A Reel Review: THE FABELMANS

Everyone knows the stories behind Steven Spielberg becoming one of the greatest directors of all time. We all know the trials and terrors he endured to make JAWS, how he and his bestest good buddy George Lucas created an archeologist named after a dog, and his deep personal reasons for making WWII films such as SCHINDLER’S LIST and SAVING PRIVATE RYAN. This year, Spielberg invites us to meet THE FABELMANS, so we can learn the story before the stories. 

 

Sam Fabelman (played by Mateo Zoryon Francis-DeFord as an eight-year-old, and Gabriel LaBelle as a teen), is taken to the movies to see THE GREATEST SHOW ON EARTH by his parents; his father Burt (Paul Dano), and his mother Mitzi (Michelle Williams). Sam instantly falls in love with the movies, and immediately begins making his own despite resistance from his father. 

 

Directed by Spielberg and loosely based on his own adolescence and early years as a filmmaker, THE FABELMANS avoids any of the cliché elements we are used to seeing in a biopic about a well-known artist. We do not see Sam have an encounter with a man in a fedora hat or a shark or other contrived scenes, but instead Spielberg turns this prequel into a film about family, and it’s in those family dynamics where Sam finds his cinematic inspirations. It begins humbly with Sam using model trains to recreate the spectacular wreck from THE GREATEST SHOW ON EARTH, to recruiting his fellow Boy Scouts to make Western and war films using simple means. As successful as he is in making little 8mm films, he encounters discouragement from his dad (an electrical engineer and very practical man), and encouragement from his mom (a classical piano player, very much a free-soul, and a little loose upstairs). 

 

THE FABELMANS unspools episodically, as the family moves from city to city to support dad’s work, and Sam deals with adjusting as the “new kid” in school along with antisemitic assholes. He gets a boost from his old uncle (a magnificent Judd Hirsch), and even from his dad’s best friend Bennie (Seth Rogen), who causes trouble within his family. There are themes at work in all this involving talent and letting it grow versus family responsibility, along with how an artist can use their art to communicate, cope, and uplift. Spielberg and his co-writer Tony Kushner weaves everything beautifully. 

Spielberg has been thinking making this film as far back as 1999, and he shoots it with the tender loving care that we would expect from him. Every shot is a painting. Pacing is very deliberate, although the laughs hit well. The film feels like it could have been a bit tighter, as some scenes have some redundancy. John Williams’ score, consisting mostly of piano pieces, is excellent. 

 

The entire cast shines bright. Gabriel LaBelle is tremendous, and he pairs well with Paul Dano. Michelle Williams steals the show, and the supporting cast of Judd Hirsch and Seth Rogen are solid. And watch out for a whopper of a cameo near the end when Sam meets one of his idols. 

 

Anyone going into THE FABELMANS looking for a tale of how Spielberg got his ideas for his legendary filmography may walk away disappointed, as that is not the story he wants to tell. Spielberg’s message here is that family makes us who we are, and it is in the movies where filmmakers inject themselves. After viewing THE FABELMANS, we won’t see JAWS any differently, but we will have a deeper appreciation to the boy who looked through the camera. 

 

BOTTOM LINE: See it 

 

 

A Reel Review: THE BANSHEES OF INISHERIN

British/Irish filmmaker Martin McDonagh has been perfecting the character study in the last decade or so. From his dark comedy IN BRUGES (2008), to his awards-gobbling THREE BILLBOARDS OUTSIDE EBBING, MISSOURI (2017). Here in 2022, he returns to Ireland for a deep character drama set against the backdrop of Irish history. 

 

During the Irish Civil War of 1923, on the fictional Isle of Inisherin, Padraic (Colin Farrell), is shocked and dismayed when his old friend Colm (Brendan Gleeson), suddenly doesn’t like him anymore…

 

Written and directed by McDonagh and filmed around various locations in Ireland, THE BANSHEES OF INISHERIN unfolds like a mystery, mostly seen through Padraic’s eyes as he tries to figure out why his friend will no longer speak to him. Both men are rock-solid in their resolve, with Padraic determined to figure it out and Colm threatening to chop off his fingers if Padraic even speaks to him. Even after Colm’s reasons are revealed, it only makes Padraic even more desperate to get his friend back. 

 

McDonagh is exploring themes of loyalty and friendship, but in a deeper sense he is using his two characters as a metaphor for the Irish Civil War. Like their country, they are one but fractured, with both having reasons for digging trenches and taking shots. As things progress, both men go to places that can’t be unseen or undone…just like any war. 

 

Shot in Ireland, the film can be described in many words: breathtaking, stunning, gorgeous…all of the above. Ireland’s country sides, coasts, and sunsets have never looked better…and the dark pubs and simple dwellings never more authentic. McDonagh gets into the daily lives of 1923 Ireland nicely, from raising livestock to selling cow’s milk to walking everywhere…the hard life is shown in reality and beauty. The script is witty, sharp, and funny, and the score by Carter Burwell is excellent. 

 

Also excellent is the cast. Colin Farrell and Brendan Gleeson, who starred together in IN BRUGES, are full of fire and play against each other nicely. Kerry Condon appears as Padraic’s sister and is outstanding. Barry Keoghan nearly steals the show. 

 

Like many Irish stories, THE BANSHEES OF INISHERIN doesn’t quite end on a happy note. It leaves our two main characters wounded and perhaps forever at war even after a peace treaty is struck. McDonagh’s metaphor for a fractured Ireland is subtle enough where it sneaks up on us, and once it hits…it hits hard. This is McDonagh’s best work. 

 

BOTTOM LINE: See it 

A Reel Opinion: Ranking the Films of James Cameron

James Cameron. His name alone stirs up big-screen images of aliens, robots, far-away planets, and the deepest depths of the oceans. He directed two consecutive films that became the biggest box office earners of all time. He’s won Oscars and every film he makes seems to advance filmmaking. He is one of the most heralded and ambitious filmmakers of all time, and last week released his AVATAR sequel, THE WAY OF WATER into theatres with box office and critical success. The release of the sci-fi epic has ignited debate over the best works of the self-proclaimed King of the World, which leads us to Reel Speak’s Ranking of the Films of James Cameron. 

 

After seeing STAR WARS in 1977, a young James Cameron quit his job as a truck driver and dove into the film industry. With an eye on special effects, he worked on films such as BATTLE BEYOND THE STARS (1980), John Carpenter’s ESCAPE FROM NEW YORK (1981), and GALAXY OF TERROR (1981). His big break would come in 1981 when he took over the troubled production of the sequel to the JAWS-ripoff PIRANAH (1978), and from there it’s been history. He has yet to make a bad movie on his own, and even a film that ranks low on this list is still worthwhile. 

 

Blogger’s note: Cameron has done several documentaries in his career, and this list will focus on his nine narrative films. 

 

 

 

 

 

9. PIRANAH II: THE SPAWNING (1981)

Most of us don’t consider this mess to be a true James Cameron film, as he was originally set as a special effects director before taking over from initial director Miller Drake…who left the project due to creative differences. Suffering from a low budget and a meddling studio, Cameron himself had little control and wasn’t even allowed to view the dailies. Cameron had disowned it for years, but has since acknowledged it as his directorial debut. If anything, the man learned a lot from this failure. 

 

 

8. TRUE LIES (1994)

Cameron’s third film with mega-star Arnold Schwarzenegger, with Arnie playing a government spy struggling to hide his work from his wife (Jamie Lee Curtis). Labeled as an action-comedy, this Blogger always found it to be too hokey and silly, but the film has earned a huge cult-following over the years. It was the third-highest earner of 1994 with excellent visual effects, action sequences, and (sigh), plenty of laughs. 

 

 

7. AVATAR (2009)

The epic sci-fi film that won Oscars and became Cameron’s second consecutive film to take the all-time box office crown. Set on the far-off world of Pandora where humans take on “avatars” of the natives, AVATAR took an old story and literally set it in an eye-popping new skin; a high concept in a simple plot that clicked. It’s a statement on colonialism, nature, and perhaps the crimes done against Native Americans; bold stuff that resonates and the exact type of work that good sci-fi should do. A rare sci-film that got nominated for Best Picture and a planet-sized step forward for visual effects. 

 

 

6. THE TERMINATOR (1984)

During the troubled production of PIRANHA II, Cameron had a dream about a half-man, half-robot chasing him. That dream became the basis for THE TERMINATOR, with Schwarzenegger taking on the lead role. Arnie slips into the artificial skin of the robot sent back in time to kill the mother (Linda Hamilton), of the future resistance against the machines, in a plot that bends the mind in more ways than one. This film gets points deducted for some dated special effects, but the feeling of dread and fear is there, which can always make up for nearly anything. 

 

 

5. AVATAR: THE WAY OF WATER (2022)

Only Cameron could take one of the biggest films of all time (AVATAR), and turn it into a stepping-stone for something even bigger. THE WAY OF WATER goes deeper and further into Pandora, while finding time to give each one of his alien characters time to grow. Another heavy-handed swipe at colonialism and the rape of Mother Earth, THE WAY OF WATER pulls no punches…and oh by the way, it’s one of the most visually stunning films of all time. 

 

 

4. THE ABYSS (1989)

Cameron’s’ deep sea adventure which required his lead actors to take rigorous diving lessons in a production that was filmed mostly underwater. Centered around a deep-sea oil-rig crew that is stranded and visited by strange creatures, THE ABYSS is where Cameron’s ambitious nature really started to show, and it would begin his fascination with our oceans that still appears in his works today. It also takes credit for featuring the first CGI character.  THE ABYSS was perfect on release, and a later director’s cut improves things here and there. 

 

 

3. ALIENS (1986)

Leave it to Cameron to take one of the best horror films of all time (ALIEN from 1979), and sequel-ize it into one of the best action/sci-fi films of all time. Where the first ALIEN was a creeper, the second one was a thrill-a-minute…with very cool Space Marines, weapons, vehicles, and yes…more than one alien running around. The near-ensemble cast is excellent, and it turned Sigourney Weaver into an action hero overnight. 

 

 

2. TERMINATOR 2: JUDGMENT DAY (1991)

Special effects, specifically CGI, took a huge leap forward with this blockbuster sequel to THE TERMINATOR. Arnie returns as a robot, only this time as a protector against a shape-shifting liquid-metal Terminator that is convincing even by today’s CGI standards. Linda Hamilton owns most of the film, but this sci-fi romp really works thanks to a family dynamic that sneaks up on us…capped off with an unexpected emotional ending. 

 

 

1. TITANIC (1997)

Sci-fi fans may groan at this pick, but the justifications are many. Cameron’s take on the 1912 disaster that claimed 1500 souls is given an emotional Romeo and Juliet treatment, with Leonardo DiCaprio and Kate Winslet playing young lovers separated by class onboard the doomed liner. Cameron’s ambition is at full-speed-ahead; not only recreating the ship right down to its original silverware, but also inventing new filming techniques to actually film the wreck of the ship. TITANIC changed the industry in the way movies were made, marketed, and put together via CGI…and Hollywood said thank-you-very-much by way of awarding it 11 Oscars, including Best Picture and Best Director for Cameron. Its success would open the door for future big-budgeted, VFX-driven films like THE LORD OF THE RINGS and the MCU. It would become the highest grossing film of all time and stay there for 12 years…an impressive feat with rising ticket prices. These are solid accomplishments, but TITANIC not only changed filmmaking but the world as well. The cultural impact can still be felt even after 25 years; everyone today knows the story of Jack and Rose, can quote the film, and can recognize the theme song. When a movie makes that type of impact, it is the clear choice for the King’s best work. 

Ranking the Films of James Cameron

1. TITANIC
2. TERMINATOR 2: JUDGMENT DAY
3. ALIENS
4. THE ABYSS
5. AVATAR: THE WAY OF WATER
6. THE TERMINATOR
7. AVATAR
8. TRUE LIES
9. PIRANAH II: THE SPAWNING

A Reel 25: TITANIC

"I’ll never let go…”

This month marks the 25^th anniversary of James Cameron’s TITANIC. 

 

In the 1990’s, James Cameron had established himself as one of the most exciting directors in Hollywood; having wowed audiences and critics with THE TERMINATOR (1984), ALIENS (1986), THE ABYSS (1989), and TERMINATOR 2: JUDGEMENT DAY (1991). His experience in those films were part of his journey to Titanic; the most famous maritime disaster in all of history. 

 

Cameron’s experience with his ambitious film THE ABYSS, which was mostly shot underwater, sparked his fascination with shipwrecks, and with the RMS Titanic being the biggest in history, it was natural for the eager director to tell a story onboard that doomed vessel. The disaster had claimed over 1500 souls, and to make the story tangible for audiences, Cameron decided to focus on just two. And with those two characters, he injected classic sensibilities, and he pitched the project as Romeo and Juliet on board the Titanic. 

 

Never one to be shackled by technical limitations, Cameron designed new camera housings and lighting rigs to capture some of the most stunning footage of the actual wreck at the time. With a close eye for historical detail, the original designers of Titanic were consulted, along with the original makers of Titanic’s china, glassware, fixtures, furniture, and decorations. Historians were hired, and a full-scale set of the ship was built; ballooning the budget to $200 million…which was unheard of at the time. 

 

The important roles of Jack and Rose, the star-crossed lovers separated by class, were the most vital to the film. For the role of Jack, the poor boy, Cameron cast 21-year-old Leonardo DiCaprio, who ironically was famous for his role in the stylish ROMEO AND JULIET film in 1996. British actress Kate Winslet was cast as Rose, the rich girl. The rest of the impressive cast included Billy Zane, Frances Fisher, David Warner, Kathy Bates, Victor Garber, Bernard Hill, Jonathan Hyde, Bernard Hill, Eric Braeden, Bernard Fox, and Ioan Gruffudd. Bill Paxton would play a treasure-hunter in the modern day which bookended the film, and Gloria Stuart, who was 87 years old at the time, would play an elder version of Rose. 

 

A combination of practical effects and CGI, which was in its infancy at the time, would be used to bring TITANIC to life. An enclosed 5,000,000-gallon tank was used for filming the flooding interiors. The score was composed by James Horner, who chose Celine Dion to provide vocals for the title track, My Heart Will Go On. 

 

The on-screen results were stunning, and would put the world into a few-found interest in Titanic; a mania that had not been seen since the wreck was found in 1985. TITANIC would become the highest-grossing film of the year, and would be the highest grossing of all-time by 1998…and would remain so for 12 years before Cameron’s own AVATAR would overtake it in 2008. Its crowning achievement would come at the Oscars, where it would win 11 of its 14 nominations, including Best Picture, Director, Visual Effects, Dramatic Score, and Original Song. It would win nearly 90 awards from around the world, and in 2017 was selected for preservation in the National Film Registry. 

 

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This Blogger has fond memories of seeing TITANIC in 1997. Not knowing what to expect, we were all floored…not only by the grand scale and execution of the story, but by the overwhelming amount of emotion that it stirred up. And in this Blogger’s long-list of lessons learned from the movies, this was the film that taught me never to consume an extra-extra-large drink during a three-hour movie which has a lot of rushing water. Never again. 

 

Twenty-five years later, TITANIC still stands as James Cameron’s most complete work. It has a balance of character drama, blockbuster, and historical importance, and despite having an ending that we all knew, he made the journey more worthwhile than the destination. It made a huge cultural impact and changed the way movies were made. Prior to 1997, the Titanic story was one of the biggest of all time, and then James Cameron made it bigger. 

 

“She’s the largest moving object ever made by the hand of man.”

 

A Reel Review - AVATAR: THE WAY OF WATER

When director James Cameron won all the Oscars for his box office champion TITANIC in 1997, he boldly and maybe shamelessly proclaimed himself as King of the World. Never one to just talk the talk, he came through on that claim in 2009 with AVATAR, which became the new box office champion, won Oscars, and sent the visual effects industry down a new path. Here in 2022, it’s time for the King to defend his throne again with his first AVATAR sequel, THE WAY OF WATER. 

 

Thirteen years after the events of the first film, Jake (Sam Worthington), and his wife Neytiri (Zoe Saldana), relocate their family of four children to the shores of Pandora, where they are sheltered by a tribe of water-based Na’vi and hidden from a new threat which has arrived…

 

To say more of the story would be criminal, as THE WAY OF WATER is a packed film with more than enough plot. The center of it all is Jake trying to keep his family safe from the invading humans, who have returned in bigger numbers and with new resources to strip from the planet. Jake finds himself facing off against an old adversary who is renewed and has more than one personal stake in the fight. It’s a personal and world-wide battle that takes us across Pandora to new places in more ways than one. 

 

The heart of all is Jake’s family, and THE WAY OF WATER shows no fear in exploring the family dynamic. Alien or not, the family goes through their ups and downs like any other; with overzealous kids who fight, kids who feel like outcasts, little brothers who can’t live up to the older brothers, and even parents learning how to become parents. It’s a family in the middle of a planetary invasion, and it works beautifully…giving the film a huge amount of heart. 

 

The relocation of the story from the forests of Pandora to the shorelines and oceans offers James Cameron to explore his planet and characters, and he does this with great success. There are a lot of characters to keep track of, but somehow each one gets their due and their own arcs. Cameron is also exploring many themes here; man’s rape of nature and wildlife and culture-clashes just for starters. There are no punches pulled in presenting these ideas, and it goes to some hard-to-watch places. 

 

Where the first AVATAR film took visual effects to new heights, THE WAY OF WATER takes them to another galaxy. The film is breathtaking in every frame and is as close to photo-realistic as we can get. The underwater sequences are stunning, and the new species we are introduced to become true characters. Action sequences are a thrill, and certain scenes are filmed in the controversial high frame rate which really works; leave it to Cameron to figure that one out. The score by Simon Franglen, which re-purposes themes from the late great James Horner’s AVATAR score, is excellent. 

 

Acting is tremendous as the improved motion-capture really lets us see the actors underneath their digital skins. Zoe Saldana shines the brightest, as does Kate Winslet (!). The film is stolen by that old adversary who becomes one hell of a bastard cinematic villain. 

 

When AVATAR was released, it was unfairly criticized for recycling an old story. But like any good King should do, Cameron heard those complaints and said, “oh yeah take this!”, and here delivers a TON of movie in plot, character, theme, visuals, and oh yes…action. This is a shot across the bow of not only AVATAR critics but to home-streaming as well, as THE WAY OF WATER demands to be seen on the big screen and owns it. 

 

Long live the King. 

 

BOTTOM LINE: See it 

A Reel 20: December of 2002

This month marks the 20^th anniversary of the glorious days of December 2002; a month packed from top to bottom with Oscar contenders, blockbusters, and films that have lasted the test of time. 

 

The month was dominated by Peter Jackson’s THE LORD OF THE RINGS: THE TWO TOWERS, which was the second of his epic, three-film adaptation of J.R.R. Tolkien’s The Lord of the Rings. THE TWO TOWERS would earn nearly a billion dollars worldwide, finishing as the highest grosser of the year and earn six Oscar nominations, including Best Picture. 

 

Hot on the heels of THE TWO TOWERS was Rob Marshall’s eventual Best Picture winner, CHICAGO. The adaptation of the stage musical was the first musical to win Best Picture since 1968, with Catherine Zeta-Jones winning for Best Actress. And also in the Oscar race was Roman Polanski’s WWII drama THE PIANIST, which would earn Polanski a win for Best Director, and Best Actor for Adrien Brody. 

 

The month also saw two heavyweights return in the form of Steven Spielberg and Martin Scorsese. Spielberg brought us the fun romp CATCH ME IF YOU CAN with Tom Hanks and Leonardo DiCaprio, while Scorsese delivered big-time with GANGS OF NEW YORK. DiCaprio would also star in GANGS, which would earn 10 Oscar nominations and further the legend of Daniel Day-Lewis. Other notables from prominent directors include Spike Lee’s 25^TH HOUR, Stephen Daldry’s THE HOURS, and George Clooney’s CONFESSIONS OF A DANGEROUS MIND. There was also Charlie Kaufman’s ADAPTATION, which won an Oscar for Chris Cooper. 

 

Also in this month, the STAR TREK franchise beamed down its 10^th film with the pivotal STAR TREK: NEMESIS, the late great Harold Ramis directed ANALYZE THAT, Jack Nicholson took a shot at comedy with ABOUT SCHMIDT, Denzel Washington had his directorial debut with ANTWONE FISHER, and Jennifer Lopez had a box office hit with MAID IN MANHATTAN.

 

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The year of 2002 was a milestone in cinema. It was the first to see three films cross the $800 million mark (THE TWO TOWERS, HARRY POTTER AND THE CHAMBER OF SECRETS, and SPIDER-MAN), and would set a record for the most ticket sales in a single year. Much of that dough was earned in the month of December, but it wasn’t just about money. THE TWO TOWERS became a new standard for fantasy films, while CHICAGO proved that the old toe-tappin’ musical was far from dead. It was one of those rare months where there were many options at the theatre. This Blogger recalls the month well, spending many hours at a beloved Cinemark theatre for repeat viewings of THE TWO TOWERS with his Fellowship, or catching up on the Oscar race. This was a special month in a special year, and one that is not likely to be repeated. 

A Reel Opinion: Disney and Cinema

The ongoing discussion in the movie-world for the last three-plus years has been streaming vs. theatrical; the benefits, advantages, and disadvantages of watching new movies at home as opposed to going to the theatre. Long-time readers of Reel Speak know well-enough where this Blogger stands (the big screen rules), and on a recent trip to the ever-magical Walt Disney World, there was an affirmation to be had. 

 

Opened in 1971, and built to supplement Disneyland which was built in 1955, Disney World in Florida covers over 25,000 acres across four theme parks. Founder and creator Walt Disney was often quoted as saying that his parks and eventual empire of entertainment all started with a mouse (Mickey), and that mouse got his start in the movies; the 1928 short film STEAMBOAT WILLIE which is considered to be Mickey’s debut. And that little short film would be the cornerstone for Disney parks that would be built on the back of the movies. 

 

The centerpiece of Disney World is Cinderella’s Castle from the classic CINDERELLA. From there, we can take flight with Peter Pan, journey under the sea with Ariel from THE LITTLE MERMAID, have dinner in the great hall of the castle from BEAUTY AND THE BEAST, ride a magic carpet from ALADDIN, have a few laughs with Sully and Mike from MONSTERS, INC, dive into the mines with the Seven Dwarves, or take on an adventure down a jungle river or sail with pirates. 

 

And that is just the beginning. Disney’s Hollywood Studios lets us fly the Millennium Falcon, go on adventures with Woody and Buzz, see movie magic with Indiana Jones, and hit the track with Lightning McQueen. The Animal Kingdom Park takes us underground to hang out with Pixar’s bugs, and soaring into the skies of Pandora. Elsewhere, we can take a FROZEN journey, or take in one of many live shows with re-creations of our favorite characters and films. 

 

What all this means is, we cannot throw a stick across these 25,000 acres without hitting something that has had a presence on the big screen. For this Blogger and his wife, visiting a Disney park and reliving movie memories is a huge part of every trip, and we believe that it is a part of every attendee’s visit. Films like STAR WARS, PETER PAN, and CINDERELLA were first experienced for most of us on the big screen, and for decades the big screen funneled us all into the theatre, where its majesty and power saturated our very souls. Streaming may have convenience and ease-of-access on its side for releasing movies, but it will never tap into the magic that can be felt for real. Film has always been one of the best and powerful triggers of emotion, and when we can experience or re-live those films in real-life, somehow that barrier between the big screen and ourselves vanishes. That is true magic. 

 

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Read about this Blogger’s first flight aboard the Millennium Falcon in 2020 HERE

A Reel Preview: The Year in Film 2022 - Episode XII

The final month of the year has arrived, and 2022 is possibly saving the best for last. Here now are the notable theatrical releases for the packed month of December…

 

 

 

EMANCIPATION – Will Smith runs back into the spotlight, this time playing a runaway slave in 1863. Ben Foster co-stars, and Antoine Fuqua (THE EQUALIZER), directs. 

 

 

EMPIRE OF LIGHT – Oscar-winning director Sam Mendes (1917, SKYFALL), helms this love story taking place around an English movie theatre in the 1980’s. It stars Olivia Colman, Colin Firth, Toby Jones, and Michael Ward. 

 

 

THE WHALE – Brendan Fraser (THE MUMMY), returns to big-time cinema by playing a severely overweight man trying to re-connect with his daughter. Darren Aronofsky (BLACK SWAN), directs. 

 

 

AVATAR: THE WAY OF WATER – James Cameron returns with his long-overdue sequel to his 2009 Oscar-winner and all-time box office champion, AVATAR. Set a decade after the events of the first film, THE WAY OF WATER follows the Sully family as they face a new threat to their planet. It stars Sam Worthington, Zoe Saldana, Sigourney Weaver, Kate Winslet, and Stephen Lang. 

 

 

BABYLON – Oscar-darling director Damien Chazelle (LA LA LAND, FIRST MAN, WHIPLASH), brings us this comedy-drama taking place in 1920’s Hollywood. The ensemble cast includes Brad Pitt, Margot Robbie, Tobey Maguire, Samara Weaving, Olivia Wilde, Katherine Waterston, Flea, and Eric Roberts. 

 

 

I WANNA DANCE WITH SOMEBODY – Naomi Ackie plays the late great singer Whitney Houston in this biopic. Stanley Tucci co-stars, and it is directed by Kasi Lemmons (HARRIET). 

 

 

A MAN CALLED OTTO – Tom Hanks takes a shot at playing a grumpy old man in this dark comedy about a widowed man looking to commit suicide, only to have his efforts interrupted by new neighbors. Marc Forster (MONSTER’S BALL, FINDING NEVERLAND), directs. 

 

 

THE PALE BLUE EYE – Scott Cooper (CRAZY HEART), directs this gothic mystery about a veteran detective investigating murders at the U.S. Military Academy in 1830. The cast includes Christian Bale, Gillian Anderson, Toby Jones, Timothy Spall, and Robert Duvall.

 

 

PUSS IN BOOTS: THE LAST WISH – This spin-off to the long-dormant SHREK franchise has Antonio Banderas reprising his role as the swashbuckling Puss-in-Boots. The voiceover cast includes Salma Hayek, Florence Pugh, and Olivia Colman. 

 

 

VIOLENT NIGHT – David Harbour (TV’s STRANGER THINGS), plays Santa Claus as he battles mercenaries who attacked the estate of a wealthy family. 

 

 

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Next month, Reel Speak previews the first month of 2023. 

A Reel Review - GLASS ONION: A KNIVES OUT MYSTERY

In 2019, writer and director Rian Johnson delighted the world with his whodunit mystery KNIVES OUT, which also introduced James Bond actor Daniel Craig as master detective Benoit Blanc. Here in 2022, Blanc returns for yet another case, this time in GLASS ONION. 

 

Blanc (Craig), is invited to the remote island home of billionaire Miles Bron (Edward Norton), who has invited his old friends and business partners (Janelle Monae, Kathryn Hahn, Leslie Odom, Jr., Kate Hudson, Dave Bautista, Jessica Henwick, and Madelyn Cline), for a weekend highlighted by a murder-mystery game. 

 

Once again written and directed by Rian Johnson, GLASS ONION is a fun, twisting and turning mystery that never goes exactly where we expect it. Inspired by the great mystery writers such as Agatha Christie and Sir Arthur Conan Doyle, GLASS ONION never once has a scene that isn’t raising questions or keeping us guessing. The spark of it all is Miles, who has a long and sometimes troubled past with his group of invitees, which range from estranged business partners, co-workers, social media stars, supermodels, and personal assistants. The intricate game he has set up eventually goes awry, which turns everyone on the remote island a suspect, as they all have a motive and opportunity. 

 

While Johnson is keeping us guessing with unexpected events and whopper twists, he is also lampooning current society, taking shots at social media clowns, CEO’s who are actually morons, right down to the lengths that a human being would stoop down to in order to keep their status right where it is. It’s done in a clever manner that is never preachy and doesn’t derail the mystery at hand. Johnson, never one to let the audience get ahead of him, even draws attention to the obvious metaphor of the film’s title; letting us know that the characters are well aware of the layers of mystery being peeled back one piece at a time. 

 

Filmed on location in an actual Greek island, GLASS ONION looks gorgeous. Pacing is brisk despite long monologues and extended flashbacks, and the run time of 139 minutes flies by. Despite bad things happening the film is very funny, and every cast member seems like they are having a blast. 

 

Daniel Craig once again shines as Blanc. He’s a delight, and the character isn’t drawn as invincible but certainly formidable. Dave Bautista is a blast, and the show is nearly stolen by Janelle Monae. 

 

GLASS ONION may not earn a cultural status like its predecessor did, as the concept is no longer new for audiences, but as a film it shines brighter than KNIVES OUT, and makes us hope that Johnson and Craig will send Blanc on many more adventures. This is one onion worth cutting into. 

 

BOTTOM LINE: See it 

A Reel Review: MONSTER-MANIA

Horror movies are not for everyone. Not everybody likes to watch a movie with blood and guts, scary guys, creatures from the deep, or the terrifying strange and unusual. The genre has a way of segregating movie fans, but at the same time has produced some of the greatest films of all time, such as JAWS, HALLOWEEN, and THE EXORCIST…to name just a few. But even if only two out of ten people love the horror, the genre has built more than a legion of fans to earn its own place on the convention circuit, and this past weekend (November 11-13), this Blogger was pleased to attend Monster-Mania Con; the semi-annual Philadelphia Horror Film & Memorabilia Convention. 

 

Officially labeled as Monster-Mania 52 (their 52^nd convention, as they host this event across other venues across the east coast), the convention was a showcase for all things creepy and kooky. The vendor floor was packed with vendors selling their scary goods; from good old fashioned masks, autographed memorabilia, comics, action figures, to home-made items ranging from art-prints, clothing, glassware, candles, and even food items like horror-themed hot sauces. Not unlike SPACEBALLS, there was an item for every major scary movie. There was HALLOWEEN the Wine Glass, JAWS the Action Figures, BETELGEUSE the knee-socks, and HELLRAISER the T-Shirt…just to name a few. Also on hand for purchase were vintage horror action figures going back to the seventies, along with the modern Lego’s and Funko’s. 

 

The biggest draw of the event was the guest list. Leading the way was Robert Englund, who originated the role of Freddy Krueger in the NIGHTMARE ON ELM STREET series. Englund was joined by co-star Heather Langenkamp, along with several cast members from the third entry in the franchise, DREAM WARRIORS. Other guests included Corey Taylor from horror-rock group Slipknot, David Morrissey from TV’S THE WALKING DEAD, along with cast-members from MONSTER SQUAD and TERRIFIER. 

 

This Blogger took advantage of the guest list to meet three icons from horror. The first was Tyler Mane. Mane is most famous for playing Sabertooth in X-MEN, and also donned the mask of Michael Myers in Rob Zombie’s HALLOWEEN from 2007. Mane was a cool cat, and comes off as one of those guys you just want to have a beer with and chat movies. 

 

Next up was the delightful Danielle Harris. Harris earned her reputation as one of the best child actors ever after her role in HALLOWEEN 4 and again in HALLOWEEN 5. She played a different character in Zombie’s HALLOWEEN, and has also appeared in Quentin Tarantino’s ONCE UPON A TIME IN HOLLYWOOD. She is also the co-host of the Talk Scary to Me podcast (with her HALLOWEEN co-star Scout Taylor-Compton). Harris was also very cool, and despite the long lines behind us, took all the time in the world to chat. 

 

Last but certainly not least was Susan Backlinie, who famously played Chrissie, the very first victim in Steven Spielberg’s JAWS. As the very first swimmer to meet the shark, it was Backlinie’ horrific screams that scared audiences out of the water for decades. Backlinie was also a delight, and also made sure you felt welcome. 

 

Despite the horror theme, Monster-Mania still worked as a family event. While there were not many kids being towed around, there was nothing about the event that would earn an R-rating. Everything for big-screen horror was there; from Freddy to Michael to Gomez & Morticia. It was scary, but fun…and offered something for everyone.

A Reel Review - BLACK PANTHER: WAKANDA FOREVER

WAKANDA FOREVER, the sequel to the 2018 smash-hit and Oscar winner BLACK PANTHER, and the 30^th (!) film in the Marvel Cinematic Universe (MCU), is a film with a massive hole to fill. In 2020, rising star and new cultural icon Chadwick Boseman passed away from cancer, leaving the MCU and its fans with one less hero. For Marvel Studios and director Ryan Coogler (who also helmed BLACK PANTHER), the task is nearly too big to overcome. 

 

A year after the passing of King T’Challa, the country of Wakanda, which is the source of the energy-absorbing element Vibranium, is under threat. Countries of the world are seeking the power, as is a new threat from under sea…led by Namor (Tenoch Huerta). Without their king, the defense of Wakanda is left to Queen Ramonda (Angela Bassett), and Shuri (Letitia Wright), who is still in mourning. 

 

In broad strokes, WAKANDA FOREVER is perfectly balanced. It plays out on a world-wide scale while staying intimate with the grief of the characters. While the world battles for Vibranium, Ramonda and Shuri battle with their emotions and the future; who will protect and lead their beloved country during a time when everything seems to be coming down on top of them? By far, it’s the heaviest-feeling MCU film to date. 

 

For the first time, we have an MCU film that feels overburdened with universe-building. Marvel knows it’s fans and what they expect, and setting up a larger universe has been part of the game since IRON MAN first took flight way back in 2008. This time, it feels like too much. Namor and his underwater army and kingdom gets a ton of backstory and mythology (unavoidable, it’s fine), and he plays out not so much a villain as a man trying for the betterment of his people. Other elements, such a genius college student (a wonderful Dominique Thorne), and CIA fuckery (led by Martin Freeman and Julia Louis-Dreyfus), feel like they could have been left on the cutting-room floor and are just a distraction every time they have a scene. 

 

Coogler is playing with themes of grief and colonization, and pulls them off very well. The storyline of big white countries wanting the shiny objects from colored countries resonates not just in modern optics but throughout history. The film is at its strongest when it is focusing on characters dealing with their grief; T’Challa’s absence hangs over those scenes and it can be felt like a weighted blanket. Masterfully done. The action scenes are staged and executed very well, the film looks amazing, and Ludwig Goranssoon’s score is excellent. 

 

Also excellent is the acting. Angela Bassett dominates every scene, and Letitia Wright carries the emotional heft very well. Tenoch Huerta has a commanding screen presence. Martin Freeman is his usual charming self but he exists to just provide information dumps, and where his character winds up at the end is just weird. 

 

Despite its bumps, WAKANDA FOREVER does find a way to offer a satisfying and emotional closure by way of a mid-credits scene (slight spoiler: nothing at the end), that wraps the film and secures the future of the Black Panther in a tear-jerking wallop. It makes up for the overstuffed feel and sends us out the door feeling all right. WAKANDA FOREVER is a unique film in the MCU, and is needed to be seen for some sense of closure…even if the attempts to fill those holes don’t always stick…which is exactly how grief works. 

 

BOTTOM LINE: See it