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McCoy on Movies: Midsommar

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Swiss cult adventure proves gory and weird but ultimately boring in Midsommar

“Oh my – is that how much money Avengers: Endgame has made so far this year?!” Christian (Jack Reynor) and Dani (Florence Pugh) look on in horror in a scene from writer/director Ari Aster’s MIDSOMMAR. Credit: Merie Weismiller Wallace, courtesy of A24. © 2019 A24. All rights reserved.

WATCH THE TRAILER(S) HERE:


 

KEY CAST MEMBERS: Florence Pugh, Jack Reynor, William Jackson Harper, Vilhelm Blomgren, Archie Madekwe, Ellora Torchia, and Will Poulter


DIRECTOR(S): Ari Aster

THE BACK STORY: Dani (Florence Pugh) and Christian (Jack Reynor) are in a relationship. A bad relationship. And they need to break up. But just as Christian’s friend Mark (Will Poulter) – along with Josh (William Jackson Harper), who is getting ready to complete his Ph.D research – convinces him that he should break up with Dani, tragedy strikes. So, not only does Christian NOT break up with Dani, he decides to invite her along on the trip that he, Mark and Josh are to take to Sweden. They are headed to Sweden courtesy of an invite from Pelle (Vilhelm Blomgren), a foreign exchange student who has invited them to come just in time for Midsommar, the biggest festival in his village of the year.


But with almost perpetual daylight permeating the village, Dani, Christian and company are about to learn that some nightmares can happen right out in the open.
THE REVIEW: “Maybe it’s just me.”The scariest thing about Midsommar is that it not only got made and some people will enjoy it, but that you can expect yet another piece of schlock to come from writer/director Ari Aster as a result.

You know the expression “Fool me once, shame on you. Fool me twice, shame on me”? Well, it’s a pretty safe bet I won’t be going to see one of Aster’s works for a third time as Midsommar is two hours and 20 minutes of a SLOW, you can see all of this coming gory and freaky “film” that uses his visuals to cover up for a lack of something, you know, good.

As someone who was not a fan of Aster’s previous work, 2018’s Toni Collette-led vehicle Hereditary, I was prepared for what I thought I would be getting with Midsommar. And boy, was I not wrong as the film (1) has a deliberately slow pace intended to build drama that feels like a certain well-known torture technique as scenes play  out drag out needlessly in (2) fake art house cinematic fashion. Throw in (3) Aster’s signature gory, unflinching visuals which are more gross than great art even by many horror movie standards and (4) a story that doesn’t inherently possess any more intrigue than “this is happening to these characters” versus why it’s happening to them. Seriously, outside of Pugh, everyone else is essentially fodder for a body count. The film will likely feel as long for the audience as it does for its characters, which is a shame because it didn’t have to be as devoid of intrigue other than “does this end the way I think it will (it does)” if you’ve been paying attention. At best, Midsommar is the type of film that will make most rational people go “Well … That was … different” when what they really mean is “That was atrocious! At no point was I truly scared, the characters are so one dimensional that you only really care about the one and the story is so morose I guess  I paid money to feel bad because I wanted to and didn’t know it.”

Now, perhaps you are among those that still enjoy watching movies where you are smarter than the characters – who are clearly too stupid to see something is amiss – and movies where weird for the sake of weird is the norm. Maybe you just can’t wait to see the year’s craziest sex scene outside of a Game of Thrones re-run complete with full frontal nudity from both genders. Or perhaps you want to go to a movie just to watch something where you and your hipster friends can revel in the lush landscape shown onscreen while the story, no matter how stunted or familiar – it might FINALLY be time to let Nicolas Cage off the hook for most of those Wicker Man (which this movie borrows from HEAVILY) jokes now – Midsommar is.

The one nice thing I can and will say is that Pugh turns in a very dedicated performance as Dani, making you feel all her anguish, pain and depression at every turn. That in turn does help add to the movie’s overall feel-bad vibe, but save for the big reveal – I’m not going to spoil it for those of you determined to see in spite of this review – but Pugh shows her mettle with a great performance in an otherwise not-so-great movie.

Believe me when I tell you – I hate writing in first person, but with a movie like this, it’s hard not to – that unless you are (1) a fan of those slower, 60s and 70s style horror movies that wanted to be Alfred Hitchcock films but lacked the originality and flair; (2) are the type of person that watches a movie and often finds yourself saying things like “ahh, the subtext” or “oh – a wry homage to …” or (3) just are the type that turns off your brain and completely buys in to the events in a movie, you should probably just stay home. And to all those who would say, “Well, you just didn’t get it,” I would counter with “No, I got it. I just hated it to the point I can’t even look at an IKEA sign and not remember how much I did.”

In other words, unless you really have 140 minutes to dedicate to what equates to a bad trip (metaphorically and literally) and watch a group of people you mostly won’t care about have an experience that isn’t that entertaining as much as it is abnormal, astoundingly aberrant and at times downright asinine, avoid Midsommar for all seasons to come.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 


McCoy on Movies: Spiderman

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Holland, director/co-writer Watts feel right where they need to be with Spider-Man: Far From Home

“Hi there … We’re getting ready to make a lot of money together for a major Hollywood studio!” Peter Parker (Tom Holland, center) gets introduced to Quentin Beck (Jake Gyllenhaal, right) while Nick Fury’s assistant soldier Dmitri (Numan Acar, far left) in a scene from SPIDER-MAN: FAR FROM HOME. Credit: Jay Maidment © 2019 CTMG, Inc. All rights reserved.

 

WATCH THE TRAILER(S) HERE:



KEY CAST MEMBERS: Tom Holland, Jake Gyllenhaal, Jon Favreau, Jacob Balaton, Zendaya, Samuel L. Jackson, Cobie Smulders, Angourie Rice, J.B. Smoove, Martin Starr, Tony Revolori, Remy Hii and Marisa Tomei


DIRECTOR(S): Jon Watts

THE BACK STORY: Still reeling from the events of Avengers: Endgame, Spider-Man: Far From Home finds Peter Parker (Tom Holland) still attempting to get over the [SPOILER ALERT – BUT YOU’VE HAD PLENTY OF TIME TO FIND THIS OUT!] death of his mentor Tony Stark. Now, Tony’s trusted right hand man Happy Hogan (Jon Favreau) is trying to help Peter progress and move forward; Nick Fury (Samuel L. Jackson) and Maria Hill (Cobie Smulders), on the other hand, are hoping to talk to him about the Elementals, a threat that just popped up in Mexico and may be moving in to more spots around the globe. 


Peter, however, has one thing on his mind – well two, if you count his suspicious about what his Aunt May (Marisa Tomei) may be up to in her free time – and that’s his upcoming class trip to Europe with Ned (Jacob Balaton), MJ (Zendaya), Flash (Tony Revolori), Betty (Angourie Rice), Brad (Remy Hii) and their science teachers/chaperones Mr. Harrington (Martin Starr) and Mr. Bell (J.B. Smoove). Unfortunately for Peter, (1) Nick Fury isn’t going to take kindly to him trying to ghost his calls; (2) Brad – who grew up quite a bit in the 5 years after “the blip” – has his eyes on MJ, too and (3) It seems like that disturbance in Mexico seems to be heading towards Europe.


But luckily for Peter, he’s about to get some help in form of a soldier from an alternate Earth who has come to fights the Elementals by the name of Quentin Beck (Jake Gyllenhaal) … Or, as the world will soon come to know him, Mysterio …
THE REVIEW: Given all that happened in the latter movie, many fans were shocked to learn that it would be Spider-Man: Far From Home and not Avengers: Endgame that would wrap up Marvel’s Phase Three plans. It would almost seem that by doing so, Far From Home would have an immense amount of pressure to live up to, especially since a year is slated to pass before Marvel drops another film on the public. But this is Marvel we’re talking about, which means there is no way they were going to let Sony Pictures let one of its most iconic characters go out and make the studio nor Iron Man down.In other words, Far From Home lives up to expectations and then some with a well-crafted story, action sequences, plenty of humor and a game-changing ending worthy of passing the torch from Tony Stark to Peter Parker.

Given that longtime fans of the character have already watched Tobey Maguire and Andrew Garfield attempt to carve out their own niche as Spider-Man, Holland may now own the mantle as the definitive actor to play him – Far From Home serving as his greatest showcase to date. Exhibiting the classic naiveté of a teenager at times as he still tries to understand of what he is fully capable both as a superhero and a young man with his eye on a girl, Holland also shows all of the classic comic book elements that made Spider-Man such a big deal in the first place in terms of his humor, creativity and strength when he is forced to step up and go to battle. His interactions with his all of co-stars only serve to enhance these facets of the character as his ragtag group of fellow students feels perfectly cast with Balaton, Zendaya, Revolori, Hii and Rice all adding perfectly to the story.

Likewise, the adults more than come through in Far From Home with their respective roles. While you’re never really going to ever go wrong with Jackson doing Jackson-like things for two hours as Nick Fury with Smulders exhibiting a calm cool as his second-in-command, Favreau keeps his comedy contingency high while adding as a bit of diet Stark to whom Holland’s Parker can vent his frustrations. Tomei keeps finding ways to make the cinematic version of Aunt May more interesting she’s ever been and Gyllenhaal expertly exhibits all of the elements of his character ala the way Michael Keaton did in Spider-Man: Homecoming.

Director Jon Watts (who co-wrote the film with Chris McKenna and Erik Sommers) proves his previous work with Spider-Man wasn’t a fluke, as Far From Home steps up everything the aforementioned Homecoming does in terms of pacing, humor, peril, general storytelling and visual engagement well. The film never feels as long as its 2 hour, 15 minute running time, no moments feel wasted and his ability to get everything he needs in the moment out of his actors definitely pays dividends with the finished product. In short, Watts and co. have done the thing that is very hard to do with any superhero story, let alone a movie in general: Craft a tale that satisfies every need with a cast that you won’t spend time second-guessing if they were right for the role and a story that contains enough original, organic moments combined “oh – didn’t see that coming!” ones to tie into the larger world (in this case, the Marvel Cinematic Universe / MCU for short) while still being its own unique thing.

So while the character himself may be far from home, the latest Spider-Man movie proves that when it comes to the future of the MCU, he’s definitely found one as long as Holland, Watts and co. can continue to deliver quality stories like this.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 


McCoy on Movies: The Dead Don’t Die

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Jim Jarmusch brings art house to the zombie world with inspired(at times) but somewhat tedious The Dead Don’t Die

“You best believe Kylo Ren knows how to swing a wooden lightsaber, buddy!” Officer Ronald Peterson (Adam Driver) in a scene from writer/director Jim Jarmusch’s THE DEAD DON’T DIE, a Focus Features release. Credit: Frederick Elmes / Focus Features © 2019 Image Eleven Productions, Inc.

 

WATCH THE TRAILER(S) HERE:


 

KEY CAST MEMBERS: Bill Murray, Adam Driver, Chloë Sevingy, Tilda Swinton, Selena Gomez Steve Buscemi, Danny Glover, Caleb Landry Jones, Rosie Perez, Iggy Pop, Sara Driver, RZA, Carol Kane, Austin Butler, Luka Sabbat, Larry Fessenden, Maya Delmont, Taliyah Whitaker, Jahi Di’Allo Winston and Tom WaitsDIRECTOR(S): Jim Jarmusch

THE BACK STORY: The small town of Centerville, Pennsylvania (population 700 and change) is a quiet burg. Chief of Police Cliff Robertson (Bill Murray) is used to the sleepy little town, as is his second-in-command Officer Ronald Peterson and fellow officer Minerva “Mindy” Morrison (Chloë Sevingy). While he occasionally has to deal with calls from local farmer Frank Miller (Steve Buscemi) about Hermit Bob (Tom Waits), Cliff is able to enjoy his days usually grabbing coffee and donuts at the diner where Fern (Eszter Balint) and Lily (Rosal Colon) work and local hardware store owner Hank (Danny Glover) hangs out, chatting with local motel manager Danny Perkins (Larry Fessenden) driving past the local gas station where Bobby Wiggins (Caleb Landry Jones) can be found reciting horror movie knowledge with Dean (RZA). Then again, the town has plenty to talk about since new mortician Zelda Winston (Tilda Swinton) has proven herself to be quite the character given her style of dress, her voice and … Just about everything else about her. 


But once local news reports start to talk about the possible effects of fracking throwing the earth off its axis, extended periods of daylight become a regular thing and … Oh yeah, people start getting murdered in the most grisly of ways, it seems as if only explanation can be made: The dead are now walking the earth … And they refuse to stay dead.
THE REVIEW: A zombie movie for people who don’t like zombie movies or a movie that zombie movie fans will probably be bored by, The Dead Don’t Die is a satirical take on a genre that has seemingly run its course. Problem is, given its slow pace, extended scenes that don’t need to be anywhere near as long as they are and a few plot points that are either too silly even for a satire or just aren’t explained at all in a way the average moviegoer will appreciate, The Dead Don’t Die will either live or die with each person that sees it.Poking fun at how easily people set themselves up in zombie movies and occasionally breaking the fourth wall with humorous results, The Dead Don’t Die also fails to do anything out of the ordinary, feeling at times like a snarky homage to and the very type of zombie films it looks to skewer. Whereas Murray is the old grizzled veteran that should have quit as time passed him by eons ago, Driver shines as the young “ok, this is how it is now let’s roll” male lead who is smarter than everyone around him. Likewise, Sevingy is the definition of a screaming, scared female character while Swinton delivers on the fearless potential savior/absolute weirdo with a secret that could ONLY exist in a world like this.

Likewise, while some may revel in his apparent message of consumerism, writer/director Jim Jarmusch’s 12th feature-length film does what he traditionally has been known to do: Explore, exploit and ultimately polarize. While some will revel in the various subtle subtext exploration of the zombie genre and the roles actors play within them before suffering their ultimate fates, plenty will simply the see the film as a lot of waiting around for something to happen with a few funny moments … That ultimately ends in the same place as a majority of zombie movies but in less entertaining fashion. Yes, there will be genuinely funny moments … Coupled with a LOT of “seen this before” and “yeah, I get it but … meh” moments.

At 118 minutes in length, one could make a strong argument that cutting at least 20 of them would immensely help the film’s pacing and storytelling to make sure the audience’s enthusiasm for the story doesn’t fade. Then again, that’s not Jarmusch’s style; it’s a take the good with the bland or leave it approach. When it works, it works well to produce laughter and an appreciation for what he is trying to do; at worst, it’s just another zombie movie relying on its actors’ talents to compensate for a lack of storytelling and/or ambitious storytelling that falls short of the mark it aspires to hit. Again, this is Jarmusch’s style, so you’ll either find The Dead Don’t Die to be exactly what the zombie genre has been missing or at the very least appreciate it for what it is … Or absolutely be bored by it as much many Walking Dead fans have been with the show’s latter seasons (or that less inspired Fear the Walking Dead spinoff).

And while The Dead Don’t Die, it certainly seems like this film is ready for the genre to do so – and it’s willing to do its part to make sure that happens sooner than later.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 


McCoy on Movies: Rampage

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Rampage proves not all video games deserve to be movies … Especially when they’re this bad.

“Wait! Stop – I’ve got a better movie coming out soon!” Davis Okoye (Dwayne Johnson) and George (Jason Liles) in New Line Cinema’s and ASAP Entertainment’t action-adventure RAMPAGE. Credit: © 2018 Warner Bros. Entertainment.

WATCH THE TRAILER(S) HERE: 

 


 

 



KEY CAST MEMBERS: Dwayne Johnson, Jeffrey Dean Morgan, Naomie Harris, Jake Lacy, Malin Akerman, P.J. Byrne, Marley Shelton, Breanne Hill, Jack Quaid, Matt Gerald, Jason Liles, Demetrius Grosse and Will Yun Lee

WRITER(S): Ryan Engle and Carlton Cuse & Ryan J. Condal and Adam Sztykiel (screenplay), Ryan Engle (story)

DIRECTOR(S): Brad Peyton

 
WEB SITE: www.RampageTheMovie.comHERE’S THE STORY: Davis Okoye (Dwayne Johnson) is a primatologist who loves working with his buddy George (an albino gorilla performed by Jason Liles) more than he does with people. But unbecknownst to him, the cunning and manipulative Claire Wyden (Malin Akerman) and her halfwit brother Brett (Jake Lacy) are the heads of a Chicago-based corporation that conducted an experiment that will soon change George’s life forever. You see, Claire and Brett have come up with a pathogen engineered by disgraced scientist Dr. Kate Caldwell (Naomie Harris) that can weaponize anything that comes in contact with it.


So, when George starts to grow in size and aggression, Davis is understandably concerned since he doesn’t know or understand what is happening to his friend. But, once government cowboy Harvey Russell (Jeffrey Dean Morgan) tells him about the 30-foot wolf also on the loose, he starts to get an idea.


… Just wait till they all find out about what has started swimming off the coast of Florida …

WHO WILL LIKE THIS FILM THE MOST? Children under 18; people who just need a few explosions, fight sequences and simple jokes to make them happy, Jeffrey Dean Morgan fans; people who like gorillas

WHO WON’T (OR SHOULDN’T) LIKE THIS MOVIE? Dwayne Johnson and Jeffrey Dean Morgan fans; anyone paying attention

SO IS IT GOOD, BAD OR JUST AWFUL? Two things I’m going to admit right off the top of this review: 


(1) As a professional wrestling sports entertainment fan, I have for the better part of going on 20+ years been a fan of the man once known as The Rock, Dwayne Johnson. As my all-time favorite in-ring performer, I’ve seen nearly every TV and film role the man has done, save for The Game Plan, San Andreas and The Tooth Fairy – the latter two of which are regarded as, while somewhat commercially successful, among his worst work. (I mean there’s always The Scorpion King, but everyone has to start somewhere.)


(2) I grew up as a child during the 1980s, when arcades were plentiful and rich, glorious after school haunts where hordes of children would congregate to play the latest in the still relatively new technology of video games – and oh, how glorious those days were! There was Punch-Out! (long before Mike Tyson came into the mix), Paperboy, Dragon’s Lair … And then there was Rampage. The inspiration for the video-game-within-the-video-game-movie Wreck-It Ralph, Rampage was a simple, side-scrolling beat-’em-up that had a simple concept: Three human beings had been mutated – George into a giant brown gorilla, Ralph into a huge werewolf … And a woman named Lizzie into a huge alligator – by a mega-vitamin, radioactive lake or food additive. As you fight off military forces trying to stop you, you eat people hiding in buildings while smashing buildings, clearing a level once you had finished obliterating the structures present to little more than rubble. And if your character’s rampage stopped, you were reduced to a very embarrassed human being walking off screen with your hands covering the parts a leaf would if this were the Garden of Eden.


And that was it. A game simple enough in its execution and enjoyment that seemed as basic as your could get for 1986. Problem is, someone decided that classic by Midway Games needed to be a nearly two hour movie. Wanna know what 40 year-old me learned that nearly 10 year-old me didn’t know back then?


Sometimes its best to leave childish things to children … because as much as I love Dwayne Johnson and the Rampage video game, Rampage the movie is a prime candidate for the 2018 Golden Raspberry Awards and deservingly so. For this movie is an absolute gorilla-sized horrible excuse of a B (or F) movie that thankfully Harambe will never see.


I almost don’t even know where to really start with Rampage. I mean, Johnson tries his absolute best to make the film anything close to salvageable, but given the downright cartoonish brother-sister villain combo played by Akerman and Lacy (who also deserve Razzies for their “work”), the “I’m Negan 24/7 now” smiling slickness that is Morgan’s performance, the fake “I’m a soldier – I can’t listen to anything close to reason!” colonel that is Demetrius Grosse (channeling his inner Thunderbolt Ross right down to the high-and-tight mustache) and the “here’s the answer for everything even though I seem clueless as hell” scientist played by Harris, there is no other option even close to choose. 


George might not only be the best character but best actor in the film, which is either a CGI triumph or a travesty for his human counterparts, if not both. (At least Joe Manganiello had the common sense to take a role that obscures his face so that most people won’t even notice.)


Of course, the bad acting is only possibly outdone by the film’s dialogue – which sounds like a 12 year-old wrote it with the help of his slightly smarter but still immature older brother. Of course, when you make every scene predictable so you can sit in the audience and deconstruct it as it unfolds on the screen Mystery Science Theater 3000-style with direction that feels copycatted from just about any other monster movie you’ve seen, you can’t be surprised at the “how is the hero surviving moments that should have killed him five times over?!” action sequences. (Seriously, for a man with no superpowers, even Bruce Willis’ John McClane would have said “C’mon man – you’d be dead by now!”)At the advance screening I attended, there were more than enough audience members who laughed at a few of the film’s borderline-level dad jokes, liked the monster fights and ignored the straight illogical (even for the world the film creates) actions of the film’s characters. Then again, plenty of people once thought the world was flat … And many people who are not scientists (or who have never paid attention to science) still think it is.Unfortunately, the only thing flat is Rampage – because this film is so corny/ridiculous, it might make smart audiences go on one back to the ticket office demanding their money back.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

McCoy on Movies: READY PLAYER ONE

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Steven Spielberg delivers a visually stunning arcade experience long on
optical treats with his adaptation of Ready Player One

“This is probably not the right time to work on our Kid N’ Play kickstep dance moves, huh?!” Samantha (Olivia Cooke) and Wade Watts (Tye Sheridan) in a scene from Warner Bros. Pictures’, Amblin Entertainment’s and Village Roadshow Pictures’ action adventure READY PLAYER ONE, a Warner Bros. Pictures release. Credit: Jaap Buitendijk © 2018 Warner Bros. Entertainment Inc., Village Roadshow Films North America, Inc. and Ratpac-Dune Entertainment, LLC. – U.S. Canada, Bahamas & Bermuda.


WATCH THE TRAILER(S) HERE: 

 


 

 



KEY CAST MEMBERS: Tye Sheridan, Mark Rylance, Olivia Cooke, Ben Mendelsohn, T.J. Miller, Lena Waithe, Hannah John-Kamen, Simon Pegg, Philip Zao, Win Morisaki, Susan Lynch and Ralph Ineson

WRITER(S): Zak Penn and Ernest Cline (screenplay); Ernest Cline (based on the novel by)

DIRECTOR(S): Steven Spielberg 

 
WEB SITE: http://readyplayeronemovie.com/HERE’S THE STORY: Based on Ernest Cline’s immensely popular best-selling book of the same name, Ready Player One stars Tye Sheridan as Wade Watts, a young man living in 2045 Columbus, Ohio. With most of society in a state of dystopia for unknown reasons, Wade lives in a slum known simply as “The Stacks” with his aunt (Susan Lynch) and her less-than-stellar current boyfriend (Ralph Ineson). And like many people, Wade spends most of his time by playing in an online video game system known as “The Oasis.” The creation of the eccentric James Halliday (Mark Rylance), the Oasis is more than just an online video game network, it’s the escape from reality of choice for just about everyone. 


And then Halliday dies – leaving behind a challenge that prompts just about any and everyone to log on to the Oasis: Find three keys and unlock an Easter egg that will result in the winner being given all the rights to Oasis. 


Wade – better known by his online avatar of Parzival  – is determined to win the prize as is his online best friend Aech (Lena Waithe) and fellow gamers Daito (Win Morisaki) and Sho (Phillip Zhao). But he’s not counting on is the presence of Art3mis (Olivia Cooke) and Nolan Sorrento (Ben Mendelsohn); for whereas Art3mis is hoping to find the egg for a positive purpose, Sorrento is hoping to win to give his company Innovative Online Industries (IOI for short) the ability to monetize the Oasis and basically run the world. And since Sorrento has the help of I-Rok (T.J. Miller) to help him, the odds are heavily stacked against Parzival.


But then again, what’s a good video game without some impossible odds to overcome?

WHO WILL LIKE THIS FILM THE MOST? People who love Spielberg’s 80s work; those who love video games; those who liked the book and will be excited to see it brought to life on the big screen; fans of The Shining; people who love seeing 80s and 90s pop culture hidden like video game Easter eggs throughout a film

WHO WON’T (OR SHOULDN’T) LIKE THIS MOVIE? People hoping for more details from the book; those who have zero interest in gaming, especially online gaming; parents upset that you can have one f-bomb in a movie and still receive a PG-13 film rating

SO IS IT GOOD, BAD OR JUST AWFUL? A film that feels visually built for generations of video game enthusiasts while blending in elements of classic Steven Spielberg films, Ready Player One is a visual masterpiece … With just enough acting behind it to back up that optical appeal.


Make no mistake about it, Ready Player One follows a lot of classic Spielberg young actor-led films to a “T,” just in a modern (or futuristic, if you will) setting with eye-popping visuals. Almost like the veteran director’s own Avatar, the digital scenes in One are amazing. The race and Shining sequences are nearly worth the price of admission alone, showcasing the type of imagery the creators of 4K Ultra HD must have dreamed of while perfecting the technology. 


Visuals aside, Ready Player One delivers an easily digestible story that, as mentioned above, has all the elements of a Spielberg young-actor driven story: 

  1. A young man who’s disconnected and/or has lost the adults in his life (√);
  2. A young girl that is going to make that young man come out of his comfort zone and/or mature once he gets over his own nerves (√);
  3. A group of fellow, young misfits that will assist our hero along the way (√);
  4. A villain with cartoonish qualities (note: this is ONLY in Spielberg films where the protagonist is young and not Indiana Jones style affairs) (√); AND
  5. A sympathetic, simple older character (a la Goonies) that seems out of place in the real world and needs the young protagonist(s) to understand him or her (√).
Sheridan proves himself capable in his human and avatar form of moving the story forward, but it’s really a team effort as he is at his best when interacting with his fellow gamers – especially when in avatar form. Of course, if you are not up on gamer culture or your 80s references, much of the fun of One will likely be lost on you as a lack of a frame of reference will severely hurt your understanding.
If it seems like I’m not saying too much about the story or the acting therein, there is a reason: While competent, the film is more an ensemble piece of technology and story held together by the compelling (if not “here’s my depiction of the ultimate sweetheart nerd’) performance of Rylance and the fascinating, engaging world of the Oasis. TJ Miller nearly steals the show as Sorrento’s avatar hitman I-Rok, delivering his trademark sarcastic quips with humorous fury whenever he gets a chance. That’s what ultimately makes the movie more of a great visual experience than an emotional one: One’s characters are better developed in the digital world than in its real one, even though that’s the one the film attempts to get you to embrace.
Then again, the film is fun enough to forgive those foibles and keep you plugged in from start to finish that Ready Player One will likely be a multi-player experience audiences will enjoy for years to come.

 

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

Déjá Vu Gets A Fun, Murderous Touch With Happy Death Day

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“Oh man, good thing I called for an Uber so I can escape this parking garage safely … Wait a minute, is THAT my Uber driver?!” Tree (Jessica Rothe) hides as her masked killer attempts to murder her again in a scene from HAPPY DEATH DAY. Credit: © 2017 Universal Pictures. All rights reserved.

WATCH THE TRAILER(S) HERE: 


 



KEY CAST MEMBERS: Jessica Rothe, Israel Broussard, Ruby Modine, Charles Aitken, Rachel Matthews, Phi Vu, Rob Mello and Laura Clifton

WRITER(S): Scott Lobdell 

DIRECTOR(S): Christopher Landon

 
WEB SITE: http://www.happydeathdaymovie.com/HERE’S THE STORY: Theresa a.k.a. Tree (Jessica Rothe) is a college student at a typical university in Louisiana. What isn’t typical, however, is that today is a day that most girls her age can’t wait to celebrate, that being her birthday. And while her roommate Lori (Ruby Modine) might be excited about it, her favorite professor (Charles Aitken) might be a bit taken aback and Carter (Israel Broussard) – the co-ed in whose dorm room she unexpectedly awoke this morning – is simply happy to see her, there’s a bigger problem awaiting Tree later that night: Her death.


As it turns out, after being murdered by a figure dressed in all black save for a creepy baby mask of her school’s mascot, Tree awakens the next morning back in Carter’s room, only to experience 

déjà vu, reliving her entire day over. That includes getting murdered. Again. And again. And again.

 
Growing tired of being well, murdered, Tree starts to devise a plan: Figure out who is murdering her before they can do it again and maybe then she can escape her Halloween-meets-Groundhog Day existence. 

But given the list of potential suspects, Tree might have to get used to get stabbed, shot, clubbed and maimed for the foreseeable future … Even in the mounting injury list might mean her time is starting to run out.

WHO WILL LIKE THIS FILM THE MOST? Fans of horror movies where the main characters are enjoyable people; fans of movies that mix humor into the thriller aspect; anyone who can appreciate a movie that doesn’t take itself too seriously but does at the right times; those who will appreciate the film’s concept and the competent execution of it

WHO WON’T (OR SHOULDN’T) LIKE THIS MOVIE? Fans expecting a more serious/blood-filled experience; those who may figure out who is behind the mask early on; those who may not appreciate the simple nature of the story and its execution

SO, IS IT GOOD, BAD OR ABSOLUTELY AWFUL? A film that’s more about the character’s story than it is a straight out horror experience, Happy Death Day works because of a lighthearted (if you can have that in a movie where a female character repeatedly gets murdered) tone and a strong, well-rounded performance by its lead and a competent group of co-stars.


Rothe is, for lack of a better word, fun to watch as Tree, a character that is well-developed and goes from being pretty terrible to pretty well, not terrible while Broussard is so naive and likable you can’t help but root for his character. The pair make for a great duo, one a very alpha female while the other plays the role of a good Samaritan with a proverbial platonic best friend twist to a “T.” It’s really a credit to her that she is able to take what could have been a disaster of a character in the wrong hands and make it into a viable, enjoyable character that drives the story. 


Whereas Rothe can be a word that rhymes with “witch” at times before switching her game up, Broussard is perfect as a Scooby-Doo-esque sidekick who just wants to get the girl, or, at the very least, help her from dying (after every time she explains what’s happening to her).


Throw in some nice cheesy-but-not-too-cheesy-to-be-enjoyable sequences with the baby face killer after Rothe’s character, some good ol’ fashioned disturbing music and a few nice, unexpected touches and Happy Death Day is a (well not perfect) mix of humor, horror movie tropes and an interesting story that will entertain you without draining you w/ silliness or gore. Whereas Blumhouse’s other big 2017 hit Get Out was a sharp, satirical that resonated due to its social commentary and exploration of the African-American psyche in modern America, Happy Death Day is more of a simple, gather with your friends/a full theater and take in the experience type of thriller that’s easy to digest but fun at the same time. 

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

McCoy on Movies: EVERYBODY WANTS SOME

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The “Spiritual Sequel” to Dazed & Confused offers up plenty of funky outfits, music and fun despite a lack of emotional depth

“Yeah, boy – let’s rock these horrible 80s pastels & get busy, fellas!” Plummer (Temple Baker), Roper (Ryan Guzman) and Jake (Blake Jenner) get ready to rock the disco in a scene from writer/director Richard Linklater’s “spiritual sequel” to Dazed & Confused, EVERYBODY WANTS SOME. Credit: Van Redin © 2015 Paramount Pictures. All rights reserved. 


WATCH THE TRAILER(S) HERE:



KEY CAST MEMBERS: Will Brittain, Zoey Deutch, Ryan Guzman, Tyler Hoechlin, Blake Jenner, J. Quinton Johnson, Glen Powell, Juston Street, Tanner Kalina, Forrest Vickery and Wyatt Russell

WRITER(S): Richard Linklater 

DIRECTOR(S): Richard Linklater 

WEB SITE: http://www.everybodywantssomemovie.com/

60 SECOND PLOT SUMMARY (OR AS CLOSE TO THAT TIME AS ONE CAN MAKE IT): The “spiritual sequel” to his beloved (by many) 1970s opus Dazed & Confused, Everybody Wants Some begins by introducing us to Jake (Blake Jenner), a 1979 second team high school all-star baseball player preparing to enter his first year in college in his native Texas. Moving into one of the two off-campus houses the baseball team occupies, Jake meets a cast of colorful characters within minutes of each other. 


This includes Roper (Ryan Guzman) and Finnegan (Glen Powell), the unofficial leaders and ladies men of the house who are always down for a good time; Reynolds (Tyler Hoechlin), a strong, Mike Schmidt-styled mustachioed power hitter; Jay Niles (Juston Street), a Detroit-born pitcher who tells everyone who will listen that the “raw dog” is a top pro prospect; resident knuckles game champ Nesbit (Austin Amelio), Dale (J. Quinton Johnson), the resident cool black guy/second baseman; heavy sleeper Coma (Forest Vickery), fellow freshman outfielder Brumley (Tanner Kalina); Willoughby (Wyatt Russell), a California transfer who’s got many tricks up his sleeve and Beuter (Will Brittain), Jake’s country roommate who has very strong opinions on following the coach’s rules. And over the course of the next three days, Jake and his newfound cast of merry men will party hard and often now that they are away from home with no direct adult supervisor to lord over them.


And Beverly (Zoey Deutch) is an alluring young woman on her own … But where could she possibly fit into Jake’s newfound world of beer, babes and baseball? The weekend is young – and he’s got plenty of time to figure that out. 
WHO WILL LIKE THIS FILM THE MOST? People who enjoyed Dazed & Confused; those who enjoyed the 70s portion of Boogie Nights before they hit the 80s second act; children of the late 70s/early 80s; people who like upbeat, coming-of-age stories filled with nostalgia; those who enjoyed 70s-era disco and country music and fashion; anyone in search of a light-hearted romp that is more focused on the fun aspects of youth than truly “growing up” 

WHO WON’T (OR SHOULDN’T) LIKE THIS MOVIE? Those looking for a direct Dazed & Confused link in terms of tone or character development; people who find 70s/80s nostalgia a bit over-romanticized; those who wish the film dived into deeper levels of what it meant to grow up during the time period depicted 
SO, IS IT GOOD, BAD OR ABSOLUTELY AWFUL? A film that is essentially a 2 hour party on film that celebrates all the debauchery, care-free spirit and optimism of being young and male at the onset of the 1980s – as well as how guys become friends – Everybody Wants Some is a fun diversion of a film … Even if it doesn’t say or represent nearly as much as it could. 


Whereas Dazed & Confused had a feeling of “this is how many kids in the 1970s felt about growing up and being on the verge of adulthood,” Everybody Wants Some essentially has one vibe: It’s time to party – and party it does. For if there has been a film that has embraced the mantra of letting the proverbial good times role more than Linklater’s 117 minute homage to bad 80s fashion, Smokey and the Bandit-style hair and the national pastime, you’d be hard to find one that has as much fun doing so. Jenner does a strong job presenting Blake as just a guy – not a bad guy, not a good guy but a decent guy – venturing out into the world on his own for the first time.


Much akin to the fashion that Steve Carell’s character was embraced in The 40 Year-Old Virgin by his co-workers, Jake is quickly swept under the tutelage of his newfound chums, each of which adds their own unique element to the mix, save for a few oddballs that add their own sense of humorous lunacy to the proceedings. Whether its Glen Powell channeling his inner Brad Pitt/Matthew McConaughey while spouting off romantic and/or philosophic witticism, Johnson being the cool black guy who isn’t defined by his melanin or dual butts of many jokes Austin Amelio and Juston Street being, well, the butts of many jokes, everything works well together to add to the fun. 


This makes Everybody Wants Some much more of an outright comedy than Dazed ever was, but in turn fails to give it as much impact on your conscious. (You won’t leave the theater pondering anything other than how much time did it take to get those clothes and get the actors’ hair to have that perfect fall 1980s look.) While Deutsch adds a nice balance that adds a little depth to both the film and Jake as he discovers meeting someone who at first is your opposite but may be the perfect person for you once you get to know and realize your commonalities, Everybody Wants Some isn’t here to be deep.


It’s here for you to have fun – and if you’re looking for some, this is what you and everybody you’re going to the movies with should want.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

McCoy on Movies: THE HUNTSMAN: WINTER’S WAR

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Unexpected prequel/sequel to Snow White & The Huntsman turns in an entertaining, estrogen-filled experience

 
“I’m gonna hold your face real still … Now work that celery out of your teeth!” Sara (Jessica Chastain) embraces her fellow huntsman – and husband – Eric (Chris Hemsworth) in a scene from THE HUNTSMAN: WINTER’S WAR. Credit: Giles Keyte. © 2016 Universal Studios. All rights reserved.


WATCH THE TRAILER(S) HERE:



KEY CAST MEMBERS: Chris Hemsworth, Jessica Chastain, Charlize Theron, Emily Blunt, Nick Frost, Rob Brydon, Alexandra Roach, Sheridan Smith and Sope Dirisu

WRITER(S): Evan Spiliotopoulos, Craig Mazan (screenplay), Evan Daugherty (characters)

DIRECTOR(S): Cedric Nicolas-Troyan

WEB SITE: http://www.thehuntsmanmovie.com/#!/
60 SECOND PLOT SUMMARY (OR AS CLOSE TO THAT TIME AS ONE CAN MAKE IT): A prequel AND a sequel at the same time, The Huntsman: Winter’s War once again stars Chris “I’m more than Thor!” Hemsworth as Eric, a.k.a. the Huntsman who once helped save and then fight alongside (a mostly absent for this go-round) Snow White against the evil Queen Ravenna (Charlize Theron). But that’s not where this story starts.


No, it goes back in time a few years earlier when Ravenna was the unquestioned ruler of the land after the unfortunate passing of the king. Her younger sister Freya (Emily Blunt), however, was not as concerned with ruling as she was in love with William (Sam Clafin), who her sister correctly predicted would bear her a daughter. But, as Ravenna also predicted, he would not – despite his promises – break off his engagement with the woman he was supposed to marry for Freya, leading Freya to have an epic breakdown that transformed her into “the Ice Queen.” Leaving Ravenna before her demise, Freya would head to the north and encapsulate the entire land into a frozen wasteland where the children she would “save” would grow into a powerful army for her and live, provided they never broke one rule: Letting their hearts be open to the idea of love – which is what turned Freya into a woman so feared they were afraid to speak her name – was forbidden.


Fast forward a few years later and Freya is now on the warpath to take the one thing she has never tried to before: Snow White’s kingdom. And to do so, she seeks the one thing that Snow White has cast out of her kingdom: The mirror that once belonged to Ravenna, hence the reason Eric and his dwarf sidekicks Gryff (Rob Brydon) and Nion (Nick Frost) are out tracking – or hunting, if you will – where it could be since someone (or something) has stolen it in hopes of finding it before Freya does.


There’s just one little thing that none of the trio counted on getting in their way: Sara (Jessica Chastain), the female huntsman Eric thought was dead … That also just so happened to once be his wife. 

WHO WILL LIKE THIS FILM THE MOST? Fantasy film and cosplay enthusiasts; films where female characters drive the story; those looking for a date night activity that will have enough to keep the attention of both sexes (or those in the LGBT community – this is not an exclusionary review!) by catering to traditional male and female story elements of interest; people who enjoyed the more serious, straightforward tone of the first film but wanted a bit more humor at times to balance out the swordplay

WHO WON’T (OR SHOULDN’T) LIKE THIS MOVIE? People who were not that enthused with the first Huntsman movie; those who are “too grown” to watch a long adaptation of a story based on a fairy tale and/or simply aren’t interested in the subject matter … And anyone who suffers from Achondroplasiaphobia (look it up for yourself; I took the time to type that in correctly!)
SO, IS IT GOOD, BAD OR ABSOLUTELY AWFUL? The original Snow White & The Huntsman was a surprisingly entertaining tale that did what little thought could – or perhaps, more accurately, should – be done: Put a new spin on a told-to-death (no pun intended) story. That being said, one could be forgiven for wondering who (besides Universal Pictures given the previous installment’s success) was actively clamoring for a follow-up, especially one that serves as both a prequel in its first half and a sequel for the second act.


Well, if you were among those who in fact was in that camp, I have news that once again may be surprising as it was the first time: Winter’s War is a fairly entertaining tale that manages to wrap itself up happily ever after. 


For a film that delves more into the Huntsman’s background, Winter’s War is essentially a feminist power movement … That just so happens to be draped in a world of goblins, fairies and mystical characters. For while Hemsworth character does pretty much everything you’d expect – be charming, smile and be self-deprecating while exhibiting powerful strikes and just enough emotion to let you know he’s likable like John Cena at his non-movie day job. However, Hemsworth’s character is not really so much the star of Winter’s War as much a necessary component of a story that dives into a tale that explores sibling rivalry, relationships and the good ol’ element of good vs. evil – all of which is essentially driven by Winter’s War‘s female characters. 


Whereas Chastain plays alongside Hemsworth as his equal and personal protagonist, Blunt and Theron work as extremely well as the films’ overarching villains. Chastain provides a great personal rival for Hemsworth to keep him in check in regards to both his past and present as they work through their respective issues without ever feeling hokey. Whereas you can feel the emotion crack in Blunt’s character’s psyche, you can feel the pure, unabashed and unflappable evil flowing out of Theron with each sneer, calculated body movement and verbal spear. The biggest scene stealer, however, is Sheridan Smith as Mrs. Bromwyn, a fellow dwarf who sparring sessions with Rob Brydon’s Gryff are at times the best parts of the film. The four ladies really produce a nice spectrum of a range of talent in the film that makes things enjoyable and interesting, which is something that most things pertaining to the words “Snow White” are absent for just about anyone over the age of 13 (or at least should be). But back to what matters …


This is not to suggest Hemsworth is capable in his role by any means; it’s simply to acknowledge just how much Winter’s War smartly uses its female stars in ways that showcase their talent and make them integral as much more than any typical damsel in distress. Whereas the roles of women in film is still something of constant debate – just look at the online scuttlebutt regarding Hemsworth’s upcoming other summer film, the all-female Ghostbusters reboot – Winter’s War is another example that quality acting is quality acting, which is all that ultimately should and does matter at the box office. Yes, the film isn’t perfect– there are a few fairy tale staples that are easy to foresee – but thanks to the well-paced melodrama and special effects as executed under the direction of first-timer Cedric Nicolas-Troyan, Winter’s War is a welcome addition to the spring movie season.


Feel free to bite this apple with no worries of a poisonous aftertaste. 

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

McCoy on Movies: The Boss

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THE BOSS

“You think I look crazy? You should have seen what happened the last time I had a taco salad!” Orphan-turned-entrepreneur Michelle Darnell (Melissa McCarthy) gets some help with her teeth whitening ritual from her assistant Claire (Kristen Bell) in a scene from co-writer/director/McCarthy’s husband Ben Falcone’s comedy THE BOSS. Credit: Hopper Stone. © 2015 Universal Pictures. All rights reserved.

WATCH THE TRAILER(S) HERE: 


 



KEY CAST MEMBERS: Melissa McCarthy, Kristen Bell, Peter Dinklage, Kathy Bates, Tyler Labine, Ella Anderson, Cecily Strong , Annie Mumolo, Kristen Schaal, Timothy Simons and Eva Peterson


WRITER(S): Ben Falcone, Steve Mallory and Melissa McCarthy

DIRECTOR(S): Ben Falcone 

WEB SITE: http://www.thebossfilm.com/
60 SECOND PLOT SUMMARY (OR AS CLOSE TO THAT TIME AS ONE CAN MAKE IT): Michelle Darnell (Melissa McCarthy) had it rough growing up in Illinois. Abandoned/orphaned by her parents in her youth, Michelle has overcome her rough upbringing to become the 47th wealthiest woman in America. Now a powerhouse  as the CEO of three various companies, Michelle is on top of the world. Her success hasn’t made life an easier for Claire (Kristen Bell), Michelle’s top assistant, the Smithers to her Mr. Burns who is also a single mother to Rachel (Ella Anderson), a nice young girl who spends most of her free time with her Dandelions youth troop.


Then her former lover and top rival Renault – a.k.a. Ron (Peter Dinklage) – gets her busted for insider trading, which lands her in federal prison for 5 months and her empire in shambles.


Now with nowhere else to go, Michelle comes looking for refuge at the home of her former assistant, who reluctantly agrees to take her in until she can get back on her feet. But as one might expect, going from the penthouse to the proverbial outhouse of Claire’s tiny two-bedroom apartment. But Michelle is a woman with grit, determination and a never take “no” for an answer attitude, so once she sees an opportunity to re-establish herself, she is ready to seize it – even if that means shaking up Claire and Rachel’s world to no end.


And that’s because she’s the boss – and a boss does what a boss has to do to stay on top.

WHO WILL LIKE THIS FILM THE MOST? Melissa McCarthy fans; people who enjoy watching children – and to lesser extent, adults – behave inappropriately for their age; people who enjoy movies where the nice guy gets a break; people who like movies with characters that, while they may not be well-developed, are fun

WHO WON’T (OR SHOULDN’T) LIKE THIS MOVIE? People that will find Peter Dinklage and/or his character creepy; Anyone who doesn’t find likable characters enough to carry the film’s rather ludicrous third act; people who believe that McCarthy (whether fairly or unfairly) tends to play the same type of characters, anyone who hates when Saturday Night Live sketches seem to run on too long. 
SO, IS IT GOOD, BAD OR ABSOLUTELY AWFUL? A movie with some really likable characters that aren’t exactly placed into a great movie all the time, The Boss is entertaining enough to be forgiven for its shortcomings … Which is why at times it feels like an overly long SNL sketch.


McCarthy is very good at playing characters who appear to be one thing but have a little more going on underneath the surface than one might think at first glance. The Boss continues that streak by adding layers to her character, who is all bluster at first before a more sensitive side is eventually revealed. However, given how Dinklage was either asked or chose to play his character in ridiculously creepy fashion, you might find yourself unsettled or at the very least a little freaked out at times and not so much comedically as McCarthy’s husband/co-writer/director Ben Falcone intended. I’m sure the creative team of the McCarthy. Falcone and Steven Mallory were thinking of a Zoolander– or Anchorman-like level comedic foil for McCarthy, but … Nah, it just doesn’t always come off that way. 


Likewise, Bell is capable at playing the straight woman to McCarthy’s antics as her character is supposed to be a dull single mom … And MAN does she nail it almost to the point where you care about everyone around her more than her. She’s too much of the straightwoman at times, which in turn makes you feel her pain way too much. She’s not bad; it’s just that her character has no value on her own and is only best when paired with McCarthy’s or Tyler Labine as her co-worker/potential would be love interest. While we know everyone around Claire is having fun, it gets to a point where EVERYONE but Claire is having fun.


Fortunately, McCarthy has enough to gumption to keep things moving along and both the supporting and younger cast really shine in the lunatic situations in which they are placed. The aforementioned Labine is terrific in representing the everyman who works in a boring job and is a nice guy who deserves better while never coming off as a lovable loser and McCarthy’s female co-stars – Kristen Schaal, Cecily Strong and Annie Mumolo bring a lot of the party as zany/over-the-top sparring partners for McCarthy, Mumolo especially as a would be power mom of an ambitious girl scout-type. (Eva Peterson plays a scary, foul-mouthed teenage girl about as well as you can comedically, so The Boss could be a start of a nice career for her.)


In short, The Boss is entertaining at its best – there’s a rumble sequence that’s phenomenal – but it’s far fro a perfect film by any means. Dinklage’s character is supposed to be over-the-top, but whether or not you find it funny or just dumb remains to be seen. Likewise, there are a lot of lulls between the funny moments and some are much funnier than others, so depending on your attention level you may find the boss somewhere between “good” to “just okay” on your entertainment scale. 


If nothing else, The Boss will serve as a nice palate cleanser to anyone who has found spring’s early offerings at the theaters to be a bit … Well, not suitable for full-time employment. 

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

DIARY OF A TEENAGE GIRL & Important Parking News at THE NEON

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https://www.youtube.com/results?search_query=teenage+girl+trailer+sony+classics
Hello Everyone.

A new, wonderful film that has garnered amazing critical response is now playing at THE NEON – THE DIARY OF A TEENAGE GIRL. In addition, we are holding the incredible film with Jason Segel – THE END OF THE TOUR as well as our biggest hit of 2015 – MR. HOLMES. To read more about our held-over titles, please visit our website at www.neonmovies.com.

Synopsis for THE DIARY OF A TEENAGE GIRL: “Like most teenage girls, Minnie Goetze (Bel Powley) is longing for love, acceptance and a sense of purpose in the world. Minnie begins a complex love affair with her mother’s (Kristen Wiig) boyfriend, “the handsomest man in the world,” Monroe (Alexander Skarsgard). What follows is a sharp, funny and provocative account of one girl’s sexual and artistic awakening, without judgment.” (taken from Sony Classics) Given 100% reviews from The New York Times, The Los Angeles Times, Washington Post and many more. Entertainment Weekly wrote, “…there are moments you’ll ache for Minnie and other ones where you’ll want to lock her away – it rings much truer than most coming-of-age stories.” Peter Travers of Rolling Stone wrote, “Powley is sensational, expertly blending hilarity and heartbreak. Her scenes with Wiig, sublime in her hard-won gravity, are unique and unforgettable. Just like the movie.” Click this LINK to visit the film’s official website.

The Deaf Community Resource Center is bringing a special, one-time screening of THE DEAF CLUB to town on Thursday, Sept. 24 at 7:30. This movie is completely done in sign language (though subtitles are available for those who don’t sign). “Deaf people have it all – friends, romance, fights, etc. – at their own club, where everyone uses sign language. Suddenly, the members face a situation where their precious club may have to close. Can they save the deaf club? Almost the entire production team is deaf or hard of hearing.” (taken from press notes) Tickets, just $10 each, will be available at THE NEON’s box office beginning Monday, Aug 24.

On Saturday, September 26 at Noon, Twentig, Inc. will host a special benefit screening and discussion of the film BELLE.” BELLE is a historical fictionalization of a true story about Dido Elizabeth Belle who was born of mixed race in the West Indies. She lived with her great uncle William Murray, the first Earl of Mansfield, Lord Chief Justice of England. Lord Mansfield’s decision on a case in 1786 in the English Courts led to the abolition of slavery in Britain. The film was inspired by the 1779 painting of Belle beside her cousin Lady Elizabeth Murray at Kenwood House.” (taken from press notes) Tickets are $30 each and come with admission to the film, the post-film discussion, a glass of wine and popcorn.

As many of you have noticed, we now share our parking lot with Drake’s Gym (a boxing and CrossFit gym now located in the former Greyhound building). This Saturday, the gym is hosting a big fundraising boxing match in our shared parking lot. This means that parking will not be available in that lot all day on Saturday. Please remember that we do validate for the Convention Center Parking Lot on Saturdays…so give yourselves a little extra time to find parking if you’re coming to see a film on Saturday afternoon/evening.

Thanks for your continued support.
We hope to see you this weekend!
Jonathan

SHOWTIMES for Friday, August 28 – Thursday, September 3:

THE END OF THE TOUR (R) 1 Hr 46 Min
Friday, Saturday: 2:30, 7:15, 9:40
Sunday: 2:30, 7:15
Monday – Thursday: 2:45, 7:40

MR. HOLMES (PG) 1 Hr 45 Min
Friday, Saturday, Sunday: 12:15, 4:50
Monday – Thursday: 5:15

THE DIARY OF A TEENAGE GIRL (R) 1 Hr 42 Min
Friday, Saturday: 12:20, 2:40, 5:00, 7:20, 9:40
Sunday: 12:20, 2:40, 5:00, 7:20
Monday – Thursday: 3:00, 5:20, 7:40

COMING SOON:
(All Dates Are Tentative. Dates Often Move And Sometimes Disappear.)
Sept. 4 – MISTRESS AMERICA
Sept. 11 – MERU
Sept. 18 – LEARNING TO DRIVE
Sept. 25 – GRANDMA
Oct. 2 – PHOENIX
TBD – JIMMY’S HALL