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+

Pottersville

Pottersville (2017)

Starring Michael Shannon,  Judy Greer, Ron Perlman, Thomas Lennon, Christina Hendricks, and Ian McShane

Directed by Seth Henrikson

Written by Daniel Meyer

***This film is currently streaming via Netflix***

Summary (in 500 words or less):  After discovering his wife (Christina Hendricks) wants to leave him, small town store clerk Maynard (Michael Shannon) goes on a nighttime drunken romp through the town of Pottersvilee in a gorilla costume.  When he wakes up the next morning, Maynard discovers that the town is all abuzz with a sighting of the mythical Bigfoot the night before.  Upon realizing how much Pottersville community has come together over this Bigfoot excitement, Maynard decides to continue dressing up in the gorilla costume in order to keep the town at its best.

Click here for my Letterboxd review

The RyMickey Rating: C-

Movie Review - The Book of Life

The Book of Life (2014)

Featuring the vocal talents of Diego Luna, Zoe Saldana, Channing Tatum, Ron Perlman, Christina Applegate, Kate del Castillo, and Ice Cube

Directed by Jorge R. Gutiérrez

Although visually stimulating, The Book of Life falls into a similar trap I've noticed lately of animated movies being unable to create an appropriate denouement at their conclusions.  It's a bit surprising actually as The Book of Life is quite solid at creating a love triangle between its three main characters, but when it treks into the folkloric and light-hearted Mexican "underworld" in the film's second half, the relationships are muted in a way that is detrimental to the flick's emotional impact.

The film is narrated by museum guide Mary Beth (Christina Applegate) who is showing a group of rambunctious kids artifacts related to the Mexican folktales of The Land of the Remembered and the Land of the Forgotten.  The former is ruled over by the lovely La Muerte (Kate del Castillo) and is inhabited by the souls of dead who are remembered by those still living making the atmosphere a fun party, vibrantly colored, and full of vigor.  The latter is where those who are forgotten dwell in darkened shadows hiding from ruler Xibalba (Ron Perlman).  At first, I was irritated by the set-up of the museum guide narrator, but as the film progressed, I appreciated the mini-historical aspects her character brought to the story...although I can't help but think that in a better scripted and thought out film this still may not have been necessary.

Nevertheless, La Muerte and Xibalba have a bit of a love-hate relationship going on, constantly battling one another for supremacy.  Upon one of the their visits above ground, they come across Manolo, Joaquin, and Maria -- a young trio of kids who are quite fond of one another with the two boys obviously harboring some love for Maria.  La Muerte and Xibalba make a bet -- if Manolo weds Maria when they get older, Xiblaba can no longer come to the surface and mess with human affairs; if Joaquin weds Maria, Xibalba will take over the Land of the Remembered and La Muerte will be forced to reside in the Land of the Forgotten.  As the kids grow older, Manolo (Diego Luna) becomes a sensitive guitar player who is forced to become a bullfighter by his father, whereas Joaquin (Channing Tatum) becomes quite the ladies' man, known for his machismo and his strength in battle.  Maria (Zoe Saldana) finds herself torn between the two men, both of whom have a genuine love for her.

Well-voiced, the trio of main characters is charming and quite enjoyable to follow.  Additionally, I found the vocal talent of Kate del Castillo and Ron Perlman as the two underworld gods to have an amusingly humorous rapport.  Animation-wise, The Book of Life looks quite interesting.  Since museum guide Mary Beth is telling the story based on artifacts, the characters of Maria, Manolo, Joaquin, La Muerte, and Xibalba all look as if they're wooden dolls -- which actually isn't as weird as it sounds.  In fact, it's a rather ingenious move that gives the film some much needed oomph.

Unfortunately, a major aspect of the film when one of our trio of lovebirds visits the underworld fails pretty miserably and severely hampers the final half of the movie.  There was potential here for something really unique and amusing and while that first adjective still is maintained, the film doesn't keep up it's promise of being boisterously fun.  The Book of Life isn't bad, but it's a bit disappointing considering all the positives it had in its favor.

The RyMickey Rating:  C

Movie Review - Drive

Drive (2011)

Starring Ryan Gosling, Carey Mulligan, Bryan Cranston, Christina Hendricks, Ron Perlman, Oscar Isaac, and Albert Brooks 

Directed by Nicolas Winding Refn

There's a low budget B-movie noirish vibe that I got while watching Drive, the latest film by director Nicolas Winding Refn whose Bronson I appreciated in 2009 (and is available to stream on Netflix for those interested).  Ubiquitous Ryan Gosling plays the main character, a man with no name who is a movie stunt car driver and garage mechanic during the day and a getaway-car-driver-for-hire by night.  As the film opens, the Driver (as heretofore Gosling's character will be called as that is how imdb lists him) is in the midst of a crime in progress.  Seemingly calm, cool, and collected, the Driver never appears to break a sweat even when he's being tailed by police cars and helicopters, and, sure enough, he completes the getaway without any problems.

On the surface, the Driver is oddly emotionless, but when he meets the lovely Irene (Carey Mulligan) and her cute son Benicio, it's obvious that despite the stolid face and the lack of expressive words, the Driver is growing to care for the two of them.  When Irene's husband Standard (Oscar Isaac) is released from prison, he still finds himself needing to repay his debts to his former criminal friends.  The Driver agrees to help Standard by being his getaway car driver in a robbery in order to keep Irene and Benicio out of harm's way.  From there, things begin to spiral out of control for the typically sedate Driver as he finds himself caught up in an imbroglio the likes of which he hasn't seen before.

Like many noirs, a woman leads to the main character's potential downfall and this is the case here as well with Carey Mulligan's Irene.  Much like the Driver, Irene is calm, pensive, and a lady of few words.  One has to wonder what led her down the path to marry the rough-edged Standard, but considering the fact that she's also obviously attracted to the less-than-angelic Driver, maybe it shouldn't be too surprising.  Mulligan plays things subdued, but is positively charming and tender.

The subdued nature of the acting carries over to Gosling as well who manages to relay all he needs to via his facial expressions seeing as how dialog is not the Driver's strong suit.  Taking on a completely different role from his last film Crazy, Stupid, Love, Gosling is truly the actor to watch right now.  He's a confident actor who seems to be right at home in his role here as a nice guy with slightly shady tendencies.

In the end, though, if you notice a lack of excitement in this review of Drive, it's because I have an overall general lack of excitement for the film.  Drive is a good film, but it's not as good as the raves would lead you to believe.  The tremendous buzz over Albert Brooks' role as a seedy criminal mastermind is groundless, in my opinion.  Like the film itself, Brooks was fine, but nothing rave-worthy.  Yes, the chase scenes are well shot, the film exudes a smart arthousey vibe which I enjoyed, and I never once found that the film lagged or felt boring (as was the major complaint I've heard from the haters of this movie).  Still, the film just didn't rouse me the way the "best" movies are wont to do.

The RyMickey Rating:  B