The Sense of an Ending

The Sense of an Ending (2017)

Starring Jim Broadbent, Harriet Walter, Michelle Dockery, Emily Mortimer, Billy Howle, Freya Mavor, Matthew Goode, and Charlotte Rampling

Directed by Ritesh Batra

Written by Nick Payne

Summary (in 500 words or less):  Sixty-something Tony (Jim Broadbent) receives a letter from the estate of the mother of a former college girlfriend stating that she has left him a document upon her passing.  The document is being held by Tony's former girlfriend Veronica (Charlotte Rampling) who Tony hasn't seen in decades.  Completely oblivious to what the document could be, Tony reflects upon his college career via flashbacks that showcase that memory is malleable.

Click here for my Letterboxd review

The RyMickey Rating: D+

Movie Review - The Lady in the Van

The Lady in the Van (2015)

Starring Maggie Smith, Alex Jennings, Jim Broadbent, Frances De La Tour, Roger Allam, Deborah Findlay, and Gwen Taylor

Directed by Nicholas Hytner

Marketed as a lighthearted comedy, The Lady in the Van is the victim of ill-conceived expectations because while it contains some humorous moments, director Nicholas Hytner's film is much heavier than I expected.  Elder stateswoman Maggie Smith is engagingly crotchety as the title character, but the film is a slog to get through, disappointingly boring as it tells the (mostly true) story of Mary Shepherd who lives in a run-down van on the streets of London.  Moving from street to street, Ms. Shepherd has parked her vehicle on a lovely city road in Camden, but when the government institutes a no street parking edict, young playwright Alan Bennett (Alex Jennings) reluctantly agrees to allow Shepherd to move her van into his driveway.  Little did he realize that his temporary good deed would turn into a fifteen-year squatting by the elderly woman.

Based off Alan Bennett's play, The Lady in the Van vacillates between whimsy (accentuated by a lyrical score) and slight dreariness (highlighted by classical music), but never finds an appropriate balance between the two.  The story also feels repetitive, spanning fifteen years but failing to give the characters a whole lot of growth in that time.  It's a shame, really, because Maggie Smith is enjoyable to watch (albeit in a very similar role to much that she's played over the past decade), but the character of writer Alan Bennett is irritatingly bland (to no fault, really, of the actor portraying him).  The film tries to give Bennett a bit of a creative punch by having two Bennetts onscreen at once -- one being Bennett as a writer and one being Bennett talking to his writer-self -- but this interaction comes off as too much of a creative crutch rather than inherently necessary to the story.  In the end, The Lady in the Van proves to be a disappointment and, even worse, a bore.

The RyMickey Rating:  D+

Movie Review - Brooklyn

Brooklyn (2015)

Starring Saoirse Ronan, Emory Cohen, Domhnall Gleeson, Jim Broadbent, Julie Walters, Jane Brennan, Fiona Glascott, Jessica Paré, Eva Birthistle, Eileen O'Higgins, Eve Macklin, Emily Bett Rickards, Nora-Jane Noone, and Jenn Murray 

Directed by John Crowley

Brooklyn is a lovely romantic piece that not only takes place in the 1950s, but feels as if it could've been made then, without frills and bells and whistles -- simply a heartwarming story with great performances. Here we have decent, good people trying to earn a decent, good living by doing decent, good things.  It's not always easy for folks, but the story of hard work and perseverance rings true in this story of Irish immigrant Eilis (Saoirse Ronan) as she moves to Brooklyn, New York, to try and better her life. Director John Crowley does a nice job balancing some wonderful comedic moments with an incredibly compelling love story, forgoing flashiness for simplicity thereby allowing screenwriter Nick Hornby's script to really come alive with charming performances from an all-around wonderful acting ensemble.

Leaving behind her mother Mary (Jane Brennan), her older sister Rose (Fiona Glascott), and her closest friend Nancy (Eileen O'Higgins), young Eilis Lacey decides to take the plunge of many during the 1950s and move from Europe (in this case Ireland) to America.  With the help of Father Flood (Jim Broadbent), an Irish priest living in NYC, Eilis is set up with a job working at a fancy department store under the watch of the tough Miss Fortini (Jessica Paré) and given a place to stay in a small woman's boarding home headed by the hilarious Mrs. Kehoe (Julie Walters).  Depressed and unable to get out of her funk of homesickness, Eilis has a tough go until she meets the charming and very Italian Tony Fiorello (Emory Cohen) at a local dance held by the Catholic Church.  The sensible and considerate Tony slowly begins to soften the hardened exterior of Eilis and the two begin to fall for one another.  Unfortunately, Eilis soon receives word of a life-changing situation in Ireland which makes Eilis question whether her loyalties should lie in her old homeland or her new one.

Anchoring Brooklyn and perhaps the greatest reason for its success is the performance of Saoirse Ronan as Eilis.  I have not been the biggest fan of Ronan in the past.  Looking back over my reviews of some of her works, I've called her "bland," "unemotional," and, perhaps most damning of all, "one of the most overrated actresses working today."  Well, that has changed with Brooklyn.  Here, she's finally given the chance to play an adult facing grown-up issues and she proves to be utterly captivating.  There's a sullenness and solemness at the start of the film as Ronan fully conveys Eilis's fear and trepidation about starting a new life in America.  As the layers of Eilis slowly unfurl, we find ourselves becoming mesmerized by her happiness.  Although the story of Eilis's journey may seem simplistic, Ronan adds depth and substance -- her eyes, her moments of silence, her ever-so-slight reactions say so much here --  creating a character who the audience roots for and fully embraces.  I obviously must change my tune about Ms. Ronan and I can only hope that the success of Brooklyn and the raves she's receiving open the doors for more adult roles in her future.

Ronan is surrounded by an extremely talented ensemble that add so much to the film.  Emory Cohen brings a believable charm and innocence to Tony.  As soon as he appears, the connection between Tony and Eilis is immediately palpable and from that moment on, I couldn't help but find myself grinning whenever the two characters interacted.  Julie Walters is a scene-stealer as a no-nonsense boarding house matron.  There are multiple scenes in Brooklyn that take place around dinner tables -- and all are hilariously wonderful -- but when Walters anchors her scenes, they really take flight and become adorably amusing.  Eve Macklin, Emily Bett Richards, Nora-Jane Noone, and Jenn Murray also take part in a good many of these dinner table discussions that are brought to life by this quartet of ladies who add much exuberance to the film.  Back in Ireland, Jane Brennan and Fiona Glascott are a huge part of the heart of the film as the mother and sister of Eilis who long for her to have a better life, but also want to see her travel an ocean away.  Domhnall Gleeson is also good in a quiet, understated role as a young Irish man who also pines for Eilis.

Although the stunning costume design by Odile Dicks-Mireaux and lovely production design by François Séguin could certainly count as such, there are no bells and whistles here as director John Crowley creates a rather straightforward classic romance.  But it's that word "classic" that's the key here.  Charm, elegance, simplicity -- all descriptors for this wonderful film.  For a film that could've absolutely been made in the era in which it is set, Brooklyn is oddly timely today given the current political landscape, although it is certainly not in any shape or form a political piece.  Instead, it's a romance for the ages that not only gives homage to the immigrants that formed our country, but also honors our country as a whole for the opportunities it can provide if you strive to work hard and be the best you can be.

The RyMickey Rating:  A-

Movie Review - Paddington

Paddington (2015)

Starring Hugh Bonneville, Sally Hawkins, Julie Walters, Samuel Joslin, Madeleine Harris, Jim Broadbent, and Nicole Kidman

Featuring the vocal talent of Ben Whishaw, Michael Gambon, and Imelda Staunton

Directed by Paul King

Those who read this blog know that I am not afraid to give adequate credit to a kid pic that does its job well.  (The Top Twenty placement of Alexander and the Terrible, Horrible, No Good, Very Bad Day in the 2014 RyMickey Awards is evidence of that.)  Because of this, it's a bit disappointing to say that I wasn't completely captivated by Paddington, an admittedly charming film that feels a bit too choppy and episodic to make a big impression.

Through a rather odd and off-putting prologue, we learn that British explorer Montgomery Clyde discovered a new species of bear upon his travels to Peru.  While he had to leave South America, Clyde befriended the bears who learned English and he told the ursine creatures to visit him someday when they were able.  Cut to years (decades?) later and a terrible earthquake ruins the bear's Peruvian home and young Paddington (voiced by Ben Whishaw) is sent to Britain by his Aunt Lucy (voiced by Imelda Staunton) in order to live a better life.

Upon his arrival in London, Paddington finds himself adrift in the Paddington subway station only to be discovered by the Brown family headed by dad Henry and mom Mary (Hugh Bonneville and Sally Hawkins).  With it difficult to acclimate to suburban life, Paddington finds himself at odds with Henry who wants the bear out of his house.  With this apparently not enough of a story, Paddington also must avoid being captured by a rather sadistic taxidermist named Millicent (Nicole Kidman) who wants to stuff the rare bear for her collection.

If the summary seems rather at odds with itself and a conglomerative mess, that's because it kind of is.  There are too many "episodes" without a really singular captivating storyline to carry the film.  That isn't to say that the film disappoints entirely.  Director and co-screenwriter Paul King has made an innately "British" picture with much of the film's charm and laughs coming from Paddington's experiences with this new culture with which he's attempting to assimilate.  Hugh Bonneville and Sally Hawkins are both delightful in their roles and Nicole Kidman succeeds with her rather underwritten and seemingly unnecessary character.  Additionally, the special effects that create Paddington himself are quite good and meld rather seamlessly with the bear's human counterparts.  However, overall, Paddington just doesn't quite cut it.

The RyMickey Rating:  C+

Movie Review - Le Week-End

Le Week-End (2014)

Starring Jim Broadbent, Lindsay Duncan, and Jeff Goldblum

Directed by Roger Michell

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

I'm not quite sure why I stuck this one out to the end.  Admittedly and to my chagrin, what I thought was going to be a light romantic comedy about a longtime married couple (Jim Broadbent and Lindsay Duncan) turned out to be a rather glum look at a longtime married couple incessantly bickering with one another causing me to wonder how they'd stayed together for three decades and why in the world I was supposed to want to watch their marital spats play out onscreen.

Overly talky, every time I thought Nick and Meg were finally headed towards a reconciliation, someone would say something stupid and tick the other one off.  Perhaps this is the way things begin to look after you've been with someone for such a long time, but I found the whole thing incredibly uncomfortable and unenjoyable to watch.  I still think this is supposed to be a comedy, but I certainly never found myself laughing once.  Despite decent performances from Broadbent and Duncan who really do try and sell the material, Le Week-End is more triste than drôle.

The RyMickey Rating:  D

Movie Review - Filth

Filth (2014)

Starring James McAvoy, Jamie Bell, Eddie Marsan, Imogen Poots, and Jim Broadbent

Directed by Jon S. Baird

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

I don't really know what to make of Filth.  There's a part of me that is intrigued by director and screenwriter Jon S. Baird's unique dirty comic book/Monty Python/Tarantino-Luhrmann-esque comedic mashup. (Note:  Filth is weirdly none of those things I just mentioned and all of those things I just mentioned and more at the same time -- an odd mix.)  And then there's another part of me that found myself completely distanced from the proceedings that I didn't care at all what I was watching.

James McAvoy is Bruce, a British cop in line for a major promotion.  Outwardly pleasant to all his coworkers, Bruce's goal is to ruin their chances of upward mobility, therein securing himself the position.  More than just an underhanded manipulator, Bruce is an amoral deviant and a horribly unethical cop, taking drugs from his arrestees, attempting to sleep with underage prostitutes in a blackmail attempts to keep them from jail time, and many other less than kosher schemes.  To build a movie around a guy like this and try to get the audience to relate is a difficult task...and not entirely successful here.

While McAvoy does well with the seedier aspects of his character, the actor is also burdened with less-than-fruitful attempts to connect the audience with an emotional past that partly shaped Bruce into the nasty guy he has become.  This aspect of the plot seems tacked on -- why can't the character just be a giant a-hole?  Why does he need to be saddled with some heartbreaking back story?  Once again, this isn't McAvoy's fault, but he certainly isn't helped by this subplot.  Jamie Bell, Eddie Marsan, and Imogen Poots are quite good in their smaller roles as well, but this is McAvoy's character's story for sure.

In the end, I appreciated the attempt behind Filth with its larger than life comedic stylists, but it doesn't quite work and should've dropped the attempts at emotional heartstring-tugging.

The RyMickey Rating:  C

Movie Review - Closed Circuit

Closed Circuit (2013)

Starring Eric Bana, Rebecca Hall, Ciarán Hinds, Julia Stiles, Anne-Marie Duff, Denis Moschitto, Hasancan Cifci, and Jim Broadbent

Directed by John Crowley

I keep waiting for the movie that's going to provide the breakout role for Rebecca Hall.  Not only is she incredibly attractive (with a British accent to boot), but she exudes an intelligence and a down-to-earth demeanor that I find appealing.  Closed Circuit certainly didn't provide the breakout, but it's a perfectly acceptable political thriller that is elevated because of the respectable cast.

The film opens with a bombing in a open-air market in central London.  The police arrest Farroukh Erdogan (Denis Moschitto), a man who seemingly has ties to Middle East terrorist organizations.  When the barrister set to represent Erdogan in the public hearing commits suicide, up-and-comer Martin Rose (Eric Bana) is plucked to replace him.  However, prior to the public hearing, a private hearing needs to be held.  With many aspects of the bombing having the ability to compromise MI-5's terrorism investigations, the government appoints another lawyer to Erdogan's defense, Claudia Simmons-Howe (Hall), to look over all of the government's secret information relating to the attack and determine what, if anything, needs to be made public record in order to help her accused client.  While Martin and Claudia are supposed to not have contact with each other -- as Claudia's private information may affect Martin's public defense -- the two used to have a romantic relationship and find it difficult to cut ties.  Not only that, but as both Claudia and Martin dig into the Erdogan case, they realize that things may not be as cut and dry as MI-5 hoped it would be.

Closed Circuit is a solidly made thriller that moves along at just the right pace.  However, I couldn't help but think this belonged on the BBC rather than in a movie theater.  There's nothing about it that screams "THEATRICS," but that doesn't by any means signify it's not of a high quality.  Seeing as how this is out of theaters and you'd just be watching it at home anyway, it's absolutely worth watching should political thrillers be your cup of tea.

The RyMickey Rating:  B

Movie Review - Cloud Atlas

Cloud Atlas (2012)

Starring Tom Hanks, Halle Berry, Jim Broadbent, Hugo Weaving, Jim Sturgess, Ben Whishaw, Susan Sarandon, Hugh Grant, Doona Bae, and Keith David

Directed by Tom Tykwer, Andy Wachowski, and Lana Wachowski

"Our lives are not our own.  From womb to tomb we are bound to others past and present.  And by each crime and every kindness, we birth our future."

The epic, nearly three hour Cloud Atlas can be summed up in the quote above that comes at the film's end.  As actress Doona Bae said the words, it was immediately obvious that she was spouting the film's thesis as set forth by its trio of writer-directors Tom Tykwer, Andy Wachowski, and Lana Wachowski.  And after that line is said, I found myself asking this question: Is it possible to really like a movie even if you feel like its deep underlying meaning isn't fully realized despite the fact that its screenplay tries to hammer it home over and over again?  The answer I've realized is yes because Cloud Atlas is a film that may not be perfect, but is wholly original, visually appealing, and surprisingly compelling throughout its lengthy run time.

Essentially six separate stories, the overarching point of Cloud Atlas is to tell us that all of our current actions affect those that come after us which is why the stories here -- spanning the centuries from 1849 to 2321 -- are somewhat connected to one another, some by tenuous strands and some by significant plot points.  With each story undertaking a different genre -- there's comedy, suspense, romance, sci fi, historical drama -- it's as if we're watching a bunch of separate movies that are held together by both the film's theme and the interesting, entirely successful gimmick of having the members of the cast play different roles in all of the storylines.  So, as an example, while Halle Berry is the lead in the suspense segment, her role as a different character in the romance tale is a minimal one.  The same goes for Tom Hanks, Ben Whishaw, Jim Broadbent, Jim Sturgess, Hugo Weaving, Susan Sarandon, and Hugh Grant, all of whom make up a very nice ensemble and get the chance to play a variety of roles.

The film looks expensive and for a movie spanning so many genres and centuries, it's good that things don't look as if they were done on the cheap.  From the special effects to the scenic design to the nice score, all of the technical aspects of Cloud Atlas deserve praise.  Directors Tom Tykwer and the Wachowski siblings have really crafted something that I found rather intriguing on the visual side of things.

Overall, what prevents the film from thoroughly reaching its ambitious intentions is the fact that some of the stories just don't carry the gravitas of, as one character put it, showing "the consequences of one's life rippling through eternity."  As an example, I loved the comedy segment of the film featuring Jim Broadbent as a book editor who, after running afoul with one of his clients, is forced to go on the run and finds himself locked up in an old person's home.  I thought the story was well thought out, humorous, and completely entertaining.  However, I don't quite understand how it fit in with the six other stories.  Yes, there is a brief mention of Broadbent's character in the sci fi segment, but for the heftiness of the overarching theme, it doesn't quite work.  Granted, I understand that many people on this planet will only affect others in small ways, but I'm not quite sure for the scope and grandeur of Cloud Atlas that we should've been focusing on these people in this movie.

Still, while that may seem like a somewhat large "problem," it really isn't.  While it knocks the film down from a perfect level, Cloud Atlas is still a fascinating film that I'm still thinking about days after watching it.  Moreso than many of 2012's films, this is one that I look forward to watching again a few years in the future.

The RyMickey Rating:  B+

Movie Review - Moulin Rouge

Moulin Rouge (2001)

Starring Ewan McGregor, Nicole Kidman, John Leguizamo, Richard Roxburgh, and Jim Broadbent

Directed by Baz Luhrmann

As I sit here thinking back on my first viewing experience of Moulin Rouge in probably close to eight years, I'm hemming and hawing about whether this film belongs in my Personal Canon.  I very much appreciate director Baz Luhrmann's "throw everything at you" manic-style direction and insanely quick editing, but at the same time, it's that non-stop sensory overload (particularly during the film's first act) that takes the flick precariously close to cheesiness.  Once he calms down the bombastic nature of the whole affair and gives the film a chance to breathe, Moulin Rouge is a lovely musical that remains surprisingly "hip" and cutting edge over a decade after its initial release.

The doomed tale of a Parisian courtesan named Satine (Nicole Kidman) and her lover Christian (Ewan McGregor), a bohemian poet who treasures "truth, beauty, freedom, and above all else, love," Moulin Rouge is a simplistic tale wrapped up in truly gaudy paper.  Tasked to create an elaborate musical in order to turn the dance hall -- The Moulin Rouge -- into a more prestigious "theater," Christian quickly falls for Satine, the star of the burlesque , but Christian and Satine's love affair is doomed right from the start as the Moulin Rouge's proprietor, Harold Zidler (Jim Broadbent), has promised Satine in marriage to "The Duke," the play's investor (Richard Roxburgh).

Utilizing pop songs in rather unique ways -- forming medleys, creating dance mixes, and more -- Moulin Rouge doesn't have a single original tune in its repertoire.  Sure, the lovely ballad "Come What May" hadn't been heard before this film, but it was in fact not written for this movie (hence the reason it wasn't nominated for an Oscar for Best Song...although the film itself was nominated for eight Oscars, deservedly taking home two for its exquisite set design and beautiful costuming).  Admittedly, it's a bit odd at first, hearing such iconic songs as Elton John's "Your Song" or The Police's "Roxanne" in a different manner than what we're used to, however, any odd feelings we have quickly vanish when the lovely voices of Ewan McGregor and Nicole Kidman croon to each other.

That isn't to say that the music works entirely.  As I mentioned, the manic nature in the film's opening half hour throws more songs at you than you can register...and it's a bit off-putting at first.  And, unfortunately, as the film continues, we're treated every now and then to the occasional odd scene that simply doesn't work.  For example, the "Like a Virgin" number featuring Zidler and The Duke makes me cringe.  It stops the film dead in its tracks just when the love story was picking up steam.  And the uncorked champagne symbolizing "sexual release" is childish and laughable.  Still, there's more good than bad when it comes to the music and there are some truly magical moments (the aforementioned "El Tango de Roxanne" stunned me the first time I saw it and still resonates today...but I'm a sucker for stringed instruments and this tango lets the orchestra shine).

Certainly lifting Moulin Rouge up beyond the sporadic silliness are three fantastic performances.  For the first time while watching the movie, I greatly appreciated Jim Broadbent's role as Zidler, who outwardly is the hard-edged boss, but inwardly truly cares for the ladies working at his establishment.   Ewan McGregor and Nicole Kidman give some of their best performances of their careers.  McGregor is sweetly charming as the lovesick Christian -- it's easy to see why Kidman's Satine would fall for him.  Kidman is surprisingly sexy, but full of heart.  Sure, it's that typical "prostitute with a heart of gold" character we see often in movies, but it works here...I mean, the whole movie is filled with characters who are broad archetypes, but with the insanity of the visuals, it's surprisingly rather pleasant to have characters that aren't bogged down with anything more than basic traits.

In a way, Baz Luhrmann is like Quentin Tarantino in that I'm not exactly certain either director has any original ideas themselves.  Instead, they take their vast knowledge of film and create loving homages to movies they adore, honoring them while crafting something unique unto themselves.  Filmmakers like Luhrmann and Tarantino are tricky for me to critique in that sometimes I'm great admirers of them and then other days I may think of them as hacky auteurs.  And it's that very reason why I'm not sure if Moulin Rouge belongs in the Personal Canon.  I appreciate its insanity, but there are moments where that craziness is a directorial crutch that impedes the evolution of its story.  Nevertheless, this is still a film I admire greatly...even though I'm completely cognizant of its faults.

The RyMickey Rating:  B+

Movie Review - The Iron Lady

The Iron Lady (2011)

Starring Meryl Streep and Jim Broadbent

Directed by Phyllida Law

Much like last year's The King's Speech, I went into The Iron Lady thinking I was going to be bored learning about a piece of British history, but hoping that my qualms would be squashed.  Unlike The King's Speech which proved to be thoroughly entertaining and heart-warming, The Iron Lady is simply yawn-inducing and cold.  Please don't get me wrong here -- Meryl Streep is amazing as former British Prime Minister Margaret Thatcher.  There's part of me that wanted to be able to come on this blog and type that Streep finally blew it and gave a crappy performance, but I'm really beginning to think this lady can do no wrong.  She is riveting.  It's the story crafted around her and the rather silly direction that drags this one down.  There was part of me that was hoping I'd at least feel a little loyalty towards the "character" of Margaret Thatcher onscreen seeing as how her conservative nature is something I lean towards politically, but when I'd already checked my watch ten times in the first forty minutes to see how much longer this flick was going to go on (and that's no exaggeration), I knew this simply wasn't working for me.

When the film opens, we see an aged Margaret Thatcher, retired from her political life, sitting at her kitchen table with her husband Denis (Jim Broadbent).  As she discusses an increase in the price of milk, it is revealed that Margaret is simply talking to herself.  Denis has died, but a senile Margaret can't seem to let go of her husband's presence.  As the troubled Margaret tries to deal with her husband's death, she remembers back upon her life from her humble beginnings as the daughter of a grocer to her rise to power in the Conservative party of Great Britain.  Unfortunately, those flashbacks lack any bite, leaving Thatcher much more two-dimensional than three.  Important moments in Thatcher's political career are seemingly glossed over rather than examined and debated.

Still, what saves The Iron Lady from being an all-out failure is Meryl Streep.  She loses herself in Thatcher and we forget that we're watching Ms. Streep.  Of course, kudos to the make-up department for making Ms. Streep utterly unrecognizable as an old woman, but beyond that, the woman has the ability to lose herself in these characters.  Even before that opening shot I describe above, we get an image of an elderly Margaret Thatcher walking along the streets of England.  From this moment as Streep slowly makes her way through the town, I was won over.  There's something about Streep's ability to pick up on the littlest nuances of people (the way elderly feet shuffle along the ground, for example) that amazes me.

Of course, Streep's performance doesn't save the movie from being a train wreck.  Well, a "train wreck" is probably the wrong terminology to use because you'd probably be morbidly fascinated with watching a train wreck whereas The Iron Lady does nothing but make you twiddle your thumbs out of ennui.

The RyMickey Rating:  D

Movie Review - Inkheart (2009)

Starring Brendan Fraser, Helen Mirren, Paul Bettany, Jim Broadbent, and Andy Serkis
Written by David Lindsay-Abaire
Directed by Iain Softley

Why anyone gives Brendan Fraser jobs is beyond me. He is, without a doubt, the worst actor still getting starring roles today. Every line reading is atrocious. Every facial expression is a joke. And in this movie, he even makes Helen Mirren stoop to new lows acting-wise.

I should say off the bat that with the exception of biopics, the fantasy genre is one of my least favorite types of movies. Lord of the Rings...saw the first one and didn't need to see the others. The Princess Bride...never made it all the way through. I just don't like genre for some reason -- not a fan of the mysticism or something. So, unfortunately, Inkheart had trouble winning me over in the first place.

That being said, as a fantasy movie, the premise of Inkheart isn't all that bad. Fraser is Mo, a Silvertongue, which means when he reads stories aloud, a character from the book escapes the book into the "real world;" however, someone from the "real world" will be transported into the book as well. And that's the problem -- several years ago, Mo was unaware of his powers and, when reading a book named Inkheart to his young daughter and wife, his wife was transported into the book. For years, Mo has been searching for the out-of-print book so he can "read his wife out of it." Various book characters come and go, trying to either get back into the book or keep Mo from "reading them back into" the book. An interesting premise, but it ends up being not the least bit exciting.

As I said above, Fraser is awful and Mirren fares very poorly as Mo's eccentric aunt. Jim Broadbent as Inkheart's author and Andy Serkis as the villain are better, but the film does them no favors. The actors aren't helped by the fact that the film looks cheap and low-budget. The thing is, I'm sure they spent a decent amount of money on the flick, but there's really nothing to show for it.

It wasn't the worst thing I've ever seen, but there's nothing memorable here or worth watching.

The RyMickey Rating: D

Movie Review - Harry Potter and the Half-Blood Prince (2009)

Starring Daniel Radcliffe, Emma Watson, Rupert Grint, Michael Gambon, Alan Rickman, Helena Bonham Carter, and Jim Broadbent
Written by Steve Kloves
Directed by David Yates

The Potter movies have never been my cup of tea. My favorite (if you could even use that term) was Prisoner of Azkaban, and I didn't even think that one was better than average. I never made it through more than two of the books, either, so they hold no special place in my heart. So, I wasn't expecting a ton from this sixth movie. And, while it wasn't anything to necessarily rave about, it was definitely the best of the series.

Part of the reason for the winning nature of this flick is David Yates' direction and Bruno Delbonnel's cinematography. The film looks rich and decadent and there were some scenes that really did look beautiful. The muted tones and colors really create an eerie atmosphere, despite the fact that this seems to be the most lighthearted of all the Potter flicks.

It's that lighthearted nature that brings the movie down a bit. It's not that I didn't enjoy the high school melodramatic romances that are going on in this movie, but at 2 hours 45 minutes, I could've done with a ton less of the love triangle of Ron-Hermione-and some other chick. Once again, not like this aspect was bad, but it all just seems like filler...and then, when the really important stuff starts to happen, it feels like it's compacted within the last 20 minutes. Now, this could be what the book is like, too, but it doesn't make it good.

Still, despite my issues with the (lack of) plot, there are some winning performances here. Michael Gambon as Dumbledore is a treat to watch. I also love Alan Rickman's Snape...so utterly nasty that you can't help but love him. The best performance here is from Jim Broadbent. His dim-witted Professor Slughorn is great...a treat whenever he's onscreen. All the kid actors (who aren't really kids anymore) have come a tremendously long way since the first flick, particularly Rupert Grint and Emma Watson. If anyone still needs to work on their acting chops, it's the title character. Mr. Radcliffe is perfectly adequate, but he's such a dud onscreen. This could be an innate problem with the character, but Radcliffe's Potter is just boring.

So, overall, I'm pleasantly surprised with this Potter flick. It's still nothing excellent, but I have hopes that director David Yates can continue the improvements he made in this sixth film in the upcoming two-part finale to the series.

The RyMickey Rating: B-