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.

SXSW 2019 Review: ‘Booksmart’

by MCDave

It’s been over a decade since Jonah Hill and Michael Cera helped set the bar for teen comedies in Greg Mottola’s Superbad. And in a lot of ways, Olivia Wilde’s directorial debut feature Booksmart takes a similar vulgar-laden approach but infuses it with a refreshing female perspective that gives the film its own sense of identity. We’re all well aware of Wilde’s onscreen abilities but behind the camera and in tandem with the underrated talents of co-stars Kaitlyn Dever (Short Term 12) and Beanie Feldstein (Lady Bird), Booksmart serves as a fearlessly funny and welcome addition to the 2019 SXSW festival lineup.

It’s the day before graduation and best friends Amy (Dever) and Molly (Feldstein) are up to their usual shenanigans as they head to their last day of high school ever. But it’s here that the inseparable pair are reminded of their years-long failures, where Amy is still yet to be intimate with a female after “coming out” during sophomore year, and Molly’s all-work and no-play approach to being the Valedictorian hasn’t actually separated her college prospects from most other classmates. Yet, for these forever friends, tonight is different. Tonight is their final chance to live it up with no regrets before they embark on their separate futures.

Booksmart has no issues ushering in the laughs thanks to a well-used R-Rating filled with female masturbation jokes and other irreverent raunchiness. Refusing to masquerade as anything more than a female-centric buddy comedy, its easy to ignore the film’s disregard for purposeful character development. Instead, we’re guided down a hysterical series of obstacles and resolutions that unfold in an eerie familiar fashion. This direct parallel to the events in Superbad mildly spoils the onslaught of hilarity that ensues, but there’s enough laughter throughout to erase the unpleasantry. And much like elder comedy’s everlasting effect on the careers of Hill and Cera, don’t be shocked if Booksmart becomes a similar vessel that helps launch Kaitlyn Dever and Beanie Feldstein into the mainstream. There’s something to be said for the film’s wading in familiar waters, but Olivia Wilde’s unapologetically racy and laugh-filled debut still stands as a winning comedic effort from this year’s festival lineup.

GRADE: 3.5/5

https://youtu.be/Uhd3lo_IWJc

SXSW 2019 Review: ‘Long Shot’

by MCDave

The romantic comedy, a genre born to rectify the stress and combativeness of date night decision-making. But in all of its easy-viewing fluff, occasionally one breaks through the mold to deliver something more. Whether it’s a truly romantic tale with affable characters with performers donning an uncanny onscreen chemistry, or perhaps just an elevated level of humor that’s relentless in its pursuit of laughter, the rare rom-com gem is a transcendent work that typically appeals to all. And we’re given all of that and so much more in Jonathan Levine’s (50/50 and Warm Bodies) emotionally pleasing and riotously funny new film, Long Shot.

Fred Flarsky (Seth Rogen) is a political journalist with conviction. His edgy writing style and brash wit make him a low-key internet mainstay until the company he works for is purchased by a ruthless media conglomerate. Forced to resign out of honor and dignity to his craft, Flarsky looks to drown his newly unemployed sorrows with his lifelong best friend (O’Shea Jackson Jr.). But as the rowdy pair of friends find their way into an upscale fundraising party, they cross paths with Flarsky’s former babysitter and first-crush, Charlotte Field (Charlize Theron), who also happens to be the current Secretary of State and a rising political star. Flarsky and Charlotte reconnect over some laughs and it isn’t long before she decides to bring him on board her staff as a speechwriter.  The two slowly start to develop feelings for one another but, as she gears up for a run at the presidency, it’s clear that Flarsky isn’t the optimal relationship choice for boosting her poll numbers.

Long Shot infuses robust comedic energy into a Cinderella-esque story with a role-reversal twist. And while Seth Rogen is hardly a belle of the ball, he makes for a root-able underdog in this savagely funny R-rated rom-com. His onscreen counterpart, Charlize Theron, trades her Atomic Blonde kicks and kill-scenes for a more reserved role. It’s a smooth and easy transition for such a rangy and adaptable talent that she is. On the other hand, we’re gifted the prototypical Seth Rogen role, a routine he hardly shies away from but consistently delivers to perfection. And if you haven’t been worn out by his comedy schtick already – something that I’m not sure I’ll ever get bored by – Long Shot is chock full of quintessential Rogen-style humor that hardly gives you time to settle from joke to joke. A lengthy and diverse list of co-stars keep hilarity flowing as O’Shea Jackson Jr. (Straight Outta Compton) absolutely steals the show whenever he enters the frame. As far as the romantic aspect of the film, Long Shot offers a relatable tale of forbidden love that’s neatly wrapped in a somewhat contrived, but certainly acceptable, political backdrop. Thankfully, the film doesn’t dive too deep into our volatile political extremes without attaching comical hysteria to it, which surely helps the movie stray from alienating certain types of audiences. Long Shot’s characters are warm, affectionate, earnest and downright vulgar, allowing for a healthy dose of edgy humor that’s counterbalanced brilliantly by a satisfying relationship story. I’m glad to say that Jonathan Levine returns to form with one of the finest rom-coms in years.

GRADE: 4/5

SXSW 2019 Review: Jordan Peele’s ‘Us’

by MCDave

It feels like Jordan Peele’s seamless transition from sketch comedy star to Oscar Winning writer and budding director happened overnight. His masterfully penned and hypnotic – for lack of a better word – psychological thriller Get Out was certainly deserving of its massive commercial success and countless awards season accolades. But it all boils down to expectations, and this time around, expectations couldn’t be higher for Peele and his new SXSW Opening Night Film, Us. With a packed house in place for the movie’s world premiere at the Paramount Theater, where hordes of fans were sadly turned away after spending hours crossing their fingers in hopes of being granted entrance into the event, all eyes eagerly converged on the big screen in anticipation of another crowning achievement. Unfortunately, Us is nowhere near as gratifying as the expectations we’ve placed on the film.

Married with two children, a grown-up Adelaide Wilson (Lupita Nyong’o) reluctantly finds her family on the same sandy beaches of Santa Cruz, California where she experienced a traumatic, life-changing event as a child. And with eerie hints of déjà vu floating all around what’s intended to be a peaceful vacation, things take a turn for the worse when night time hits and the Wilsons’ discover four strangers holding hands at the top of their driveway. These dark figures converge on the home with vengeance, wearing only red jumpsuits, carrying sharp sets of scissors and possessing the same exact faces as Adelaide and her family.

While perhaps it’s unjust to pit Jordan Peele’s newest creation against the towering masterpiece that is Get Out, truth is it’s only natural to do so. And by comparison, these films aren’t even in the same stratosphere. Where Get Out oozes with nuance and sleek social metaphors, Us holds a far less impactful punch with a wildly cryptic and off-kilter story. And properly assessing the film requires examining the many distinct elements that unite to make the whole. First and foremost, Jordan Peele’s advancements behind the camera continues to grow and his direction stands as the film’s strongest aspect. However, while his evolution as a filmmaker is apparent, Peele’s writing isn’t as crisp or refined. He still manages to conjure up a truly original horror tale that, unfortunately, concludes as more of a gimmicky approach than his deeply involved character development from Get Out. But let me be clear, Us is a horror-first project that levels its sheer moments of intensity with a healthy dose of Peele’s trademark laugh-out-loud comedy. Yet, for me, Us has too soft of a voice, as its subtext and themes are either muddled or just completely nonexistent. And rather than searching for a deeper meaning, I will take the film on its face value as an entertainment-centric endeavor that dazzles on occasion but hardly separates itself from the pack.

GRADE: 3/5

Geekscape Movie Review: Happy Death Day 2U

by MCDave

Christopher Landon unveiled a brilliant way of fusing together the Groundhog Day effect with a thrilling murder mystery in 2017’s Happy Death Day. The film was irrefutably entertaining and wildly original making it a hit with both critics and audiences alike. But how could Landon possibly follow up his film without having it feel like a cheap imitation of a once novel idea? The answer can be found in Happy Death Day 2U, a bold and daring sequel that takes its audience down an unexpected path and brandishes itself as a fascinating blend of murder, sci-fi and comedy throughout a compelling hundred-minute ride.

After reliving the same torturous day over and over again until she finds her secret killer, Tree Gelbman (Jessica Rothe) passes the curse onto her boyfriend’s roommate, Ryan (Phi Vu), who quickly finds himself in a deathly time loop of his own. Desperate to figure out why this is happening and, more importantly, how to close the loop, Tree is thrust into a mind-bending world of parallel universes and alternate realities all while facing another new killer.

Happy Death Day 2U keeps a fresh sense of uniqueness by changing the script and turning this sequel into a Back to the Future meets the horror-genre mash-up. And while its sci-fi elements are certainly clever and function as a gateway into countless new ideas for the franchise, it would be disingenuous to avoiding highlighting the elephant in the room. Those seeking a truly bloody and scare-filled horror sequel will walk away utterly disappointed. It feels as though Landon’s follow-up feature includes a new “whodunit” murder mystery out of obligation, failing to pay this subplot the attention it deserves and, instead, transforms the film into an otherwise interesting sci-fi comedy. As a result, Jessica Rothe’s character is given a substantially larger platform, and this widened lens dives deep into her psyche which helps raise the emotional stakes. The young actress embraces the opportunity with a smooth delivery that helps sustain this shockingly effective sequel. Happy Death Day 2U may not be the film you’re expecting to see, but it’s another remarkably worthwhile effort from Christopher Landon that expands on its original story with an innovative twist that rivals its predecessor’s creativity. So just sit back, relax, and enjoy.

GRADE: 3.5/5

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

Enter Geekscape’s Annual Free Oscars Contest!

by MCDave

The Academy Awards are less than two weeks away so now’s as good a time as any to join MCDAVE’s annual Oscar Pool. It’s absolutely FREE to join and the winner will receive $50 in movie theater gift cards! Just follow the directions below and sign up today!

– Click on Members.
– Select “Create Account” (if you haven’t already). It requires an email with no spam ever!
– Once you’ve created a member username, go to the Contests page and select the 2019 Oscar Pool under “Current Contests”.
– From here you should be able to make your selections and edit them up until the start of the show on Sunday, February 24th.

Once again, participation is FREE and the winner’s $50 movie gift card will be supplied by the MovieCriticDave.com.  Also, the website is mobile-friendly so you should have the ability to access it across all devices.  If you encounter any issues creating an account or making your selections, please contact us ASAP.

Thanks and good luck!

Geekscape Movie Reviews: On the Basis of Sex

by MCDave

Politics are everywhere nowadays and that’s made the soon to be 86-year-old Ruth Bader Ginsburg and her desirable lifetime seat on the United States Supreme Court such a hot-button issue. But as a social crusader who has lived through the still-evolving transformation of Women’s Rights in America, Ginsburg’s fingerprints are all over the female push for absolute equality. And her landmark participation as an attorney embroiled in one of history’s most consequential court battles has become the centerpiece of Mimi Leder’s new biographical drama, On the Basis of Sex.

The movie opens with Ruth (Felicity Jones) embarking on a law degree as one of only nine female entrants accepted into Harvard’s prestigious program during the mid-1950s. And with the unified support of her fellow law-student husband, Martin Ginsburg (Armie Hammer), the couple overcome a host of obstacles en route to a pair of degrees that help land Martin a cushy a job at a successful law firm and send Ruth into the classroom as a college professor. Yet, watching change happen from the sidelines leaves a burning desire inside of Ruth that forces her to pounce at the opportunity to finally step into a courtroom and argue against gender equality all the way to the U.S. Supreme Court.

On the Basis of Sex is a safe and marginally appealing film that never really understands its own purpose. Muscling back and forth between a sleek courtroom drama and a deep, personal examination of the fearless Supreme Court judge, there’s an unsatisfying murkiness to the film. But with such likable characters, it starts to feel like that awkward relationship with a neighbor or co-worker. They’re such nice and friendly people that you don’t want to speak poorly of them. And that’s no exaggeration here as Martin Ginsburg becomes the quintessential progressive and supportive husband that allows his wife to become a beacon of change. There are moments when I find myself wondering if this truly is one of Armie Hammer’s best performances, or if I just like the character so much that it’s clouding my judgment. The same can be said of Felicity Jones’ fine turn as the fierce and stubborn Ruth Bader Ginsburg. Either way, it’s the film’s formulaic construction and familiar development that provide a disastrously unstable foundation to the feature. And these faults are only amplified by writer Daniel Stiepleman and director Mimi Leder’s unfortunate inability to make the movie feel as daring and courageous as the real-life centerpiece of their story. Consequently, On the Basis of Sex becomes far too neat and flavorless to do Ruth Bader Ginsburg’s remarkable life achievements the justice they deserve.

GRADE: 3/5

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

Geekscape Movie Reviews: Mary Poppins Returns

by MCDave

For some, Mary Poppins is sacred ground, a cherished childhood classic that isn’t to be spoiled in any way, shape or form. And while the 1964 classic never held such a holy place in the depths of my heart, I fully recognize the film’s cemented place in history as it continues to hold a renowned allure more than a half century later. Enter Rob Marshall’s newly released sequel, Mary Poppins Returns. As a savvy veteran of bringing musicals to the big screen with films like Chicago, Nine and Into the Woods, Marshall’s big-time resume and familiarity with the genre make him a natural choice to handle the return of cinema’s most iconic au pair, Mary Poppins.

Set in 1930s London, more than two decades have passed since Jane (Emily Mortimer) and Michael (Ben Whishaw) Banks were whisked away into a world of wonder and imagination as children. Yet, following the recent passing of Michael’s wife, times only get tougher when the bank informs him that he’s violated the terms of a substantial loan and his family’s house will be repossessed in a few days’ time unless he can come up with the money to pay it off in full. Desperate to find a certificate of stock shares that his deceased father left behind, or face eviction with his trio of motherless children, Michael is shocked when Mary Poppins (Emily Blunt) returns offering to once again help the Banks children in their time of need

Any lavish praise targeted at Rob Marshall’s work must begin with the casting decision of Emily Blunt as the title character. Her beauty, elegance and exceptional singing voice make Blunt the perfect choice to carry on the legacy of Julie Andrews’ signature character. She’s absolutely magnificent in the role and beyond deserving of her early season Golden Globe and SAG nominations. Blunt’s stern attention to detail is on full display as she revitalizes Mary Poppins and all of her inexplicable marvel on the big screen, it truly is a sight to behold. Likewise, Lin-Manuel Miranda puts himself on the map with a fitting performance as Jack, the neighborhood lamp-lighter, who sings and dances his way into your heart as well. Moreover, all three of the new generation of Banks children are wonderful in their own right, and a crowd-pleasing cameo from Angela Lansbury all come together to further illustrate the depths of Rob Marshall’s brilliant cast. However, Mary Poppins Returns suffers in one key area, the film’s overarching story is bone-thin. Cloudy backstories and weakly developed storylines loom over many prominent characters such as Jane, Jack and Wilkins (Colin Firth), making the film more of a magical experience than a finely crafted movie. Mary Poppins Returns is more like a “spoonful of sugar”, delicious and enjoyable but lacking many of the ingredients necessary to make it a fulfilling dish.

GRADE: 3/5

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

Geekscape Movie Reviews: The Favourite

by MCDave

If you aren’t familiar with filmmaker Yorgos Lanthimos, then you haven’t heard of or experienced one of the world’s most unique and bizarre voices. To attempt to explain his work is to do it a grave injustice. Lanthimos is an expert at tapping into the emotional gut of his audiences with a disturbing oddity that makes his work unequivocally singular. And in what is surely the filmmaker’s most tame and harnessed effort to date, The Favourite still manages to scratch at your core with its vile irreverence, a trademark effect of Lanthimos’ work, and helps propel this title to the top of his catalog.

In 18th century England a crazed and imbalanced Queen Anne (Oliva Colman) navigates her country through a war against the neighboring France with the aid of her stoic sidekick and close friend, Lady Sarah (Rachel Weisz). Their symbiotic relationship has long been cemented as Lady Sarah acts as a puppeteer controlling the strings of Queen Anne. However, things become unexpectedly tense when a new servant named Abigail (Emma Stone) begins to compete with Lady Sarah for the Queen’s favor.

The Favourite prides itself as an unconventional period piece. While the film’s set and costume design are superb in their own right, The Favourite circumvents period piece norms by relying on a gripping tale that would work just as well in any setting. Yet, it’s Yorgos Lanthimos’ signature style with tight shots, distorted imagery and sharp editing that elevates his work beyond the genre’s staple films. It’s no wonder why industry stars have been flocking to his titles. And in The Favourite we’re gifted with brilliant turns from the movie’s trio of co-starring actresses, each of whom mesmerize in drastically different ways. Emma Stone with her darling charm and nefarious deceit which almost make it feel like two separate roles. Conversely, Rachel Weisz becomes the epitome of strength and confidence, never afraid to voice her opinion and see things through to the bitter end. But it’s Olivia Colman’s infantile psyche and expert precision that acts as the glue to the film’s three prominent women. It’s been declared that Colman plans to campaign in the Lead Actress category while Stone and Weisz plan to go Supporting Actress. Typically, competing against a fellow cast member can serve as a roadblock to a nomination, but recent history suggests it’s very possible to pull off a two for one. Just last year Sam Rockwell and Woody Harrelson both scored Oscar nods for Three Billboards Outside Ebbing, Missouri, and Rockwell even went on to capture the statue. These performances are that good and I wouldn’t be the least bit surprised to see all three actresses make it into the final five. Likewise, Yorgos Lanthimos is a legitimate Best Director contender and The Favourite, as a whole, possesses all the makings of a bona fide Best Picture candidate as it’s one of the year’s most notable standout features.

GRADE: 4/5

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

Geekscape Movie Reviews: Mary Queen of Scots

by MCDave

The stakes are raised for new releases with each passing day, it’s the cruel and unapologetic reality of Oscar season. And that means if a movie isn’t viewed as “good enough” to stir the pot amongst early front-running favorites, then it often falls by the wayside and quickly becomes a forgotten memory. Unfortunately, this is exactly what’s bound to happen with Josie Rourke’s finely crafted period-piece drama, Mary Queen of Scots.

In the late 1500s Mary Stuart (Saoirse Ronan), the rightful heir to the throne, travels back home to Scotland after the death of her husband, the King of France. Meanwhile, Mary’s cousin Elizabeth I (Margot Robbie) has ruled over England in her absence and is shocked to learn of Mary’s return. A struggle for absolute power inevitably emerges between these two women and the men closest to them as the fate of England, Scotland and the entire world rests on their shoulders.

Mary Queen of Scots superbly captures the cutthroat underworld of royal monarchy by closely mirroring contemporary issues regarding women’s equality through a gut-checking period-piece set over 400 years ago. We’re thrust into a world of power, privilege and familial duty where cunning backstabbing becomes the norm while climbing up the ladder of succession. And as a film that checks-off many of the once vital Oscar boxes (biographical period piece, check … star-studded cast, check … compelling story, check …), Mary Queen of Scots has somehow faded from the awards season without a whimper. This surprising absence cannot be blamed on the film’s central performances. In fact, two of the five Best Actress Nominees from just last year devour the film’s screen time and they do so with brilliance. Saoirse Ronan’s stern and fearless demeanor builds with every subsequent scene, while Margot Robbie’s unstable and borderline paranoid psyche is magnificently delivered. Both women deserve higher praises than they have received to this point, but that isn’t meant to overshadow James McArdle’s eye-opening supporting turn as Mary’s half-brother, James. Admittedly, I’m no historical expert on this time period, but I do believe that Josie Rourke’s interpretation of these events would cause much debate among scholars. But still, adequate pacing and a gripping biographical tale make Mary Queen of Scots a well-acted and worthwhile addition to 2018’s crop of films.

GRADE: 3.5/5

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

Geekscape Movie Reviews: Green Book

by MCDave

Prior to the start of every new cinematic year, insiders are openly aware of the biggest filmmakers, acting talent and production teams planning to deliver the next awards season’s finest efforts. As a result, there usually aren’t many surprise movies sneaking into the end of the year foray leading up to the Oscars. Enter Peter Farrelly’s magnificent new bro-mance comedy, Green Book, an unforeseen contender that went on to capture the highly coveted Audience Award at this year’s Toronto International Film Festival en route to what’s destined to be a successful Oscar run.

Viggo Mortensen stars as Tony Lip, a tough nightclub bouncer born and raised on the streets of Brooklyn, New York who hustles his way around the city during the early 1960s in order to provide for his loving wife (Linda Cardellini) and family. But as his nightclub shuts down for renovations and finances begin to get tight, he’s approached by a world class African American pianist named Dr. Don Shirley (Mahershala Ali) who wants Tony to escort him on a musical tour through the deep-south during the tense Jim Crow era. And unbeknownst to these two vastly different gentlemen, a lifetime of genuine friendship is destined to develop.

Don’t be mistaken, despite the film’s heavy-themed and seemingly familiar premise, Green Book stands as a top-flight buddy-buddy comedy that’s relentless in its pursuit of laughter. Viggo Mortensen completely transforms into his character, as both he and co-star Mahershala Ali both deliver Oscar-caliber performances that become the heart and soul of the film. Likewise, writer/director Peter Farrelly, who’s no stranger to comedy as a central figurehead behind hits like Dumb and Dumber, There’s Something About Mary and Hall Pass, adapts a brilliant screenplay and molds this heart-warming true story into a barrage of hysterical moments. And just when you think a joke has reached its punchline, Farrelly often digs deeper and extends the hilarity by keeping the joke going beyond expectations and serving up an even funnier-than-anticipated conclusion. It’s a true testament to the writer’s natural comedic understanding. And in a year bombarded with robust dramas, Green Book also separates itself apart by addressing the film’s Civil Rights backdrop with levity and charm that never allows the movie to get too serious. Even though Green Book is clearly a comedy first, Viggo Mortensen and Mahershala Ali provide a remarkable onscreen kinship which effortlessly breeds an emotional aspect to the film, one that can’t be overstated. There’s an endless list of praises to be heaped upon Peter Farrelly’s outstanding work, placing Green Book atop my list of films for 2018.

GRADE: 4.5/5

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

Geekscape Movie Reviews: Boy Erased

by MCDave

Actor-turned-director Joel Edgerton appeared at last night’s Philadelphia premiere of his new awards contender, Boy Erased, and proclaimed that he was pushed into making the film as an embattled inner-reaction to reading Garrard Conley’s memoir by the same name. Conley’s lifetime of trials and tribulations as the son of a pastor coming to grips with his own sexuality through a forced conversion therapy clearly provoked a bitterness in the director, something Edgerton felt compelled to bring to big screen as an eye-opening realization of this outdated procedure. And through the filmmaker’s respectful portrayal of Conley’s burdened journey into adulthood, Boy Erased highlights a still-present debate in our society’s ongoing quest for acceptance and equality.

Jared (Lucas Hedges) is a popular teen living what many would label as a “normal” life. He’s the son of loving parents (Russell Crowe and Nicole Kidman) who push him to to remain dedicated to God, while also playing on sports teams and dating a popular girl in school. Yet, despite this wholesome and envious upbringing, Jared finds deep-rooted temptation in his undeniable attraction to the same sex. And after an incident at college brings this secret to his parent’s attention, Jared attempts to correct his natural impulses by attending a gay conversion program at the demand of his pastor father.

Boy Erased’s non-chronological flow helps unveil iconic moments to Garrard Conley’s true experiences in a substantially appropriate sequence. This young man’s difficult journey, both emotionally and psychologically, is often inconsolable, scarred by tragedy and a helpless uncertainty that brings depth and moral complexity to the lead character. Rising star Lucas Hedges absorbs these wide-ranging emotions, illustrating a truly ambivalent onscreen persona that’s absolutely heartbreaking at times, and unapologetically fearless at others. It’s truly empowering to witness Jared’s metamorphosis from a scared and confused teenager to a self-accepting and resolute young adult. He faces off against his overbearing and religious father, who’s wonderfully portrayed by Russell Crowe, and even alters his mother’s stance on the family dilemma. Speaking of which, Nicole Kidman generally targets Oscar-baity roles, ones which allow her to suck all the air out of scenes. Yet, in a surprising turn of events she delivers a more tempered performance, but one that still highlights her singular talents. If anything, Boy Erased places a focus on the absurdities surrounding these conversion programs, knowing very well which audiences can and can’t be swayed by this dramatization. While I continue to waver back and forth on the film’s Best Picture prospects, Boy Erased still marks a strong and impactful follow-up feature for Joel Edgerton.

GRADE: 4/5

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

Geekscape Movies Reviews: Bohemian Rhapsody

by MCDave

The long-awaited Queen biopic Bohemian Rhapsody has finally reached the big screen after being in development for the better part of a decade. It felt like eons ago when Sacha Baron Cohen agreed to star as rangy vocalist Freddie Mercury in what was believed to be an outrageously edgy and risqué examination of the controversial frontman. However, three years after Sacha Baron Cohen’s announcement in 2010, and significantly further into the film’s push to production, creative differences between the living band members and the film’s star finally reached a boiling point. Sacha Baron Cohen walked away from the project after refusing to settle for a PG-13 version of Mercury’s life told against the backdrop of Queen’s legendary rise to stardom, but the producing band members ultimately won out as that’s exactly what we’re given with Bryan Singer’s frustratingly tame and wildly inaccurate musical biopic.

It’s the early 1970s and a young Farrokh Bulsara (Rami Malek) escapes from his faith-driven household by attending local rock shows. And upon crossing paths with a talented group of musicians who ironically lose their singer, Farrokh steps out from the shadows and offers a generational voice to their musical abilities. From there, Queen quickly climbs up the rock and roll ranks lending its hand to Farrokh’s name change (to Freddie Mercury) and a host of reckless inhibitions that ultimately lead to the singer’s sad and tragic demise.

Artistic freedom is at a premium as Bohemian Rhapsody completely rewrites historical fact in this soulless cycle through Queen’s greatest hits. Everything from the film’s portrayal of the band’s epic reunion to perform at 1985’s Live Aid concert to when Freddie discovers his terminal diagnosis couldn’t be further from the truth. Instead, Anthony McCarten’s hollow screenplay navigates through Queen’s formation and explosion onto the rock scene with amateurish nuance and half-hearted dramatics. Yet, leading star Rami Malek does build an interesting main character while adequately handling his role as the flamboyant singer. I do believe the hype is reasonably overblown, though. Malek is fine but far from sensational, and I legitimately question his odds of earning an Oscar Nomination at this point. Malek certainly isn’t aided by his co-stars or script, as both are instantly forgettable. Bohemian Rhapsody struggles with giving in to tired clichés. And every time you begin to hope that the film will turn a corner and offer some semblance of originality, you’re instantly reminded that every scene is masquerading as an artificial checkpoint rather than serving as an organic vessel into the unpredictable mind of vocal icon Freddie Mercury and those around him. On a brighter note, I will say that Bryan Singer’s phenomenal shot leading into Wembley Stadium as Queen prepares for its 20-minute set at Live Aid is absolutely remarkable. In fact, Rami Malek perfectly imitates Mercury’s mannerisms from that iconic performance and it helps close out the film with a strong, much-needed finish. There are moments of promise scattered throughout Bohemian Rhapsody, yet Bryan Singer’s work mostly remains a dull and overtly mild depiction of an anything-but-docile superstar.

GRADE: 2.5/5

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

Geekscape Movie Reviews: Halloween (2018)

by MCDave

All is right with the world when it’s the Halloween season and Michael Meyers is back. And not only is David Gordon Green’s new, direct sequel to John Carpenter’s original 1978 Halloween a landmark reboot for the franchise, it’s one of the year’s finest films, period. Skepticism naturally grew at the film’s announcement, as Green and his co-writer, Danny McBride, both of whom broke into the industry via their comedic voices, seemed like a peculiar fit for the project. Yet, nothing could be further from the truth as Halloween brings the perfect amount of fear and anxiety just in time for the upcoming holiday.

The film alludes to Michael Meyers’ capture after falling from the second story balcony in the original, and has since spent 40 years in confinement at Smith’s Grove Sanitarium. But when a now 60+ years old Meyers is scheduled to be relocated to a new facility, the serial killer escapes once again to return and terrorize the only town he’s ever known. Meanwhile, back in Haddonfield, Laurie Strode (Jamie Lee Curtis) has sacrificed a familial bond with her daughter (Judy Greer) and grand-daughter (Andi Matichak) in exchange for a harshly over-prepared and weaponized lifestyle as she patiently awaits the killer’s inevitable return.

Halloween circumvents the horror norm with a strict detail to its characters, both old and new. Laurie’s newfound gun-loving personality as a result of her traumatic experiences opens up a whole new world of possibilities that film explores brilliantly. On the other hand, David Gordon Green and Danny McBride’s screenplay introduces a host of new faces that also manage to leave an imprint on the film. In fact, this Halloween offers the most well-rounded teen storylines since the franchise’s inception four decades ago. However, not all is rosy with this praiseworthy new installment. The film takes an egregious twist as it navigates towards the third act, one that was clearly included as a means to put Michael Meyers at a specific location, but one that could have been avoided countless other ways. Also, this latest effort doesn’t quite hit the ground running as it sputters out of the gate, but eventually gains its traction upon Michael’s escape and never looks back. In addition to a tightly wound script, Halloween offers massive gore and violence that perfectly complements what the series is all about and provides an abundance of callbacks to its multiple predecessors. David Gordon Green and Danny McBride may not have been loyal fans’ first choice to reboot the franchise, yet we all should be grateful of the choice.

GRADE: 4/5

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Geekscape Movie Reviews: First Man

by MCDave

Caught in the midst of a time when truth no longer feels singular, America has brought forth a generation of skeptical individuals taught to question everything they’ve been told to believe. And what were once widely disregarded conspiracy theories, such as the legitimacy of the moon landing, have suddenly transformed into a more populist norm. Yet, no matter the resistance in which his film is sure to encounter, 2017’s Oscar-winning director, Damien Chazelle, mirrors a fearlessness to that of legendary astronaut Neil Armstrong, the centerpiece of Chazelle’s latest Oscar-destined drama, First man. It’s an ambitious effort, one cloaked in raw emotion and an often dark tone that feels moons away from his previous achievement, La La Land. But still, Chazelle cements his elite directorial status with another sharply-captured and deeply personal experience.

First Man opens in 1961, where the United States continues to lag behind the Soviets in the race to space. Fast forward a few years and a uniquely qualified candidate, Neil Armstrong (Ryan Gosling), applies to NASA with hopes of joining their efforts in beating the Soviets to the moon. And as the space program slowly breaks through barriers in its seemingly impossible quest for reaching the lunar surface, the stakes get higher and higher, forcing these astronauts to risk everything in order to achieve the unimaginable.

Damien Chazelle’s already displayed a knack for greatness with his first pair of feature films, Best Picture Nominees Whiplash and La La Land. And while this latest work isn’t quite up to their level, it’s still a worthwhile film in its own right. First Man digs to the core of Armstrong and truly searches for the origins of his bravery and determination. It’s an intimate journey, one that becomes much easier thanks to Ryan Gosling’s heavyweight performance. It’s quiet but heavy, tempered but explosive, and everything you’d expect from a Best Actor Nominee, one that I clearly envision happening. Likewise, his onscreen counterpart Claire Foy delivers a meteoric turn as Armstrong’s bedrock of a wife. And unlike her internalizing husband, Foy’s character isn’t afraid to speak her mind and display her outspoken strength. She’s the one left sitting at home, worlds away, glued to her radio listening to NASA’s direct feed of Neil’s mission. Gloom and doom run rampant in First Man, so you shouldn’t expect a shiny or uplifting tale of heroism. Instead, Chazelle recognizes that for any great journey into the unknown sacrifices must be made, and the director dwells on this notion rather than turning a blind eye to it. This theme becomes a true staple of the film as First Man forces its audiences to remember the many people, in all facets of life, who gave everything for the greater good. And for that, Mr. Chazelle, we salute you.

GRADE: 4/5

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Geekscape Movie Reviews: A Star Is Born

by MCDave

People Magazine named him the Sexiest Man alive in 2011, but since then Bradley Cooper has proven to be far more than just a handsome face. The gifted performer’s emergence as an awards season fixture, thanks to a trio of fairly recent Oscar nominations (Silver Linings Playbook, American Hustle and American Sniper), has helped transform Cooper into one of Hollywood’s biggest stars. Yet, an artist is never content. Craving more responsibility and a yearning for the highest admiration possible, it’s no surprise to see Cooper transition into the director’s role for his critically-adored directorial debut, A Star Is Born. The story is one that’s often been told, as Cooper’s rendition will be the film’s fourth time in production. However, megastar Lady Gaga’s first crack at a major dramatic role and a sober Cooper’s familiarity with his alcoholic character’s struggles lend an innate chemistry that allows the film to soar.

Rock star Jackson Maine (Cooper) finds himself liquored up, as usual, after another successful concert and stuck in between his travels. Unsurprisingly, he forces his trusty driver pull over at the first bar he sees and it’s there where the rock star crosses paths with the angelic voice of Ally (Lady Gaga). Jack immediately becomes transfixed by her talents and the two share a lovely evening together, one that evolves into a loving relationship. But after Jack introduces Ally to the listening world as a backup singer on his tour, her solo career eventually takes off and this leaves Jack alone once again with nothing to do but return to his old drinking ways. Can their love thrive through the distance and separation between these two touring stars, or is devastation inevitable?

A Star Is Born reaches for the sky, bravely tackling a myriad of themes and subplots underneath its often heartbreaking love story. Aspiring singers and musicians will marvel over the film’s early depiction of Ally’s dream-like climb to fame, while others will recognize the story’s somber reflection on real-life issues like addiction and mental health. And that’s what makes A Star Is Born so impactful, the film’s daring authenticity mirrors all of our lives in some way or another. But if that wasn’t enough, Lady Gaga and Bradley Cooper deliver two of the year’s most notable turns, and ones that will be fast-tracked to January’s Oscar Nominations. The pair’s comfort in their characters’ shoes enables a natural fluidity to the film. You fall in love with Jack and Ally because you genuinely believe these performances, which helps raise the emotional stakes when times get turbulent for the couple. Throughout the film you often here Jack mumble on about having “something to say” and using your voice, it’s even a blueprint to the fabric of Cooper’s recycled tale. Ironically, Cooper uses this theme, along with many others, to tell us quite a lot about love, loss, and what it is to be alive. And after a wonderful debut feature such as this, we can only hope that Bradley Cooper continues to find something worth saying for many years to come.

GRADE: 4/5

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Geekscape Movie Reviews: The Predator

by MCDave

Shane Black’s footprints have been scattered all throughout Hollywood for over three decades now. And when you realize just how overlooked this versatile beacon of creativity has become over years, it can’t possibly be a byproduct of his astonishing body of work. Black’s first taste of success came on the heels of his hilarious buddy cop screenplay, Lethal Weapon. From there his uncanny ability to craft a story and continued notoriety as a writer finally guided him to the director’s chair for impressive films like Kiss Kiss Bang Bang and The Nice Guys, only to have his career come full circle in 2018. One of Black’s first career credits comes as an actor in the 1987 action-horror, Predator, which the filmmaker finds himself rebooting 30 more than years later.

Within the muddy waters of this shared film universe, a decorated sniper (Boyd Holbrook) encounters an alien Predator who’s crashed his spaceship in the backwoods of Mexico. And after the soldier sends some of these other-worldly devices back to his autistic son (Jacob Tremblay) living in Georgia, the boy’s unique perspective allows him to crack the foreign code and reboot the alien weapons. Unfortunately, this chain of events signals an even more diabolical species of Predator that travels all the way to Earth to reclaim its prized technology.

Summer may be gone, but 2018 certainly has room for one of its most well-constructed blockbusters with Shane Black’s The Predator. Re-booting a franchise can be a tall order, yet Black’s passion for the subject matter and dark comedic wit inject life into this energizing popcorn flick. And although some loyalists to the film universe may have hoped for a few more call-backs to its predecessors, The Predator occasionally acknowledges its origins all while serving up a plethora of trademark gory massacres and heavy doses of action. Black’s colorful dialogue becomes delivered brilliantly by an extensive collection of secondary actors who help sell the film’s strongly written misfit comedy angle. In fact, the effort’s surprising lack of star appeal isn’t problematic whatsoever, thanks in large part to these relatively unknown performers who work in complete cohesion to generate an authentic and engaging thrill ride. Fans of Keegan-Michael Key (Comedy Central’s Key and Peele) won’t be disappointed either, as he crushes every scripted (or perhaps even non-scripted) joke. Yet, all of these quality aspects are weakened by an untypical inadequacy with Black’s screenplay. Pacing is a bit of a problem, as the film races out of the gate until it becomes completely lost in a meandering mid-section that eventually discovers a desperate need to abruptly wrap things up. However, all in all there’s more good than bad in Shane Black’s gratifying return to an iconic horror villain with his new release, The Predator.

GRADE: 3.5/5

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Geekscape Movie Reviews: The Happytime Murders

by MCDave

When you consider creative geniuses who left us far too early, Jim Henson has to come to mind. Despite the puppeteer’s decades-long career that defined the childhoods of generations with clean and iconic comedies such as Sesame Street, Fraggle Rock and everything The Muppets, you can’t help but feel cheated that Henson passed away after just 53 years. And while the name “Henson” has long been synonymous with wholesome humor, the legend’s middle child and eldest son, Brian, has journeyed down a shockingly naughty path with his new puppet comedy, The Happytime Murders. This R-rated transition probably isn’t what his father envisioned, yet Brian Henson’s uninhibited and vulgar puppet murder mystery proves more than just a cheap novelty with a unique shtick.

In a world where humans and puppets co-exist, despite the fact that puppets are viewed as inferior citizens, Phil Philips (voice of Bill Barretta) was once the first puppet police officer. However, tragic circumstances cost him his badge and now Phil spends his days as a private detective taking on small cases. But when a mysterious killer begins targeting the stars of a once-popular puppet sitcom, Phil teams up with his former police partner (Melissa McCarthy) to put an end to these murders.

My appreciation for The Happytime Murders will inevitably feel overblown, mostly due to the critical backlash feasted upon Brian Henson’s new film. But despite its desperate quest for laughter at the hands of shock value and gross immaturity, The Happytime Murders offers a well-cloaked mystery delivered at a fantastic pace. The film’s story engages with its hysterical characters and natural fluidity. And although Melissa McCarthy’s time in the spotlight continues to fade, she delays the inevitable with a strongly executed and insanely committed comedic turn. However, the true standout of the film is its clever and concise screenplay. The jokes are relentlessly thrown at you from a variety of angles, and through it all the leading star, puppet Phil Philips, begins to feel more and more human-like, which is a true testament to the writing. The Happytime Murders isn’t a movie designed for all audiences, as it’s obviously short on subtlety and artistry. Yet, if you’re willing to put all seriousness aside and open up to some lewd silliness at the hands of more than just a few crazy puppets, you’ll be able to enjoy The Happytime Murders for the absurd and raunchy comedy that it is.

GRADE: 3/5

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Geekscape Movie Reviews: Don’t Worry, He Won’t Get Far on Foot

by MCDave

With over three decades as a filmmaker, Gus Van Sant’s firsthand knowledge of the industry’s highs and lows can’t be questioned. He began as an independent voice in the 80s and early 90s, quickly capturing the attention of critics and artistic devotees, only to blossom into a more mainstream figure following the overwhelmingly successful Good Will Hunting, a personal favorite of mine. And since then, Van Sant has continued to “wow” audiences with celebrated titles such as the Oscar contender Milk and his hypnotic Cannes winner Elephant, while also churning out commercial duds like the 1998 Psycho remake. This time around Van Sant teams with notable talents Joaquin Phoenix, Jonah Hill and Rooney Mara to bring the grueling true story of paraplegic and famed cartoonist, John Callahan, to life in his Sundance selection, Don’t Worry, He Won’t Get Far on Foot.

Chemically dependent on alcohol from a very young age, John Callahan (Phoenix) becomes even more resentful of the world when a night of insane binge drinking results in a tragic car accident that leaves him confined to a wheelchair for the rest of his life. John continues to drown his sorrows with copious amounts of alcohol until a profound epiphany sends him to AA where he begins sobering up under the tutelage of Donnie (Jonah Hill), a homosexual sponsor who imparts valuable wisdom on his many “piglets” striving for sobriety. And as John navigates through his emotional baggage with the program’s 12 essential steps, he also discovers a form of catharsis with his darkly comedic cartoon illustrations that eventually grow to become a national hit.

He Won’t Get Far on Foot becomes a showcase for its performers, as the film’s limited scope gives way to vast bouts of dialogue that push the onus onto this skilled crop of actors and actresses to shine bright. The always fantastic Joaquin Phoenix does just that, gifting audiences with another terrific turn which beautifully encapsulates the strange and complex mind behind a true comedic genius. Yet, Phoenix is anything but alone in his conquests. Co-stars Jonah Hill, Rooney Mara and Jack Black all provide dynamic supporting work that, in turn, help make this occasionally sluggish viewing experience quite tolerable. A slimmed-down and bearded Jonah Hill is a spiritual Zen-master of sorts, possessing a Jesus-like aura that lights the way for John’s tumultuous path to sobriety. But despite these many exceptional performances, He Won’t Get Far on Foot suffers from many lulls, due in large part to the script’s repetitive nature. Although the film is widely outstretched and only marginally funny, Gus Van Sant still delivers an earnest character study that’s undeniably highlighted by its uber-talented cast.

GRADE: 3.5/5

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Geekscape Movie Reviews: Ant-Man and the Wasp

by MCDave

Comedy director Peyton Reed, who was once best known for overseeing films like Bring It On, Yes Man and The Break-Up, found himself gifted a golden ticket when he entered into Marvel’s family as the visionary behind the 2015 origin story of Ant-Man. The film soared to massive heights, grossing over $500 million globally and winning over both critics and audiences alike. But a lot can change in just three short years, as Scott Lang and his Ant-Man persona have quietly devolved into one of the Marvel Cinematic Universe’s (MCU) weakest and most underused characters. And with hopes that their latest sequel, Ant-Man and the Wasp, will rejuvenate excitement for this forgotten superhero, the return of Scott Lang doesn’t quite measure up to size

Set between the events of Civil War and Infinity War, Scott Lang (Paul Rudd) finds himself bored and imprisoned on house arrest after violating his parole by traveling to Germany to help out Captain America. With mere days to go before Scott’s return to freedom, Hank Pym (Michael Douglas) and his daughter Hope (Evangeline Lilly) enlist the help of Lang to venture back into the Quantum Realm and retrieve Hank’s wife, Janet (Michelle Pfeiffer), who’s been lost there for nearly three decades. In a race against time to get Scott back home before the police realize he’s gone, as well as trying to fend off suitors of this groundbreaking technology, it will take a group effort to save Janet from this atomic abyss and return Lang to his residence before it’s too late.

Having recently placed Ant-Man in my Top Ten MCU films, my adoration for this sequel’s predecessor can’t be overstated. Therefore, sifting through the humdrum of Ant-Man and The Wasp became more tedious than it was enjoyable. As expected from a comedic staple such as Peyton Reed, there are jokes aplenty to help ease you throughout this tenuous ride, but some prove more effective than others as the laughs fail to overshadow a long list of unappealing new characters that enter the story. And not only does the film overextend itself with an ungodly number of fresh faces, Ant-Man and the Wasp makes a desperate attempt at ramping up the drama. However, divvying up the screen-time counterbalances this desired end-game, leaving dramatic storylines fully devoid of emotion. Poor performances from Michael Douglas and Michelle Pfeiffer bring disaster to Janet’s entire plotline, while the inclusion of Laurence Fishborne and Hannah John-Kamen’s characters falls terribly flat as a meaningful subplot. And to top it off, Ant-Man and the Wasp delivers an all-too narrow scope that only manages to tie into the rest of the MCU when its end-credits scenes finally appear. There’s a lot of fluff packaged into this essentially villain-less title from the MCU, and the stakes never feel high enough and the comedy isn’t quite good enough to mask its many flaws.

GRADE: 3/5

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Geekscape Movie Reviews: Tag

by MCDave

Oscar Wilde once said that “life imitates art far more than art imitates life”, but that isn’t the case with Jeff Tomsic’s debut feature film, Tag. The comedy opens with a claim that the film is based on true events, prompting me to immediately turn to my guest and casually remark at the looseness of the inspiration. And as the film navigates through its wild premise into a warm and heartfelt conclusion, Tag closes with real-life footage of the actual men behind the decades-long game that influenced the film, most of which closely resembled the hilarious onscreen moments captured by Tomsic and instantly spawned a newfound appreciation for the story.

Five childhood friends embrace the mantra that “we don’t stop playing because we grow old, we grow old because we stop playing”, and it’s resulted in an intricate lifelong game of Tag that spans the entire country during the month of May every year. These committed participants use the elaborate game to strengthen the bond of their friendship and keep correspondence as they grow older. Yet, the stakes get raised when Hoagie (Ed Helms) informs the other guys that Jerry (Jeremy Renner), the game’s most accomplished player who’s never been tagged before, plans to retire at the end of May. Therefore, Hoagie and the rest of the crew engage in multiple plots to finally tag Jerry once and for all.

Jeff Tomsic’s perfectly cast debut feature comes with many strengths and weaknesses en route to a satisfying finale that culminates on a completely uplifting note. And while this softens the blow regarding the film’s various miscues and shortcomings, Tag‘s wonderful closing sequence fails to mask blatantly egregious issues within the movie. For starters, I immediately picked up on a clear violation of the game’s “no tag back” rule. An error like this is small and forgivable, yet a massive writing blunder surrounding Tag‘s unexpected “twist” at the end of the film proves much more detrimental. An earlier line of dialogue completely contradicts the story’s attempted misdirection and this careless lack of attention to detail stains an otherwise decent effort. Admittedly, Tag‘s characters are relentless in their quests for laughs, mostly at the hands of comedy stalwarts Hannibal Buress, Jake Johnson and Isla Fisher, hitting on jokes nearly as often as they whiff. Consequently, this approach keeps a light-hearted and persistently funny foundation constant throughout the film, however it also shines a bright spotlight on the frequent failed attempts at generating laughs. And although Tag begins with a clever and unique story, the novelty begins to wear off throughout the film’s latter stages, which mounts pressure to deliver on a strong conclusion. Thankfully the film does just that, leaving Tag as a teetering comedic effort whose countless highs and lows will tip the scale in different directions for each individual viewer.

GRADE: 3/5

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Geekscape Movie Reviews: Ocean’s 8

by MCDave

Fresh off a Best Director Oscar win for the pulsating drama, Traffic, Steven Soderbergh followed up his awards contender with the uptempo heist film Ocean’s Eleven. Little did he know that the film’s success would not only help spawn a trilogy of features, but it would also serve as the backbone of this weekend’s eventual spin-off, Ocean’s 8. However, this time around the “Ocean’s” brand gets a complete makeover, spearheaded by a fresh collection of capers, all of which are female, who aim to rejuvenate the energetic and comedic tone that Soderbergh crafted nearly 17 years ago.

After Debbie Ocean (Sandra Bullock), sister of the presumably deceased caper legend Danny Ocean (George Clooney), is released from prison, she immediately reconnects with her former con artist friend Lou (Cate Blanchett) in order to get back into the family business. Having more than five years in the slammer to construct the perfect plan, Debbie assembles a team of specifically talented women to help pull off an unthinkable heist at the prestigious Met Gala in New York City. Yet, the job becomes even more complicated when Debbie makes things personal by trying to pin the robbery on Claude Becker (Richard Armitage), the rat who had her put behind bars years ago.

Flawless pacing navigates Ocean’s 8 through an effortless 110 minute joy ride, fully equipped with staunch performances and loads of laughs. Academy Award Winner Sandra Bullock takes up the mantle as this new crew’s ringleader and her onscreen work proves masterful once again. Comedy and edginess have always come naturally to Bullock, making her a no-brainer for the role of Debbie Ocean. Yet, it would be neglectful to discount the other women who help bring this worthwhile summer popcorn flick together. Each character delivers a fond uniqueness that ushers a delicate balance to the entire team. Whether it’s Cate Blanchett’s foresight and voice of reason, or Sarah Paulson’s longing for thrills and adventure, everyone serves a purpose. Strong, unexpected performances are given by Rihanna, Mindy Kaling, and Neighbors 2 co-star Awkwafina, all of whom portray secondary characters as far as screen time goes, but each as essential as any singular member to the team. Let me also commend the strong work of proven stars Helena Bonham Carter and Anne Hathaway who both round out this exceptional crop of acting talent. But despite this heist film’s impressive cast, entertaining story and uptempo cadence, Ocean’s 8 suffers from a shortage of genre staples such as clever cons and misdirection, as well as an influx of unthreatening conflicts that cycle through the movie without a hitch. These shortcomings suggest a slight laziness in writing, yet they’re easily overshadowed by a fun and mindless experience that optimizes the summer movie season.

GRADE: 3.5/5

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Geekscape Movie Reviews: Upgrade

by MCDave

The majority of independent films have long struggled to amass gaudy box office results. Consequently, the major film studios have avoided putting such films into production and have instead turned their attention to more mindless, CGI-filled blockbusters and superhero movies. Therefore, Leigh Wannell’s SXSW indie selection, Upgrade, felt like an underdog as it debuted this weekend against other mammoth in-theater options such as Deadpool 2, Solo and Infinity War. And while Upgrade failed to beat out any of the aforementioned competition in box office revenue, the indie sci-fi’s strong showing reminds us all that strong content will always prevail.

In the not-so-distant future where a greater dependence on technology continues to mount a stranglehold on society, Grey Trace (Logan Marshall-Green) is an old soul who prefers working with his hands and fixing up old cars. But when a brutal mugging results in the death of his wife, Asha (Melanie Vallejo), and leaves him paralyzed, Grey is offered a second chance at life by a wealthy tech mogul (Harrison Gilbertson) with a groundbreaking, untested new form of Artificial Intelligence called STEM. Grey agrees to the operation and has STEM implanted, only to gain unbelievable strength and agility as he seeks out the men who murdered his wife.

Director Leigh Wannell has an imprint in the both the Saw and Insidious franchises, but he transitions to the sci-fi genre with his latest revenge-thriller. Upgrade circumvents obvious budget restraints by relying on a cerebral story and compelling lead character. And although the cast is full of unfamiliar faces, something that can be a difficult sell to audiences, the film appeals to the viewer in countless other ways. Logan Marshall-Green dominates the screen time and crushes every opportunity with an edgy and slick performance. Grey’s ironic quandary as a tech-resistant man who becomes reliant on a new invention is both beautifully scripted and wonderfully translated to the big screen. And on Grey’s quest of retribution for his wife’s murder, he discovers a dastardly primary foe that’s brought to life masterfully by Benedict Hardie. Along with its gripping story, a strong cast is essential to Upgrade’s success as a modestly-budgeted indie, and the film finds a plethora of significant unknown talent that deliver exceptional performances from top to bottom. In fact, the only glaring downside to this up-tempo sci-fi endeavor is how it makes up the rules as it goes along, mostly to justify an unpredictable and explosive finale. There’s plenty to enjoy with Leigh Wannell’s innovative and heady feature, making Upgrade a worthy choice among an otherwise crowded field of heavy-hitting summer blockbuster contenders.

GRADE: 4/5

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Geekscape Movie Reviews: Solo: A Star Wars Story

by MCDave

The road through development and production of Ron Howard’s Star Wars spin-off Solo was a rocky one to say the least. In fact, it wasn’t always the Academy Award winning director’s film. After rumors of chaos on set began to spread like wildfire, as well as rumblings of their displeasure with the lead performance from Alden Ehrenreich, original helmers Chris Miller and Phil Lord were eventually replaced by Howard after six months of filming. We’ll never know exactly how much influence each party had on the final product, and that includes The Empire Strikes Back and Return of the Jedi scribe Lawrence Kasdan, who returned to influence and pen the screenplay alongside his son Jonathan, but it’s crystal clear that Solo is a plagued and unnecessary addition to the Star Wars film universe.

A young Han Solo (Ehrenreich) becomes involved in his usual shenanigans after trying to rip-off a dangerous underground crime syndicate in order to escape the dreck of his home planet alongside his lover Qi’ra (Emilia Clarke). Unfortunate circumstances allow only Han to escape freely, as the daring pilot vows to earn enough money to buy his own ship and return back to the planet to reclaim his lover. While away, Han joins a band of thieves that put his life in danger as he’s forced to take part in a risky mission alongside franchise regulars Chewbacca and Lando Calrissian (Donald Glover) that comes with deadly consequences.

At its core, a plot-driven and emotionless void swallows Ron Howard’s valiant attempt at saving this doomed project. Solo unravels like a safe and superficial checklist towards developing the character’s origins and bridging his connections to George Lucas’ initial trilogy. Throughout the film it becomes difficult pinpointing whether this lack of depth is caused by thinly written characters or weak onscreen portrayals, and that criticism even includes a personal favorite of mine, Woody Harrelson, who gives one of the most forgettable turns of his career. Yet, no matter where the blame ultimately lies, the sad truth is that the Star Wars saga will continue to follow in the money-printing footsteps of Marvel’s cinematic universe no matter how watered-down the overall product becomes. I’d also be remiss not to mention the loathsome qualities regarding this feature’s most significant droid, L3. Her sassy and progressive demeanor is both off-putting and annoying. The franchise’s newer droid character have been molded to create comic relief, however their increasingly over-the-top nature is beginning to get out of hand, a clear sign that “the powers that be” are grasping at straws.

Now, perhaps Solo was simply destined to fail, with warning signs and red flags popping up throughout the entire filmmaking process. Or there may be an even more troubling interpretation of this hollow and worthless inclusion, and the Star Wars franchise may be headed down a worrisome path that could ultimately sour the amazing foundation built by George Lucas over 40 years ago.

GRADE: 2.5/5

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Geekscape Movie Review: Deadpool 2

by MCDave

After surprising critical and box office adoration transformed Tim Miller’s risky and monumentally self-aware anti-hero comedy, Deadpool, into a record-breaking phenomenon, we all knew that the film’s immediately announced sequel would aim to be bigger, bolder and more outrageous than the original. And despite a changing of the guard, with Miller rumored to be stepping aside in favor of John Wick and Atomic Blonde director David Leitch because of a power struggle with leading star Ryan Reynolds, Deadpool 2 continues to push the envelope with more of the same vulgar, violent and over-the-top antics.

After opening with some wise cracks about Wolverine, the film immediately turns to Wade Wilson’s (Reynolds) recent selfish behavior and how it leads to an unfathomable tragedy. But rather than self-loathing like his natural instincts suggest, Wade attempts to find deeper meaning in things and finally begins to try and do what’s right. However, as Deadpool quickly finds out, old habits are hard to break when he crosses paths with a mercenary from the future named Cable (Josh Brolin) who refuses to let Wade get in the way of his mission.

Deadpool 2 doubles down with its abrasive, juvenile humor and blood-filled violence. And while the overall effect doesn’t quite grab you like its predecessor, this sequel still aptly entertains and smoothly keeps the laughs coming in impressive style. Furthermore, as if heavier doses of this winning formula aren’t enough to put you all in, Deadpool 2 throws some unexpected curveballs that are a refreshing surprise. Yet, while a whole new collection of characters, both good and bad, help occupy the screen time, this is once again Ryan Reynolds’ spotlight and he cradles the opportunity to near perfection. Wade Wilson’s evolution marks a stark contrast to the last film, one that’s a welcome change and navigates the franchise down a clearer more resolute path. But as his character so conveniently points out more than once in the film, there are spells of lazy writing that linger throughout, and even a wide-growing hokiness that looms over Wade’s modest character transformation. However, the action is on point, the characters are wildly entertaining, and the story shifts down an unpredictable road, all of which make Deadpool 2 another successful superhero tale with an immensely bright future

GRADE: 3.5/5

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Geekscape Movie Review: Life of the Party

by MCDave

It’s a common mantra that you “strike while the iron is hot”. This timeless adage can often describe movie stars who cash in on lucrative paydays before their time in the spotlight subsides and their box office value diminishes. And after scoring a rare Oscar Nomination for her hysterical performance in the comedy hit Bridesmaids, no one could have imagined that Melissa McCarthy’s newfound success was on such a rapidly expiring clock. But as flop after flop continues to reinforce the notion that McCarthy’s slapstick humor has worn on audiences, this one time queen of comedy keeps nearing an all too sad and familiar fate with her latest dud, Life of the Party.

Just as Deanna (McCarthy) drops her daughter off at a sorority house to embark on her senior year of college, she’s blindsided by her unfaithful husband’s desire for a divorce. Yet, rather than mail it in as a newly single middle-aged mom with no finances to speak of, Deanna decides to join her daughter and return to college to finish the degree she abandoned decades prior after getting pregnant. And through the bonding sisterhood of her daughter’s closest friends and Deanna’s bizarre new roommate in the dorms, perhaps she can recapture her confidence and earn that diploma once and for all.

Before I begin voicing my displeasure with Ben Falcone’s most recent drab attempt at humor, let me preface by saying that I actually enjoyed Life of the Party slightly more than I expected. The movie is at its best when boldly unpredictable events begin to steer the story’s direction, rather than falling aimlessly into the bland trappings of recycled ideas. Sadly, Life of the Party goes through sequences of both characteristics, where the film astonishes with hilarious unforeseen revelations that lend way to a drubbing of consequential comedic blows, only to succumb to the modern comedy norm of relying on rehashed and re-branded situations that lack authenticity and originality. But despite this unsatisfying unbalance between the film’s stronger and weaker elements, what’s most alarming is the lazy writing that plagues these characters and their behaviors. Married co-writers, Falcone and McCarthy, gloss over the controversy and conflict with such a disregard of their significance for validity. Yes, we’re given brief and wavering glimpses into turmoil such as Deanna’s daughter’s reservations towards her mom’s invasion into her personal life, and her willingness to forgive her mom after some unruly behavior sabotages a momentous occasion. However, these unruly actions are instantly overlooked and forgiven solely for the sake of smoothly transitioning to a less than desirable punchline that fails to propel Life of the Party beyond the stereotypical mundane effort that’s helped plague this stage of McCarthy’s career.

GRADE: 2.5/5

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Geekscape Movie Review: Avengers: Infinity War

by MCDave

For more than a decade the Marvel Cinematic Universe (MCU) has branded 19 films in total that have completely merged together in what’s guaranteed to be this summer’s most lucrative blockbuster, Avengers: Infinity War. Now, we’ve been down similar roads before with Marvel’s first ambitious multi-hero collaboration, The Avengers, and with both the film’s sequel, Age of Ultron, and the third Captain America installment, Civil War.  The success of these grandiose endeavors have been met with varying levels of success, casting a huge question-mark over the MCU’s newest title. But allow me to wash away any worries you may have by fearlessly labeling Infinity War as one of the top films to-date in Marvel’s ever-expanding universe.

Despite their conflicting opinions regarding oversight of their Earth-protecting superhero group “The Avengers”, Tony Stark (Robert Downey Jr.) and Steve Rogers (Chris Evans) must put their differences aside and get the old team back together when they learn of a cosmic villain named Thanos (Josh Brolin) who’s en route to their home planet. Thanos is on a mission to collect all six infinity stones, hidden artifacts that possess unimaginable power, and he pinpoints a pair of them located on Earth where he’ll stop at nothing to acquire them and bring balance to the galaxy. And with the fate of humanity on the line, Marvel’s greatest superheroes must confront their most powerful foe yet.

Prior to Infinity War, little was known about the film’s primary antagonist, Thanos. And although this approach is a foreign concept within the familiar formulaic structure that’s helped mold the MCU into an unstoppable machine, the character of Thanos is met with bold originality that makes Infinity War “his” film. Rarely is a villain gifted such an enormous responsibility, but Thanos makes the most of his opportunity and commands the viewer’s sympathy with a unique perspective to what’s perceived by The Avengers as an evil plot. Both his character and his mission are propelled by surprising depth that will make the audience question their own ethical beliefs. With Infinity War, sibling directors Joe and Anthony Russo create a moral dilemma in which there may be no right or wrong answer, but instead resolve must come from a desperate battle for survival between Thanos and Marvel’s assorted collection of superheroes. Yet, while the film’s story is as compelling as its uptempo action and finely-tuned pacing, Infinity War does sour with overly sappy dramatics that artificially attempt to raise the emotional stakes. Nevertheless, these cheaply constructed moments take a backseat to Infinity War‘s cerebral and multi-dimensional tale that culminates with a cliff-hanging finale guaranteed to keep you longing for the next chapter in Marvel’s elaborate cinematic universe.

GRADE: 4/5

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SXSW Movie Review: Ready Player One

by MCDave

Iconic filmmaker Steven Spielberg generates a stir whenever he announces a new project is in the works. Having helmed classics such as Schindler’s List, Saving Private Ryan, The Indiana Jones franchise and Jaws, just to name a few, it’s easy to understand why his work garners massive amounts of attention. And as a unique visionary within the science fiction genre all throughout his illustrious career, excitement grew to unfathomable proportions when Spielberg announced he’d be directing an adaptation of the bestselling dystopian novel, Ready Player One, which he personally debuted at this year’s SXSW festival.

It’s the year 2045 and people escape the monotony of their overpopulated, everyday lives by logging into the Oasis, a virtual reality world where your wildest imagination takes shape right before your eyes. And when the creator of the Oasis, James Halliday (Mark Rylance), decides to hide an “Easter Egg” within the game, holding a half a trillion dollar prize and full control over the Oasis to whomever finds it, people and corporations flock to this virtual world in hopes of winning the fortune. However, when teenager Wade Watts (Tye Sheridan) discovers a breakthrough that puts him atop the leaderboard, he must work with a close-knit group of allies to stop a maniacal CEO, Nolan Sorrento (Ben Mendelsohn), from locating him in real life and taking control of the Oasis forever.

Spielberg’s latest is a visual masterpiece that combats its occasionally overwhelming CGI with a superbly-paced and completely absorbing story. The futuristic world in which Ready Player One finds itself immersed is an eerily realistic interpretation that feeds into its dystopian tale perfectly. Wade, like the millions of others seeking an escape from a reality that fails to offer them anything of substance, discovers a place where he belongs and holds a purpose. And the character’s unusual bond with his fellow gamers allows the Oasis to evolve into a convincing home-like atmosphere that mesmerizes more and more with every new introduction. Yet, for as lavish and enchanting as the Oasis is, Ready Player One’s most entertaining storyline revolves around the real-life quandary that Wade and Samantha face as they near closer to winning the prize. Tye Sheridan (Mud) and Olivia Cooke (Me and Earl and the Dying Girl) have shown a propensity for carrying a film and they continue the trend here. Neither is necessarily asked to do too much, as Spielberg relies heaviest on a visual overdose and gripping adventure story, but Sheridan and Cooke deliver quietly effective turns that complement their director’s overarching vision. Ready Player One by no means breaks the sci-fi mold, however the film entertains with remarkable ease throughout its entire 140-minute duration and Spielberg once again shows why he’s a true legend of Hollywood.

GRADE: 4/5

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SXSW Movie Review: Blockers

by MCDave

SXSW is more than just a film festival. The enormity of the annual event also includes world class musical acts, celebrity keynote speakers, informative tech conferences, and top-notch stand-up comedy shows. Yet, while the majority of laughter tends to come from the countless comedians performing all throughout downtown Austin, TX, I’m not sure if anything could compare to the riotous reaction from the crowd that brought down the Paramount Theater during the world premiere of Kay Cannon’s Blockers.

Each in a uniquely different situation, three lifelong best friends (Kathryn Newton, Geraldine Viswanathan and Gideon Adlon) decide to form a “sex pact” by agreeing to lose their virginity on Prom night. However, things get complicated when their overbearing parents (Leslie Mann, John Cena and Ike Barinholtz) discover the girls’ promiscuous intentions and embark on an outrageous adventure to put an end to the pact. Will these parents be able to stop their daughters in time, or will they realize the lunacy of their behavior?

Back in 1999 we were given a similarly themed comedy from a completely different male perspective with the instant-classic American Pie. Director Kay Cannon and sibling writers Jim & Brian Kehoe make their intention clear from the onset of the film, poking fun at society’s glaring double-standard when it comes to losing your virginity. They cater to this fact by embellishing the craziness of these parents who feel obligated to protect their daughters from this landmark event. It’s a strong stance and a valiant message that serves as the film’s most prominent component. There are two dueling storylines at work, that of the teenagers and their excitement to cross over into adulthood, and that of their parents who wish to suspend this inevitable transition. Blockers is at its best when the teens are in their element, playfully mocking the magnitude of losing their virginity with raunchy dialogue and carefree actions. Yet, the irritating counterpart of Leslie Mann, John Cena and Ike Barinholtz’s characters overshadow Blockers’ finer moments. This R-rated comedy fails to create cleverly designed humor and relies mainly on vulgarity, shock-value and even the overdone full-frontal male nudity (so be warned). And through it all Blockers fails to break any new ground with its well-intended and unique perspective, which culminates in a sadly missed opportunity for director Kay Cannon and everyone else involved.

GRADE: 3/5

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Geekscape Movie Reviews: Unsane

by MCDave

The once retired Steven Soderbergh is officially back. The filmmaker’s three year hiatus came to a screeching halt with last year’s crowd-pleasing heist comedy Logan Lucky, and now Soderbergh quickly follows it up with his crafty psychological thriller Unsane. Shot entirely on iphones, an impressive feat that Soderbergh pulls off with astonishing ease, this latest effort fits nicely into the director’s impressive repertoire.

After relocating from Boston to Pennsylvania in order to escape an obsessed stalker (Joshua Leonard), Sawyer (Claire Foy) begins seeing him at every turn and decides it’s time to speak with a professional. Yet, while discussing her issues with a therapist, she unwittingly signs forms to voluntarily commit herself into a hospital for 24 hours. Doctors immediately begin to question Sawyer’s sanity and her stay becomes extended to a week just as she discovers that her stalker works inside of the building.

Unsane looks and feels like a typical Soderbergh film, unraveling in a fluid and entertaining fashion from start to finish. The story always tries to stay one step ahead of the viewer, covering its tracks in a taut and unpredictable manner. And being that it’s filmed on iphones, Soderbergh’s tight close-ups and exaggerated appearance builds a clouded aura of uncertainty that enhances Sawyer’s primary character dilemma of differentiating between fantasy and reality. All of the film’s elements work in complete harmony and allow for Claire Foy to showcase her acting chops. Foy’s performance dwarfs the depths at which her character was written, a true testament of her knack for stealing scene after scene. Moreover, Sawyer becomes increasingly likable as you experience this psychological journey alongside her, yet the character is still sadly scripted like a one-dimensional female lead in a horror film. Nevertheless, Foy manages to elevate everyone and everything around her, including run of the mill supporting turns from SNL’s Jay Pharoah, Juno Temple and Joshua Leonard, while Soderbergh delivers a cleverly outrageous and darkly twisted progression of events. Like most of his catalog Unsane is another good but not great effort, and one that Soderbergh gears solely towards fans of the horror and thriller genres.

GRADE: 3.5/5

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The Best of SXSW 2018

by MCDave

As I do with every festival I attend, I’m reflecting back on the best of the best from this year’s eclectic crop of titles at the SXSW film festival. It was a strong collection of films, diverse with female and minority filmmakers and centered around a wide array of topics that kept every viewing experience interesting and unique. So here they are, my personal favorite films, performances, directors and screenplays from 2018’s SXSW festival:

Best Screenplay

Honorable Mention: Boundaries, First Match, Shotgun, The Unicorn and Unlovable

#5. Hereditary

#4. American Animals

#3. Ready Player One

#2. Sadie

And the winner is …

#1. Blindspotting

Co-stars Daveed Diggs and Rafael Casal also wrote the fresh and original screenplay behind Blindspotting. The film fuses together hysterical dialogue and situational humor with a timely examination of various social issues in what’s guaranteed to culminate as one of the year’s finest films.

 

Best Supporting Actress

Honorable Mention: Javina Gavankar (Blindspotting), Lucy Hale (The Unicorn), Melissa Leo (Unlovable), Kathryn Newton (Blockers) and Geraldine Viswanathan (Blockers)

#5. Olivia Cooke (Ready Player One)

#4. Melanie Lynskey (Sadie)

#3. Emily Mortimer (Write When You Get Work)

#2. Emily Blunt (A Quiet Place)

And the winner is …

#1. Elle Fanning (Galveston)

In a role that’s considerably larger than most of her category rivals, Elle Fanning makes the most of her screen time in Melanie Laurent’s Galveston. Fanning portrays a young prostitute who finds herself caught up in a mob hit gone wrong and flees the scene with the target who somehow escapes his death. Her character is heartbreaking but genuine, two traits that she brings to life with remarkable ease.

 

Best Supporting Actor

Honorable Mention: John Gallagher Jr. (Sadie), Armie Hammer (Final Portrait), Barry Keoghan (American Animals), Christopher Lloyd (Boundaries) and Ben Mendelsohn (Ready Player One)

#5. Lewis MacDougall (Boundaries)

#4. Rafael Casal (Blindspotting)

#3. Christopher Plummer (Boundaries)

#2. Alex Wolff (Hereditary)

And the winner is …

#1. John Hawkes (Unlovable)

Hometown star John Hawkes is always a SXSW favorite as the Austin crowds love to show their appreciation for the underrated actor. This year he brought his uninhibited talents to the big screen once again for the dramedy Unlovable where he plays a recluse who befriends a sex addict and they both learn about earnest human connection. It was a sweat relationship between the two characters and Hawkes, the far more polished performer of the two, helps solidify its effectiveness.

 

Best Actress

Honorable Mention: Charlene deGuzman (Unlovable), Vera Farmiga (Boundaries), Lauren Lapkus (The Unicorn) and Gubu Mbatha-Raw (Fast Color)

#5. Olivia Wilde (A Vigilante)

#4. Elvire Emanuelle (First Match)

#3. Maika Monroe (Shotgun)

#2. Sophia Mitri Schloss (Sadie)

And the winner is …

#1. Toni Collette (Hereditary)

Whispers have already begun regarding an Oscar Nomination for Toni Collette’s work in the bonafide horror entry, Hereditary. I’d be completely on board with that result considering Collette’s transformative work in the film. She’s the backbone of this fright fest and her character’s spiral into madness following a string of recent family tragedies is an absolute marvel. There are countless Oscar-caliber scenes that allow Collette to let it all go and she does so magnificently enough to allow her role to stand out among a crowded field of stellar Best Actress performances.

 

Best Actor

Honorable Mention: Michael Kelly (All Square), John Krasinski (A Quiet Place), Tye Sheridan (Ready Player One), Jeremy Allen White (Shotgun) and Finn Wittrock (Write When You Get Work)

#5. Nicholas Rutherford (The Unicorn)

#4. Geoffrey Rush (Final Portrait)

#3. Ben Foster (Galveston)

#2. Daveed Diggs (Blindspotting)

And the winner is …

#1. Evan Peters (American Animals)

The Best Actor field was top-heavy, headlined by a trio of spectacular turns, any of which could be deserving of this top spot. However, I lean towards Evan Peters fine work in Bart Layton’s docu-drama American Animals. As a goofy, determined college student seeking the ultimate thrill in life, Peters captures the essence of Warren Lipka exceptionally well. And not only is his performance robust in stature, but Peters also illustrates the most depth of any character in the film.

 

Best Director

Honorable Mention: Wes Anderson (Isle of Dogs), John Krasinski (A Quiet Place), Olivia Newman (First Match), Robert Schwartzman (The Unicorn) and Suzi Yoonessi (Unlovable)

#5. Steven Spielberg (Ready Player One)

#4. Megan Griffiths (Sadie)

#3. Bart Layton (American Animals)

#2. Ari Aster (Hereditary)

And the winner is …

#1. Carlos Lopez Estrada – (Blindspotting)

For as well rounded as Blindspotting is, perhaps its greatest aspect is the direction from first-time filmmaker Carlos Lopez Estrada. The level of filmmaking far surpasses what you’d expect from a debut effort and clearly puts Estrada on my radar of up-and-coming directors with an extremely bright future. Until he proves otherwise, I’ll watch any film with his name on it.

 

Best Picture

Honorable Mention: Boundaries, First Match, Shotgun, The Unicorn and Unlovable

#5. Ready Player One

#4. American Animals

#3. Sadie

#2. Hereditary

And the winner is …

#1. Blindspotting

The timely comedy Blindspotting was far and away the best entry from this year’s SXSW festival. As I stated above, Carlos Lopez Estrada provides phenomenal direction to Daveed Diggs and Rafael Casal’s often intense and socially aware aspects. This look at the gentrification going on in Oakland and other cities in the country, as well as law enforcement’s questionable tactics, highlight this films that works just as well as a drama as it does a comedy. Keep an eye out for Blindspotting because it’s destined to be one of 2018’s best.