Movie Review: “The Hunt”

**** 1/2 out of 5
89 minutes
Rated R for strong bloody violence, and language throughout
Universal Pictures

Article first published at The ReelPlace.com

Given the ever-changing times we’re currently in — more than ever we need some escape. For myself, going to the movies always has, and always will be, my preferred way to check out of the world. Unfortunately, that’s been put on hold. And if The Hunt is the last film I see in a theater for a little while, it could’ve been way worse. Taking shots at both sides of the political spectrum, director Craig Zobel’s wicked, pitch-black comedy takes its writers’ screenplay — from Nick (son of Carlton) Cuse and Damon Lindelof — it clearly won’t be everyone’s cup of tea. For interested parties looking for some catharsis as both the left and right take some well-deserved hits, The Hunt is worth venturing out for. Especially anyone who’s been waiting for this — after it was wisely pulled last September.

For anyone who hasn’t seen the trailer — which was also pulled until a new release date was announced — a group of strangers wake up in the middle of the forest. They have no idea how they got there — or why. Before they know it, things go from bad to worse as they realize they’re being hunted. Turns out, a small band of liberal elites have brought them together — and in classic Lindelof fashion — The Hunt, aka “Manorgate,” is absolutely not what you’d guess. Will anyone be left standing by the time the credits roll? I’ll leave that up to viewers to discover.

The Hunt has had an ugly shadow over it ever since it was deemed deplorable by anyone who had never seen it — including our Tweeter-in-Chief. Now that folks finally have, what Zobel, Cuse, and Lindelof have done is thrown a whirlwind of topics and scenarios into a blender and hit pulverize. The main idea that resonates hardest, is that there are horrible people on both sides of the aisle. Deplorables snowflakes, elites, etc. get thrown around at will. The biggest surprise may be that the bad guys aren’t even who you’d think. Not that you can trust anyone in this scenario to begin with.

Constitutional amendments, personal politics, liberals, alt-right, Animal Farm, and the ol’ chicken-before-the-egg are all on tap. Zobel owes a lot of debt to the Kill Bill films, particularly Vol. 2. The finale plays out like the kitchen scene from Vol. 1 transplanted onto the end of Vol. 2. Knock-down-drag-out! Having producer Jason Blum’s backing clearly gave the filmmakers the freedom to make the film they wanted. And huge kudos to Universal Pictures for finally releasing it. The Hunt is brutal, hilarious, gruesome, and — definitely — topical. This also isn’t the first time a film like this has been made and it won’t be the last. Not everyone is going to like what it has to say, but that doesn’t mean it shouldn’t be said.

Movie Review: “The Gentlemen”

**** 1/2 out of 5
113 minutes
Rated R for violence, language throughout, sexual references and drug content
STX Films

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It’s hard to believe Guy Ritchie’s Lock, Stock and Two Smoking Barrels came out 20 years ago. Since that time, Ritchie has certainly proved himself to be a man of many hats. There’s the good — Lock, Stock, RocknRolla, both Sherlock Holmes, The Man from U.N.C.L.E. — the bad — Snatch and King Arthur: Legend of the Sword — and the ugly — Revolver and Swept Away. He also directed the underrated live action Aladdin. For those who like their Ritchie pure and uninhibited, he’s gone back to the basics with The Gentlemen — one of his best films yet.

Mickey Pearson (Matthew McConaughey) is the reigning king of weed in the UK and wants to retire. He’s in the midst of accepting a $400 million buyout from Matthew (Jeremy Strong) when his right hand man, Ray (Charlie Hunnam), gets paid a visit by tabloid photographer — and now aspiring screenwriter — Fletcher (Hugh Grant). Fletcher offers Ray the plot of a lifetime. Rife with powerful wives — Mickey’s, Rosalind (Michelle Dockery); scheming gangster underbosses — Dry Eye (Henry Golding); Fletcher’s own vengeful editor, Big Dave (Eddie Marsan); and Coach (Colin Farrell), all trying to get their hands on the prize: Mickey’s empire.

If there’s one thing Ritchie knows, it’s sudden bursts of violence, hilarious dialogue, and twisty plots. He’s always been a pseudo Tarantino from across the pond, but that’s not a slight in the least. The Gentlemen is definitely one of his most polished. Ritchie has found a way to keep exposition — which could have been tedious and repetitious — going for an entire film here. Then there’s Grant and Farrell stealing every scene. McConaughey does an amazing spoof of his onscreen persona — the opening scene feels like there’s a Cadillac commercial attached — and this is the most enjoyable Hunnam has been since Pacific Rim (maybe even since Undeclared).

Ritchie can’t help but get a little indulgent here and there. Thankfully, it somehow all makes sense by the end, extra kudos there. It’s Ritchie’s version of a crowd-pleaser melded on top of his films from yesteryear and it winds up a perfect concoction. While some may find the violence off-putting, they probably shouldn’t be seeing a Guy Ritchie movie anyway. This is pure Ritchie from start to finish and it’s about time the old chap finally got back to his signature style.

Movie Review: “Bad Boys for Life”

** out of 5
123 minutes
Rated R for strong bloody violence, language throughout, sexual references and brief drug use
Columbia Pictures

Article first published at The ReelPlace.com
Nostalgia may be all the rage these last few years, but I don’t know anyone who was clamoring for another Bad Boys movie. Considering Michael Bay didn’t even bother to come back to direct, it makes no sense for Bad Boys for Life — a nonsensical title if there ever was for a third outing — to exist. Try as they might, directors Adil El Arbi and Bilall Fallah aim for some classic “Bayhem,” but still lose a fighting battle with Chris Bremner, Peter Craig, and Joe Carnahan’s screenplay settling for jokes strictly set on aging and mortality.

We catch up with Detectives Mike Lowery (Will Smith) and Marcus Burnett (Martin Lawrence) in a standard street chase which is just the set up to a punchline. Mike is rushing Marcus to the hospital to welcome his new grandson into the world. This also puts Marcus on the path to retirement, much to Mike’s chagrin.

See, they’re supposed to be bad boys for life — hence the title — and always planned to ride together/die together. But just wouldn’t you know it, along comes the escape of Isabel Aretas (Kate del Castillo) from a Mexican prison, plotting revenge on everyone involved in the incarceration of her drug cartel-leading husband. Now, Isabel unleashes her son, Armando (Jacob Scipio), to pull off her roaring rampage of revenge, leaving Mike and Marcus no choice but to work together one last time.

As ridiculous as it already is, there’s also a subplot involving witchcraft. Yup, Isabel is a witch, using the spirit of Santa Muerte to do her bidding. The writers also try to make the series feel like an R-rated Fast & Furious, but nowhere near as fun as any of those. Faint praise, but at least BB4L is not be as mean spirited as Bad Boys 2. However, it takes an eye rolling turn for the sentimental which is never earned and comes off as lazy, obvious, and calls for an end credit sequence no one wants.

It’s also extremely boring. It takes 45 minutes just to get to the first action sequence. And at least another 30 minutes until the second. While that one sequence is kind of fun, the rest feels interminable. And at just 123 minutes, you’d expect a film like this to rush along to the big finale. A finale featuring a rainstorm, an abandoned hotel, a helicopter, raining shards of glass, and blazing fires. I hate to say it, but I’d rather have seen Michael Bay back at the helm.

Movie Review: “Underwater”

**** out of 5
95 minutes
Rated PG-13 for sci-fi action and terror, and brief strong language
20th Century Fox

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Underwater has all the makings of a January release. It’s a big studio horror movie with two stars who audiences will have heard of — Kristen Stewart and T.J. Miller — and a poster featuring a lone diver standing in front of a giant mouth full of teeth. Low and behold, director William Eubank — along with writers Brian Duffield and Adam Cozad — hold horror movie tropes close to their heart and revel in cliché. Where others may be annoyed by the constant riffs from sci-fi/horror classics of yore — everything from Alien, Leviathan, The Descent, and even a splash of Deep Blue Sea and The Meg — and that’s exactly what makes it work. It’s 95 minutes of constant fun with a dash of gore and its tongue planted firmly in cheek.

Seven miles deep in the Mariana Trench, Norah (Stewart) and Rodrigo (Mamoudou Athie) barely escape with their lives when what could be an earthquake wrecks their station. They start to make their way through the rubble, picking up Paul (T.J. Miller) along the way. Eventually, they meet up with Captain Lucien (Vincent Cassel), Liam (John Gallagher Jr.), and Emily (Jessica Henwick). The group hatches a plan to keep themselves alive, and try to make their way to their only chance of survival: the Roebuck station. Little do they know, that they aren’t alone, and there may be more to fear than just drowning or imploding.

At a scant 95 minutes, Underwater swims along at a quick pace. The station explosion seen in the trailer is literally the second scene and it’s non-stop from there. Claustrophobic, occasionally gory, intense, disorienting, and even humorous, Eubank makes the most of the material. There’s even a few chances for the audience to catch their breath and give the characters some room to develop. We also get a nice, expository opening credit sequence followed by a dizzyingly creepy descent to the ocean floor.

But don’t worry, the poster and trailer promise a creature feature and that’s exactly what we get. The cast keep things interesting with a good rapport — although it was kind of surprising to see the script kill off the black character first. There’s also some fun nods to other horror films sprinkled throughout and it never tries to be more than it is. What Underwater is, is a nice blast of horror fun from beginning to end that’s a quick escape from reality for those who know what they’re getting themselves into.

Movie Review: “Like a Boss”

* out of 5
83 minutes
Rated R for for language, crude sexual material, and drug use
Paramount Pictures

Article first published at TheReelPlace.com

As surprising as it was that Underwater wound up being the best kind of January movie, on the flip side, Miguel Arteta seems bound and determined to make you forget how good he used to be. The man who gave us Chuck & Buck, The Good Girl, Youth in Revolt, and Cedar Rapids comes the same kind of shrill chaos he brought to Alexander and the Terrible, Horrible, No Good, Very Bad Day.

This a film “made for” women, strictly by men. We already know Arteta directed, but it’s also written by two dudes who have no understanding of comedy: Sam Pitman and Adam Cole-Kelly. Something that comes as a shock considering Tiffany Haddish is an executive producer and Danielle Sanchez-Witzel is credited with the story.

A full synopsis is pointless. For anyone who wants to see the film from start to finish, I present to you the NSFW trailer: https://www.youtube.com/watch?v=quiGRsBwrJ8&t=9s

This is literally the entire movie!

I watched the trailer a few days before the screening and couldn’t help but wonder why I was having such a huge sense of déjà vu. It also gives you an idea of how atrocious it is. The characters are only tolerable on any level thanks to the cast. Rose Byrne is one of the funniest actresses working today and Haddish is every bit as hilarious — with the right material. As it stands, a group of dudes got together to hatch up horrible caricatures, leaving the cast scrambling to try to improv their way to funny.

It’s an embarrassing shame for everyone involved. Watching the film is a huge chore as it plods along through its 83 minute runtime. Not counting credits brings the film down to roughly 78 minutes. This is barely a film. It feels like a botched TV pilot and should be banished as such. But for those of you who think smoking pot in a room with a newborn and cracking jokes about Obama’s penis are the height of comedy, don’t say I didn’t warn the rest of you.

Movie Review: “1917”

**** out of 5
119 minutes
Rated R for violence, some disturbing images, and language
Universal Pictures

Article first published at TheReelPlace.com

The first time I saw 1917 was over a month ago. An instant review probably would have hailed the film as the year’s best. However, upon a second viewing, a little something was lost—namely the immediacy of the plot. It’s a race against time for Lance Corporate Blake (Dean-Charles Chapman) and his sidekick Lance Corporal Schofield (George MacKay) as the two set out on a mission to save 1,600 men—along with Blake’s brother—from a trap set up by the German’s in occupied France during WWI.

Director Sam Mendes has a long line of brilliantly directed films: American Beauty, Road to Perdition, Away We Go, Skyfall. With the exception of some heavy handedness along the way (Jarhead, Revolutionary Road) and some clunky storytelling (Spectre) the man can cover any ground from drama, to action, to comedy. If I was going with gut instinct from last year, this would have been a full-blown five-star extravaganza. Unfortunately, once you’ve seen it, you start to become distracted by the gimmick.

1917 is beautifully filmed by Roger Deakins and made to look like it all takes place within one continuous shot. While these types of films are few and far between — Birdman and Rear Window are the only two that really matter — the acting starts to fall flat when the urgency is out the window. If you’ve seen the film, you obviously know how it’s going to end, surprises lay by the wayside, the acting becomes a little dull, and you’re very distracted by the technicalities of the filmmaking.

Don’t get me wrong, it’s still a brilliantly made film. It’s just a shame that the story doesn’t hold up to repeat viewings. I would never go so far as to say that the film is simply a two-hour trick. However, for something to be declared “best film of the year,” it should probably be able to hold up to repeat viewings. Maybe it was a case of watching it again too soon. Once available in 4K, touting a surely raucous Dolby Atmos track, perhaps it can make for a better rewatch.

As it stands, 1917 is still a film that shouldn’t be missed in theaters on the biggest and loudest screen possible. But it’s not something you’re going to be rushing out to see again any time soon. Nominations are sure to be poured on come Oscar nominations being announced — and they’re absolutely warranted — but seeing the film once may be best to ensure maximum shock and awe.

Movie Review: “Cats”

* out of 5
110 minutes
Rated PG for some rude and suggestive humor
Universal Pictures

Article first published at TheReelPlace.com
 
The first trailer for Cats was a textbook example of nightmare fuel. A second trailer was released which didn’t look quite as bad and offered the hope of something possibly fun. Then the press screening came along and confirmed everyone’s fears: Cats is the worst film of the year. Filled to the brim with horribly staged, awkwardly shot/edited dance sequences, sketchy CGI, and absolutely no plot or characters. Try as co-writer/director Tom Hooper might, Cats is even worse than it looks.

The plot is surprisingly simple. Victoria (Francesca Hayward) has just been thrown out by her human and the surrounding Jellicle alley cats whisk her away on an adventure to find out who Old Deuteronomy (Judi Dench) will grant access to the Heviside Layer to come back to a new life as a Jellicle cat.

Seriously, that’s it. Oh sure, Hooper — who also directed the ill-conceived Les Miserables and allowed Russell Crowe to “sing” — tries to flesh things out a little. There’s a new subplot involving the “Sphinx Theater” where auditions for a new 10th(?) life is held. But the film is so head-scratching it’s amazing Andrew Lloyd Webber’s musical has been a thing for 40 years. Universal scrapped their intended Wicked adaptation for this?

I do love a good trainwreck, but to be so-bad-it’s-good has to be earned. This is just straight up bad from start to finish. Taylor Swift may show up to try and liven things up, but can’t keep her accent from line-to-line. Meanwhile, Rebel Wilson and James Corden are relegated to fat jokes, Idris Elba surprisingly can’t sing—despite his so-called rap career, and Ian McKellen simply mopes around when he’s not licking milk from a saucer. (And that’s not a euphemism for chewing scenery.)

It doesn’t help that Hooper can’t keep the film in perspective. What size are these cats? It seems to fluctuate from shot-to-shot and from set-to-set. There’s no scale whatsoever. Combined with the haphazard CGI — one characters face literally looks as if it’s floating — and frantic editing, you never get to grasp any sense of wonder into the feline world.

Universal has themselves a mighty huge cat-astrophe. It’s too boring to keep the target audience captivated and too unsightly for the uninitiated. The last musical number also comes off as condescending with Dench’s tone during “The Ad-dressing of Cats” and even Jennifer Hudson’s “Memory” is boring and by the numbers. The only sequence that passes for entertaining is “Skimbleshanks: The Railway Cat,” but you’ll forget it even happened once you suffer through the mundane repetitiveness of “Mr. Mistofelees.”

If you really wanna do yourself some mental harm, load up on “catnip,” sit back, and revel in the year’s biggest dumpster fire. After all, that’s pretty much the only way to describe such a horrific curiosity. Hopefully it won’t kill your holiday season.

Movie Review: “They Shall Not Grow Old”

***** out of 5
99 minutes
Rated R for disturbing war images
Warner Bros. Pictures

Article first published at TheReelPlace.com

Typical documentaries have a tendency to come with their own agendas. In the case of Peter Jackson’s They Shall Not Grow Old, Jackson has set out to show us World War I as never before: in remastered, colorized, 3D. Never one to shy away from technical accomplishments, it’s an incredible sight to see. Adding in sound effects and enhancing the overlying interviews, Jackson skips the usual filmmaking narrative for an immersive experience about a war that still seems to have an air of mystery surrounding it.

Cutting down 100 hours of footage and 600 hours of interviews with 200 WWI vets — of which 120 made the cut — They Shall Not Grow Old feels like a behind-the-scenes exposé. Some of the footage looks so good you’d swear it was happening now. There are no dates, names, or locations throughout the entire film adding authenticity and anonymity. There’s also some surprising aspects when you hear how many lied about their age, at least one as young as 15.

They Shall Not Grow Old is a marvel of a technical achievement — Jackson didn’t even receive any payment for making the film. And it shows he put his heart and soul into shining a long overdue spotlight on the men of WWI and works as a loving tribute to his grandfather, Sgt. William Jackson, to whom the film is dedicated.

Movie Review: “Star Wars: The Rise of Skywalker”

**** out of 5
142 minutes
Rated PG-13 for sci-fi violence and action
Walt Disney Pictures

Article first published at TheReelPlace.com
 
Most folks have all kinds of stories involving the Star Wars films. Mine is pretty simple. I was not the Star Wars fan I am now prior to my wife buying me the original trilogy on Blu-ray. She couldn’t believe I didn’t own them, and truth is, back then I didn’t love them. One one hand, these films are not as personal to me, but I at least came to realize what I’d been missing.

And while I may not be a fanboy — I know plenty — my life has become pretty steeped in its pop culture. As I write this, I’m wearing the fleece BB-8 jacket my mother-in-law made me. So as far as The Rise of Skywalker closing out a nine film story arc goes, it works extremely well at both providing some fun moments of fan service and trying to wrap  up a world that spans 42 years of Episodes and spin-offs, TV shows, holiday specials, video games, and comics.

A mysterious broadcast has been heard throughout the galaxy. The phantom Emperor — Palpatine (Ian McDiarmid) — is scheming something big and Kylo Ren (Adam Driver) is tracking him down. Rey (Daisy Ridley) is trying to piece together her training while confronting her past. Meanwhile, the Final Order is on the rise under the tyranny of Supreme Leader Ren, in spite of a mole feeding information to the Jedi resistance. A definite end is nigh for both camps as the ultimate duel inches closer.

Considering the amount of backlash unleashed upon Rian Johnson’s The Last Jedi, insurmountable expectations were placed upon co-writer/director J.J. Abrams’s shoulders. Returning to the helm without missing a beat, fans get more of that nostalgic Star Wars tone he brought to The Force Awakens, while trying to tie up all the loose ends brought on by TLJ. How you feel about The Rise of Skywalker comes down to one thing: how you felt about The Force Awakens and The Last Jedi.

On one hand, it almost feels like TLJ barely exists. Skywalker continues to build upon both films, but at the same time, the tone is so much more Force Awakens, you would never be confused if you happened to skip TLJ. That’s no slight to Johnson, it just feels like Abrams — along with co-writer Chris Terrio and producer Kathleen Kennedy — took the high road and continued making the series their own. Whether some like it or not.

We’ll never get to see how George Lucas would have ended his own franchise, but that’s what he gets for selling out to Disney. Granted, we might have never seen any more Star Wars films had it not been for the media conglomerate.  At the end of the day, the cast and crew give it their all and that’s about all we can expect. I encourage everyone to head out to see it so they can make up their own minds.

The cast and crew swing for the fences. They know they’ll never be able to make everyone happy, but damn if they don’t try. From here on, there are no more Skywalker movies in the pipeline and we all should just be ecstatic that a finale even exists. The Rise of Skywalker is the culmination of most people’s entire cinematic lives so far. This is it, folks, it’s really over. You won’t find any spoilers here. I would never do that and neither should anyone else.

The Rise of Skywalker is probably the epitome of “critic proof.” So the best advice is to gather up your friends, head on out to the theater, buckle in tight, and bid farewell to one of the biggest franchises on the planet.

Movie Review: “Jumanji: The Next Level”

**** out of 5
123 minutes
Rated PG-13 for adventure action, suggestive content and some language
Columbia Pictures

Article first published at TheReelPlace.com

Let’s be honest, no one was clamoring for a Jumanji reboot. Then, with its hilarious cast and director, Jumanji: Welcome to the Jungle became a huge hit in 2017. So it should come as no surprise that now we have Jumanji: The Next Level. Thankfully, almost everyone has returned — a couple of the first film’s writers have been replaced by director Jake Kasdan — to deliver a sequel that follows the two most important comedy adventure rules: bigger and funnier.

It’s Christmas break and the gang — Spencer (Alex Wolff), Martha (Morgan Turner), Bethany (Madison Iseman), and Fridge (Ser’Darius Blain) — are headed home from college and other excursions. While they make plans to meet, Spencer regresses to his reclusive ways and takes another trip inside Jumanji to deal with his insecurities. Everyone bands together to head into the game to find Spencer, but little do they know that Jumanji has its own plans and the rules, and players, have changed. Now — along with Spencer’s grandfather Eddie (Danny DeVito), and Eddie’s lifelong friend Milo (Danny Glover) — they’ll have to relearn everything from their first adventure if they want to get out alive.

No one should ever walk into a film like Jumanji expecting to find much meaning. It’s pure escapism from start to finish, just like the first one. As for characters, it doesn’t really do much in the way of deepening relationships, but it does offer some of the cast the opportunity to play new characters. Kasdan is having just as much fun with a few bigger set pieces — one feels like Jurassic Park meets Mad Max — and the screenplay moves things along at a clip. It definitely earns its two-hour runtime which sounded excessive. But with the cast’s rapport and ability to play off each other, Jumanji: The Next Level makes for a super fun two hours. And right now, that’s exactly the kind of entertainment we need most.

Movie Review: “Knives Out”

*** out of 5
130 minutes
Rated PG-13 for thematic elements including brief violence, some strong language, sexual references, and drug material
Lionsgate

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With as much shade was thrown at The Phantom Menace, at least it wasn’t released in the age of social media. Poor Rian Johnson was sent through the ringer over The Last Jedi, and while that may not be the best Star Wars, it’s far from the worst. The man deserved a break and what better way than to make a safe, fluffy film that’s as far removed from a galaxy far far away as he could get.

Knives Out is not Johnson’s best film. He’s never made a horrible film, but to make it clear, this is The Brothers Bloom Johnson, not Brick/Looper Johnson. It’s simply Agatha-Christie via Wes Anderson-lite, playing fast and loose with a decent story with no warmth, heart, surprises, or laughs. While it’s an interesting endeavor to be sure, it’s far from the masterpiece it’s being heralded as.

Crime novelist Harlan Thrombey (Christopher Plummer) is dead. The day after his 85th birthday no less. With his wealth up for grabs, of course everyone is suspect. Could it be his embezzling daughter-in-law Joni (Toni Collette)? Or Walt (Michael Shannon), his resentful son in charge of his publishing?

Maybe Linda (Jamie Lee Curtis), his daughter who doesn’t know that her husband, Richard (Don Johnson), is having an affair? Possibly a grandson or two: the alt-right extremist Jacob (Jaeden Martell) or estranged Ransom (Chris Evans)? Or maybe, just maybe, his beloved caretaker, Marta (Ana de Armas)? Fear not, viewers, detective Benoit Blanc (Daniel Craig) is here to crack the case by credits end!

With a seemingly never-ending list of stars, you’d expect Knives Out to be a lot more fun. Or at least as much as Lionsgate’s marketing team is trying to prove. While I’m never afraid to be arbitrary, unfortunately, Knives Out is all quirk with no bite. Johnson ensures every cast member — aside from a small few — chews scenery to their heart’s content. At least they’re having fun, maybe for someone else it will be more infectious. With a two hour plus runtime, the shenanigans start to wear very thin by the 90-minute mark.

At least Plummer, Craig, and de Armas are consistently watchable. And the big twist isn’t saved for the end. So it turns the whole whodunnit aspect in a new direction and becomes more of a will-they-get-away-with-it? For anyone who enjoys a good battle of the classes with a heavy dose of entitlement run amok, Knives Out features a dysfunctional family who are at least more enjoyable than your own may be.

Just check expectations going in and you’ll probably enjoy it a lot more than I did. Maybe I’m getting a case of the year-end screening bah humbugs, but it takes a lot more to make me laugh than just Captain America cussing and an overlong film filled with just two hours worth of smirks.

Movie Review: “A Beautiful Day in the Neighborhood”

**** 1/2 out of 5
108 minutes
Sony Pictures
Rated PG for some strong thematic material, a brief fight, and some mild language

Article first published at TheReelPlace.com

The entire crux of A Beautiful Day in the Neighborhood is a stuffed animal. While we never see journalist Lloyd Vogel’s (Matthew Rhys) “old rabbit,” we don’t need to. It’s brought up during an interview between Vogel — a fictionalized version of Esquire writer Tom Junod, whose 1998 article, “Can You Say… Hero?” is the inspiration for the film — and Fred Rogers (Tom Hanks).

Yes, Mr. Rogers has found the way to a pessimist’s heart, and it’s bound to hit hard with audiences. Whether you grew up watching Mister Rogers’ Neighborhood, or didn’t — I did not — it still strikes a chord.

My now two-year-old loves her stuffed Dory, I had Kermit, and my wife, Tigger. While it never punched hard enough to make myself cry, based on the sniffs and whimpers heard at the screening — perfectly timed for the evening of World Kindness Day — spoke for themselves. Something made all the more surprising once you come to realize the film isn’t even actually about Mr. Rogers. It’s actually based on Junod’s article which is way more about himself than dear old Fred. It’s also from director Marielle Heller (Can You Ever Forgive Me?) who clearly loves writers, warts and all.

Vogel has a chip on his shoulder and uses that to his advantage with his award-winning Esquire exposés. He’s estranged from his father, Jerry (Chris Cooper), and just wants to keep his home life isolated to his wife Andrea (Susan Kelechi Watson), and son Gavin (played by triplets Jordan, Naomi, and Zoey Harsh). But acceptance and understanding comes calling after his editor assigns him to a “fluff piece”: interviewing Mr. Rogers. Now, Vogel gets more than he was looking for as life lessons are learned and heart strings get pulled.

For anyone worried about Hanks performing a caricature, fear not. Once we jump into the first scene you’ll quickly realize that no one else could ever have brought such an icon to life. The film oozes sincerity and never tries to make you think Mr. Rogers may be more than a facade. A great exchange between Vogel and Joanna Rogers does let us in on him being more human than folks may believe. We learn he does have a temper and doesn’t mind banging it out on some piano keys when needed. And who can’t relate to that?

The film plays out like a feature length episode and works all the better for it. Heller isn’t scared to get a little surreal here and there. Transitional scenes are sets right out of the TV show and they come into play for more than just recreating the WQED world of imagination. The rest of the cast all perform admirably, and most will still be surprised to see Hanks in a supporting role. But it’s absolutely going to earn him an Oscar nomination regardless. And with how earnest the film is, prepare for A Beautiful Day in the Neighborhood‘s title called out for a Best Picture nomination, too. It could stand to get overshadowed, but it’s every bit worthy. This is a film worth being neighbors with and you’ll be glad you stopped by.

Movie Review: “Frozen II”

** 1/2 out of 5
103 minutes
Rated PG for action/peril and some thematic elements
Walt Disney Pictures

Article first published at TheReelPlace.com

If you want to be “whelmed” by a movie, just go see Frozen II. It pains me to not speak highly of the sequel to such a classic. Six years ago, Frozen cemented Disney Animation Studios as more than just Pixar-lite. But with Frozen II, not all that glitters is gold.

The entire voice cast (Idina Menzel, Kristen Bell, Jonathan Groff, and Josh Gad), directors Chris Buck and Jennifer Lee — Lee also single-handedly wrote the screenplay again — may have returned, yet Frozen II falls prey to a Disney sequelitis cash cow. And just because it manages to squeeze out an ear worm — “Into the Unknown” — one good song is not enough.

We start with a flashback where young Anna and Elsa are being told a bedtime story by their father, Agnarr (voiced by Alfred Molina). He tells the girls that once upon a time there was a fight between Arendale and the tribe of Northuldra after a dam was built as part of a peace treaty. This enrages the spirits of earth, fire, air, and water causing a wall to encase the forest and their father barely escaped, but not without the help of an unknown savior.

Elsa is hearing strange callings and has to follow them, unintentionally awakening the elemental spirits, forcing Arendale to evacuate. Now, Elsa, Anna, Kristoff, Olaf, and Sven are off to find out how to save Arendale after the troll leader, Grand Pabbie (voiced by Ciarán Hinds), says that he sees no future for Arendale. Once again, Elsa winds up taking off on her own, leaving Anna behind to fend for herself while (film) history repeats itself.

After listening to the new Kristen Anderson-Lopez/Robert Lopez collection, I thought to myself, “This… is not great.” Hoping maybe the songs would be better in context, I wanted to give it the benefit of the doubt. But no, these are the laziest, most unmemorable Disney songs in ages. Even Kristoff’s big ’80s power ballad should have left me rolling on the floor, but instead lands with an eye-rolling thud.

Unfortunately, all we get is a film that goes through the motions while heavily lacking any kind of emotion. Start with a plot where all the loose ends get tied up exactly as the opening scene implies they would, add a pinch of one new cute critter destined to sell toys, wrap it up with cloyingly unmemorable expository singalongs, and it’s clear that money is the only reason this film exists.

There was no need for Frozen II and it never earns its existence. Most fans obviously won’t care, but I do. The first Frozen finally put the final smash on Disney’s glass ceiling — and caused my wife and I to bond with new friends — but Frozen II is a super odd mix of too adult for some youngsters — no matter how hard Olaf (voiced by Josh Gad) tries to annoy us — and too clichéd and lazy for adults.

It also ends with what I’m sure Buck and Lee are hoping to be some kind of cliffhanger, but leaves you scratching your head instead. All Frozen II really manages to do is show how unnecessary sequels can be and in this case, they should have left well enough alone. One sequel was one too many and it’s time to let it go. I know the box office will make sure a third film happens, let’s just hope they can learn from this and figure out a better way to keep the next venture from being so middling.

Movie Review: “Ford v Ferrari”

***** out of 5
152 minutes
Rated PG-13 for some language and peril
20th Century Fox

Article first published at TheReelPlace.com

It doesn’t happen very often. The breathtaking feeling you get when walking out of a perfect film. Such was the case with James Mangold’s Ford v Ferrari — the racing film I never knew I needed. While it definitely isn’t what you’d call an action movie, the racing scenes are top notch and leave your jaw on the floor at every, err, turn. It certainly helps to have two of the best performances of the year bringing larger-than-life personalities — Ken Miles and Carroll Shelby — to the big screen. Matt Damon (Shelby) and Christian Bale (Miles) may not sound like first choices for co-starring opposites, but they play so spectacularly off each other that I wouldn’t mind them in plenty more things together.

Henry Ford II (Tracy Letts) has big plans for Ford Motor Company. He’s been informed by Lee Iacocca (Jon Bernthal) that Ferrari has gone bankrupt and Ford wants to merge. Unfortunately, that means Enzo Ferarri (Remo Girone) would also be giving up his racing division, Scuderia Ferrari, in the deal. Ford wants to use this as a way for Ford to try and win the 24 Hours of Le Mans race. When Enzo shuts Ford’s deal down, Ford turns to Shelby for help creating their first sports car. Problem is, Shelby needs Miles’ help and he’s “difficult, but good.” Sure enough, the two car conglomerates — along with Shelby and Miles — are in for the ride of their lives to come up with a car to win Le Mans and beat Ferrari at the race Ferrari has won five years running.

The last time I walked out of a screening so enthralled was The Departed. While this has a long way to go to the finish line — we’re only halfway through November — I can’t see too many more films coming together so precisely. Everything from the acting — Caitriona Balfe as Ken’s wife, Mollie nearly steals the show from Damon and Bale — to the screenplay, editing, cinematography, and sound design. Perfection. Mangold has an impressive history of making every film unique — maybe aside from The Wolverine and Logan. But you’d never guess this was from the man who directed Knight and Day, 3:10 to Yuma, Walk the Line, Girl, Interrupted, and Cop Land.

With Oscar season upon us — and my own voting imminent with the Utah Film Critics Association — it’s nice to see a heavy hitter finally come out of the woodwork. It’s been a fun year, but it’s about time it got kicked into high gear. When blockbusters have been more memorable than artsies, something’s amiss. And while I may not have the chance to see all the artsies, it’s fantastic when a Hollywood film gets to play double duty and have it both ways. Ford v Ferrari should not be missed and make sure you see it on the loudest — if not the biggest — screen possible.

Movie Review: “Last Christmas”

** 1/2 out of 5
102 minutes
Rated PG-13 for language and sexual content
Universal Pictures

Article first published at TheReelPlace.com

To quote my review of Paul Feig’s A Simple Favor: “The heightened sense of reality plays like the funniest big budget Lifetime version of Gone Girl you could hope for.” With Last Christmas, Feig left nuance at the door and simply made a Lifetime/Hallmark movie. If there ever was a Feig film designed purely for Netflix, this is it. Light on laughs, sitcom in execution, and overloaded with George Michael earworms, Last Christmas proves it takes more than just a Christmas setting to provide a holly jolly spirit.

Kate (Emilia Clarke) is not living her London life to the fullest. Having recently recovered from being sick, she struggles to keep her job as an elf at a year-round Christmas store and bounces around friends for places to stay. Her boss, “Santa” (Michelle Yeoh), misses the old Kate and knows she’s capable of more.

Her family — sister Marta (Lydia Leonard), father Ivan (Boris Isakovic), and mother Petra (Emma Thompson) — wish she’d get her act together and make the most of their escape from Yugoslavia. And just when it seems like things can’t get any worse, Kate meets Tom (Henry Golding), who could be the man of her dreams. Now, Kate may have a reason to find a new lease on life, with Tom possibly being just the ticket to a new standard of living.

If that doesn’t sound overly schmaltzy, just wait till you see the movie. Even the most mediocre romantic-comedies can get by on the power of its stars. Unfortunately, Clarke and Golding have zero chemistry which indicates a big twist is coming. A twist you’ll be able to guess from a mile away if you watch any of the film’s trailers, which I had not. Another giveaway comes in the form of the title song, played ad nauseum throughout the film.

Sitcomy by nature, and never as charming as it thinks it is, Last Christmas isn’t one of the worst Christmas films ever, but boy is it one of the dumbest. It’s extremely boring, too. When you never care for your protagonists, it makes any film a huge chore to sit through. Thompson’s clichéd “Boris & Natasha” accent doesn’t help either, and that’s exactly the kind of comedy Feig falls back on here.

You’d never guess this is the same director who brought us Freaks and Geeks, Bridesmaids, The Heat, Spy, Ghostbusters, and A Simple Favor. Hopefully, Last Christmas winds up as a mere blip on Feig’s record. Considering his next film involves a mashup of the classic Universal monsters — and comes from his own writing — hopefully that returns him to his usually brilliant brand of filmmaking.

Movie Review: “Doctor Sleep”

***** out of 5
151 minutes
Rated R for disturbing and violent content, some bloody images, language, nudity and drug use
Warner Bros. Pictures

Article first published at TheReelPlace.com

As if crafting a sequel to The Shining wasn’t daunting enough for Stephen King, imagine being in writer/director/editor Mike Flanagan’s shoes with Doctor Sleep. Flanagan found himself creating not only a sequel to the Kubrick classic, but also had to deliver an adaptation of a book sequel that exists in its own universe which blatantly ignores Kubrick’s film.

Considering Flanagan’s track record — Oculus, Hush, Ouija: Origin of Evil, The Haunting of Hill House, and another King adaptation, Gerald’s Game — I had faith the film was in good hands. And not only does Flanagan execute one of the best King adaptations ever, it’s a fantastic Dark Tower companion as well.

It’s been 39 years since the horrific events played out for Danny Torrance (Ewan McGregor) at the Overlook Hotel. But in the ultimate case of like-father-like-son, Danny is fighting his own demons brought on by his father’s alcoholism and the passing of his mother, Wendy (Alex Essoe).

Ka comes calling as Danny needs to shine again when Abra Stone (Kyliegh Curran) requests his help. Rose the Hat (Rebecca Ferguson), and the rest of the True Knot, are on the hunt, with members of the Knot able to feed on those who “shine.” With Abra being the strongest Rose has ever encountered. Now, the race is on to save Abra and Danny, leading to the ultimate showdown only Danny can stage.

Filled with fantastic performances — particularly Ferguson and Curran — spectacular cinematography, and the year’s creepiest soundtrack, Doctor Sleep is the King adaptation we’ve been waiting for. With a tall order of some admittedly perfect films to choose from — The Shawshank Redemption, Stand By Me, Misery, The Mist — this is officially my favorite and it’s absolutely one of the best.

Don’t let the 151-minute runtime worry you either, the film soars along to the climax at a breathless pace. A few Flanagan regulars make their way in, with Carel Struycken (Gerald’s Game’s “Moonlight Man”) and Henry Thomas filling in for Jack Nicholson. Ferguson stands out as a chilling King villain.

While the MCU may have a huge head start on cinematic universes, between Doctor Sleep and Pet Sematary, I’m left scratching my head as to how Sony wound up so haphazardly developing their Dark Tower film. So many references abound in Doctor Sleep. There was an opportunity for at least one that wasn’t taken advantage of. Not sure if Flanagan felt it would have been one too many, but at one point, I leaned over to my friend and whispered, “If that train is named ‘Charlie,’ I’m going to lose my mind.” Alas, it wasn’t meant to be.

There’s honestly only so much gushing I can do here. Flanagan is a genre master and continues to get better, and even more ambitious with each outing. Considering he’s currently adapting a new Taming of the Shrew in the form of Netflix’s Haunting of Bly Manor (AKA the second season of Hill House), I can’t even imagine how fantastic it will be. For now, he’s got a long resume of creepfests under his belt, and I’ll definitely be showing Doctor Sleep some love come year end voting with the Utah Film Critics Association. As the marketing says, “Dare to go back,” you’ll be glad they did.

Movie Review: “Terminator: Dark Fate”

**** 1/2 out of 5
128 minutes
Rated R for violence throughout, language and brief nudity
Paramount Pictures

Article first published at TheReelPlace.com

It’s almost exasperating to think that Terminator: Dark Fate is the sixth entry of the franchise. But that’s really not too many considering the first film turned 35 this year. It’s also been 28 years since T2: Judgement Day blessed us with not only one of the best action films ever made, but also one of the best sequels.

With Rise of the Machines, Salvation, and Genisys not having James Cameron involved, it was about time he made his return — even if only credited with story/producer. And while director Tim Miller (the first Deadpool) may not quite have Cameron’s eye for action, Dark Fate is absolutely the best sequel since T2. An ironic statement considering they’ve scrapped the last three films from canon and, err, rebooted.

1998, Livingston, Guatemala. Sarah Connor (Linda Hamilton) and her son John (Edward Furlong) are trying to live their lives knowing the future is safe after taking down Skynet’s Cyberdyne System and preventing Judgement Day. But just wouldn’t you know it, the Terminator (Arnold Schwarznegger) shows up to complete his mission and finally kills John.

Twenty-two years later, enhanced super soldier Grace (Mackenzie Davis) arrives in Mexico City from a new future in 2042. Grace is on the hunt for Dani Ramos (Natalia Reyes) to keep her safe from the a new liquid Terminator, Rev-9 (Gabriel Luna). Grace and Dani head out on the run, but not before Sarah catches up with them. Now, the three are on the run to save Dani — and whatever new future is heading their way — with Grace informing them that a new machine war is still coming, in the form of “Legion,” as history begins to repeat itself.

Considering Dark Fate takes place in the present, it makes sense for the film to have a self-aware sense of humor. Screenwriters Davis S. Goyer, Justin Rhodes, and Billy Ray make sure Sarah and Dani understand the ridiculousness of their situation — especially with Sarah having already lived through it once.

They also add a heaping dose of girl power, with Hamilton, Davis, and Reyes performing spectacularly. All three are a powerhouse of badass, which I’m sure everyone knew was key, considering Schwarzenegger doesn’t even show up until the last half of the film.

But that’s exactly what makes Dark Fate work best: the humanity. Here we have three women being tracked down by a machine from the future, working together to save themselves. It brings us back to the original’s simplicity without getting too bogged down in time traveling shenanigans. It’s the biggest thing missing from the last three sequels and it’s about time they brought it back.

Say what you will about Cameron as a storyteller, but you do have to admit that he usually takes the time to build characters, no matter how much spectacle is being played out around them. Speaking of spectacle, don’t worry, there’s more than enough of that here too! The film charges right out of the gate at a breakneck speed and runs like a freight train toward the finale.

While squeezing in more than enough character arc for Dani, by the time we reach the end credits, you can’t help but wonder where this sequel has been all this time. The answer is obviously Cameron. This was always his story to tell, and it’s about time he got to continue.

Now, don’t get me wrong, I love the Terminator franchise as a whole — yes, even 3, Salvation, and Genisys — but things will undoubtedly be far more interesting moving forward with Dani and Sarah prominently in the leads and it’ll be exciting if we get to see whatever Legion winds up being. Don’t expect any clues during the end credits, there are no stingers.

To feel like a broken record about the Terminator franchise: I’ve said it before, and I’ll say it every time, I can’t wait to see where it goes from here.

Movie Review: “Countdown”

*** out of 5
90 minutes
Rated PG-13 for terror, violence, bloody images, suggestive material, language and thematic elements
STX Entertainment

Article first published at TheReelPlace.com

Put enough jump scares in a horror movie and I’ll jump at least once. Surprisingly, writer/director Justin Dec doesn’t rely on them as much as you’d think. A good thing too, because Countdown has more going for it than the average horror flick. Sure it has dopey moments, but it also has plenty of spirit to keep the story interesting. Think Final Destination with an app — minus all the Rube Goldberg machinations. That description alone should make or break your decision. But with Countdown being the only horror movie released this month, it won’t be a waste of money for interested parties.

Like many horror movies, events kick off at a high school party where a group of drunk friends download the “Countdown” app which tells them exactly how long they have to live. For poor Courtney (Anne Winters), her time left shows just few hours which comes true in spite of breaking the user agreement after refusing a ride home from her drunk boyfriend, Evan (Dillon Lane).

Of course Courtney winds up dead and Evan gets in a car wreck with a tree branch sticking through the passenger seat. Before surgery, Evan meets newly-certified RN Quinn (Elizabeth Lail), who decides to download the app against her better judgement. Sure enough, she’s down to her final days and enlists the help of fellow app user Matt (Jordan Calloway), to find out what’s behind the app and save their — and Quinn’s sister Jordan’s (Talitha Eliana Bateman) — fates.

When a horror movie isn’t taking itself completely seriously it usually works best. Especially with slasher films. While there may not be an actual slasher on the loose, Countdown plays by the same rules. While Final Destination may be one of its biggest inspirations, it also owes a lot to Happy Death Day with a final girl not willing to play by the rules. Yes, the characters still do some pretty dumb stuff, but they also do some smart stuff. For every strange noise investigation there are also plenty of scenes like Quinn using Evan’s dead body to unlock his phone. Dec also gets a kick out of not skimping on some decent gross-out gags and going full steam ahead with his demonic ending.

With Halloween less than a week away, it’s always disheartening when studios fail audiences with only one offering. While It: Chapter 2 is still floating around in theaters — and families have The Addams Family — at least there’s Countdown. It may not reinvent the wheel, but it does have fun playing with conventions. Lail makes for a great final girl with girl power to spare —  and it’s nice to have a horror movie not filled with annoying fodder you want to see die — making Countdown just good enough for a weekend full of tricks and treats.

Movie Review: “The Addams Family”

**** 1/2 out of 5
87 minutes
Rated PG for macabre and suggestive humor, and some action
United Artists Releasing

Article first published at TheReelPlace.com

Creepy, kooky, mysterious, spooky, ooky, animated. While one of these things is not like the other, the new film from directors Greg Tiernan and Conrad Vernon (both directors of Shrek 2, Monsters vs. Aliens, and Sausage Party) prove The Addams Family work in any format. While they’ve been animated before on television, this is the first animated film to be released theatrically. For those keeping track, it’s been 26 years since the goth-like family was last on the big screen, and it’s fantastic to have them back!

I seem to be in a minority here — not one adult who attended the screening with me liked it — as it sounds like some audience members have a major misconception regarding the entire enterprise. Yes, the Matt Lieberman screenplay doesn’t exactly offer up anything new, but at least the characters remain the same.

Wedding bells are ringing for Gomez (voiced by Oscar Isaac) and Morticia (voiced by Charlize Theron). But just as they say “I do,” the townsfolk show up to wage war and drive them out. The newlyweds hit the road in search of the worst place they can settle down in, winding up in New Jersey — a nod to Charles Addams’ hometown. And while they find an abandoned haunted asylum to call all their own — after Thing runs down escaped mental patient Lurch (voiced by co-director Conrad Vernon) — 13 years later we catch up with the rest of the clan: Wednesday (voiced by Chloe Grace Moretz) and Pugsley (Finn Wolfhard).

The rest of the family are soon on their way to join them for Pugsley’s Mazurka, including Uncle Fester (voiced by Nick Kroll), cousin It (voiced by Snoop Dogg), and Grandma (voiced by Better Midler). And wouldn’t you know it, the fog surrounding their home has lifted as the marsh is drained by reality TV host/interior designer Margaux Needler (voiced by Allison Janney). Now the Addams’ have to deal with the new town of “Assimilation” below. Things go from bad to worse when Wednesday enrolls in middle school and befriends Margaux’s estranged daughter Parker (voiced by Elsie Fisher), while Margaux hatches a diabolical plot of her own to turn the town against the Addams clan.

Growing up I loved the original TV series, and the Barry Sonnenfeld classics even more. While Addams Family Values may have been the epitome of what Charles Addams’ creation could be, this is a fantastic reboot, ushering the family back into the spotlight — even if straddled with a PG rating. Double entendres and twisted visuals reign supreme with the voice cast relishing every line. Raul Julia, Angelica Huston, Christopher Lloyd, and Christina Ricci may have left their mark on their characters, but it’s easier to separate the new versions with this animated one.

Directors Tiernan and Vernon make sure they kick things off with a gag a minute, although things do start to slow down as the plot starts to take over in the third act. There was also a missed opportunity of truncating Wednesday’s time at middle school with too much attention focused on the Assimilation shenanigans. A film about The Addams Family should be about them, we didn’t come here to see what the neighbors were up to. Stillt, Addams fans will be snapping their fingers with glee by the time the end credits roll. And while this first entry may play things a little safer than expected, I can’t wait to see where it goes from here!

Movie Review: “Gemini Man”

*** out of 5
117 minutes
Rated PG-13 for violence and action throughout, and brief strong language
Paramount Pictures

Article first published at TheReelPlace.com

There’s a lot to be said about nature vs. nurture. Unfortunately, for Ang Lee’s new action-thriller Gemini Man, its trio of writers — David “Game of Thrones” Benioff, Billy Ray, and Darren Lemke — are convinced that a clone will be exactly the same regardless of differences in upbringing and personal experiences. While it may work to beat out their been-there-done-that plot mechanics, it completely deflates the emotional impact of the finale.

These kinds of introspective character arcs may not be new to Lee’s films, it comes across as extra silly when the studio is trying to market the film as a “Will Smith vs. Will Smith” action spectacle. While it may feature some fantastic bursts of action, the pace is all over the map with too many monologues padding out the runtime. Which is a shame, because Smith has more chemistry with co-star Mary Elizabeth Winstead than himself.

Henry Brogan (Smith) is the best government assassin in the biz and all he wants to do is retire. But just wouldn’t you know it, he’s just been informed by his friend Jack (Douglas Hodge) that his last target was an innocent man. Now, his old handler Clay (Clive Owen) unleashes project “GEMINI” to bring him down leaving Henry on the lam with fellow agents Danny (Winstead) and Baron (Benedict Wong) helping to save all their rears. What they don’t know, is that GEMINI consists of Henry’s younger, far more lethal clone Junior (a deaged Smith), who will stop at nothing to take Henry down. At least so long as his feelings don’t manage to get in the way.

Gemini Man is reported to be a technological breakthrough, by those who happened to see it at the TCL Chinese Theatre in Los Angeles premiere. Lee — and cinematographer Dion Beebe — have shot the film in 4K 3D at 120 frames per second (fps). And the marketing is pushing for audiences to experience it in what they’re calling “3D+” and I’m sure it looks amazing. Unfortunately for most, only 14 theaters in the entire country are equipped to come even close, but can only show it in 2K 3D at 120fps — as reported by Polygon.com. And, if you’re lucky, you might be able to find it playing in 2D at 60fps, but don’t hold your breath.

Why studios continue to allow these blockbusters to be made when most of the world won’t even be able to see them as intended is beyond me. Until theaters can catch up, maybe it’s not quite time to be testing the boundaries of filmmaking. Plus, most moviegoers hate watching high frame rate (HFR). I was able to see the first two Hobbit films in HFR and loved every second of them in the format, but it is a very polarizing experience. To try to make something as mainstream as a Jerry Bruckheimer-produced action spectacular makes even less sense. But if anyone happens to see it properly, feel free to comment back with any thoughts.

As for the film itself? It’s been great to have Smith back on screen again this year. He never fails to deliver with his endless charm and charisma whether he’s slathered in blue CGI or playing a 30 year younger version of himself. With Winstead kicking ass by his side, the two play off each other very well, and it’s nice to see them even crack wise about whether the two of them should/could wind up together in the end. (Spoiler alert: they don’t!) But that should be seen as a sigh of relief and not a true spoiler.

Unfortunately, they’re saddled with a lackluster screenplay that’s so very by-the-books-’90s — which makes sense since the screenplay has been in development hell since as far back as 1997. Considering it’s a product of the ’90s, it’s understandable to see Bruckheimer producing. The best advice is to check your brain at the door which leaves room for some fun to be had. Just never stop to think about the shenanigans for too long or it’ll ruin things faster than a 2D 24fps presentation.