Nightmare Alley

 Nightmare Alley (2021)

Starring Bradley Cooper, Cate Blanchett, Toni Collette, Willem Dafoe, Richard Jenkins, Ron Perlman, Mary Steenbergen, David Strathairn, and Rooney Mara

Directed by Guillermo del Toro

Written by Guillermo del Toro and Kim Morgan

Click here for my Letterboxd review

The RyMickey Rating: D

Don't Look Up

Don't Look Up (2021)

Starring Leonardo DiCaprio, Jennifer Lawrence, Rob Morgan, Jonah Hill, Mark Rylance, Tyler Perry, Timothée Chalamet, Ron Perlman, Ariana Grande, Melanie Lynsky, Cate Blanchett, and Meryl Streep

Directed by Adam McKay

Written by Adam McKay

Click here for my Letterboxd rating

The RyMickey Rating:  C+

Ocean's 8

Ocean's 8 (2018)

Starring Sandra Bullock, Cate Blanchett, Anne Hathaway, Mindy Kaling, Sarah Paulson, Awkwafina, Rihanna, Helena Bonham Carter, and James Corden

Directed by Gary Ross

Written by Gary Ross and Olivia Milch

Summary (in 500 words or less):  A group of female criminals team up to steal a $150 million necklace during the annual Met Gala fashion event.

Click here for my Letterboxd review

The RyMickey Rating:  C+

Thor: Ragnarok

Thor: Ragnarok (2017)

Starring Chris Hemsworth, Tom Hiddleston, Cate Blanchett, Idris Elba, Jeff Goldblum, Tessa Thompson, Karl Urban, Anthony Hopkins, and Mark Ruffalo

Directed by Taika Waititi

Written by Eric Pearson, Craig Kyle, and Christopher Yost

Summary (in 500 words or less):  Thor (Chris Hemsworth) returns to his home planet of Asgard and forces his brother Loki (Tom Hiddleston) to help find their father Odin (Anthony Hopkins) who was missing, but then found hiding in Norway.  Odin reveals that he is dying and that his death will unlock the prison cell that his firstborn daughter Hela (Cate Blanchett) has been kept in for years because of Odin's fear that his daughter was becoming too ambitious.  Upon Odin's death, Hela returns to Asgard and chaos begins to reign as she forces Thor and Loki off the planet.  Thor lands on  Sakaar, a weird planet full of space waste and home to massive gladiator-style battles by people captured by The Grandmaster (Jeff Goldblum), one of whom happens to be the Hulk (Mark Ruffalo) who had been missing ever since the events of "Captain America: Civil War."

• Right off the bat, I should just say that Thor: Ragnarok is my favorite Marvel movie yet.  Director Taika Waititi (along with the trio of screenwriters) have crafted a fun-filled humorous ride filled with solid action sequences that carry some gravitas and importance in the grand scheme of the Thor franchise storyline.
• The balance struck here by Waititi in terms of action and humor is what the Guardians movies wants to be, but hasn't yet achieved. 
• Considering how much I despised Thor: The Dark World, I admittedly wasn't expecting much here, but the change in tone to something a bit more light-hearted works amazing well.
• Despite the oftentimes more whimsical and humorous nature of the film, there's still some important stuff going on here.  The family dynamic between Thor, his sister Hela, and their brother Loki is some heavy stuff and carries heft in the grand scheme of Thor's story...all the while likely helping to set up storylines for the upcoming Avengers film.
• Kudos to the entire cast -- Chris Hemsworth gets to display his comedic chops (which are always impressive), Jeff Goldblum and Mark Ruffalo appear to be having a ton of fun, Tessa Thompson brings a strong female presence to the proceedings, and Cate Blanchett tears up the screen as the villainess.  SPOILER ALERT -- Here's hoping they can find some way to bring her back in future films because she lit up the screen whenever she appeared.

The RyMickey Rating:  B+

Movie Review - Carol

Carol (2015)

Starring Cate Blanchett, Rooney Mara, Sarah Paulson, Jake Lacy, and Kyle Chandler

Directed by Todd Haynes

While I can recognize (and appreciate) the rather gentle way Carol approaches the lesbian romance at its core, director Todd Haynes' film didn't connect with me in the slightest.  While the romance between the titular married-though-in-the-middle-of-divorce-proceedings character (played by Cate Blanchett) and a much younger shopgirl Therese (Rooney Mara) should've felt alive, Haynes has crafted a film where the hints of romance during its first two-thirds simply lead to incredible dullness -- at least for this viewer.

The way that Blanchett and Mara play their characters, the way Haynes films them, and the way Phyllis Nagy pens her script showcase an obvious infatuation between Carol and Therese -- the former whose husband (Kyle Chandler) has known of his wife's dalliances with other women and the latter who herself didn't know her attraction to women, let alone her boyfriend (Jake Lacy) being aware of her predilections.  While the film isn't completely about Carol and Therese "doing the deed" and consummating their relationship, the knowing glances (by the cast), the subtle flirtations (surely in the script), and blatant lensing of the director keep building up to this inevitable moment which, by the time it finally rolls around, feels hokey as opposed to passionate.  The way this piece is structured, crafted, and acted, there needed to be a payoff and that simply doesn't happen here.

Part of the reason behind that is due to the fact that the lead actresses -- both nominated for Oscars -- are frankly overpraised and underwhelming.  There is certainly a time for scenery chewing and Blanchett can chew with the best of them -- just look at Cinderella for an example where she can showcase this talent with aplomb.  Here, her Carol feels like a caricature -- the way she talks, the way she moves, the way she emotes -- none of it feels based in any form of reality.  Mara, on the other hand, is a blank slate, rarely showing emotion, forcing me to ask myself the question of why Carol ever became infatuated with her in the first place.  Granted, I give Mara a bit of credit, however, in that her Therese is just coming in touch with her true self in this relationship with Carol so her moments of blankness or seeming cluelessness are grounded at least in the roots of her character.

Personally, I think the film looks disappointing as well.  As I watched, I couldn't help but feel that is was distractingly grainy.  I legitimately thought it was an issue with the projection system, but upon researching things when I came home, the film was shot on 16mm film and while I'm all for different film aspects (see Steve Jobs as a brilliant example of how to properly use them), this style was off-putting here.

I didn't go into Carol expecting a sexualized lesbian drama so there's no disappointment in that department.  Instead, I wanted a story between two characters that took us on their journey to either happiness, sadness, or something in between.  Unfortunately, this is a journey that isn't well crafted.  While Carol certainly touches on the trials, travails, and struggles facing women like Carol and Therese in the early 1950s (and the best moments in the film deal with Carol's husbands attempts to take full custody of their daughter), the lifelessness of everything onscreen failed to draw me in and really capture my attention.

The RyMickey Rating:  C-

Movie Review - Truth

Truth (2015)

Starring Cate Blanchett, Robert Redford, Topher Grace, Dennis Quaid, Elisabeth Moss, Bruce Greenwood, Stacy Keach, John Benjamin Hickey, and Dermot Mulroney

Directed by James Vanderbilt

Despite a solid performance from Cate Blanchett (who, lets be honest, rarely disappoints), Truth feels as if it's not quite doing what its title implies.  Based on a true story, Blanchett is Mary Mapes, a producer for the venerable CBS news series 60 Minutes.  With the 2004 presidential election on the horizon, Mapes and segment host Dan Rather (Robert Redford) present a story that claims that then-current President George W. Bush received preferential treatment from Air National Guard officials in the 1970s.  Nearly immediately after the airing of the segment, a variety of sources begin to question the thirty-plus year-old documents that were the building blocks and particularly damning evidence of Mapes and Rather's report.  As Mapes attempts to quell the criticism, she finds herself at odds with her CBS bosses who keep questioning her journalistic ethics.

Taking politics out of the equation, the ultimate problem with Truth stems from the fact that it is based on Mapes's memoir and it makes out her CBS bosses and the litigation team investigating her journalistic ethics to be manically devilish in their attempts to take her down.  You can almost see Dermot Mulroney's lawyer character twirling his comedically villainous mustache as he tries to silence Mapes, and a lengthy and vindictive diatribe against the CBS honchos spoken by Topher Grace's ambitious reporter (and Mapes colleage) proves laughably farcical rather than substantive.  While there may be some truth behind the preferential treatment Bush received (and there may very well not be), the lack of well-roundedness in the side players of Truth and the need to make Mapes seem "right" hinders the film greatly.

As mentioned, Blanchett is good as the strong-willed Mapes who faces a possible career-ending crisis with the actress allowing us to see the pain Mapes internally confronts, but the film steers her wrong at the end and the self-aggrandizing, boastful attitude of the film does Blanchett no favors.  The film is blatantly telling us how to feel about her character rather then letting the audience naturally come to that conclusion.  The rest of the typically solid cast isn't given much to do at all with Redford in particular inhabiting a role that feels underwritten and shockingly sidelined for much of the film.  Then again, this is Mary Mapes's story and despite its attempts at trying to balance both sides, the film, although adequately produced and lensed, just doesn't land in the way it hopes.

The RyMickey Rating:  C

Movie Review - How to Train Your Dragon 2

How to Train Your Dragon 2 (2014)

Featuring the voice talents of Jay Baruchel, Cate Blanchett, Gerard Butler, Craig Ferguson, America Ferrera, Jonah Hill, Christopher Mintz-Plasse, T.J. Miller, Djimon Hounsou, and Kristen Wiig

Directed by Dean DeBlois

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

I have to start this review with a bit of disclosure -- I had some tasks I had to complete while watching How to Train Your Dragon 2 and as the film headed towards its conclusion, I found myself drifting off a tiny bit and not giving the film my complete focus.  I typically try and avoid this occurrence as much as possible, but kudos to the film itself for drawing me back in for its particularly heartfelt finale...which made me all the more disappointed that I didn't give the flick my undivided attention.

By far, the How to Train Your Dragon franchise is Dreamworks Animation's best series of films they've ever created.  From a studio that built itself on pop culture references and "Big Hollywood Star Voice Acting," the Dragon series eschews that to a certain degree -- or, at the very least, places a bigger emphasis on story.  Much like its predecessor, Dragon 2 keeps the focus on now twentysomething Hiccup (Jay Baruchel) who, five years after the conclusion of the last film, has managed to keep his fellow village folk of Berk recognizing dragons' abilities to assist humans.  With his partner in crime Toothless, Hiccup and his dragon friend fly around searching for other dragons in need of assistance which happens to bring Hiccup back into contact with his presumably dead mother Valka (Cate Blanchett) who was supposedly taken by dragons upon an invasion when Hiccup was merely an infant.

Dragon 2 attempts to explore the relationship between Hiccup and his long-lost mother and how this newfound connection affects those around him, particularly his father Stoick (Gerard Butler).  These moments involving the newly reunited family are the film's most effective and are rendered quite nicely from an emotional perspective.  When the film throws in a bad guy in Drago (Djimon Hounsou) who desires to utilize all dragons for their worst potentials possible in order to gain control of various Nordic lands, things falter a bit.  However, and to the film's credit, the character of Drago is responsible for several of the film's most emotional moments so while the villain seemed a little too maniacal at times, this nastiness was put to great effect to forward the story.

Animation-wise, I must admit that I wasn't as wowed as Dragon 2's predecessor, but the film still boasts quality craftsmanship.  I continue to be a little disenchanted with Jay Baruchel voicing Hiccup -- I still stand by the fact that I feel like the voice doesn't quite fit the character or the time period of the piece, but it's not detrimental to the film in any way.  Nice turns from Blanchett and Butler utilize those "star voices" to great effect without drawing attention to their "star status" in any way.

The RyMickey Rating:  B-

Movie Review - Cinderella

Cinderella (2015)

Starring Lily James, Cate Blanchett, Richard Madden, Sophie McShera, Holliday Grainger, Stellan Skarsgård, Derek Jacobi, and Helena Bonham Carter

Directed by Kenneth Branagh

While director Kenneth Branagh's live action retelling of Cinderella certainly doesn't reinvent Disney's animated film to any great lengths, the story of our title heroine who falls in love with a charming prince while attending a lavish ball is given a little more depth in a screenplay by Chris Weitz that fleshes out the backstories to our title character, her prince, and her evil stepmother.  While this apparent trend of Disney remaking its animated films in live action form is a little worrisome and seemingly lacking in the imagination upon which Walt Disney founded the company, should any forthcoming reboots match the class and charm of this production, the company may win me over.

At the heart of Cinderella is an absolutely lovely performance of Lily James as the title character.  In the film's opening moments, we see how the deaths of her mother and father affect her, shaping her into woman who, despite adversity, still carries on the mission of her parents to be kind and generous to all.  This little bit of extra background makes Cinderella a much more well-rounded character and gives Ms. James a little bit of development to sink her teeth into.  The heartbreaking moments upon hearing of her parents death are handled just as nicely as when James is asked to look in awe upon an opulent ballroom or fall head over heels for a prince she just met.  To me, Lily James is the epitome of what Cinderella should be and she is one of the biggest reasons the film succeeds.

Of course, the counterpoint to Cinderella's kind heart is the conniving nature of her Stepmother played with gusto and on-point scenery chewing by Cate Blanchett.  Also given a bit of backstory, the audience is given the chance to discover why she becomes so nasty to her stepdaughter and this added bit of depth gives at least a little bit of reasoning behind her actions.  Cloaked in some elegant garb, Blanchett snarls and jabs at Cinderella yet still manages to avoid being too cartoonish.

Cartoonish may be a descriptor that could be ascribed to Helena Bonham Carter's Fairy Godmother, but Branagh and Weitz smartly decide to keep her role small, similar to the animated film.  Adding a nice amount of comedic relief in the middle to the film, Carter's quirkiness doesn't overstay its welcome.  We also get a nice turn as well from Richard Madden as the Prince who gets more screen time and more background than nearly any other Disney film prince we've seen before.

In this day and age of modernization and experimental reboots, Kenneth Branagh instead decides to play things old-fashioned -- and there's an unmistakeable charm that accompanies this decision.  Sumptuously designed and elegantly filmed, by eschewing the cynicism we may have come to expect in something like this, Branagh has crafted a rather timeless film in Cinderella that will last through the ages.

The RyMickey Rating:  B

Movie Review - The Monuments Men

The Monuments Men (2014)

Starring George Clooney, Matt Damon, Bill Murray, Cate Blanchett, John Goodman, Jean Dujardin, Hugh Bonneville, and Bob Balaban

Directed by George Clooney

Director George Clooney's The Monuments Men definitely feels like a throwback to the days when "Hogan's Heroes" was on tv.  That show went straight for the comedic aspects of WWII, but The Monuments Men attempts to mix comedy and drama and Clooney and his fellow screenwriter don't quite mesh the two together.  Unfortunately, this creates a film that never finds its footing, feeling slightly off balance all the way throughout with the comedic aspects never quite being funny enough and the dramatic aspects never quite mustering up the emotion they likely should.

Clooney's trademark charm is evident throughout the film -- and not just in his acting.  The film itself feels deeply rooted in 1960s cinema, a time when things were perhaps more innocent.  Yes, The Monuments Men is a war movie, but this is no Saving Private Ryan in terms of blood, guts, and action.  Instead, the film focuses on a band of merry older men with backgrounds in art who are brought together to retrieve important European sculptures, paintings, and other artistic media that Hitler's Nazi army took upon their take-overs of various countries.  These men -- played by Clooney, Matt Damon, Bill Murray, John Goodman, Jean Dujardin, Hugh Bonneville, and Bob Balaban -- have no military experience yet are thrown head-first into some war-torn parts of Europe where the Nazi regime -- although now retreating as the war comes to an end -- has not quite abandoned.

Unfortunately, Clooney's desire to create a more lighthearted romp with the serious subject matter doesn't work in the film's favor.  While I understand the drive behind the film and Clooney's inclination to imbue comedy into this tragic war, the humor waters down the serious moments whenever they pop up.  Rather than feel an emotional connection to several tragic occurrences that happen in the film, the relationship the audience has with the characters isn't there in the way that it should be which is a big detriment in the film's serious moments.  Perhaps a more deft director could have righted the ship, but Clooney doesn't quite have the chops yet.  I certainly appreciate the charming vibe he brought to the piece, but The Monuments Men simply doesn't balance itself out on the scale between humor and seriousness and this off-kilter nature is its downfall.

The RyMickey Rating:  C

Movie Review - The Galapagos Affair: Satan Came to Eden

The Galapagos Affair: Satan Came to Eden (2013)

Featuring the voices of Cate Blanchett, Thomas Kretschmann, Diane Kruger, Sebastian Koch, Connie Nielsen, and Josh Radnor

Directed by Daniel Geller and Dayna Goldfine
***This film is currently streaming on Netflix***

In the late 1920s, budding philosopher Friedrich Ritter was fed up with the world and escaped with his girlfriend Dore Strauch (both were married and having an affair) to the abandoned isle of Floreana in the Galapagos Islands chain.  The two resided on Floreana alone for quite some time foraging for their survival by finding what they needed from the land only being visited by a sea captain and his crew every now and then.  When word about their secluded paradise hit the newspapers, Heinz and Margret Wittmer (and their teenage son) believed it to be the perfect escape for them as well seeing as how they worried about living in what they believed to be a deteriorating society.  The Wittmers landed on Floreana in the early 1930s much to Freidrich and Dore's dismay, but the two groups eventually figured out a way to deal with one another despite the fact that Friedrich was very discomforted by the notion that he wasn't living out his dream of solitariness anymore.

Shortly thereafter, the rich Baroness Von Wagner and two of her male confidantes landed on the small island of Floreana with the goal to build a hotel for visiting Americans and Europeans.  Needless to say, while Friedrich and Dore made do with the fact that the Wittmers landed on the island, at least that family shared his desire to be secluded from the rest of the world.  With the Baroness now attempting to capitalize monetarily on Friedrich's small piece of paradise, things inevitably were going to take a turn for the worse.

The Galapagos Affair: Satan Came to Eden is an interesting documentary that utilizes original writings of all the involved parties to tell its tale.  Through voiceovers by the likes of Cate Blanchett and Diane Kruger taking on the roles of Dore and Margret respectively, we get intimate knowledge about each family's feelings towards one another.  This aspect of storytelling is certainly compelling despite the fact that as things veer into disturbing territory, the original journals seem to be less than descriptive and often contradictory as each family attempts to "cover their ass."

Unfortunately, when the filmmakers attempt to showcase life on the other isles of the Galapagos chain by conducting current interviews of elderly folks who were around in the 1930s and younger folks who currently live on the islands, their film sometimes comes to a screeching halt.  These conversations aren't particularly compelling and don't add much to the overarching mystery of what happened on Floreana in the late 1920s/early 1930s.  Still, The Galapagos Affair is a decent portrait of a certainly little known historical anecdote.

The RyMickey Rating:  C+

Movie Review - Blue Jasmine

Blue Jasmine (2013)

Starring Cate Blanchett, Alec Baldwin, Sally Hawkins, Andrew Dice Clay, Bobby Canavale, Michael Stuhlbarg, Louis C.K., Tammy Blanchard, and Peter Sarsgaard

Directed by Woody Allen

Yesterday on the blog, I wrote a review of the cinematic version of A Streetcar Named Desire and I didn't speak too kindly of it.  The overly dramatic nature of the story and the acting didn't sit well with me in the 21st century.  Fortunately, Woody Allen must've agreed with me (at least I like to think that) as his latest film Blue Jasmine is a definite homage to that Tennessee Williams (screen)play.  Mr. Allen is definitely hit or miss with me, but I found his 2013 entry to his canon of work a definite success with a fantastic performance from Cate Blanchett who proves that a character similar to Streetcar's Blanche Dubois can work onscreen.

Blanchett is Jasmine, a woman who lived for over a decade in New York City with her incredibly rich Bernie Madoff-esque husband Hal (perfectly embodied by Alec Baldwin).  Never wanting for anything, Jasmine had everything she could have ever needed and hung out with anyone she could have ever desired.  However, when we first meet her, Jasmine is heading to California to move in with her sister Ginger (Sally Hawkins) thanks to her husband losing all of his fortune and Jasmine losing all the superficial things she held so close for so many years.  Not quite grasping the fact that she's penniless, Jasmine finds herself constantly reminiscing about the past, failing to face her unfortunate current situation.  She left behind her old life (and her birth name of "Jeanette") in order to find what she believed was happiness with Hal, but now that the fairybook life has been shattered, she's unable to face reality.

Blue Jasmine isn't a scene-for-scene re-creation of A Streetcar Named Desire nor are characters carbon copies.  However, the essence of Williams' work is all around Blue Jasmine, but made more believable and relatable...at least to this reviewer.  Perhaps the greatest advance Woody Allen makes is with the character of Jasmine.  In Streetcar, I never felt the crazed Blanche Dubois was a well-rounded character.  (Yes, I realize many think Blanche is one of the best written females in modern playwrighting, but I'm odd.)  I never understood what made her cuckoo and what kept her constantly on edge and scattered.  In Blue Jasmine, I completely comprehended what Allen and Cate Blanchett brought to the screen for Jasmine. By granting the viewers access to Jamsine's life pre-downfall (via Allen's rather engaging way of bouncing back and forth between Jasmine's past and present), there's an understanding as to why Jasmine talks to herself or rambles incessantly.

Blanchett is a powerhouse here.  It's early in the season and I'm well aware I haven't seen many movies this year at this point, but she should absolutely be remembered come awards season.  This is her film and she magnetically carries it from the opening scene.  I found myself almost entranced at certain moments by the way a simple change in the timbre of her voice can carry so much meaning and emotional emphasis for her character or the way a seemingly nonchalant motion of her hand can relay the pain her character feels.  Vivien Leigh did a lot with her hands in Streetcar, but in that film it really felt like someone "acting" as opposed to feeling intrinsically necessary like when Blanchett does the same movements.

The film falters a bit when it places its focus on Jasmine's sister Ginger and a relationship she forms with a stereo salesman (Louis C.K.) she meets at a party.  It's not that Sally Hawkins or Louis C.K. fail to deliver in anyway, but their characters' story fails to materialize into something substantial enough to warrant its presence.  In addition, Michael Stuhlbarg is given a rather hilarious role to sink his teeth into as a dentist who falls hard for Jasmine, but his character is the one person in Allen's screenplay that didn't feel based in reality to me.

Still, Woody Allen definitely has it in him after all these years to craft good work.  Granted, last year's To Rome with Love was a complete bust and I didn't fawn over Midnight in Paris nearly as much as everyone else, but as I've "grown up" I've come to look forward to whatever he brings to the summer moviegoing season.  It may be time to look at his earlier work with which I'm not entirely familiar.

The RyMickey Rating:  B+

Movie Review - Hanna

Hanna (2011)

Starring Saoirse Ronan, Cate Blanchett, and Eric Bana

Directed by Joe Wright

Whereas his previous works -- Pride and Prejudice, Atonement, and The Soloist -- were more by-the-book in terms of camera angles, editing, and acting, director Joe Wright's Hanna takes on a slightly more manic and hectic tone.  Unfortunately, despite the attempts to create excitement via his lensing, the story of a young girl (the title character played by a unemotional and bland Saoirse Ronan) trained by her father (Eric Bana) to enact revenge on the CIA operatives who wreaked havoc on their family over a decade ago just doesn't have enough drive to make the whole affair interesting for some inexplicable reason.

Perhaps it's wrong to say this about a young actress, but I'm not sure Saoirse Ronan has what it takes to headline a movie.  Admittedly, I've only seen her in Atonement and The Lovely Bones, but she has managed to come across as utterly one-note in all three films.  I've yet to see depth in any performance from her and it's much more evident in this film seeing as how she plays the title character.  Her eyes are constantly glazed over and appear empty.

It also doesn't help matters that Cate Blanchett's CIA operative almost seems to be pulled straight from some James Bond/Austin Powers-type flick.  Played rather tongue-in-cheeky and with a over-the-top country accent, her character comes off as laughable as opposed to ominous.

With the two main characters (and/or their actors) providing disappointment, it's no surprise that the film falters.  While it certainly hurts that Ronan isn't captivating, director Wright doesn't quite have a good grasp on balancing the rather ingeniously edited and oftentimes wonderfully disorienting action sequences with the slower paced "dramatic" moments.  Any scenes that don't find Hanna fighting some foe overstay their welcome...much like the film itself which feels about thirty minutes too long.

The RyMickey Rating:  C-

Movie Review - Heaven

Heaven (2002)

Starring Cate Blanchett and Giovanni Ribisi

Directed by Tom Tykwer

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

Whereas director Tom Tykwer's Run Lola Run is a nonstop frenetic ride, his Heaven is the complete opposite.  Moving at a snail's pace, the ninety-five minutes of this tale which focuses on a British woman named Phillipa (Cate Blanchett) enacting revenge on the drug dealer who killed her husband felt like an eternity at moments.  It's a shame because the film starts out incredibly promisingly with what is a criminal act gone wrong (told in a methodical tension-building manner), but Tykwer can't keep me interested in the slightest in the remaining eighty-five minutes once Phillipa gets caught by the Italian government and eventually begins a relationship with one of her guards, Fillipo (Giovanni Ribisi).  Despite some decent performances, I just couldn't get into this one and the ending was just too pretentious to satisfy.

The RyMickey Rating:  D

Movie Review - Robin Hood

Robin Hood (2010)

Starring Russell Crowe, Cate Blanchett, Max von Sydow, William Hurt, Mark Strong, and Oscar Isaac 

Directed by Ridley Scott

There was much talk when this version of Robin Hood was released in theaters last May.  People felt like the Robin Hood story had been told one too many times.  While that may be true, I was willing to give this version a chance.  The first act of the film had me decidedly won over and I was actually quite intrigued.  That fervor didn't last, however, as the film drifted into a silly romance about thirty minutes in that bored the heck out of me and had me itching for the thing to be over.

The basic old standby summary of Robin Hood is that he's a guy in medieval England who steals from the rich and gives to the poor.  In Ridley Scott's version, while Robin certainly assists the poor, he's not stealing from the rich.  When the film begins, we discover that Robin (Russell Crowe) is aiding the Crown in a fight against France on the foreign country's soil.  When England's king is killed in battle, Robin and three of his friends decide to skedaddle back home -- they've fought for a decade and long to get back to regular life.  Along the way to the French coast, they encounter the English royal guard who, while attempting to get back home to announce the death of the king, get attacked by French soldiers who just so happen to be assisted by English traitor Sir Godfrey (Mark Strong).  Robin and his men manage to stop the attack, but the entire guard is killed, so Robin must bring word of the king's death to their compatriots.  

And it's at this point that the film loses me.  Robin ends up traveling to some village where he meets Marion (Cate Blanchett).  They end up falling in love which leads to a ridiculously silly final battle scene when Marion takes up the sword and, like the stereotypical way in many films, causes more havoc than good, forcing Robin to put himself in more danger because of her.

The film isn't an overwhelming letdown -- there are positives.  Crowe portrays Robin as both powerful and caring and he was actually pleasant to watch.  I often find him quite boring and unemotional, and while that's kind of the case here as well, it worked for this character for some reason.  Also good is Ridley Scott's direction of the battle sequences.  The opening thirty minutes are one battle after another and they're all staged rather well.  While he's not averse to using the quick cuts of many of his contemporaries, he doesn't employ them too often to become annoying.  Additionally, the final battle is quite good, too, although it's marred by an absolutely ridiculous last shot involving a impossibly perfectly shot arrow that had me laughing when it certainly wasn't supposed to.  For that I fault both Scott and the incredibly silly screenwriter for somehow thinking that would play well onscreen.

Perhaps the biggest disappointment in the film is the reliance on the romance between Robin and Marion to carry the film's plot.  There was not a moment where I believed that Crowe and Blanchett had any inkling of chemistry.  Sure, that's partly their fault, but this lack of connection between the characters is also due to screenwriter Brian Helgeland.  Their romantic "journey" was laughable and not the least bit interesting or surprising.

You could certainly do worse than this version of Robin Hood, but there's not enough here for me to recommend it.

The RyMickey Rating:  C-

Movie Review - Ponyo (2009)

Featuring the voice talent of Tina Fey, Liam Neeson, Betty White, Cate Blanchett, and Matt Damon
Written and Directed by Hayao Miyazaki

I liked the watercolor look of the film and the score.

Now that that's out of the way, let's try and explain why the rest of this film isn't any good.

Sosuke is a five year-old boy who finds a fish-like creature he names Ponyo while exploring the Japanese coastline. He brings Ponyo home and all seems well, but Ponyo's father (a human who lives under the sea in some bubble house thing) is searching for her, longing for her return. He uses his mystical powers to coerce the sea into getting her back. However, Ponyo now has "tasted human blood" and wants to be a human. Lucky for her, she has the powers to simply grow hands and feet, and through some mystical bullshit she swims up to the surface, walks on water, and finds herself back in the arms of Sosuke.

Weird enough for you yet? There's more...Sosuke and Ponyo become good friends, but as we soon find out, Ponyo's existence on the surface has caused the oceans to rise and be pulled upward by the moon's gravitational pull (or something like that). So, a bunch of the land on Earth is now underwater. The only way things can revert back to normal is if Sosuke can pass some kind of test (about love? kindness? I'm not quite sure). I guess he passed it, but not before Ponyo turns back into a fish. Susoke meets up with his mom (who leaves this five-year old unattended for nearly the whole second half of the movie) by traveling under the sea into some giant bubble that at one point is filled with air and then at the next point filled with water...it doesn't really matter what it's filled with, though, because humans can breathe and talk in it regardless of the environment. Anyway, in the end, Ponyo's a human and world order is restored (thank God!).

Odd, huh? I didn't even mention there's some weird god-like creature who I think had sex with Ponyo's father to create Ponyo and the array of smaller Ponyos that swim around like little sperm with faces and flowing red robes (I'm honestly not sure of that sex part, but I do think that this goddess and Ponyo's pop had something going on...cue the bomchickawahwah music).

Okay, so I realize that I just rambled about the story, but that's exactly what the movie does, too. It just rambles...on and on and on.

I don't get it. If I didn't get what the hell was going on, how the heck is a six-year old supposed to? I honestly can't believe that Disney is putting this out into 800 theaters this upcoming weekend. I can't imagine this thing being successful.

But, hey...it looked pretty...

The RyMickey Rating: D

Movie Review - The Curious Case of Benjamin Button (2008)

starring Brad Pitt, Cate Blanchett, Taraji P. Henson, Tilda Swinton, and Julia Ormand
directed by David Fincher
screenplay by Eric Roth

Inconsequential.

That's the only thing I could think of when this movie was finished. Who knew that a movie nominated for 13 Oscars could be so flippin' boring?

The story is simple and it's spread out over three painfully dull hours. Benjamin is born old knowing nothing and grows young while gaining knowledge. There are many, many vignettes that you would think lead up to some defining moment in his life, but they all end up being inconsequential. (There's that word again)

That's the problem with the film. There are scenes that are good by themselves (particularly his affair with Tilda Swinton), but Pitt's portrayal of Benjamin is so one-note that you never get the sense that he learned a thing from his journeys...and there are many journeys.

It's not just Pitt that's one-note...the whole movie is kinda flat. Washed out colors and monotone line readings just made the flick a drag both visually and aurally.

Taraji P. Henson's Oscar-nominated role as Benjamin's adopted mother is okay, but I always got the sense that she was "acting." She never embodied the role.

The special effects were certainly admirable and should probably win the Oscar. There was never a moment when I felt like I was watching a digitalized face of Brad Pitt on an old man. The make-up was also stellar. There were a few shots cinematography-wise that were good as well.

My main problem with the film is that I sat through three hours of it and I have no idea what it was trying to say. Love is everlasting? Age shouldn't hold us back? Age is nothing but a number? Don't judge a book by its cover? I have no clue because there really was no point to anything in this film.

It was simply inconsequential.

The RyMickey Rating: C-