12 Strong (based on the book Horse Soldiers, a vastly superior title) is The Green Berets for today (that is not a compliment) – with Chris Hemsworth starring as John Wayne.
If the quality could be maintained, it would be lovely to open each new movie year with a Paddington movie
Paddington 2 brings the same sharpness of detail, sense of whimsy, and whiff of danger that made Paddington a global hit.
There are noticeable elements from Beauty and the Beast, Creature from the Black Lagoon and even Splash to be found in Guillermo del Toro’s The Shape of Water – but filtered through del Toro’s unique imagination the film is far more than the sum of its parts.
Jumanji: Welcome to the Jungle may be the most authentic video gaming movie I’ve ever seen. Match that with a Breakfast Club/Indiana Jones vibe and the result is two hours of pure, high energy fun.
The Greatest Showman is a movie musical about P.T. Barnum – the founder of America’s first circus. Movie musicals are not known for their historical accuracy, but – considering that there are many biographies of the man which paint him as anywhere from an honest entrepreneur to a cynical con man making a fortune by exploiting the pain of his collection of freaks and oddities – this film is far too superficial. Except for a few exceptional songs…
Star Wars: The Last Jedi fills the same basic space in the latest trilogy of chapters that The Empire Strikes Back filled in the original trilogy. In some ways it follows the template of that film, but not all.
After seven months of no results from the police, Mildred Hayes posts three billboards outside the town of Ebbing, Missouri in an attempt to prod local law enforcement to do something/anything more.
With Disney•Pixar’s Coco, the studio has reclaimed its best of the best status. Coco is an instant classic – and the studio’s most mature and intelligent film yet.
When aspiring musician Miguel ends up in the Land of the Dead in Disney•Pixar’s Coco, his family takes him to the Department of Family Reunions where a busy clerk informs him that he’s cursed. To return to the Land of the Living, Miguel will need a magical marigold petal and the blessing of a family member—but, according to the clerk, the family member can include any condition she likes—even forbidding music forever.
Warner Brothers has done something no one would have predicted a year ago – released to good-to-great superheroes inside a calendar year. (No, they’re nowhere near Marvel consistently, but they’re moving in the right direction.)
Justice League maintains the portentous/brutalist look that director Zack Snyder set for the DCEU, but following the few faint glimmerings of wit in Suicide Squad and Batman v Superman – and the wit, charm and adventure of Wonder Woman – the film maintains the levels of danger and conflict from earlier DCEU films while making a point of balancing its darkness with genuine fun.
Warner Bros. has long touted their approach as hiring great directors and letting them stamp their own style on the DC movies.
Marvel has been doing that since Jon Favreau directed Iron Man – and they’ve done it again with Thor: Ragnarok. No one but Taika Waititi could have made this delightfully oddball comedy of a superhero movie.
My main issue with the other two Thor movies were how cheap both of them looked. That’s not the case with Thor: Ragnarok. Director Taika Waititi delivers a fast paced, quip filled movie that has a rainbow of cotton candy colors and riotous set design work that still left me feeling a bit let down. It’s perfectly innocuous entertainment that’s worth watching once and enjoying. However, you’ll most likely forget about it after you leave the theater.