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.

Complete 2018 SXSW Film Recap

by MCDave

I was able to catch 18 films at this year’s SXSW festival. Some of the titles are primed for anticipated releases all throughout the calendar year, while others are relying on positive exposure from the festival in order to expand their reach to additional audiences. This year’s crop of selections included a wide range of styles, genres and subject matters, making it a fantastic group of films courtesy of SXSW’s program directors. Here’s a look back at each film I saw (in alphabetical order) with a brief description of the synopsis, as well as a quick and to-the-point assessment of each movie:

All Square

House of Cards‘ Michael Kelly stars as a struggling small-town bookie who decides to take bets on local little league baseball games. There are some laughs to be had and the film’s accuracy regarding underground sports betting is commendable, yet there’s very little depth to the characters and a lack of meaningfulness to the story.   GRADE 3/5

American Animals

This witty and energetic docu-drama recreates the insane true story of 4 college students who researched, plotted and committed a heist at their university in 2005, hoping to cash in on millions of dollars worth of books and other art pieces. American Animals was one of the more memorable films at this year’s festival for its gripping screenplay and styled execution.   GRADE 4/5

Blindspotting

Carlos Lopez Estrada’s Blindspotting was without question the pinnacle of this year’s festival. Tackling a wide array of social issues, the film follows a convicted felon with 4 days left on his probation who witnesses a police officer fatally shoot an unarmed and fleeing African American suspect. Blindspotting takes you on a roller-coaster of emotions and intensity as it bridges sound storytelling with a unique and innovative flavor.   GRADE 4.5/5

Blockers

Kay Cannon’s comedy headliner earned loads of laughs during its world premiere, which only seems natural as Blockers follows a trio of high school seniors who form a pact to lose their virginity on Prom night. Unfortunately, their parents (Leslie Mann, John Cena and Ike Barinholtz) discover the girls’ promiscuous intentions and try desperately to stop them. A strong central theme attacks society’s double-standard when it comes to this landmark sexual event, yet a tiresome reliance on shock-value and full frontal male nudity to generate laughs really sours the effort.   GRADE 3/5

Boundaries

Vera Farmiga stars as a habitual animal-rescuing mother forced to help her flaky father (Academy Award Winner Christopher Plummer) after he’s kicked out of his senior living facility for selling marijuana. Plummer steals the show in this often hilarious story of familial struggle, despite the fact that very little materializes in the film.   GRADE 3.5/5

Fast Color

Julia Hart’s Fast Color was regrettably the weakest link at this year’s SXSW festival. The sci-fi drama follows a woman (Gugu Mbatha-Raw) on the run because of her family’s history of possessing unique, super-human abilities. Flimsy storytelling, one-dimensional characters and cheap reveals plague this lifeless sci-fi drama.   GRADE 2/5

Final Portrait

Stanley Tucci is a fantastic character actor but he returns to the director’s chair for SXSW entry, Final Portrait, which chronicles the odd and brief relationship between Swiss artist Alberto Giacometti and an American (Armie Hammer) he asked to pose for a portrait. And what was supposed to be completed in one afternoon went on to last for many weeks, thanks to Giacometti’s frequent moments of intense self criticism. It’s a silly premise that proves quite witty and charming as it develops, however a repetitious feeling and constricted story leave this film as a hollow attempt at addressing the inevitable imperfection of art.   GRADE 2.5/5

First Match

First Match is a Netflix film that will arrive by the end of March, giving you an opportunity to see it soon via the streaming service. The movie centers around a troubled teen (Elvire Emanuelle) whose bounces around the foster care system, until she finds strength and structure competing against boys on the wrestling mat where she wants nothing more than to win the admiration of her biological father. Inspiring and heartbreaking all at the same time, First Match is a winning attempt from this year’s SXSW slate.   GRADE 3.5/5

Galveston

French actress Melanie Laurent tries her hand at directing an American tale with Galveston. Ben Foster stars as a henchman for a mob boss who goes on the run with a prostitute (Elle Fanning) after becoming the target of a “hit” by his employer. Galveston’s a slow-burner that builds its characters well despite a crawling pace and outstretched screenplay.   GRADE 3/5

Hereditary

Another clear highlight of this year’s SXSW festival was the “midnighter” selection Hereditary. What’s been crowned as this year’s “scariest movie ever”, the film follows a family’s spiral into madness after the passing of their grandmother. The scares are legitimate, thanks to creepy visuals and superb sound editing that help build the tension beautifully throughout.   GRADE 4/5

Isle of Dogs

The latest from Wes Anderson marks his return to stop-motion animation, something he executed quite well with 2009’s Fantastic Mr. Fox. Set during the not-so-distant future in Japan where a dog-hating ruler banishes all canines to “trash island”, Isle of Dogs follows the tale of a brave young boy who travels to this castaway island to find his pet. However, what begins as a fun and humor-filled idea eventually goes off the rails in its questionable third act.   GRADE 3/5

A Quiet Place

John Krasinski’s A Quiet Place opened this year’s festival and brought the crowd to a rousing applause at its conclusion. A family is forced to live in absolute silence as deadly, sound-sensitive creatures have nearly wiped out the entirety of Earth’s population. The creatures are pretty awesome, I’ll admit, but the lulls in action in between the film’s sporadic suspenseful moments leave much to be desired.   GRADE 3/5

Ready Player One

Steven Spielberg’s newly adapted sci-fi effort was without question the most anticipated debut at this year’s SXSW festival. The film follows Wade Watts, a teenager trapped in the mundane circumstances of everyday life in the year 2045, so he takes to the virtual reality world known as the Oasis where tries to find a hidden fortune left by the game’s deceased creator. Ready Player One is as visually overwhelming as it is impressive, yet a gripping dystopian tale makes this 140-minute journey a surprisingly easy ride.

Sadie

One of the clear indie darlings from this year’s lineup was Megan Griffiths’ Sadie. This gripping tale centers around a 13 year old daughter (Sophia Mitri Schloss) of a soldier serving overseas who will stop at nothing to end the romantic affair between her mother and a new neighbor at their trailer park. The escalation is subtle but explosive as Sadie stands as a true testament to the power of independent filmmaking.   GRADE 4/5

Shotgun

In Shotgun, twenty-somethings Elliot (Shameless‘ Jeremy Allen White) and Mia (It Follows‘ Maika Monroe) stumble into a romance that begins moving incredibly fast when he becomes diagnosed with cancer. Writers/directors Hannah Marks and Joey Power tell an interesting story with immense emotional depth. Shotgun is a true love story, all in spite of its cheap reaches for the occasional sentiment.   GRADE 3.5/5

The Unicorn

One of the most insanely hysterical films at SXSW was Robert Schwartzman’s The Unicorn. Lauren Lapkus and Nicholas Rutherford star as Malory and Caleb, a boring couple going four years strong on their engagement. But when their mutual reservations with marriage force them to question the current state of their relationship, “Mal & Cal” decide that spicing things up with a threesome may be exactly what they need. The Unicorn is a riotous journey that refuses to let up on the laughs.   GRADE 4/5

Unlovable

Joy (Charlene deGuzman) is a sex-addict who craves the attention of the opposite sex.  Yet, she finds genuine human connection when she begins a garage band with her “sponsor’s” older anti-social brother. The masterful John Hawkes, a hometown SXSW hero, delivers a knockout performance once again in the hearty, feel-good comedy Unlovable.   GRADE 4/5

A Vigilante

Olivia Wilde goes straight badass in the domestic abuse thriller, A Vigilante. Wilde stars as an abuse survivor who enlists her services to fellow abused women who need her to rough up and intimidate their husbands. And what begins as a compelling character study, eventually transitions into an unappealing thriller. Wilde gives a committed performance, but the story simply falls flat in its third act.   GRADE 3/5

Write When You Get Work

Stacy Cochran’s Write When You Get Work follows Jonny and Ruth, former lovers and small-time thieves who cross paths after years apart. But when Jonny discovers Ruth’s new career at an upper class private school, he plots a scheme to steal from a wealthy parent (Emily Mortimer) involved with the school. This battle-of-wits caper comedy just never seems to entertain as much as its heady screenplay deserves. I believe it’s because the characters aren’t endearing enough for the audience to forge a connection.   GRADE 2.5/5

Geekscape Movie Reviews: Love, Simon

by MCDave

The teen rom-com genre receives a slight makeover with Greg Berlanti’s tale of a closeted high school student named Simon who struggles to come out about his sexuality to his friends, family and local community. Love, Simon takes this once taboo topic to the forefront of mainstream cinema, which is a true testament to the progress our culture has made regarding personal views and opinions on homosexuality. However, as the film also refuses to ignore, we still have so much further we can go as a society.

On the surface Simon Spier (Nick Robinson) is your average 17 year old. He has a close-knit group of friends whom he drives to school every morning and hangs out with every weekend, and he’s even involved in the school musical. But unlike most kids his age, Simon is gay and he’s been keeping it a secret from everyone for years. Yet, when a fellow student posts an anonymous message on a social media platform expressing his frustration with hiding his sexuality from the world, the post resonates with Simon and prompts him to begin a pen-pal relationship with his unknown classmate that ultimately could jeopardize both of their secrets.

While there’s nothing particularly exceptional regarding Love, Simon, the film does manage to capture the emotions of its title character rather well throughout a fully entertaining ride. Nick Robinson isn’t necessarily a fresh new face, as we’ve seen his talents shine in films such as Jurassic World and The Kings of Summer, but Love, Simon marks the actor’s first opportunity to take center stage in a major motion picture. Robinson seizes the moment as his valiant turn forces empathy from the audience as Simon navigates life around his deepest and darkest secret. And as his heart aches so will yours, a true testament to strong character development at the hands of both Robinson and screenwriters Elizabeth Berger and Isaac Aptaker. Yet, outside of a stellar leading interest that keeps you invested in the film, Love, Simon is riddled by over-the-top sentiment and stereotypical teen comedy trademarks that unleash an aura of predictability. Veep‘s Tony Hale and Insecure‘s Natasha Rothwell provide refreshing comic relief as Simon ventures through a mysterious journey to unlock the identity of his fellow homosexual pen-pal, but the depth of their romance isn’t felt as drastically by the viewer as it is his character, leaving plenty to be desired. And in the face of reality, where many who “come out” aren’t surrounded by loving family members and accepting friends, Love, Simon possesses a bit of a fairytale feeling in that regard. However, Simon demands that he (metaphorically as a symbol for the entire gay community) deserves a real “love story”, and he’s absolutely right.

GRADE: 3.5/5

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

SXSW Movie Review: American Animals

by MCDave

Another Sundance selection continuing its festival rounds at SXSW include Bart Layton’s new docu-drama American Animals. While the docu-drama is typically reserved for television dramatizations based on true life events, Layton has mastered that form of storytelling in a feature-length format. First with his BAFTA winning 2012 film The Imposter, and now with this biographical account of four college students who conjure up a risky plot to steal priceless art and historical books housed in the library of their small Kentucky university.

Narrated by the real-life Spencer Reinhard (portrayed in the dramatization by Barry Keoghan), Warren Lipka (Evan Peters), Chas Allen (Blake Jenner) and Eric Borsuk (Jared Abrahamson), American Animals takes the audience back to 2005 where Spencer and Warren spend their days smoking pot and imagining a more meaningful existence filled with purpose and excitement. And when Spencer discovers that their Transylvania University’s library is home to books and art valued in the millions of dollars, he and his best friend begin to wonder if they could successful pull off a heist. Yet, their wild fantasies slowly morph into a reality as they welcome two other friends into the plan and attempt the unthinkable.

Interweaving narrated accounts of the events with Layton’s uncanny ability to transform real life into blistering entertainment, American Animals reassures with its opening text that “This is not based on a true story”, but rather “This is a true story”. And from that catchy beginning through an insightful introduction to our two main characters, Spencer and Warren, the film paints a fascinating portrait of wealth and privilege gone rogue. You’ll be hard-pressed to pinpoint one clear motive for their crimes. Were they committed out of boredom, were they done to rapidly obtain a life of financial complacency, or was it all just a beautiful storm of complex motivating factors spawned from a deeper, intrinsic underbelly? Whatever the reason, Layton and company take the audience on a thrilling ride that blends a typical uptempo heist-film tone with comedic intersections between its real-life narrators and dramatic actors. The experience is fresh and innovative, something that feels post-modern and well before its time. And beyond this absorbing tale is an excellent cast that helps carry out Layton’s unique vision. Evan Peters steals the show in his portrayal of Warren, the film’s suggested ringleader who pushed hardest to go through with the heist when the time came. American Animals commands your attention and takes you on a worthwhile ride unlike anything you’ve ever experienced.

GRADE: 4/5

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

SXSW Movie Review: Sadie

by MCDave

This year at SXSW a clear statement has been made that female directors will be widely represented within their film festival lineup. And despite many first-time filmmakers breaking through as a result, one such returning talent is Megan Griffiths who made her SXSW debut in 2012 with the Special Jury Award Winner, Eden. This time around Griffiths again provides one of the festival’s biggest highlights with her gripping new drama Sadie.

The 13 year old Sadie (Sophia Mitri Schloss) is being raised in a slummy small-town trailer park by her mother (Melanie Lynskey) while her personal hero and father is serving another tour overseas for the military. And while the marriage has become a loveless strain on her lonely mother, Sadie wishes for nothing more than a happy reunion between her two parents. Therefore, when Sadie’s mother begins dating a new neighbor (John Gallagher Jr.) from the trailer park, the teen channels her father’s tactical training and stops at nothing to put an end to their romantic affair.

Megan Griffiths’ hypnotic character study boasts exceptional performances, taut storytelling, and crisp direction. Youngster Sophia Mitri Schloss gives an unforgettable  turn in her title role, one that stands among the finest by any lead actress at the festival. Her onscreen metamorphosis seems so innocent and harmless at first, until her actions continue to grow more and more alarming leading up to the film’s resounding conclusion. There’s no shortage of praise to go around as the entire ensemble shines brightly and Griffiths impressive filmmaking abilities somehow managed to be outdone by her multidimensional screenplay. The characters are deeply written and developed, the dialogue is full of creative wit and compelling drama, and the overarching story is simple in nature yet robust in emotion. In an era consumed by gaudy superhero fluff and mindless blockbusters, Sadie serves as a wonderful example of the profound and effective impact indie filmmaking can have on an audience.

GRADE: 4/5

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

SXSW Movie Review: Hereditary

by MCDave

It happens nearly every year. A horror title bursts onto the scene during the early calendar months at either Sundance or SXSW, generating enormous buzz and swirling hope for the next great genre hit. Sometimes these films meet the enthusiastic hype head-on and rise to the occasion, while other times they crack and crumble under the heavy pressure of desired greatness. 2018 is no exception as Ari Aster’s new terrifying descent into madness, Hereditary, proudly steals this “horror darling” label and meets its audiences with visceral unease and heart-pounding fright that proves the hype is real.

The movie opens with the passing of Ellen Graham, the matriarch of her family, whose loss casts a wide net over her surviving kin. And as her haunting death continues to escalate in intensity and bring turmoil and tragedy to her daughter Annie’s family (Toni Collette) family, they slowly begin to unlock dark and cryptic ancestral secrets that extend far beyond their control. And the more they discover, the further they are dragged into this hellish reality.

Hereditary’s strengths are vast and plentiful as the effort burns with cinematic artistry, burrows deep into the human psyche, and delivers well-timed and escalating scares. You know that a horror film has succeeded when something as trivial as a childish sound can become a fearful symbol of impending doom that haunts at every turn. It’s carefully calculated and beautifully orchestrated writing and direction from first-time filmmaker, Ari Aster, whose terrorizing vision slowly peels in lock-step, but never feels long in the tooth or boring. This happens, despite a lengthy running time of over 2 hours, because the suspense and tension are absolutely relentless, giving the audience time to breathe but never allowing them to feel settled. Aster’s attention to detail clearly plays a vital role in the film’s mastery of the genre, also evident by the director’s clear knowledge and understanding of the horror classics that preceded him, but enough can’t be said about Toni Collette’s earth-shattering performance. Her character’s psychological plunge is subtle and brilliant, as it becomes difficult to pinpoint the exact moment she “loses it” because the transformation is so gradual and fluid. Also the work of supporting actor and rising star Alex Wolff deserves recognition as well, seeing that his character is the bloodline of the film in many ways. Hereditary does squander its finale a bit, rushing around to make sense of all the haunting insanity it worked so well to create, but the mildly bitter taste isn’t enough to discredit the sheer creepiness and disturbing aura that surrounds this winning horror entry.

GRADE: 4/5

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

SXSW Movie Review: Blindspotting

by MCDave

SXSW is known for launching world premieres, yet they reserve special places for 14 carefully chosen Sundance Film Festival selections for their annual lineup. And it was clear from the moment the crowd erupted as its title flashed on the screen and the credits rolled, that none of the other 13 films would make as big of a splash at SXSW as Carlos Lopez Estrada’s pulsating and original new drama, Blindspotting. Timely, innovative and remarkably poignant, Blindspotting is exactly the film that this country needs at this precise moment in time.

Estrada transports us into the life of Collin (Daveed Diggs), a convicted felon with only days remaining on his probation before he becomes a free man. Collin works alongside his best friend Miles (Rafael Casal) at his ex-girlfriend’s moving company, and he witnesses a police officer kill a fleeing black man on his way home from work one evening. He struggles to shake the memory as his clock to freedom continues to wind down, and he also finds difficulty trying to walk the straight and narrow on the streets of Oakland, where gentrification is running rampant and the local law enforcement view boys from the hood solely as volatile threats

Placing countless societal issues, racial misconceptions and human introspection all under one single microscope, the collaborative trio of Estrada, Diggs and Casal help deliver the most important film of the year. Blindspotting will do for a generation of youth what Spike Lee’s Do The Right Thing did for mine. The film touches deeply on sensitive hot button topics, which will assuredly alienate select audiences, but sparking any conversation whatsoever is a step in the direction of progress. And that’s what Blindspotting champions, progress. Openly reflecting on its own title as a systemic reminder that we inherently see the perspective of reality we choose to see in any given person or situation, perfection is not realistic but progress is always attainable. Perhaps most astonishing is the film’s unique ability to place you in the mind-frame of its African American lead. While I’m not suggesting that I fully comprehend what it’s like to be a person of color in today’s America, Blindspotting forces you to question and second guess every decision made by Collin, as if any given choice will be the one that ultimately leads to his demise. It’s eye opening, it’s enthralling and it’s absolutely heartbreaking, all executed with dramatic precision and an onslaught of riotous humor that never lets up. Carlos Lopez Estrada provides sharp direction, dwarfing the stereotypical debut feature by incorporating phenomenal camerawork and vivid imagery that will forever be tattooed in your memory. And Blindspotting wouldn’t be as wonderfully poetic as it is without lead acting talent and co-writers, Daveed Diggs and Rafael Casal, who push the envelope creatively and have it pay off in huge dividends when all is said and done. Blindspotting isn’t only the best film at this year’s SXSW festival, it will stand as one of the finest films of 2018, period.

GRADE: 4.5/5

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

SXSW Movie Review: A Quiet Place

by MCDave

We all know John Krasinski, the handsome and lovable sitcom star best known for portraying “Jim” on the hit show The Office. But there are some things you may not know about him, such as his deep, burning desire to be an appreciated filmmaker. In fact, Krasinski has ventured down this path twice before, first with the ambitious adaptation of American author David Foster Wallace’s novel, Brief Interviews with Hideous Men, and more recently with the 2016 dysfunctional family dramedy The Hollars, both of which provided very little fanfare from critics and audiences alike. Something else you may not know about John Krasinski, he doesn’t want to be labeled or branded as a genre filmmaker. He simply wishes to pursue the stories, characters and ideas that he’s most passionate about, even if they come with a horror backdrop like his SXSW Opening Night selection, A Quiet Place.

We’re given a vague sense of time and global catastrophe in the opening sequence of the film, shown that the events take place in the not-so-distant future of 2020 where an unexplainable monster shrieks, howls, and barrels through whatever’s in its path in order to destroy anything that makes a loud, sustainable noise. And through this insidious elimination of the human species, a family forced to live in a world of utter silence has survived, thanks in large part to their knowledge of sign language which is needed to communicate with their deaf daughter (Millie Simmonds). But as the family tries desperately to create a life worth living, despite these terrorizing creatures lurking and waiting to pounce at any noisy misstep, figuring how to kill these monsters and fighting back may be their only chance at survival.

Both strong and flimsy elements surround Krasinski’s third feature film. His insanely gripping premise serves as a building block for masterful onscreen moments that fuse together fear and tension brilliantly. The painful silence supplements the horror remarkably well which, also to its detriment, handcuffs the viewer into wishing there was a lot more of it. Yet instead, A Quiet Place wanders from each widely spaced heart-pumping scene to heart-pumping scene, getting lost in cheap and lifeless subplots that remind us how this silent novelty wears thin well before the film’s brisk 95-minute runtime comes to a conclusion. Krasinski’s intentions are apparent as his dramatic horror serves as a metaphor regarding the fear of a parent allowing his children to “leave the nest” and fully preparing them to face a cruel and harsh world head-on. However, the emotional component of the film pales in comparison to the thrilling and suspenseful backdrop which Krasinski creates, leaving a disjointed and uneven sense of dissatisfaction. And when it comes to these characters and their decisions, many behaviors and rationalizations are completely baffling given the dire day-to-day circumstances they face. I struggled to wrap my head around the entire film, massively impressed by these grisly monsters and regrettably disinterested in the remainder of the story. A Quiet Place offers a few exceptional moments, Krasinski’s direction included, yet the film struggles to frame everything together in a neat and fulfilling package.

GRADE: 3/5

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

Join our Free Oscar Contest!

by MCDave

It’s that time of year again. The Oscar nominations are out and that means it’s time to get your picks in for our annual contest, hosted by Movie Critic Dave and Geekscape.

Registering for the Oscar pool is simple, just follow these few easy steps:

– 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 2018 Oscar Pool under “Current Contests”.
– From here you should be able to make your selections and edit them up until the show on March 4th.

As usual, participation is FREE and the winner will receive a $50 movie gift card supplied by the site.  The site is also mobile-friendly so you should have the ability to access it across all devices.  Should you have any issues creating an account or making your selections, please contact us ASAP.

Thanks and good luck!

Geekscape Movie Reviews: Black Panther

by MCDave

Ryan Coogler’s career has been off to an enviable start ever since his 2013 debut feature Fruitvale Station, where he told the true story of a 22 year-old unarmed African American named Oscar Grant who was wrongly killed by a police officer on New Year’s Eve 2008. Coogler teamed with a young, budding talent named Michael B.Jordan, and the two have never parted ways ever since. Coogler went on to direct the well-received Creed, also starring Michael B. Jordan, and now they both cross paths again in the Marvel Cinematic Universe’s 18th installment, Black Panther.

Many centuries ago a meteor containing Vibranium, one of the universe’s strongest metals, crashed into the continent of Africa. Since then the metal has been used by the people of Wakanda to develop weapons far beyond the capabilities of any first-world countries on Earth, forcing Wakanda to hide itself from the rest of the world. The civilization’s new ruler, T’Challa (Chadwick Boseman), also known as Black Panther, is challenged for his throne by a ruthless entity (Michael B. Jordan) who threatens the harmonious and secretive lifestyle of the Wakandi people.

In what has become a regular occurrence among the critics, Ryan Coogler’s Black Panther was been immediately labeled as another whopping success for the MCU. And while this latest entry into the expansive universe is far different from any of its predecessors, both in style and structure, this refreshing and unfamiliar journey breeds its own host of shortcomings. Boasting a central theme of carving out your own legacy, T’Challa becomes tasked with valiantly claiming the throne of Wakanda immediately following his father’s death. But as doubt creeps into his own mind as to whether or not he’s capable of leading with the same effectiveness as the previous king, T’Challa’s once undisputed rise to power quickly becomes challenged by a powerful outsider. This Lion King-esque tale aptly develops its central character well, transforming him from a skeptical “prince” into a confident king, however the film’s many other complementary elements aren’t nearly as effective. T’Challa’s tip-toeing romance with Nakia (Lupita Nyong’o) and his instantaneous falling out of favor with W’Kabi (Get Out‘s Daniel Kaluuya) are riddled with hokiness and discontent. Moreover, CIA Agent Ross (Martin Freeman) proves a rather meaningless inclusion while the film’s running-time continues to pile on in this thrill-less excursion. And where the MCU has unmistakably built a cinematic powerhouse through mind-numbing action sequences and rapid-fire humor, Black Panther remains short on laughs and bogged down by distractingly-bad CGI. Finally, to director Ryan Coogler’s credit, he conjures up a memorable villain alongside his collaborative staple Michael B. Jordan, one who succeeds on the shoulders of a deep-rooted complexity that the story crafts extremely well. Yet, despite an admirable ability at building meaningful lead characters, Black Panther stands as a mawkish marathon of a journey that fails to entertain as well as it ultimately needs to.

Grade: 3 /5

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

Geekscape Movie Reviews: Winchester

by MCDave

You may have believed that Academy Award Winner Helen Mirren has done it all. During her long, prestigious run as one of Hollywood’s most accomplished present-day actresses, Mirren has stood bravely as a grieving Queen Elizabeth II, and played the wife of artistic greats Alfred Hitchcock and Leo Tolstoy. She’s also shunned the blacklisted Dalton Trumbo as a gossip columnist, made the difficult decisions as a British Colonel in a modern war against terrorism, rivaled a talented Indian chef, been embroiled in an upscale 1930s murder mystery, and she’s even shown a little skin in a fundraising campaign for a group of middle-aged women. But there’s one stone left unturned for the great Helen Mirren, the actress has yet to immerse herself in the horror genre. That is until now, as Mirren stars in the Spierig brothers’ twist on an ages-long tale of the haunted firearms heiress, Sarah Winchester.

A secretly unstable psychiatrist Eric Price (Jason Clarke) is approached by the minority owners of the Winchester Repeating Arms company, and they seek his services in a mental evaluation of their owner, Sarah Winchester (Mirren). Since the recent and unexpected deaths of her husband and child, Sarah has ordered the construction of a costly, enormous mansion intended to house demonic spirits and keep them under control. Yet, as Price moves into her lavish estate to conduct his week-long evaluation of Sarah, he begins to wonder if she’s not so crazy after all.

Sibling directors Michael and Peter Spierig immerse the audience in a dark and creepy period-piece horror that’s low on scares and built from an elementary and unimaginative story. The acting talent of Helen Mirren and Jason Clarke go to complete waste with careless writing and hollow characters. Winchester possesses promise in theory, but unravels into sheer chaos throughout its dull and worthless execution. The film’s laughable attempts at mustering up fear and tension involve cheap jump scares and quick cuts comprising of creepy CGI effects. With Winchester, the effort is lacking on all accounts and even filters into the performances of the film’s lead stars, Mirren and Clarke, who should have simply stayed away from this absolute dumpster-fire of a story. There are bad movies, and then there is Winchester. With virtually zero redeeming qualities to speak of, do yourself a favor and stay as far away as possible from this sorry excuse of a horror film.

Grade: 1/5

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

Join our FREE Oscar Contest!

by MCDave

It’s that time of year again. The Oscar nominations are out and that means it’s time to get your picks in for MCDAVE’s annual contest.

Registering for the Oscar pool is simple, just follow these few easy steps:

– 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 and you’re logged in, go to the Contests page and select the 2018 Oscar Pool under “Current Contests”.
– From here you should be able to make your selections and edit them up until the show on March 4th.

As usual, participation is FREE and the winner will receive a $50 movie theater gift card supplied by the site.  The site is also mobile-friendly so you should have the ability to access it across all devices.  If you have any issues creating an account or making your selections, please contact us ASAP.

Thanks and good luck!

Geekscape Movie Reviews: Phantom Thread

by MCDave

Six-time Academy Award Nominee, Paul Thomas Anderson (PTA), soared to new heights with his 2008 drama There Will Be Blood. The film captured a pair of Oscar wins (Best Actor Daniel Day-Lewis and Best Cinematography), with an astounding 8 Nominations in total, and Hollywood eagerly awaited whatever was next in line for the now-proven filmmaker. Five years passed before PTA returned with The Master and then came Inherent Vice, both of which earned select recognition from the Academy, but neither of which came close to the adoration of his previous masterpieces. And now we’re given Phantom Thread, a true return to form from the extraordinary mind and keen eye of a visionary unlike any other.

Daniel Day-Lewis stars as Reynolds Woodcock, a 1950s dressmaker whose intense loyalty to his craft has made him a staple within wealthy, high-end circles. But once he meets and falls in love with Alma (Vicky Krieps), an equally stubborn young woman who slowly becomes a disruption in his difficult-to-please lifestyle, their relationship is pushed to incredibly harsh extremes. If only something could be done to keep this love and interdependence from withering way.

Exquisitely shot and brilliantly scored, Paul Thomas Anderson’s Phantom Thread stands as a stunning model of technical mastery. It’s picturesque set and costume design perfectly capture an atmosphere necessary to facilitate PTA’s unorthodox and hypnotizing tale. At first glance, the film’s premise offers very little bite or intrigue, yet Phantom Thread hooks its viewers with emotionally deep and complex characters whose whole-hearted investment in their relationship demands to be mirrored by the audience. And as this clever and unpredictable story continues to draw you in, PTA reshuffles the deck for a phenomenal closing sequence that makes these characters even more mystifying and alluring than they’ve already become. PTA’s wizard-like twist of perception vs reality is mightily enhanced by a trio of illuminating performances. First there is Daniel Day-Lewis (DDL), a three-time Oscar-winning actor who still declares his role as Reynolds Woodcock to be his final onscreen work. DDL’s talents need no support or explanation, as his uncanny ability to suck the air out of a room and completely steal the audience’s attention from everyone else around him is somehow resisted by equally impressive turns from both Lesley Manville and Vicky Krieps. All three are worthy of nods from the Academy, as Manville continues a career trend of stellar, yet underappreciated, work, and Krieps breaks out in grand fashion by somehow standing toe-to-toe with the great Daniel Day-Lewis. Phantom Thread waltzes from scene to scene, beautifully-framed and slowly orchestrated, exploding with an unforeseen finale that marks a triumphant return to glory for Paul Thomas Anderson

GRADE: 4/5

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Geekscape Movie Reviews: 12 Strong

by MCDave

The war genre casts a wide net over a devout fan base, many of whom love to get lost in the rapid gunfire and battle for survival that overcomes a brotherhood of soldiers. And for that reason, Nicolai Fuglsig’s heroic true tale, 12 Strong, will appease an extensive collection of moviegoers. However, if you prefer a more character-driven story in the vein of Steve Spielberg’s Saving Private Ryan, which we all can agree is in a class that’s difficult to reach, then 12 Strong will leave something to be desired.

Immediately following the tragic events of 9/11 the United States government summons a Special Forces unit headed by Captain Mitch Nelson (Chris Hemsworth), who’s never actually spent time in battle, and travel to Afghanistan where they team up with an Afghani Warlord (Navid Negahban) to stop the Taliban from taking control of a major city. But as these dozen soldiers are tasked with overcoming unexpected obstacles and multiple gunfire encounters in a race against mother nature’s fast-approaching harsh wintry conditions, the odds of survival continue to plummet. Yet bravery knows no bounds as the unit risks it all to stop the Taliban from gaining a stranglehold over the entire country.

There’s something to be said for depicting a truly heroic untold story admirably well, and director Nicolai Fuglsig accomplishes just that with 12 Strong. And while his full commitment is evident, and the actions of these brave soldiers justifiably seize various emotions from the viewer, there are too many missed opportunities visible throughout the film. Its dialogue is effective, but a clear disinterest in developing characters and examining their relationships with one another hold the film back from being something special. The overlying facts of the story are astonishing, making 12 Strong a worthwhile tale to tell. However, the bonds between these American soldiers and Afghani militants are merely glossed over. Fuglsig instead trades away opportunities to expand the depth of the story in exchange for irritatingly out-stretched battle scenes that accumulate screen time and accomplish very little else. Yes, the magnitude of these events are crazy to even comprehend, but 12 Strong would be far better off devoting its resources in other areas. For example, the film’s main foe (played by Numan Acar) is given one scene to build his character. Therefore, when a moment of retribution finally arrives, its impact is devoid of significance because the villain hasn’t adequately earned our outright disdain. Nonetheless, the film’s trio of main stars, Chris Hemsworth, Michael Shannon and Michael Pena, all deliver stellar performances, as well as co-star Navid Negahban who also shines in a lofty role. With a magnificent true story as its foundation and a valuable collection of acting talent on board, 12 Strong stands represents a mediocre effort that comes with its strengths and weaknesses.

GRADE: 2.5/5

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Geekscape Movie Reviews: The Post

by MCDave

The name Steven Spielberg has long been synonymous with quality filmmaking, and the reliable trend continues with the auteur’s latest Oscar-bound endeavor, The Post. Tapping into the nation’s current political climate, where the standing presidential administration has emphatically combated contemporary news reporting, Spielberg circles back in U.S. history to an eerily familiar time when Nixon sought to silence the media. And with Hollywood entrenched firmly on the opposite side of our President, some believe The Post could actually steal a Best Picture win at the Academy Awards as a clear statement of their dissatisfaction with his policies and public statements. But only time will tell how tall the The Post truly stands against the greatest cinematic achievements of all-time.

In 1971 a Washington Post reporter receives over 3,000 pages of a classified U.S. study regarding the nation’s complete involvement in the Vietnam War. Fiery editor Ben Bradlee (Tom Hanks) tries to convince the Post‘s owner, Kay Graham (Meryl Streep), to publish the documents, which contain information spanning four presidential administrations and detailing their incessant lying to the public and even congress throughout the duration of the war. Yet, as Graham is caught in the middle of trying to sell her newspaper and demands from the United States Attorney General not to publish the classified material, she’s forced to balance her financial well-being and journalistic integrity surrounding an entire war based off of lies and misinformation.

Spielberg’s The Post captures a pivotal moment in U.S. history with sharp vision and an unusual conciseness that leaves you longing for more. As far as iconic films regarding news journalism, such as All the President’s Men and Spotlight, Spielberg’s effort comes close to their grandeur but not quite close enough. His direction is on point, per usual, yet The Post‘s third act cruises by in a stepping-stone sequence intended to briskly conclude the film. This flat finale is also painted with cheap sentiment, illustrated by the courthouse scene where Streep’s character exits through a crowd solely of women appearing absolutely inspired by her courageous decisions, merely serving as a lazily crafted symbol of her female empowerment. However, tacky elements have became a frequent staple in Spielberg’s work, something that sadly puts a blemish on his always superb abilities as a filmmaker and visionary. And as far as performances go, Streep and Hanks, an absolute powerhouse of a pairing, provide exceptional turns that don’t quite stack up to the pinnacles of their careers, but are certainly worthy of the Oscar praises that they’ve garnered. The Post flows naturally and comes and goes with immense ease, once again proving that Spielberg is a timeless filmmaker capable of delivering highly respectable work at every turn.

GRADE: 4/5

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Geekscape Movie Reviews: Call Me by Your Name

by MCDave

Although it took a pair of tries to finally get it right, last year’s Best Picture award went to Barry Jenkins’ poetic and astounding drama, Moonlight. The film focuses on a central character who experiences a life-long journey of uncovering his sexual identity. This underlying similarity also reigns supreme in Luca Guadagnino’s critically-adored festival darling, Call Me by Your Name, which makes it categorically impossible to avoid a distinct comparison between these two cinematic achievements. Yet, no matter how much you try to weigh one against the other, much like Barry Jenkins’ prestigious award-winner, Call Me by Your Name appears destined to end up as a Best Picture Nominee from the Academy Awards.

Set against the picturesque landscape of Northern Italy circa the early 1980s, Elio (Timothee Chalamet) is a gifted scholar and musician born to a professor (Michael Stuhlbarg) who’s gathering research during the summer months. And as his father’s latest research assistant Oliver (Armie Hammer), a strapping American man radiating with confidence and a chiseled build, visits and stays at the family’s residence, Elio’s sexual curiosity begins to transform from an internal passion to an exterior pursuit. The seventeen year old boy eventually confesses his feelings to Oliver and they embark on an unforgettable summer romance that’s doomed by an inescapable expiration date when Oliver must return home to the United States.

Call Me by Your Name is a sweet and subtle examination of first love in all of its beauty and heartache. James Ivory’s adapted construction of Elio’s sexual evolution from an inward curiosity to an outward plea for Oliver’s companionship is a true marvel. And while the film’s ability to stir an emotional response occurred more in a meditative retrospect than in the actual moment of viewing, mostly due to an overly detailed and laboring pace, director Luca Guadagnino achieves his ultimate goal and delivers an effective dramatic story. Speaking of Guadagnino, his eye is spectacular as he captures an array of masterful shots that are emboldened by pristine cinematography. These technical and atmospheric accomplishments are further supported by a fantastic lead performance from Golden Globe and SAG Nominee, Timothee Chalamet. The youngster serves as the life-force behind Call Me by Your Name and he effortlessly captures the undulating teenage emotion engulfed by first-time love. And despite my mixed feelings regarding Armie Hammer’s onscreen work, perhaps a little off-putting due to the clear age difference between the characters, fellow supporting star Michael Stuhlbarg mesmerizes with an unforgettable closing soliloquy regarding intimacy and the important of discovering love in its purest form. Experiencing Call Me by Your Name can often feel like a chore, wading through the sometimes exhaustive nuance of Luca Guadagnino and James Ivory’s storytelling, but it’s also a tender and heartfelt journey that’s worthy of your patience.

GRADE: 3.5/5

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Geekscape Movie Reviews: All the Money in the World

by MCDave

With the worldwide phenomena of the #MeToo movement engrossing every walk of life, Hollywood was no exception to the unmasking of workplace sexual harassment claims. One unexpected casualty of the movement was Kevin Spacey, a veteran actor with a stunning resume, who faces multiple accusations of unwanted sexual advances. Consequently, director Ridley Scott felt compelled to do the unthinkable with his new film All the Money in the World. A mere six weeks before its official release, Scott recast Academy Award Winner Christopher Plummer in Spacey’s role and re-shot 22 scenes in 9 days with the committed aide of his cast and crew members. But how much of an effect would all of these 11th-hour changes have on the overall quality of the film? Truth be told, these last-minute edits are the least of the movie’s issues.

All the Money tells the unbelievable true story of oilman John Paul Getty (Plummer), the world’s richest man, who refuses to pony up a $17 million cash-ransom demanded by the kidnappers of his 16 year-old grandson Paul (Charlie Plummer, no relation) in 1973 Italy. But when Paul’s mother, Gail (Michelle Williams), pleas desperately for Getty’s assistance, he enlists the services of personal advisor and ex-CIA agent Fletcher Chase (Mark Wahlberg) to take care of matters “as quickly and inexpensively as possible”. Pressed for time as Paul’s abductors make it clear that they aren’t afraid to kill the teen if necessary, Gail and Chase try to scheme a way to cut a deal.

There’s a more interesting story embedded somewhere within this broadly told screenplay from David Scarpa. But instead, All the Money muddles its focus and emerges as a thinly-elaborated and thrill-less bout of factual exhaustion. Widely outstretched to nearly 135 minutes of uninspiring and occasionally agonizing narrative, Michelle Williams and Christopher Plummer deliver effort-saving performances that are but twinkles of starlight in a dark and empty void of crumbling deficiencies. The film’s two most-prominent characters, Gail and Getty, become lost in a sea of meaningless subplots. The lengthy amount of attention given to the kidnappers and their prisoner, Paul, lacks the required tension needed to justify its overwhelming inclusion. Moreover, Mark Wahlberg is so noticeably miscast that it’s difficult to tell whether his designed character arc is poorly scripted, terribly acted, or a disastrous combination of both. Either way, this bitter and cold real-life story lacks a genuine purpose. It fails as a suspenseful thriller, it underwhelms as a cheaply-explored character study, and it by no means engages the viewer emotionally. You will find some brilliant examples of skilled acting and a few strong moments of direction sprinkled throughout the film, yet there’s very little else to be found inside of Ridley Scott’s All the Money in the World.

Grade: 2.5/5

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MCDave’s Favorite Films Of 2017

by MCDave

Can you believe that 2017 is coming to a close? In just a few days we’ll abolish that dreaded seven for ten more years, and a cool, clean, sexy eight will take its place.

2017 was an incredible year for moviegoers, gamers, music enthusiasts, and media lovers of all sorts. With the year coming to an end, it’s time to begin talking about the best of the best.

Yesterday, Matt Kelly shared his favorite films. Today, it’s MCDave’s turn.

Please Note: I still haven’t seen Call Me By Your Name, Phantom Thread or The Post.

Honorable Mention: Wind River, Small Town Crime, Princess Cyd, The Disaster Artist, War for the Planet of the Apes, Wonder Woman and Blade Runner 2049.

10. T2 Trainspotting

As a fan of Danny Boyle’s 1996 original, I was eager and nervous to catch this sequel. Yet, Boyle and company refuse to disappoint with a humor-laced screenplay and a valiant return by all of its characters in a truly enjoyable experience that works as both a worthwhile sequel or a stand-alone entry.

9. Lady Bird

While my adoration for Greta Gerwig’s directorial debut is a far cry from the Best Picture claims from many critics, I still found the film to be an endearing teen dramedy. Powered by the wonderful onscreen efforts of Saoirse Ronan and Laurie Metcalf, “Lady Bird” tells a somewhat familiar coming-of-age story that stands out because of its key performances.

8. Stronger

This character study follows a victim of the 2013 Boston Marathon bombing who struggles to go on after losing both of his legs. The film could have demanded cheap sentiment, but instead relies on superb acting from Jake Gyllenhaal and his onscreen girlfriend, played by Tatiana Maslany, to bring this sad and courageous tale to life.

7. Last Flag Flying

Richard Linklater delivers a somber, yet poignant, story of a Vietnam veteran (Steve Carell) who enlists the support of fellow servicemen (Bryan Cranston and Laurence Fishburne) as he travels to claim the body of his Marine son during the Iraq war. The film relies on hystericslly outspoken humor from Cranston and a quiet warmth from Carell in order to touch on deeper themes of grief and patriorism.

6. Dunkirk

It’s truly amazing how certain filmmakers have the ability to transcend conventional storytelling in order to deliver a visual masterpiece. Christopher Nolan does just that with his World War II epic “Dunkirk”. It’s a fair criticism to harp on the film’s failure to adequately develop any of its characters, but the truth still remains that “Dunkirk” is one of the year’s most intense movie experiences thanks to Nolan’s keen direction and a world-class score from legend Hans Zimmer.

5. I, Tonya

I was completely caught off-guard by Craig Gillespie’s riotous examination of notorious figure skater Tonya Harding (Margot Robbie). Told through the perspectives of various unreliable sources, this farce of a comedy throws away any hopes of trying to spark a revelation about the “incident” surrounding Harding and fellow competitor, Nancy Kerrigan, and instead devotes itself to telling a widely embellished and hilariously vulgar interpretation of the events.

4. The Big Sick

Kumail Nanjiani writes and stars in the year’s most heartfelt comedy. Where “The Big Sick” succeeds most is in its ability to operate as a comedy first and a drama second. There’s no shortage of laughs in this earnest tale of a Pakistani (Nanjiani) who secretly falls in love with a white woman (Zoe Kazan) as his parents try to arrange a marriage for him with someone that they approve. This laugh-out-loud tale of a modern-day forbidden love story really hits the mark.

3. Get Out

From the bizarre and creative mind of writer/director Jordan Peele comes one of the year’s most taut and interesting screenplays. Daniel Kaluuya stars as a lonely, mid 20s African American who travels with his Caucasian girlfriend’s rural estate to meet her parents for the first time. Yet, what begins as a bunch of peculiar exchanges, eventually turns into something far more insane. Rarely does a horror film (although it’s a rather timid one) immerse itself in a controversial political climate such as “Get Out”, and we should all be grateful it does.

2. Three Billboards Outside Ebbing, Missouri

Martin McDonagh (“In Bruges” and “Seven Psychopaths”) delivers a timely dark comedy that culminates as one of the year’s finest offerings. Set in the rural south where a heartbroken mother (Frances McDormand) hasn’t heard from local law enforcement for seven months regarding the rape and murder of her daughter, so she purchases a trio of billboards to shine a light on their incompetence. With an ending that I’m sure will irk some moviegoers, although I found satisfaction in it, “Three Billboards” possesses an all-star cast and an insanely fun journey.

1. The Shape of Water

Guillermo del Toro’s beautifully-filmed conquest bridges science fiction, history and romance in the year’s most exceptional release. Sally Hawkins is masterful as a mute loner whose life changes forever when she encounters a strange and enchanting creature at the top-secret government facility where she works. “The Shape of Water” tackles some reminiscent ideas in a completely original manner, and allows for its brilliant ensemble to bring del Toro’s wildly imaginative tale to life. Lovely and enchanting, “The Shape of Water” steals your heart with its unconventional love story.

Geekscape Movie Reviews: Star Wars: The Last Jedi

by MCDave

Following the box office and critical powerhouse that was The Force Awakens, fans and enthusiasts were shocked to learn that director J.J. Abrams wouldn’t be returning to oversee the next chapter of the Star Wars saga. Instead, Disney put its full faith behind Looper and Brick helmer Rian Johnson. But where would Johnson’s vision take this delicate collection of old and new characters? Early indications and trailer footage suggested a darker tone would exist throughout The Last Jedi, and only time would tell if this was the correct path for the franchise. Well now, that time has finally arrived.

Rey (Daisy Ridley) has taken her newfound abilities to a desolate island to learn the ways of the Force from Jedi Master Luke Skywalker (Mark Hamill). But as her understanding of the Force grows, so does Skywalker’s skepticism in her intentions as he becomes fearful of her uncontrollable strength. Meanwhile, Kylo Ren (Adam Driver) and the First Order look to put an end to the Resistance once and for all.

From start to finish, The Last Jedi becomes plagued by an artificial cheapness in both story structure and delivery. This isn’t to say that the film is a complete miss, because that’s by no means accurate, Rian Johnson’s effort is rather a misguided continuation of the re-branded universe that J.J. Abrams worked diligently to build. Where The Force Awakens goes overboard in its reliance on familiarity, both in terms of the story’s likeness to A New Hope and its return to key figures from the original trilogy, The Last Jedi desperately ventures in a polar-opposite direction by offering numerous thematic statements that this trilogy intends to have its own voice. Consequently, this branching-out approach from Rian Johnson comes with a wide range of successes and failures. Rey, Finn and Poe prove to be a strongly-developed trio of characters who are well-equipped to carry the saga into Episode IX. However, an absolute mishandling of Luke Skywalker’s character, which even drew public criticism from Mark Hamill leading up to the film’s release, is just the beginning of The Last Jedi‘s careless ideas. Everything from the revelation of Rey’s parents to shameful amounts of inorganic slapstick comedy sprinkled throughout, and lest we forget cinema’s most unimaginative and prolonged “chase sequence” ever, The Last Jedi‘s most shining qualities are sadly clouded by many blatant and unforgivable blunders from its writer and director. Therefore, we must turn our hopes back to J.J. Abrams for a stronger and more appropriate conclusion when he returns for Episode IX.

Grade: 3/5

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Geekscape Movie Reviews: Molly’s Game

by MCDave

Most successful individuals must work or train tirelessly to hone their craft, devoting a lifetime to reaching the pinnacles of their professions. Yet, somehow Aaron Sorkin appears to circumvent the norm with his seemingly effortless skills that have transformed the screenwriter and playwright into an Oscar-winning titan of the industry. Sorkin’s rare mastery of rapid dialogue interspersed with comedic undertones are staples in cinematic achievements such as A Few Good Men, The Social Network, Moneyball and countless others. But now Sorkin feels ready to embrace the next major challenge in his life, as the prestigious writer tackles his directorial debut with the unbelievable true story behind his new film, Molly’s Game.

After a crushing defeat ends the Olympic dreams of young skiing sensation Molly Bloom (Jessica Chastain), she ventures to California for a sunny retreat from intense training and a stressful upbringing at the behest of her father (Kevin Costner). While on the west coast, a series of odd jobs somehow navigates Molly into the underworld of high-stakes poker headlined by actors, athletes, politicians and all other kinds of celebrities. But as Molly’s thirst for expensive taste and her desperation to stay a part of the action crosses the line of legality, she’s forced to beg attorney Charlie Jaffey (Idris Elba) for his counsel after the U.S. government presses serious charges and confiscate all of her finances.

If you’re a fan of Aaron Sorkin’s past work, his trademark style is on full display once again in Molly’s Game. Told through a non-chronological approach, the audience is given a thorough glance into the mindset of a remarkably gifted woman who trades her intellectual and physical strengths for a dark and exhausting life of underground gambling. Molly is at the forefront of nearly every scene, paving the way for Jessica Chastain to grow an audacious and compelling character. Despite Molly’s crazy life story that manages to stay engaging even through a lofty 140-minute affair, Chastain’s performance is strong but not transcendent. Her work rings familiar to another recent turn Chastain delivered in John Madden’s Miss Sloane, and the similarities sour the experience a bit. Idris Elba and Kevin Costner provide stellar supporting performances as well, but the largest issue with Molly’s Game is the film’s inability to elevate the stakes. The story feels grossly repetitious at times and its dramatic conclusion is regrettably flat. However, Sorkin’s usage of heavy dialogue is executed to his typical standards, keeping a comfortable beat and tempo that’s constantly moving and never bores. Molly’s Game is a decent effort and a fine directorial debut for Sorkin despite the movie’s lack of necessary escalation.

GRADE: 3/5

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Geekscape Movie Reviews: The Shape of Water

by MCDave

While I’ve longed respected the career work of Pan’s Labyrinth director, Guillermo del Toro, somehow his films have always failed to resonate with me. But after catching an early screening for the filmmaker’s new Oscar-bound fantasy-romance, The Shape of Water, those sentiments no longer ring true. Welcome to my heart, Mr. del Toro.

Set during the early 60s, in the midst of America’s tenuous Cold War with the Soviet Union, Sally Hawkins stars as Elisa, a mute cleaning lady who works alongside her chatty friend Zelda (Octavia Spencer) in a high-security government laboratory. Caught in the monotony of her safe and low-key daily routine, Elisa stumbles across a new living and breathing “asset” that’s been brought to the facility where she cleans. And as Elisa sneaks behind the backs of everyone in the lab to forge a deep-rooted connection with the beast, she also learns of a sinister government agent’s (Michael Shannon) plan to terminate the creature.

Often referred to as a master of storytelling, Guillermo del Toro  establishes a daring tale of romance that hurdles the traditional love story. But even more absorbing than the magical fantasy he creates, it’s Sally Hawkins who steals the spotlight with an absolutely majestic performance, one that could very well top my annual list for lead actresses. Her work doesn’t grab you with a loud and verbal demanding of your attention like awards season rival Margot Robbie in I, Tonya. Instead Hawkins lures the viewer using an earnest and wholesome charm that feels so sadly unfamiliar nowadays. She tap-dances her way into your heart and catapults an odd and profound romantic affair that straddles the line between derivative and innovative remarkably well. The Shape of Water also comes with a wide range of engaging subplots and co-starring talent. While my personal taste navigates a preference towards the supporting work of Richard Jenkins and Octavia Spencer, both Michael Shannon and Michael Stuhlbarg prove invaluable to the film as well. Any of them are fair game for awards season success, further validating how well-rounded of a movie del Toro has created. Everything from Alexandre Desplat’s enchanting score to del Toro’s sleek and calculated direction, there’s hardly a blemish to be found. The Shape of Water is beautifully filmed, superbly acted, boldly told and without a doubt my favorite film of 2017 so far.

GRADE: 4.5/5

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Geekscape Movie Reviews: The Disaster Artist

by MCDave

James Franco’s intimate examination of a talent-less auteur-turned-cult legend debuted as a “work in progress” selection at this year’s SXSW Festival. And although I avoided the screening while there, mostly due to the fact that I had never seen The Room before, as rumblings of its sharp-comedic effectiveness grew, so did my anticipation for the film’s release. The Disaster Artist has found its way to select screens, and while the effort is certainly a solid watch, it’s also a far cry from the comedic gold we’ve come to expect from Franco and his crew of usual suspects.

When a shy and timid actor named Greg (Dave Franco) stumbles across the fearless performer Tommy Wiseau (James Franco) in an acting class, he immediately reaches out to him in hopes of doing a scene together for class. Yet, as their bond grows, Greg learns of Tommy’s mysterious financial security and they venture to L.A. together with visions of making it big. But as the harsh realities of Tinseltown begin to set in, Tommy and Greg quickly discover that, if they want to be in a “real Hollywood movie”, they’ll have to make it themselves.

What can be said about The Disaster Artist’s source material, The Room, that hasn’t been said already? The king of the “so bad it’s good” genre, Tommy Wiseau’s hysterically awful production proves to be a worthwhile central focus for director/actor James Franco. He tackles the strange and mysterious aura of Wiseau with immaculate precision. You can sense his passion and commitment for the project, which should be fully appreciated, but Franco’s performance also suffers from his usual bouts with hyperbole, even when portraying someone as outrageous as Wiseau. In fact, there were a few moments throughout the film where I caught myself favoring James’ brother, Dave Franco’s, onscreen work over his own Golden Globe and SAG-nominated performance. And from a pure story standpoint, The Disaster Artist struggles to get off the ground running. You’re forced to wallow through a stale first act before they finally jack-up the energy with the behind-the-scenes filming of The Room. To the movie’s credit, however, it does improve with every passing minute and concludes in a truly satisfying fashion. The Disaster Artist isn’t nearly as funny as I had hoped, but it’s still a strong and respectful homage to an unskilled visionary who somehow managed to make cinematic history.

GRADE: 4/5

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Geekscape Movie Reviews: Justice League

by MCDave

Earlier this year the DC Extended Universe (DCEU) was on life support until Patty Jenkins revived hope with her blockbuster hit Wonder Woman. The release date was chosen specifically to build momentum for DCEU’s most pivotal installment to date, Justice League, which combines and introduces an elite army of superheroes synonymous to Marvel’s The Avengers. And with DCEU figurehead Zack Snyder’s unfortunate late-stage departure from the film and, coincidentally, The Avengers writer Joss Whedon’s claiming of the throne, no one knew what to expect from this wildly anticipated release.

Following the death of Superman (Henry Cavill), Bruce Wayne (Ben Affleck) and Diana Prince (Gal Gadot) learn of an other-worldly threat with devious plans of destroying Earth. Together they recruit the help of metahumans The Flash (Ezra Miller), Aquaman (Jason Momoa) and Cyborg (Ray Fisher) in order to combat the villain Steppenwolf (voice of Ciaran Hinds). But are they strong enough to resist the forceful army of Steppenwolf? If only Superman was still around to help.

Transitioning the formula to fit the comedic tone of the DCEU’s previous effort Wonder Woman, Justice League continues with a dark-aura that’s lightened by timely humor. This is reasonable to expect with long-time Marvel scribe Joss Whedon crafting the screenplay. And although the final effect is nowhere near the level of Wonder Woman, mainly due a surprisingly low amount of energy and a complete level of predictability, Justice League still manages to satisfy a bit more than previous DCEU films like Man of Steel, Dawn of Justice and Suicide Squad. Gal Gadot continues to impress and Ezra Miller also delivers a standout performance, yet Affleck and new faces Jason Momoa and Ray Fisher aren’t nearly as successful. Furthermore, the film pridefully relies on a bombardment of mind-numbing visual effects that are in no way an acceptable substitute for a meaningful story or valuable character development. Justice League serves as another flat and superficial endeavor from the DCEU that won’t hold up over time.

GRADE: 3/5

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Geekscape Movie Reviews: Thor: Ragnarok

by MCDave

Personally, I needed Marvel’s latest inclusion, Thor: Ragnarok, to redeem its title character’s overlying franchise. After 2012’s The Dark World dragged the entire Marvel Cinematic Universe (MCU) to an all-time-low, the God of Thunder quickly transformed into one of the MCU’s most uninspiring characters. And while critics and audiences alike have heaped praise onto new director Taika Waititi’s first go-around with Thor, let’s be clear that Ragnarok isn’t nearly as impressive as you’ve been made to believe.

When Thor (Chris Hemsworth) returns to Asgard, he finds Loki (Tom Hiddleston) posing as Odin and learns of his father’s self-imposed exile. As Thor and Loki venture to find and confront their father, Odin’s first-born and demonically powerful daughter Hela (Cate Blanchett) returns to claim the throne of a vulnerable Asgard. Meanwhile, Thor and Loki find themselves trapped on a planet of outsiders where they form a special team that returns to Asgard and battles Hela in order to save their home.

To varying degrees of success, Ragnarok‘s campy delivery pokes fun at the formulaic approach used widely within the MCU. This hyper-exaggeration leads to a whole new level of comedic absurdity that, fairly stated, comes with a nearly equal share of hysterical hits and hokey misses. Thankfully, though, Ragnarok also incorporates a more stylish vibe, courtesy of new helmer Taika Waititi, and this refreshing overhaul to one of Marvel’s least interesting Avengers brings edginess and excitement to a spin-off desperately in need of a boost. Chris Hemsworth benefits from this complete redirection of his character and he’s joined by the towering talents of Cate Blanchett who illuminates a strong villainous foe to the story. And while Ragnarok’s reemergence of Mark Ruffalo’s the Hulk is both bold and spirited, in a gladiator-esque battle scene that’s worth the price of admission all on its own, the introduction of Tessa Thompson’s Valkyrie character proves a far-less compelling addition. Consequently, Ragnarok comes with its ups and downs, but the film also places Thor back on track and propels him into the spotlight as the MCU gears up towards its highly anticipated Infinity War.

GRADE: 3.5/5

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Geekscape Movie Reviews: Three Billboards Outside Ebbing, Missouri

by MCDave

Martin McDonagh has captured the attention of critics and movie lovers alike, despite a relatively brief stint within the industry. McDonagh burst onto the scene with his eloquently-constructed 2008 hitman comedy, In Bruges, only to follow it up with the equally impressive and wacky dog-napping comedy, Seven Psychopaths. But in a wide open year such as this, McDonagh’s latest small-town crime comedy, Three Billboards Outside Ebbing, Missouri, may be his ticket to the awards season’s biggest dance.

It’s been seven months since Mildred Hayes (Frances McDormand) has heard from police regarding the violent rape and murder of her daughter. Desperate to keep the story relevant and with hopes that the attention will lead to an arrest of her daughter’s killer, Mildred rents a trio of billboards alongside a small-town road that question the efforts of local law enforcement and their superior officer, Chief Willoughby (Woody Harrelson). But when a volatile mama’s boy, Officer Dixon (Sam Rockwell), loses his cool over the billboards, tensions escalate quickly in the town of Ebbing, Missouri.

Three Billboards thrives on explosive humor and a timely examination of local law enforcement officers all across the country. And rather than crumbling to the divisive politicizing of speaking in false extremes, McDonagh accurately depicts the wide spectrum of policing, addressing both respectable and deplorable behaviors, as well as the stunningly beautiful ability to change. Therein lies the film’s greatest strength. And as the year’s end creeps closer and closer, most of the industry’s attention will be placed on the sorrowfully-effective performance from lead actress Frances McDormand. Even in a crowded year for female roles, she should certainly land a nomination and quite possibly an Oscar win as well. Yet, it’s supporting star Sam Rockwell who leaves a lasting impression beyond compare. While the brilliant performer has somehow managed to avoid singular recognition from any of the Golden Globes, Screen Actors Guild and the Academy Awards, that’s all about to change. Measuring up to and surpassing anything you’ve enjoyed him in before, Rockwell’s portrayal of a short-tempered and unethical small-town cop who backlashes against the woman responsible for these unfair billboards is something to savor. All of these wonderful performances are born from a hilariously amusing screenplay and superb direction that help solidify Three Billboards as one of 2017’s strongest films.

GRADE: 4/5

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Geekscape Movie Reviews: Lady Bird

by MCDave

Thanks to countless collaborations with acclaimed indie filmmaker Noah Baumbach, Greta Gerwig has cemented her standing as a formidable lead actress in contemporary Hollywood. And even after a steadily climbing career inexplicably found her on the outside looking in at this past Oscars ceremony, where her work in Mike Mills’ 20th Century Women was actually one of the year’s strongest performances despite the snub, Academy voters will have a difficult time turning a blind eye to Gerwig’s beloved festival darling, Lady Bird. This indie treat combines the witty charm of Gerwig’s screenplay with a familiar Oscar player, Brooklyn star Saoirse Ronan.

The self-nicknamed “Lady Bird” (Ronan) wants nothing more than to escape her Northern California roots by getting into an east coast college despite her mom’s (Laurie Metcalf) strongest efforts to keep her local. And as Lady Bird navigates through senior year with her best and only friend, Julie (Beanie Feldstein), she encounters many firsts that slowly shape her her transition into adulthood.

Sadly, if you’ve seen Lady Bird‘s official trailer then you’ve seen many of the films most memorable moments. But still, Gerwig’s endearing script miraculously finds ways of triggering familiarity to our own teenage years, full of awkwardness and immaturity that we’ve all encountered in some shape or form. Saoirse continues to demonstrate her acting prowess by channeling her inner irrational self, without a filter and desperate to develop a sense of self. Lady Bird makes for such an interesting character because she’s so relatable, a testament to Gerwig’s crafty writing and Ronan’s ability to bring the title character to life. Equally as impressive as Ronan’s stout onscreen performance is the reemergence of Roseanne co-star, Laure Metcalf. Playing Lady Bird’s combative mother, Metcalf brings a natural fluidity to the role and their meticulously crafted co-dependence proves a marvelous component to the film. Lady Bird moves well with its brisk nearly 90-minute running time, but it also lacks a big emotional punch to the gut with its meandering resolution. Gerwig’s effort is certainly a strong one and seems primed to be an Oscar player as the year comes to a close, but Lady Bird also falls short of greatness in many regards.

GRADE: 4/5

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Geekscape Movie Reviews: Happy Death Day

by MCDave

The horror genre meets Groundhog Day in Christopher Landon’s engaging new effort, Happy Death Day. We’ve seen this repetitious formula filter into the sci-fi/action genre with 2014’s The Edge of Tomorrow, and it feels like such a natural fit for scary movies, making Happy Death Day‘s premise on odd combination of both familiar and original storytelling. But despite the film’s creative foundation, the manner in which everything pieces together is less that satisfying.

When sorority queen Tree Gelbman (Jessica Rothe) wakes up on her birthday in the dorm room of an underclassman named Carter (Israel Broussard), she instantly regrets all of her previous night’s decisions. Yet, little does Tree know that Carter may be the only person on campus she can actually trust. As Tree continues on with the rest of her day, it ends in a grisly murder at the hands of a determined killer sporting a mask of the university’s mascot. And when she awakes to the same morning routine in Carter’s dorm room, she quickly finds herself forced to relive the day over and over again until she can correctly identify her killer.

Happy Death Day is short on scares and gore, evident by its limiting PG-13 rating. For an idea as clever and death-filled as this one, the film is sorely mishandled with its tame and subdued demeanor. Instead, Christopher Landon and writer and Scott Lobdell deliver a more teen-centric and fun endeavor than a truly horrific one. And as Tree falls victim to her mysterious killer over and over again, she gains a newfound perspective on life that helps transform a once cruel and superficial sorority sister into a more grounded and introspective young woman. This nice and pretty little bow that’s tied to Happy Death Day‘s main character is certainly gratifying, yet a head-scratching journey to unlocking Tree’s killer is riddled with red herrings and plot holes. While some of the story’s misdirection works well in the moment, the most notable twist is in many ways unforgivably bad. Happy Death Day proves to be another immature horror effort that squanders an otherwise creative premise. Thankfully, a brisk pace and likable main characters allow Christopher Landon’s latest to be, at worst, a tolerable experience.

GRADE: 3/5

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Geekscape Movie Reviews: ‘Blade Runner: 2049’

by MCDave

It was 35 years ago when Ridley Scott broke ground with his sci-fi classic Blade Runner. Trading action-packed thrills for a tempered and more cerebral science fiction endeavor helped make an impact on an entire generation of movie lovers. And if a sequel had to be done, what better filmmaker to take the reins than Arrival helmer Denis Villeneuve? Brandishing an intellectual screenplay and Villeneuve’s keen visionary mastery, Blade Runner 2049 has clearly been placed in the most worthy of hands.

Set thirty years after the original, Officer K (Ryan Gosling) is a new-hybrid of replicant Blade Runner, programmed to fully obey his human masters. But as he becomes assigned to a very delicate case, the mystery he’s supposed to solve slowly forces him to question his own existence. And with all of the answers belonging to former agent Deckard (Harrison Ford) who has gone into hiding for decades now, K must track down the legendary Blade Runner in order to finally unlock the truth to his cloudy past.

Much like Ridley Scott’s Alien franchise, Blade Runner 2049 finds a unique beauty in its ability to pose more questions than answers. But despite a frustrating ambiguity that’s assured to displease select audiences, Denis Villeneuve and company do an amazing job of expanding on the universe that Ridley Scott created 35 years ago. Taking the auteur’s classic idea of building compassion for the replicant population and transforming that into a core principal within the structure of this new examination, Villeneuve enlightens the viewer with fascinating psychological quandaries and thought-provoking introspection. Ryan Gosling offers a stellar lead performance that’s wonderfully complemented by a multitude of smaller, yet unbelievably effective, roles. And while Gosling undoubtedly hogs the film’s face time, not a single side character wastes a moment on screen. Don’t be fooled, though, Blade Runner 2049 comes with a fair share of criticisms. The film wallows in a sluggish and thrill-less delivery that snow-piles throughout an often painful 160-minute duration, and its uncharacteristically weak score with the great Hans Zimmer on board proves to be a bit of a disappointment. However, loyal and respectful fans of the original Blade Runner can look past these flaws and find solace in Denis Villeneuve’s originality and heady subtext that rival the work of its predecessor.

GRADE: 4/5

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Geekscape Movie Reviews: American Made

by MCDave

Doug Liman returns with his second offering of 2017, re-teaming with his former Edge of Tomorrow star, Tom Cruise, in the wild true story of a commercial airline pilot-turned-CIA recon gatherer. American Made plays to a similar tone that we’ve witnessed on many occasions, shedding its light on the notorious Medellin drug cartel and leader Pablo Escobar. This aura of familiarity and a complete disregard for character building haunt Liman’s latest and have us pining for the level of success he showed early in his career with hits like The Bourne Identity and Swingers.

After growing tired of the monotony involved in his everyday life as a commercial pilot for TWA in the late 70s, a rare opportunity falls in the lap of Barry Seal (Tom Cruise) when he’s recruited by the CIA to fly recon missions in South and Central America. Barry’s thirst for adventure proves reckless when he finds himself immersed in a cocaine smuggling scheme under the behest of ruthless dealer Pablo Escobar. With all sorts of government agencies on his trail and danger certainly looming, Barry puts everything at risk when he makes a compromising decision that places him and his loved ones in grave danger.

Eerily reminiscent of Ted Demme’s 2001 cult classic, Blow, American Made suffers from what can only be described as an apparent egotistical grandstanding from leading star Tom Cruise. You’d be hard-pressed to find any extended period of time without Cruise’s long, flowy locks and devilish grin plastered across the screen. Sadly, the film focuses exclusively on Barry Seal, and its failure to properly address the impacts of Barry’s decisions on everyone else in his life through an adequate development of side characters proves detrimental. Barry’s family, most notably, is nothing more than a silhouette to Cruise’s demanding character. But despite this glaring weakness and unforgivable oversight to the film, American Made still manages to attract an audience with an energetic and amusingly tragic story. As Barry continues to fall deeper into his corrupt world of drug trafficking and money laundering, its like watching a car crash develop, where you refuse to look away for fear of missing the most destructive moment of impact. Cruise isn’t at his best but he certainly remains capable of carrying a film, even if we’re forced to take him in overflowing doses. But for as engaging and consuming as American Made‘s story allows it be, you can’t help but feel like Liman should have accomplished so much more.

GRADE: 3/5

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Geekscape Movie Reviews: Battle of the Sexes

by MCDave

Following an unusual career path to filmmaking that included nearly two decades of making MTV music videos for accomplished artists like REM, The Red Hot Chili Peppers, Weezer and countless others, Jonathan Dayton and Valerie Faris began their Hollywood career with a bang. The husband and wife’s debut feature Little Miss Sunshine went on to win a pair of Oscars (Best Supporting Actor and Best Original Screenplay) and earn heaps of critical praise. And despite an egregiously overlooked second feature, the superbly told fantasy love story Ruby Sparks, the couple’s latest work has them back in the spotlight.

Battle of the Sexes tells the timely true tale of female tennis great, Billie Jean King (Emma Stone), as she emerged as a beacon of the women’s liberation movement during the early 1970s. While embroiled in a bitter fight concerning equal cash prize payouts for the men’s and women’s tournament winners, King also discovers her inner desires and begins a secret and risque affair with a pretty young hair dresser named Marilyn (Andrea Riseborough). Meanwhile, 55 year old former men’s champion and gambling aficionado , Bobby Riggs (Steve Carell), comes up with a crazy sideshow idea to play King in an exhibition match, and puts on a chauvinistic display to help make it happen.

Caught in the midst of a heated social climate, Dayton and Faris’ Battle of the Sexes proudly parades its pro-feminism and pro-LGBTQ rights agenda. You’ll be hard pressed to find a single scene where King’s character is on screen and neither of those issues are involved. Consequently, the film will assuredly polarize audiences, so it’s important to take all passionate opinions regarding the movie with a grain of salt. And even though Academy Award Winning screenwriter Simon Beaufoy’s (Slumdog Millionaire) script comes off as a bit preachy, recent Oscar Winner Emma Stone and co-star Steve Carell both deliver outstanding performances. If anything, Battle of the Sexes could have used a larger dose of Steve Carell, as Bobby Riggs’ energetic character merely lurks around in the film’s first two acts, giving way to a tepid romance story between Billie and Marilyn. Both Austin Stowell, as Billie’s husband Larry King, and Andrea Riseborough fail to offer convincing and meaningful characters, which certainly creates a void in the film. Battle of the Sexes tells an interesting true story in a rather uninteresting way, making it a decent but unfulfilling watch.

GRADE: 3.5/5

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Geekscape Movie Reviews: Stronger

by MCDave

Less than a year ago Peter Berg, a director increasingly known for tackling events from recent history, delivered a tense and thrilling recreation of 2013’s Boston Marathon bombing and the subsequent days-long manhunt for the suspects at large with Patriots Day. The film was effective but lacked a subtle and more personal feel to the Boston-Strong tragedy that rocked the world. Yet, nearly nine months later we’re given just that perspective from a mildly unexpected source. David Gordon Green, an indie filmmaker who finally broke through with his 2008’s stoner-comedy Pineapple Express, finally returns to his dramatic roots. Stronger tells the emotional true story of Jeff Bauman, a bombing victim who struggles to come to grips with the debilitating results of this tragic event.

Jeff Bauman (Jake Gyllenhaal) is an unreliable and immature jokester living in the Boston suburb of Chelmsford. And when he runs into his long-time on-and-off girlfriend Erin (Tatiana Maslany) at a local bar trying to raise money for the marathon, he promises to be there at the finish line to cheer her on as she finishes the race. But Jeff’s decision to finally come through on his promise leads to the greatest struggle of his life when he losses both of his legs in the bombing and reluctantly becomes a hero to the entire city of Boston.

David Gordon Green’s Stronger grips its audience with a compelling character-driven story that’s eloquently brought to the screen by Jake Gyllenhaal. The actor’s storied career adds another shining inclusion to his already long list of achievements as Gyllenhaal delivers the year’s most notable performance to date. But for as masterful as Gyllenhaal is on screen, co-star Tatiana Maslany complements his work with an earnest and skillful turn of her own. Stronger tells a nuanced story that’s thin on memorable scenes but effective because of its refusal to cater the the heart-tugging backdrop of its over-arcing tale. The film’s undeniable dramatic moments are supported by laugh-out-loud humor courtesy of Jeff Bauman’s family members, which add a layer of depth to the entire experience. Stronger isn’t anything exceptional, and it may not even end up in the Best Picture field, but David Gordon Green shows why he’s a capable storyteller and exemplary filmmaker.

GRADE: 4/5

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