A Reel Opinion: The Top 10 Best Films of John Ford

It is no great spoiler to print that THE FABLEMANS, Steven Spielberg’s Oscar-nominated, semi-autobiographical film, has a movie-ending, show-stopping cameo in the form of real-life director John Ford (the actor who plays Ford would be a huge spoiler to print, so go see the movie if you want to know). The short scene is a re-telling of the real-life encounter Spielberg had with Ford, and despite its short length, goes a long way in showing Ford’s influence on Spielberg. Younger viewers were probably asking “who the hell was that”, while older audience members were celebrating the tribute. Who was that guy? That answer can be found in Reel Speak’s Top 10 Best Films of John Ford. 

 

Born John Martin Feeney in 1894, John Ford would direct over 140 films stretching back to the silent era before his passing in 1973. He would earn six Academy Awards, including a record four for Best Director. He would redefine location shooting, wide-shots, shot-framing, and is credited with making an American icon out of John Wayne. His films would solidify the images of the Old West for good, and in doing so would be considered one of the most influential directors of all time. His best works are the films that stand as a reference point for filmmaking and have stood the test of time. 

 

 

Meet John Ford: 

 

 

 

10. YOUNG MR. LINCOLN (1939)

John Ford loved American icons and heroes and showed no restraint in celebrating their wit and bravery. This courtroom drama, with Henry Fonda playing a young Abraham Lincoln during his lawyering days, has the future President defending two brothers falsely accused of murder. The term “prequel” wasn’t around in 1939, but thanks to a clever script and Fonda’s gentle and intelligent performance, the building blocks can be seen stacking to the monument that would become Lincoln. 

 

 

9. THEY WERE EXPENDABLE (1945)

Having served in the Navy during WWII and earning a Purple Heart, Ford had a love of American fortitude. This realistic and somewhat grim exploration of war centers around a PT boat crew during a Japanese invasion of the Philippines, with real-life war hero Robert Montgomery and budding superstar John Wayne. Ford went for realism here and pulled no punches, setting a new standard for films of war. 

 

 

 

8. THE LONG VOYAGE HOME (1940)

In 1940, Ford would pull off the rare feat of earning two Best Picture nominations in one year, one for this sea-bound drama and the other you’ll find out in a few minutes. THE LONG VOYAGE HOME drew back on Ford’s love for the sea, and followed a ragtag crew board a British steamer on a perilous journey. Shot in glorious black-and-white, it would be considered to be one of the best film noir movies. 

 

 

7. THE INFORMER (1935)

Ford would win his first Oscar for Best Director in this drama set in 1922 Ireland, following a young man (Victor McLaglen), trying to get into the IRA. McLageln would win Best Actor for his performance, and despite a tragic ending, sends us out the door on a hopeful note. 

 

 

 

6. HOW GREEN WAS MY VALLEY (1941)

Ford had a way of presenting the chasing and failing of dreams, and this one of his strongest. Despite Ford’s four Oscars for Best Director, this would be his only film to win Best Picture…famously beating out CITIZEN KANE. Based around a Welsh mining family at the turn of the century, VALLEY would be an awards-gobbler, with 10 nominations and five wins including Best Director for Ford and Best Supporting Actor for Donald Crisp. 

 

 

5. THE QUIET MAN (1952)

Ford’s final win for Best Director in this classic that has become a vital element of celebrating St. Patrick’s Day as much as whiskey and beer. A romantic journey into Ford’s own Irish roots, the film was a departure for both Ford and star John Wayne, who strayed from their tough-guy, put-em-up roots. Wayne plays an ex-boxer who returns to his homeland and falls in love with a fiery red head (a lovely Maureen O’Hara). Although THE QUIET MAN would end in a fistfight anyway, it stands as an early rom-com and shows the diversity of both Ford and Wayne. 

 

 

4. THE MAN WHO SHOT LIBERTY VALANCE (1962)

In this late career masterpiece, Ford takes the Western, a genre that he practically invented for the big screen, and finds an exploration of truth and myth. John Wayne and James Stewart are given the opportunity to find new layers to character-types they had played for decades, courtesy of a late-film twist that has consequences for both characters. Home to one of the greatest movie lines of all time: “When the legend becomes fact, print the legend”. 

 

3. STAGECOACH (1939)

The film that would make a star out of John Wayne and define the Old West for cinema. Following a group of strangers taking a stagecoach across dangerous Apache territory, it would be the first of many Westerns shot in Monument Valley on the Arizona-Utah border, and would set a new standard for location shooting as future productions would finally move away from soundstage filming. Before STAGECOACH, the Western would be known as B-movie shorts. Afterwards, it would be a new genre of cinema that would dominate for 60 years. The first of many Westerns for Ford and Wayne together, which would include gems such as FORT APACHE (1948), and RIO GRANDE (1950). 

 

 

2. THE GRAPES OF WRATH (1940)

Ford’s adaptation of the 1939 John Steinbeck novel would earn him an Academy Award for Best Director, and would be one of his two films nominated for Best Picture in this year. In telling the story of a family who migrates to California after losing everything in the Great Depression, this was one of Ford’s many fascinations with chasing and losing dreams and pushing out beyond boundaries to find them again. Often considered to be the definitive adaptations of the novel and one of the greatest films ever made. 

 

 

1. THE SEARCHERS (1956)

Ford may have elevated the Old West for cinema with STAGECOACH, but with THE SEARCHERS he sent it up even further. John Wayne plays an angry Civil War veteran who digs into his hatred of Native Americans when his niece (Natalie Wood), is kidnapped by Comanches. In what could have been a cliched tale of Cowboys and Indians, Ford finds new depth of character when Wayne and his partner (Jeffrey Hunter, years before his STAR TREK role of Capt. Pike), finds the niece living happily with the Comanches. The moral ambiguity the characters explore would set the stage for future anti-heroes in cinema such as Travis Bickle and Michael Corleone. Beautifully shot, edited, and scored…THE SEARCHERS would set a standard not only for Westerns but for all of cinema, and future franchises such as STAR WARS and Indiana Jones would take influence from here. When Spielberg met Ford, it was THE SEARCHERS that sent him on his way. 

REEL SPEAK'S TOP 10 BEST FILMS OF JOHN FORD

1. THE SEARCHERS
2. THE GRAPES OF WRATH
3. STAGECOACH
4. THE MAN WHO SHOT LIBERTY VALANCE
5. THE QUIET MAN
6. HOW GREEN WAS MY VALLEY
7. THE INFORMER
8. THE LONG VOYAGE HOME
9. THEY WERE EXPENDABLE
10. YOUNG MR. LINCOLN

A Reel Review - ANT-MAN AND THE WASP: QUANTUMANIA

Despite his long comic history, when Ant-Man first arrived on the big screen, it was easy to not take him seriously. The incredible shrinking (and sometimes super-growing) man who talks to bugs could have gone south in a hurry, but the team at Marvel Studios embraced the absurdity, and eventually made Ant-Man one of the key elements in their massive war in AVENGERS: ENDGAME. Now, set some years after the events of ENDGAME, Ant-Man returns with even bigger responsibility in ANT-MAN AND THE WASP: QUANTUMANIA. 

 

Scott Lang/Ant-Man (Paul Rudd), along with his daughter Cassie, (Kathryn Newton), girlfriend Hope/The Wasp (Evangeline Lilly), mentor Hank (Michael Douglas), and Hank’s wife Janet (Michelle Pfeiffer), are whisked into the Quantum Realm; a sub-atomic universe populated by strange creatures and inhabitants. While looking for a way out, they cross paths with Kang (Jonathan Majors), a super-being looking to conquer the many universes across time. 

 

Directed by Peyton Reed and the 31st film in the Marvel Cinematic Universe (MCU), QUANTUMANIA has deep roots in not only the AVENGERS films, but also the previous two ANT-MAN solo films. Janet, who had once been trapped in the Quantum Realm, knows the threat of Kang and has kept her knowledge of him and his threat a secret from her family. In their fight to get home and to keep Kang from escaping and continuing his conquest, the family voyages across the Realm, encountering strange beings, stranger places, and finding themselves in a war against Kang. 

 

The war against Kang and the fight to keep him imprisoned in the Realm forces the film to stay in the fantastical world for (guessing) 95% of the film. Once they arrive there (after 10 minutes in), there isn’t a single shot for two hours that isn’t overloaded with CGI. The graphics look great, and the creature designs fantastic (despite being so weird), but there is artificial feel to the film that leaves us cold. On top of that, this is the first ANT-MAN adventure that isn’t very fun. The usual yuk-fest that Ant-Man is associated with is gone, which is fine for a change of pace, but this adventure and war just lacks a sense of urgency and fun. Kang’s threat is real, but QUANTUMANIA just doesn’t have the desperation or stand-up-and-cheer moments that the MCU has been known for. 

 

There is still a lot to love in QUANTUMANIA. The family dynamic between Lang, his daughter, and his adopted family of Hope, Hank, and Janet works very well. They’re not just superheroes but a family working their issues. Long-time comic readers will take great joy in the presentation of Kang and his right-hand man; the MCU did their homework on these characters and it shows. 

 

Acting is very good. Paul Rudd is a delight as always, and Michael Douglas and Michelle Pfeiffer are a great match. Jonathan Majors is outstanding and is worthy to take the throne as the MCU’s new Big Bad. The show is stolen by Kathryn Newton who is incredible. 

 

Throughout its long history, the MCU has excelled at making self-contained adventures which also serve the larger universe and overall storyline. QUANTUMANIA isn’t perfectly balanced as this time Ant-Man has to do a lot of setup…because yes…something BIG is coming. That lopsidedness can be annoying, but forgivable if they remembered what made the MCU so popular since 2008: a little fun. 

 

BOTTOM LINE: Rent it

 

A Reel Birthday

This month marks Reel Speak’s 13th anniversary. 

 

The number 13 has a significant place in our culture. It is considered to an unlucky number, a bad omen, and heaven-forbid the date falls on a Friday. In cinema, filmmakers have been all over that unlucky number, using it in the craptacular FRIDAY THE 13^TH series for decades. Other significant films with that dreaded number inclulde Ron Howard’s masterful APOLLO 13 (1995), along with THIRTEEN GHOSTS (1960 and 2001), THIRTEEN (2003), 13 GOING ON 30 (2004), THE 13^TH WARRIOR (1999), 13 DAYS (2000), and OCEAN’S 13 (2007). The number 13 is also significant in the business, with the PG-13 rating standing for the adult movies that kids can see. 

 

It was in the Spring or Summer of 1977 when this kid was changed forever when he saw STAR WARS on the big screen. Fast-forward to 2010 when the kid turned Blogger had an idea; to share his love and knowledge (or lack of), with friends, family, and anyone else who would listen. 

  

So, every year, to celebrate Reel Speak’s birthday, this Blogger looks back on the top reasons why I fell in love with cinema in the first place. This was always a way to share, and to perhaps inspire others to look back and remember what they love about the movies too, and here in Year 13, it has reminded this Blogger that there is always magic to be found when the lights dim and the screen lights up. 

 

Why do I love the movies? Let us count the ways: 

 

20. Because the trick is not minding that it hurts. 

19. Because if they catch you, they will kill you. But first, they must catch you. 

18. Because a Jaguar Shark ate my best friend. 

17. Because we will not walk in fear of one another. 

16. Because of John Williams.

15. Because I have been, and always shall be your friend. 

14. Because what we do in life echoes in eternity. 

13. Because Red October was hunted.

12. Because the only Virtue is Vengeance. A Vendetta. 

11. Because Crom laughs at your four winds! 

10. Because it’s a wonderful night for Oscar.

9. Because they made me an offer I couldn’t refuse.

8. Because “I love you”, and “I know”.

7. Because if someone asks me if I’m a god, I say yes.

6. Because I will drink your milkshake.

5. Because every man dies, not every man really lives. 

4. Because they needed a bigger boat.

3. Because there had to be snakes.

2. Because the Fellowship will not fail. 

1. Because the Force will be with you, always. 

 

 

A Reel Opinion: The Super Bowl Movie Trailers - The Good, The Bad, & The Glorious

The Super Bowl is a prime opportunity for Hollywood to showcase what they have coming up for the year. With a captive audience to work with, it’s their time to reach eyes and ears of a very wide audience and sell some tickets. After several lean years, the trailers are back for real, and last night’s Super Bowl LVII delivered. 

 

Previewing a new film in commercial breaks is always a challenge. With only 30 seconds or so to work with, editing is key. The spots have to get their story across while providing some sort of spectacle to capture those eyes and ears. Here’s how they all landed in The Good, The Bad, and The Glorious: 

 

 

The Good

65 – This quick spot only had one mission: to show Adam Driver shooting dinosaurs. And that it did. 

 

TRANSFORMERS: RISE OF THE BEASTS – There always seems to be a Transformers trailer in the Super Bowl, and this one was coupled with a Porsche ad. Not much story was revealed here, but it did deliver what we want to see from these movies: cars and robots. 

 

GUARDIANS OF THE GALAXY VOL. 3 – The long-awaited return of our favorite bunch of galactic morons worked as a teaser for the new longer trailer (kind of annoying), but landed well because it focused on the best part of these heroes: their witty and funny banter between each other. 

 

AIR – This Ben Affleck-directed drama about the historic merging of Nike and Michael Jordan gave us a well-timed trailer that was a condensed version of the full trailer earlier in the week. The message got across very well, and with a sports-minded audience, felt right at home. 

 

CREED III – The third ROCKY spinoff also took advantage of the sports audience, and gave us this crunching trailer with some intense emotion. 

 

COCAINE BEAR – This based-on-a-true-story comedy about a bear that ingested cocaine delivered a trailer that was exactly what we would expect from a movie with a title like that. No complaints here. 

 

The Bad

FAST X – The 10^th (!) film in the FAST AND THE FURIOUS franchise was just a whole lot of noise as usual. 

 

-You get negative points for not showing up. There were noticeable absences from upcoming high-profile films such as the SHAZAM sequel, The next JOHN WICK romp, THE SUPER MARIO BROS. MOVIE, Marvel’s THE MARVELS, and Pixar’s ELEMENTAL. 

 

The Glorious

-Disney may have shortchanged their Marvel and Pixar films, but they crushed it with their 100^th anniversary spot, which featured some of the most memorable and emotional moments from their long cinematic history. 

 

INDIANA JONES AND THE DIAL OF DESTINY – This action-packed spot featured our favorite archeologist punching Nazi scum (more of that, please), and a tremendous line from our equally beloved Sallah: GIVE ‘EM HELL, INDIANA JONES! 

 

THE FLASH – The most anticipated trailer of the night became the most talked about. The Warner Bros. superhero spot about the fastest man alive gave hints to the storyline of universe-hopping, and then brought down the house with Michael Keaton’s long-awaited return as Batman. This film has suffered from many delays and bad press, and this spot went a long way in repairing the damage, and probably snagged some eyes and ears for a theatre ticket or two. And selling tickets will always be the bottom line. 

 

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Super Bowl LVIII will be played February 11, 2024. 

A Reel 70: PETER PAN (Part 2)

This month marks the 70^th anniversary of Walt Disney’s PETER PAN. In Reel Speak’s first part (HERE), we explored the film’s origins. Here in part 2, we look at where the character has gone since 1953. 

 

On February 5^th, 1953, PETER PAN flew into theatres and rightfully captured the imaginations of children and adults. It was the 14^th animated feature film by Walt Disney Pictures, and while it is often said that Disney started with a mouse, for the past seven decades it has soared and charmed generations with a boy who never grew up. For this Blogger, the charm of PETER PAN was felt when I first rode Peter Pan’s Flight at Magic Kingdom in 2021. From the opening flight through the nursey to the breathtaking flyover of London at night, this Blogger was turned into a kid again…which means the attraction certainly did its job. When I and my Disney Queen Wife visit Magic Kingdom, Peter Pan’s Flight is always high on the list no matter how long the lines get (and yes, they do get long). But how is it that a 70-year-old film clearly marked for children (?) can have such a draw? All it takes is a little fairy dust…

 

Even in the early days of PETER PAN, the popularity and importance of the film was not lost on Walt, who in 1955 opened Disneyland in California with Peter Pan’s Flight as one of the attractions. The suspended-rail “dark ride” recreated the storyline from the film, and was later expanded to Magic Kingdom, Disneyland Paris, Tokyo Disneyland, and Shanghai Disneyland theme parks. The Disneyland version is one of the few remaining attractions that were operational when the park opened in 1955, a testament to its popularity. Peter, Hook, and Tink have become Disney icons, and have a constant presence in the park, including parades, live shows, scavenger hunts, and of course…merchandise. 

Back on the big screen, in 2002, PETER PAN officially became a film franchise for Disney when its sequel arrived: PETER PAN: RETURN TO NEVERLAND. Later, Peter’s sidekick Tinker Bell’s popularity was capitalized, with the magical fairy earning her own feature-length films and shorts. While Peter has been the name of the franchise, Tinker Bell has flown into a higher stratosphere. Tink has been flying over the castle in Disney’s opening film animations for years, and a live-action version of her has been soaring over the park castles for the grand finale of their fireworks display nearly every night since 1985…a feat that draws cheers every time. Tink has become the symbol of Disney magic, and her iconic look and jingle are recognizable anywhere.

 

In recent years the film has been rightfully criticized for its depiction and treatment of Native Americans, causing Disney’s streaming service to add a disclaimer in front of the film. Despite this, PETER PAN’s legacy has endured. While the story has its roots in a stage production, Peter, Tink, and Wendy have a staying power that comes from the film. When heavy metal band Metallica sings about Never Land in their hit single Enter Sandman, or when Captain Kirk orders the Enterprise to head towards the second star to the right…it’s impossible to not think of Disney’s PETER PAN. 

 

As Reel Speak wrote in Part 1 (again, HERE), PETER PAN has endured for many reasons. The structure, character, and execution make it feel very modern (the Native American scenes notwithstanding), and the artwork creating some gorgeous cinematography is stunning. There is a magic in the film that speaks to the kid in all of us; the kid that dreams of flying out of the window and crossing swords with buccaneers (and fight pirates too!), along with living a life like a Lost Boy: without rules or bedtimes. But all that, of course, comes with a price, and even PETER PAN knows it. Just like in the film, for 70 years PAN has asked us to choose Never Land or growing up. But perhaps the answer is somewhere in the middle, and that’s a place PETER PAN can always take us. 

 

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Special thanks to Jess, my Disney Queen, for assisting in research and photos. 

 

A Reel 70: PETER PAN (Part 1)

“Second star to the right, and straight on ‘till morning!”

 

This month marks the 70^th anniversary of Walt Disney’s PETER PAN. 

 

Based on the 1904 play by J.M. Barrie and often considered to be one of the greatest animated films of all time, PETER PAN was the 14^th feature film produced by Walt Disney Animation Studios. It followed the adventures of Wendy Darling and her two little brothers, John and Michael, as they follow Peter Pan, the boy who never grew up, on a magical flight to Never Land. There, they do battle with Peter’s nemesis: Captain Hook. 

 

The flight to Never Land had begun as far back as 1935, when Walt expressed an interest in adapting the play as the second animated feature after SNOW WHITE AND THE SEVEN DWARFS (1937). Walt’s brother Roy secured the rights from the Great Ormond Street Hospital for Sick Children in London, and by 1939 pre-production had begun. 

 

After the bombing of Pearl Harbor in 1941, the U.S. military took control of the studio for the purpose of war and propaganda films, and this halted production on PETER PAN until 1947. Once production resumed, live-action filming with actors was done to provide reference for animators. Bobby Driscoll would provide the voice of Peter, and Kathryn Beaumont would play Wendy. The rest of the cast would be rounded out with Hans Conried (Captain Hook and Mr. Darling), Mary Angel (Mrs. Darling), Bill Thompson (Smee), Paul Collins (John), and Tommy Luske (Michael). The songs were composed by Sammy Cahn and Sammy Fain, with the score composed by Oliver Wallace. The production went through several directors, with the final credited helmers Hamilton Luske, Clyde Geronimi, and Wilfred Jackson. 

 

PETER PAN had its wide release on February 5^th, 1953, and was also entered into the Cannes Film Festival that year. Critics were mixed on the deviations from the original play, but praised its overall effectiveness.  Over time, PETER PAN has become an elemental part of Disney’s parks and attractions, with Pan’s sidekick fairy Tinkerbell becoming Disney’s symbol of magic. 

 

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Walt Disney’s PETER PAN was not the very first big-screen adaptation of the character (Paramount did a 1924 silent film), and it certainly would not be the last…but after 70 years it stands as the definitive telling of the tale. Despite a brisk run time of 77 minutes and many liberties taken with the source material, PETER PAN captures the spirit of the story in swift effective strokes; youth, adventure, and the pains of growing up. Its most remarkable feat is that after seven decades it feels like a modern film in its structure and characters…and perhaps most importantly, its presentation of its themes. The near-constant presence of a ticking clock (Hook’s bomb, the clock in the croc, Big Ben, and the clock in the Darling’s home), represents time passing for us all, and having the same actor voice Captain Hook and Mr. Darling hints at just how the children may see their father: as a villain. 

 

In recent years PETER PAN has come under fire for its broad, stereotypical treatment of Native Americans, including an entire musical number about the color of their skin. The treatment is a snapshot of the attitudes towards Native Americans in the 1950’s, along with the environment of Peter’s creator, J.M. Barrie. Despite this scar, PETER PAN has endured and become a pillar of Disney and our culture…which Reel Speak will explore in Part 2 HERE

 

“All this has happened before, and it will happen again…”

A Reel Review: KNOCK AT THE CABIN

Movies about Armageddon usually take place on a global scale, often involving space travel or people running from massive tidal waves or fire from the sky across a worldwide stage. Occasionally, we get a film that shows the end of the world from a more intimate perspective, or from the ground-up. Such is the basis for M. Night Shyamalan’s KNOCK AT THE CABIN. 

 

Seven-year-old Wen (Kristen Cui), and her two dads (Jonathan Groff, Ben Aldridge), are at a remote weekend getaway when they are visited and held hostage by Leonard (Dave Bautista), and his four companions (Rupert Grint, Abby Quinn, Nikki Amuka-Bird), who are following their visions of the coming apocalypse. 

 

Directed and co-written by M. Night and based on the novel The Cabin at the End of the World by Paul G. Tremblay, KNOCK AT THE CABIN is a high-stakes, psychological thriller that takes place in a closed-quarters, single location with possible massive ramifications for the entire world. Leonard and his pals have had visions of Armageddon, and those same visions have led them to the cabin, where they ask at least one of the family members to sacrifice themselves for the good of humanity. Sacrifice one, and the apocalypse is ended. This of course is hard to swallow for the family, but they are slowly convinced once TV news reports show world-scale incidents, ranging from a virus outbreak to massive tsunamis to planes falling out of the sky. 

 

M. Night is playing with themes of entrenched belief with a touch of metaphysical. Leonard and his friends believe hard in what they are doing, as their visions have told them specifics about each global incident and how they can stop it. This idea of the visions is a little undercooked, and is given very little to no explanation. Even after the true nature of the four is given, there seems to be a lot hanging out there. 

 

Shot with 1990’s lenses, KNOCK AT THE CABIN has an old-school thriller look to it, and it works very well. Tension is high, and every shot is meticulously framed. There are a lot of un-nerving things to look at, even though M. Night recycles a lot of tricks that he has used in the past. The score by Herdis Stefansdottir is tremendous. 

 

Also tremendous is the acting. Kristen Cui is excellent for her age, and her two-dad team of Jonathan Groff and Ben Aldridge is also excellent. Dave Bautista puts in a career-best, and Rupert Grint is nearly un-recognizable in look and performance. The show is stolen by Abby Quinn who is a revelation in front of the camera. 

 

The question everyone wants answered is, what about the twist? KNOCK AT THE CABIN doesn’t have much of one, nor does it even try, and the final resolution and revelation(s) have a “what, that’s it?” feel to it. This is by far one of the most straightforward stories M. Night has tried to tell. It mostly works, but could use some beefing up with the powers that are driving Leonard and his friends. This is one Armageddon that ends not in a bang, but in a whimper. 

 

BOTTOM LINE: Rent it 

A Reel Preview: The Year in Film 2023 - Episode II

February traditionally serves as a dumping ground for low-expectation films, but this year there’s a lot there’s some good reasons to hit the theatre, including the triumphant returns of superheroes and old favorites. Here are the notable big-screen releases for the second month of the year: 

 

 

80 FOR BRADY – In this sports comedy, four life-long friends and New England Patriots fans (Lily Tomlin, Jane Fonda, Rita Moreno, Sally Field), travel to Houston to watch their hero Tom Brady in the Super Bowl. 

 

 

KNOCK AT THE CABIN – M. Night Shyamalan returns with this adaptation of the novel by Paul G. Tremblay, which tells the tale of a family held hostage by four strangers looking to prevent the apocalypse. Dave Bautista and Rupert Grint star. 

 

 

MAGIC MIKE’S LAST DANCE – The third and final (ha), installment in the MAGIC MIKE film series. Channing Tatum returns for another go, and he is joined by Salma Hayek. Steven Soderbergh directs. 

 

 

TITANIC – James Cameron’s world-changing romance epic returns to theatres in 3D in celebration of its 25^thanniversary, for one night only on Valentine’s Day, February 14^th. 

 

 

 

MARLOWE – Liam Neeson puts on the fedora of famous detective Phillip Marlowe in this neo-noir crime thriller. It co-stars Diane Kruger, Jessica Lange, Alan Cumming, and Danny Huston. It is directed by Neil Jordan (THE CRYING GAME). 

 

 

ANT-MAN AND THE WASP: QUANTUMANIA – In the 31^st film in the MCU, Paul Rudd returns as Ant-Man in this adventure which has him exploring the dangerous Quantum Realm, where he encounters one of Marvel’s greatest foes. It co-stars Evangeline Lily, Jonathan Majors, Michelle Pfeiffer, Michael Douglas, Kathryn Newton, and Bill Murray (!). 

 

 

COCAINE BEAR – Elizabeth Banks directs this true story about an American black bear that ingests a duffel bag full of cocaine. The cast includes Keri Russell, O’Shea Jackson, Jr., Alden Ehrenreich, and the late great Ray Liotta in one of his final screen appearances.

 

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Next month, Reel Speak previews the month of March.