A Reel Review: ROGUE ONE - A STAR WARS STORY

In 1977, when STAR WARS (later sub-titled EPISODE IV, A NEW HOPE) blasted its way onto screens, it dropped us into the middle of a battle; a chase, in which the evil galactic Empire gunned down the freedom fighters known as the Rebel Alliance…who had just stolen the plans to the dreaded superweapon known as the Death Star. It was a hot-start to the story and the saga, and the events that led up to that chase are finally told in ROGUE ONE: A STAR WARS STORY.

Jyn Erso (Felicity Jones), is orphaned by the Empire when Orson Krennic (Ben Mendelsohn), forces her father Galen (Mads Mikkelsen) into service to complete work on the planet-killing weapon, the Death Star. Years later, Erso reluctantly falls into the Rebel Alliance, including Cassian (Diego Luna), and a reformed droid known as K2SO (Alan Tudyk), where they seek out Clone Wars veteran Saw Gerrera (Forest Whitaker), who has kidnapped a former Imperial pilot (Riz Ahmed), with inside information on the Empire.

Cinema has never shied away from telling a story where the ending is already known; every WWII and biopic on a historical figure has faced the challenge of making the journey more interesting than the destination. In ROGUE ONE, director Gareth Edwards, working from a screenplay by Tony Gilroy and Chris Weitz, go through great lengths to establish the desperation in achieving the goal of snatching those coveted plans, which rumor has it, reveals a flaw in the Death Star’s design. The galaxy is portrayed as a rough place; people are oppressed, worlds are ravaged, and Stormtroopers go door-to-door like Nazi SS squads demanding to see identification. Rebelling against this is our small band of freedom fighters, with Jyn eventually in the lead. Her and her eventual comrades are rounded out well enough, and the desperation they all feel in accomplishing their mission, and surviving it, can always be felt.

The film takes a good portion of the first act in introducing characters, places, and getting things moved into position, but once that’s done, ROGUE ONE evolves into a full-blown war movie. Battles are fought on the land, sky, and space (sometimes all at once), and are a thrill from the first fire to the last boom as Edwards drops us eye-level into the action. This adds to the high-stakes drama and makes ROGUE ONE a white-knuckler on more than one occasion. There are some brave decisions made throughout the film with characters and places (there are some dark moments), and it makes ROGUE ONE a true standout of the overall saga.

More than anything else, this is a STAR WARS movie, and Edwards treats it as such. Although ROGUE ONE is telling a new story, there are still important pieces that have to fall into place, and each one of these pieces fits perfectly. Items from A NEW HOPE are given more weight and meaning, and the behind-the-scenes troubles that both the Rebels and the Empire are having gives their later existence a new light. In fact, most of the entire saga can be now viewed differently, making ROGUE ONE a true rebirth of STAR WARS. Familiar places are lovingly reconstructed, and through the manipulation of stock footage or CGI wizardry, characters from the 1977 film return to the screen in stunning and jaw-dropping fashion. But nothing can prepare anyone for the return of Darth Vader (once again voiced by the great James Earl Jones), who returns in a menacing spectacular fashion. The dark lord has a scene of true HORROR; once again establishing himself as the greatest screen villain of all time.

The film looks gorgeous with every planet, sky, vehicle, and laser-blast popping off the screen. The vehicles and sets have that lovely worn-out look, making a nice consistency with A NEW HOPE. Pacing is brisk once we get past the first act, and the humor bits gives us some of the best laughs ever heard in STAR WARS. Composer Michael Giacchino recycles a few of John Williams’ classic bits, and does an admirable job in re-capturing the old STAR WARS spirit with his score.

Acting is very good. Felicity Jones proves that she is one of the best actresses in the galaxy. She plays her part not as a woman with manly qualities, but deep and layered and is very effective. Diego Luna is equally good and a good foil to her, and Forest Whitaker plays the part of troubled mentor very well. There is an argument to be had if the show is ultimately stolen by the sarcastic droid K2SO (Alan Tudyk is brilliant), or the monk-like, Force-believing warrior Chirrut (martial-arts expert Donnie Yen), and his big-ass gun carrying companion Baze (Jiang Wen). Ben Mendelsohn is fantastic as an Imperial commander with the uncommon bad-guy goal of glory, as opposed to just another baddie who wants to kill everyone.

As promised, ROGUE ONE wraps within minutes of the beginning of A NEW HOPE, and just for an exclamation point, adds on an emotional cameo/moment which is sure to have long-time fans either weeping or clapping or in flat-out galactic bliss. It is a powerful moment which sums up ROGUE ONE, which fully re-captures the fun, magic, whimsy, adventure and daring that STAR WARS originally embraced. ROGUE ONE makes 1977 seem like it wasn’t so far away or so long ago.

BOTTOM LINE: See it

A Reel Preview: Everything You Need to Know About ROGUE ONE - A STAR WARS STORY

In 1977, the original STAR WARS (later sub-titled EPISODE IV: A NEW HOPE), literally exploded onto screens in one of the greatest openings in cinema history. It began right in the middle of a battle; with the evil galactic Empire chasing down a Rebel ship which was carrying stolen plans…technical “blueprints” to the Empire’s dreaded new super-weapon, the Death Star. The film began at the tail-end of a heist, and the story of that heist will now be told with the newest addition to the growing STAR WARS universe with this week’s highly anticipated release, ROGUE ONE: A STAR WARS STORY. Here is a preview of this new galactic adventure.

What is this all about and when does it take place? – For the sake of simplicity, feel free to call this Episode 3.5, as it takes place between EPISODES III and IV. Specifically, ROGUE ONE takes place in the years, days, and hours before the very beginning of A NEW HOPE, and focuses on the stealing of those coveted plans…which the Rebels hope will reveal a weakness in the Death Star.

Who is in this? – The lead role belongs to English actress Felicity Jones, who in 2014 was nominated for an Oscar for her performance in the most-excellent THE THEORY OF EVERYTHING. Her other credits include BRIDEHEAD REVISITED (2008), and this year’s crappy INFERNO. Jones’ character, Jyn Erso, is the daughter of the man responsible for building the Death Star, Galen Erso…played by the great Mads Mikkelsohn (TV’s HANNIBAL). The rest of the most-impressive cast includes Ben Mendelsohn (THE PLACE BEYOND THE PINES, THE DARK KNIGHT RISES), martial-arts expert Donnie Yen, Riz Ahmed, and Diego Luna. Alan Tudyk (SERENITY) provides voice and motion-capture work for an enforcer droid, and Forest Whitaker (THE LAST KING OF SCOTLAND), appears as a veteran of the Clone Wars.

Who is behind the scenes? – ROGUE ONE is directed by Gareth Edwards, who directed the critically acclaimed MONSTERS (2010), and the so-so GODZILLA re-start in 2014. The script is written by Chris Weitz (ABOUT A BOY) and Tony Gilroy (MICHAEL CLAYTON). All these gentlemen are overseen by parent-company Disney and executive producer Kathleen Kennedy…who has massive producing credits including INDIANA JONES and last year’s 7^th episode in the STAR WARS series, THE FORCE AWAKENS.

Random and Interesting Facts – The story of ROGUE ONE is co-credited to John Knoll, who has been a Lucasfilm visual-effects master for over 20 years. He is also one of the creators of PhotoShop * This is the first STAR WARS film without music from the legendary John Williams, who had scored the previous seven episodes. Those duties have fallen to Emmy and Grammy winning composer Michael Giacchino, whose credits include THE INCREDIBLES (2004), RATATOUILLE (2007), STAR TREK (2009), UP (2009), and last year’s JURASSIC WORLD and INSIDE OUT * Forest Whitaker’s character previously appeared in the animated TV series, THE CLONE WARS * Speaking of animated TV series, ROGUE ONE takes place five years after the currently-running REBELS * James Earl  Jones returns to provide the voice of Darth Vader, who makes his first full-bodied return to the big screen in over a decade * Actress Genevieve O’Reilly reprises her role as Mon Mothma, whom she previously played in REVENGE OF THE SITH (2005), however her scenes were cut. The character first appeared in RETURN OF THE JEDI (1983) * This is the first STAR WARS movie not to feature Obi-Wan Kenobi in any form.

What to expect? – Starting from the top-down, there is no better working studio these days than Disney. Their track-record over the past year, which includes THE FORCE AWAKENS, FINDING DORY, THE JUNGLE BOOK, ZOOTOPIA, CAPTAIN AMERICA: CIVIL WAR, DOCTOR STRANGE, and PETE’S DRAGON has been near-perfect with classical and effective storytelling. Disney are definitely acting as overseers here, and that is good news for director Gareth Edwards, whose last film, GODZILLA, had some great ideas and moments but ultimately finished as dumb and forgettable. Edwards is a fan of STAR WARS from the early days, and he seems to have put a lot of loving care into ROGUE ONE; he doesn’t want to mess this up, and Disney wouldn’t let him if he tried. The cast is impressive enough, and Felicity Jones is a great pick to be the first female in a lead role in a STAR WARS film. The oddest part about ROGUE ONE is that it’s the first film in the series to not be centered around the Skywalker family, and maybe that’s a good thing…for this is a galaxy full of possibility outside of family drama. We can expect fun and adventure…which is what the whole idea was in 1977.

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ROGUE ONE: A STAR WARS STORY opens in full on December 15^th, with early showings on the 14^th. It is available in 2D, 3D, and IMAX 3D.

A Reel Opinion: The Christmas Spirit Awakens

A long time ago (actually, a few years back), when Lucasfilm and parent company Disney announced that the 7th episode in the STAR WARS saga, sub-titled THE FORCE AWAKENS, would be released in December (2015), as opposed to the traditional month of May (all six films prior were in that month), there was a great disturbance in the hardcore fanbase. Millions of voices cried out in terror; blasphemy they said, it’s not right, they said. And Disney’s billion-dollar investment seemed to be getting off to a start that wasn’t entirely stable.

In the end, it didn’t matter…for THE FORCE AWAKENS wound up being one of the biggest box office draws of the year and in all-time history (which means, a lot of people showed up anyway), and most of those angry voices were suddenly silenced. But with the rest of the STAR WARS films slated for December for the foreseeable, always-in-motion future (including this year’s first spin-off, entitled ROGUE ONE), those familiar cries are rising again. Geek-culture, especially long-time STAR WARS fans, can be an oversensitive lot; and after all, the six STAR WARS films which were released in May basically rewrote the rule-book for blockbuster films as a whole, and the month is still considered to be an un-official STAR WARS month in pop culture.

But as a First Generation fan, this Blogger can argue that STAR WARS is right at home in the month of December. As a young Padawan in the late 1970’s and 80’s, December always meant Santa would be bringing new STAR WARS toys; new figures, ships, playsets…and maybe an inflatable lightsaber to bop the little brother with. For years, Christmastime always meant STAR WARS time, and Lucasfilm knew it from the start. The franchise was one of the first, if not the first to market itself on the toy market. With a universe filled with likeable heroes and spaceships, it practically sold itself and it changed the toy industry forever. Even during years when there was no new film in theatres, there was still that hope of finding a new planet, hero, or spaceship under the tree. For kids, Christmas means toys, and no other toy in the galaxy came close to the fascination and magic that a STAR WARS toy would bring, and to this day this Blogger’s family still manages to sneak in at least one STAR WARS-themed gift every year. 

But the firm foothold the franchise has on the holiday season isn’t limited to just marketing and selling toys. Cable stations began running marathons of the first three movies over 20 years ago during the holidays, and would eventually add the second trilogy to their programming. STAR WARS-themed decorations and greeting cards are easy to find, and John Williams’ magnificent music has a whimsical, holiday feel to it. Even the very early days of the franchise knew it had a holiday connection; the well-intentioned, yet ill-fated STAR WARS HOLIDAY SPECIAL aired on TV in 1978.

So in a way, STAR WARS is truly home in December. For the first generation of fans the holidays can trigger an asteroid-field’s worth of childhood memories to fly through; memories of new toys on a Christmas morning which would inspire their imaginations to revisit their favorite scenes or to create new ones, and memories always awaken the holiday spirit in everyone. They remember the term, “let’s play Star Wars”, which became a battle-cry for a generation of kids, and in the end, the young are what STAR WARS is all about. On the original production notes for STAR WARS (1977), series creator George Lucas quoted from the preface Sir Arthur Conan Doyle wrote for his non-Holmes novel, THE LOST WORLD:

I have wrought my simple plan

If I give one hour of joy

To the boy who’s half a man

Or the man who’s half a boy.

Merry Christmas, and may the Force be with you.

A Reel Review: MOONLIGHT

Telling a story in an unconventional way is a healthy thing for the film industry. Everyone loves something different once in a while, but filmmakers still need to strike a balance between the familiar and the alternative ways. After all, veering far off the course of traditional storytelling can lose an audience in a hurry, and staying tried-and-true can become dull and predictable. Such is the task for Barry Jenkins and his MOONLIGHT.

Chiron (played by Trevante Rhodes, Ashton Sanders, and Andre Holland through three different decades of his youth), grows up in a tough Miami neighborhood where his diminutive size makes him an easy target for bullies. He struggles with his drug-addicted mother (Naomi Harris) and befriends a couple (Mahershala Ali and Janelle Monae), and eventually lands into trouble which sends him far from home.

MOONLIGHT does not have much of a plot in the traditional sense, and instead plays out like a series of episodes in Chiron’s life. The film is divided up into three stages (with each one named after one of his nicknames that he picks up as he grows up), featuring him as an elementary school student, pre-teen, and then in his twenties. Each episode which sees him getting bullied, berated by his mom, and learning life lessons propels him to the young man which he will become, and the dots are not difficult to connect.

The film is different, in fact so different that it’s tough to find anything to hang our hats on. There’s a lack of focus as the so-called story meanders from one place to another, and even though director Barry Jenkins is playing with solid themes such as growing up in the projects and struggling with sexual identity, the episodic nature robs the movie of any meat. On top of that, MOONLIGHT is presented in a very real fashion, with scenes taking a long time to unfold…and the commitment to being real makes any real drama hard to come by.

Jenkins still crafts a fine film. It looks beautiful and the transitions between each era of Chiron’s life are well-timed. Music choices from the three different decades are well-chosen, and Nicholas Britell’s score is hauntingly beautiful. Pacing is an issue however, as the film feels much longer than its 110 minute running-time.

Acting is superb. The three actors portraying Chiron are excellent, with Ashton Sanders, playing the character as a pre-teen, having to do the most and best work. The highlight of the film is definitely how the three actors were able to mimic each other; looking a Chiron in his twenties, we can still see him as a little kid as the little ticks and mannerisms are there. Mahershala Ali and Janelle Monae are also excellent, (although Ali's character vanishes without explanation), but the show is absolutely stolen by Naomi Harris…who as a drug addicted mom goes through a lot of emotions and inner turmoil.

By the time the credits roll, there’s a “that’s it?” feeling, as MOONLIGHT has no climax…which is fitting since it doesn’t care about any semblance of story either. It seems Jenkins was too pre-occupied with being different to give us something to chew on…and the result is an empty stomach. MOONLIGHT is nice to look at and full of awesome performances, but sorely needed a traditional story to tell.

BOTTOM LINE: Rent it

A Reel 50: THE GOOD, THE BAD, AND THE UGLY

“Every gun makes its own tune.”

This month marks the 50^th anniversary of Sergio Leone’s THE GOOD, THE BAD, AND THE UGLY.

THE GOOD, THE BAD, AND THE UGLY was the third and final film in Italian director Sergio Leone’s Dollars Trilogy, following A FISTFUL OF DOLLARS (1964), and FOR A FEW DOLLARS MORE (1965)…and would take place before the events of the 1964 installment; acting as a “prequel” of sorts. Set during the American Civil War and centered around three gunslingers competing to find a treasure of Confederate gold, it would be the latest entry in the often scoffed-at sub-genre of the Western, nicknamed “the Spaghetti Western”, meaning, a movie about the American Old West made by Italian filmmakers.

Having already starred in the previous two entries in the Dollars Trilogy, Clint Eastwood, who was already a bankable American movie star, signed on to reprise the role of the mysterious “man with no name” for a third time. He was joined by Lee Van Cleef (the bad), and Eli Wallach (the ugly), and a host of Italian actors. Leone and screenwriter Luciano Vincenzoni would work on the script with the idea of showing the absurdity of war, and filming would take place in Rome, Spain, and Almeria. The production was difficult, with problems ranging from Eastwood clashing with Leone (they would never work together again), and several injuries to Wallach. With an international cast, the actors spoke their native languages, and the lines spoken by Eastwood, Van Cleef, and Wallach would be dubbed to Italian for the debut release and in the American version, the Italian actors would be dubbed to English. Leone would put the film together with his trademark signature of tight close-ups and sweeping long shots, and composer Ennio Morricone would add one of his greatest scores.

THE GOOD, THE BAD, AND THE UGLY would premiere in Rome in 1966, but would not come to the United States until the following year, when all three films in the Dollars Trilogy would be released in America. Upon that release, critics were harsh on the film, as the sub-genre of the “Spaghetti Western” was not a popular one in America. Decades later, the film would be regarded as one of the greatest Westerns of all time, and would appear on many lists of all-time great films. Clint Eastwood would be cemented in American culture as one of the best to ever wear a cowboy hat, and his classic look with the off-shoulder poncho would be one of the most iconic and most referenced look in pop-culture…from Boba Fett to the Oscar-winning RANGO. The title of the film itself would be a permanent entry into pop culture, with many using the three words to title articles (and blogs), to describe a situation. Morricone’s soundtrack, which would be inducted into the Emmy Hall of Fame in 2009, would forever be associated with Westerns, and heavy metal group Metallica would use his powerful track, The Ecstasy of Gold, to open their concerts for over 30 years.

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The legacy of THE GOOD, THE BAD, AND THE UGLY can still be seen in film today. Big-name filmmakers Martin Scorsese and Quentin Tarantino to this day draw heavily from it, and their influence has already trickled down to a new generation of filmmakers, including Clint Eastwood himself; whose Oscar-winning Western UNFORGIVEN seemed to carry lessons and themes learned from Leone’s film. Eastwood and all directors who came after him recognize the film as a study in filmmaking. After all, one of the best storytelling techniques is having a trio of characters; one a believer, one a non-believer, and the other neutral. That is the foundation for all great films, and although Leone wasn’t the first to ever do it, he set the standard for the next half-century. THE GOOD, THE BAD, AND THE UGLY isn’t just a great Western, but a great movie which still acts as the launching point for modern cinema.

In this world there’s two types of people my friend. Those with loaded guns and those who dig. You dig.”

A Reel Review: MANCHESTER BY THE SEA

How do we define drama? Years ago, master-storyteller Alfred Hitchcock once said that drama is life with the boring parts taken out. Over the years, many filmmakers have wrestled with finding the balance between realism and drama; keep it too real, and it’s dull. Keep the drama going for too long and it steps away from the real world. Such is the task for director/writer Kenneth Lonergan’s MANCHESTER BY THE SEA.

Lee (Casey Affleck), a grief-stricken janitor, reluctantly becomes the sole guardian to his nephew Patrick (Lucas Hedges), after his older brother Joe (Kyle Chandler) passes away. Unwilling, and perhaps unable to take on the responsibility, Lee faces his past and the reasons for his grief, which includes his ex-wife Randi (Michelle Williams).

MANCHESTER BY THE SEA does not have much in terms of plot in the traditional sense. Much of the film deals with Lee and Lucas dealing with mundane, every-day tasks in the wake of Joe’s passing. The movie is packed with real-life situations like speaking with doctors, undertakers, and lawyers, along with unclogging toilets, shoveling snow, and having difficult conversations about living arrangements. Things are kept so real and tempered, that MANCHESTER BY THE SEA often feels like a reality-TV show, where hidden cameras just happen to catch everyday people doing everyday dull things.

But director and writer Kenneth Lonergan is working on a deeper level here. The real-life happenings are made interesting thanks to the characters; each one harboring some sort of grief. The great tragedy that sent Lee into his stoic state has already happened, and the pieces come into view through some clever and well-timed flashbacks. Lee in turn handles things like shoveling snow with the same type of numbness that he has when dealing with now parent-less nephew. The realism offers Lonergan opportunity after opportunity to showcase and explore his characters; the way they react to any given scene and situation is what drives the film…and it is a fascinating watch.

Lonergan films the city of Manchester in such a way that the tiny port-town becomes a character of its own. It’s a vital point for the people in the story, as the cold winters and hard-living up there develops his characters even further. Pacing is very steady, and Lonergan shows the directing-maturity in not letting scenes get over-dramatic or come close to soap-opera level. Lesley Barber’s score adds to the melancholy atmosphere.

Above all else, MANCHESTER BY THE SEA is an actor’s workshop. Casey Affleck puts on the best performance of his career; not only nailing the New England/Boston accent, but powerfully going through the many stages of grief. He shows great chemistry with Lucas Hedges, and the scenes between the two are mini-powerhouses. Hedges in the meantime also has to do plenty of heavy lifting, and he does it very well. Michelle Williams is used sparingly, but she ultimately steals the show in a tearful confrontation with Lee; she basically breaks hearts with a single line. Kyle Chandler is excellent as always, and Matthew Broderick pops in for a hot minute in a bit of a wasted role.

Lonergan’s commitment to keeping things real also means that a not-so-happy ending is presented, but smartly plants the idea (and hope) that the characters at least have a light at the end of their tunnel. That light is a long ways off for them all, and part of the impact of the film is that we would love to revisit these characters again in a few years time just to see if they progressed. MANCHESTER BY THE SEA is a quiet and subtle powerhouse; capable of drawing tears and provoking thought about our own lives, and leaving one mighty impression.

BOTTOM LINE: See it

A Reel Preview: The Year in Film 2016 - Episode XII

More so than any other year, December is the month that resembles a jailbreak as the mad rush to the Oscar finish-line heats up. In this final episode of 2016, here are the notable films for the month.

JACKIE – Natalie Portman (BLACK SWAN), plays Jackie Kennedy during her days as a First Lady and her life after the JFK assassination. Co-stars Greta Gerwig, Peter Sarsgaard, Billy Crudup, and John Hurt. It is directed by Pablo Larrain, whose film NO was nominated for Best Foreign Language Film in 2012.

MAN DOWN – Shia LaBeouf plays a U.S. Marine struggling with his return home. Co-stars Gary Oldman, Kate Mara, and Jai Courtney AKA the human plank.

LA LA LAND – This romantic musical has Hollywood heartthrobs Ryan Gosling and Emma Stone as singing and dancing lovers. It is directed by Damien Chazelle, whose 2013 film WHIPLASH was an Oscar darling.

FRANK & LOLA – The great Michael Shannon (TAKE SHELTER) stars as a Las Vegas chef who falls in love with a girl who is new to the city. Co-stars Imogen Poots (V FOR VENDETTA).

ROGUE ONE: A STAR WARS STORY – If you need a break from the Oscar race, here’s a return to that galaxy far, far away with the first STAR WARS spin-off feature film…which tells the story how the famed Rebel Alliance stole the plans to the dreaded Death Star. Stars Felicity Jones, Diego Luna, Ben Mendelsohn, Donnie Yen, Mads Mikkelsen, Alan Tudyk, and Forest Whitaker. It is directed by Gareth Edwards, who helmed the 2014 GODZILLA.

COLLATERAL BEAUTY – Back to the awards race. Will Smith plays a despondent man who copes by writing letters to Love, Life, and Death…and one day gets an answer. Co-starring is Edward Norton, Keira Knightly, Naomie Harris, Kate Winslet, and Helen Mirren. David Frankel (THE DEVIL WEARS PRADA), directs.

ASSASSIN’S CREED – The long-awaited adaptation of the hit video game. Michael Fassbender stars.

PASSENGERS – In this sci-fi thriller, Chris Pratt (GUARDIANS OF THE GALAXY) and Jennifer Lawrence (THE HUNGER GAMES), play colonists who are awoken from their hyper-sleep aboard a starship decades too early. It is directed by Morten Tyldum, who helmed the magnificent THE IMITATION GAME in 2014.

PATRIOTS DAY – Peter Berg, who earlier this year directed the fantastic thriller DEEPWATER HORIZON, brings the story of the 2013 Boston Marathon Bombing to the big screen. Stars Mark Wahlberg, John Goodman, JK Simmons, Michelle Monaghan, Kevin Bacon, and Melissa Benoist (TV’s SUPERGIRL).

THE AUTOPSY OF JANE DOE – Emile Hirsch (WILD), and Brian Cox (X-MEN 2), play a father-and-son coroner team who experience the supernatural while examining a dead body.

SILENCE – The great Martin Scorsese (THE DEPARTED, GOODFELLAS), returns with this historical epic drama about two 17^th century priests who travel to Japan to find and rescue their mentor. Stars Andrew Garfield, Adam Driver, and Liam Neeson.

FENCES – Based on the play of the same name, Denzel Washington plays a father struggling to make ends meet. Co-stars Viola Davis.

A MONSTER CALLS – In this family fantasy film, Liam Neeson provides the voice of a monster who befriends a young boy. Sigourney Weaver co-stars.

GOLD – Matthew McConaughey plays an unlucky businessman who heads into uncharted jungles in search of gold. Co-stars Edgar Ramirez, Bryce Dallas Howard, Corey Stoll, Bruce Greenwood, and Stacy Keach. It is directed by Stephen Gaghan (SYRIANA).

LIVE BY NIGHT – In this 1920’s gangster bootlegger crime drama, Ben Affleck stars and directs for the first time since he won Best Picture for ARGO in 2012. Stars Elle Fanning, Brendan Gleeson, Sienna Miller, Zoe Saldana, Chris Cooper, and Scott Eastwood (son of Clint).

20^TH CENTURY WOMEN – Set in the 1970’s, a single mother struggles to teach her teenage son about love and freedom. Stars Annette Bening, Elle Fanning, Greta Gerwig, and Billy Crudup.

PATERSON – Maverick director Jim Jarmusch (BROKEN FLOWERS, ONLY LOVERS LEFT ALIVE), is back with this drama about a week in the life of a New Jersey bus driver. Stars Adam Driver.

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Next month, Episode I previews the notable releases for the first month of 2017.

A Reel Review: ALLIED

In his 30-plus year career, writer/director Robert Zemeckis has successfully dipped his toes into the waters of nearly every genre of film; drama, romance, fantasy, sci-fi, the Old West…all of which have served as his playgrounds to tell stories. With ALLIED, he finally enters the war-time genre. Specifically, WWII.

In 1942, Canadian Intelligence Officer Max Vatan (Brad Pitt) and French Resistance fighter Marianne (Marion Cotillard), are sent to Casablanca to pose as husband and wife and assassinate the German ambassador. The two grow close and eventually marry having a child, before Max is informed by his superiors that Marianne may actually be a German spy.

Far from the typical war-time film, ALLIED is a tricky espionage story with a touch of romance. The bulk of the story concerns Max reluctantly having to obey orders to discover if his wife has been feeding the enemy information, making for a fine duty vs. family dilemma for him to wrestle with. Robert Zemeckis guides the story with a patient and steady hand, putting his characters through many “tests” to determine if they are who they say they are. It’s a well-constructed guessing game for Max and the audience.

Character is the most important thing when dealing with the high-stakes backdrop of war-time spies. Zemeckis keeps his two leads, Max and Marianne, at an arm’s-length. They’re treated more like chess-pieces than actual characters, as not much is told regarding where they came from or what they’re all about. This is effective for Marianne as she’s supposed to be shrouded in mystery, but for Max it leaves the film feeling cold. Max is supposed to be going through a serious moral dilemma, but the character is underwritten and it’s hard to feel his emotional strain…even when the explosive finale comes around.

Zemeckis has always made excellent use out of new film technology to tell his stories, and ALLIED is no different; the film is absolutely gorgeous to look at, as 1940’s Casablanca is recreated in stunning detail. On the set, the production design is stunning, and all actors look right at home in their swanky leisure suits and snappy military uniforms. There is an odd choice of using CGI to de-age Brad Pitt, which takes some getting used to (they ironed out his wrinkles), but the rest of the visual effects are seamless. The tension-building scenes are brilliantly done, and overall Zemeckis films ALLIED with a touch of the style from the Golden Age of Hollywood, giving it a very old-fashioned and familiar feel. Alan Silvestri’s score sounds fine but feels underused.

Acting is pretty good. Brad Pitt shows the strain of his situation very well but he’s hampered with too few script pages to really let his character soar. Marion Cotillard lights up the screen and manages to go dark with a single glance, and she has good chemistry with Pitt. The rest of the cast, including Jared Harris, Lizzy Caplan, and Matthew Goode are all fine.

The plotting and writing for ALLIED is tight and clean, and there are zero issues with story or character consistency. It’s probably written a little too tight, as the lack of development for the Max character leaves the film feeling too business-like when it should have had a lot more heart. ALLIED is a beautiful-looking movie with some wonderful moments, and is strong enough to earn a recommendation; it’s just a few pages short of greatness.

BOTTOM LINE: See it

A Reel 40: ROCKY

“Yo Adrian!”

This month marks the 40^th anniversary of ROCKY.

In the early 1970’s, a young and starving actor by the name of Sylvester Stallone watched a heavyweight boxing match between the great Muhammad Ali and Chuck Wepner, in which Wepner was defeated by a technical knockout in the 15^th round. Despite losing the fight, Wepner had lasted much longer than everyone had expected him to, and this inspired Stallone to begin writing the script for ROCKY. The script was written in less than four days, and the project picked up interest from United Artists.

The studio initially thought the film to be a vehicle for established stars such as Robert Redford, Burt Reynolds, or James Caan. True to the spirit of ROCKY, Stallone, then an unknown, convinced the studio to not only let him play the lead, but to also film on location in Philadelphia, as opposed to a Los Angeles sound-stage.

Stallone’s script, which told the story of a tough working-class boxer who gets a shot at the heavyweight championship, called for strong characters, so a strong cast was needed. Carl Weathers was cast as the champion, Apollo Creed…who was loosely based on Ali. Creed was a flamboyant loud-talker, which provided a nice contrast to the shy and introverted main character of Rocky Balboa. Talia Shire, fresh off her success in THE GODFATHER, was cast as Adrian, Rocky’s love interest, and veteran actor Burgess Meredith would play the part of Mickey, Rocky’s trainer. Burt Young was cast as Paulie, Adrian’s brother. John G. Avildsen, who directed Jack Lemmon to an Oscar win in 1973, was brought on to direct.

Shooting took place over just 28 days on location in Philadelphia, with pickups in L.A., on a budget of just $1 million; a low number even for those times. Inventor/operator Garrett Brown’s brand new “steadicam” was used to accomplish smooth photography for scenes when Rocky was running through city streets and climbing up the 72 steps of the Art Museum. Stallone and Weathers would endure injuries while filming the boxing scenes. Once shooting wrapped, composer Bill Conti would provide the score.

ROCKY would be a victory. The film would be a box office smash, and considering its small budget of $1 million, would eventually become notable for its worldwide percentage return of over 11,000 percent. Critics loved it, and the film would receive a whopping ten Oscar nominations, winning three; including Best Picture, Best Director (Avildsen), and Best Editing. The film’s main cast of Stallone, Meredith, Shire, and Young would all be nominated for their acting. ROCKY’S main theme song Gonna Fly Now made it to No. 1 on the Billboard Hot 100. In 2006, ROCKY was selected for preservation in the United States Film Registry by the Library of Congress, and today, is considered to be one of the greatest and influential sports films of all time. ROCKY would spawn six sequels over the next 39 years, and Stallone would become an international star. Years later, John G. Avildsen would use the ROCKY template to create THE KARATE KID.

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As a wee-lad growing up in Pennsylvania (Rocky’s home state), ROCKY was a film which was basically on repeat at home; either on glorious Beta tape or HBO. The film would inspire this Blogger and his brother to recreate the fights with several socks on our hands (not one of our best ideas), and the film would easily become a family favorite. Years later, as this Blogger began his study of film, the influence ROCKY had, and still has on cinema is clear. Any story which tells the tale of an underdog going up against goliath-sized odds is always referred to as a “Rocky Story”, and that is a true compliment. Outside of film, the cultural impact ROCKY has had is abundantly clear. This Blogger relocated to Philly in 2010, and during every visit to the Art Museum, many people, either Philly natives or tourists, can be seen running up the steps…recreating the iconic moment in the film. And when they get to the top, they always raise their arms in victory, just like Rocky. The Rocky Statue (first unveiled in ROCKY III in 1982), always has lines of people waiting to take their picture in front of it, and the Philadelphia Eagles, the city’s pro-football team (or so they claim), plays the ROCKY theme before every game. Stallone found a way to speak to the underdog in everyone on the night he watched that Ali fight, and in the last 40 years has inspired us all to keep getting up…no matter how many times we get hit. It’s all about heart, and that is an idea that lasts forever.

“…and that bell rings and I’m still standing, I’m gonna know for the first time in my life, that I weren’t just another bum from the neighborhood.”

A Reel Review: LOVING

In the past few years, no other filmmaker has captured rural America like writer/director Jeff Nichols. From the backwater towns of Mississippi to the flatlands of Ohio, he has become a storyteller for the country-folk, specifically; the ones who face extraordinary obstacles. He is a voice for the little people, which makes his newest film, LOVING, the story of the Supreme Court case which would end laws prohibiting interracial marriage, right in his wheelhouse.

In Virginia 1958, Richard and Mildred Loving (Joel Edgerton and Ruth Negga), an interracial couple, are arrested for breaking the state’s laws prohibiting interracial marriage and are forced to leave their home state. After raising a family, they yearn to return home, and enlist the help of ACLU lawyers (Nick Kroll and Jon Bass) to reverse their conviction.

The case of Loving v. Virginia would be a landmark in American history, as the (spoiler) eventual decision by the Supreme Court would allow couples of mixed race to marry…and the case would be used as a precedent in modern times when the issue of gay marriage comes to be argued. LOVING guides us through the somewhat complex road that Richard and Mildred must journey; from their early courtship, to their wedding day, to the frightening intrusion when police break down their bedroom door. The story is ripe to turn into a legal procedural, with each step of the legal process acting as a plot point.

But the steady hand of Jeff Nichols has no interest in turning LOVING into a dry legal drama. Instead, he focuses the film’s attention on the Lovings; their family life, their daily routines, and their interactions with each other, friends, and extended family. Nichols realizes that the Lovings were the quiet type; never wanting to seek unnecessary attention or to bothered. With this in mind, the legal proceedings nearly fade into the background of the story, leaving us with Richard and Mildred and their family and their day-to-day struggle with being accepted. With such large implications hanging over the story, the special care and attention given to the main characters turns LOVING into a special film to take in.

Nichols captures the landscape and the living conditions of 1950’s Virginia perfectly. His perfectly framed shots and patient hand in showing the daily routines creates an atmosphere so thick we could practically swat the skeeters away from our sweaty necks. He paints the Lovings as an intimate and very human couple, and it’s impossible to not see ourselves in them. David Wingo’s score is beautiful and adds to the atmosphere.

Acting is superb. Joel Edgerton and Ruth Negga have a tremendous, natural chemistry with each other, and it’s not hard at all to buy them as a couple. Edgerton’s character is a down-home type who usually has his head down and mumbles a bit, and the scene where he has to plead guilty in open court is heartbreaking as he perfectly portrays a broken man. Ruth Negga is as effective as she is beautiful; conveying so much emotion in a single glance. The great Michael Shannon drops in as a Life Magazine photographer and lightens the mood, and Marton Csokas, as an overzealous police chief, turns in a great role as the villain of the film.

The true brilliance behind LOVING is just how understated everything is. Where other filmmakers would go for big, overdramatic speeches with tears flowing to prove a point, Nichols instead goes for little moments which amazingly carry much more weight. It works because it’s the type of natural, real-world reactions that the common person would have when going up against great odds. In fact, the film is so understated and subtle, that it isn’t until the perfectly-framed final shot where the true weight and emotion of the story finally sinks in, and closes out LOVING with a satisfying, tear-inducing exclamation-point. Jeff Nichols has quietly put together a very relevant film, as it speaks towards how much progress we’ve made, and how much more needs to happen. It’s a film for us all, and those are the best kind.

BOTTOM LINE: See it