Showing posts with label Annette Bening. Show all posts
Showing posts with label Annette Bening. Show all posts

Sunday, July 17, 2022

Jerry & Marge Go Large

A gentle tale that, because of that very nature, stands out like a sore thumb in today’s entertainment landscape. In this instance, that’s a good thing. In the hands of lesser talents, this flick would come across as a Hallmark Channel movie, with all the blandness and insipid character that implies, but thanks to note-perfect performances by leads Cranston and Bening, the tale rises above potential mundanity and achieves a simple, elegant and entertaining expression of honest people catching a break—by making one for themselves, no less. I don’t know if that idea has much veracity in today’s world—or at any other point in history, for that matter—but in this film it works, and you can just relax and enjoy the ride. Go ahead and play the odds—it’s a safe bet you’ll like this payout.

Wednesday, April 13, 2022

Death on the Nile (2022)

I guess it’s just my lack of affinity for mystery movies, but, while I appreciate the skill with which this film was made, I found something missing here, some way in which this work just didn’t click. On the positive side, there’s no complaints to be made about the presentation; everything looks gorgeous, the cinematography is wonderful, and the Egyptian locations are used to brilliant effect. The performances are also first rate; no one in the cast makes a shambles of it. So what’s the problem? I think it’s the underlying tale. The mystery genre, in this viewer’s view, is one dedicated to an author trying to prove how clever he or she is--frequently without complete success. There’s little real interest in who-dun what here, and the whole scenario comes off as contrived. Also, I don’t think the exploratory plot points regarding Poirot's background and emotional state really add much to the proceedings; that character is there to perform a function in the story--guide the viewer to the resolution--not really to be a part of it. Add in an unwelcome touch of wokeness and there’s enough about this movie that either annoys or rings false, such that it drags down the total experience, despite the movie's positive aspects. You can be forgiven if you decide to skip this trip.

Saturday, November 16, 2019

Captain Marvel

Talk about teaching to the test. This flick seems like it was generated specifically to be a Bechdel-proof exercise in superhero storytelling. That's not to say it's really all that different from other entries in the genre; there's a weird-origin setup, plenty of visual razzle-dazzle, the typical climax--heavy on spectacle while somewhat light on thoughtfulness--plus a sprinkling of oddly British aliens, along with multiple sequel setups. Some of this stuff comes out of chronological order, which comes across as less narrative creativity and more jumbled mess. On the other hand, there is some satisfying interplay between Alison Brie and Samuel Jackson, and Brie is perfectly easy on the eyes, which helps make watching this movie relatively effortless. I'm not sure this one was particularly necessary, other than to check off a diversity form box, but it's not especially burdensome either. You can kiss this girl, and you'll probably like it; I'm just not sure you'll fall in love.

Tuesday, April 7, 2009

Open Range

A film that's beautiful from the first scene, but not very engaging at the start. That's why it's such a pleasant surprise when the story grows more engrossing and enjoyable as it progresses. The ultimate payoff comes as a satisfying film about realistic, complex characters that never falls prey to being too showy, too heavy-handed, or anything it doesn't need to be. Costner lets his film speak for itself, and you'll like what it has to say.

Wednesday, December 7, 2005

The Grifters

With a title like that, you expect a movie chock full of entertaining flim-flam action. Not so here, to the film's detriment. I found myself bored by the interpersonal angst between the cast of cheap hustlers. The story never gives us enough reasons to care about these people. A disappointment.

Monday, December 29, 1997

Richard III

The film version of the updated stage production of Shakespeare's classic. Set in a vaguely fascist England, with Ian McKellan taking the title role. Bang-up and bloody…just like you expect from the original Tricky Dick.