Author Archives: Neil Pond

Coming In Hot

‘Sully’ signals start of serious fall movie season

sly_rl05_v10.6_grdfinal_rec709legal.00435111.tiff

Sully
Starring Tom Hanks & Aaron Eckhart
Directed by Clint Eastwood
PG-13
In theaters Sept. 9, 2016

“Brace for impact.”

Those three words are at the heart of this inspiring big-screen salute to Chesley “Sully” Sullenberger, whose successful emergency landing of crippled US Airways Flight 1549 became known around the world in 2009 as the “Miracle on the Hudson.”

Sully makes the “impact” announcement when he realizes there’s no way for his plane—with two failed engines, both destroyed by a massive flock of Canadian geese—to make a conventional landing. The line is later brought up, for much more lighthearted effect, when Sullenberger and his flight crew make a TV appearance alongside late-night host David Letterman.

usp-07014rv2But “Brace for impact” also means for you, the viewer, to hang on and get ready to dig in: Summer is over and a more serious movie season has begun. Based on Sullenberger’s 2009 best-selling memoir Highest Duty, directed by Clint Eastwood and with Tom Hanks in the starring role, Sully gives off somber Oscar signals with its theme of an ordinary, matter-of-fact man simply doing his job—until something extraordinary comes along requiring him to rise up to meet its unprecedented challenge.

“Everything is unprecedented,” Sully notes later, “until it happens for the first time.”

US Airways 1549 was in the sky less than four minutes, and Eastwood’s film toggles back and forth between the incident itself, Sully’s nightmarish flashbacks, and the wrenching post-event investigation by the National Transportation Safety Board (NTSB), which drilled and grilled Sully and co-pilot Jeff Skiles (an excellent Aaron Eckhart) on every detail. Was the plane really too damaged to to fly? Did Sully do everything he could to get back to the airport—any airport—instead of risking lives unnecessarily by landing on water? Pilots in computerized flight simulators, fed with data of the incident, indicate that it would have been possible to bring the plane back to LaGuardia, or into nearby Newark, or Teterboro…

“They’re playing Pac-Man!” an exasperated Skiles counters. “[We were] flying a plane full of human beings.”

Laura Linney plays Sullenberger's wife.

Laura Linney plays Sullenberger’s wife.

As the investigation drags on and Sully is hauled before the “court” for days and days, with his career and reputation on the line, the media feasts on his amazing feat—a water “crash” landing from which all 155 passengers and crew members were safely evacuated. And the Big Apple, in the financial dumps of the Great Recession and still reeling from the aftershocks of 9/11, anoints him a hero. A bar names a drink—a shot of Grey Goose with a splash of water—in his honor. Strangers give him hugs and kisses.

“It’s been a while since New York had news this good,” one character tells him, “especially with an airplane in it.”

“I don’t feel like a hero,” Sully says. “I’m just a man who was doing his job.”

usp-fp-0155-for-web-72-cropHanks, his hair dyed white, looks very much like the real-life pilot he’s portraying, a career aviator whose lifelong love of flight—as we see—dates back to boyhood and crop-dusting biplanes. “Never forget,” his first flight teacher tells young Sully in a lesson that certainly reverberated through the years, “no matter what happens, fly the airplane.”

Just a man doing his job, a guy flying a plane, a pilot controlling the stick. Brace for impact—Sully shows us just how important that one “ordinary” person can be, when ordinary circumstances sudden, unprecedentedly, become extraordinary.

—Neil Pond, Parade Magazine

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Tagged , , , , , ,

Rough Sailing

Sea of tears washes over ‘The Light Between Oceans’

01D_LBO_PressKit.indd

The Light Between Oceans
Starring Michael Fassbender, Alicia Vikander & Rachel Weisz
Directed by Derek Cianfrance
PG-13
In theaters Sept. 2

“With the ocean, anything is possible,” says Tom Sherbourne (Michael Fassbender), the stoic World War I veteran who takes a job on a remote lighthouse island 100 miles off the coast off Australia in director Derek Cianfrance’s adaptation of Tom Isabel’s 2012 romantic novel.

It sure seems like anything is possible in The Light Between Oceans, in which a sea of happiness and an ocean of tears wash over the characters before it’s over, all because of things brought in by the endless ebb and flow of the tide.

Blissfully alone on the barren island, Tom and his new young wife from the mainland, Isabel (Alicia Vikander), try to start a family. But two wrenching miscarriages leave Isabel an emotional wreck. Then one day, a small open boat washes ashore. In it is a dead young man—and a crying baby girl.

Tom dutifully prepares to telegraph the mainland to report the tragic incident, but Isabel begs him otherwise: She wants to keep the child and raise her as her own. “We haven’t done anything wrong!” she pleads. It’s a sign, a blessing, surely not just a coincidence, she says. Tom reluctantly relents, buries the corpse and pushes the empty dingy back out to sea.

Rachel Weisz

Rachel Weisz

The repercussions of Tom and Isabel’s morally questionable act ripple across the waves when they come home for a visit with their little “Lucy” and meet a grieving woman in the village (Rachel Weisz) whose husband and baby daughter were lost at sea…in a rowboat…at about the same time Tom and Isabel made their joyous discovery on the beach.

Uh-oh.

How this all comes together, and becomes even more complicated and crushing, is at the heaving melodramatic heart of the story, which goes beyond its soap-opera surface with some deeper, darker themes and things to ponder. Tom’s lighthouse is situated between the warm Indian Ocean and the colder Antarctic waters on an island called Janus Rock, named for the two-faced Roman god of transitions, passages, beginnings and endings. One of the faces of Janus looks to the past, the other looks to the future.

The movie suggests that, like the waters of the great oceans that cover the Earth, all things are connected—past, present and future; grief and happiness; war and peace; life, love, loss and death.

Cianfrance isn’t known for making lite-and-lively movies, as you’ll know if you saw Blue Valentine, The Place Beyond the Pines or Cagefighter. There are no real shining rays of sunshine in Oceans, either, but the photography is often sumptuous and sweeping, and Fassbender and Vikander do look cool in vintage 1920s garb. And there are some very strong performances, particularly from Vikander and Weisz, whose character enters late in the plot but becomes essential to the movie’s message about what can happen when righteous anger gives way to forgiveness.

Extreme camera close-ups show faces so tightly on the screen that you can almost taste the salt from their tears. Oh, wait—no, those tears will be your own. Bring a hankie or some tissues to The Light Between Oceans. You might even want a bucket or a mop. These seas can get pretty rough.

—Neil Pond, Parade Magazine

 

Tagged , , , , ,

Lords of the Plains

Jeff Bridges pursues bank-robbing brothers in ‘Hell or High Water’

HR6A2779.CR2

Hell or High Water
Starring Chris Pine, Jeff Bridges & Ben Foster
Directed by David Mackenzie
R
Wide release Aug. 19

Two masked men bumble and fumble their way through an early-morning bank robbery in an otherwise sleepy Texas town. They’ve got guns and they mean business, but they’ve shown up before the bank is open, before there’s any money in the cash drawers and before anyone can unlock the safe.

“Y’all are new at this, I’m guessin’?” asks a hapless secretary, the only employee on the premises, suggesting they just turn around and leave before the situation escalates—or anyone gets hurt. “Right now, the only thing you’re guilty of is being stupid.”

“Stupid” isn’t the term, however, that comes to the mind of soon-to-retire Texas Ranger Marcus Hamilton (Jeff Bridges), who sees something smarter developing in the string of heists spreading across the parched Texas midsection, always in the morning, always by a pair of men demanding bills of small denominations, and always hitting a small branch of the same bank, Texas Midland.

8E9A2360.CR2

Ben Foster & Chris Pine

That’s the terrific setup of Hell or High Water, in which two brothers, Toby (Chris Pine) and Tanner (Ben Foster), try to right wrongs of their past in a scheme that’s much more complex, and much more understandable, than it first seems. Pine, best known for playing Captain Kirk in the Star Trek movies, makes a powerful dramatic breakaway as a divorced dad desperate to hold onto the family farm for his kids. Foster, who’s had supporting roles in nearly 50 movies and TV shows, is galvanizing as his older sibling, an ex-con with rattlesnake-like anger-management issues stemming from childhood.

Playing Texas Ranger Hamilton, Bridges is in somewhat of his True Grit Rooster Cogburn mode, seasoned by a pinch of Tommy Lee Jones from No Country For Old Men. As he closes in on the robbers and their plan, the movie becomes as much about Hamilton’s working relationship with his Comanche-Mexican deputy partner, Alberto (Gil Birmingham, who played Billy Black in the Twilight franchise), and the affectionately racist joshing that’s bonded them over the years.

British-born director David Mackenzie has made more than a dozen films, but probably nothing you’ve seen on a big screen. Here he shows a keen grasp of 21st century America, especially the collision of the Old West and the new-world economy, gun culture, the devastating appetites of corporate greed and the painful, lasting scars of poverty. Cinematographer Giles Nuttgens, who sharpened his craft on BBC nature documentaries and independent fare, elevates the look of practically every frame to artistry.

“We’re like Comanches—raiding where we please, the whole of Texas. Lords of the plains!” gloats Tanner. A later encounter in an Oklahoma casino with a real-life, modern-day Comanche, however, casts an ominous pall over his proclamation.

If you think you know where Hell or High Water is headed, you may be wrong. Or at least you probably won’t be totally right—which is just about right for this outstanding movie, which puts the line between right and wrong underneath a scorching, unforgiving Texas sun then stretches it out on a lonesome, steaming highway, toward a blurred horizon, with no clear end in sight.

—Neil Pond, Parade Magazine

Tagged , , , , , ,

High Notes

Meryl Streep Gives Moving Musical Performance in ‘Florence Foster Jenkins’

FLORENCE FOSTER JENKINS

Florence Foster Jenkins
Starring Meryl Streep, Hugh Grant & Simon Helberg
Directed by Stephen Frears
PG-13

“I’ve got the music in me,” proclaimed singer Kiki Dee in her pumping, thumping Top 20 hit of 1974. “I’ve got the music in me, I’ve got the music in me!”

Some three decades before Kiki Dee, another singer made a similar proclamation, when matronly New York City socialite Florence Foster Jenkins was filled with a lifelong, over-abundant love of music—but a serious lack of talent.

Director Stephen Frears, whose resume also includes The Queen, Philomena and Dangerous Liasons, brings Jenkins’ quirky story to the screen with humor as well as heart, never crossing over into camp or parody in a tale that certainly couldn’t gone there. Meryl Streep has proven she can indeed sing, and quite well—in Mamma Mia!, Into the Woods and Ricki and the Flash—which makes her enthusiastic off-key yelping, peeping and squawking as Florence all the more of a marvel.

After a big-screen, major-role absence of several years, it’s good to see Hugh Grant back. He’s terrific as Florence’s common-law husband, St Clair Bayfield, who loves her dearly and shields her from “mockers and scoffers” by bribing newspaper critics and making sure audiences at her concerts are packed with friends and supporters.

Simon Helberg

Simon Helberg

Simon Helberg (Howard Wolowitz on TV’s The Big Bang Theory) has a major role as Jenkins’ young piano accompanist, Cosme McMoon. At first incredulous at her ineptitude, McMoon later comes—as we do—to admire and respect Jenkins’ childlike innocence and the purity of her desire to share music with others in the “profound communion” of performance.

The movie takes its basic setup—a biopic of a pop-cultural footnote character—and fleshes it out in engrossing detail. We see the tremendous lengths to which Bayfield and others in Florence’s elite social circle go to protect—and enable—her. Florence’s vocal coach uses phrases like “You’ve never sounded better” and “There is no one quite like you” to avoid hurting her feelings and pointing out her clear shortcomings.

Bayfield’s long-term relationship with a mistress (Rebecca Ferguson) is strained by his equal devotion to Florence. “It’s complicated,” he tells McMoon. And indeed it is. We learn the heartbreaking reason Florence and Bayfield never married, never had children and never had a “real” marriage—and how Florence’s doomed first marriage, when she was 18, left her devastated and damaged, in more ways than one.

FLORENCE FOSTER JENKINSWe learn of the tragic medical condition—and its toxic treatments—that may have led to some, or many, of Florence’s oddball behaviors, phobias or even delusions.

But mostly we learn of a singer who loved to sing, who had a dream of doing it at Carnegie Hall, and about the unconventional love story at the center of it all.

“They may say I couldn’t sing, but no one can say I didn’t sing,” says Florence toward the end of the film, in a final, parting nod toward her naysayers who refused to see—or hear—the unbridled joy and happiness of her out-of-tune operatics.

“Bravo,” Bayfield replies with a bittersweet smile. And bravo, Meryl Streep, for a moving performance that reminds us that music, like any gift, is one meant to be shared, and that in 1944, Florence Foster Jenkins followed the music “in her.”

—Neil Pond, Parade Magazine

Tagged , , , , , ,

Odd Squad

‘Suicide Squad’ is a crazy, colorful, over-stuffed mess

SUICIDE SQUAD

Suicide Squad
Starring Will Smith, Margot Robbie, Viola Davis & Jared Leto
Directed by David Ayer
PG-13

The superhero summer gets a jolt of anarchy as a group of “metahuman” oddballs and outlaws commandeer the screen.

Based on obscure characters created by DC Comics, the Suicide Squad is a motley crew of death-row supervillains corralled by the government to combat threats too dangerous or deadly for ordinary defenses—like the “next” Superman, who might not be so people-friendly, or the slinky sorceress (Cara Delevingne) now building a doomsday machine to annihilate humanity—in exchange for lightened sentences.

Think The Dirty Dozen meets Guardians of the Galaxy, with a twist of Ghostbusters.

Will Smith

Will Smith

Will Smith is Deadshot, the world’s most lethal assassin. Margot Robbie is Harley Quinn, a psychiatrist turned psycho by her bonkers boyfriend, the Joker (Jared Leto). There’s also Aussie kleptomaniac Captain Boomerang (Jai Courtney), hulking human reptile Killer Croc (Adewale Akinnuoye-Agbaje, buried beneath a ton of rubbery prosthetics) and pyrotechnic homeboy El Diablo (a heavily tattooed Jay Hernandez).

Viola Davis is the iron-fisted black-ops recruiter in charge of the squad. Karen Fukuhara plays Katana, a samurai whose sword contains the souls of everyone its ever slain. Joel Kinnaman is elite soldier Col. Rick Flag, who has a special—though convoluted—tie to the Enchantress, the ancient, newly resurrected witch trying to destroy the world. Even Batman (Ben Affleck) and the Flash (Ezra Miller) drop in for cameos, as if they’ve casually wandered over from another movie.

Margot Robbie

Margot Robbie

Everyone has a backstory and a rockin’ theme song. Harley gets a reworked version of the old Leslie Gore hit “You Don’t Own Me,” Creedence Clearwater Revival’s swampy “Fortunate Son” plays for Killer Croc, and as Diablo’s flames flicker in the night sky, we hear War’s “Slippin’ Into Darkness.”

Writer-director David Ayer—who also directed the Brad Pitt WWII tank flick Fury and wrote Training Day, for which Denzel Washington won an Oscar—has a lot on his plate. Ultimately, the huge cast, unwieldy story and muddled, sometimes downright cheesy special effects become just too much—for him, and us—and everything crashes, smashes, mashes and finally collapses into a big, boom-y blob.

Jared Leto

Jared Leto

There are some things, however, to like about Suicide Squad. Leto’s cackling Joker is an unhinged kick; you never know what he’s going to do, how far he’ll go or where. It’s good to see Smith in a semi-supporting role where he can lay back in an ensemble but still unload some great quips. Davis is deliciously ambiguous as a high-ranking agent who’ll do whatever it takes to do a dirty job. Robbie seems to be having fun as the wacko Harley, but her hyper-sexy shorty shorts, fishnet stockings, stiletto boots and smeared baby-doll makeup look like they came from a stripper’s closet—or a fanboy’s heated ComicCon dream—instead of a wacko supervillain’s lair.

In the end, the movie is a hot mess—but a loud, star-packed, proudly trashy one. At one point, Harley and the Joker jump into an industrial vat of paint, then make out, rolling around and laughing like the nut jobs they are in the swirls of blue, red, yellow and green. That’s pretty good snapshot of Suicide Squad as a whole: Stuffed full of everything, including itself, it’s mad, mucky and yucky and doesn’t make a lot of sense—but hey, look at all those crazy colors!

—Neil Pond, Parade Magazine

Tagged , , , , , , , , , , , , , , ,

Bourne to Kill

Matt Damon returns as memory-challenged spy in grim, glum ‘Jason Bourne’

Film Title: Jason Bourne

Jason Bourne
Starring Matt Damon, Tommy Lee Jones & Alicia Vikander
Directed by Paul Greengrass
PG-13

For espionage fans, Jason Bourne has always been the spy who can’t remember. Based on the character created by novelist Robert Ludlum, he’s appeared previously in three movies (2002-2007) played by Matt Damon, who now returns to the role (after sitting on the sidelines for the oddly Bourne-less The Bourne Legacy, starring Jeremy Renner, in 2012).

A former brainwashed CIA killing machine who went rogue as his head began to clear, Bourne, has been wandering the Earth for the past decade (apparently) in an existential quest to distance himself from the murderous, amnestic murk of his tortured past.

When his old colleague Nicky Parsons (Julia Stiles) hacks into a government computer, she discovers files suggesting that Bourne’s late father might have been involved in the clandestine government program that “indoctrinated” his young son into the CIA and erased his previous life. She tracks Bourne down to tell him, and it puts both of them in serious danger.

Tommy Lee Jones

Tommy Lee Jones

Learning that sensitive, covert computer files have been breached, CIA director (Tommy Lee Jones) knows the situation requires drastic action. If Bourne and Parsons leak those files, one of his advisors frets, “It could be worse than Snowden.”

That means calling on the agency’s top assassin, known only as “the Asset” (Vincent Cassel), to “cut the head off this thing.”

Alicia Vikander

Alicia Vikander

Alicia Vikander plays an ambitious CIA cyber-ops expert who thinks she can bring Bourne back in to the side of the good guys. But will she get the chance? And the line between “good” guys and “bad” guys gets plenty blurry.

There’s also a plotline about a gigantic new cybertech company, Deep Dream, and its charismatic owner (Riz Ahmed), whose ties to the CIA bring up some timely, troubling concerns about privacy and governmental policing.

A generous amount of globetrotting culminates in a slam-bang Las Vegas crescendo involving a hotel sniper, a brutal back-alley brawl and a colossal downtown chase, dozens of smash-ups and a “jackpot” of a crash inside the Riviera casino.

Film Title: Jason BournePaul Greengrass, who also directed two films from the original Bourne trilogy, is behind the camera again—but can’t seem to hold it steady for a single scene. The director’s penchant for woozy, wobbly “shakycam” shots is meant to convey edge, movement and action, but man, it sure gets old. Even when characters are having a calm conversation, the camera is fidgeting like it can’t wait to split.

And spy flicks have always been about thrills, danger and even death—but this Bourne feels and looks especially grim, glum and grungy, especially given the tenor of the times. Gunmen on rooftops, bombs, civilians dying in the fray, government corruption, a mopey Matt Damon—there ain’t no escapist sunshine here, folks.

“I remember… I remember,” Bourne intones at the beginning of the movie. By the end, the audience may remember, too—that there were other, not-quite-so-downer choices at the multiplex.

—Neil Pond, Parade Magazine

Tagged , , , , , , ,

Moms Gone Wild

‘Bad Moms’ is a raunchy yarn about mothers who’ve had enough

Bad Moms
Starring Mila Kunis, Kristen Bell, Kathryn Hahn & Christina Applegate
Directed by Jon Lucas and Scott Moore
Rated R

“I feel like the worst mom in the world,” says Amy (Mila Kunis), the harried, hurried, overworked, underappreciated mother of two young teens. “Still, I love being a mom.”

That conflicted yin and yang of motherhood, so familiar to anyone who’s been there (or is there), is the comedic core of this raunchy, righteously rollicking yarn about a trio of suburban moms who decide they’ve had enough—of PTA Nazis, wussie husbands, doofus booses and just about everything else—and cut loose.

Writer-directors Jon Lucas and Scott Moore, who contributed to the screenplays of The Hangover—about three guys on a Las Vegas party-pa-looza—and its two sequels, seem to want to show that they’re equal-opportunity humorists: They can write crude, R-rated sex jokes for women, too, even soccer moms!

The strong cast seems up for the task. Kunis is just the right shade of frazzled as Amy, whose world falls apart quickly after she catches her loutish husband (Dave Walton, who plays Sam on TV’s New Girl) in a compromising position with his internet girlfriend.

Kristen Bell is social outcast Kiki, struggling to raise three young children with her chauvinist mate and fantasizing about getting into a car crash where she can go to the hospital for some quality “me time.”

BAD MOMS

Kristen Bell, Mila Kunis and Kathryn Hahn raise a toast to ‘Bad Moms.’

But the real comedy catalyst is Kathryn Hahn, a veteran of dozens of TV and movie roles, as Carla, the trio’s sole single mom—and she’s a pistol, a brash, been-around-the-block sexual dynamo who gets most of the movie’s laugh-out-loud lines and visual gags, particularly the hilariously vulgar ones. You’ll have a hard time looking the same way again at any sweatshirt hoodie after Carla uses the pink one Kiki is wearing to demonstrate a particular point about male anatomy.

“I’m not going to wear this sweatshirt ever again,” a stunned Kiki vows.

Christina Applegate digs deep into the delicious dirty tricks of her role as Gwendolyn, the head of the school PTA, who rules everything—particularly bake sales—with an iron fist. Jada Pinkett Smith is Stacy, her feisty first lieutenant. Jay Hernandez is the school’s “hot” widower dad (who really knows how to speed-buckle a car seat). Wendell Pierce (who played Det. “Bunk” Moreland on TV’s The Wire) gets in a great line in his short scene as the principal. Wanda Sykes plays a marriage counselor who finally gets an un-coupled couple she can’t re-couple. And there’s a very special cameo by a very special hostess.

Amy (left) faces off at a PTA bake sale with her nemesis Gwendolyn (Christina Applegate) and her lackey (Jada Pinkett Smith).

Amy (left) faces off at a bake sale with nemesis Gwendolyn (Christina Applegate) and her lackey (Jada Pinkett Smith).

“It’s OK to be a bad mom,” a converted Amy eventually realizes, after a blitz of female empowerment, liberation, bonding and unification. Nobody’s perfect, every “bad mom” has a good side, there’s beauty in imperfection, and when moms are all in it together, it’s all good!

Stay for the credits to meet the real-life moms of the cast members. For anyone feeling a bit roughed up and raw by the R-rated humor, this gentle, parting dollop of smooth sweetness is guaranteed to leave you with a smile.

—Neil Pond, Parade Magazine

Tagged , , , , , , , , , , , ,

Afraid of the Dark?

‘Lights Out’ will give you the fright-night heebie jeebies

LIGHTS OUT

Lights Out
Starring Maria Bello, Teresa Palmer & Gabriel Bateman
Directed by David F. Samberg
PG-13

Are you afraid of the dark?

If you are, then here’s something to really give you some real fright-night heebie jeebies. In Lights Out, a family is menaced in a big, old “haunted house” by a beastly figure that shuns light and can only be glimpsed in the shadows of darkness.

Lights on, it disappears. Lights off, it attacks.

It’s name is Diana.

Expanding on his well-received three-minute short film of the same title, first-time feature director-writer David F. Samberg makes an impressive debut, proving you don’t need mega bucks to get maxi scares. Cinematographer Marc Spicer, who worked on Moulin Rouge, The Wolverine and The Shallows, makes the most of every creepy angle, tracking shot and dark blob in the background that might be nothing, or might be something else—something far more menacing, vengeful and deadly.

LIGHTS OUT

Teresa Palmer

Maria Bello plays Sophie, a mom with serious mental-issue baggage she’s been dragging around since childhood. Teresa Palmer is her grown daughter, Rebecca, who’s moved out, playfully fending off the advances of her amorous boyfriend, Brit (Alexander DiPersia). Her little brother, Martin (Gabriel Bateman), is still at home, where he’s losing sleep because he’s afraid to turn out the lights—after he’s seen the frightening, violent figure in the inky corners of his mother’s bedroom.

Billy Burke (who plays Mitch Morgan on TV’s Zoo) appears—briefly!—as Rebecca and Morgan’s stepdad.

All the pieces of the Lights Out puzzle begin to come together about midway through, when we learn more about the mysterious Diana. I give the movie high marks for story development and making us feel invested in its characters, a rarity in a lot of horror flicks. There’s virtually no blood, almost zero gore, and a fright machine that runs on well-timed gotchas, real-world surprises and supernatural shocks.

LIGHTS OUTSome experts think that humans carry an ancient, primal genetic code to be afraid of the dark, a holdover from when we were much more helpless and defenseless after the sun went down—and predators were on the prowl.

This movie certainly plays off that idea, and others, too—including madness, family and the fear of going insane. But one of its most clever ideas is the way its protagonists fight to keep the “lights on” in every way possible, as Diana fights to turn them off. Boyfriend Brit’s resourcefulness, in particular, had the audience literally cheering in the screening I attended.

These days, you can watch movies many ways: on your TV, on your laptop, on your tablet, even on your phone. But for full effect, see this one in the big, open expanse of a dark theater, surrounded by people you don’t know and by things you can’t see…with the lights out!

—Neil Pond, Parade Magazine

Tagged , , , , , ,

Who You Gonna Call?

New gender-flipping ‘Ghostbusters’ confronts critics—then gets down to funny business

1271033 - THE WALK

Ghostbusters
Starring Kristen Wiig, Melissa McCarthy, Kate McKinnon & Leslie Jones
Directed by Paul Feig
PG-13

If there’s something strange in your neighborhood, who you gonna call?

The Ghostbusters, of course! But which ones? The latest, if you haven’t heard, are an all-female crew headed by Kristen Wiig and Melissa McCarthy, with Saturday Night Live cast mates Kate McKinnon and Leslie Jones.

Months before the new Ghostbusters movie was finished, some people didn’t like the idea of anybody futzing with the iconic 1984 original, starring Bill Murray, Dan Aykroyd, Harold Ramis and Rick Moranis—and especially, apparently, changing the gender roles. The first trailer for the film ignited a firestorm of online trolling and ugly sexist criticism, mostly about bringing women into an all-boy’s club.

The new movie confronts its critics head-on, in a scene where the new Ghostbusters see the doubtful—and hateful—comments underneath online clips of the first spooks they’ve ever captured on video.

“You’re shouldn’t even be reading this,” Abby (McCartney) tells her colleague Erin (Wiig). “You’re not supposed to listen to what crazy people write in the middle of the night.”

Melissa McCarthy;Kristen Wiig;Kate McKinnon;Leslie JonesThen it’s back to funny business—and girls busting ghosts.

Mixing fresh new gags with respectful retro riffs, director and co-writer Paul Feig lets his funny bone point the way, as he demonstrated in BridesmaidsThe Heat and Spy. And he’s working with a cast of comedic dynamos. Wiig’s delightfully dry, droll wit is a perfect complement to McCartney’s bigger, brasher, bawdy physical bravura. They haven’t teamed up for a project since Bridesmaids, and it’s great to see them collaborating again.

Chris Hemsworth

Chris Hemsworth

Leslie Jones gets plenty of laughs as Patty, a subway worker with a knack for Big Apple history who becomes the fourth Ghostbuster. Chris “Thor” Hemsworth seems to be having a ball as the gals’ office “himbo” receptionist, perhaps relishing the opportunity to parody his own macho movie image and the film’s flip of gender roles in general.

But it’s Kate McKinnon who practically steals the show. Her wacky, tech-crazy, live-wire lab-nut weapons wonk feels somewhat of a nod to Dan Aykryod’s character in the original, but she takes it to a totally new place in a unique role that may break her out beyond her hilarious SNL skits.

The plot: Yes, there is one, but it’s hardly worth mentioning. There are fleeting cameos by former Ghostbusters stars and other folks too, including Ozzy Osborne, who shows up at a heavy metal concert. So does a big, bad winged ghost demon. The audience loves it—rock and roll!

It all rises to a screaming crescendo, wobbles and then kind of falls apart, when all the ghosts come out to wreck havoc on the streets and there’s a big, swirling special-effects vortex, a bunch of goop and goo, a parade of giant ghost balloons and appearances by Ghostbusters Hall-of-Fame specters.

Definitely stay for the credits, though, and beyond, because this is one movie that’s not over until it’s over—completely over. And when it is, as the final version of the familiar theme music (this time by Fall Out Boy and Missy Elliot) plays out and makes your toes tap, the message is clear: For good, ghostly summertime fun with a strong dose of freewheeling 2016 girl power, who you gonna call? You know who!

—Neil Pond, Parade Magazine

Tagged , , , , , , , , , , , ,

Go! Sit! Stay!

Manhattan menagerie has wild adventure in fetching family flick

2426_FPF_00412R

The Secret Life of Pets
Starring the voices of Louis C.K., Eric Stonestreet, Lake Bell, Kevin Hart & Jenny Slate
Directed by Chris Renauld & Yarrow Cheney
PG

Like Toy Story did with playthings, this wildly imaginative animated family flick—from the makers of Despicable Me and Minions—starts with a very simple premise: What do our domesticated animals do when we’re away?

Quite a lot, it turns out!

In a Manhattan high-rise, we’re quickly introduced to Max, a well-groomed Jack Russell terrier (voiced by Louis C.K.); Chloe, the tubby tabby cat next door (Lake Bell); and Gidget (Jenny Slate), a prissy puffball of a Pomeranian down the street who has a crush on Max.

Max’s walking buddies include Buddy, a slinky dachshund (Hannibal Burress), and Mel, a squirrel-obsessed pug (Bobby Moynihan).

Things are sailing along fine for Max until his owner brings home a second pet, a big, slobbery, rescue-dog mongrel named Duke (Eric Stonestreet). Max and Duke don’t get along, and soon they’re in a real doggie dilemma, rounded up by Animal Rescue without their collars or tags—and about to begin an even bigger, wilder adventure.

2426_SMX_DS_S1230P0220_L_COMPO_RENDER_0127RThis involves even more colorful characters, including a Snowball, a gonzo white rabbit (Kevin Hart), leader of an underground activist group called the Flushed Pets—animals who’ve been “thrown away by our owners; now we’re out for revenge!” There’s Tiberius, a rooftop hawk (Albert Brooks) comically torn between his longing for companionship and hard-wired predatory instincts. Pops (Dana Carvey), an elderly basset hound, may be paralyzed in his back legs—but he sure knows how to get around town!

Director Chris Renauld, whose resume includes the Despicable Me franchise and The Lorax, and co-director Yarrow Cheney, a former production designer and animator, keep the jokes flying fast and funny and the plot moving at a brisk, lively trot as Max and Duke try to make their way home. Things get especially hairy when Snowball’s subterranean army—a motley crew of critters, from alligators, turtles and snakes to cats, a tattooed pig and “Sea Monkeys”—turns against them when they find out they’re really “domesticated” and not truly “liberated.”

2426_TP4_00079ARThere’s a chaotic traffic-jam cliffhanger on a New York City bridge, with a bus driven by a Max and Snowball (“You drive like an animal!”). In one dream sequence, hot dogs dance to “We Go Together,” the “rama lama lama ding dong” song from Grease. A poodle rocks out to heavy metal the second his owner is out the door. One tiny pooch, with a camera atop his head, films funny cat videos and uploads then to a Times Square jumbotron.

It’s all great, clever, whimsical fun, with a heartwarming, cuddly overlay of friendship and “family.” You may not (or may!) have a dog or cat as adventurous as Max, Duke, Gidget, Chloe, Buddy and Mel, but just about anyone can relate to the montage at the end of the movie—when all the pets exuberantly welcome their owners home to the tune of Al Green’s “Lovely Day.”

Any pet owner knows, and it’s no secret: That display of loyalty, love and affection from a pet—no matter where they’ve been or what they’ve done—makes it a positively lovely day, indeed.

—Neil Pond, Parade Magazine

Tagged , , , , , , , , , ,