Rapid Reviews: Lady Bird and Darkest Hour

Thanks to countless collaborations with acclaimed indie filmmaker Noah Baumbach, Greta Gerwig has cemented her standing as a formidable lead actress in contemporary Hollywood. And even after a steadily climbing career inexplicably found her on the outside looking in at this past Oscars ceremony, where her work in Mike Mills' 20th Century Women was actually one of the year's strongest performances despite the snub, Academy voters will have a difficult time turning a blind eye to Gerwig's beloved festival darling, Lady Bird. This indie treat combines the witty charm of Gerwig's screenplay with a familiar Oscar player, Brooklyn star Saoirse Ronan.

The self-nicknamed "Lady Bird" (Ronan) wants nothing more than to escape her Northern California roots by getting into an east coast college despite her mom's (Laurie Metcalf) strongest efforts to keep her local. And as Lady Bird navigates through senior year with her best and only friend, Julie (Beanie Feldstein), she encounters many firsts that slowly shape her her transition into adulthood.

Sadly, if you've seen Lady Bird's official trailer then you've seen many of the films most memorable moments. But still, Gerwig's endearing script miraculously finds ways of triggering familiarity to our own teenage years, full of awkwardness and immaturity that we've all encountered in some shape or form. Saoirse continues to demonstrate her acting prowess by channeling her inner irrational self, without a filter and desperate to develop a sense of self. Lady Bird makes for such an interesting character because she's so relatable, a testament to Gerwig's crafty writing and Ronan's ability to bring the title character to life. Equally as impressive as Ronan's stout onscreen performance is the reemergence of Roseanne co-star, Laure Metcalf. Playing Lady Bird's combative mother, Metcalf brings a natural fluidity to the role and their meticulously crafted co-dependence proves a marvelous component to the film. Lady Bird moves well with its brisk nearly 90-minute running time, but it also lacks a big emotional punch to the gut with its meandering resolution. Gerwig's effort is certainly a strong one and seems primed to be an Oscar player as the year comes to a close, but Lady Bird also falls short of greatness in many regards.


Stars: 3 stars out of 4

Grade: B





Legendary actor Gary Oldman has yet to capture that elusive Oscar statue, and it's a fact we're often reminded of whenever his name surfaces. However, many insiders believe Oldman is destined to join the exclusive Oscar ranks thanks to his unrecognizable transformation in Joe Wright's Oscar baity examination of Winston Churchill in the drama Darkest hour. And although the film's lack of fervor and energy make for a sporadically painful two hour affair, Darkest Hour checks all the necessary boxes for the overwhelming majority of Academy voters, making it a viable Best Picture candidate when nominations are announced in late-January.

Set during the early stages of World War II, the country of England has lost faith in Prime Minister Chamberlain (Ronald Pickup) following Hitler's bold expansion throughout Europe. Winston Churchill (Oldman) is brought to power as Chamberlain's replacement merely as an appeasement strategy, but loyalties to him by members of parliament are nonexistent and put the new Prime Minister in a precarious situation. And as Hitler's forces draw closer to their shorelines, Churchill's call to fight back and never surrender meets a strong resistance from members of parliament eager to reach a peace agreement with the vile dictator.

We all know where the story goes from there. Churchill's successfully unifies his country in an effort to combat Hitler's Nazi regime and the rest is history. Yet, the depth of Churchill's inelegant rise to power is brilliantly captured due in large part to Anthony McCarten's immaculately detailed screenplay and Gary Oldman's towering lead performance. Oldman is a show-stealer, nailing every scene with immense precision and a gritty characterization of a true historic icon. Darkest Hour brings to life the good, the bad and the ugly surrounding Churchill's controversial personality, delivered to Oscar-winning heights by this year's early Best Actor frontrunner, Gary Oldman. But through it all, the film hits home by illustrating the Prime Minister's remarkable ability to unite the masses and, as a result, help change the course of history. However, to its detriment, Darkest Hour is plagued by a punishingly wordy script that makes this British cousin to Spielberg's Lincoln feel like an absolute chore at times. If you're looking for an uptempo movie experience, this certainly isn't it. But if you can withstand a dialogue-heavy recount of a great historical moment in time, then Darkest Hour will definitely satisfy.


Stars: 2 and a half stars out of 4

Grade: B-

Rapid Reviews: Last Flag Flying and The Florida Project

While he's been long regarded as an upper echelon screenwriter, earning the industry's highest respect as a filmmaker didn't come quiet so easily for Richard Linklater. His prestigious career is as impressive as it is diverse, helming a cult comedy classic like Dazed and Confused, and also being the decades long visionary behind the masterful Best Picture Nominee Boyhood. Yet, no matter how he's reached this point in his career, Richard Linklater has free range to do as he pleases. And what the filmmaker has in store for this Oscar season is a humor-filled, and powerfully heavy drama called Last Flag Flying.

Steve Carell stars as Larry "Doc" Shepherd, a Vietnam vet who pays unannounced visits to his estranged fellow servicemen, Sal Nealon (Bryan Cranston) and Richard Mueller (Laurence Fishburne). Doc tells them of his only son's tragic passing while serving in the Middle East and asks them to accompany him in a road trip to the body. While on their journey the old friends recount past mistakes and mull over what the future has in store for them as Doc comes to grips with his horrific loss.

For such a heavy-hearted premise Last Flag Flying offers far more laughs than emotionally-charged moments. Bryan Cranston steals the show as an unrelenting ball of energy who loves to hear himself talk, making the most of every opportunity to crack a joke and remain the center of attention. His one-liners are priceless and his character even goes through a small and humbling transformation that adds layers to his depth. On the other hand, Carell delivers a more subtle and nuanced turn as a quiet loner desperate for human connection as he embarks on the grieving process. There's tenderness and humanity dowsed in all that Doc says and does, even if he's forced to play second fiddle to Sal's never-ending antics. Laurence Fishburne serves his purpose as well, even if the role obviously becomes lost behind his two shining co-stars. Yet, although the performances are spectacular, Linklater oddly shows flaws in what's normally his strongest attribute, screenwriting. Last Flag Flying is riddled with contradicting thoughts and behaviors regarding government, war and brotherhood. Linklater's voice isn't quite clear and we're left to decipher his muddled intention all on our own. However, no matter what you personally draw from the film, Last Flag Flying serves as a riotously funny and heartfelt endeavor that adds to a long list of strong career work from the heralded filmmaker.


Stars: 3 stars out of 4

Grade: B





Last year's indie festival darling Moonlight tore through the festival circuit en route to its unforgettable Best Picture Winning Oscar-night blunder. And if your looking for a film this year that resonates much like Barry Jenkins' immortal work, look no further than Sean Baker's personal and intimate experience, The Florida Project. And although the film doesn't tackle social issues quite as prominent as homosexuality and inner city culture, ones that certainly helped Moonlight capture Hollywood's greatest achievement, The Florida Project still leaves a lasting impression that should help carry the film to a modest level of awards season success.

Moonee (Brooklynn Prince) is a charismatic and carefree girl raised by her jobless mother Halley (Bria Vinaite) at a beaten down motel in the shadows of "the funnest place on earth", Disney World. As Moonee and the other children from local motels get into their daily mischief, Halley struggles to find decent work while trying to make ends meet. Under the watchful eye of her firm but fair motel manager Bobby (Willem Dafoe), Halley's life slowly spirals out of control and perhaps to a point of no return.

As a compelling example of humanistic filmmaking, The Florida Project beautifully captures both the essence of childhood and the weight of adult-like responsibility. The juxtaposition of these vast differences paints a sobering picture of daily life for many Americans, one that director Sean Baker brings to the forefront with such tenderness and humility. Of the film's many fine performances, it's Willem Dafoe who stands most likely to garner the attention of Oscar voters. Bobby represents a compassionate voice of reason and maturity in a world full of tenants who continually find ways of screwing up with every new opportunity. Dafoe's character provides an outpouring of love and protection to a community of families often forgotten by the world around them. It's powerful and it's heartbreaking, but it's exactly what allows The Florida Project to resonate so well. Other exceptional turns are delivered by youngster Brooklynn Prince and her onscreen mother, played by Bria Vinaite. However, despite tackling a unique perspective of American society and valiant work from the entire cast and crew, The Florida Project lacks any semblance of engaging storytelling and culminates in a mightily pronounced fashion. After investing so much emotion into a completely character-driven experience, ending the film on such a striking note feels a bit unjust.


Stars: 2 and a half stars out of 4

Grade: B-

Rapid Reviews: I, Tonya and Happy Death Day

Craig Gillespie has enjoyed a decade of marginal directing success with solid works that include Lars and the Real Girl, Million Dollar Arm and, to a lesser extent, The Finest Hours. Knowing that the talent has always been there, the filmmaker takes his career to a whole new level with the upcoming Oscar hopeful, I, Tonya. The Philadelphia Film Festival Opening Night selection didn't disappoint and, in fact, it not only set the bar for the entire 11-day long affair, I, Tonya sets the bar for the rest of the cinematic year.

Growing up as a self described redneck under the grueling and demanding guidance of her unaffectionate mother (Allison Janney), Tonya Harding (Margot Robbie) drops out of school and dedicates her life to the sport of figure skating. But as she falls in love with a local buffoon named Jeff Gillooly (Sebastian Stan) and becomes embroiled in a bitter and toxic relationship, Tonya also reaches new heights on the ice rink by making history as the first female skater to successfully land a triple axel in competition. Yet, when a rival U.S. skater named Nancy Kerrigan begins to pose a threat to her Olympic success, an "incident" occurs that will forever define Tonya's life.

Gillespie's wildly amusing and uber self-aware black comedy lures its audience by commanding a wide array of emotions. I, Tonya contains no shortage of laugh-out loud humor, often centered around copious amounts of stupidity and vulgarity, but the film also does a remarkable job of building empathy for its  notorious title character. Margot Robbie delivers a career best performance, one that will, at the very least, land her in the Oscar discussion. Similarly, her onscreen matriarch, played phenomenally by Allison Janney, feels primed for some awards season success as well. And don't be fooled, I, Tonya is far from a movie about figure skating. Gillespie and screenwriter Steven Rogers dive deep into the background and upbringing of Tonya Harding with hopes of shining some clarity on the senseless pre-Olympic assault of Nancy Kerrigan that made Harding a nationwide headline. While a reliance on the most unreliable of sources ultimately leaves an open-ended debate as to the depth of Harding's overall involvement in the incident, I, Tonya plays to an uptempo beat and never shies away from an opportunity to break the fourth wall. Unapologetically profane and remarkably edgy, I, Tonya clearly stands out as one of 2017's finer films.


Stars: 3 stars out of 4

Grade: B+





The horror genre meets Groundhog Day in Christopher Landon's engaging new effort, Happy Death Day. We've seen this repetitious formula filter into the sci-fi/action genre with 2014's The Edge of Tomorrow, and it feels like such a natural fit for scary movies, making Happy Death Day's premise on odd combination of both familiar and original storytelling. But despite the film's creative foundation, the manner in which everything pieces together is less that satisfying.

When sorority queen Tree Gelbman (Jessica Rothe) wakes up on her birthday in the dorm room of an underclassman named Carter (Israel Broussard), she instantly regrets all of her previous night's decisions. Yet, little does Tree know that Carter may be the only person on campus she can actually trust. As Tree continues on with the rest of her day, it ends in a grisly murder at the hands of a determined killer sporting a mask of the university's mascot. And when she awakes to the same morning routine in Carter's dorm room, she quickly finds herself forced to relive the day over and over again until she can correctly identify her killer.

Happy Death Day is short on scares and gore, evident by its limiting PG-13 rating. For an idea as clever and death-filled as this one, the film is sorely mishandled with its tame and subdued demeanor. Instead, Christopher Landon and writer and Scott Lobdell deliver a more teen-centric and fun endeavor than a truly horrific one. And as Tree falls victim to her mysterious killer over and over again, she gains a newfound perspective on life that helps transform a once cruel and superficial sorority sister into a more grounded and introspective young woman. This nice and pretty little bow that's tied to Happy Death Day's main character is certainly gratifying, yet a head-scratching journey to unlocking Tree's killer is riddled with red herrings and plot holes. While some of the story's misdirection works well in the moment, the most notable twist is in many ways unforgivably bad. Happy Death Day proves to be another immature horror effort that squanders an otherwise creative premise. Thankfully, a brisk pace and likable main characters allow Christopher Landon's latest to be, at worst, a tolerable experience.


Stars: 2 stars out of 4

Grade: C+

I, Tonya (TEASER) and I Love You, Daddy Trailers

A pair of films that debuted at the Toronto International Film Festival just unveiled their first mainstream footage. First up is Craig Gillespie's unapologetically edgy biopic (of sorts), I, Tonya. Told through written court testimony and personal interviews from the most unreliable of source, the film follows the difficult upbringing of notorious Olympic figure skater, Tonya Harding (Margot Robbie). As last night's Opening Night selection at the Philadelphia Film Festival, I can say with a large amount of confidence that audiences will eat up the wildly unhinged and engaging re-telling of the attack on Nancy Kerrigan and the ultimate demise of rival Tonya Harding. Check out I, Tonya's first official teaser trailer below.





Another film premiering at TIFF comes from the comedic mind writer, director and co-star Louis C.K. The funnyman's directorial debut I Love You, Daddy appears to intentionally frame Louis C.K.'s character in a Woody Allen-esqe manner, as a popular television writer whose younger daughter (Chloe Grace Moretz) becomes the attraction of a much older actor (John Malkovich) with an awful past. Initial reviews were mixed for the black & white filmed comedy, but Louis C.K. possesses an intelligent and creative mind that, at the very least, has me intrigued. You can catch the debut trailer for I Love You, Daddy below.

2017 Philadelphia Film Festival Preview

As the City of Brother Love prepares for the Halloween season, this special time of year means something a little bit different to local film lovers and enthusiasts. At the end of every October the Philadelphia Film Society brings many of the awards season's hottest titles to its annual film festival (for more information and tickets click here). This 26th annual crop of selections is no different from years past, loaded with potential Oscar contenders, festival circuit darlings and cinematic achievements from all across the globe. In preparation for Opening Night festivities that begin in one short week, here's a look at some of the biggest titles that I'm most excited to catch at this year's Philadelphia Film Festival (September's list).


Honorable Mention: Borg/McEnroe, Breathe, Most Beautiful Island and Where is Kyra?

#10. Wonderstruck

Carol and Far from Heaven helmer Todd Haynes offers his latest adapted feature Wonderstruck. This tale of parallel timelines follows the lives of a present day young boy living in the Midwest and a young girl from New York fifty years prior, as they both seek out a similar mysterious connection. Early buzz has been generally positive and Haynes owns a decent track record of finding his movies in the Oscar conversation.

#9. Gemini

Having already had the opportunity to attend the film's World Premiere at 2017's SXSW Film Festival in Austin, Texas, I can certainly vouch for Aaron Katz's new crime mystery Gemini. With sleek direction and a crafty story that highlights the darker side of Los Angeles, the friend and personal assistant (Lola Kirke) of a prominent movie star (Zoe Kravitz) becomes the primary suspect after a grisly murder takes place. Gemini won't end up in any awards season discussion, but the film packs a nice and compact punch with its entertaining and brisk 90-minute run time.

#8. The Square

Winner of this year's prestigious Palm d'Or award at the Cannes Festival in France, Ruben Ostlund's The Square will take to the big screen twice during this year's Philadelphia Film Festival. The uber-talented Elisabeth Moss co-stars in this satirical drama that follows the curator of a contemporary art museum (Claes Bang) whose life is flung into an existential crisis following the ill-advised PR campaign for his latest feature. The Square could very well end up as this year's Academy Award Winner for Best Foreign Film.

#7. Thoroughbreds

Following a World Premiere at the Sundance Film Festival and enjoying a successful run on the festival circuit, Cory Finley's Thoroughbreds makes its way to Philly prior to its March 2018 release date. Teaming up a pair of well rounded young actresses, The Witch's Anya Taylor-Joy and Me and Earl and the Dying Girl's Olivia Cooke, the film highlights the upper-class suburban murder plot of two teenage girls. In what's now the late Anton Yelchin's final film, Thoroughbreds brings together a crop of gifted young actors and an intriguing tale of murder and betrayal.

#6. The Florida Project

After the wildly successful debut Tangerine, Sean Bakes returns with another journey into the human soul with his upcoming release, The Florida Project. Willem Dafoe stars as a motel owner who watches as a permanent customer and mother inadequately raises her outspoken 6 year-old daughter (Broklynn Prince) in one of the rooms. The Florida Project has garnered immense praises and some have even labeled Dafoe as a possible Oscar contender in this examination of youthful innocence and familial heartbreak.

#5. Darkest Hour

It's no secret that veteran performer Gary Oldman is deserving of Oscar immortality, yet the elusive actor has somehow dodged the big win throughout his career. Perhaps those complaints will be put to rest with Oldman's trans-formative turn in Joe Wright's Darkest Hour. Oldman stars as the strong-willed Winston Churchill during the bleak days of World War II when England finds its back against the wall from the powerful and imposing forces of Hitler and Nazi Germany. Darkest Hour has been described as typical Oscar fodder and if Oldman's on board, then count me in.

#4. Lady Bird

While Greta Gerwig's directorial debut Ladybird may not carry the same Oscar clout as some of the other titles on this list, a strong theatrical trailer and a versatile lead actress have me eager for a viewing. Brooklyn's Saoirse Ronan stars as the self-nicknamed "Lady Bird", an outspoken teenage outcast who dreams of leaving her California home town and venturing to a more cultured east coast destination. Gerwig has shown a strong ability to deliver bold characters throughout her career and I have the utmost confidence that she's created another one with her screenplay for Lady Bird.

#3. I, Tonya

Without a trailer to fully understand its tone and delivery, Craig Gillespie's I, Tonya made quite a splash with its Audience Award runner-up debut at the Toronto International Film Festival. Margot Robbie stars as the controversial sports figure, Tonya Harding, who was notoriously involved in the attack of fellow U.S. Figure Skater Nancy Kerrigan during their Olympic run in the mid 90s. The film tackles Harding's harsh upbringing and her journey from the bare minimum to a world of class and privilege that she struggles to compete with. As this year's Opening Night selection, I, Tonya should be on every festival-goer's list of "must-see" films.

#2. Last Flag Flying

Richard Linklater has been an established visionary and filmmaker for quite some time now, but his more than a decade-long work on the Best Picture Nominee, Boyhood, placed him in a whole other class of director. Linklater returns in 2017 with the emotional road-trip comedy, Last Flag Flying. On the long drive to visit the dead body of his soldier son, a Vietnam vet (Steve Carell) enlists the emotional support of estranged fellow veterans Sal and Richard (Bryan Cranston and Laurence Fishburne, respectively) as he comes to grip with the painful loss. Linklater possesses a rare talent that beautifully molds together drama and hilarity, which we can expect in large doses with Last Flag Flying.

#1. Three Billboards Outside Ebbing, Missouri

Finally, if there's one film I'm itching to see more than anything else at this year's Philadelphia Film Festival, it's undoubtedly Martin McDonagh's hysterical crime comedy Three Billboards Outside Ebbing, Missouri. From the same brilliant mind that brought In Bruges and Seven Psychopaths comes the story of a distraught small town mother (Frances McDormand) who buys a trio of billboards on a major road that shines a light on local law enforcement who still haven't solved her daughter's murder. McDonagh re-teams with the always phenomenal Woody Harrelson and Sam Rockwell in this comedy-infused drama that have many industry insiders calling it a serious Best Picture contender. Three Billboards has all the makings of an instant classic and it will surely sell out the house as this year's Closing Night selection.

Star Wars: The Last Jedi (NEW) and Pacific Rim Uprising Trailers

Despite all of the awards season contenders debuting to rave reviews all throughout the festival circuit, which is setting up an interesting final run to the Academy Awards, there's no movie more anticipated than the upcoming continuation of the Star Wars saga, The Last Jedi. During last night's nationally televised Monday Night Football game, we were given a whole new glimpse into the sure-fire box-office smash. Rian Johnson's effort follows where The Force Awakens leaves off, with Rey (Daisy Ridley) seeking out the guidance of Luke Skywalker (Mark Hamill) in order to battle descendant Kylo Ren (Adam Driver) and the villainous First Order to restore balance in the galaxy. You can catch the latest footage from The Last Jedi below.





Keeping up with a sci-fi theme, I was surprisingly satisfied with Guillermo del Toro's 2013 Kaiju fighting action film, Pacific Rim. While my reservations with the upcoming sequel continue to grow, mainly due to the fact that del Toro has handed the keys to producer-turned-first-time-director Steven S. DeKnight, a whole new cast of characters carry on the story in March of 2018. The Last Jedi's John Boyega helps lead a new generation of Jaegar pilots against a catastrophic Kaiju attack that threatens the fate of the world. Pacific Rim Uprising unveiled its debut trailer earlier this week and you can check it out below.

Rapid Reviews: Blade Runner 2049 and American Made

It was 35 years ago when Ridley Scott broke ground with his sci-fi classic Blade Runner. Trading action-packed thrills for a tempered and more cerebral science fiction endeavor helped make an impact on an entire generation of movie lovers. And if a sequel had to be done, what better filmmaker to take the reins than Arrival helmer Denis Villeneuve? Brandishing an intellectual screenplay and Villeneuve's keen visionary mastery, Blade Runner 2049 has clearly been placed in the most worthy of hands.

Set thirty years after the original, Officer K (Ryan Gosling) is a new-hybrid of replicant Blade Runner, programmed to fully obey his human masters. But as he becomes assigned to a very delicate case, the mystery he's supposed to solve slowly forces him to question his own existence. And with all of the answers belonging to former agent Deckard (Harrison Ford) who has gone into hiding for decades now, K must track down the legendary Blade Runner in order to finally unlock the truth to his cloudy past.

Much like Ridley Scott's Alien franchise, Blade Runner 2049 finds a unique beauty in its ability to pose more questions than answers. But despite a frustrating ambiguity that's assured to displease select audiences, Denis Villeneuve and company do an amazing job of expanding on the universe that Ridley Scott created 35 years ago. Taking the auteur's classic idea of building compassion for the replicant population and transforming that into a core principal within the structure of this new examination, Villeneuve enlightens the viewer with fascinating psychological quandaries and thought-provoking introspection. Ryan Gosling offers a stellar lead performance that's wonderfully complemented by a multitude of smaller, yet unbelievably effective, roles. And while Gosling undoubtedly hogs the film's face time, not a single side character wastes a moment on screen. Don't be fooled, though, Blade Runner 2049 comes with a fair share of criticisms. The film wallows in a sluggish and thrill-less delivery that snow-piles throughout an often painful 160-minute duration, and its uncharacteristically weak score with the great Hans Zimmer on board proves to be a bit of a disappointment. However, loyal and respectful fans of the original Blade Runner can look past these flaws and find solace in Denis Villeneuve's originality and heady subtext that rival the work of its predecessor.


Stars: 3 stars out of 4

Grade: B





Doug Liman returns with his second offering of 2017, re-teaming with his former Edge of Tomorrow star, Tom Cruise, in the wild true story of a commercial airline pilot-turned-CIA recon gatherer. American Made plays to a similar tone that we've witnessed on many occasions, shedding its light on the notorious Medellin drug cartel and leader Pablo Escobar. This aura of familiarity and a complete disregard for character building haunt Liman's latest and have us pining for the level of success he showed early in his career with hits like The Bourne Identity and Swingers.

After growing tired of the monotony involved in his everyday life as a commercial pilot for TWA in the late 70s, a rare opportunity falls in the lap of Barry Seal (Tom Cruise) when he's recruited by the CIA to fly recon missions in South and Central America. Barry's thirst for adventure proves reckless when he finds himself immersed in a cocaine smuggling scheme under the behest of ruthless dealer Pablo Escobar. With all sorts of government agencies on his trail and danger certainly looming, Barry puts everything at risk when he makes a compromising decision that places him and his loved ones in grave danger.

Eerily reminiscent of Ted Demme's 2001 cult classic, Blow, American Made suffers from what can only be described as an apparent egotistical grandstanding from leading star Tom Cruise. You'd be hard-pressed to find any extended period of time without Cruise's long, flowy locks and devilish grin plastered across the screen. Sadly, the film focuses exclusively on Barry Seal, and its failure to properly address the impacts of Barry's decisions on everyone else in his life through an adequate development of side characters proves detrimental. Barry's family, most notably, is nothing more than a silhouette to Cruise's demanding character. But despite this glaring weakness and unforgivable oversight to the film, American Made still manages to attract an audience with an energetic and amusingly tragic story. As Barry continues to fall deeper into his corrupt world of drug trafficking and money laundering, its like watching a car crash develop, where you refuse to look away for fear of missing the most destructive moment of impact. Cruise isn't at his best but he certainly remains capable of carrying a film, even if we're forced to take him in overflowing doses. But for as engaging and consuming as American Made's story allows it be, you can't help but feel like Liman should have accomplished so much more.


Stars: 2 and a half stars out of 4

Grade: B-

DVD Outlook: October 2017

Just as the fall movie season begins to heat up, a fresh new crop of DVD and streaming options available this this include a pair from my Early Year Top 10 Films of 2017 so far (September's suggestions). So if you're looking for alternatives to what's in movie theaters this October, you'll have plenty of worthwhile titles to choose from.




War for the Planet of the Apes - 3 stars out of 4 - (Read my full review here)

Matt Reeves dynamic Planet of the Apes set of prequels finds another winner in its third installment. The franchise reboot has developed a unique way of jostling dramatic themes with full fledged action sequences that reaffirm the benefits to carefully constructed CGI. And with War for the Planet of the Apes, a rather dubious title selection considering the film's reliance on a more emotionally-driven story line, we follow Caesar (Andy Serkis) into the next chapter of the saga where the ape leader once again finds himself at odds with a human foe. Woody Harrelson stars as the Colonel, a rogue military leader who recruits his forces to terminate the ape population once and for all. Anyone invested in the first two films of the series shouldn't hesitate taking a chance with this third inclusion. And although I felt it was a small step down from its immediate predecessor, War for the Planet of the Apes still stands as a worthwhile exploration into this storied franchise. (October 24th)




Spider-Man: Homecoming - 3 stars out of 4 - (Read my rapid review here)

The unstoppable force that has become the Marvel Cinematic Universe (MCU) bulldozes along with its most recent release, Spider-Man: Homecoming. And where this year's disappointing Guardians of the Galaxy sequel felt disjointed from everything that's been building up within the MCU, Homecoming brings the audience back to a familiar place that looks and feels like the trademark branding we've come to expect. A teenage Peter Parker (Tom Holland) finds himself desperate to join the elite ranks of The Avengers, but Tony Stark (Robert Downey Jr.) tries to keep a safe distance due to the teen's immaturity. So as Peter works tirelessly to prove his worth to the world's greatest superheroes, he finds a formidable foe in an average Joe (Michael Keaton) who gets his hands on some alien weaponry. Like most entries from the MCU Homecoming brandishes some highs and lows, but all in all it's a welcome return to the formulaic approach that boasts a lucrative track record. (October 17th)




Baby Driver - 2 and a half stars out of 4 - (Read my rapid review here)

Admittedly, I have been historically critical of the adored filmmaker Edgar Wright. While many have succumbed to his cheeky and outlandishly implausible action-comedy delivery, which includes films such as Shaun of the Dead, Hot Fuzz and The World's End, I've been disappointed by the unhinged demeanor in which these movies culminate. The director's latest effort, the wildly engrossing Baby Driver, offers more of the same, but it waits until a fatefully late third act until this otherwise exceptional work finally spins off the rails. After being coerced into a crime underworld where he becomes the best getaway driver in the business, Baby (Ansel Elgort) reaches a point where he'll do anything to escape this fateful lifestyle. The uptempo driving sequences are insane and the film's choreographed-style plays eloquently to its phenomenal soundtrack. Yet, the whole experienced becomes soured when Edgar Wright once again ditches his successful game-plan and takes the film's final act into a completely different and ludicrous direction. Thankfully, a wonderful majority of the ride makes a bitter finale easier to swallow. (October 10th)


Honorable Mention: David Lowery offers a captivating Sundance selection and one of the year's most talked-about indies, A Ghost Story (10/3). Sophia Coppola returns with the critically acclaimed drama, The Beguiled (10/10), and unimpressive films The Book of Henry (10/3) and Will Ferrell comedy The House (10/10) are available this month. October is the perfect time for some scary movies as Annabelle: Creation (10/24) received some surprisingly strong reviews, as did the female-centric comedy Girls Trip (10/17). Finally, Stephen King's The Dark Tower (10/31), Halle Berry's Kidnap (10/31) and yet another Pirates of the Caribbean: Dead Men Tell No Tales (10/3) close out this month's new releases.