DUNKIRK

By George M. Thomas

Kenneth Branagh stars in Dunkirk.

DUNKIRK sticks with you long after leaving the theater.

It’s spectacular filmmaking without an emphasis on any one character.  In the case of DUNKIRK, its story is the one large character looming throughout with actors playing their roles without the benefit of grandeur and long-winded speeches that sometimes typify what audiences and filmmakers believe a war film to be.

Director Christopher Nolan assumes the mission of telling the story of DUNKIRK, a World War II battle that could have been epically disastrous for European Allied forces. The result is stunning – breathtaking cinematography and the telling of the story from multiple perspectives.

On the ground, we watch as two soldiers in particular do almost anything they can to survive the continued assault on them and their colleagues as they try to evacuate DUNKIRK.  Their experience provides enough drama so that Nolan, who also wrote the script, doesn’t have to provide it via artificial means.

Oscar winner Mark Rylance (BRIDGE OF SPIES) brings to the forefront the tales of the sea as he portrays Mr. Dawson, a dutiful British citizen answer the call for civilians with boats to help ferry some of the 400,000 soldiers from DUNKIRK via their vessels.

Wonder Woman

Review by George M. Thomas

Gal Gadot stars as Wonder Woman.

WONDER WOMAN is at times an epic comic book film that acquits itself well in the genre and it’s almost everything DC fans have wanted in a film based on one of their favorite characters since Christopher Nolan’s Batman trilogy.

Does it rise to the level of the best in that series?  No, but it stands on its own as an action-packed, enjoyable piece of escapism.

Many will reference the fact this is the first comic book film to feature a woman in the lead role.  In that regard, for director Patty Jenkins this particular assignment had to come with pressure – from herself, fans and the studio. And she delivers.

Yes, the film plays to a female audience in that it possesses an attitude to that lifts women, but it doesn’t do so at the expense of men.   If anything Jenkins, using screenwriter Allen Heinberg’s script, does little more than lift women to an equal level.

Baywatch

Dwayne Johnson and Zac Efron star in Baywatch.

By George M. Thomas

If there were ever a television show ripe for lampooning on the big screen, that 90s jigglefest BAYWATCH would be it.

Personally, I never watched the show.  I had better things to do like organize my sock drawer. But there are plenty of folks who did watch during the series’ run in syndication from 1989 to 2001. 

Yes, that’s 12 years of unbelievable, inane plots and enough skin for the time to start a soft porn site. But hey, somehow David Hasselhoff and his crew of beautiful people found an audience.

King Arthur: Legend of the Sword

By George M. Thomas

Charlie Hunnam in King Arthur: Legend of the Sword.

There’s no mistaking that KING ARTHUR: LEGEND OF THE SWORD possesses the flourishes fans come to expect from a Guy Ritchie film.

There’s that pay-attention-or-you’ll-miss-it dialogue.  There are those explanatory sequences where the director of the Sherlock Holmes films and SNATCH takes the audience back to the near past to something not previously seen. And there’s the quick pace.

Guardians of the Galaxy Vol. 2

By George M. Thomas

Guardians of the Galaxy Vol. 2 opens on screens Friday.

GUARDIANS OF THE GALAXY VOL. 2 earns a rare distinction.  It joins a list of films -  THE EMPIRE STRIKES BACK, INDIANA JONES AND THE LAST CRUSADE– that equals or outdoes a predecessor.

A myriad of reasons reveal themselves to bolster that assessment.  Guardians, however, has shown in two outings that it’s the one series in the Marvel Cinematic Universe that can balance humor, action and heartfelt emotion into a charming, irresistible cinematic cocktail – one that’s easy to consume and say “Thank you, please, may I please have another.”

The Fate of the Furious

 

By George M. Thomas

Vin Diesel and Charlize Theron in The Fate of the Furious.

Sitting through the eighth film in the Fast and the Furious series – THE FATE OF THE FURIOUS – most people will wonder what exactly is missing.

After a couple of days mulling it over, it finally hit me.  Although the filmmakers try, they cannot replicate the emotional heft that the last movie possessed.

Considering that was the last in the nearly two decades old franchise to have a connection to the late Paul Walker and his ghost-like presence informed almost every moment of that film, it would have been an impossible task for ask any filmmaker, including F. Gary Gray (STRAIGHT OUTTA COMPTON, THE ITALIAN JOB), to attempt.

However, it also frees Gray to take a cast that comes across as family on film, step right in, and go all-out while putting his stamp on the franchise. 

Going in Style

Review by George M. Thomas

Morgan Freeman, Michael Caine, Alan Arkin in GOING IN

STYLE.

Another week, another remake?

That summarized the initial thought about GOING IN STYLE.  There aren’t many modern film fans who’ll recognize that the film is a remake of a George Burns (who?) comedy.

The remake shares plenty of cinematic DNA with its predecessor, but has a more daunting challenge.  Burns and co-stars Art Carney and Lee Strasburg were veterans and legends by that time.

Who could director Zach Braff get to match that pedigree?  He pulls it off by giving us three Oscar winners in Michael Caine, Morgan Freeman and Alan Arkin.

Beauty and the Beast

Review by George M. Thomas

Dan Stevens and Emma Watson in Beauty and the Beast.

At their heart fairy tales generally tend to function as morality plays – something that the audience can chew on while being entertained.

The animated version of BEAUTY AND THE BEAST, released in 1992, was no exception.  Its moral centered primarily around treating individuals – especially outsiders – with kindness and tolerance.

The live-action remake takes that little morsel and expands upon it and turns BEAUTY into a morality tale for a new century.  With a cast that might rival that of Broadway’s HAMILTON in the area of diversity, it embraces the idea of a world of tolerance, acceptance and universal love.

Much of the brouhaha that surrounds the movie will come courtesy of director Bill Condon’s admission that LeFou (played by Josh Gad), the sidekick to the villainous Gaston (Luke Evans), is gay. Dude has a man-crush on Mr. Vain that can be seen from Earth’s orbit for those aware of his sly little flirtations. 

Kong: Skull Island

By George M. Thomas

King Kong makes his return to the screen in Kong: Skull Island.

KONG: SKULL ISLAND is a B-movie that possesses an A-list type of pedigree.

From the title alone the expectation is that this would be one of those cheesy, retro flicks that used to appear on UHF television stations in the ‘60s and ‘70s.  Locally, think Super Host or Ghoulardi.

But do not miss the opportunity to see a movie that’s incredibly well done, laced with humor and takes modern special effects and uses them to its full advantage.

This is the movie, which happens to be set in 1973, the most recent remake of GODZILLA should have been.  There’s no hiding the goods in this one.  Kong appears early and often and he’s a magnificent cinematic creation in a story that’s up to the task. Does it contain a great rumination on life?  Nope. But it sure as hell is fun and it features a cast that buys into that notion and goes along for the ride.

Fist Fight

By George M. Thomas

Charlie Day and Ice Cube in Fist Fight.

FIST FIGHT wants to be so much more than the lowbrow comedy that it quickly reveals itself to be.

Director Richie Keen (It’s Always Sunny in Philadelphia) and his story team (is there a better way to refer to multiple screenwriter?) want very much to make a statement about the education system from all sides and rarely come up with any success in that area.

Lowbrow?  That they can do.  Serious satire? That escapes them.

Perhaps it’s because they tell the story from the perspective of two teachers who aren’t very…ummmm…sympathetic to start.

The Lego Batman Movie

By George M. Thomas

Batman (Will Arnett) works with the Man of Steel in "The Lego

Batman Movie."

There’s nothing wrong with THE LEGO BATMAN MOVIE that a better edit wouldn’t have helped greatly.

And let’s face it; there are few pop culture icons riper for skewering than The Dark Knight himself.  In the superhero lexicon he’s the equivalent of a grumpy old man with off-the-chart intelligence and he maximizes all of that – especially the grumpiness. 

But Batman also possesses 78 years of backstory to provide plenty of fodder for those who want to take on what should be a relatively easy process.

For an hour of Batman, that is indeed the case as director Chris McKay mines that past material for its most significant laughs.  The occasional riffing on that noxious 1960s-era TV series provided some personal satisfaction, for example.

Then there is the blatant narcissism the character can be accused of having.  McKay and the film’s team of script writers – really it’s a team, there are five of them – phenomenally lampoon the character for perceived vanity and focus on self.

This Batman (voice by Will Arnett) can’t even bring himself to admit what every Batman fan knows – without The Joker there is no way for Batman to reveal all of those character flaws.

The film deals with The Dark Knight coming to terms with the fact that he’s a lonely soul.  Alfred (Ralph Fiennes), his faithful butler, rips on him incessantly for this very fact as does, of course, The Joker (Zach Galifianakis).  It’s an unrequited bromance as the Clown Prince of Crime willingly admits that Batsy completes him, but he’s alone with that feeling.

This is something that could be wrapped up in about 90 minutes, no?  Not according to this flick.  McKay strains to fit relevant laughs into 104 minutes and in the process THE LEGO BATMAN MOVIE gets stretched thin.

Yes, that’s the kind of thing its intended audience will ignore. But as the film slogs through its last half or so, it starts to grow tedious as they introduce every character in the Batman canon, including Batgirl, Robin, Alfred as Batman and a slew of villains.

Not much of that works.  What’s disappointing, however, is Galifianakis’ The Joker.  Yes, it’s a movie aimed squarely at the Lego-using audience, but can we have a little menace please and a less shrill voice?  That would be nice and thank you very much.

It’s not a difficult to believe that more than a few adults were looking forward to this movie’s release, also. This isn’t for you and that’s all right, really it is. A word of advice: lower your expectations and take the children anyway.

Movie: THE LEGO BATMAN MOVIE

Director:  Chris McKay

Cast:  Will Arnett, Ralph Fiennes, Michael Cera, Zach Galifianakis

Studio:  Warner Bros.

Rated:  PG for rude humor and some action

Running time:  104 minutes

George’s rating: 2.5-of-4 stars

Check for theaters and showtimes at Atlas Cinemas, ClevelandCinemas, Fandango.com and MovieTickets.com

The Founder

 

By George M. Thomas

Michael Keaton is Ray Kroc in The Founder.

He’s considered the founder of the fast food behemoth known as McDonald’s, but although he may have been a visionary, as shown with many warts, Ray Kroc was a snake oil salesman and weasel.

Ultimately, that’s the charm of THE FOUNDER, the latest effort from John Lee Hancock (The Blind Side).

Hancock, directing from a script by Robert D. Siegel, doesn’t hesitate to show Kroc (portrayed by Michael Keaton), a man who has been lionized in the past, for the flawed, opportunistic individual he was.

Kroc’s version of the American Dream belonged to someone else – Dick (Nick Offerman) and Mac McDonald (John Carroll Lynch) in this case. 

Live By Night

By George M. Thomas

Ben Affleck and Zoe Saldana in Live By
Night.

As a filmmaker it’s been fair to say that Ben Affleck has earned the reputation as steady.

As his subject matter as a director started in his hometown of Boston with THE TOWN and veered into history with ARGO,  Affleck displayed natural skill as a director.  He continues that with LIVE BY NIGHT, a cinematic trip that combines both - his love for Boston with a loving look back into history.

While Boston isn’t the complete focus, it plays a distinct role in who Doug MacRay (Affleck), the film’s morally fluid center, is even as he takes hold of a criminal enterprise in Prohibition-era Tampa, Fla.

LIVE BY NIGHT possesses a sense of style along with memorable characters and a captivating story.   It’s an old fashioned morality tale trussed up with some modern trappings.

But at its heart is the story of MacRay, a young guy making the mistakes young guys make.  He’s impetuous.  He’s intelligent and he’s ambitious.

Hidden Figures

By George M. Thomas

Katherine Johnson (Taraji P. Henson) meets John Glenn (Glen
Powell) in HIDDEN FIGURES.

It’s rare when a film can tackle topics as seriously as bigotry and racism and still make it feel as if it’s a feel good story.

That’s the best way to describe HIDDEN FIGURES, one of those stories that seem to be lost to time.  Or is it more apt to describe it as one that those who record history would just as soon forget?

Thankfully, there are those such as Margot Lee Shatterly, whose book serves as the source material for Allison Schroeder and director Theodore Melfi’s screenplay, who are diligent and intelligent enough to understand what may seem like a small moment in the here and now may actually be a bigger moment in history.

The best (what there was) of 2016 from George Thomas

By George M. Thomas

"La La Land" is a full blown, retro musical worth the time.

For years I’ve tried to avoid slapping the “best” label on a list of films at the end of the year. The reasons are numerous, the primary one: I’m not a filmmaker.

There’s too much craftsmanship that goes into making a film for me to completely understand what goes on behind the scenes.

I do, however, know what I like. Oddly enough it usually dovetails with the stuff a lot of critic-types eventually put on lists at this time of the year. Call it 50-some odd years of watching warmed over cinematic hash.

FENCES

By George M. Thomas

Viola Davis and Denzel Washington in FENCES.

I have little problem admitting because of my ethnic make-up (predominantly African-American) that FENCES probably hits with more emotional force than any other film this year. That Troy (Denzel Washington), the film’s protagonist, is also a father makes this examination in race, social justice and morality that much more compelling.

That Troy (Denzel Washington), the film’s protagonist, is also a father makes this examination in race, social justice and morality that much more compelling.

Based on August Wilson’s Pulitzer Prize-winning play, which he adapted for the screen before his death, and directed by Washington, FENCES lays bare what it means to be a black male in America. 

That it’s set in the 1950s means little. Some things remain true despite the passage of time.  Perhaps that’s why Wilson set the play in Pittsburgh in 1953 when he wrote it in the early ‘80s.

Blacks were not equal in the eyes of the law as the Civil Rights Movement was still evolving. And though some, such as Troy, were allowed in the middle class, the opportunities didn’t come in the private sector; they did in the public sector as city workers.  In Troy’s case as a garbage man.

La La Land

By George M. Thomas

Emma Stone and Ryan Gosling in La La Land.

LA LA LAND is pure magic.

It takes something that younger audiences don’t see very often – the conventional musical – gives it a contemporary spin and realistic take on life, liberty and the pursuit of stardom, and produces a satisfying cinematic experience.

It’s not surprising given the television networks’ fascination with musicals that a filmmaker – Damien Chazelle, who wrote and directed, in this case – would want to bring one to the big screen.

Yes, numerous Broadway adaptations have made their way to the screen in recent years with varied success.  CHICAGO proved a smash in theaters.  THE PHANTOM OF THE OPERA and RENT? Not so much.

But the distinct difference between all of those films and LA LA LAND – this is no adaptation.  It is completely original and takes the story of the small town girl (Emma Stone) and the city boy (Ryan Gosling) trying to make it big in Los Angeles and adds some magic.

Why Him?

By George M. Thomas

Bryan Cranston and James Franco in WHY HIM?

In WHY HIM? James Franco is every uptight, Midwest father’s nightmare with respect to who his prized possession – his daughter.

And let’s make little mistake about it, the notion that dear old Dad has to provide some of approval of who his little girl chooses to mate still remains ingrained in societal norms.

When someone such as Laird (Franco) comes along to challenge those notions, there’s an element of glee to be had. Then he opens his mouth. That’s the setup for this comedy that  revels in its vulgarity and drowns what little heart that shows up on occasion.

In this case, Laird represents both sides of that coin. He’s the accidental mindless cretin with a mouth that would make Amy Schumer blush.  He’s inappropriate almost 24/7 and he loves Stephanie Fleming (Zoey Deutch), a 22-year-old Stanford student from Grand Rapids, Mich.

Collateral Beauty

By George M. Thomas

Will Smith and Helen Mirren in "Collateral Beauty."

What exactly is “collateral beauty?”

The most I can figure is that it’s the good that comes out of any given situation – be that situation tragic, sad or straddling the two.

That’s what a stranger tells a character in the film COLLATERAL BEAUTY, a movie that remains true to the Christmas spirit in that it’s relentlessly optimistic despite the dark material – coping with the grief associated with a child’s death – it explores.

Sometimes that optimism is difficult to ignore and, as in the case of films that tug at heart strings, viewers won’t be able to resist the urge of being drawn into world of Howard (Will Smith), a grieving father and advertising executive who has put his company at risk because of an inability to confront that grief.

Rogue One: A Star Wars Story

By George M. Thomas

Felicity Jones and Diego Luna in ROGUE ONE: A STAR

WARS STORY.

Whether a standalone flick free of the Skywalker Chronicles could satisfy the hunger of rabid STAR WARS fans has been a question of debate since the first trilogy wrapped way back when.

It’s been answered with ROGUE ONE: A STAR WARS STORY.

If you combine reasonably compelling characters, rip-roaring action, and spectacular special effects, the STAR WARS crowd will flock.  

Witness the second trilogy, after all.

There was never any doubt that there would be other films in the Star Wars Universe after Disney shelled out a reported $4 billion for George Lucas’ little baby that grew from that first set of films – just as there will be more Indiana Jones films.