Lady Bird

LadyDirector: Greta Gerwig

Screenwriter: Greta Gerwig

Cast: Saoirse Ronan, Laurie Metcalf, Lucas Hedges, Beanie Feldstein, Tracy Letts, and Odeya Rush

A weird thing happened at the end of the new movie Lady Bird from first time director, Greta Gerwig. The lights came up in the theater and I heard a woman say, “Well, that was weird.” Then another person whispered, “That’s not what I thought it was going to be.” Lastly, someone else just said, “Artistic,” but in a dismissive way. Meanwhile, I sat there silent, listening to these strange criticisms while reflecting on how Gerwig was able to steal so many aspects and events from my life and just put it out there like that. Isn’t that plagiarism? I guess there are a few differences between the character Lady Bird and me. I was a good student, I didn’t have any siblings, oh and I call myself Gentleman Bird, but after that it gets pretty murky.

Saoirse Ronan plays the titular character, a confused high school student from Sacramento, California, who is desperate for a change, but is still pretty confused about who she is in the first place. In fact, Lady Bird’s given name is Christine, but she decided to rename herself Lady Bird, perhaps just to emphasize to the audience that she’s having a bit of an identity crisis. The year is 2002, and Lady Bird is in the midst of some pure adolescent angst. Her relationship with her parents, principally her mother Marion (Laurie Metcalf), can be described as strained at best, and the weight and eventuality of adulthood is weighing heavily down on her.

The film casually follows Lady Bird as she traverses her seminal senior year at her Catholic high school, which she attends at a great cost from her parents who while hard-working are not financially secure. Lady Bird is ashamed of her status and dreams of the day when she lives in the big house, has adventures, receives opportunity, and lives sophisticatedly. The problem for Lady Bird and the one she grapples with most throughout the film is that she has done nothing to warrant or really deserve any of those things. What’s more, her private Sacramento Catholic high school is filled with other kids who have done nothing to deserve those things…and yet they have them. The one thing Lady Bird does have going for her is an innate artistic spirit that is picked up on by her nun teacher Sister Sarah Joan (Lois Smith). Sister Sarah Joan encourages Lady Bird to take that spirit and apply it to the school theatre program, which she does along with her best friend Julie (Beanie Feldstein) and Danny (Lucas Hedges), a young man, Lady Bird finds attractive.

That’s the gist of the film. It’s really rather typical in terms of its story, but there are some bits of brilliance that do move the “coming of age” film needle. Lady Bird owes a lot to the sensibilities of predecessors like Juno, The Bling Ring, and most of all Terry Zwigoff’s 2001 film, Ghost World. All of these films take a different perspective at youth culture and its influences. They all attempt in their own way to diagnose what has lead to the overwhelming degradation in the aspirations of young people, and guess what, the young people are rarely the most to blame. Yes, what this film adds to the mix is a cutting and complex portrayal of the parent/child dynamic. In retrospect, the opening scene of the film (which I think runs the gamut of human emotion all within the course of two minutes) prepares the audience for this tumultuous relationship, and as this thread develops, it grounds the film and makes it more significant. Metcalf’s portrayal of Marion may be the stand-out performance in a film with several other stand-out performances. She is likely the name we’ll hear most associated with this film come Oscar time, and if not, Marion’s character is certainly the one who is left rattling around in my head at the end.

Lady Bird is not a perfect movie, and it’s not a groundbreaking movie. It is, however, excellent at what it does, and it is very easy to like. Even those people who left the theater with me who were caught off guard by Lady Bird, most likely liked the movie. This is probably because unlike many mainstream films, Lady Bird has several different methodologies that an audience can take away. It’s a coming of age story, it’s a religious parable, it’s a family drama, it’s a love story, it’s a story about rejection and acceptance, about friendship, and that’s just the tip of the iceberg. It is also a film that positions writer/director Greta Gerwig as one of the foremost emerging storytellers in cinema. B+

Lady Bird is rated R and has a running time of 1 hour and 34 minutes.

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Coco

CocoDirectors: Lee Unkirch and Adrian Molina

Screenwriter: Lee Unkirch, Jason Katz, Matthew Aldrich, and Adrian Molina

Cast: Anthony Gonzalez, Gael Garcia Bernal, Benjamin Bratt, Alanna Ubach, and Edward James Olmos

So I was about to write a review of the Justice League because I saw it, and it was the only movie I’d seen recently. I was not too excited about reviewing it because the movie didn’t really give me much of an angle to take. It’s just an okay superhero movie that does what they all do. I was going to do it anyway because dammit, I’m a professional, and I have a quota to keep (as miniscule as it is)! And then the opportunity presented itself for me to take my 3-year-old daughter to see Coco. Now my daughter has only attended one movie and we made it about half way through before she decided she wanted to leave. This time, however, we stayed for the entire movie (including the 30 minute Frozen short film that preceded the feature), so thankfully I have a film that is much more fun to review than Justice League and here it is!

Coco TItle

Coco is another triumph of Pixar studios animation. Every one of their movies has such a distinct and unique environment, which is one of the cornerstones to their ability to stay fresh, inspired, and lively after all of these years. What may surprise you, however is that Coco marks only the fourth time in 19 films where the story focuses primarily on human characters. Only The Incredibles, Brave, and Up have previously done so. That alone, puts Coco in rarified air.

Coco is the story of a young boy named Miguel (voiced by Anthony Gonzalez), who lives in a small Mexican village with his family. Miguel’s family is in the business of making shoes, but what is most pressing to Miguel is his family’s total and complete ban on all music. It turns out Miguel’s great-great grandfather walked out on his family to pursue a career in music and ever since, his family has forbidden all members from engaging in, listening to, or most of all producing any form of music. Miguel, however, has the itch and when he discovers that an old family photo with his great-great grandfather’s face ripped off also features the famous guitar of one of Mexico’s most iconic singers Ernesto de la Cruz (voiced by Benjamin Bratt), Miguel concludes that he is actually related to the most famous musician in the world! That’s enough to inspire Miguel to challenge his family’s ban on music and compete in the village talent show on the Day of the Dead. Unfortunately, Miguel’s family catches wind of his plan and his Abuelita, grandmother Elena (voiced by Renee Victor) destroys his guitar. Desperate, Miguel breaks into the shrine to the late Ernesto de la Cruz where his famous guitar is displayed and steals it resulting in Miguel being suddenly cursed and transported to the Land of the Dead. The curse makes it so Miguel is no longer visible to the living world. Only a street dog named Dante and the skeletal dead relatives of the living can see Miguel. It turns out to break the curse, Miguel has one day to receive a blessing from his deceased relatives or he will remain in the Land of the Dead forever. Unfortunately, Miguel’s family will not give him their blessing without the condition that he never play music again. This leads Miguel to enlist the help of a lost spirit named Hector (voiced by Gael Garcia Bernal), who claims to have access to Ernesto de la Cruz, a man whose fame in life is only matched by his fame in death. Miguel hopes that if Ernesto grants a blessing to him, he will be able to return home and be a musician.

If there’s one thing you can say about Pixar, it’s that they don’t take a siesta when it comes to story. Justice League is about one-tenth as imaginative as Coco! I mean, first consider the ambition to make story about family, Hispanic culture, tribute, life, death, and tradition. Then consider the added challenge to do all of that in a film aimed at a young audience. Remarkable stuff. The name of the film, “Coco” actually is in reference to Miguel’s great grandmother. She was just 2 or 3 when Miguel’s great-great grandfather left his family. Now Coco is Miguel’s oldest living relative and her memory is fading. This detail develops the film’s most stirring and poignant theme, remembrance. Coco’s fading memory in the Living World is juxtaposed with how the Hector character in the Land of the Dead is in danger of being forgotten forever because his only living relative, and once you are forgotten in the living world, you are gone forever. Pretty deep. Hector’s reason for helping Miguel is not out of the kindness of his heart, but in the hopes that Miguel would return to the Living World and place a picture of Hector on his ofrenda, a Spanish word meaning offering. An ofrenda is a collection of offerings placed on a ritual alter during the Day of the Dead as a gesture of remembrance and an invitation to the Land of the Living for the dead to refresh themselves at the alter. Since Hector is not on anyone’s ofrenda, he is not able to travel to the Land of the Living during the Day of the Dead, he is not able to refresh his spirit, and he is therefore in danger of being completely forgotten. This resonates deeply with the adult audience because of our awareness of our mortality, reputation, and choices. Having attended this film with my 3-year-old girl, I can also speak to this message’s impact on her. Did she ponder her place in the universe and the afterlife? No, of course not. But she did think about Grandma and Nana. She did talk about her brother. She did see characters crying because they were happy and understand the importance of that feeling. That’s a pretty damn decent return on investment for a $7 movie ticket!

So emotions aside, is this a perfect movie? Not exactly, but it does belong in the upper tier of the Pixar conversation. It’s slow build at the start is easily overlooked due to its heart, lack of melodrama, pleasing music, and also its visual beauty. Every great Pixar film has a distinct visual style, but I think that objectively, Coco is the most beautiful film they have delivered so far. The color palate, the vibrant environments, and the hypnotic combination of sight and sound deliver an amazing cinematic experience. A-

Coco is rated PG and has a running time of 1 hour and 42 minutes. Be warned though, there’s a short film that precedes the feature starring Olaf and the characters from Frozen, and it is about 30 minutes long! It is an amusing short film, but if you were looking to be in the theater for less than 2 ½ hours, you may want to consider arriving to the show late.

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The People’s Critic and his protégé.

Thor: Ragnarok

ThorDirector: Taika Waititi

Screenwriters: Eric Pearson, Craig Kyle, and Christopher Yost

Cast: Chris Hemsworth, Tom Hiddleston, Cate Blanchett, Mark Ruffalo, Idris Elba, Jeff Goldblum, Tessa Thompson, Karl Urban, and Anthony Hopkins

Most franchises 17 films deep into their canon start to spin their wheels, cash in, and forget what got them there in the first place. I mean there are just so many that get this far, am I right? I know you’re all saying but 1989s Godzilla vs. Biollante was such a great 17th movie in a franchise! Well for every Godzilla vs. Biollante there’s a Timothy Dalton as James Bond.

That’s right, if you couldn’t quite catch my subtext there, the point I was trying to make is that Thor: Ragnarok is the 17th studio film in the Marvel Cinematic Universe (MCU), and it’s pretty rare to see a franchise reach film number 17 and for that film to be as entertaining as this one is. Thor: Ragnarok basically picks up where Thor: The Dark World left off…or it would if this were a traditional sequel, but Thor has appeared in two other films since the second Thor film, and the MCU has released 8 films since 2013’s The Dark World. Therefore, Ragnarok is more like a sequel to Doctor Strange than a sequel to Thor: The Dark World. So Thor 3 basically takes some of the characters from Thor 2 and Avengers 2 and picks up where Doctor Strange 1 leaves off with a nod to Guardians of the Galaxy 2’s conflict, which complicates the events from Captain America 3. And if that makes sense to you, I have some tesseracts I’d like to sell you.

If you didn’t follow that bizarre set up, here’s one that might make more sense: Thor: Ragnarok finds Thor (Chris Hemsworth) unsuccessful in his search for the remaining infinity stones and returning home to Asgard only to notice that the 9 realms have gotten a little disorganized in his absence. Why? Well, Loki (Tom Hiddleston) of course! Those sons of Odin (Anthony Hopkins) are at it again, but this time the brothers learn that they

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Cate Blanchett as Hela in Thor: Ragnarok

both have an older sister named Hela (Cate Blanchett), who has escaped from a prison she was sealed within long ago. Hela is Odin’s first born, and she was banished from Asgard for her unrelenting ambition. Now she looks to bring “Ragnarok” (or final destruction) to Asgard. Her first step is to get those brothers of hers out of the way, and so she casts them into space where the ultimately land on a trash planet called Sakaar and ruled by the Grandmaster (Jeff Goldblum). Now Thor must find a way to escape Sakaar and save his home planet from destruction.

While that synopsis is the gist of this film, the joyride that is Thor: Ragnarok is almost entirely separate from its plot. Humor is the key to this film’s success, and Disney/Marvel’s decision to tap Aussie writer/director/actor Taika Waititi most notable for his hilarious vampire comedy What We Do in the Shadows was a brilliant decision. This is easily the funniest Marvel film in the franchise. Every Marvel film brandishes humor here and there, but never has the humor been as clever, witty, and endearing as it is here. That’s not to say it’s not also an action film. Blanchett is wickedly brilliant as the scorned and rejected Hela, and for my money, she is now in the top three Marvel villains ever, only rivaled by Michael Keaton’s turn as Vulture in Spider-Man: Homecoming and the great Tom Hiddleston as Loki (villainy with a dash of heroism). Speaking of Hiddleston, he is once again great to see back donning the Loki horns. While he basically stole the show in Thor: The Dark World, he has far more competition in this film, but still does not disappoint. The competition I speak of is everywhere. Hemsworth, fresh off

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Chris Hemsworth in 2016’s Ghostbusters

being the most comedic part of the 2016 Ghostbusters reboot, flexes his comedy muscles (along with his other muscles) and delivers a great performance. Mark Ruffalo gets perhaps his most involved plotline to date and has some fun stepping into Tony Stark’s shoes…literally. And then there’s Jeff Goldblum as the Grandmaster, who turns the mostly evil immortal from the comics into the most delightful occasionally sinister master of ceremonies to great effect! Just to add some legitimacy to this acclaim, the actors onscreen in this film net a total of 17 Oscar nominations combined. Really.

Thor: Ragnarok is the most surprising Marvel film I’ve seen based on the expectations I had going in. The trailers make the film look like it’s basically a video game where Thor fights Hulk gladiator style and Jeff Goldblum steps in to say, “Eh, Hellooo.” Those things do happen, but this is a cohesive, jaunty, fresh action comedy that works very well. Mark Mothersbaugh’s score is also not to be ignored, giving the film this quirky, electronic vibe that I loved.  A

Thor: Ragnarok is rated PG-13 and has a running time of 2 hours and 10 minutes. There are two post-film sequences; one midway through the credits and one afterwards. Both are adequate, but nothing you HAVE to stay for if you’re running late for dinner.

MCU Rankings Update:

Since originally ranking the Marvel films after Captain America: Civil War was released, 4 Marvel films have been released and we are about mid-way through “Phase Three” with only Black Panther, Avengers: Infinity War – Part 1, and Captain Marvel set to round it out. Thus, it is time to update the old rankings, and Thor: Ragnarok is the highest entry in nearly 4 years!

  1. Captain America: The Winter Soldier – A
  2. Thor: Ragnarok – A
  3. Iron Man 3 – A
  4. Marvel’s The Avengers – A-
  5. Captain America: Civil War – A-
  6. Iron Man – A-
  7. Avengers: Age of Ultron – A-
  8. Captain America: The First Avenger – B+
  9. Thor – B+
  10. Spider-Man: Homecoming – B+
  11. Ant-Man – B+
  12. Iron Man 2 – B
  13. The Incredible Hulk – B
  14. Thor: The Dark World – B
  15. Guardians of the Galaxy – B-
  16. Guardians of the Galaxy Vol. 2 – C+
  17. Doctor Strange – C+

Blade Runner 2049

BRDirector: Denis Villeneuve

Screenwriters: Hampton Fancher and Michael Green

Cast: Ryan Gosling, Harrison Ford, Robin Wright, Dave Bautista, Ana de Armas, and Jared Leto

Cells. Cells interlinked within cells – interlinked. Do they keep you in a cell? Cells. Interlinked. Within cells interlinked.

Yes, that’s a poor representation of the baseline test used by the LAPD to ascertain whether K (Ryan Gosling), a replicant blade runner, is developing dangerous emotions in the new film Blade Runner 2049.

That’s right, I said “replicant” “blade runner;” one and the same. 30 years of degradation will do that to a society. If you remember back to the 1982 original film, you’ll recall that blade runner units are special police squads tasked with locating and retiring (killing) rogue biological manufactured creatures called replicants that were used “off-world” to develop colonies in the early 21st century. These replicants soon mutinied against their human masters, and those who managed to escape to Earth were hunted down by blade runners. Now, 30 years later in the year 2049, the Tyrell corporation responsible for the original development of replicants is bankrupt and has been absorbed by tech giant, the Wallace corporation. Niander Wallace (Jared Leto) has resurrected the replicant, creating an entirely new breed capable of obeying humans, which allows them to serve at every level of society, even as blade runners, working with the police to help retire older rogue models that continue to persist.  In fact, Wallace also manufactures holographic companions for these new obedient replicants, allowing him to enjoy the double consumer bump of producing consumers who consume their producers’ products! I can picture Jeff Bezos at Amazon headquarters considering a way to get Alexa to want to buy her own Alexa!

Blade Runner 2049 opens with a magnificent sequence where K, one of these new Wallace replicant blade runners is on a mission to track down and retire an old rogue nexus-model replicant named Sapper Morton (Dave Bautista). While at Morton’s, K discovers the buried remains of a deceased female replicant whose death is evidenced by signs of complications from an emergency C-section; no replicant has ever been capable of reproduction. K’s superior, Lieutenant Joshi (Robin Wright) orders K to destroy the remains, and track down and retire the child for fear that public knowledge that replicants can reproduce may start a war. Conversely, Wallace is made privy to the discovery and desires to capture the offspring in the hopes conducting tests on the anomaly in order to create a self-sustaining replicant force that could increase his production off-world exponentially. Now K is caught in the middle between obeying his superiors and facing the reality that replicants are “more human than human.” Suffice it to say, his baseline gets all messed up.

K’s search for the replicant child makes up most of the second half of the 164 minute

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Harrison Ford as Rick Deckard in Blade Runner 2049

masterpiece, and his journey expands the world we remember from the 1982 film beyond LA, and also leads him to some familiar faces we recall from the original, most notably Rick Deckard (Harrison Ford) who has been hiding out in Las Vegas…or what’s left of it.

 

Blade Runner 2049 dethrones Baby Driver as the best film of 2017 so far. This is also the rare sequel that improves upon its original. Villenuve has been on the cusp of breaking out for some time now. He first arrived on my radar with the 2013 film Prisoners, which I thought was outstanding. That film also marked his first collaboration with his now go-to cinematographer, Roger Deakins, famous for his many films with the Coen Brothers and Sam Mendes. Deakins lends his lens to Villenueve for the third time here, and I think it’s his best effort yet. The visual landscapes, environments, and overall immersion experienced with this film are

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Ana de Armas as Joi, an adaptive computer hologram companion in Blade Runner 2049.

breathtaking. Do yourself a favor and see Blade Runner 2049 on the big screen. In his previous film, Arrival, Villenueve used cinematographer Bradford Young, and Young received an Oscar nod for it. It turned out, while Villenueve was wrapping up Arrival, he was already working and storyboarding Blade Runner 2049 with Deakins. I mentioned in my Oscar predictions last year that I was excited to see Villenueve was coming off Arrival and going right into Blade Runner 2049 with Deakins. I now can comfortably predict that Deakins will receive his 13th Oscar nomination for this film, and, I also expect, his first win!

Blade Runner 2049 is a visual achievement, but it is also a triumph of science fiction and exploration into the flawed emotionality of the human being. Villenueve and original screenwriter, Hampton Fancher deepen the themes and ideas introduced in the 1982 original, creating a superb overall film that demands repeat viewings. A

Blade Runner 2049 is rated R and has a running time of 2 hours and 44 minutes.

American Made

AMDirector: Doug Liman

Screenwriter: Gary Spinelli

Cast: Tom Cruise, Domhnall Gleeson, Sarah Wright, and Jesse Plemons

I had an idea once for a movie where I’d pluck out a completely inconsequential character from a well-known film, and then base an entire story around that character. What I love most about this idea is that the film I write would stand firmly on its own two feet with no overt mention to the protagonist’s connection to the larger, famous work. Only those who pick up the subtle clues would ever even be able to connect them.

I had a similar experience watching American Made. I’ll admit that I am not up to date on my drug cartel history, but I do watch and love the Netflix series, Narcos. So as I’m sitting, watching, and enjoying Tom Cruise’s new film American Made, I suddenly start thinking, “I know the name Barry Seal. Wasn’t he in an episode of Narcos?” And then two things happened: 1. I felt what it would be like to have that revelation of realizing a frivolous character from one story is now the subject of another, and 2. I realized I knew everything that was going to happen in this movie. I loved realizing the first thing, but I was not as excited about realizing the second one.

The good news is I love Tom Cruise, and he made up for all the predictability that followed. So it turns out, yes, this is the story of Barry Seal – they guy from Season 1, Episode 4 of Narcos. Seal, played by Tom Cruise is a TWA pilot, who as America is in the grips of the Cold War during the 1970s catches the attention of a CIA agent, Monty Schafer (Domhnhall Gleeson). Seal has been smuggling Cuban cigar exiles into the states as a means of additional income, and Schafer sees Seal’s activity not so much as punishable but as exploitative. Schafer offers Seal a chance to work secretly for the government, taking reconnaissance photos of South American guerilla camps and delivering bribes to Nicaraguan and Panamanian politicians and military personnel for information.

Of course, the CIA doesn’t pay much, and Barry wants nothing more than to make a great life for his wife Lucy (Sarah Wright) and kids. That being said, it doesn’t take long for the Columbian drug cartel headed by Jorge Ochoa (Alejandro Edda), Carlos Ledher (Fredy Yate Escobar), and an up-and-coming-kid Pablo Escobar (Mauricio Mejía) to take notice of an American spy plane running in and out of South America on a pretty regular basis. The cartel sees Seal’s activity not so much as punishable but as exploitative…rinse, wash, repeat (see what I did there?).

The movie spends the rest of its focus watching Seal bounce back and forth between running drugs for the cartel and informing on “Commies” for the CIA. Meanwhile Seal just keeps getting richer, and richer and richer.

Still, the movie doesn’t jive like I wanted it to. I think director Doug Liman and screenwriter, Gary Spinelli bet on the fact that most people who see this film wouldn’t have seen episode 4 of Narcos. I also think they knew Tom Cruise in a plane is something people enjoy. Additionally, this marks the second collaboration between Liman and Cruise after 2014’s Edge of Tomorrow, or was it called Live Die Repeat? No one knows for sure. Anyway, that was a great movie and Liman directed the hell out of it, a film which was basically Groundhog Day meets Terminator and has Cruise reporting to Brenden Gleeson. So why couldn’t Doug Liman direct the hell out of a movie that is basically The Wolf of Wall Street meets Top Gun where Cruise is reporting to Dohmnall Gleeson? He can and he pretty much does. Liman gets a great performance out of Cruise, and a little birdy tells me there are at least two more Liman/Cruise joints in the works. This is good news.

What doesn’t quite jive for me in this film are the circumstances, a deficit that I think mostly falls on the writing. There is a lot of coincidence and shrugging off of impossible situations in American Made. At one moment Seal is in a Columbian prison as government agents are about to raid his New Orleans home with his family asleep inside. The next moment, Seal and his family are living in Arkansas and they own an airplane hanger. It’s not quite that sudden, but it’s pretty close. Gleeson’s Agent Schafer character is also oddly underdeveloped and while I understand his persona is supposed to be mysterious, he seems contradictory and far more dramatic than necessary. Lastly, Jesse Plemons is in this movie as a local sheriff, and I have to assume there is a cache of great footage of him on the cutting room floor somewhere because what’s left of his character is barely an arc.

All in all, Cruise continues to entertain and gives more than just an action-packed performance. In a fall season where all there is to see is It for the 10th time, this is a worthy film that has far more high points than low ones. B

American Made is rated R and has a running time of 1 hour and 55 minutes.

It (2017)

ItDirector: Andy Muschietti

Screenwriters: Chase Palmer, Cary Fukunaga, and Gary Dauberman

Cast: Jaeden Lieberher, Jeremy Ray Taylor, Sophia Lillis, Finn Wolfhard, Chosen Jacobs, Jack Dylan Grazer, Wyatt Oleff, and Bill Skarsgård

Man, this is a strange movie. The movie is strange from the narrative perspective. The movie is strange from the psychological perspective. The movie is strange from the commentary perspective. The movie is strange from a meta perspective (starring one of the boys from Stranger Things, an obvious derivative of Stephen King’s novel It, of which this film is based). This movie is strange from the tone, to the look, to the mood, right down to the challenge of writing a review about It, that doesn’t confuse the title with the non-gender, singular English pronoun, “it,” when referencing It… at least not by accident.

Fans of It have already seen their beloved coming of age horror hit the screen once before, albeit the small screen. The 1990 mini-series based on King’s novel was very well received and has more or less stood the test of time, partially thanks to the ensemble cast that included John Ritter, Tim Curry, Harry Anderson, and Jonathan Brandis. That version’s pervasiveness in pop culture is likely the reason it took so long to get it on the big screen…that and the book’s 1,138 page length (King’s second longest novel next to The Stand).

It opens in the quiet little town of Derry, Maine with that same thrilling, iconic, and horrifying scene that opens the novel as well as the 1990 mini-series, only this time Bill (Jaeden Lieberher) and Georgie (Jackson Robert Scott) live in the 1980s. The decision to shift the time period from the 1950s to the 1980s is a good one, as King meant for the childhood of these characters to be based on their adult lives being contemporary. I won’t spoil the events of the opening scene, but suffice it to say, the tension is ultra high and Bill Skarsgård’s first appearance as Pennywise the Dancing Clown does not disappoint.

Strange things are happening in Derry, Maine following the tragic events that unfold in the film’s opening scene. Summer is here, school is out, and kids are disappearing. A group of kids find themselves united by some strange visions they’ve all experienced, all of which include the presence of an evil clown figure. “The Loser’s Club,” as they’ve come to be known includes the aforementioned Bill, chubby intellectual Ben, (Jerry Ray Taylor), chatterbox Richie (Finn Wolfhard), asthmatic Eddie (Jack Dylan Grazer), neurotic Stanley (Wyatt Oleff), outcast Beverly (Sophia Lillis), and eventually the ultimate fish out of water, Mike (Chosen Jacobs) whose backstory is only hinted at in this film, but will most likely play a much larger role in the upcoming second chapter.

The Losers all have one goal: to find, stop and kill the strange clown-like being that haunts their lives, preys on their fears, and attacks the children of Derry. Well, that and to avoid the dreaded bully Henry Bowers (Nicholas Hamilton), who makes a strong case for being even more threatening than the shape-shifting, demonic, clown monster!

It is mostly a pretty impressive effort. The film oozes with the horror tropes expected with the genre, but also manages to successfully execute the careful tonal shifts that made the book so beloved and treasured for all of these years. The length was certainly a challenge to overcome, and thankfully, director Andy Muschietti and the film’s three screenwriters made the evolved decision to focus only the young protagonists’ story in this film (the novel bounces back and forth between two timelines separated by 27 years). This decision allows the narrative to breathe and not feel too jumbled and busy by trying to capture so many characters in so many different situations. This also all but guarantees a follow-up film that will tackle the story of the adult Losers Club (the $123 million opening weekend probably didn’t hurt the chances of a sequel either). As a matter of fact, the young stars of the film have already selected who they think should play them as adults, and if I may say so – these are some great choices! Still, the film is solid as a stand-alone story on its own.

Speaking of the kids, films like this can easily survive and thrive with one-dimensional performances from the child actors. However, this film decided to ignore that laziness and cast the most perfect and outstanding group of young actors I’ve seen on film in some time. Mostly unknowns, each of these kids found a way to be memorable, convincing, and most of all authentic to his or her character from the book, allowing the film maker to spend more time with these characters and develop them well. So instead of a 100 minute thrill-ride, we got a 135 minute opus that feels eventful, crafted, and most of all, fun!

Here I am rambling on, and I have not even gotten to Bill Skarsgård yet. “It” can’t be easy

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Some killer clowns (from clockwise): Skarsgård, Curry, Nicholson, and Ledger)

to step into the great Tim Curry’s oversized shoes (a pun I expect will be commonly found in reviews of this film) as Pennywise.  However, Skarsgård’s performance, while clearly inspired by Curry is very much his own. He succeeds in the same way that Heath Ledger succeeded in taking on the role of the Joker in The Dark Knight after Jack Nicholson played him in 1989’s Batman (we’ll leave the Jared Leto version out for now). It’s a grimier, dirtier, more macabre Pennywise. In fact, the 1989 Batman film is listed on the marquis of the Derry town cinema; perhaps a reference to this dual “clown” generational performance, or perhaps just a hint at Warner Brothers’ Justice League coming out this fall.

Are there flaws here? Sure. At the end of the day, this is another reboot; a term becoming all too common in the mainstream entertainment world. What’s that one thing that was popular just long ago enough to be slightly outdated, but also nostalgically relevant? Let’s remake it! I’m not saying It is not a film worth making, but when it comes to criticism and recommending whether you should go spend your money or not, originality matters. Still, this still manages to “float” above the standard fare for the horror genre, and wisely attempts to tap into not just the horror but the heart as well. B+

It is rated R and has a running time of 2 hours and 15 minutes.

Atomic Blonde

ABDirector: David Leitch

Screenwriter: Kurt Johnstad

Cast: Charlize Theron, James McAvoy, John Goodman, Toby Jones, Sofia Boutella, and Eddie Marsan

Maybe a movie like this could have flown before Netflix, before John Wick, or before Mission: Impossible, but not anymore. Atomic Blonde, based on Antony Johnston and Sam Hart’s graphic novel series, The Coldest City, plays like a Cold War action movie, but it tries too hard to be anything else.

Set in 1989, at the peak of the Cold War, British agent Lorraine Broughton (Charlize Theron) is sent to investigate the death of a fellow agent in Berlin. Cue all the tropes you associate with this genre: mistaken identity, betrayal, secret list of undercover operatives, and so on and so forth. It even does the very thing this clip from The Other Guys is making fun of; it starts at the end, then goes to the beginning, periodically returning to the end, giving various characters’ perspectives. Ridiculous.

The other characters? Hardly worth mentioning, but Broughton is teamed up with another agent named David Percival (James McAvoy) who may or may not be up to something. She also encounters a rookie French agent named Delphine Lasalle (Sofia Boutella), who Broughton finds much more amusing than Percival.

Does it matter that this movie paints by numbers? It certainly doesn’t have to matter. Movies like Mission: Impossible and John Wick have very little going on upstairs, but what they do have is unrelenting spectacular action sequences! Atomic Blonde has one of those, and while it may be one of the best examples of an action spectacle in a long, long time, it doesn’t do enough to hold the other 90 minutes of the movie afloat.

Atomic Blonde the film wisely immerses us in the music of the times. The best part about Atomic Blonde is its selection and execution of the New Wave/Punk music of the time. Like Baby Driver, none of this music is original; the art is not in the music but rather the selections, arrangement, and placement. I have an even deeper appreciation of David Bowie’s “Cat People (Putting Out Fire)” now.

So what do we have here? Do we have the “female James Bond,” as some publicized this film to be? No. We have middle of the road espionage, set in a provocative time period with good music and one great action scene. That’s just enough to recommend it, but not without the caveat that it comes with a high risk of disappointment. C+

Atomic Blonde is rated R and has a running time of 1 hour and 55 minutes.