Wilkinson and Giamatti) out of as much money as possible. But are they also playing each other in this game, or do they truly care for one another? The answer: I really didn't care.

Personally, I liked the way the film was set up, bouncing back and forth between present-day and flashbacks to the past. Eventually the two come together for the "big reveal," but, like I've said above, instead of being this crazy revelation, it lands with a thud.

Problem #1 was that this film tried to be a light comedy in addition to being a spy thriller and it should not have tried to do that. The laughs fell flat. There's a scene over the opening credits that is supposed to be funny, but it ends up being simply too forced and winds up just being silly. Problem #2, which branches off of the flat comedy aspect, is that Roberts and Owen had zippo chemistry. In their previous screen pairing, Closer (which I certainly recommend), they definitely both exuded a sex appeal, but in this film, I never got that they were connected in any way. They were simply Julia Roberts and Clive Owen instead of Claire and Ray. In a movie like this, sexual tension is absolutely necessary in order for the sly humor to work and there was no tension here at all.

I initially came out of this thinking that I'd give it a 'C' simply because I liked the way it looked (director Gilroy employed some cool, retro split screens) and the supporting cast was quite strong, but after thinking about it some more, I'm knocking it down a degree. Certainly disappointing.

The RyMickey Rating: C-