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Movie Review:  GODZILLA - KING OF THE MONSTERS

I grew up in the 1960's watching old monster movies on Saturday afternoons on an old black and white TV in the home I grew up in. A staple of these Saturday afternoon movies was the Godzilla monster movies from Japan, featuring such great monsters as Godzilla, Mothra, Rodan and Ghidorah. So, imagine my excitement when I realized that they all would be in the same film.

And...that film...GODZILLA - KING OF THE MONSTERS...delivers the goods just fine. Sometimes you go to the movie theater looking for laughs, sometimes you are looking to cry, sometimes you are looking to have your mind stimulated with interesting thoughts and ideas and sometimes you just want to watch giant monsters battling it out over the remnants of Fenway Park in Boston.

The 3rd in the "Monarch Series" of films from Warner Brothers (following the surprisingly good 2014 GODZILLA film and the fun KONG: SKULL ISLAND movie of 2017), GODZILLA - KING OF THE MONSTERS follows Monarch as they find (and in some instances, re-awaken) giant monsters - TITANS as they are called - the Titans attempt to take over the planet from the humans (there's a "save the planet" message that is being used as the excuse)...but here comes good ol' Godzilla to save the day.

Besides the monsters, there are quite a few humans along for the ride...Kyle Chandler and Vera Famiga as a dysfunctional couple (who also happen to be experts in Monsters) who are trying to keep in check their daughter, Millie Bobbie Brown (STRANGER THINGS). Ken Watanbe, Sally Hawkins and Jason Strahairn reprise their roles as members of MONARCH from the 2014 GODZILLA film, 2 veritable "that person" actors, Thomas Middleditch & Aisha Hinds as other members of Monarch along with Ziya Zhang and O'Shea Jackson, Jr. - all of these actors are "serviceable" to the plot and machinations, reacting appropriately to the green screen carnage and monsters that they are pretending to react to. Only Bradley Whitford (as a Monarch Scientist) rises above things with a goofy, "almost too over the top" performance that captures the spirit of the proceedings. Add into this good ol' Tywin Lannister himself (Charles Dance) as a shadowy, non-feeling bad guy that seems to have an inexhaustible supply of men and material - kind of like Tywinn Lannister - and the "human side" of this movie is fun...enough.

But, make no mistake about it, this film - and the reason I came to see it - is to watch giant monsters fighting each other and destroying everything in their wake and this film delivers the goods. Director Micheal Dougherty ( KRAMPUS) does a "serviceable" job keeping the action moving and coherent while avoiding (for the most part) the headache-inducing "quick-cut" editing sequence. There's nothing much new or innovative in his approach to showing us monsters fighting and creating massive destruction, but he doesn't take away from the spectacle of the action on the screen so that's a good thing..

There are 2 more Godzilla films currently "on the books" to be produced - including next year's KONG vs. GODZILLA - which will keep me coming back to the IMAX in the multiplex for years to come...and that's just fine with me.

Letter Grade: a solid B

7 stars (out of 10) and you can take that to the Bank(ofMarquis)

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Movie Review - ALADDIN

Unnecessary...a money grab...what was Will Smith thinking...why would Disney do this? All complaints that were written regarding the live action remake of the beloved 1992 Animated classic, ALADDIN. And...they would be wrong...as this ALADDIN is fun, fanciful, fast(ish) paced and fantastical.  It also has something that I was surprised by...heart. For those of you living in the "Cave of Wonder" for the past 20+ years, Aladdin follows the adventures of a street urchin who falls in love with a Princess and battles the evil Vizier, Jafar, for power via an enchanted lamp that houses a Genie that will grant 3 wishes. Disney has shown it can do these remakes well when sticking to the source material (as was evidenced by the 2016 live action remake of the 1967 animated classic THE JUNGLE BOOK), but also has failed when it takes the characters, but not the story (the recent DUMBO), so Writer/Director Guy Ritchie (of all people) was smart to "just take the animated movie" and remake it as live action. And...it works!  Ritchie (SNATCH, the Robert Downey SHERLOCK HOLMES) seems to be an odd choice to helm this film, but he acquits himself quite well, relying on the pageantry and spectacle of it all to carry the day.  The chase scenes are serviceable, but Ritchie's direction does get a bit clunky when the film slows down and focuses on the central love story. Using performers - for the most part - of Middle Eastern descent, Ritchie coaxes "good enough" performances from Mena Massoud as Aladdin and Naomi Scott as Jasmine.  They are pleasant enough on screen but was stronger apart than together.  I wouldn't call it "lack of chemstry", but rather, "medium chemistry".  But when they are paired with others - or get the chance to shine on their own - they do quite well. Scott plays well against Navid Negahban who brings a deepness of heart to his character of Jasmine's father, the Sultan and, especially, Nasim Pedrad (so that's what she's been doing since leaving SNL) as her handmaiden, Dalia (a character not in the animated film). Massoud, of course, spends a great deal of this film playing off the Genie character.  So let's talk about Will Smith's performance in the iconic Robin Williams role.  EVERYONE (including myself) was asking why Smith would take on this role.  It's a "lose/lose" proposition, trying to fill the shoes of one of the wildest, wackiest and most frenetic performances in screen history.  So Smith does a very smart thing - he doesn't even try.  He makes this Genie "his own" not trying to mimic Williams' performance, but rather creating a charming, friendly and funny Genie with heart (there's that word again) behind his eyes.  It is a strong performance by Smith - one that only a performer with his charm and charisma could pull off.  His presence in this film elevates the proceedings and I wanted more of this character. The music you know and love is all there - and they are welcome presences in this film - though they felt abbreviated (maybe it's just because I'm more familiar with the Soundtrack performances of these songs and not how they were used in the original film) and there is an Original number, a "girl power" song for Jasmine that felt a little too "Disney Channel" to me - but I don't think I'm the target audience for that song, so I'll cut it some slack. A slight downgrade in the final rating of this film needs to be made because of the "meh" characterization and performance of the main villain, Jafar.  As played by Marwan Kenzari, this Jafar was seething and menacing but never really bigger than life and threatening - qualities that make Jafar one of the better villains in the Disney animated canon. But, ultimately, this film will succeed or fail, I think, by your reaction to Smith's interpretation of the Genie.  It's NOT Robin Williams, and that's a good thing.  For me, Smith...and this film...succeeds. Letter Grade:  A- 8 stars (out of 10) and you can take that to the Bank(OfMarquis)

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Movie Review - JOHN WICK CHAPTER 3 - PARABELLUM

The latest installment  of the JOHN WICK story (titled CHAPTER 3 - PARABELLUM) is one long chase  scene.  It's 2 hours and 10 minutes of John Wick (Keanu Reeves) running  and fighting and chasing and fighting and running again and fighting again.    And...that's just fine with me.  For JOHN WICK 3 (JW3 as I'll call it  from now on) is one of the finest choreographed films (fight scene-wise) that  I have seen in quite a long time.    Picking up right after JOHN WICK CHAPTER 2 - JW3 follows John as he is  declared "Ex-Communicado" from the underground Assassins  organization that he has been a part of, then retired from, then pulled back  in with a $14 million bounty on his head.    This flick kicks right into action (literally) with John and a few  "red-shirt assassins" taking on each other in a hallway filled with  knives.  Will all these knives be used in the ensuing fight?  You  bet they will be - but it is how they are used - and how this scene (and all  the fight scenes) are set-up, choreographed, and shot that makes this movie a  strong cut above the standard fare in this sort of film.    That's because Director Chad Stahelski - a stunt man/fight coordinator  for over 70 films - wisely focuses his attention on the grace, athleticism  and strength of the stunts/fights and eschews the "quick-cut edit"  style of fight scenes that is so en vogue these days.  Stahelski keeps  his camera "in place" and lets us, the audience, watch what's going  on in (seemingly) long shots that are going to have you saying to yourself  "how did they do that".  Stahelski has helmed all 3 John Wick  films thus far and I hope he helms many, many more.    You'll also be asking yourself how did 53 year old Keanu Reeves do all that  fight work?  It is incredible, physical work for him - and he is up to  the task.  John Wick is a man of few words - and much, much action -  which suits the acting talents of this performer quite well.    Back for another go in the series - and having fun along the way - are Ian  McShane, Lawrence Fishburne and Lance Reddick - as colleagues, collaborators  and/or foes of John Wick in this underworld.  Capably joining in - with  just as much a twinkle in their eyes - are Angelica Huston, Hallee Berry (in  her best work in years) and Jerome Flynn (Bron from Game of Thrones).  A  new addition (at least to me) was the strong work brought forth by  Asia Kate Dillon (TV's ORANGE IS THE NEW BLACK) as "the  Adjudicator" - who is monitoring the John Wick proceedings,   Special mention needs to be made of the work of Mark Dacascos (TV's Iron Chef  America!) as Wick's chief adversary - a strong effort (both acting-wise and  physically/fighting wise) that I just didn't know this performer had in him.    A quick side-note on some animal performances here.  There is a scene  where a bad guy "gets it" from a horse...and I thought...how are  they going to top that...and then immediately top it - GOOD FOR YOU,  HORSE!  And...a film has FINALLY figured out a way to use attack/guard  dogs in a way that had you rooting for these four-legged, furry friends over  the fiends they are attacking.    But...make no mistake about this...this film is about the fighting...and the  intriguing Assassin's world that was first presented in the original (and I  do mean ORIGINAL) John Wick film.  I said at the time that I hoped they  would expand this world, I wanted to see more of it.  And...expand it  they have...for the better.  The world has become more intriguing to me,  and I want EVEN MORE, PLEASE, of this world and of the uniquely original  fight choreography that comes along with it.    This film is not for everyone - it is bloody (but in a "cartoon  way"...I wouldn't say it is gory) and it is one long chase scene.   But, if this is "your thing", you'll enjoy it very much.    Letter Grade:  A-    8 stars out of 10 and you can take that to the Bank(ofMarquis)

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Classic Movie Review:  CASABLANCA

"Of all the gin  joints, in all the towns, in all the world, she walks into mine."    "We'll always have Paris."    "Here's looking at you, kid."    "Louis, I think this is the beginning of a beautiful friendship."    And many, many, many other iconic lines were featured in the brilliant 1942  all-time Classic CASABLANCA.  Listed as "Warner Brothers Project  #410", this film was supposed to be "just another film", but  it turned out to be something more.    Starring Humphrey Bogart, Ingrid Bergman and Claude Rains, CASABLANCA tells  the story of refugees trying to flee Nazi controlled France (via Casablanca)  in WWII.  Amongst the denizens of Casablanca, there is Rick Blain,  proprieter of Rick's Cafe American - a place where one can buy documents  needed to escape, as well as escape - through a bottle.    Humphrey Bogart is perfectly cast as the jaded, "I stick my neck out for  no one", Rick.  He is cynical, corrupt, selfish...but he also has a  heart of gold underneath it all.  Bogie plays all of these layers   - richly - at once, and was rewarded with an Academy Award nomination.   He would lose to Paul Lukas for WATCH ON THE RHINE - a film I haven't seen,  so can't judge as to the merits of his win.  But...based on Bogart's  performance...I'd say he was robbed.    Rick's "partner in crime' is Capt. Louis Renault of the Casablanca  police.  He is cheerfully and unapologetic-ally  played by  Claude Rains, who also was nominated (but didn't win) for his  performance.  These two play off each other brilliantly and the  chemistry between these two is evident and I would have LOVED to see another  film featuring these two fine performers.  I'd say the chemistry between  these two actors is a high point in this film, if it weren't for...    Ingrid Bergman as Ilse Lund - a past romance of Rick's.  When Ilse and  her husband, Viktor Laszlo enters Rick's seeking transit papers to flee the  Nazi's, the instant spark and chemistry between Bogart and Bergman is  palatable.  You can feel the heat between the two of them through the  screen and the longing and regret for "what could have been" is  heartbreaking.  If you were to show an example of "screen  chemistry" the scenes between Bogart in Bergman in this film would be  "Exhibit A".    Credit for all of this - and for keeping the plot machinations moving forward  - is Warner Brothers "contract director" Michael Curtiz - one of  the greatest Directors of "old Hollywood."  His credits  include the Errol Flynn ROBIN HOOD, James Cagney's Oscar turn as George M.  Cohan in YANKEE DOODLE DANDY, CASABLANCA, the Bing Crosby/Danny Kaye WHITE  CHRISTMAS and John Wayne in THE COMMANCHERO'S - all big budget, big  expectations films that delivered the goods.  Curtiz won the Oscar for  his work in this film.    Assisting him are the two men who wrote so many memorable lines...twin  brothers Julius and Phillip Epstein.  They (deservedly) won an Oscar for  their screenplay - the only set of Twins to win the Oscar.      The supporting cast - including Paul Henreid, Sydney Greenstreet and Peter  Lorre - are exceptional as well, as are great scene after great scene -  including the "Marseilles"  scene and, of course, the fog  covered airport scene at the end.    If you haven't seen this film in awhile, do yourself a favor and check it  out.  If you have NEVER seen it, I envy you the experience of seeing  this wonderful black and white film for the first time.  It is  consistently listed as one of the top 5 films of all time  - and earns  that ranking.  It truly is one of the greatest films - with some of the  greatest performances - of all time.    Certainly, if you wanted just one example of Studio "Old Hollywood"  movie making, this would be the one movie to watch.    Letter Grade:  A+    10 stars (out of 10) and you can take that to the Bank(ofMarquis)

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BANKOFMARQUIS Movie Review:  LONG SHOT

Quite a few people  that I have spoken with don't like either Charlize Theron or Seth Rogan as  performers, so the idea of a pairing of the straight-laced, uptight  politician played by Theron and the shlubby, weed-smoking slacker played by  Rogan was like "nails on a chalkboard" to them.    And these people would be wrong, for LONG SHOT is a very entertaining,  heartfelt romantic comedy that has one big surprise - the strong chemistry  between the two leads.    Kind of the "anti-AMERICAN PRESIDENT" (the 1995 Michael  Douglas/Annette Benning RomCom written by Aaron Sorkin), LONG SHOT tells the  tale of Secretary of State, Charlotte Field (Theron) who embarks on a  Presidential bid.  When she polls low in "sense of humor" she  decides to add a comedy writer to her staff to punch up her speeches.  A  chance encounter with her childhood next door neighbor leads Field to hire  Fred Flarsky (Seth Rogan).  Will sparks fly?  Can Fred remind  Charlotte of why she chose politics in the first place?    What do you think?  It's a RomCom afterall, but it's the journey and not  the destination that is important.    And...his is a fun journey...mostly because of the performances of Theron and  Rogan.  Over the years, I have grown to really appreciate Theron - from  dramas like NORTH COUNTRY and her Oscar-winning turn in MONSTER, to action  flicks like MAD MAX:FURY ROAD and FATE OF THE FURIOUS, to comedies like A  MILLION WAYS TO DIE IN THE WEST and this film - there is nothing (apparently)  that she can't do.  She is really good in all of these - even if the  material is not the greatest.    The surprise to me here was the performance of Rogan - it was  "wacky", "stoner-ish" and "out there", but  toned down and tempered - probably the sign of a good, strong Director at the  helm.  I bought Flarsky's journey in this story and the relationship  between these two characters was believable because Rogan was able to match  Theron's energy and show real chemistry between the two.    Other fine turns are given by O'Shea Jackson, Jr (STRAIGHT OUTTA COMPTON), as  Rogan's buddy, Ravi Patel (TV's MASTER OF NONE) as one of Theron's support  staff and (especially) June Diane Rapheal (TV's GRACE AND FRANKIE) who really  shines in the unenviable role of the Theron's Chief of Staff who doesn't  approve of putting Rogan's character on the team, but she plays the role with  layers - not one-note - and so we get a real person, with conflicted feelings  at time, and she rises above the typical type of character in this type of  role.     The only disappointment for me was Bob Odenkirk's President (who is stepping  down for - he hopes - a much bigger job, MOVIE STAR) and not because of  Odenkirk's performance, he was fine with what he was given, but there wasn't  much nuance written in this part and (compared to the layers shown/written by  others) the one-note-ness of Odenkirk's character was noticeable.  As  was Andy Serkis as a heavily-made up, older media mogul who is trying to use  his wealth to manipulate the events from behind the scene - this character  (and make-up) was a "swing and a miss" for me.  But,  fortunately, neither Serkis nor Odenkirk have much screen time, so it was  more of a "distraction" than an "annoyance" for me.    I mention the Director - so I better give credit to Jonathan Levine (the  awful SNATCHED with Amy Shumer and Goldie Hawn) - I have not really enjoyed  anything else he has Directed, but I have to give him credit for this one -  he brings "the funny and the crude" without going overboard,  driving the story efficiently while putting in enough yuks and (surprisingly)  heart in this movie along the way.    Now...don't be fooled here...there is quite a bit of "crude, lewd and  rude" behavior and jokes (a crucial plot point hangs on a "sex  act"), so don't expect a gentile, Cary Grant/Katherine Hepburn battle of  the sexes.  Expect a funny (crude), sexy (lewd) and opinionated (rude)  take on the modern political system and how a person can lose their soul if  they choose to play the game.    With a large amount of heart - and strong performances/chemistry between  the two leads - I was pleasantly surprised by LONG SHOT - and, if you can  handle the crude, lude and rude, then you will have a good time at this film.    Letter Grade:  A-    8 stars (out of 10) and you can take that to the Bank(OfMarquis)

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Movie Review - AVENGERS: ENDGAME

***There will be NO SPOILERS in this review*** AVENGERS: ENDGAME is an emotionally and artistically satisfying conclusion to 11 years and 22 films  of the MARVEL CINEMATIC UNIVERSE. Closing out "Phase III" in the MCU, the concluding chapter for most of the "original" MCU characters/actors, ENDGAME picks up the Avengers story right after the conclusion of AVENGERS: INFINITY WAR - a film which saw our heroes lose the battle to Thanos, who snapped his fingers and half the living beings in the Universe vanished. Instead of downplaying the grief that a survivor would feel, Directors Joe and Anthony Russo (veterans of many MCU films) wisely decide to "lean into" this grief which gives this film something that is surprising for a SuperHero film - emotional resonance.  You grieve with these characters that you have come to know - and love - and share their pain and sorrow. It's a wise choice for it adds a layer to this film that many Superhero films fail to achieve.  Along with action, fun characters that you want to root for, interesting visuals and (are you listening DC?) - HUMOR, this film has "all the feels" (to steal a phrase) and will leave the MCU fan (both hardcore and casual) satisfied with the experience. Also...interestingly enough...this film stands on it's own quite well.  The guy next to me in the theater was a "newbie" to the MCU, dragged to the theater with his friends to be "part of the crowd" in this experience.  Over the first 5 minutes he was asking his buddy a million questions about who is who and what is what...but after that he just settled into his chair and enjoyed the ride for what it is - even jumping up and cheering at a spot late in the film where EVERYONE in the sold out IMAX showing I was in was tempted to jump out of their chair and cheer (yes - there is THAT kind of moment in this film). There is also sorrow...loss...joy...relief...tension...excitement...as I said..."all the feels".  I don't usually tear up at movies, but I felt some glistening in the corners of my eyes and a lump in my throat on more than 1 occasion - sometimes with sadness, but, sometimes, with joy and exuberance.  Yes!  I had tears of JOY jumping out of my eyes at a few moments in this film. But, if it is Special Effects spectacle you are looking for - no worries.  There are PLENTY including a finale that is worthy of being the Final Battle in the Final Film for this Phase of the series. And...the humor...this film has a surprisingly large amount of light, happy moments as well.  I give the Russo Brothers - and the MCU - credit for realizing that humor is a good counterbalance to sorrow, action and suspense.  I also give them credit for what character they decided to use as the "comic relief" in this film.  It's a good choice - and the performer tapped to play the humor is equal to the task. But, of course, none of this matters if the characters aren't interesting enough to root for - and this film has it in spades.  We've watched these characters grow, develop, bond and tear apart over the course of these past 11 years, so there is quite a bit of emotional investment in the characters - and this investment pays of handsomely (again...if you are a "casual" fan or a "newbie", you'll be fine).  But...if you are like me and are "into" the MCU then there is payoff after payoff in this film that is extremely satisfying. The actors in ENDGAME are, of course, at the top of their game.  They know they are capping a special moment in their careers and they "bring it".  Starting, of course, with Robert Downey, Jr. as Tony Stark/Iron Man.  His character goes through a wide variety of emotions through the course of this film and - if this is his last MCU film - he's going out in style.  As is Chris Evans as Steve Rogers/Captain America.  These two are at the heart of this film - and at the heart of the MCU - and they take center stage with aplomb, tweaking their characters while respecting all that came before.  To be honest, I never really bought into the Iron Man vs. Captain America "Civil War" storyline, but they tie that up nicely. Of course the other 4 "Original 6 Avengers" - Chris Hemsworth's THOR, Scarlett Johansson's BLACK WIDOW, Mark Ruffalo's BRUCE BANNER and Jeremy Renner's CLINT/HAWKEYE/RONIN - are on hand and they all have their moments and take their bows as appropriate throughout.  I also have to give some "props" to Don Cheadle's James "Rhodey" Rhodes/WAR MACHINE - kind of an unsung performer in these films and is a welcome sight who would have been missed had he not been there. The other "survivors of the snap" - Bradley Cooper's ROCKET RACOON, Karen Gillan's NEBULA and Paul Rudd's SCOTT LANG/ANT MAN - fit in with the "original" Avengers quite well.  This group of 10 is fun to watch.  Add to them Brie Larson's CAPTAIN MARVEL to mix the drink and the concoction was intoxicating to me.  A small "quibble" and I do mean a "quibble" - Danai Gurira and her character OKOYE is underutlized/underused for my tastes, but...that is just a "quibble". Oh...and James Brolin is back as "big bad" Thanos - a worthy adversary, both emotionally, intellectually and physically for this group of SuperHero's to outwit/outlast/outplay. Finally...without giving away any plot points...this story figured out a way to reflect on/pay homage to previous films in this Universe.  It was a clever way to bring back stories/characters/moments from the past and to give some of these performers and moments a nice "cameo" curtain call. I better stop now before I give away plot points - needless to say I LOVED THIS FILM - it was a very satisfying way to say "thank you and goodbye" to 11 years (and 22 films) of marvelous film making. I'm looking forward to what the next 11 years in the Marvel Cinematic Universe has to offer - the bar has been set at the highest level. Letter Grade:  A+ 10 stars (out of 10) and you can take that to the Bank(ofMarquis)

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Classic Movie Review:  MARY POPPINS

After watching MARY POPPINS RETURNS, the BankofMarquis was itching to check out the original 1964 Julie Andrews/Dick Van Dyke/Walt Disney production of MARY POPPINS to see if it holds up as well as my memory has held it up.  I was a little nervous when I put the DVD in the player and hit go. And I shouldn't have worried, for MARY POPPINS is...pardon the expression..."Practically Perfect in Every Way". Based on the series of books by P.L. Travers and set right around 1900, the film tells the tale of the London Banks' Family - Mr., Mrs., Jane and Michael - who need a new nanny.  Both parents are too busy to spend time with their children - he with his job at the Bank (get it - Mr. Banks works at a Bank) and her involvement in the Women's Suffragette movement.  Into their lives flies (quite literally) Mary Poppins - a nanny with magical qualities who, along with her friend and cohort Bert, casts a spell on the children - and the Banks' family. Julie Andrews earned the Oscar for Best Actress for her feature film debut - and it is richly deserved.  Her Poppins is stern, smart, brassy and loving - oh...and a marvelous singer and dancer.  Just as strong as Andrews is Dick Van Dyke as Bert (though some will quibble with his Cockney accent).  I say...don't worry about his accent and watch the wonderful comedic timing, dancing and joi de vivre that Van Dyke brings to this film.  He is the "secret sauce" that makes this work.  Julie would not be as good - nor would this film be as interesting - without Bert by her side. EVERY major player shines in this film from David Tomlinson's befuddled, straight-laced British Gentleman Mr. Banks to Glynnis Johns as the enthusiastic supporter of Votes for Women, Mrs. Banks, to the children - Karen Dotrice and Matthew Garber.  Special notice should be made to Ed Wynn who's one scene/song/cameo as Uncle Albert - the "I Love To Laugh" scene - is pure gold. Even the smaller, supporting roles are stellar.  Reta Shaw and Hermione Baddely as the "domestics", Arthur Treacher (yes - he, of FISH AND CHIPS fame) as the Constable and Reginald Owen (Scrooge in the 1930's version of A CHRISTMAS CAROL) as Admiral Boom are all fun to watch and match the energy and timing of the leads in their limited screen time. And...the music...Oh, the Music!  Written by Richard M and Robert B Sherman - these songs are classic.  Starting with the Oscar Winner for Best Song - Chim Chim Cheree and continuing through Feed The Birds, I Love To Laugh, Jolly Holiday and Let's Go Fly A Kite - ALL the songs are magical and lend a hand to the story - they serve a purpose and are not just a distraction.  This film is worth watching just for the rooftop Step-In-Time song and dance number alone. But the thing that makes this film go is the story - the characters, settings, costumes, songs and dances - are all in service to a touching, sentimental (but not cloying) simple story of a family coming together.  It is charming in it's simplicity and leaves everyone with a heart full of joy. Surprisingly to a modern audience, the special effects (especially the "Live Action and Animation" sequence) holds up really, really well.  It is amazing to me how strong these effects are - even over 50 years later. This is a wonderful, heartfelt family film that deserves a re-watch if you haven't seen it in awhile. Letter Grade A+ 10 Stars (out of 10) and you can take that to the Bank (OfMarquis)

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Movie Review:  HELLBOY

  HELLBOY?!?  HELL NO! I would imagine that about 90% of my readership just got what they needed out of my review with that first line and have moved on.  For the rest of you, I will now explain why this reboot of HELLBOY is now the "leader in the clubhouse" for worst picture of 2019. I was pleasantly surprised by the 2004 Guillermo del Toro helmed and written HELLBOY and was even more surprised by how good the del Toro written and helmed HELLBOY II: THE GOLD ARMY (2008) was.  I think that this was because there was a driving force - and vision - from a true auteur and was a perfect combination of material and artistic staff - including Ron Perlman in the title role. This version of HELLBOY has none of that.  No vision, no driving force and a "B" performance by David Harbour in the title role.  It feels like what it is - a cash grab.  I blame the studio who produced this film - Summit Entertainment - for "going on the cheap" on this one. First off, they tapped a "B Movie" Director, Neil Marshall to Direct this thing.  He is known for such artistic successes as DOOMSDAY and THE DESCENT - horror flicks that were heavy on gore, short on characters and plot - and that is what he brought to this film.  Why worry about characters, plot or any kind of engaging features (including Special FX) when you can show, yet again, a body getting torn apart and blood spurting all over the screen. The studio also skimped on the performers.  Instead of Perlman, Selma Blair, John Hurt and Doug Jones you get David Harbour, Daniel Dae Kim, Mila Jovovich and a sleep-walking, just give me my paycheck, Ian McShane.  It's like watching the "road company" of a Broadway show.  While the actors are game (with the notable exception of McShane), they are "B picture" actors, much like the Director. And...much like the special FX.  I knew, going in, that the early word on this film was not good, but that never stops me.  I like to make up my own mind, so I thought I'd "pony up" for the IMAX experience to, at least, see the CGI and FX on as large a screen with as good a sound system as possible.  I shouldn't have bothered, for the CGI and FX were mediocre (at best) and all the big screen and sound did was emphasize how low quality the CGI was. And...finally...the pacing of this film is problematic, at best.  This is certainly a film that was written and edited within an inch of it's life for the "short attention span" audience of today.  The prevailing theory was "why linger on a plot or a character or a moment when we can quick cut to another body getting pulled in two and watch a plume of blood spurt out in a giant arc)." There are 2 scenes in the end credits to set up the next film(s) in this series.  Films that I seriously doubt will be made.  If they are, I hope they pump some more money into the budget and get a creative team with some artistic vision. A swing and a miss. Letter Grade:  C (and I'm being generous) 4 stars (out of 10) and you can take that to the Bank(ofMarquis)

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Streaming Review:  MARY POPPINS RETURNS

I wish there was a  world where there was not the shadow of the previous, beloved, MARY POPPINS  film existed so I could review MARY POPPINS RETURNS on it's own merits.    But...that's not the world that we live in...so most of this review is going  to be - "insert name" is no "insert name".    For example...Emily Blunt is wonderful in the role, but she is no Julie  Andrews (who was "practically perfect in every way").    Lin-Manuel Miranda is fine as Mary's sidekick, but he is no Dick Van Dyke  (though the 2 share the same inability to affect a plausible English accent)    The musical numbers by Marc Shaiman and Scott Wittman are perfectly adequate  for this film, but they are no Sherman Brothers tunes (no  SUPERCALIFRAGILISTIC... anywhere to be seen).    You get the point.    And that's the issue I had with this film - it tried to pay homage (not  duplicate) the previous film but fell just short in every aspect because it  was constantly reminding us of the previous film.    As for this film on it's own, it's practically adequate in every way.   The performances are "fine".  The musical numbers are  "fine" the direction flows the film in a perfectly acceptable way  and the plot of the film is okay.  So if you have a children in the  target age of this film, they'll enjoy it well enough.    It just isn't the first film and I, for one, will skip a rewatch of MARY  POPPINS RETURNS and, instead, will pop in (for the umpteenth time) the  original MARY POPPINS.    Letter Grade:  B    7 stars (out of 10) and you can take that to the Bank(ofMarquis)

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Movie Review:  DUMBO

There are many words that you can use to describe films by Tim Burton:  Gothic, Bizarre, Dark, Interesting, SteamPunk, Unique, Visual. With the live action DUMBO, you can add another word to describe a Tim Burton film:  Bland. Based on the 1941 animated classic character of Walt Disney, DUMBO tells the tale of an animal, shamed for having a deformity...over-large ears...but when the young elephant discovers that these ears can save the circus he is in - and will help reunite him with his mother - a journey to redemption begins. Sounds like a pretty good premise for a film, right?  Unfortunately, this isn't really the theme of this film.  Unlike other Disney "live action" versions of classic animated films (BEAUTY AND THE BEAST, the upcoming ALADDIN and THE LION KING), DUMBO is a live action remake only in the fact that Director Burton uses the baby elephant, separated from his mother, with over large ears who can fly.  This film shows no signs of the earlier, beloved, children's film.  It eliminates the songs (except as background music) and it tacks on a family drama of a returning army veteran (who's wife died while he was away) and his 2 children and a rival circus trying to steal the famed flying elephant. Is it a children's movie?  Is it a Tim Burton eerie, scary, visual delight?  Well...yes...and no...on both parts and that's the problem of this film.  Burton straddles a line between the two, never committing to a fun, stylistic children's film (like PADDINGTON 2) or an eerie, bizarre Tim Burton film (many, many to name but the closest I can come is BIG FISH).  He restrains himself to the bland middle and it shows. He has assembled a strong ensemble of actors to populate this world - Colin Farrell, Danny DeVito, Eva Green, Michael Keaton and Alan Arkin are all in this film - and are all bland.  While, at times, this film felt every minute of it's 1 hour and 52 minute run time, I was longing for more from each of these characters, fleshing out what was the BEGINNING of interesting characters, but never getting past that.  Each one of these characters are bland, bland, bland and you can see each actor trying harder and harder to push some sort of character to the screen, but never succeeding. The only interesting characters, ironically enough, is that of Dumbo and his mother, Mrs. Jumbo.  These are 2 CGI, non-speaking characters but they say more in facial expressions and movements than all of the human characters combined. And that's the other problem with this film.  Much like another Disney Live Action film, TOMORROWLAND, a large part of this film is given to showing the world that is lavishly made by the Director, Production Designer, Art Director and Cinematographer - and it is impressive indeed - but the action and characters inhabiting this world are...well...bland and that makes for a lackluster film. One thing to note - this film is not scary, nor is it overly sad (things that I heard that this film was), so I'd be interested to hear if you have younger children (ages 7-10, say) and they saw the film - did they enjoy it?  I think they just might. I didn't, I thought this film was bland. Letter Grade:  B- (for the interesting visuals put up on the screen) 6 stars (out of 10) and you can take that to the Bank(ofMarquis)

#dumbo

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BankofMarquis Movie Review - US

2 years ago at this time, the comedian known as Jordan Peele was all the talk as his feature film Directorial debut, GET OUT was scaring mainstream audiences.  This was quite the accomplishment for a first time African-American Director with a film that was, predominantly, cast with African American actors.

Director/Writer Peele is at it again with the horror film  (predominantly filled with African-American actors )US - and audiences, I'm sure, are going to go back in to the theater hoping that they will get scared again.  And they will, but they will also get something else - a truly unique film. I see a lot of movies, so for me to be (1) scared and (2) completely surprised by what is going on in a film is a rarity, indeed.  And Jordan Peele has done both of these things with US - he has scared and surprised me, and I mean this in a a good way. US stars Lupito Nyong'o as Adelaide Wilson, a young mother who had a traumatic experience at the beach as a child.  Now, as 30-ish mother of two who is visiting that same beach with her husband and 2 children, the traumatic experience comes rushing back.  To tell anymore of the story would be to spoil it and to spoil this film for anyone would be a shame, for the fun in this film is trying to figure out what will happen next.  Even when you think you know what's going to happen, something else happens instead and you are kept guessing throughout the film. As far as the acting goes, Nyong'o shows that she can carry a film.  I was beginning to fear that she would be one of those former Oscar winners (for 12 YEARS A SLAVE) who fade into obscurity, but this film puts her right back - front and center - on the map, a map that she deserves to be on.  She carries this film - and she carries it well.  Winston Duke (M'Baku in BLACK PANTHER) ably plays her husband, but is reserved (for the most part) as needed comic relief.  I am always concerned when a heavy part of a film falls into the hands of unknown child actors, but Evan Alex (as their son) and - especially - Shahadi Wright Joseph (as their daughter) pull off the acting they need to do. Credit for all this falls on Jordan Peele who's direction and script shows that GET OUT was no fluke.  As I said before, this is a truly ORIGINAL film in plot and content and Peele keeps the action moving forward in interesting ways. This is a film that needs to be seen more than once.  I, for one, can't wait to go back into the theater and check out US again. Letter Grade A- (but it might move to an A after a 2nd viewing) 8 out of 10 stars and you can take that to the Bank(ofMarquis)

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Film Review:: EVERYBODY KNOWS

I have always liked, but not loved, the English language movies that Penelope Cruz and Javier Bardem have been a part of.  Part of the issue, I think, is that even though they are dynamic, charismatica and GOOD LOOKING screen presences that embody the very definitioni of the term "MOVIE STAR", they are working in a language that is not their native language, so something, I think, gets lost in translation.  So, it was with some excitement that I checked out the Spanish language thriller EVERYBODY KNOWS (Spanish Title: TODOS LO SOBEN). And...I wasn't disappointed.  Both Bardem and (especially) Cruz shine in this familial thriller.  Cruz stars as Laura, a native of Spain now living in Argentina.  She (and her 2 children) come back to her small village outside of Madrid for the wedding of her younger sister.  When a bad thing happens on this trip, Laura must find a way out while dealing with lingering family matters and pressures that come to the fore due to the stress of the situation. Without putting too much of a fine point on this, Cruz is stunning.  Not only is she a beautiful woman who commands the screen whenever she is on, but as her character becomes more and more physically and emotionally torn with "the situation" her raw emotions come out and you see a very real portrayal of a mother who will do anything for her children.  This performance is (was?) Academy Award worthy - it is that good.  This is a strong actress at the top of her game.   She is more than matched on screen by the less showey, nuanced - yet fun, at times - performance of her real life husband, Javier Bardem, who plays a person from Lara's past that is drawn into the events.  Bardem won an Oscar for playing the mysterious, scary hitman, Anton Chigurh in NO COUNTRY FOR OLD MAN.  This was a a character who barely spoke.  In this film, he plays a lively, extroverted fun-loving person who's whole personae is called into question, quite the contrast to the English language characters I have, heretofore, known him for. Iranian Director Asghar Farhadi (best known for THE SEPARATION) does a good job driving the story - once it gets started - he is sure handed in handling both the suspense/action moments of this movie as well as the family drama during the "many people talking around a table" scenes.  This film led off the Cannes Film Festival last year and was greatly lauded. It's not a perfect film.  My friend who saw the movie with me stated (correctly) that he had never seen a movie that "started so poorly but corrected itself and finished as an excellent film" like this one did.  The first 1/2 hour to 45 minutes of this 2 hour and 15 minute film is filled with introducing the myriad of characters associated with this family (and the mystery that enfolds), but it is a scattershot approach to film making and character introduction and Farhadi misses the mark more than he hits the mark during this period. But once the mystery unfolds - and Cruz and Bardem's characters (and acting) kicks into high gear - things get quite good, quite tense and quite engrossing.  Well worth the time to check it out. Letter Grade B+:  (C for the first 45 minutes, A for the last hour and a half) 7 1/2 (out of 10) stars and you can take that to the Bank(ofMarquis)

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Movie Review - CAPTAIN MARVEL

For those of you who read my reviews regularly know, I am a fan of the films produced in the MARVEL CINEMATIC UNIVERSE. There has been a bit of a hiatus in these films (the last one was ANT MAN AND THE WASP last July) so it was with some excitement that I headed to the multiplex to check out the latest installment in this film franchise.

And...after an opening that paid tribute to the late, great Stan Lee, I settled in for what, I hoped would be a fun time at the movies. I started to become a little concerned in the first half hour of this film as it jumbled things around, trying to tell an origin story of a person who has no memory of where she came from while Jude Law was "man-splaining" the new worlds and the new people that the audience needs to know about it. I was becoming concerned that this film was going to become a "hot mess".

And then came Samuel L. Jackson.

Mr. Jackson is a MOVIE STAR and his presence in this film instantly catapulted it to another level. The star power, energy and pacing of the film improved and (if I am honest with myself) the performance of Brie Larson as Carol Danvers/Captain Marvel improved as well. The film stopped being an "alien Super Hero" film and it become a "buddy cop film" along the lines of LETHAL WEAPON, 48 HOURS and (my personal favorite) MIDNIGHT RUN.

The chemistry between Jackson and Larson is undeniable and they play off of each other very well, bantering and bouncing lines back and forth while chasing - and being chased - by the bad guys. This dynamic raised the level of this film from a "middle of the road" SuperHero film to a fun action/comedy that is in the upper third of the Marvel Cinematic Universe.

Aside from Jackson, Larson (eventually) is terrifically cast as the titular character. She has a difficult balancing act to fulfill in the first 1/2 hour of the film, since her character has no memories, she also was in danger of having no personality. I've heard the word "bland" thrown around to characterize her performance, but I wouldn't quite go there (especially once Jackson shows up and her character's memories start to return). This is a well rounded, fierce performance and I don't think we've really seen the "best" that this character - or Larson's portrayal - has to offer.

Jude Law, Annette Benning(!) Lashana Lynch and Clark Gregg are all "fine" in supporting roles, but they pale in comparison to Larson/Jackson. Only Ben Mendehlson was able to "up" his performance to match these two, so when Jackson/Larson/Mendehlson were on the screen together, things crackled. Oh...and I would be remiss if I didn't mention one of the best feline performances in film in quite some time - GOOSE, the cat (yes, named after the character in TOP GUN). The less I say about this character the better - but it was really fun. The only disappointment for me was the usage of Gemma Chan (CRAZY, RICH ASIANS) as Minn-Erva. She just didn't have much to do, probably because at the time of filming Chan was not much of a "name". I know here character is crucial to some Captain Marvel storylines in the comics, so I am hoping they bring her back and use her more in the future.

But...as for this film...it is a fun romp, with good action and a truly memorable pairing of Jackson/Larson - one that does not disappoint. Stay, of course, for the TWO end credits scene - the first one sets up AVENGERS: ENDGAME and the last one is...

Letter Grade A-

8 (out of 10) stars and you can take that to the Bank(OfMarquis)

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Movie Review:  COLD PURSUIT

Liam Neeson has stated that COLD PURSUIT is going to be his last action film.  And, if that is the case, he certainly picked an interesting one to go out on. Based on the Norwegian film KRAFTIDIOTEN and Directed by the same person (Hans Peter Moland), COLD PURSUIT follows snowplow driver Nels Coxman (Neeson) who's son dies of a drug overdose.  It's not long before Coxman uses his "certain set of skills" to settle the score. And that is how this movie was marketed (taking advantage of Neeson's past 10 years of action hero status) and that is too bad for those who are going into this film expecting a "standard Neeson kick butt revenge action flick) are going to be disappointed, for Cold Pursuit has parts of that, but it also has an element to it that is going to take some getting used to - it's "Norwegian sense of humor". To say this film is a "Dark Comedy" does not do it justice, for the comedy in this film (and there IS comedy) is so rooted in the violence and action of the proceedings that, at first, the audience does not know how to react to it.  By the end, it is clear that this is a comedy - and I wished that it would have worn it's comedic elements just a little more on it's sleeve.  But then, I guess, I would be missing the point of what makes up the "Norwegian sense of humor" - oddity and subtlety.  And this film IS odd from the setting (a remote ski resort village outside of Denver) to the warring drug gangs (city thugs vs. Native Americans) to the lazy Sherriff and laid back townspeople to Coxman's hippy, drug addled wife (Laura Dern).  It is an odd assortment of people and circumstances, but not quite as add as...say...Twin Peaks. And that's what hurts it.  It IS a subtle film with subtle humor and subtle quirks, but (at times) is TOO subtle for an American audience that is used to being hit over the head with themes and quirks and violence. One who is NOT subtle in this film is Neeson as Coxman.  He brings the rugged, dependable man of action that one has come to expect during his action-hero phase.  Also not subtle (not by a long-shot) is Tom Bateman as the main bad guy, Viking (they all have nicknames) who telegraphs that he is a bad guy by being over-the-top,  doing everything but kicking a puppy and twirling his mustache. Domenick Lombardozzi as Mustang (one of Vikings' henchmen) and Tom Jackson as White Bull (leader of the Native American clan) find the right line between subtlety and over-acting and ground this film (for the most part).  The rest of the cast (including John Doman and Emmy Rossum as the town Sheriffs) flit through this film, uneventfully and uninterestingly, neither adding nor detracting from the events.  Only William Forsythe, as Neeson's shady brother and Elizabeth Thais (as his wife Anne) manage to rise above things in the limited amount of screen time they are given.  And, finally, Laura Dern is wasted in an underwritten - and under-performed - role of Neeson's wife. I can hear Director Moland screaming to his cast "Less, less...give me less...no more...More...MORE!!!" and the result is an uneven film that is underplayed too much in some ways and overplayed WAY too much in others.  And this is too bad, for he had an interesting concept going, he just didn't execute it (at least not with this group of performers) very well.  I'll be interested in seeing the original Norwegian film,  KRAFTIDIOTEN, to see if it worked there. Letter Grade:  B- (for I applaud what it was trying to do) 6 stars (out of 10) and you can take that to the Bank(ofMarquis)

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BEST FILMS OF 2018

Without further ado...here are the top 15 films that I enjoyed the most out of the 62 films that I saw that were released in the U.S. in 2018... 15).  INCREDIBLES 2 - One of 4 "SuperHero" films on this list 14).  BLACK PANTHER - Deserving of all the accolades it received this awards season. 13).  BLACKkKLANSMAN - Spike Lee's thought provoker is well worth checking out. 12).  VICE - The performances of Christian Bale, Amy Adams and Steve Carrell (who deserved the Best Supporting Actor nomination more than Sam Rockwell) are worth the price of admission to this film. 11).  BAD TIMES AT THE EL ROYALE - A bloody good time at the movies 10).  A QUIET PLACE - A Jon Krasinski horror flick?  You had me at "another great performance by Emily Blunt". 9).  GAME NIGHT - The funniest, funnest film of the year. 8).  WIDOWS - Most of you missed this terrific crime thriller in November - catch it now that it is streaming on a TV near you. 7).  CRAZY RICH ASIANS - the best love story, with the most heart, of all the films this year. 6).  ROMA - Alfonso Cuaron deserved his Oscar for this love letter to his youth. 5).  MISSION IMPOSSIBLE:  FALLOUT - This series just keeps getting better and better 4).  AVENGERS: INFINITY WARS - My favorite film in the "Marvel Cinematic Universe" (thus far). 3).  SPIDERMAN: INTO THE SPIDERVERSE - The first true "comic book" movie, it deserved it's Oscar and is unique and original.  2).  GREEN BOOK -  I, like so many others, have this as my 2nd favorite film of the year, which is why this charming film ended up winning the Oscar. 1).  A STAR IS BORN - Look no further than this past week's Oscar ceremony to see the chemistry between Bradley Cooper and Lady Gaga.  But, for me, the true hero of this film was Sam Elliot. Overall, a very good year in film.  I can't wait to see what 2019 has in store. And you can take these picks to the Bank(ofMarquis)

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Worst Films of 2018

Here are the 10 worst films that I saw in 2018 (if I knew the film was really bad, I didn't bother to see it - so no John Travolta films on this list).

10).  DEATH WISH - No need to remake the Charles Bronson classic, but with Bruce Willis in the lead, I gave it a try...not worth checking out. 9).  THE PREDATOR - Original Predator actor Shane Black reboots the franchise with some interesting folks (Keegan Michael Key, Thomas Jane, Devante Rhodes) but casts the extremely boring Boyd Holbrook as the leading man - what a waste of potential. 8).  RED SPARROW - Jennifer Lawrence as a secret Russian operative who uses beauty and brawn to get the required information was neither action packed nor sexy. 7).  PACIFIC RIM UPRISING - The by-the-numbers sequel to an interesting first film. 6).  IF BEALE STREET COULD TALK - The "Emperor's New Clothes" of films this year.  This was supposed to be an "Oscar caliber, socially relevant" film and was just plain boring.  Regina King's Oscar winning performance was the best thing in it and I thought her performance was just "meh". 5).  THE MEG - I love me a good "so bad it's good, over-the-top shark flick"  give me DEEP BLUE SEA over this schlock-fest any day. 4).  ANNIHILATION - The "thinking person's" Sci-Fi film, or so we were led to believe. I guess I don't think enough. 3).  WHITE BOY RICK - A "Matthew McConaughey film" that doesn't really feature much of Matthew McConaughey. 2).  HERDITARY - The "thinking person's" Horror flick was just plain stupid and silly. 1).  A WRINKLE IN TIME - The "must see" film that was hyped during last year's Super Bowl and Oscar ceremony landed with a loud thud and featured smirking, pretentious turns by Reese Witherspoon and (especially) Oprah.

And you can miss these films, courtesy of the Bank(ofMarquis)

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OSCARS PICKS AND PREDICTIONS:  BEST DIRECTOR (and some other odds and ends)

Some trailblazing nominations in the Best Directing category hides the fact that this is a one-horse race with a truly "Bet the House" winner.  Here is how I would rate the Best Director nominees: 5).  Pawel Pawlikowski - COLD WAR:  A personal film for him that is lush, rich, beautifully shot and VERY European (lots of still shots of items with a viola playing in the background).  The film will (most likely) win for Best Foreign Language Film, Pawlikowski will have to be happy with "just the nomination.

4).  Yorgos Lanthimos - THE FAVOURITE:  A real dark-horse contendor in this category, I could see the "art house" crowd rally around his name, but probably not.

3).  Adam McKay - VICE: McKay has certainly graduated from his days as Will Ferrell's creative partner/director.  But the Academy rewarded him a few years ago for THE BIG SHORT, doubt it will reward him again this year.

2).  Spike Lee - BLACK KkKLANSMAN:  Someone give Spike Lee an Oscar already!  He is deserving of the award for this film, but will fall just short.

1).  Alfonso Cuaron - ROMA:   Film is a Director's medium and, usually, the Best Director should come from the Best Film.  It doesn't always work out that way, but this year it will for Cuaron is who I think SHOULD win the Best Director Oscar this year and he WILL win the Oscar, and deservedly so.

Other predictions:

Best Animated Feature:  SPIDERMAN: INTO THE SPIDERVERSE

Best Song:  SHALLOW (from A STAR IS BORN)

Best Foreign Film:  COLD WAR (as stated above)

Best Cinematography:  Alfonso Cuaron, ROMA (hope he brought a big bag with him, for he'll be bringing home 3 Oscars).

And you can take these predictions to the Bank(ofMarquis)