Author: MCDave

I'm a Mathematics Professor at West Chester University in Pennsylvania and my relaxed work environment enables me to spend time writing about my passions ... movies, music, and everything baseball.

Geekscape Movie Review: Minari

by MCDave

Lee Isaac Chung’s Sundance-Winning narrative feature, Minari, has found itself at the center of a controversial awards season decision. The Golden Globes surprisingly declared that Minari must compete in the Foreign Language Film category, making it ineligible for either of the ceremony’s two most heralded Best Picture awards (Drama or Comedy/Musical). This classification was given due to the fact that the film fails to meet the minimum threshold of 50% of its spoken dialogue being in English, despite the film being produced by American studios, directed by an American filmmaker and filmed on American soil. While all of this public outrage and debate has garnered the headlines, there’s still one thing everyone can agree on; Minari is an amazing film that stacks up against all of the year’s best in cinema.

After migrating across the Pacific Ocean from Korea to California, Jacob (Steven Yeun) uses every penny he has to purchase a large plot of land in Arkansas and uproot his family to the Midwest. With a wife (Yeri Han) who doubts him, a son (Alan S. Kim) who’s uncontrollably drawn to mischief, and a Mother-in-Law (Youn Yuh-jung) he somehow can’t escape, Jacob tries to stay focused on pursuing the “American Dream” of owning and operating his own farm. But as he endures a barrage of personal and financial hardships that begin to threaten his home-life, Jacob struggles to find stability and keep his dream alive.

Minari not only tells a poignant tale of the immigrant experience, the film places the audiences directly into the uncomfortable shoes of its central family. This inevitable and empathetic immersion of oneself into the characters and the life they’re fighting to build is a direct result of Chung’s passion for the subject. As not only the director, but also the writer of this semi-autobiographical screenplay, Lee Isaac Chung’s devotion to his characters and familiarity with their experiences creates a personal aura that engulfs the viewer, making them feel like they’re part of the family. This soulful examination of life and the pursuit of happiness stands tall on a firm foundation of love, humor and pain that circulate throughout every scene of the film. Minari isn’t just a wonderfully crafted story, it’s a complete film that boasts breathtaking cinematography and picturesque landscapes, as well as the year’s finest collection of performances. Steven Yeun (Okja and The Walking Dead) anchors the ensemble and Yeri Han delivers a sensational turn as well, but it’s youngster Alan S. Kim and veteran Youn Yuh-jung who add a comedic flair that propels the film to a whole new level. Minari is beyond worthy of all the acclaim it has received up to this point, and something tells me there is plenty more to come.

GRADE: 4.5/5

Geekscape Movie Review: Ammonite

by MCDave

Awards season always arrives with a host of films desperate to win the affection of industry insiders, critics and the general public alike. Even in a year as unorthodox and unconventional as 2020, the list of Oscar hopefuls is as oversaturated with pseudo-contenders as ever, and none is more symbolic of this excess fluff than Francis Lee’s Ammonite. Once assumed to be a major awards season player, Ammonite has fallen from its sturdy perch into the cold, forgotten depths of the late-year frenzy and rightfully so.

Set in the cold and dreary seaside of 1840s England, Kate Winslet stars as Mary Anning, once an acclaimed and fossil hunter who has found solace in her own seclusion throughout the twilight of her career. But when a wealthy visitor entrusts Mary to entertain and care for his wife, Charlotte (Saoirse Ronan), she simply cannot afford to reject his offer. What begins as a combative relationship between these two women ignites into a fiery passion that goes against all social norms.

Written and directed by Francis Lee, Ammonite is the follow up to his well-received 2017 debut feature, God’s Own Country, which examined the budding homosexual relationship between an English sheep farmer and a Romanian migrant worker. Needless to say, the themes explored in this film are not uncharted waters for Lee. Yet, his latest effort is neither bold or daring in any way whatsoever, failing to mirror his intention of a courageous love story between the two main character. Instead, Lee relies on mere aesthetics such as exquisite cinematography and authentic set and costume designs to embolden an otherwise hollow endeavor. Ammonite is silent and subtle to a fault. The audience is forced to wade through quiet imagery and predictable performances that sadly culminate in a devastatingly unconvincing love story. Both Winslet and Ronan, whose career achievements speak volumes about their onscreen abilities, have their deeply committed acting talents squandered by subpar direction and razor-thin characters. Ammonite lacks vigor and energy, serving as a dull and lifeless late-year entry that undoubtedly falls short of its lofty awards season aspirations.

Grade: 2.5/5

Geekscape Movie Review: One Night in Miami

by MCDave

Based on the Kemp Powers play of the same name, One Night in Miami finds the Academy Award winning actress, Regina King, sitting comfortably behind camera for her directorial debut. This insightful “what if” tale brings together four iconic friends in the mid-1960s to discuss their roles and influences in the ever-growing Civil Rights movement. With playwright Kemp Powers on board and in complete control of the script, One Night in Miami remains loyal to its playhouse roots and smoothly transitions this award-winning stage play to the big screen.

Following Cassius Clay’s (Eli Goree) shocking heavyweight title victory over Sonny Liston in 1964, the new Boxing Champion of the World is forced to celebrate in the African American part of town due to Segregation Laws of the time. Clay joins up with his close friends Sam Cooke (Leslie Odom Jr.) and Jim Brown (Aldis Hodge) in the hotel room of Malcolm X (Kingsley Ben-Adir). While there, the four men engage in an evening of intense conversation about what it means to African American, successful and possessing an enormous platform to make your voice heard.

For better, and sometimes for worse, One Night in Miami lives, breathes and feels like a stage production. Consequently, the film operates as a medium for some spectacular acting and profound dialogue. Kemp Powers delivers a screenplay saturated with poignant social relevance and engaging cinematic discussion. And what would all this discussion be without the impact of four larger-than-life figures who are brought to life magnificently by this ensemble. Kingsley Ben-Adir’s portrayal of Malcolm X is spot-on in both look and action, while Eli Goree’s charismatic flair is an absolute treasure to behold. Unfortunately, though, this devotion to the source material sets the majority of Regina King’s work in a hotel room, creating a restricted and claustrophobic aura that One Night in Miami fails to escape. The film tip-toes around a secret beholden to Malcolm X, one whose mystery and eventual reveal are meant to act as a climactic peak in the story. Yet, a dearth of action and excitement, in conjunction with limited changes in setting, culminate in a wordy and flat delivery that never effectively captures the significance of this grand reveal and its historic importance. One Night in Miami is a well-made debut from the talented Regina King that comes with its strengths and weaknesses. However, it’s a far cry from the Best Picture label that many are throwing its way.

GRADE: 3.5/5

Geekscape Movie Review: Promising Young Woman

by MCDave

Throughout Emerald Fennell’s pulse-pumping revenge thriller Promising Young Woman, you constantly hear the refrain, “but I’m a good guy”. Well talk is cheap, and the film’s protagonist Cassie makes it her life mission to teach these “good guys” that actions speak louder than words. From a male’s perspective, the film not only delivers a thrilling psychological tale of vengeance, it also speaks volumes about society’s alarming attempt to normalize the toxic “boys will be boys” mentality that’s pervasive in everyday life.

Cassie (Carey Mulligan) is scarred. Years after a night of heavy drinking resulted in tragedy for her best friend Nina, the former Medical School standout has purposely devolved into an unpleasant coffee shop barista dead set on righting a cultural wrong. Cassie spends her nights frequenting local clubs and masquerading as a helpless lush who’s too intoxicated to comprehend her own vulnerability. She knows that this ruse will attract the attention of some male predator and provide Cassie the opportunity to expose their disgusting behavior.

This cunning little game that Cassie plays is far from the entirety of the film. Fennell’s script also sends Cassie on a trip down memory lane when a former Med School classmate Ryan, played superbly by Bo Burnham, runs into her at the coffee shop and a relationship ensues. Ryan’s character serves as a beacon of hope for a woman so entrenched in her negative views of the opposite sex, all while pulling Cassie back to the darkest moments of her life. There are so many other twists, turns and deviations thrown onto the canvas of Fennell’s screenplay that elevate Promising Young Woman to something far beyond a statement film. Cassie’s guarded character slowly reveals more about her personal psyche as the story progresses and she’s utterly fascinating. And the thrill ride she’ll take you on can only be topped by the towering onscreen performance from Carey Mulligan. She owns the role and runs with it, crafting an insidious unpredictability to Cassie that keeps you on the edge of your seat. Promising Young Woman represents that rare and impactful type of movie experience that not only carries a powerful message, but wraps it in an engaging and brilliantly delivered package.

GRADE: 4.5/5

Geekscape Movie Review: Black Bear

by MCDave

We’ve been conditioned to expect the expected when it comes to Hollywood. The mindless cycles of Summer Blockbuster season, continuous reboots and never-ending sequels has dried up the well of creativity on a mainstream level. But every now and again, we’re gifted a unique piece of storytelling that circumvents narrative norms and boldly makes its claims with unrestrained originality. Lawrence Michael Levine has accomplished this rare feat and so much more with his fascinating new effort, Black Bear.

Aubrey Plaza stars as Allison, an actress-turned-director struggling to write her next film. She decides to seclude herself around nature at Gabe (Christopher Abbott) and Blair’s (Sarah Gadon) rural retreat in a lakehouse buried deep in the woods. Allison tries using the soon-to-be expecting couple as a source of inspiration for her next great idea, but keeps hitting walls in her creative journey.

Black Bear is unlike anything you’ve ever seen. It’s a film delivered in stories or chapters that, on the surface, form a dizzying narrative for the audience to comprehend. However, when you peel back the layers of Lawrence Michael Levine’s daring attempt, you’ll find a grossly self-aware and brilliant mechanism of storytelling. The film, at its core, is a trip through the creative process and the title character of the “Black Bear” being symbolic of a writer “hitting the wall” with an idea. These stories-within-a-story are simply manifestations of Allison, each chapter of which is intended to serve its own narrative purpose. Allison’s personal opinions of masculinity, life on a film set, and the artistic quest for greatness all unmask themselves through the different sections of Black Bear. When pieced together on face value, these stories seem disjointed, unrelated and mostly a pretentious conjunction of jargon. However, in the bigger picture of Levine’s subtle intention, Black Bear serves as a vessel for creative expression where the film circles through elements of comedy, drama and horror en route to a superbly rare and gratifying experience.  Aubrey Plaza delivers a career best performance, but her co-stars Christopher Abbott and Sarah Gadon stand toe-to-toe with her onscreen excellence. Lawrence Michael Levine refuses to conform to the traditional methods of storytelling, and history has proven that society often tries to push back against the new and the different. But without the courageous few who dare to be unique and who aspire to transcend the accepted norm, walls would never be broken. And while Black Bear may never receive the adoration and attention it so truly deserves, it should forever stand as a testament to those who wish to break barriers.

GRADE: 4.5/5

Geekscape Movie Review: Pieces of a Woman

by MCDave

The ongoing tension between Hollywood and Netflix has been long documented, leading to vocal accusations of voter bias when it comes to the Oscars’ minimal recognition for films released by the streaming service. But ever since the pandemic swept across the globe early in 2020 and devoured an entire movie theater industry in the process, Netflix immediately pounced on the opportunity to gobble up as many perspective awards season hopefuls as possible in hopes of taking advantage of the Academy’s new lax rules and dominating the ceremony once and for all. One such title comes in the form of Pieces of a Woman, the latest from Hungarian filmmaker, Kornél Mundruczó, which took home a pair of coveted prizes from its Venice Film Festival debut in September.

Vanessa Kirby and Shia LaBeouf star as Martha and Sean, a Boston area couple expecting their first child who experience a living nightmare when their planned home birth ends in an indescribable tragedy. The aftermath of this grave and unexpected loss shatters the world around them, testing their limits as a couple and fracturing other close relationships. Would litigation against the midwife who oversaw this tragedy bring any semblance of peace and closure to Martha? Are peace and closure even possible?

PIECES OF A WOMAN: (L to R) Vanessa Kirby as Martha, Ellen Burstyn as Elizabeth

There are questions abound in Kornél Mundruczó’s harrowing and heavy-hitting drama Pieces of a Woman. The film opens with a technically savvy 20+ minute continuous shot of the entire home birth. And while the novelty of such long takes has certainly worn thin in recent years, it’s still an impressive feat that adds intensity to these foundational moments of the story.  Following this opening, the narrative immediately shifts to a gut-wrenching and emotional examination of grief. It’s here where the film dives into more personal questions as we see the first-hand struggles of both Martha and Sean. The former desperately in need of a supportive voice against her mother’s (Ellen Burstyn) overbearing wishes, and the latter fighting against temptation after nearly 6 years of sobriety. Behind all of these subplots remains a legal backdrop which poses the interesting debate of culpability surrounding a midwife in such grim and devastating instances. While Kata Wéber’s screenplay focuses more on the characters rather than devote itself to the delicacies of this controversial debate, taking the easier road doesn’t necessarily spoil the fruit. Instead, Pieces of a Woman allows the emotions of its characters to marinate in compelling fashion and succeeds at the hands of three consequential performances from Vanessa Kirby, Shia LaBeouf and the legendary Ellen Burstyn. The most impressive and Oscar-destined turn clearly belongs to Burstyn, as she absolutely commands the screen throughout her powerful late-film monologue. Pieces of a Woman may not be a fun or enjoyable watch, but it comes with awards season aspirations for a reason. If you can withstand the movie’s dark subject matter, there are plenty of artistic achievements worth admiring here.

GRADE: 4/5

Geekscape Movie Review: Sound of Metal

by MCDave

With 2020 coming to a close and the race to the Oscars starting to ignite, Amazon Studios unleashes a rare indie gem that should put itself in the thick of the awards season discussion. The insanely gifted trio of Riz Ahmed, Olivia Cooke and Paul Raci are hardly household names, but their days of lurking in the background of Hollywood’s finest films of the last decade are officially behind them. While Cooke is least likely to land herself an Oscar Nomination, it’s the synergy of the trio’s interconnected performances that propel Darius Marder’s Sound of Metal into one of the finest first features of the 21st century.

Ruben (Ahmed) and Lou (Cooke) are more than just the two-piece Metal band called “Blackgammon”, they’re a passionate couple whose interdependent need for one another is both beautiful and alarming. But upon living a lifestyle that’s consumed by piercingly loud noise, Ruben soon faces intense episodes of irreversible hearing loss. Ruben, a recovering drug addict, begin to fear a relapse is on the horizon, so both he and Lou agree go to a remote Recovery Community for the deaf that’s run by a Vietnam Vet named Joe (Raci).  The community only allows deaf addicts, forcing Lou to return home and Ruben to tackle his darkest fears with no one except the group of deaf strangers around him.

Ambition is nothing new to writer and director Darius Marder. As the scribe of Derek Cianfrance’s big and bold 2012 effort, The Place Beyond the Pines, we can probably assume it’s in his blood. Unlike his previous work that, despite its overall success, admittedly weakens as the minutes mount, Marder never takes the pedal off the gas. Ruben is undeterred in his quest to hear again and we, as an audience, invest our hearts and souls into this journey of hope and desperation. All along the way we’re gifted a truly masterful examination of human emotion, filled with insightful introspection and profound discussion. But it’s at the film’s conclusion where Sound of Metal rings loudest, as Marder continues to crank the dial to 11 with a brilliant and unforgettable finale that perfectly captures the entirety of Ruben himself and the personal journey we’ve all endured. Everything from obvious standout performances from Riz Ahmed, Olivia Cooke and Paul Raci, to the carefully detailed sound mixing and other technical achievements that present themselves throughout the feature, Sound of Metal is screaming with both style and substance, making it one of 2020’s greatest films.

GRADE: 4.5/5

Geekscape Movie Review: The Trial of the Chicago 7

by MCDave

History has a way of repeating itself. And with his second directorial effort, Academy Award Winning screenwriter, Aaron Sorkin (The Social Network), transports us back in time to 1968, during the pinnacle of Vietnam protests where demonstrators and law enforcement clashed in an eruption of violence that mirrors the recorded imagery of present-day America. People were divided, political animosity had reached a boiling point, and a pivotal election was on the horizon. Ultimately, it was the result of that bitter 1968 election which set the stage for Sorkin’s latest film, The Trial of the Chicago 7, one that he demanded to be released by its distributor prior to election day 2020, with the hopes that maybe this time around history won’t repeat itself.

The Chicago 7 opens with a montage of footage regarding the assassinations of both Martin Luther King Jr. and Robert Kennedy over a mere two-month span. Advocates for peace were being buried with bullet holes in their head, leaving anti-war groups with little hope that a non-violent approach would enact change and end the bloodshed abroad. Protest leaders like Tom Hayden (Eddie Redmayne), Abbie Hoffman (Sacha Baron Cohen), Jerry Rubin (Jeremy Strong) and David Dellinger (John Carroll Lynch) attempted to obtain permits for peaceful protests in Lincoln Park, but were denied by the city’s mayor. After many days of protesting that included multiple violent encounters between law enforcement and protesters, disarray surrounding the Democratic party resulted in a loss of the election. Five months later, after Nixon took office as President of the United States, the surprising arrest of these protest organizers on federal charges of crossing state lines to incite violence sparked a controversial, months-long trial that placed the usage of America’s judicial system as a tool for political warfare under the public microscope.

The true story behind this iconic moment in United States history is unavoidably complex and detailed. Yet, the living wordsmith Aaron Sorkin delivers such a sleek and crisp script that unveils key components of these event in a purposeful and periodic non-chronological manner. Sorkin wastes very little time placing the audience inside the courtroom, where a majority of the film occurs and a setting that is a true comfort zone for the writer-director. And while The Chicago 7 never quite reaches the same heights as Sorkin’s legendary 1992 screenplay for A Few Good Men, there is still plenty to appreciate in this newest work. Humor and heaviness do a delicate dance between the pages of this script. The silliness of Sacha Baron Cohen’s and Jeremy Strong’s hippie figureheads make for exceptional comic relief when it’s so desperately needed. However, their hilarious quips and antics clearly take the backseat to a more serious and ominous tone that addresses themes of racism, politicizing our criminal justice system and violence at the hands of law enforcement.

The Chicago 7 is not only a brilliantly-penned screenplay, Sorkin also steps-up his game behind the camera as the direction here represents a stark and noticeable improvement over his debut film, Molly’s Game. Furthermore, it would be a grave injustice to avoid mentioning this star-studded cast and the outstanding onscreen performances given by this ensemble. Outside of the stellar and obvious lead performances from Redmayne, Strong and Sacha Baron Cohen, Oscar Winner Mark Rylance (Bridge of Spies) brings to life such a noble and naïve character as defense attorney William Kunstler, and Frank Langella will crawl under your skin as Judge Julius Hoffman, an unfair ruler of law. These performances, in conjunction with Sorkin’s writing, create a handful of unforgettable onscreen moments. Yet, the constant busyness of having to provide an abundance of details occasionally leaves the film feeling flat in between these masterful scenes. The Chicago 7 may not be Sorkin at his best, but Sorkin not at his best is still extremely worthwhile. You can catch this bona fide Best Picture contender streaming on Netflix right now.

Stars: 4/5

Geekscape Movie Review: Shithouse

by MCDave

With the crushing loss of this year’s SXSW Film Festival at the onset of our nationwide lockdown, 2020’s year in film has never fully recovered. Thankfully, though, many worthwhile indie endeavors are bursting into the forefront of newly-released cinema. The latest low-budget gem finding its way to streaming platforms across the globe comes from writer, director and star Cooper Raiff, whose deeply genuine work, Shithouse, was crowned the Grand Jury prize winner for Best Narrative Feature from this year’s SXSW class.

The earnest and dialogue-driven film follows Alex (Raiff), a college freshman struggling to find his social footing in the highly superficial and raucous world of campus life. With a roommate (Logan Miller) who doesn’t appear too fond of him and his only source of emotional support being his close-knit family that lives over 1,500 miles away, difficulties adjusting to this new lifestyle are even taking a toll on Alex’s grades. Yet, the bored and desperate loner decides to give socializing one more chance. He attends a party at “Shithouse” where he crosses paths with his sophomore RA Maggie (Dylan Gelula) whose looking for some company after experiencing a bad day herself. Together, these two drastically different young-adults will teach each other valuable lessons about “growing up”.

Shithouse relies heavily on the emotional bond forged between its two leading character and the audience that watches their every encounter. One of the most interesting and brilliant decisions by Raiff is his shattering of stereotypes. Rather than giving us a female lead who’s more in-touch with her feelings, Raiff hands us a male who isn’t afraid to cry and wrestle with his inner emotions. Conversely, Maggie’s character is more outgoing, sexually adventurous, and less-invested in personal interactions. By turning these expected social-norms on their side, Raiff is able to craft characters that are far more interesting to examine. And if penning diverse and fascinating characters weren’t enough, Raiff also demonstrates his long list of talents both behind the camera and on the screen. Shithouse isn’t pampered with exquisite cinematography, but Raiff wisely allows for his stellar writing and the ensemble’s solid acting to shine by never overstepping from his place in the director’s chair. Speaking of the film’s ensemble, leading actress Dylan Gelula delivers an impassioned performance and co-star Logan Miller is undeniably hysterical as a source of comic relief. The only dark cloud looming over the effort is its clearly limited budget. I can’t wait to see what writer, director and star Cooper Raiff is capable of creating with a looser set of purse strings.

The number of cinematic options isn’t as robust in 2020, but the lack of content certainly doesn’t mean a step-down in quality, especially when it comes to Cooper Raiff’s Shithouse. The film beautifully captures the struggles of transitioning into adulthood through the lives of two imperfect and naïve college students. Shithouse is fully deserving of its SXSW Grand Jury recognition and it’s a fantastic directorial debut from a truly versatile budding artist.

Stars: 3.5/5

Geekscape Movie Review: The Gentlemen

by MCDave

Director Guy Ritchie has always been a bit of enigma to me. While you can tell that operating in his comfort zone typically involves shady dealings, ruthless thugs and a whole lot of illegal money, Ritchie will also go on a head-scratching adaptation-spree that includes works like Disney’s live-action remake of Aladdin and a unique twist to the story of King Arthur. But no matter where you stand with the Snatch director, we can all agree that Ritchie’s on the top of his game when he’s delivering a story exactly like the one he brings in the new crime mystery, The Gentlemen.

Ray (Charlie Hunnam) is the right-hand-man for drug lord Mickey Pearson (Matthew McConaughey). Fletcher (Hugh Grant) is a sleazy private detective who digs up dirt on wealthy and powerful men and sells it off to the highest bidder. But when Ray finds Fletcher waiting inside his home and demanding a hefty payout from his boss Mickey, the two men try to piece together everything they know about a very elaborate story. One that includes the sale of Mickey’s weed-growing empire, a rival drug kingpin, a robbery and a healthy dose of twists all along the way.

The Gentlemen flows with energy, carrying an upbeat pace and toe-tapping soundtrack that serve as the perfect complement to Guy Ritchie’s action-packed and hysterical script. Framing the narrative through a story inside of a story lens, as Fletcher finds this whole ordeal fascinating and elaborate enough to turn it into a screenplay that he keeps trying to pitch to people, adds a “next-level” dynamic of comedy that really puts the film over the top. But as anyone familiar with Lock, Stock and Two Smoking Barrels and Snatch will know, vulgarity is a thing with Ritchie’s films. The Gentlemen is no exception, as the C-word feels like it’s on literal repeat for nearly two full hours. If this is something you can’t withstand, it’s important to know that going in. Otherwise, if the copious amounts of profanity won’t ruin the experience for you, expect to laugh loud and often. Ritchie’s script is littered with zingers and beautifully crafted moments of pure hilarity. And just as funny as the film’s dialogue are its actor’s mannerisms. Academy Award Winner Matthew McConaughey gets top billing here, but it’s the insanely effective work of Hugh Grant and Colin Farrell that capture your attention the most. Grant with a chameleon-like performance as he’s completely unrecognizable and simply brilliant as Fletcher, and Farrell with a nuanced and expressive turn that sticks with you despite a limited amount of screen time. The Gentlemen is another brisk and lively endeavor from Guy Ritchie that may not feel as impactful as his earlier work of a similar vein, but it’s always fun and certainly a unique experience witnessing Ritchie is his wheelhouse.

GRADE: 3.5/5

For more reviews, trailers and movie lists visit MCDAVE’s host site

Geekscape Movie Review: Bad Boys for Life

by MCDave

We’re inevitably trapped in an era of recycled work. Therefore, when news broke of a new installment to the Bad Boys franchise, I was hesitant to let my excitement get the better or me. Sometimes we’re handed some freshly polished rehashes like last year’s Shazam! and dare I say the controversial Joker, but for the most part these reboots are just mindless and unoriginal money grabs hoping to cash in on familiarity and nostalgia. So while I wouldn’t allow myself to get too invested in Bad Boys for Life (I hadn’t even watched a trailer for the film), my adoration for the series’ first two installments made me anxious to reconnect with these two foul-mouthed police officers.

Things have changed for law enforcement partners Mike Lowery (Will Smith) and Marcus Burnett (Martin Lawrence). Marcus is a new grandfather which prompts his talks of retirement once again, while Mike discovers troubles of his own when he becomes the target of the son from a past arrest. These two ride-or-die partners embark on one last hurrah to stop this young and deadly assassin from killing Mike.

Michael Bay, director of both the original film and its sequel, built a foundation on pulse-pumping action and laugh out loud humor that allowed the two young comedic actors, Smith and Lawrence, to shine brightly in their roles. However, a 16-and-a-half-year hiatus brings about noticeable aging in the film’s leading pair and it proves problematic. Everything about Bad Boys for Life feels older and slower. From the relaxed pacing to a disappointing reliance on geriatric humor, Adil El Arbi and Bilall Fallah’s new inclusion to the series lacks energy and bravado. Even its action-sequences seem to move at a more leisurely pace. In addition, an unnecessarily elaborate and inefficient story plague this melodramatic screenplay. Bad Boys for Life takes a lot of emotional swings, mostly as a substitution for the many moments where hilarity would take the reins in previous films, and the result is certainly underwhelming. And the movie’s primary “twist”, one that’s clearly shoe-horned into the story for dramatic effect, culminates in an unrealistic and brutally-forced manner. But despite all of the film’s obvious faults, blame shouldn’t be directed at Will Smith or Martin Lawrence, both of whom appear fully committed to the effort, their chemistry remains apparent and their characters stay true to form. Bad Boys for Life stands as a worthless and mediocre inclusion to the series as life after Michael Bay proves futile for the franchise.

GRADE: 2.5/5

For more reviews, trailers and movie lists visit MCDAVE’s host site

MCDAVE’s Top 10 Films Of 2019!

by MCDave

Honorable Mentions: Parasite, Ready or Not, 1917, Long Shot, The Irishman, Fighting with My Family and Marriage Story

10. Knives Out

Rian Johnson follows up his polarizing Star Wars entry, The Last Jedi, with the clever and unpredictable whodunit film, Knives Out. When the acclaimed murder-mystery author, Harlan Thrombey (Christopher Plummer), is found dead the morning after his 85th birthday party, eccentric Detective Benoit Blanc (Daniel Craig) begins to question if this apparent suicide is actually murder. Knives Out boasts a fantastic ensemble and a terrific script that turns the traditional mystery on its side and provides a bold and fresh take on this classic genre.

9. Uncut Gems

Benny and Josh Safdie’s insanely intense thriller, Uncut Gems, was the last movie I saw this year and I also have a strong feeling it may be the most memorable. Adam Sandler stars as Howard Ratner, a jeweler in New York City whose reckless gambling habits have put him in deep with bookies all over the city. My blood pressure was through the roof while watching this film, an experience I’ll never forget. And it all builds to an explosive finale that will completely blow your mind. Adam Sandler is the star of the show here and he gives a career-best performance in one of the year’s most unforgettable movie-theater experiences. 

8. The Peanut Butter Falcon

There’s so much heart and soul poured into Tyler Nilson and Michael Schwartz’s SXSW hit, The Peanut Butter Falcon, it’s impossible not to enjoy the film. Zak is a twenty-something man with down syndrome who dreams of being a professional wrestler and is being held against his will at a state-run retirement home. After Zak breaks out of the facility, he runs into Tyler (Shia LaBeouf) and they go on a Mark Twain-esque journey to a wrestling camp in North Carolina. This buddy comedy goes far beyond its laughs and tells a truly human story that shouldn’t be missed. 

7. Avengers: Endgame

Marvel’s epic saga comes to a close in Endgame, a box office smash and massively-adored film that certainly needs no introduction. They get so much right by using a time travel story to take the audience on a journey back to signature moments in the MCU’s history, all while tying a beautiful bow on the first wave of Marvel’s Avengers. Key characters all had their swan songs properly handled and Endgame can easily be summed up with these two words; completely satisfying!

6. Ford v Ferrari

If there’s a problem with James Mangold’s full throttle historical drama, Ford v Ferrari, it’s that the film feels to formulaic and purposely sculpted into an Oscar contender. But still, inside all of that artificial exterior rests a gripping story and interesting characters that make this awards season contender a worthy competitor. The film follows car designer, Carroll Shelby (Matt Damon), who’s summoned by Ford to make and build a car fast enough to beat Ferrari at the 24 Hours of Le Mans in 1966. Ford v Ferrari unexpectedly morphs into an anti-establishment drama that really resonates well from that angle, and one that stands among 2019’s finest films.

5. The Two Popes

Much has been made about Netflix’s two big Oscar contenders, Martin Scorsese’s The Irishman and Noah Baumbach’s Marriage Story, but I’ll go out on a limb and argue that their most recent release, The Two Popes, is actually better than both of them. Fernando Meirelles’ comedic fictional meeting between Pope Benedict (Anthony Hopkins) and then-Cardinal Bergoglio (Jonathan Pryce), the current Popes Francis, is a true showcase for these two veteran actors. They put on an absolute display courtesy of Anthony McCarten’s brilliant screenplay, one that’s heavy in dialogue and substance all while keeping a comedic energy alive and well. It’s sad to know that the whole film is essentially fabricated, but it’s a wonderful way to pretend how history went down.

4. Once Upon a Time … In Hollywood

Quentin Tarantino continues his dominance with another example of robust characters, smooth dialogue and handfuls of iconic moments. Once Upon a Time travels back to 1969 Los Angeles, where washed-up TV actor, Rick Dalton (Leonardo DiCaprio), and his stunt double, Cliff Booth (Brad Pitt), find themselves on the outside looking in at an industry they can hardly recognize. Thankfully, their neighbors are rising stars Roman Polanski and Sharon Tate (Margot Robbie), so perhaps fate could intervene on Rick’s behalf. But as we all know, the Manson Family Cult has different plans in mind. Once Upon a Time comes with its lulls, but there’s enough strong acting, sharp direction and witty dialogue to carry you through the tough times and to the film’s epic, must-see conclusion.

3. Midsommar

Ari Aster amazed me with last year’s Hereditary and blew my mind even more with his latest work, Midsommar. The film follows a group of friends who travel to Sweden with a foreign classmate who wants them all to experience his community’s annual Midsommar festivities. But what begins as a silly and harmless event, slowly transforms into a hellish nightmare for these outsiders. Florence Pugh’s character drives the entire film and her tale of sweet seduction is masterfully captured by Aster. Midsommar is without a doubt a polarizing film, and one I wouldn’t recommend to everyone. The film runs long and with a simmering pace, but the detail and artistry behind every frame is truly magnificent and why I’m completely enamored by this young and brilliant filmmaker.

2. Joker

In the lead-up to its early October release, I just kept trying to temper my expectations for Todd Phillips’ Joker. Then word spread of an eight-minute standing ovation following its world premiere, and headlines about the film’s violence and disturbing look at mental illness turned Joker into 2019’s biggest cinematic spectacle. But through all of the hype and debate, Todd Phillips delivers a phenomenal piece of filmmaking. Everything begins and ends with Joaquin Phoenix’s hypnotic interpretation of the title character. Yet, even beyond his Oscar-bound performance, Joker boasts a meticulous script, stunning cinematography, and a perfectly constructed score from composer Hildur Guðnadóttir. Full disclosure, there’s some ambiguity looming over the film, and I’ve convinced myself that I’m better off enjoying the experience rather than over-analyzing everything. Just sit back and enjoy this dark and gritty spiral into madness as one of the world’s greatest villains is born.

1. Jojo Rabbit

It’s surprising to look back and recognize how many strong films were released in 2019, but none had the same impact on me as Taika Waititi’s Jojo Rabbit. There’s a large faction of people who will simply refuse to watch the film because it pokes fun at the ridiculous nature of fanaticism with a backdrop set in Nazi Germany during the closing stages of World War II. Jojo Betzler (Roman Griffin Davis) is a 10-year-old boy who dreams of being a great Nazi soldier and his most trusted companion is his imaginary friend, Adolph Hitler (played by Waititi). Jojo thinks he has a pretty good understanding of the world until the day he discovers that his mother (Scarlett Johansson) is harboring a Jewish teenager named Elsa (Thomasin McKenzie) and things begin to get a lot more complicated. There’s a beautiful story nestled inside of this relatively short (about an hour and 45 minutes) and briskly-paced dramatic satire. The two young actors, David and McKenzie, stand toe-to-toe with the likes of Academy Award Winner, Sam Rockwell, and the always great Scarlett Johansson. Jojo Rabbit is hilarious, heartbreaking and hopeful, and just about everything you could ever want in a movie.

Geekscape Movie Review: Uncut Gems

by MCDave

Adam Sandler is a name that has long been synonymous with humor, albeit not always with the greatest reputation. After a bull-rushing start to his film career that began with signature classics like Billy Madison, Happy Gilmore and The Wedding Singer, it wasn’t long before Sandler’s name became tainted by films like Jack and Jill and Grown Ups. And suddenly, a man who was once the nation’s king of comedy was soon relegated to a longstanding partnership with the streaming service, NetFlix. But after a few promising attempts at breaking into the world of dramatic acting, 2019 may have changed everything for Sandler. His gut-wrenching turn in Benny and Josh Safdie’s stylish thriller, Uncut Gems, has caught the eyes of many Oscar voters and has left everyone wondering if Sandler’s finally turned the corner in his decades-long career.

Howard Ratner (Sandler) is a jeweler in New York City whose uncontrollable gambling habits have gotten him in deep with various loan sharks. And with a rocky home life, an erratic mistress (Julia Fox) and a six-figure debt all looming over his head, Howard sees his only way out of this mess in the form of a rare and precious opal stone that holds a special allure over a basketball star (Kevin Garnett) in the NBA playoffs. But when things fail to go according to plan, Howard starts digging a deeper and deeper hole that he can only escape by winning one last massive bet.

The Safdie brothers’ Uncut Gems is a two-hour pulse-pounding panic attack that’s cloaked in a stylish soundtrack and a gritty lead performance. Adam Sandler delivers a mesmerizing turn as a clear anti-hero, but a character that still demands your emotional investment despite his obvious flaws. This is no simple task as Howard’s troubles are all self-inflicted. He cheats on his wife, he has an undeniable addiction to gambling and he’s a liar trying to play everyone for a loop. And through all of these dirty deeds, we still take this anxiety-filled journey rooting for Howard’s victory the entire time. Adam Sandler serves as the driving force behind this moral quagmire for audiences. He’s a man in a predicament who only makes things worse with every ensuing decision. But Adam Sandler displays such raw emotion in the role, so much so that we overlook Howard’s series of lies and mistakes because we sense fearful human side of his character. Much has been made of “will he” or “won’t he” when it comes to Sandler’s chances of scoring an Oscar Nomination. Personally, he makes my Top 5 of the year and I hope the Academy feels the same. However, Uncut Gems is cut from an extremely dark cloth, one that doesn’t always resonate with Oscar voters, and especially in a year where Joker’s Joaquin Phoenix already stakes that claim. It wouldn’t surprise me to see the Academy lean in favor of a much safer pick like Taron Egerton (Rocketman) or Christian Bale (Ford v Ferrari), but Sandler’s career-best performance takes you into the hopelessness of his character and showers you with unease. Also, some of this unforgettable experience needs to be attributed to the film’s sibling directors, Benny and Josh Safdie who have shown a mastery of the stylish thriller genre with back-to-back efforts now (previously with Robert Pattinson in Good Time). The Safdie brothers once again prove they are as good as any at crafting a clever story with an explosive finale that forces the audience to forge a connection with its lead anti-hero. Mix in some unforgettable acting and a unique style, and that’s exactly what Uncut Gems gives you en route to being one of 2019’s most memorable films.

Grade: 4/5

Geekscape Movie Review: The Two Popes

by MCDave

NetFlix has muscled its way to the front and center of this year’s awards season as the financier behind prominent Best Picture contenders like The Irishman and Marriage Story. But there’s another NetFlix title certainly worth mentioning and, in my humble opinion, one that’s even a step above the aforementioned Oscar-titans which come from legendary filmmakers Martin Scorsese and Noah Baumbach. The Two Popes is a masterful and overlooked film from Fernando Meirelles, the man behind Oscar-recognized works like City of God and The Constant Gardener, and one whose awards season trajectory is still very cloudy. Nevertheless, Meirelles’ latest offering stands among 2019’s finest films and is currently available to stream on NetFlix.

It’s 2012 and Cardinal Bergoglio (Jonathan Pryce), a very liberal voice within the Catholic Church, requests permission to retire from the conservative-minded Pope Benedict (Anthony Hopkins). But as these two respected religious leaders clash in viewpoints, they still manage to forge a connection over their love of the church. Confessing their greatest regrets and darkest sins to one another, a sign of clarity will forever change the history of the Catholic Church.

At the center of The Two Two Popes is an elegantly-scripted story that’s placed in the careful hands of two magnificent performers. Jonathan Pryce and Anthony Hopkins should be absolute locks for Oscar nominations, however both failed to make the cut with the Screen Actors Guild. And the film depicts a clearly fictitious encounter between these two men, but presents their meeting in such an enjoyable and believable manner. The Two Popes flows like a stage-play, heavy in dialogue and extremely dependent on its actors. Pryce and Hopkins do more than rise to the occasion, they provide such resemblance and authenticity to their characters that it allows for a dramatic third act to completely suffocate you with genuine emotion. Pryce may give my favorite turn of the year, but that’s certainly no slight to Hopkins who marvels in his own right. Anthony McCarten’s brilliant screenplay is also deserving of some Oscar love as well. The story uses the philosophical contrasts of these two men as a beautiful juxtaposition to the shocking symmetry of their dark inner demons. The entire experience is soulfully dramatic but complemented wonderfully by a light and often comedic script. As someone who isn’t remotely in tune with the Catholic Church or religion in general, I can safely say that The Two Popes is in no way geared solely for a niche audience. It’s an exceptional character study with a religious back drop, but one that is relatable across all spectrums of life. And although the film can’t be viewed as a reliable historic source, these monumental moments in the Catholic Church are delivered exactly how we wish they would have happened. It’s not often you can sit down in the comfy confines of your own home and enjoy one of the year’s most impressive titles, but that’s exactly what Netflix is offering with their newly dropped Best Picture hopeful, The Two Popes.

GRADE: 4/5

Geekscape Movie Review: Bombshell

by MCDave

Director Jay Roach broke into the industry during the 90s as the fresh new comedic voice behind beloved classics like Austin Powers and Meet the Parents, both of which spawned successful movie franchises of their own. But despite the loads of laughs he’s generated over the years, Roach finds himself immersed in a much more serious light with the filmmaker’s latest effort, Bombshell. Chronicling Fox News Anchor Gretchen Carlson’s courageous lawsuit that exposed the despicable behaviors of former CEO Roger Ailes and became a precursor to the #MeToo movement, Roach’s important subject matter sadly disappears in a fumbling and erratic narrative that puts shock value and salacious details over character-driven emotional substance.

After watching her career as a Fox News Anchor crumble in the wake of rejecting sexual advancements by her boss, Roger Ailes (John Lithgow), Gretchen Carlson (Nicole Kidman) reaches out to a group of attorneys to help bring this monster down. Unfortunately, their lawsuit’s credibility hangs in the balance of the other women at Fox News who have fell victim to this systemic inappropriate misconduct and whether or not they’ll speak up against their bosses. Thankfully, truth reigns victorious when brave young women like the fictitious Kayla (Margot Robbie) and the influential voice, Megyn Kelly (Charlize Theron), decide to betray the hands that feed them and stand up against Ailes and the repulsive misogynistic culture he created at Fox News.

Bombshell is a disgustingly slanted and politically motivated drama that cares more about bashing Roger Ailes and “Right Wing Media” in general, than recognizing an obligation to tell a truly personal story of sexual abuse and the rippling effects of staying silent. Look no further than the tasteless title bestowed upon the film, one in which playfully tiptoes around the severity of these documented events. Instead, Roach force-feeds an obnoxious amount of anti-Trump rhetoric that grows frustratingly asinine, even to a left-leaning “snowflake” like myself. Still, what I was hoping for in Bombshell was a poignant and uncomfortable examination of victimhood and the collateral damage of these psychological horrors. Yet, depth is nowhere to be found here. Rather, Roach and writer Charles Randolph devote their two hours of storytelling to a TMZ-esque interpretation of these real-life tragedies. The film acts as a nonchalant head-nod to these victims via a headline and premise, instead of corralling the responsibility of pioneering social change through a visual and experiential lens. Occasionally, the magnitude of certain moments is definitely felt and captured adequately by the director, but these moments are mostly the result of a superior collection of acting talent that includes Academy Award Winners Nicole Kidman and Charlize Theron and Oscar Nominated actress, Margot Robbie. This trio of strong women all have to fight against the labels of feminism in their quest for justice and civility. It’s also worth noting the supporting work of Saturday Night Live’s Kate McKinnon and John Lithgow, both of whom completely command the screen at every opportunity. There’s certainly a bigger, bolder and more impactful story buried within the truth surrounding Roger Ailes his malicious oversight of Fox News. Unfortunately, Jay Roach fails to give us anything remotely close to that in Bombshell’s immature and perverse retelling of a reprehensible and disturbing era in American history.

GRADE: 3/5

Geekscape Movie Review: Richard Jewell

by MCDave

Father time is undefeated. And like a professional athlete who’s showing signs that they can’t quite keep up with a younger generation of competitors, Hollywood icon Clint Eastwood’s latest offering leaves me questioning how much quality filmmaking the 89-year-old has left in him. In typical Eastwood fashion, he places his sights on the true story of title character, Richard Jewell, the security guard and cop-wannabe who became a controversial figure following the bombing of the 1996 Olympics at Centennial Park in Atlanta. Eastwood uses Jewell’s heartbreaking experiences as an exposé on the careless and destructive behaviors of the mainstream media, the film’s clear antagonist. Yet, what transpires feels more like the incoherent grumblings of a miserable old man than an enlightening and eye-opening examination of what’s actually a legitimate issue.

Richard (I, Tonya’s Paul Walter Hauser) is a poor, overweight security guard with such a deep-rooted desire to protect people that it leads to some questionable behaviors that cost him a couple jobs along the way. But when Richard jumps on the opportunity to help protect his country at the security-needy 1996 Olympics, he can’t possibly prepare himself for the horrors that he’ll encounter after he stumbles across a bag of explosives. Richard Jewell may have saved countless lives by diligently doing his job on that fateful evening, but his sketchy past and a lack of other leads make him a prime suspect and anti-hero that a local journalist, Kathy Scruggs (Olivia Wilde), completely exploits with her reckless reporting.

Clint Eastwood’s film is a revolving conundrum. His intentions are deliberate, but meandering. His interpretation is clear, but clouded in hypocrisy. All of which make Richard Jewell a muddled mixed-bag of ideas and emotions. Eastwood waves a shameful finger at the news media and its desire for higher ratings and career-advancements built on the back of inconsiderate reporting. The film even goes as far as to accuse the now-deceased journalist Kathy Scruggs of obtaining private information from the F.B.I. by sleeping with an agent (played by Jon Hamm), none of which has ever been corroborated publicly, and this blatant disregard for truth and authenticity feels awfully hypocritical when you take into account the root of Eastwood’s story. It’s a back-handed low-blow by the director and his screenwriter, Billy Ray, who attempt to tackle the media’s obsession with releasing a story quickly rather than accurately, and the personal ramifications of those actions. Richard Jewell lived a grueling 88-day nightmare in the aftermath of the Olympic bombing, one in which he morphed from an instant hero to a devilish mastermind in the blink of an eye. In fact, this is the film’s most accomplished feat, hammering this burden and personal anguish into the viewer. However, Eastwood’s characterization of nearly every other facet of the story is shallow, superficial and deceptively inaccurate. Richard Jewell has the hopes of making an awards season splash but I’m not buying into this likelihood, even after Kathy Bates’ recent Golden Globe Nomination for her supporting turn as the security guard’s mother. Instead, Richard Jewell is another ho-hum effort from a once legendary filmmaker struggling to deliver a cohesive story in the twilight of his career.

GRADE: 2.5/5

Geekscape Movie Review: 1917

by MCDave

Family stories have a way of resonating with us. They act as vessels into another world that we’re able to know and experience through the scope of our ancestors. And their impact can be profound, just ask Academy Award Winning filmmaker Sam Mendes (American Beauty and Skyfall) whose latest work is inspired from the World War I tales told to him by his late grandfather when he was just a boy. Those stories have stuck with Mendes for decades and, by using his unique visual mastery, have thrust the war epic 1917 into the heart of the Best Picture race.

When Lance Corporal Blake (Game of Throne’s Dean-Charles Chapman) and Lance Corporal Schofield (Captain Fantastic’s George MacKay) are summoned by a superior officer in the midst of the First World War, they could never have imagined the assignment placed in their hands. General Erinmore (Colin Firth) informs the men that an attack is planned for dusk, but they have just received word that it’s a trap by the Germans and more than 1,600 men are preparing to be slaughtered, one of which is Blake’s older brother. In a race against time that requires the soldiers to journey deep into enemy territory along the most direct route to their fellow officers, Blake and Schofield encounter the crushing brutalities of war at every turn, with hopes of surviving this dangerous mission and delivering the General’s orders by sunrise.

Sam Mendes’ 1917 is a completely immersive experience that takes audiences to the front lines of battle and into the trenches of one the most gruesome wars in the history of the world. Filmed in such a way that it appears as one single shot where the camera never leaves these two men, Mendes has most certainly cemented himself and his film in the Best Director and Best Picture races. 1917 oozes with technical mastery and checks nearly all the boxes for Oscar voters. And while I too loved the riveting perspective of the film, I was far less impressed by Mendes’ script. The story becomes hamstrung by the decision of this stylistic approach which disallows an expansive use of subplots and secondary characters. Forcing us to travel beside these men essentially makes the majority of the story simply about their experiences. This can be mesmerizing at times and certainly helps with the film’s pacing, but it also leaves more to be desired in terms of developed and arcing story. I wonder if 1917 would have been better served by including a handful of massively long takes to generate a similar feel but still made traditional cuts to help broaden the story and characters. Either way, we can’t refute the overall impact and technical greatness behind another superb effort from an often-overlooked filmmaker.

GRADE: 4/5

Geekscape Movie Review: The Irishman

by MCDave

Martin Scorsese, it’s a name that will long outlast any of us thanks to nearly five decades of directing must-watch movies. He’s reached a rare status where every new film is an absolute spectacle. And after a brief theatrical stint to, in essence, qualify for the Academy Awards, Netflix is the proud host of Scorsese’s latest tour de force, The Irishman. This three-and-a-half-hour-long epic represents a more mature examination of the gangster genre, a territory very familiar to the director, but one he’s usually drawn to for the wild and reckless aspects of the lifestyle. Yet, that’s not Scorsese’s intent with The Irishman, here he journeys into the loneliness and isolation of the few who are, dare I say, lucky enough to survive a lifetime of double-crossings. It’s a bold and ambitious endeavor for the filmmaker, but one he still manages to handle exceptionally well, even if The Irishman fails to stand up to Scorsese’s best.

Frank Sheeran (Robert De Niro) is a hard-working World War II vet whose life is forever changed when he befriends the notorious mobster, Russell Bufalino (Joe Pesci). Frank’s comfort with killing, largely in part to his time in the war, makes him a natural fit as a hitman for the Bufalino crime family. Frank’s close ties with Russell eventually set him a collision course with the outspoken labor union leader, Jimmy Hoffa (Al Pacino), and the two men immediately become close allies. Their friendship lasts for many years, that is, until Hoffa gets in over his head with Russell Bufalino and other “made men” who demand the deadly services of Frank Sheeran one last time.

The Irishman attempts to bite off more than it can chew. Scorsese swings big, banking on an emotional conclusion that never really hits home the way it’s intended. With that being said, Scorsese still delivers a superbly crafted film that boasts phenomenal technical achievements and a pair of outstanding supporting turns. First, the widely discussed de-aging effect that’s used in the film is very impressive and executed at a never-before-seen level, making Scorsese’s firm dependence on the technique something that could very well change the way movies are made going forward. Now, onto the towering performances from Al Pacino and Joe Pesci. Both offer their finest work in decades and each do it in a completely different manner. Pacino’s turn is showier as he mimics the brash and animated demeanor of Jimmy Hoffa with immense precision. It’s a loud role that demands your attention, and for this reason it’s more likely to stand out when harkening back to the film. Conversely, Joe Pesci delivers a slick and subtle performance, magnificently detailed and remarkably nuanced. Both men are completely worthy of Oscar Nominations, although I wouldn’t necessarily say the same for lead actor Robert De Niro whose dry and soulless approach makes for a rather uninspiring central character. I, personally, felt no connection whatsoever with the character of Frank Sheeran and this is the driving force behind Scorsese’s whiff at an emotional conclusion to the film. And while I left the theater feeling unmoved and slightly disappointed in The Irishman as a whole, the film is still a strong feature that races along with a driving force that keeps you fully engaged up until the pivotal onscreen moment when we’re given Scorsese’s interpretation of Jimmy Hoffa’s disappearance. My suggestion would be to slightly temper your expectations before strapping in and enjoying another wild and worthwhile ride courtesy of a true cinematic genius.

GRADE: 4/5

Geekscape Movie Review: Knives Out

by MCDave

Once upon a time, Rian Johnson went from being a uniquely-voiced and rapidly-emerging filmmaker to instantly becoming the man who ruined the Star Wars saga (for me, at least). Needless to say, I didn’t (and still don’t) have a favorable view of Johnson’s The Last Jedi. But what a difference two years can make, as the stains of Johnson’s past can hardly be noticed courtesy of a brand-new, briskly-paced whodunit mystery that reminds us all just how brilliant of a writer and director he can be.

Knives Out tells the perversely entertaining and fictional story of beloved crime novelist, Harlan Thrombey (Christopher Plummer), who shockingly dies on the evening of his 85th birthday celebration. With a massively wealthy estate and a host of friends and relatives at the residence, each with their own motives and agendas, everyone must be considered a suspect. Thankfully, the witty and astute detective Benoit Blanc (Daniel Craig) has been mysteriously hired to unmask the truth behind Thombley’s unexpected death.

Rian Johnson’s cleverly crafted screenplay serves as the backbone to this unpredictable and amusing whodunit film. Knives Out cycles through a series of suspects and motives all while purposely tipping its hand quite a bit. Yet, as we soon find out, there are many mysteries buried within the veins of this story. And all throughout this creative and original script rests a healthy dose of humor and a diverse collection of notable characters, each of whom add a unique element to the overlying mystery. These characters come to life superbly thanks to one of 2019’s finest ensembles. Along with the aforementioned Daniel Craig and Christopher Plummer, co-stars Chris Evans, Toni Collette, Michael Shannon, Jamie Lee Curtis, LaKeith Stanfield and Don Johnson all deliver well-rounded performances that play off one another perfectly. Yet, it’s the underdog of the cast, up-and comer Ana de Armas (Blade Runner 2049), who truly steals the show with a deeply committed and soulful turn of her own. Knives Out has all the makings of an Original Screenplay Oscar contender, the script really is that good. If you’re in search of an energetic mystery that’s guaranteed to keep you guessing, Rian Johnson’s page-turning new effort not only has what you’re looking for, it’s one of the best films of year.

GRADE: 4/5

Geekscape Movie Review: Ford v Ferrari

by MCDave

Although he isn’t necessarily a household name, James Mangold’s extensive résumé speaks for itself. Works like Walk the Line and Girl, Interrupted have captured Oscar statues, while efforts like Logan and 3:10 to Yuma have enjoyed universal acclaim. And smack-dab in the middle of awards season, Mangold drops another heavyweight contender for audiences to enjoy with this weekend’s arrival of Ford v Ferrari, a high-octane drama that speeds to the Best Picture race on the wave of audience and critical support.

A dicey business dealing between the pair of high-profile automakers, Ford and Ferrari, leads to a battle for racing immortality in the 1960s. Ferrari has dominated the renowned 24 Hours of Le Mans race for years, but Henry Ford II (Tracy Letts) will stop at nothing to defeat them. Therefore, he enlists the aid of car designer and former driver, Carroll Shelby (Matt Damon), the only American to ever win the race himself, who believes that the hot-headed and stubborn driver, Ken Miles (Christian Bale), is the only man capable of beating Ferrari.

Ford v Ferrari proves to be one of 2019’s most appealing cinematic experiences for a multitude of reasons. For starters, the script is a magnificent blend of hearty comedy and compelling drama that bounce off one another all while developing wildly interesting and likable characters. Matt Damon and Christian Bale are gifted a brilliant and timely story, but it’s their attention to detail and dedication to craft that help take Ford v Ferrari to a whole other level. While it’s a little surprising that more hype hasn’t surrounded these performances as we approach the stretch run of awards season, I wouldn’t be shocked if at least one of them sneaks away with a nomination. Bale may be facing some stiffer competition with both of The Irishman’s supporting actors and a slew of other high-profile supporting turns to measure up against, but he also gives the slightly stronger performance. Damon is fine in his own right, but the character of Ken is so fascinating and Bale knows exactly how to capitalize on good writing. And not only does the script develop the framework for strong central characters, it also touches on some underdog and anti-establishment themes that naturally resonate with today’s moviegoers. In some instances, Ford v Ferrari regrettably re-gifts cookie-cutter moments of familiarity that soften an otherwise outstandingly executed film. Yet, James Mangold and company rise above these schematic similarities to Oscar contenders of the past by delivering what’s arguably Mangold’s best effort to date and one that should make a serious splash during this year’s awards season.

GRADE: 4/5

Geekscape Movie Review: Jojo Rabbit

by MCDave

Philadelphia’s annual Film Festival brings elite Oscar-destined content to the tri-state area every October and this year was no exception. One awards season contender generating some serious buzz at year’s event is Taika Waititi’s Jojo Rabbit, a polarizing and relentlessly hilarious endeavor that, despite some early mixed reviews, continues to ride a wave of momentum following its world premiere at the Toronto International Film Festival. There, Waititi’s film captured the prestigious People’s Choice Award, an honor known for translating into legitimate Oscar success. And although Jojo Rabbit’s future seems inevitably bright, there remains a stubborn and steady critical backlash against Waititi’s effort. Yet, it’s a superficial and irrational sensitivity stemming from the film’s satirical spin on Hitler’s reign and Nazi Germany’s disgusting place in world history. But such complaints are wildly misplaced, as Jojo Rabbit delivers a tender and earnest coming-of-age story that spreads a message of love, compassion and acceptance at a time when it’s most needed.

The film follows 10 year-old Jojo Betzler (Roman Griffin Davis), a young and impressionable Nazi-fanatic whose most loyal companion is his imaginary friend Adolf Hitler (Taika Waititi). But despite Jojo’s blind love and admiration for the real-life Führer, deep down he just doesn’t have the makings of a ruthless Nazi soldier. So when Jojo discovers that his mother (Scarlett Johansson) is hiding a Jewish teenager named Elsa (Thomasin McKenzie) in their home, he becomes torn between his love of country and a strange new friendship.

Photo by Kimberley French. © 2018 Twentieth Century Fox Film Corporation All Rights Reserved

In an age of filmmaking riddled with unrestricted run-times and blatant over-extension, Taika Waititi provides a refreshing reminder that it’s possible to tell a sincerely funny, emotionally heartbreaking and morally uplifting story in both a fun and energetic way. Jojo Rabbit keeps a brisk cadence with hard-hitting and never-ending laughs that help navigate Waititi’s poignant tale. As writer, director and co-star, Waititi’s complete commitment and unwavering dedication to the film also prove to be the bloodlines of its effectiveness. Furthermore, Waititi’s wildly animated portrayal of Adolf Hitler is brewed with a wackiness and absurdity that always allows this emotional roller-coaster to circle back to its comedic roots. In the vein of The Great Dictator, a clear source of inspiration for Waititi’s vision, Jojo Rabbit boasts a fearlessness with its script and its performances that shouldn’t be overlooked. Waititi rounds out his cast with elite talent like Academy Award Winner Sam Rockwell and the always dazzling Scarlett Johansson. But most impressive are the turns provided by youngsters Roman Griffin Davis and Thomasin McKenzie, whose performances are perhaps most vital to the film’s success. McKenzie put her acting chops on full display in last year’s Leave No Trace, and proves it was no fluke by backing it up with another exceptional onscreen display. On the other hand, Roman Griffin Davis is an unknown who takes this first opportunity and makes the most of it. Countless performers in the film deliver the “Oscar goods”, so don’t be surprised if multiple cast members make an awards season splash. In addition to a well-rounded screenplay and brilliant ensemble, Jojo Rabbit’s cleverly worked soundtrack includes spectacular German covers of popular rock songs that help add even more layers to this well-rounded feature. The entire package is there, neatly wrapped in a pulsating and energetic exterior that solidifies Jojo Rabbit as one of 2019’s most enjoyable cinematic experiences and a bona fide Oscar contender.

GRADE: 4.5/5

Geekscape Movie Review: Judy

by MCDave

Time alters perceptions, and it may be easy to forget the stark reality that Renée Zellweger was one of Hollywood’s eminent talents throughout the turn of the millennium. Her adored turn in Jerry Maguire helped steer the actress to Oscar-recognized performances in Bridget Jones’s Diary, Chicago and Cold Mountain three years in a row, the last of which finally earned Zellweger an Oscar statue. However, a strange thing happened and Zellweger’s endearing looks and charming personality faded from the spotlight for many years. Thankfully, though, she returns with a vengeance in Rupert Goold’s 2019 biopic, Judy.

The film highlights the final years of storied singer and actress Judy Garland (Zellweger) as she navigates through financial disarray and losing custody of her children. Judy reluctantly agrees to a series of concerts in London where her appointed tour overseer (Jessie Buckley) and latest love interest (Finn Wittrock) witness the sad and tragic decline of the legendary vocalist. Garland tries desperately to make it through the brief tour with hopes of earning enough income to help stabilize her situation and regain custody of her children, yet stability is anything but easy for Judy.

Rupert Goold’s grim and somber biopic truly encapsulates the well-documented history of Judy Garland’s depressing late-life struggles. And Zellweger steps into Garland’s shoes with impeccable ease, as an actress who was once on top of the world and somehow faded from the spotlight herself. However, in Zellweger’s case, this mild similarity is sure to catapult her back into the awards season discussion where her committed onscreen efforts shouldn’t go unnoticed. Perhaps most impressive is her vocal demonstration that isn’t necessarily shocking (as Zellweger showed she can sing in 2002’s Chicago), but it’s a fabulous reminder of her many well-rounded talents. And although her stunning likeness and exceptionally captured dejectedness are enough to keep the audience engaged throughout the film’s entire two-hour duration, Zellweger’s greatest efforts can’t keep Tom Edge’s screenplay from feeling misaligned. The non-chronological storytelling and usage of flashback is overtly contrived and far from effective, not to mention the film’s underlying soap-opera feel. Outside of the central title figure, other characters are hardly given anything to work with, making Judy a one-person show that’s placed in valiant hands thanks to a brilliant, career resurgent turn by Renée Zellweger.

GRADE: 3/5

Geekscape Movie Review: Once Upon a Time … in Hollywood

by MCDave

Quentin Tarantino is an iconic filmmaker who needs no introduction. His latest and ninth feature film, Once Upon a Time … in Hollywood, made a splash with its premiere at this year’s Cannes festival, the first time Tarantino debuted a movie there since 2009’s Inglourious Basterds a decade ago, and gave audiences a small taste of what this year’s Oscar season could look like. The two Tarantino films, Basterds and Hollywood, also share a common theme. Both use real life stories as backdrops to an alternate sensationalized reality that grows like a parasite from the depths of the writer and director’s perversely brilliant mind. This makes for a truly fascinating ride that, while certainly not an example of Tarantino at his best, proves Tarantino not at his best is still pretty darn good.

Oscar winner Leonardo DiCaprio (it feels awfully nice saying that) stars as fading actor Rick Dalton, a neurotic and immature performer who’s struggling to accept the downturn in his career and who’s completely reliant on his salaried friend and former stunt-double, Cliff Booth (Brad Pitt). While Dalton enjoys living his Hollywood lifestyle, a pretty young actress named Sharon Tate (Margot Robbie) and her famous husband, director Roman Polanski, move in right next door to Dalton. And little do they know that Cliff’s flirtatious encounters with a pretty young follower of cult leader Charles Manson could end up causing a bloody mess.

Some others that I have spoken to disagree with me on this, but Once Upon a Time … in Hollywood felt nothing like a Tarantino film until its unhinged final climax, a clear staple spread throughout the director’s accomplished catalog. Despite unraveling in a more traditionally delivered and less stylish demeanor, the film certainly provides handfuls of unforgettable moments, many of which come from the phenomenal onscreen work of DiCaprio. Leo’s brutally committed turn in this effort stands miles above any other performance I’ve witnessed all year and could possibly send him hunting his second Oscar. Pitt is no slouch either, ushering in a “cool guy” persona that flows from the actor with such a natural fluidity. But despite the film’s many strong performances and countless iconic moments, there’s obviously a hitch in its step early on and it’s one that lingers for some time. This isn’t what you hope for from a 160-minute marathon of a movie, yet the conclusion makes it all worth the ride. Once Tarantino gets all of his storylines and characters rolling, Once Upon a Time … in Hollywood flows masterfully, pulsates with a meteoric energy, and culminates in a bold, bloody finale that doesn’t disappoint. Tarantino’s latest could tread water throughout the fall Oscar season or fade away as just another fun summer flick, I wouldn’t be surprised either way. And although the film is far from Tarantino’s best, Once Upon a Time … in Hollywood represents another must-watch entry in the director’s mighty impressive filmography.

GRADE: 4/5

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Geekscape Movie Review: Midsommar

by MCDave

You never forget how the great films made you feel when you experienced them for the first time. It’s a unique ability that transcends the standard norms of filmmaking.  And one contemporary visionary who has mastered this skill is Ari Aster, a new generational voice in the psychological horror genre with a knack for capturing a quiet sense of Hitchcock-ian suspense throughout his works. Aster first astonished us with last year’s Hereditary, a spine-chilling examination of a family with sinister bloodlines that even stirred some rumblings of an Oscar Nomination for the film’s leading star, Toni Collette. It was quite a debut, but Aster wastes no time jumping right back into the director’s chair for his indescribable new psychological thriller, Midsommar, another hypnotic effort that’s quickly cementing Ari Aster’s reputation within the horror community.

Following a traumatic and devastating event, a young American couple travel to a remote Swedish commune with a group of friends to experience the local’s once-in-a-lifetime mid-summer festivities. But as they all become more and more immersed in the community’s bizarre rituals, the couple’s relationship becomes tested and their friendships become strained. Yet, things only get worse from there as this once culturally rich experience slowly evolves into a hellish nightmare at the hands of a pagan cult.


Let me be clear, Midsommar isn’t a horror film in the commercialized sense of the word. Instead, writer and director Ari Aster shapes an unnerving and terrifying journey into the human psyche. Florence Pugh stars as Dani, a love-starved young woman desperately holding onto a failing relationship with her boyfriend of four years, Christian (Jack Reynor), after suffering a horrible personal tragedy. The film explores the darkest depths of human connection in such a beautifully shot and viscerally engrossing demeanor. Midsommar stands as a slow-dance of macabre, meant to be savored and digested through sustained periods of intense imagery and a spine-tingling use of sounds. In fact, Ari Aster’s profound use of music and sounds elevates his craft to a whole new level and helps elicit a variety of emotions, it’s truly remarkable. And outside of the film’s apparent technical achievements and majestic cinematography, Midsommar also boasts an impressively detailed and absorbing script. Aster’s story is fully outstretched to what some viewers will complain is a tiresome two-and-a-half-hour affair, especially after the end goal begins to reveal itself about halfway in. Yet, I found this crawling transformation to be mightily impactful with each and every step along the way. Furthermore, another common criticism will be aimed at the film’s silly elements of dark humor. There are numerous scenes which are odd and seemingly over-the-top, but the deeper purpose of these moments is to appropriately illustrate the insidious cult’s desire to bond through empathy. They laugh together, love together, cry together and experience pain and heartache together. All of which align perfectly with Aster’s intended end result. Midsommar is a beautiful and poetic psychological horror that ventures far beyond the superficial norms of its genre and shakes you to the core. It’s one of 2019’s standout features and an experience that’s certainly worth the ride. 

GRADE: 4/5

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Geekscape Movie Review: Spider-Man: Far from Home

by MCDave

Following Marvel’s epic conclusion with Avengers: Endgame earlier this year, the stakes have never been higher as the cinematic universe pivots and plots a new course for the first time since its 2008 inception. And who better than the friendly neighborhood Spider-Man to pave the way for this new era in the MCU? Director Jon Watts returns with Spider-Man: Far from Home, a cozy and familiar sequel that ushers in a new Marvel figurehead and crisply handles its central antagonist in 2019’s finest summer blockbuster.

After the tragic concluding events of Endgame, there’s nothing Peter Parker (Tom Holland) wants more than to relax and enjoy his chaperoned summer school trip to Europe. But just as he leaves for his trip away from being Spider-Man, Peter’s vacation abroad quickly becomes interrupted by Nick Fury (Samuel L. Jackson). Strange attacks at the hands of elemental creatures put his relaxing summer on hold as Peter fights to protect a world that will never be the same again.

There’s no denying the pressure that was on Jon Watts and everyone behind Far from Home to smoothly transition the MCU following Endgame. Yet, the film rises to the challenge by boasting a wide collection of valuable storylines, otherworldly visual effects, and a brilliantly captured villainous foe to Spider-Man that will have fanboys awfully pleased. Far from Home carries a primary “passing of the torch” theme that proves an obvious, but also necessary, pathway for this bridging entry in the MCU. Consequently, Peter Parker’s character experiences quite a bit of turmoil in his quest for introspection. This enables Tom Holland to really shine as a performer, something we’ve all known that he could do quite well since his exceptional dramatic debut in 2012’s The Impossible. There’s also a hearty romance plot here, one that sometimes feels like it’s getting in the way, but one that stands as a major source of the film’s humor as well. From top to bottom Far from Home’s branded formula of intense action and relentless comedy fits the bill and offers a comforting first step into the dawn of a whole new era for the MCU.

GRADE: 4/5

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Geekscape Movie Review: Late Night

by MCDave

If I’m being honest, The Office’s Mindy Kaling has always been an actress I’ve preferred in small doses. Therefore, upon initially viewing the trailer of her upcoming film, Late Night, one which Kaling also penned, my reservations grew with an expectation of too much face-time for the polarizing comedian. However, strong early rumblings surrounding the film forced me to reconsider my tilted assumptions and it resulted in a pleasantly surprising movie experience loaded with novel ideas and staunch creativity.

The legendary Emma Thompson stars as Katherine Newbury, an immeasurably successful Late-Night Talk Show Host with countless Emmy Awards to her resumé despite her and her entire writing staff going through the motions for the past ten years. But when Katherine decides to shake things up by hiring a new female writer to offer a fresh voice, an experience-less do-gooder named Molly (Kaling) becomes the beneficiary of this affirmative-action hire. Yet, things get amplified and the entire late-night team becomes tested when their network head (Amy Ryan) plots to replace Katherine after the season’s end, forcing Molly to quickly learn on the job and help re-brand Katherine’s career.

Late Night’s earnestly original story serves as the foundation to director Nisha Ganatra’s and Mindy Kaling’s critically adored comedy. In fact, Kaling writes herself out of the spotlight in order to let veteran performer Emma Thompson (Sense and Sensibility and Howard’s End) push the needle and she does so magnificently. Thompson’s onscreen persona, an emotional loner with no true relationship outside of her decades-long marriage, makes for the more interesting character study. Katherine Newbury is a huge celebrity who shields herself from the closest people around her, which makes for an interesting focal point as Katherine’s new annoyingly friendly writer Molly tries desperately to forge a connection. And as these two polar opposites begin warming up to one another, unforeseen conflicts arise and wonderfully shape their budding relationship. Late Night’s humor is evident but by no means overshadows the film’s finely crafted dramatic elements and robustly developed characters. Rather than taking wild, aimless shots with a rapid-fire of jokes, Kaling instead lets the humor naturally fall into place and complement the greater story and her work shines as a result. And while the film’s third act regrettably resolves all of its conflicts with a cheapened ease, Late Night’s well built and sturdy structure helps keep Nisha Ganatra’s effort standing tall by the time the credits roll.

GRADE: 3.5/5

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Geekscape Movie Review: Brightburn

by MCDave

In this superhero-crazed society where beloved Marvel and DC icons have a firm stranglehold over box-office revenue, it’s no surprise that David Yarovesky’s Brightburn, a new horror-twisting bend to the genre, was green-lighted and rushed into production as a massive money-grab. And with a perversely misleading marketing ploy that’s been throwing James Gunn’s (Guardians of the Galaxy) name around in order to lure fanboys into the theater, it’s not all that surprising to discover Gunn’s overwhelming lack of involvement in the film. Yes, his brother (Brian Gunn) and cousin (Mark Gunn) are the masterminds behind Brightburn’s gripping and original premise, but outside of a ceremonial producer’s credit and a time-consuming lap around the media circuit to draw publicity to the film, James Gunn’s fingerprints couldn’t feel further away from this superficial and emotionally devoid superhero origin story.

What if Superman had discovered his otherworldly powers and decided to do harm rather than good? That’s the primary idea behind Yarovesky’s Brightburn, a film that follows a loving couple (Elizabeth Banks and David Denman) struggling to conceive a child. Yet, their prayers are answered when a meteor strikes in the woods beside their home and the couple find a lost infant that they raise as their own. However, all the love in the world can’t stop Brandon (Jackson A. Dunn) from using his special abilities in sinister ways that eventually brings devastation to the family’s small Kansas town.

Brightburn represents the frustrating outcome of when a creative premise becomes terribly mishandled and there is plenty of blame to go around. Let’s begin with the film’s script. Brian and Mark Gunn’s initial idea is actually a golden one. And the thought to capture their villainous origin story through a horror-movie lens is risky, but still clever and original. Yet, Brightburn’s natural progression through its story fails to build authentic characters and never appropriately justifies their actions or motives. This brisk 90-minute journey feels as constricted and glossed-over as its running time would suggest. And to compound this issue, relying on a cast of virtual unknowns also proves detrimental. The acting was distractingly bad at times. Not to the point of complete disarray, but ineffective enough to warrant a mention. Consequently, this leads to a bitterly disappointing finale, one in which Brightburn’s intended emotional conclusion never fully packs the punch we so desperately deserve. However, we can’t ignore that hidden beneath this messy screenplay and wide collection of sub-par acting talent resides a worthwhile story. But it’s one that David Yarovesky and company fail to bring to life.

GRADE: 2.5/5

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Geekscape Movie Review: Avengers: Endgame

by MCDave

After more than a decade in the making, the Marvel Cinematic Universe (MCU) unearthed its epic finale with its 22nd feature film, Avengers: Endgame. It wasn’t always the smoothest of rides. You won’t have to look any further than Thor: The Dark World and Avengers: Age of Ultron to know that each individual installment was far from perfect. Yet, every separate chapter serves a unique purpose, highlighting the notion that the whole is far greater than the sum of its parts. And with Endgame, specifically, the concluding film reinforces the phenomenal fact that, like a clutch athlete who performs best when the game is on the line, the MCU continues to shine brightest on the biggest stages.

Following Thanos’ (Josh Brolin) cataclysmic finger snap that annihilated half of all living creatures in the galaxy, the remaining Avengers are forced to deal with their failures. Yet, when Scott Lang (Paul Rudd) luckily returns from the quantum realm only to discover what had happened, he finds his superhero allies and they discover a time-traveling plan that could potentially reverse all of the destruction caused by Thanos. Captain America (Chris Evans), Iron Man (Robert Downey Jr.) and the rest of the Avengers embark on a mission to undo the past without compromising the future.

For all its glory, Endgame stands as a monumental chapter in the MCU that opens certain doors and closes others. The film’s bulky three-hour running time proves effortless as the humor is as strong as it’s ever been and the story makes for a thrilling and engaging experience. And while I definitely applaud Endgame’s script for how it thrusts Thanos back into the heart of the story as well as other key characters that you might not expect, the film’s time travel elements are also some of its weakest. Any time you revolve a story around such a fragile and flimsy scientific idea, it becomes easy to poke holes in the many faults that surround it. However, these issues are rather minor and simple to ignore thanks to an otherwise brilliant showcase from the directing duo of Joe and Anthony Russo. Each central character that helped build the MCU becomes handled with immense care and respect, all while the story takes the audience through a trip down memory lane that’s both enjoyable to witness again and necessary to fulfill the film’s emotional climax. I was also pleased that Captain Marvel’s inevitable inclusion was not as some unstoppable saving grace to the Avengers, and rather a complementary figure to the heroes that we’ve spent a decade relying on. And although Endgame will understandably be viewed as a finale of sorts, it’s actually a bridge from the humble beginnings of the MCU to the limitless behemoth that it has evolved into. Fan theories have already begun circulating in hopes to dissect where exactly cinema’s greatest film universe will go. Yet, Endgame forces me to take a step back and appreciate everything we’ve been give. The MCU has created an expansive world unlike anything we’ve ever witnessed, and I’m convinced now more than ever that Marvel’s future is very, very bright.

GRADE: 4.5/5

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SXSW Review: Run This Town

by MCDave

The 2019 SXSW class has been comedy-centric, allowing indie auteur Ricky Tollman’s true story Run This Town to distance itself from the pack. The debut feature from this unknown voice shines a light on the bizarre story of Mayor Robert Ford, a Canadian politician who quickly turned into a viral sensation following public tirades regarding his professionalism and drug use while in office. Yet, for as compelling and animated a figure as Robert Ford truly is, Tollman’s aimless effort misses the mark completely with a haphazard examination of those underlings working on Ford’s campaign and a novice journalist trying to bring him down.

Pitch Perfect’s Ben Platt trades in his magician’s hat for a keyboard and stars as Bram, a cynical yet idealistic writer hoping for a big break at his new publication. But instead of uncovering conspiracies and unraveling the truth as an investigative journalist, Bram finds himself relegated to Top Ten Lists and other click-bait articles. Yet, when a potential big break comes his way regarding Toronto’s hefty and outspoken mayor, Robert Ford (Homeland’s Damian Lewis), Bram tries desperately to convince his editor for the necessary resources to help expose this disgusting and corrupt politician.

Run This Town reaches ambitiously for an Aaron Sorkin-esque screenplay, filled with zesty dialogue and rapid quips that barely give you time to breathe. However, unlike Sorkin, these barbs are merely jabs to the screenwriting legend’s knockout zingers and one-liners that dance among Hollywood’s all-time greatest movie quotes. In all fairness, few can stand toe-to-toe with Sorkin’s monumental legacy and Tollman’s dialogue is by no means elementary either. Instead, it’s the film’s poorly written characters who serve merely as individuals rather than a collective unit used to serve a larger purpose. Tollman’s story is riddled with frustration as Bram’s inexperience leads to his failures and all of Ford’s closely examined campaign workers prove to be hollow characters with uninspiring stories of their own. And this is all without even mentioning an unrecognizable Damian Lewis, who stars as the film’s central antagonist. Lewis’ fat-suit that’s needed to beef him up to Mayor Ford’s proportions and the coinciding facial make-up are all distractingly bad and borderline amateurish. I often try to avoid being so publicly critical of aspects such as this because I’m a lover of indie film and I understand budget constraints and all of the hard work that goes into trying to make everything look and feel right on set. Yet, this blatant disregard for authenticity cheapens Run This Town and sadly exposes the film as both an unoriginal and completely misguided effort.

GRADE: 2.5/5

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