Star Wars: The Last Jedi - Movie Review by Ben Cahlamer

Star Wars: The Last Jedi

Written and Directed by Rian Johnson

Starring Mark Hamill, Carrie Fisher, Adam Driver, Daisy Ridley, John Boyega, Oscar Isaac, Andy Serkis, Lupita Nyong’o, Domhnall Gleeson, Anthony Daniels, Gwendoline Christie, Kelly Marie Tran, Laura Dern, Benicio del Toro

“Breathe . . .. Just Breathe.”

George Lucas gave my imagination a lot of room to breathe and grow as a kid. No, I didn’t lift rocks like you see in The Empire Strikes Back, but I tripped over them as a kid, constantly.

Like many of my generational peers, I have been a lifelong fan of Star Wars and its characters. I still get giddy at the mere sound of the classic John Williams theme as it swells over the scrolling monologue. Since its acquisition, Disney has done well to give Kathleen Kennedy the room to breathe life into the franchise for a new generation of filmgoers and filmmakers alike.

The latest entry in the “Skywalker Saga” is writer – director Rian Johnson’s (Brick, Looper) Star Wars: The Last Jedi.

The film picks up mere moments after the events of J.J. Abrams’ The Force Awakens with the First Order in hot pursuit of the Resistance. Mounting the efforts to resist the First Order are General Leia Organa (Carrie Fisher) and Poe Dameron (Oscar Issac) leading the physical attack against the First Order’s Star Destroyers. General Hux (Domnhall Gleeson) leads the First Order’s chase and Kylo Ren (Adam Driver) seeks to find Rey. While the continued battle for freedom rages on in the heavens, Rey (Daisy Ridley) begins her training with Master Jedi, Luke Skywalker (Mark Hamill).

The technical achievements aside, Rian Johnson has delivered a film that embraces the past with all its might. It resolves certain questions raised in The Force Awakens and much like George Lucas’ past entries, it expertly tangoes through the myriad of character arcs, story arcs and the politics while looking toward the future.

It also happens to be the longest entry in the Star Wars saga. And, that’s one of its weakest points. The length isn’t as much an editorial issue as it is a story telling issue. However, when you look at the film holistically, every event and character have their place. Supreme Leader Snoke (Andy Serkis) is back in an extended capacity, continuing to pull the strings of Kylo Ren. Gwendoline Christie is as deliciously vicious as ever as Captain Phasma. Laura Dern has a remarkable turn as Vice Admiral Amilyn Holdo, giving us a fierce yet understated character while Benicio del Toro delights in his under worldly ways.

I would be remiss if I didn’t mention Mark Hamill’s performance as Luke here. Mr. Johnson has taken the best parts of the lost farm boy from Tatooine those many years ago and added some of the wisdom of more experienced Jedi to create a rich, textured and modern Luke Skywalker. He is as haunted by Kylo Ren as he is by Rey’s efforts to find him. It is his best turn as Skywalker, and probably his best performance ever.

Mr. Johnson infuses humor into his story, something that Star Wars fans should be used to. Many of the droids in the film, principally R2-D2, C-3P0 (Anthony Daniels) and BB-8 along with Chewbacca (Peter Mayhew). It does get ingratiating at points, but its purpose serves the overall heavy nature of the story, which is less reflective than The Force Awakens.

The special effects, filled with a mixture of practical and CGI effects are something to behold as they create a vibrancy not seen in previous Star Wars entries. It is full of life.

John Williams continues to delight with his bombastic score. Themes of the past are raised to new levels. The whole production went to great lengths to treat Carrie Fisher with the utmost respect and you would do well to stay through to at least the mid-credits (not a spoiler, just encouragement).

The mechanical issues aside, The Last Jedi is, finally, the Star Wars film fans have been clamoring for since at least 1983 (sorry, George). It is by no means perfect. But, I am confident that Rian Johnson can lead us to the next evolution of the Star Wars saga as he begins prepping for a new trilogy.

As you sit down to watch the film this weekend, may The Force Be with You. Always.

3 out of 4

The Shape of Water - Movie Review by Monte Yazzie

The Shape of Water

Director: Guillermo Del Toro

Starring: Sally Hawkins, Octavia Spencer, Michael Shannon, Richard Jenkins, Michael Stuhlbarg, and Doug Jones

There has always been something tortured yet romantic about the characters in Guillermo Del Toro’s films. Whether the plight of a little girl who escapes her war torn existence by discovering a fantasy world in “Pans Labyrinth”, the fascination of an old man who finds a destructive device that will give the owner eternal life in “Cronos”, or the wandering earthbound red demon who is trying to find acceptance in the human world in “Hellboy”, Mr. Del Toro handles fantasy, horror, action, drama, and comedy with characters that are traversing the struggles of their tortured existence but also approaching it with an abundance of love and passion.

These same sentiments could be distinguished towards Mr. Del Toro’s enchantments with filmmaking, mixing his fandom and artistic capabilities with stories that are many times combinations of the best and worst aspects of reality and fantasy. “The Shape of Water” is the director’s crowing achievement, a film that composes all the influences that have shaped and molded the auteur’s work over his entire career. 

In 1960’s Baltimore a research facility has just received a mysterious creature prime for experimentation. Richard Strickland (Michael Shannon) has captured this monster (Doug Jones), an amphibious humanoid with sharp teeth and webbed extremities. Strickland, who carries an electric cattle prod, maintains a torturous hand over the creature while awaiting instruction from his government contacts. Elisa, a nighttime cleaner for the facility who is also mute, stumbles into a violent mess that puts her face to face with the creature. Where the scientists and government officials see a monster, Elisa sees something wholly different.

Guillermo Del Toro gathers his influences from numerous places like classic film, folklore, culture, literature…the list is vast. “The Shape of Water” will resemble the Universal monster movie “The Creature from the Black Lagoon” but only on the surface level characterizations. Here the director lavishes in atmosphere and composes characters in a central story that are longing for an escape, even if only for a moment at a time.

Sally Hawkins and Doug Jones, beneath impressive practical effects, craft an enchanted love story that is built upon expression and movement. Their relationship starts with a chance encounter, one that opens an empathetic door for Elisa to help the creature. This blossoms, wordless, over the sharing of food and the experience of music. Ms. Hawkins and Mr. Jones operate these characters as if in the middle of a complicated dance, the film actually succumbs to this indulgence in a beautiful moment. Ms. Hawkins, with her quiet yet powerful demeanor and striking eyes, provides a performance that is filled with affection. Mr Jones, even underneath extensive makeup, moves with sensitivity. 

The always dependable, and completely intriguing in nearly everything the actor does, Michael Shannon shows up to the play the villain. But, as with most of Mr. Del Toro’s work, the antagonist is painted with as much complexity as the protagonist. Mr. Shannon embodies the realism of the world with the character, the normalcy of the era but also the deviance that exists within it. The gender abuse with the dominance that men have over women at this specific time, both the emotional and physical abuse, are displayed through Strickland’s demeanor in his bright suburban home and within his professional home in the gloomy depths of the facility. It’s a reflective touch that is unfortunately timely in the present day. 

Del Toro composes all the characters with an arc that has a beginning and end, even small characters like the ones played by Octavia Spencer and Richard Jenkins are offered moments to shine. These stories further accommodate and enrich the journey Elisa is going through. It’s a difficult feat to fit these secondary characters so seamlessly into such an already dense character driven story, but Del Toro accomplishes this with ease.

The director has proven throughout many films that he can find beauty in even the darkest of places, so when something so tender and touching is on display, as it is in “The Shape of Water”, the film is filled to the edges with elegance. While in some moments these stylings have the tendency to be a tad overbearing, it’s nonetheless exquisite to watch. The film feels texturally like a mix of a film noir, classic horror, and a musical all at once. The camera moves with the fluidity one would feel while watching water flow and splashes with greens and blues that resemble being underwater. 

“The Shape of Water” is visually stunning and filled with excellent performances. Guillermo Del Toro composes another fairytale, this time with a romantic touch that permeates far beyond  the premise might suggest. It is movie magic at its finest.

Monte’s Rating

4.50 out of 5.00

The Disaster Artist - Movie Review by Monte Yazzie

The Disaster Artist

Director: James Franco

Starring: James Franco, Dave Franco, Seth Rogen, Ari Graynor, Alison Brie, Jacki Weaver, Paul Scheer, Josh Hutcherson, and Zac Efron

There are some movies that you can watch and others that you need to experience. The 2003 independent film “The Room” is one of those films that you need to experience. Though, when I first watched this movie back in 2009 on a 35mm film print, it hadn’t yet grown to the enormous popularity that it is now. Don’t be mistaken, “The Room” isn’t an experience because it’s some kind of cinematic masterpiece but rather because it’s a disaster, one of the oddest movies you are bound to ever see.  Late night film programmers across the country took hold of “The Room” and have since pushed to movie to true cult classic status, selling out midnight screeners and making director and lead actor Tommy Wiseau into some kind of legend.

“The Room” is a drama about a banker named Johnny (Tommy Wiseau) who’s fiancé Lisa  leaves him for his best friend Greg. It’s a simple premise, one you might find differently portrayed on late night cable television or on the Lifetime Network, made all the more bizarre because of an atrocious narrative, terrible dialogue, and awful performances. It’s “so bad it’s good” charm caught the eye of Hollywood stars James Franco and Seth Rogen who acquired the rights to the book “The Disaster Artist: My Life Inside The Room, the Greatest Bad Movie Ever Made”. 

“The Disaster Artist” follows Greg Sestero (Dave Franco) on his voyage towards a career as a working actor. After some failed attempts and a few discouraging words from acting coaches in San Francisco, Greg meets an enigmatic actor named Tommy (James Franco) who provides an opportunity in Los Angeles. The two friends don’t find much success but, instead of giving up, the friends decide to make their own movie. 

 “The Disaster Artist”, written and directed by James Franco, has lots of heart and a slew of laughs. The writer/director, known for raunchy comedies and indie dramas, takes on the formidable role of Tommy Wiseau. The demanding, jealous, and completely odd characteristics of Wiseau are emulated with near perfection from James Franco, this includes the peculiar accent that makes many of Wiseau’s lines memorable. Dave Franco plays Greg Sestero with compassion, constantly encouraging and supporting his foolhardy friend even when it’s obvious that things aren’t going the right way. The film is ultimately about friendship and the Franco brothers work great in making this aspect real, offering moments that are quietly touching but also intensely intimate

Smartly so, Mr. Franco understands that this story is more than a comedy. In fact, much of the laughs offered throughout the film is situational; the film never undermines itself by taking cheap shots at Mr. Wiseau or “The Room”. Instead, there is a strong emphasis of admiration that is shown throughout the film by the filmmakers. While the movie didn’t come out as intended, regardless of what Mr. Wiseau may imply, there is a positive spirit that is undeniable. These are artists trying to pave their own path, utilizing filmmaking to make their dreams come true.

When the comedy does take over, once Tommy and Greg begin making “The Room”, the laughs are consistent; this may be the part where prior knowledge of the original film may be most important. Still, James Franco and a familiar group of comedians bring many of the most memorable scenes from “The Room” to life. The timing, tone, and texture of the original film are impressively recreated. James Franco provides enough exaggeration to the character to amplify the comedy of the scenarios. 

What makes “The Disaster Artist” such of unique and heartfelt film is how it treats and portrays the ambition of the characters, their journey displays a friendship grounded with mutual motivation and respect for one another. That’s admirable regardless of how bad the final product they created is. 

Monte’s Rating

4.25 out of 5.00

Darkest Hour - Movie Review by Jeff Mitchell

Oldman’s performance brings light to ‘Darkest Hour’

Directed by: Joe Wright

Written by: Anthony McCarten

Starring: Gary Oldman, Kristin Scott Thomas, Lily James, and Ben Mendelsohn

“Darkest Hour” – “I am unwanted.” – Winston Churchill (Gary Oldman)

Untested, unappreciated and soon-to-be unwanted within Parliament, Winston Churchill became the United Kingdom’s Prime Minister in May 1940, because Neville Chamberlain resigned during Germany’s rapid advance through Western Europe during World War II.  Inheriting a country teetering between appeasement and conflict, Churchill sided with the latter.  Rather than negotiate peace, his instinct was to fight Hitler and his fearsome military, but with 300,000 British soldiers trapped on the French beaches of Dunkirk, treaties between Germany and/or Italy became much more palatable options within the smoky and shaken hallways of UK’s Parliament. 

Members inside Churchill’s war cabinet ratcheted up a mean-spirited whisper campaign against the man, who was already an unpopular PM choice within his own government.

“He is delusional.” 

“He comes up with 100 ideas a day, and only four are good.”

“He’s a drunkard.”

With Western Europe – and 300,000 troops - seemingly running and jumping squarely on his back and asking for a miracle, Churchill was politically alone in during his darkest hour. 

In a recent interview, Oldman said that he had some sleepless nights leading up to his work as Churchill, because the responsibility to faithfully play one of Britain’s most titular leaders.  Sleep or no sleep, he successfully presents a nuanced and spirited performance of a man facing long, long odds in one of the most critical four-week periods in recent British history, a time which also embodied “the making of the man.” 

Led by director Joe Wright (“Pride & Prejudice” (2005), “Hanna” (2011)), Oldman plays Churchill as a sometimes-cantankerous, but always engaged new leader, aware of the nearby governing-vultures looking to pick at his figurative dead carcass.  Churchill also carries a spring in his step, one that he probably wishes to parade nearly all the time, but the gravity of war and the shadows cast by his fellow lawmakers almost constantly subdue this urge.  Thankfully, he shares some needed light moments with an unlikely source, his secretary, Elizabeth Layton (Lily James).  Wright and Oldman surely include additional key spots of warm humor to sometimes brighten the daunting, uphill history that Churchill faced during the newness of his position.   

A Churchill movie in 2017, however, is not a new idea.  A companion film, director Jonathan Teplitzky’s “Churchill” - also released in 2017 – points to the days leading up to an altogether different French beach conflict, D-Day, the invasion of Normandy.   War raged for five years and had somewhat-beaten down Churchill, skillfully played by Brian Cox.  Teplitzky’s picture hands Churchill five long years of Brits returning in body bags and bombs dropping from the sky, and these emotional bullets can wear down any leader.  Cox effectively absorbed these wounds, as the torment weighs on Churchill’s face, body language and temper.  His relationship with his wife, Clementine (Miranda Richardson), became strained at best and troubled and combative at its worst, as the war-torn years eroded their marriage’s foundation.    

Not so, in Wright’s film.  Although, Winston certainly cannot be mistaken for a cuddly teddy bear, Clementine (Kristin Scott Thomas) supports him, despite his faults.  The film establishes their relationship within the first few minutes with two appealing exchanges between Clementine and Elizabeth and then with her and Winston, as we marvel (and chuckle) at her nurturing skill sets within their household.  Churchill is need of some nurturing, and Clementine’s encouragement brings a bounce that helps translate to his spirited, adept political skills and courage through the Dunkirk quagmire. 

In addition, to “Churchill” (2017), Christopher Nolan’s “Dunkirk” (2017) offers another comparison piece to “Darkest Hour”.  While “Dunkirk” sports gigantic sets that host open spaces for warships, planes and boats to move along France’s coastline and the English Channel, “Darkest Hour” focuses on the mechanics and associated political maneuvering of the famed rescue attempt within the close confines of bunkers and smoky rooms.  The tactical gamesmanship in this picture, admittedly, is less engaging than Steven Spielberg’s “Lincoln” (2012), but there is no denying the sky-high stakes.   Wright may not point his camera in the direction of public angst and stress over the war very often but does tender memorable bookend tracking shots of London’s streets and the imprints of the conflict on the faces of everyday Brits. 

Make-up designer Kazuhiro Tsuji deserves huge credit for imprinting Churchill’s physical appearance on Oldman, as the slim actor is nearly unrecognizable on-screen.  Tsuji applied make-up and prosthetics on Oldman for four hours every day, and the results are startling.  No, Oldman did not gain 60 pounds for the role, but his physical transformation (into) and emotional presentation as one of the most important leaders of the 20th Century could very well attract a 2018 Best Actor Oscar nomination.   At times, sure, the picture feels like it nominates Churchill’s greatest hits, but its most valuable scenes are the quiet ones.  Close conversations with King George VI (Ben Mendelsohn), the seconds before his first public radio address and the simple lighting of his trademark cigar are just some of the many moments that help convey that Churchill, indeed, was very rightly wanted.

(3/4 stars)     

Jeff – a member of the Phoenix Critics Circle – has penned film reviews sin

The Disaster Artist - Movie Review by Ben Cahlamer

The Disaster Artist

Directed by James Franco

Screenplay by Scott Neustadter and Michael H. Weber, based on The Disaster Artist: My Life Inside The Room, the Greatest Bad Film Ever Made by Greg Sestero and Tom Bissel

Starring James Franco, Dave Franco, Seth Rogan, Alison Brie, Ari Graynor, Josh Hutcherson, Jacki Weaver

There is a curiosity in filmmaking that I have had since I was a kid. It was never so much “why is this scene shot this way” or “what was the character’s motivation” or even, “does the story make sense.” I was just fascinated with movies in general. For me, “did I have a good time” crossed my mind every time. To an extent, that’s still the first thought that crosses my mind, even as a critic. But, that’s not where I stop.

Why is any of this important?

Well, James Franco’s brilliant The Disaster Artist is a 105-minute behind-the-scenes look at one of the most unconventional filmmaking processes ever put to film, Tommy Wiseau’s cult classic, The Room, which released in 2003 to small audiences, who, eventually got their friends to see it. Word of mouth, along with some festival plays propelled it into cult status and, just like The Rocky Horror Picture Show, it now enjoys a mass audience appeal. But, what about James Franco’s film makes it so brilliant?

Greg Sestero (Dave Franco) wanted nothing more than to be an actor and in 1998, he meets Tommy Wiseau (James Franco).  Wiseau wants nothing more than to make a dramatic film, taking his cues from A Streetcar Named Desire. When their ambitions fail to pan out in San Francisco, Wiseau convinces Sestero to move to L.A. Sestero gets work almost immediately, but no one will look at Tommy, let alone read him. So, they decide to make their own movie. Using his own money, Wiseau buys his own equipment and hires “professional crew to make movie.”

James Franco is a marvel both in front of and behind the camera, his accent is almost a parody of Borat while Dave Franco is exceptional as Sestero. The script by Scott Neustadter and Michael H. Weber allows the two real-life brothers enough room to play their respective characters while being able to share an ease with each other that I imagine Wiseau and Sestero shared. They had a lot of fun and it shows on screen.

The supporting cast is as much a hoot as the lead cast. Seth Rogan plays Sandy Schklar, The Room’s script supervisor with his trademark deadpan humor. His frustration with the process can be felt. Allison Brie plays Amber, Sestero’s girlfriend. There’s a scene in a restaurant when Sestero and Amber tell Tommy that they want to move in together, and away from Wiseau’s 1-bedroom apartment. Both Franco brothers played the situation so effectively that you can’t help but laugh at the absurdity of it all. Ari Graynor plays Juliette Danielle, the actress who played ‘Lisa’ in The Room while Josh Hutcherson plays Philip Haldiman, who played ‘Denny’ and Jacki Weaver plays Carolyn Minnott, who played ‘Claudette’. They were all spitting images of the real life people who starred in this farce and they all did it so well. The number of cameos for the smaller roles is too numerous to mention, but your jaw will drop when you’re able to find them all.

The film never steps into ‘documentary’ territory. The Franco’s stick very close to the script and the novel The Disaster Artist: My Life Inside The Room, the Greatest Bad Film Ever Made by Greg Sestero and Tom Bissell. I have not read the book, but from what I understand, the screenplay and the onscreen action captures the novel with near perfect accuracy. The result is hilarity the world has not seen, well since 2003 when The Room broke out wide. Tommy thought he was making a serious film. Greg got him to see that he had made a comedy, or the greatest bad film in cinema history, and today, The Disaster Artist has captured the filmmaking process like none other.

If Mr. Franco, James that is, reads this, The Criterion Collection would do well to pick this up as a special edition. The few bloopers we got during the end credits would easily go towards the greatest additions to their collection.

See The Room, then go see The Disaster Artist. Then read ‘Our Favorite Bad Movies’ celebrating the Phoenix Film Festival critic’s favorite bad movies. “I did not, I did NOT hit her. Oh, hai Mark!”

3.8 out of 4

Wonder Wheel - Movie Review by Ben Cahlamer

Wonder Wheel

Written and Directed by Woody Allen

Starring Jim Belushi, Juno Temple, Justin Timberlake, Kate Winslet

For years, Woody Allen has entertained millions with his dry sense of humor through his subtle play on emotions. He is one of the few active directors who is still pushing a film out at least once a year and there is an audience waiting to eat up his brand of humor. His latest film, Wonder Wheel benefits from an exceptional cast and attention to detail, but struggles with inconsistent characters and story telling.

As the film opens, we meet Humpty Rannell (Belushi), the caretaker of the Wonder Wheel ferris wheel on Coney Island. His wife, Ginny (Winslet) spends her off time keeping Humpty off the sauce, while she secretly imbibes. Her son, Richie (Jack Gore) lives with them. When Ginny isn’t home keeping Humpty in line, she is a waitress at the local clam café. With the mob after her for turning dime on her mobster husband, Carolina (Temple) seeks out Ginny, telling her Humpty is her father and that she’s looking to lay low.

Here is yet another example of a film that is shot as if it is a stage play. We are given a few exterior locations to establish the timeframe and the mood. Most of the film is spent inside the Rannell’s apartment, so when we get follow our characters into the city or on to the boardwalk, we can breathe a bit of the salty air.

You would swear in the first few minutes of the film that Belushi was actually John Goodman. Belushi shined as a man on the edge of losing his last nerve in the opening moments of the film, constantly trying to do right by his small family. Winslet was gold as Ginny. She not only had to play housewife and referee, but she also had to constantly keep an eye on Richie.

And then there was Mickey (Timberlake), the crux of our story.

Mickey, the lifeguard is our conscience and our guide. He becomes Ginny’s rise and Carolina’s spiral out of control, yet he has no real vested interest in either lady. And that’s where the story falters. Sure, Timberlake’s performance is first rate. I would expect nothing less of someone who personifies Woody Allen. The tryst between Ginny, Mickey and Carolina is tense and believable, but the payoff just fades off in to the gorgeous Vittorio Storaro sunset.

Woody forces us to look through his rose-colored glasses at what might have been and what actually was. It feels modern enough to be new Woody, but it also felt like we’ve seen this Ferris Wheel spin before.

Not all is lost. The drama and tension that Allen builds is the highlight of the film; his characters are humans who fit the times they lived in, always looking over their shoulders, always hiding their problems or other’s problems from one another in order to move their own agendas forward. Money, or the lack thereof was also a central theme.

The unintentionally funny moment in the film is when the two thugs, Nick (Steve Schirripa) and Angelo (Tony Sirico) come looking for Carolina and Ginny runs interference, telling them Carolina’s headed west to Hollywood. And, they fall for it, hook, line and sinker. Yes, Allen brings it back in the end of the film, but the mob subplot is never fully explored, becoming a distraction from the family drama and the love triangle that takes shape.

Woody Allen still makes solid entertainment. Wonder Wheel has elements of his past greats, but it stumbles to the finish line.

2.5 out of 4

The Disaster Artist - Movie Review by Jeff Mitchell

‘The Disaster Artist’ is a triumphant comedic companion to the ‘The Room’

Directed by: James Franco

Written by: Scott Neustadter and Michael H. Weber

Starring: James Franco, Dave Franco, Seth Rogen, Ari Graynor, Alison Brie, Jacki Weaver, and Zac Efron

“The Disaster Artist” – “I did not hit her.  It’s not true.  It’s b*******.  I did not hit her.  I did not.  Oh, hi Mark.” – Johnny (Tommy Wiseau), “The Room” (2003)

For legions of “The Room” (2003) fans, the aforementioned, nonsensical line of dialogue is just one of 99 moments of cult cinema goodness crammed into a 99-minute runtime.  Written, directed, produced, promoted, and starring Tommy Wiseau, “The Room” offers a surreal experience that really cannot be compared to any other, but its popularity - via midnight screenings at art theatres everywhere - rivals “The Rocky Horror Picture Show” (1975) and has surely surpassed another guilty pleasure, “Troll 2” (1990).

“The Room” features a love triangle between Johnny, Lisa (Juliette Danielle) and Mark (Greg Sestero) that could probably be ironed out within – oh, I don’t know - 20 minutes of screen time, but somehow the narrative extends to a full feature.  A feature film riddled with baffling dialogue choices, plot threads that die in cinematic cul-de-sacs, wooden acting, and a terrible-looking Faux-San Francisco plastered on a green screen.  Ten years after the movie’s initial release, Sestero wrote his highly enjoyable, page-turning memoir, The Disaster Artist, which chronicles his unlikely friendship with Wiseau and the more-unlikely making of “The Room”.

Enter James Franco.

Franco owns a well-documented history of taking creative gambles, and in this case, he jumped at the chance to produce, direct and star in the film adaptation of Sestero’s book.  The end result?  Franco comes up Aces, as he delivers a downright hilarious and immensely entertaining film about the birth and construction of one of the worst movies in recent history.

The picture remains faithful to Sestero’s book, as the story begins in San Francisco where Greg (Dave Franco) and Tommy (James Franco) meet in an acting class.  Greg and the entire group of hopeful actors and actresses become hypnotized by Tommy – who sports 80s heavy metal hair and a thick Eastern European accent – and his rendition of Brando in “A Streetcar Named Desire” (1952).  Greg obviously sees something different in Tommy (and so does everyone else), and since the two share the same goal of making it big in Hollywood, they instantly become friends.

These two buddies take their talents to Los Angeles, and while the much younger Greg scores good business contacts and a girlfriend (Alison Brie), Tommy’s inherent weirdness and curt perspective repels both.  With some inspiration from Greg and James Dean, Tommy decides to take matters into his own hands and create his own movie with absolutely zero experience but does offer good old-fashioned blood, sweat and tears.

Tears might be the right word for the cast and crew of “The Room”, because Tommy’s 40-day shoot might induce water works for anyone remotely connected with the industry, and Franco showcases the litany of poor choices to sidesplitting effect.   Script writer Sandy Schklair (Seth Rogen), Juliette Danielle (Ari Graynor), Carolyn Minnott (Jacki Weaver), and others on-set wonder in disbelief, while Tommy wishes to make his film his way, and Rogen is especially effective in calling out several baffling turns.

For instance, the crew constructs an alley set, but Sandy simply asks, “This set of the alleyway looks exactly like the real alleyway.  Well, why don’t we just shoot in the real alleyway.”

Tommy responds, “Because it’s a real Hollywood movie.”

In making “The Disaster Artist”, Franco supports his fantastic creation on three pillars.  First, he wonderfully captures the insanity of Tommy’s persona (and associated vision) and does so in a purely and deeply comedic fashion.  Truly, “The Room” fans do laugh at the film, not with it, and here, the audience will also chuckle and hoot at Tommy’s judgment and unique presence.  This film is a scream, and Franco’s sound sense of the material is spot on, as well as his pitch-perfect performance of Mr. Wiseau, both physically and verbally.

Secondly, in a recent interview with Variety, Franco mentions that his film is “a universal story about dreamers trying to make it in a really hard business.”

While the film does transparently present Tommy with all of his idiosyncrasies and faults, it also captures his entrepreneurial spirit and drive, especially as Tommy completes “The Room” in the movie’s final act.  A level of respect exists, a level of accomplishment.

Additionally, fans will absolutely love and cherish every single moment of this picture – and watch it repeatedly -  as it pays homage to Wiseau’s oddly-constructed film that is infinitely bigger today.   “The Disaster Artist” is a celebration and a triumphant one, but will those who have never seen “The Room” find it remotely as entertaining?   Good question, because to completely appreciate “The Disaster Artist”, “The Room” is a required prerequisite.

An important note: If at all possible, please avoid watching “The Disaster Artist” trailer, because one should experience Franco’s portrayal of Tommy Wiseau for the first time – and his utterance of “…I did not.  Oh hi Mark.” - during the actual film, not a two-minute trailer.  That line is just one of 99 moments of comedic, cinematic goodness crammed into this film’s 98-minute runtime.

(3.5/4 stars)

Jeff – a member of the Phoenix Critics Circle – has penned film reviews since 2008 and graduated from ASU’s Walter Cronkite School of Journalism.  Follow Jeff and the Phoenix Film Festival on Twitter @MitchFilmCritic and @PhoenixFilmFest, respectively.

Our Favorite Bad Movies by Jeff Mitchell, Monte Yazzie and Ben Cahlamer

For legions and legions of fans, “The Room” (2003) – written, directed, produced, and starring Tommy Wiseau – is an extraordinary cinematic gift, a beloved treasure, an unforgettable experience, and…an utter disaster.  Yes, a disaster.  “The Room” is a bad movie, but comically bad, and it truly needs to be seen to be believed.  Well, throughout the country, “The Room” has forged countless believers, and they regularly and faithfully pack arthouses for Saturday evening screenings of Wiseau’s 1-hour 39-minute creation, a clunky love triangle which could have been told in about 20 minutes and unintentionally morphs into a head scratching comedy. 

On Friday, Dec. 8, James Franco’s “The Disaster Artist” arrives in theatres, and his very intentional comedy wonderfully captures Wiseau’s journey to movie immortality. 

In celebration of “The Room” and anticipation for “The Disaster Artist”, we – the Phoenix Film Festival critics - searched and sifted through our internal rolodexes for our favorite bad movies.  These films might hover close to zero on Rotten Tomatoes but are close to number one in our hearts.  Well, not number one exactly, but you get the idea.  For some varied, inexplicable, unknown, or very justified reasons, we love these movies!  Perhaps you do (or will) too.  

Jeff Mitchell’s Top Five

5. “Jason Lives: Friday the 13th Part VI” (1986) – From 1980 to 2009, 12 “Friday the 13th” films have bloodied the big screen, but the fifth installment - “Friday the 13th: A New Beginning” (1985) - took a departure, as Jason Voorhees or his mother did not appear as the lead antagonist.   The next year, however, writer/director Tom McLoughlin took the reins and orchestrated Jason’s resurrection in a welcomed revival of the merciless maniac to the joy of many horror fans, including this critic. 

Certainly, McLoughlin does not create a masterpiece of celluloid scares here.  Far from it, but he introduces noticeable humor and camp (pardon the pun), stronger production values and (SPOILER ALERT) a crowd-pleasing shot of Jason standing atop of a wrecked and smoldering camper in the middle of a country road.

The cast of characters include a worthy Jason-adversary named Tommy, the local sheriff and his daughter, Megan, a group of paintball enthusiasts, and Tommy’s friend played by Ron Palillo.  Palillo, of course, is famously known as Arnold Horshack from “Welcome Back, Kotter”.  An elderly cemetery caretaker – who finds Jason’s dug up grave – makes a serviceable supporting appearance too, and he may have best summed up this movie experience by saying, “Some folks have a strange idea of entertainment.”

Well, he has a point.

4. “Over the Top” (1987) – “Meet me halfway across the sky, out where the world belongs to only you and I.”  - “Meet Me Halfway” by Kenny Loggins

Kenny Loggins' official music video for 'Meet Me Half Way'. Click to listen to Kenny Loggins on Spotify: http://smarturl.it/KennyLogginsSpotify?IQid=KennyLMMHW As featured on The Essential Kenny Loggins.

Ordinarily, “Meet Me Halfway” would be an easily forgettable 80s ballad, however, after watching director Menahem Golan’s “Over the Top” just once, one might be tortured by it over the next 50 years.  You see, Golan pipes in several versions and excerpts of this Loggins creation for seemingly 70 minutes or so during his 93-minute arm-wrestling movie.   Kenny Loggins and arm-wrestling?  That might not make very much sense, but Sylvester Stallone starring as the chief protagonist does. 

He plays Lincoln Hawk, a truck driver estranged from his 10-year-old son, Mike (David Mendenhall), and due to various family circumstances, they become acquainted on the road from Colorado to California.  Hopefully Mike will meet him halfway.  Get it? 

Just prior to the shoot, one might wonder if an acting teacher coached Stallone into speaking with a softer cadence, because he curiously talks like a calm librarian on valium for almost the entire film.  “Over the Top” does pump up its volume and pay off during the third act in Las Vegas, under the lights of a national arm wrestling tournament.  Stallone fans will rejoice as Hawk battles audacious, pumped up athletes, complete with heavy metal hair, crazy eyes, lots of grunting, strutting and taunting.  Who knew arm wrestling could be so exciting?

Hawk’s most ferocious opponent, Bull Hurley (Rick Zumwalt), spouts, “I drive trucks, break arms and arm wrestle.”  Doesn’t he mean that he drives trucks, arm wrestles and while competing he break arms?  Oh well, why quibble with semantics.  I’ll meet him halfway on his declaration.

3. “Midnight Madness” (1980) – Five teams of college students – jocks, nerds, dateless ladies, slackers, and our heroes - race across Los Angeles to a win a treasure hunt called The Great All-Nighter in a PG-rated comedy which cartoonishly accentuates the personalities of its very different players.  Writers/directors Michael Nankin and David Wechter provide thoughtful, intriguing clues to the checkpoints along the way, although people unfamiliar with the City of Angels will have zero knowledge of the said locations.

Four of the five teams deliver heaps of sophomoric, physical humor, but the lone group of boring protagonists garner the most screen time…for some unknown reason.  Stephen Furst and Andy Tennant deliver the biggest laughs as the baddies, and Michael J. Fox makes his feature film debut as an infinitely annoying little brother. 

Be prepared for a time warp during the opening credits as Candy (Deborah Richter) and Sunshine (Kirsten Baker) sport knee-high tube socks and roller skate across a college campus to a song nestled in the eras of The Manhattan Transfer and Captain & Tennille.  “When the midnight madness starts to get to you.  Doesn’t matter what you say.  Doesn’t matter what you do…”  

2. “The Beastmaster” (1982) –  In 1982, “Conan the Barbarian” and “The Beastmaster” – two violent sword and sorcery movies - arrived in theatres, but the former starred Arnold Schwarzenegger, owned a bigger budget and greater anticipation than the latter.  Even though Arnold delivers some decidedly seminal and powerful moments, “The Beastmaster” is a more colorful and accessible (although sometimes ridiculous) journey. 

Dar (Marc Singer) – who could double as a European model or a soap opera star - wields a sword through the California desert…err, I mean near the village of Emur and speaks to animals.  An eagle, a tiger and his ferrets, Kodo and Podo, help him rescue a gorgeous slave girl, Kiri (Tanya Roberts), and battle an evil priest (Rip Torn).  Add quicksand, psychotic witches, John Amos with long pony tail, and flesh-sucking human bats, and it adds up to a bizarre but notable two-hour trek of B-film treasures.  Note that Singer and Roberts moved on to bigger things with the “V” (1983-84) television miniseries and “Sheena” (1984), respectively, but looking back, “The Beastmaster” is their most memorable 80s gem.

1. “Showgirls” (1995) – In 1994, director Paul Verhoeven was best known for critical and box office hits like “Robocop” (1987), “Total Recall” (1990) and “Basic Instinct” (1992).  At the same time, actress Elizabeth Berkley was famous for her popular gig in “Saved by the Bell” (1989 – 1992).  In 1995, their big screen paths established a one-two punch, as they completely, totally, utterly, and wholly dove into a logic-defying script about a small town girl trying to make it as a Las Vegas dancer.

Nomi (Berkley) learned from the school of Hard Knocks and almost everyone who she meets in Sin City is a miserable creep, as the seedy Vegas underbelly drags us through the mud in between limousine rides.  On the surface, this film would just be an uncomfortable throwaway, but its wildly entertaining values reside with Berkley’s over-the-top, misplaced performance and bizarre plot turns.  It is difficult to comprehend how Verhoeven accepted Berkley’s work during the shoot, but “Showgirls” offers a litany of unintended laughs that could rival “The Room” (2003).  (On the positive-side, she did give it her all.)

On a personal note, at a “Showgirls” screening on a random 1995 Friday night in Tucson, this critic remembers one audience member desperately shout during the third act, “When did she (Nomi, the dancer) learn kung fu?” 

Good question. 

Well, as the movie ended and the credits began to roll, seven University of Arizona fraternity members simultaneously stood up in the first row, applauded and repeatedly cheered “Bravo!” at the screen.  That moment will stay with me forever.  Um…can James Franco make a film about “Showgirls”?   Please.

Monte Yazzie’s Top Five

5. Stone Cold (1991) - Brian Bosworth, alternatively known as “The Boz”, was an NFL linebacker who played for the Seattle Seahawks during the late 1980’s. After a shoulder injury the linebacker was forced to retire but he utilized his tough guy, loud mouthed personality and pursued an acting career. In 1991 Bosworth found a lead role in an action film called “Stone Cold”. The film follows a cop from Alabama who is blackmailed by the FBI to go undercover in a dangerous biker gang. Bosworth, blonde mullet in tow, makes this average action film come to life with cheesy one liners and personality that would give 1980’s Sylvester Stallone a run for his money. Add bad guys Lance Henrickson, playing a character named Chains, and William Forsythe, playing a character named Ice, and you have pure late night 80’s gold.

4. Nothing But Trouble (1991) - The 1990’s have their fair share of classic film comedies. But I doubt many people would put the film “Nothing But Trouble” on that list. There is something utterly hideous about this film, but that’s what makes this film so interesting. The cast is exceptionally talented, featuring Demi Moore, Chevy Chase, Dan Aykroyd, and John Candy who were all coming out of the 80’s at the top of their game. “Nothing But Trouble” is an oddball story about a businessman and his friends who are captured by a sadistic judge and his grotesque family. The comedy is absurd and the premise, and effects, are straight out of a horror film. This may not be for everyone but for those that think Dan Aykroyd in full practical makeup as a slimy giant baby wearing a diaper, John Candy dressed up as a woman, and hiphop group Digital Underground featuring a young Tupac Shakur doing a mid film performance sounds appealing, then this film is for you.

3. Miami Connection (1987) - I believe that most filmmakers go in with the very best of intentions for their films. Director Woo-sang Park went into the film “Miami Connection” wanting to make the best martial arts action film the 80’s could produce. The film concerns a martial arts rock band, called Dragon Sound, who fight motorcycle drug dealing ninjas; that’s all you need to know. While it has become very much a cult classic since it’s rediscover in 2009, the film is full of silly premises, bad acting, and terrible dialog. But the ambition behind this film and the passion that you can feel in every action setup warrants at watch. Get “Miami Connection”, turn on Dragon Sound, and make some friends at your next movie night.

2. Dead Heat (1988) - It’s a zombie buddy cop movie featuring Treat Williams and Joe Piscopo. It’s funny, has some nice gooey gore scenes courtesy of effects guru Steven Johnson, and features a horror movie legend…Vincent Price playing a mad scientist. Williams plays a cop named Roger Mortis who returns as a zombie and must solve his own murder before he completely decomposes. He is helped by his partner Doug Bigelow, played by Joe Piscopo, who drops one liners and comic jabs in nearly every scene. It’s a highlight of the VHS boom for horror comedies and a film that deserves another look. This amazing trailer should get you excited.

see b-movie reviews at www.dchighway.com

1. Gymkata (1985) - Olympic gold medalist Kurt Thomas left competitive gymnastics and made a martial arts movie called “Gymkata”. Taking his athletic ability and combining it with martial arts, “Gymkata” is based on the 1957 novel “The Terrible Game” and concerns the mission of an operative named Johnathan Cabot who travels to the fictional country of Parmistan to play in a deadly athletic competition called The Game. Here Cabot must race against other competitors while being pursued by masked enforcers who are looking to kill the ones not keeping up. It’s one of those films that doesn't make a whole lot of sense, the premise is a mess and the actors aren’t very good but the athleticism of Kurt Thomas is undeniable. Also it helps that there is a city of cannibals, a training montage that features an enormous hawk, and a perfectly placed pommel horse. I hope that you enjoy “Gymkata” as much as I have.

Ben Cahlamer’s Top Five

5. The Counselor (2013) –Featuring Michael Fassbender, Penelope Cruz, Cameron Diaz, Javier Bardem and Brad Pitt, Sir Ridley Scott’s stylish-noir film oozes sex, money, danger, is replete with details that are easily glossed over, and it has one of the most grotesque beheadings in a film. Two, as a matter of fact.

4. Cobra (1986) – “Crime is a disease. Meet the Cure,” is the tagline on the one-sheet for this Sylvester Stallone action-starrer, where he plays a one-man army protecting a young woman, who looks like she can handle herself (Brigitte Nielsen).  Ms. Nielsen’s character witnesses a bike gang’s murder spree, and their leader “The Night Slasher” (Brian Thompson) is after her. One long chase sequence after another, Cobra is full of 80’s action, chases and testosterone.

3. Demolition Man (1993) – If it feels like I’m picking on Sylvester Stallone, I’m really not. He has such a commanding presence on the screen, and really is a talented creative, that some really amazing stinkers come along, like Marco Brambilla’s forward-look at the justice system in the future. Featuring a square off between Stallone and Wesley Snipes, who was coming into this own, the near future is full of seashells, low tolerance for foul language . . . oh, and NO WEAPONS. Now you try watching a Stallone movie with no weapons allowed. Sandra Bullock and Rob Schneider help add some comedic touches.

2. Men at Work (1990) – Whoever said protecting the environment was going to be fun, has not seen Emilio Estevez’s ‘Men at Work.’ Full of laughs, hijinks, pop music tracks hip to Southern California and what would now be considered off-color humor, Estevez and brother, Charlie Sheen, had a lot of fun with this film. As Keith David says, “never mess with another man’s fries.” And they surf, too. The trailer should whet your appetite.

http://www.imdb.com/title/tt0100135/ Production Companies: Epic Productions Euphoria Films Production

1. Gone in 60 Seconds (2000) – I love a good, old fashioned B-movie. The original film this is based on is a true cult classic B film. Power producer Jerry Bruckheimer came along, amped the power up, added a decidedly unbalanced cast with Nicholas Cage in the lead role and Angelina Jolie as the lead female. Christopher Eccleston plays the practically invisible villain and a heist that took days in the original film, has been reduced to a single night. Now, you tell me, could you boost 50 cars in L.A. in one night? Traffic says ‘no’!

A Bad Idea Gone Wrong - Movie Review by Jeff Mitchell

‘A Bad Idea Gone Wrong’ gets a lot right

Written and directed by: Jason Headley

Starring: Matt Jones, Will Rogers and Eleanore Pienta

“A Bad Idea Gone Wrong” – Driving to the airport with the needle on “E”.

Buying a box of Girl Scout Thin Mints in the middle of your diet and promising yourself that you will only eat one a day.

Bringing a talkative toddler to a Rated-R movie.

What do these three actions have in common?  They are all bad, bad ideas.

Well, Leo (Will Rogers) and Marlon (Matt Jones) raise the bad idea-bar, because they are planning a heist.  Yes, while dining on warm breakfasts in a cozy diner, these two 30-somethings - with penchants for just skating by in life – have hoped and wished to pull a caper for a long time.  Perhaps, years.  Since, Leo and Marlon are a pair of slackers, they - quite naturally - have been procrastinating with their big plans of thiefdom, but one of these lifelong friends finally has a lightbulb flicker above his head.  Leo pitches that they rob a house, one particularly large home in a gated community. 

Without asking too many questions, Marlon buys in, and these two men, who have never committed a major crime, are going to rob a house.  What could possibly go wrong?

Well, writer/director Jason Headley gets a lot right in his first feature film.  “A Bad Idea Gone Wrong” is a clever, little comedy with a big indie feel.  Cinematically, Headley does not offer prodigal set designs or several, eye-popping locations, as the home in question constitutes the setting for the vast majority of the picture.  Additionally (and admittedly), some of the plot points can be seen coming from miles away, but the enjoyable performances from the perfectly-casted actors and a consistently witty script playing over 1 hour and 25 minutes make Headley’s very good idea come to life on the big screen.        

Rogers and Jones play best friends on-screen, but they share solid comedic chemistry as if they have been forever-buddies off-screen.  Leo and Marlon perform with a conversational Abbott and Costello vibe, as they can almost finish each other’s sentences after listening to the same yarns and rolling their eyes over familiar complaints over the years.  For instance, everything – such as chocolate chip pancakes – reminds Leo of his ex-fiancée, and he never misses an opportunity to voice a new torturous observation.  Meanwhile, Marlon could write a thesis on his never-ending list of shortcomings, including the need to wear SPF infinity when spending time in the sun. 

Now, if these two correctly focused their energy, they could have invented the new Chia Pet or Thighmaster and made millions by now.  Instead, they embark on a half-baked robbery attempt that immediately becomes dicey within the first few minutes inside the home in question.  Their plan, however, further grinds into mincemeat, when an unexpected third party unwittingly crashes their robbery.  Darcy (Eleanore Pienta) – street-smart and attractive – offers a quick talking, feminine element within the enclosed, 4,000 square foot space that rattles our heroes in a “Home Alone”-like way.  Without falling irons and swinging paint cans, of course.

Leo and Marlon’s straight man/comic relief act and the reveal of the home owners’ connection to them deliver fun intrigue on their own, but Darcy’s introduction and mix bring welcome layers of amusing banter and genuine surprises.  No, we might not want to start a business with Leo, Marlon and Darcy or trust them to remember/prioritize to feed the cat or pick up the mail, while we are on vacation, but these three deliver plenty of laughs to warrant a sequel, “An Even Worse Idea Gone Wrong”.

(3/4 stars)

Jeff – a member of the Phoenix Critics Circle – has penned film reviews since 2008 and graduated from ASU’s Walter Cronkite School of Journalism.  Follow Jeff and the Phoenix Film Festival on Twitter @MitchFilmCritic and @PhoenixFilmFest, respectively.

The Man Who Invented Christmas - Movie Review by Jeff Mitchell

Does ‘The Man Who Invented Christmas’ work?  Humbug.

Directed by: Bharat Nalluri

Written by: Susan Coyne

Starring: Dan Stevens, Christopher Plummer, Jonathan Pryce, Morfydd Clark, and Justin Edwards

“The Man Who Invented Christmas” – Ask any American 6-year-old who invented Christmas.  Depending upon the household, Santa or Jesus would probably be the response, but director Bharat Nalluri and screenwriter Susan Coyne offer a third name. 

Charles Dickens.

Dickens?  Well, the man did write A Christmas Carol in 1843, and his transcendent story has warmly struck jolly and merry nerves over the last 174 years.  In the television/film age, many, many producers have jumped on this particular holiday bandwagon.  Just look at the “Adaptations of ‘A Christmas Carol’” Wikipedia page and note the countless versions and incarnations of this classic tale.  It’s enough to make Jacob Marley’s head spin and chains shake.    

What’s your favorite?

Well, Nalluri and Coyne decide to shake up a new twist of “A Christmas Carol”.  Based on Les Standiford’s 2008 novel, they engineer a playful biopic on Dickens and the events leading up to the 1843 release of his beloved novel.  Actually, playful may accurately describe the look of this film, because the set designs and costumes are rife with noticeable details and ornate beauty, but quite frankly, nobody – except Ebenezer Scrooge (Christopher Plummer) – appears to be having any on-screen fun whatsoever. 

Certainly, Charles (Dan Stevens) is not celebrating life.  He dreads it.  After a successful tour of America promoting Oliver Twist, he is sulking back in London, because his last three books -  published over 16 months after the tour - badly flopped.  To add insult to his bruised ego and a very recent financial pummeling, he suffers from writer’s block.  A novelist’s worst fear.  With a long list of creditors and no real income entering his household (complete with his lovely, supportive wife (Morfydd Clark), four children, a new orphan girl, a housekeeper, and his parents (Jonathan Pryce, Ger Ryan)), an urgency to rapidly place pen to paper weighs on his mind, and his anxiety seeps out in the form of occasional outbursts. 

The film’s arc wraps itself around the struggling creative process to write his book, while he grapples with crowded family dynamics and money pressures.  Eventually, the ideas - like the phrase “Bah, humbug!” and characters such as Scrooge and Tiny Tim - begin to appear in front him during day-to-day experiences or small conversations.  Nalluri’s intent is to cinematically introduce these nuggets from the classic tale that we all know and wondrously package them in a different way.  Brand new discoveries for Dickens.   Many of the old favorites then crystalize from his imagination to the screen.  The characters stand before him, as he converses with them or just visualizes their presence from within his home office.  He mainly speaks to an ornery Scrooge, whose cranky tongue refers to the novel at hand, but he also serves as a judge of Charles’s deep struggles as a child. 

The film delves into dark material from his childhood and also the ongoing pressure to finish his novel against an obscenely tight deadline.  The two monumental, internal mountains stand in front of Charles, which might have been originally meant as forms of whimsy or thrilling cinematic quests, but they seem to translate (at least in the film) into whiny apparitions and annoyances that simply induce stress. 

Now, dream sequences in horror films do not effectively scare (at least in this critic’s opinion), because viewers realize that the protagonists’ experiences are not real, just imagined.  The “real-life”, on-screen killers or antagonists instigate fear, because their actions, not silly dreams, could cause our heroes harm.  Apparently, writer’s block does not work as a narrative device either.  Here, Charles battles himself through his own past demons and new thoughts surrounding his book, and this self-induced strife simply feels like a jumbled mess over a significant portion of the 1-hour 44-minute runtime.  

“The characters won’t do what I want,” Charles says to his friend/advisor, John Forster (Justin Edwards).   

One might wish that Forster would respond, “Well, you created this six-week deadline.”

Alas, as Charles marches towards his publisher’s ultimate deadline, the screenplay volleys between his childhood issues and obstinate “A Christmas Carol” images, which torture him…and us. Perhaps if his wife, Kate (Clark), or Forster suggested an exercise program or a yoga class, Charles could address his problems in more constructive ways.  Did CrossFit exist in 1843?  Is there a yoga studio on his block?   Namaste, Mr. Dickens.

(1.5/4 stars)

Jeff – a member of the Phoenix Critics Circle – has penned film reviews since 2008 and graduated from ASU’s Walter Cronkite School of Journalism.  Follow Jeff and the Phoenix Film Festival on Twitter @MitchFilmCritic and @PhoenixFilmFest, respectively.

Coco - Movie Review by Ben Cahlamer

Coco

Directed by Lee Unkrich

Screenplay by Adrian Molina and Matthew Aldrich

Story by Lee Unkrich, Adrian Molina, Jason Katz and Matthew Aldrich

Starring Anthony Gonzalez, Gael Garcia Bernal, Benjamin Bratt, Renee Victor, Alfonso Arau, Edward James Olmos

Culture is the hallmark of civilizations. It is a part of our language, our heritage and our families. Pixar and Disney have striven to embrace culture in all of their films. The beauty of culture is that it is ageless. And timeless, for it is not just for the living, but also for the dead, something that Lee Unkrich and his team explore in the new animated Pixar-Disney production, Coco.

Adrian Molina and Matthew Aldrich’s script (based on the story by Unkrich, Molina, Jason Katz and Aldrich) is centered around the Dia de Muertos holiday, as the Rivera family prepare to celebrate with offerings and photos of the dead. Music, however, is not allowed.

The film opens to vibrant cutouts depicting the Rivera’s history, where we learn of their discontent with music. Believing he was meant for more, young Miguel (Anthony Gonzalez) avoids his family’s attempts to take up the family business, instead trying to get himself heard in a Dia de Muertos celebration. Instead, he ends up in the Land of the Dead and now must find a way to return to the living before it is too late.

Aside from the stunning visuals, the voice cast is first rate. Grandmother Abuelita (Renee Victor) is on fire as she absolutely forbids Miguel’s playing music. As Mama Coco, Ana Ofelia Murguia makes a memorable impression. In the land of the dead, Miguel’s relatives are just as supportive of his growth as his living relatives, as long as it doesn’t involve music. The centerpieces in the Land of the Dead are Gael Garcia Bernal as Hector, a charming trickster who knows how to help Miguel maneuver and Benjamin Bratt as the esteemed Ernesto de la Cruz, a recording artist and movie star who is as charming on the screen as he is in the afterlife.

The anchor of the film is Anthony Gonzalez as Miguel. He was perfectly cast to play this role, which required a steady, young voice needed to carry a range of emotions while still being able to carry a tune, and he does so very magnificently. Alfonso Arau, who is more familiar to American audiences as El Guapo in Three Amigos and Juan in Romancing the Stone, voices Papa Julio, Miguel’s great-grandfather.

One of Pixar’s enduring strengths is their animation. There were many times through the 3D screening where the images looked as real as a physical person standing next to me and it only continues to get better with each Pixar film. Pixar is also focused on characters, and Coco is replete with relatable characters. The music, both Michael Giaccino’s Mexican-inspired score and original songs performed by the voice cast truly immerse you in the holiday that this film celebrates.

Although the well-developed characters and the vibrant images wrap us up in the story, Pixar has a formula that works for them. And while it doesn’t detract from the overall feelings and emotions that they were going for, the narrative felt recycled. It’s a minor nitpick considering the amount of work and the level of detail they manage to achieve. For an original Pixar film, it is a strong entry in their legacy. I’m hopeful that they can expand on the formula with Incredibles 2 next Spring.

Already a hit in Mexico, Coco is undeniable fun and it will entertain families from around the world with its breathtaking CGI and its strong characters.

Ben’s rating 3 out of 4

Roman J Israel, Esq. - Movie Review by Jeff Mitchell

The ‘Roman J. Israel, Esq.’ verdict is in.  Washington’s marvelous performance is better than the film

Written/directed by: Dan Gilroy

Starring: Denzel Washington, Colin Farrell and Carmen Ejogo

“Roman J. Israel, Esq.” – Pay attention to the man behind the curtain.

Roman J. Israel, Esq. (Denzel Washington) and William Henry Jackson have championed civil rights as defense attorneys in Los Angeles, Calif. for decades, but suddenly, life – as it occasionally or often does - dramatically changes.  William suffers a heart attack and lies unconscious in MLK Community Hospital, and their secretary asks Roman to cover the day’s cases but tells him to just ask for continuances. 

Don’t rock the boat.

The audience soon learns – via Roman’s explanation – that William is the face of the firm.  William goes to court and litigates their cases, while Roman pours over books and legal precedents in the office.  Yes, William is the face of this partnership, but now – whether Roman likes it or not – the outside world must pay attention to the man behind the curtain.

Washington steps onto the big screen after his electrifying performance as a flawed father and husband in “Fences” (2016) to play a different type of semi-damaged soul as Roman, who is thoughtful and altruistic, but he is also unusual and eccentric.

He refreshingly speaks frankly but does so at inappropriate times, especially when a judge warns him that he could be found in contempt. 

He almost always sports a pair of headphones last seen in 1995, and they are attached to his iPod, packed with 8,000 songs. 

He frequently pushes up his glasses which slide down his nose during intense working hours and one-on-one conversations, and he walks everywhere, including back and forth from his tiny apartment where he frequently dines on his favorite sandwich. 

After practicing for decades, why is this law partner living like a hermit in a modest place?  Well, over the course of writer/director Dan Gilroy’s (“Nightcrawler” (2014)) 2-hour 9-minute film, Washington’s absorbing, thought-provoking performance effectively taps into our curiosity and reveals the internal workings of a deeply intriguing character.  

Roman’s speaks to disadvantaged clients – like Derrell (DeRon Horton) - who cope with crowded court schedules and daunting plea deals.  He also clearly sees the socioeconomic impacts working against this particular 17-year-old whose only crime was choosing a bad friend, but faces five years in prison in a best-case scenario.  By quickly establishing Roman’s sound moral center, both director and actor quickly gain the audience’s trust, and this allows acceptance of the character’s quirky idiosyncrasies and social shortcomings.   What Roman lacks in grace, he soars with noble civil rights beliefs through his speech and actions.  He is also blessed with an extraordinary, savant-like memory. 

This film is a character study, and Washington makes it easy to ride Roman’s exploration – the highs and lows – of his new universe, one that no longer consists of just his office and apartment and the sidewalks that connect the two.   This is a performance and a character that deserve a 4-star screenplay, but the story unfortunately feels limiting and smaller than it should.  It does include a superstar lawyer, George Pierce (Colin Farrell), and an idealistic activist, Maya (Carmen Ejogo), who meet our lead protagonist and introduce him to golden opportunities of work and romance, respectively.  

The moments with Maya are most encouraging for Roman, because of his previous hint about lost love in probably the only glimpse into his unknown past.  His work with George fills his days, and over the course of three weeks, the picture introduces anxiety and strain for Roman and the audience. 

For a legal drama, however, it does not feel like enough.  At one critical moment, Roman boxes himself into a very compromising circumstance, but the stress of that particular issue never reaches the level of his complicated personal journey.  Well, maybe that’s the point, because Roman’s character arc is more important than legalese dramatics, but the film’s construct does fall into familiar routines and recycled plots.  Although, there is nothing recycled about Roman: a unique personality filled with influences of Bayard Rustin and Angela Davis, and living and breathing with an inner beat of The Chamber Brothers. 

In “Roman J. Israel, Esq.”, this man’s “Time Has Come Today”, and for better or worse, he has stepped in front of the curtain.

(2.5/4 stars)

Jeff – a member of the Phoenix Critics Circle – has penned film reviews since 2008 and graduated from ASU’s Walter Cronkite School of Journalism.  Follow Jeff and the Phoenix Film Festival on Twitter @MitchFilmCritic and @PhoenixFilmFest, respectively.

Justice League - Movie Review by Ben Cahlamer

Justice League

Directed by Zack Synder

Screenplay by Chris Terrio and Joss Whedon; story by Chris Terrio and Zack Snyder

Starring Ben Affleck, Henry Cavill, Amy Adams, Gal Gadot, Ezra Miller, Jason Momoa, Ray Fisher, Jeremy Irons, Diane Lane, Connie Nielsen, J. K. Simmons

Zach Snyder’s Justice League should not work. And, let’s be clear, it doesn’t work as a whole. I’ve struggled with this film because it takes so many risks given the turbulent recent history of the DCEU film series that this film needed to fit a specific mold. It almost reminds me of a high-stakes game of poker, where you don’t want to show the opponent your fold card, yet you still flinch.

And, if it didn’t follow on the heels of some of the more dramatic previous entries in the series, that wouldn’t be a problem.

League picks up immediately after the events of Batman vs Superman. The world mourns the loss of Superman/Clark Kent (Henry Cavill). Batman/Bruce Wayne (Ben Affleck) bears that guilt. As Gotham City weathers strange attacks from insect-like figures, Batman begins to piece together an impending doomsday attack for which he alone cannot fight. Following a brief introduction in BvS and her own film earlier this year, Wonder Woman/Diana Prince (Gal Gadot) offers her support in assembling the Justice League.

Towards the end of Batman vs Superman, Mr. Snyder gave us a sequence in which he introduced us to the future members of the Justice League. At the time, I thought the sequence was an effective way of giving us a quick intro without potentially spoiling each of their future character-only entries. Had Mr. Terrio and Mr. Whedon stuck to that sequence as a basis for this film, I probably would have respected the first half of this film.

As it is, Aquaman/Arthur Curry (Jason Momoa), The Flash/Barry Allen (Ezra Miller) and Cyborg/Victor Stone (Ray Fisher) are all left to have an extended re-introduction. It gives each of the character’s extended introductory an opportunity to establish their emotional vulnerabilities as well as their functions on the team.

Mr. Terrio and Mr. Whedon also use the first hour to reintroduce Wonder Woman as well as Batman; something that wasn’t entirely necessary from a story perspective, but it does work to show just how broken Superman’s death left all of our characters and how well Mr. Affleck could play ‘vulnerable’. Jeremy Irons as the venerable Alfred Pennyworth, continues to offer his brazen consul and is a source of amusement throughout.

The screenwriting duo interweave establishing story elements for the second half of the film in between the remaining introductory moments. As we build our League, we get to witness Mr. Momoa’s dry wit with his deadly serious nature, something we got in spades with The Bad Batch. I did get a sense of déjà vu as they use similar elements from Man of Steel as Kal El tried to blend into the world around him to introduce us to Aquaman.

Ms. Gadot’s welcomed return as Wonder Woman is framed through the tense sexual overtones briefly presented in BvS. The characters’ sensuality is a good match for Bruce Wayne’s tough exterior, something that comes through more as a result of their acting than the story. Some of the drama between Wonder Woman and Batman felt unnecessary, but served the needs of the story.

Cyborg’s story was the least interesting aspect of the film. We got to see the majority of his creation in BvS when his dad, Silas Stone (Joe Morton, in another déjà vu moment) used the Kryptonian power to rebuild his son. Mr. Fisher’s acting through the CGI implants was fine, but unremarkable, because the story’s dangers for his character and those that surround him were rendered moot.

Mr. Miller’s The Flash was the true ‘hold-card’ of this deck and required the biggest exposition, as we learn about he and his past; a broken individual much like Bruce Wayne became after his parents were felled. The difference here is that Barry uses his humor to try and break up a tense situation, something that plays to Mr. Miller’s strengths as an actor. Most of the humor works, even if it becomes tiresome towards the end of the film; a limitation of the film’s story, not of the actor’s work.

If it seems like I’m focusing this review on the character development, it’s because this is the best aspect of the story, and yet, it its own worst enemy. Midway through the story, a tonal shift occurs that wrecked the flow. It gets recovered in the end, but the recovery is marred by a well-structured, but cheesy special effects-heavy battle.

I think back to Leonard Cohen’s, “The Stranger Song,” in which he belts out “Ah you hate to see another tired man Lay down his hand Like he was giving up the holy game of poker.” In the final analysis, the League prevails through adept acting and very solid character moments. However, Mr. Terrio and Mr. Whedon showed their fold card: we focus too much time on the character moments and not enough time meting out Justice.

2.5 out of 4 stars

Three Billboards Outside Ebbing, Missouri - Movie Review by Ben Cahlamer

Three Billboards Outside Ebbing, Missouri

Directed by Martin McDonough

Written by Martin McDonough

Starring Frances McDormand, Woody Harrelson, Sam Rockwell, John Hawkes, Peter Drinklage

Once in a while, a film like Three Billboards Outside Ebbing, Missouri comes along and smacks you so hard, you’re still reeling in your seat long after the final frame is up.

If you dig Martin McDonough (In Bruges, Seven Psychopaths), you won’t mind.

Someone might say that because he’s Irish that he can’t relate to we Americans, especially those who live in the South. My experiences down there lead me to believe that the characters, events and locations don’t fully resemble modern America in the South and yet, they’re not completely inexplicable either.

That’s not to say that there isn’t a character like Mildred Hayes running around, seeking answers about what happened to her daughter, who was raped and killed seven months prior to the start of the film. It’s not to say that there’s not a sheriff like Bill Willoughby maintaining ‘law and order,’ or someone like his deputy, Officer Jason Dixon, who still feels very strongly in traditional values. Heck, he even still lives with his mama.

Mr. McDonough has proved time and again that he can come up with the most outlandish characters and situations to drive his plots forward. The zaniness comes from the actors who embody said characters with panache and humility.

Three Billboards Outside Ebbing, Missouri is no exception.

Frances McDormand delivers an Oscar-worthy performance as the aggrieved mother, Mildred Hayes. The beauty in her performance is in her no-nonsense approach. Despite being in a tumultuous relationship, she still cares, even if she can’t show it. Which is why she draws attention to the case by putting up three billboards asking the police to do something.

Woody Harrelson, who has had two strong performances already this year with LBJ and War for the Planet of the Apes brings his ‘A-game’ as Sheriff Willoughby, a decent family-man who genuinely wants to help, but has his hands full with running the town. Sam Rockwell steps into the shoes of Jason Dixon, a foul-mouthed namby-pamby who was coddled too much as a child and now doesn’t know any better. Mr. Rockwell, who has slowly become a part of Mr. McDonough’s acting-troupe, gives an Oscar-worthy performance here as well.

Mr. McDonough doesn’t stop with just his main characters here. John Hawkes has a stare of a thousand deaths as Mildred’s ex-husband, Charlie. His young girlfriend, Penelope (Samara Weaving) steals the show in every scene she’s in. Peter Drinklage would love to get into Mildred’s pants as James, a used car salesman.

Making a second appearance this year are Caleb Landry Jones (American Made) as Red, the owner of the billboards, who pushes boundaries with this role so much so, that I can’t wait to see what he does next, and Lucas Hedges (Lady Bird) as Robbie, Mildred’s son. He continues to play ‘traumatized’ quiet well (see Manchester by the Sea as an example), but here he adds a layer of muted sarcasm in just about every scene. If I had one nitpick, it would be that Mr. Hedges’ character was underutilized. However, he makes such a memorable impression, that you won’t truly notice his absence. Abbie Cornish plays Anne Willoughby, Bill’s wife. Her character’s humor is subdued and I think it’s important that’s called out because it strengths her character’s resolve further in the film.

Mr. McDonough’s script and direction are much more than just the characters and the world they inhabit. Ben Davis’ cinematography of the North Carolina mountains, which stood in for the fictional town of Ebbing, is exemplary. His use of color is critical to the film as well. An excellent example of this is in the opening sequence where the three billboards are surrounded by a gentle fog. You can tell the air is still, but there’s something hallowed about the ground that the billboards sit upon. It’s a moment of scary serenity because of how visceral it felt. Carter Burwell’s score exemplifies the heart and soul of the story and its characters.

As we get deeper into awards season, don’t mistake this film for being ‘Oscar-bait’. Mr. McDonough, his story, his characters and his town are all as real as they appear on the screen. Now in a limited theatrical exhibition, Three Billboards Outside Ebbing, Missouri is the genuine article.

4 out of 4 stars

Three Billboards Outside Ebbing, Missouri - Movie Review by Monte Yazzie

Three Billboards Outside Ebbing, Missouri

Director: Martin McDonagh

Starring: Frances McDormand, Woody Harrelson, Sam Rockwell, Caleb Landry Jones, Kerry Condon, Abbie Cornish, Peter Dinklage, John Hawkes, Clarke Peters, and Samara Weaving

Drive along any busy freeway in the city and you are bound to see advertisement billboards glowing throughout the day. Everything from political commentaries to sporting events to local attorneys get the opportunity to influence and inform their message on your drive through the city.

Travel any stretch of highway in America and billboards can compose a welcome sign of humanity after long stretches of paved asphalt on desolate highways. In director Martin McDonagh’s somber, tragic, and comedic film “Three Billboards Outside Ebbing, Missouri”, billboards play the vessel of emotion for a mother still grieving, still angry.

Three bright red billboards with bold black font proclaim a message to a local sheriff (Woody Harrelson) concerning the unsolved death of a young girl violently murdered in the nearby small town. The person responsible for this message is the young girl’s mother Mildred (Frances McDormand) who is using this advertising tactic to bring awareness, and provoke a response, from the police department.

Mr. McDonagh utilizes these billboards as a device to introduce a complicated story about human interaction, specifically how people react when faced with emotions they don’t want to confront or are afraid to confront. Mr. McDonagh, a playwright turned filmmaker, paints his story with characters easily distinguishable but working towards some kind of transformation. Yet, you can feel that this transformation isn’t going to be so simply achieved. Mildred, beneath the hardened, sharp tongued demeanor is still grieving and affected not only by the death of her daughter but also the life she has lived thus far and by the town she has planted roots in. The director plays with these aspects, molding a narrative that is peaked with sadness and cruelty but also undercut with biting comedy that comes as strong and harsh as the message emblazoned on the billboards. Mr. McDonagh articulates a message concerning the nature of humanity, both the redemptive and condemned qualities, through scenes of violence, within moments of tragedy, and beneath the unexpected laughs.

“Three Billboards” doesn’t work without a committed cast. Leading the charge is an exceptional performance by Frances McDormand. Her portrayal of Mildred is fiery and confident, filled with passion and heartache. Her story is a portrait of what grief has turned her in to, of how it has forever changed her. Some of Ms. McDormand’s best scenes come opposite the town sheriff played by Woody Harrelson, who composes a character struggling with more than a few obstacles in his life. Mr. Harrelson is terrific in the role. The always reliable Sam Rockwell makes an appearance here too, playing the evolving antagonist. Mr. Rockwell excels at this kind of role, making larger than life characters have subtle poignancy.

Mr. McDonagh is a talented filmmaker with a keen eye for drama and a strong sense of humor. “Three Billboards Outside Ebbing, Missouri” can be an emotional journey at times, but it’s also undeniably fascinating watching such interesting characters traverse the narrative terrain proposed here.

Monte’s Rating

4.50 out of 5.00

Justice League - Movie Review by Monte Yazzie

Justice League

Director: Zack Snyder

Starring: Gal Gadot, Ben Affleck, Henry Cavill, Jason Momoa, Ezra Miller, Ray Fisher, Amy Adams, Jeremy Irons, Diane Lane, Connie Nielsen, J.K. Simmons, Amber Heard, and Joe Morton

There is nothing wrong with a little teamwork. The superhero genre has been working towards the team oriented concept for some time now. While the Marvel Cinematic Universe was the first to successfully achieve this feat with “The Avengers”, talk about a D.C. Comics Justice League movie has been brewing for some time now, long before Marvel thought about bringing a team of heroes to screens. While audiences have already got a taste of what a Justice League feature film might feel like with 2016’s much maligned “Batman v. Superman: Dawn of Justice”, the D.C. Extended Universe has finally found some focus on how to make a superhero film resonate beyond just the diehard fans.

“Wonder Woman” was the first successful step, paving the way towards a “Justice League” film that is far less serious than past films in this superhero catalog and more aware of giving into the entertaining indulgences of humor, heart, and spectacle. While this emphasis renders the narrative left on the back burner, “Justice League” is undeniable fun if altogether somewhat dull.

Bruce Wayne (Ben Affleck) knows that bad things are abound now that Superman (Henry Cavill) is dead. In an attempt to get a head start on the oncoming threats, Bruce and Diana Prince (Gal Gadot) are in search of other metahumans to help the fight. This leads Bruce to the sea in search of a man named Arthur Curry (Jason Momoa) and to Central City to find a young man named Barry Allen (Ezra Miller). Diana on the other hand is looking for a scientist (Joe Morton) and his son Victor Stone (Ray Fisher). However, things may be too late as a formidable foe named Steppenwolf is looking to destroy humanity.

“Justice League” is different than previous D.C. Comic film outings; gone is the stiff emotional demeanor and long winded storytelling. This time around it’s more loose and witty, more free to let characters embrace the amusing qualities of their characters. The film is still a noisy mess of visuals and the villain is still an indomitable CGI creation that doesn’t have the personality to challenge the heroes in any way that seems intimidating. Still, “Justice League” has flashes of promise, especially when the team unites. While this takes some patience over the 120 minute running time, there is fun to be had in watching these comic book characters interact with witty banter and clever verbal jabs.

The team of actors together develop some good chemistry. Again the highlight of this film is Gal Gadot’s Wonder Woman; her character is ultimately the tie that binds the group together. It’s a smart move considering Batman is still somewhat brooding here, though even the Dark Knight is offered a few moments of levity. Ezra Miller and Jason Momoa are the characters that offer the most entertainment; Mr. Miller’s Flash adds a naive youthful element to the team that offers the actor moments to cut the tension with a clever joke while Mr. Momoa basically gets to be a laid back surfer of sorts. Both actors seem to be having lots of fun with the roles.

It all adds up to an entertaining if wholly unoriginal film. Everything within “Justice League” has been done before; the action scenes, the comedy, the composition of the team, it all feels familiar and somewhat stale. Still, for a franchise of superhero films that has struggled to get off the ground, “Justice League” is much better than earlier attempts by the D.C. Extended Universe. Unfortunately that’s not saying very much but hopefully this is the first step towards better films in the future.

Monte’s Rating

3.00 out of 5.00

My Friend Dahmer - Movie Review by Ben Cahlamer

My Friend Dahmer

Directed by Marc Meyers

Written by Marc Meyers based on My Friend Dahmer by Derf

Starring Ross Lynch, Alex Wolff, Vincent Kartheiser, Anne Heche, Dallas Roberts, Liam Koeth

Set in 1978, Marc Meyers’ My Friend Dahmer, is a stark look at the adolescent life of serial killer Jeffrey Dahmer in Ohio. In the titular role of Mr. Dahmer is Ross Lynch, who was cast against type for this film. Mr. Lynch is best known as one of the members of the pop rock band, R5 and has imbued his acting career with multiple Disney Channel characters. So, it is with a great sense of satisfaction that I can say his performance as the troubled and demented Dahmer is sublime.

Based on the graphic novel, My Friend Dahmer by Derf, Mr. Meyers surrounds Mr. Lynch with exceptional talent. Playing Derf is Alex Wolff. Although they didn’t start out, or even end up as friends, Derf was in the best position to give the world insight into some of the schizophrenic, and brilliant tendencies of Mr. Dahmer.

The source of much of Mr. Dahmer’s troubles were his parents, neither of whom were mentally stable either, at least in the film. Dallas Roberts plays Lionel Dahmer, an introvert with anti-social tendencies. He is someone who has adapted to world around him in order to provide for his family. The interaction between Lionel and Jeffrey is awkward, but there was genuine affection between father and son. Anne Heche plays Joyce Dahmer, Jeffrey’s mother. Ms. Heche was so very much in character that I didn’t recognize her. And that’s important because of the type of character she plays. Newcomer, Liam Koeth plays Jeffrey’s younger brother, Dave. Mr. Koeth was very passive in his role, but that serves to emphasize the dangers around him.

Mr. Meyers’ script focuses on the family dynamic, which gives the impression that it was the source of Jeffrey’s tendencies.  Interestingly, Jeffrey never turned his tendencies towards his family. At least, not in this film. He didn’t even turn them towards his friends. To the world, he seemed to be a strange, anti-social high schooler.

One thing that was extremely evident in Mr. Meyers’s script was Jeffrey’s homosexual tendencies, which Mr. Dahmer used to target his victims. Early in the film, Mr. Meyers establishes one of Jeffrey’s targets, Dr. Matthews, played by Vincent Kartheiser. There’s a scene later in the film between Jeffrey and Dr. Matthews that is awkwardly funny, but doesn’t seem out of place. Mr. Lynch’s coy approach blends extremely well with Mr. Kartheiser’s sarcasm.

I grew up in Wisconsin and a friend of mine used to joke that I grew up among some of the most heinous serial killers known to the world. I was a teenager when they finally apprehended Jeffery Dahmer. I knew of him from the news, but it never occurred to me just how truly dangerous he was. Mr. Lynch was perfectly cast as Mr. Dahmer and is surrounded by talent that really enhances his performance.

In a limited theatrical release now, Mr. Meyers’ My Friend Dahmer is a solid look into the adolescent mind of one of the nation’s high profile serial killers.

Ben’s rating 3 out of 4

Justice League - Movie Review by Jeff Mitchell

‘Justice League’ team chemistry tops some muddled special effects, lackluster villain

Directed by: Zack Snyder

Written by: Chris Terrio, Zach Snyder, Josh Whedon

Starring: Ben Affleck, Gal Gadot, Ezra Miller, Jason Momoa, Ray Fisher, Henry Cavill, Amy Adams, Jeremy Irons, Diane Lane, J.K. Simmons, and Ciaran Hinds

“Justice League” – There is no “I” in team. 

When confronted by a selfish player, a coach may use that sports proverb to help illustrate that looking out for No. 1 may prove fatal to the team’s success.  Now, if the team has one, some or a collection of self-centered basketball, baseball, football, volleyball, soccer, or insert-your-sport-here players, the end result could be a lost game or perhaps, a lost season.

In the movies, an individual superhero might not be self-regarding, but he or she may just not be capable of saving the world from a malevolent extraterrestrial on his or her own, but a team – working together as one – could be the planet’s only hope. 

In March 2016, many, many comic book movie fans conjured up very little hope for the DC Extended Universe’s (DCEU) future after a depressing and disjointed “Batman v Superman: Dawn of Justice” (2016) arrived in theatres.  Apparently in the comics, Batman and Superman fought one another, but in director Zack Snyder’s film version, the motivation for this super-tussle was terribly forced, as the entire narrative seemed to only serve as a convoluted means to form a big screen Justice League, hence the second half of the film’s title.

Twenty months later, Batman (Ben Affleck) and Wonder Woman (Gal Gadot) are back on-screen and act as a pair of super-coaches, as they attempt to recruit The Flash (Ezra Miller), Aquaman (Jason Momoa) and Cyborg (Ray Fisher) to save Earth from Steppenwolf (Ciaran Hinds), a powerful alien known as a conqueror of worlds.  If you thought Steppenwolf was only a band from the late 1960s and early 1970s, you are not alone, but no, in this film, this born-to-be-wild, 12-foot baddie sports a horned helmet and wields a glowing-orange executioner’s axe to cut down his foes.

It turns out that Steppenwolf returns to Earth to claim three mother boxes, which are explained as sources of power or energy or something, but when combined into one, they form The Unity.  All one has to know is that The Unity is really, really bad news, so Batman and Wonder Woman have very little time to pull together their super-team and put an end to Steppenwolf’s plans.

With a runtime of just two hours, the film cannot afford to waste time, as it catches us up on the Caped Crusader’s and Diana Prince’s latest adventures and introduces us to The Flash, Aquaman and Cyborg.  Snyder is judicious in highlighting each of their powers and injecting some appreciated camp and humor during the picture’s first 45 minutes.  He also needs to establish menace and danger with Steppenwolf, and he effectively accomplishes all of these tasks.  Sure, additional precious minutes of character backstory would have been appreciated, but the quick pacing and crystal clear, concise narrative lanes are vast improvements over “Batman v Superman”, in which brooding tones and confusing scenes plagued that film’s first hour.

This film’s camp and humor gladly continue throughout the entire picture, as Miller’s Flash plays up his inexperienced rookie routine who incrementally becomes more confident as a hero, while also delivering frank moments of disbelief during battles with weird alien antagonists.  Meanwhile, Momoa’s Aquaman exudes machismo, a certain surfer/motorcycle gang member mix, and after the movie, one might swear that he said “I dig it” about a half dozen times.  Then again, he might not have said it even once, but his cool guy bravado certainly resonates.

Fisher’s Cyborg is the least comfortable with his abilities and takes a more cerebral, cautious approach.  Since his body is now meshed with Kryptonian machinery that sends unknown impulses to his brain, one can understand that purposeful restraint can rule his days.  Batman and Wonder Woman are the glue that holds this new alliance together, and Affleck’s and Gadot’s iconic characters learn more about what makes each other tick and experience some growth against their own personal setbacks.  The film does not allocate enough time to explore more introspection, but carves out plenty of moments of authentic character chemistry between the five leads and highlights each of their individual strengths that, of course, blend into team harmony.  Snyder also includes some real surprises, one of his signature trademarks. 

This is an entertaining group of heroes to watch interact on the big screen.  Albeit, in the film’s third act, they fight for Earth’s survival in a cloudy, artificial special effects fishbowl.  In fact, the background environment during the closing clash with Steppenwolf and his army of parademons (who are essentially six-foot flying insects) closely resembles some of the worst green screen moments from any of the “Resident Evil” films.  Meanwhile, the laws of physics become hugely questioned when a flying Cyborg tosses Aquaman across the sky, as this man from the sea stabs a random “bug” with his trusty trident and then crashes into an abandoned factory.  In another instance, Batman catches The Flash with a grappling hook, but one might wonder how The Dark Knight’s eye-hand coordination matches the speed of light.  

The muddled special effects – which caused problems in “Batman v Superman” and “Wonder Woman” (2017) – continue their disappointing path in this film too, and the villain does not exactly inspire fear or vitriol either.  These are low points, but the comic book protagonists do form a charismatic justice league, a highly appealing and enjoyable lineup, and hey, there is no “I” in this team.  Like any great team, they lean on each other’s strengths, while the film’s shortcomings do not feel as important.   

Now, are we sure that this particular Steppenwolf does not play music and have a cousin named Bachman-Turner Overdrive?  I’m asking for a friend.

(3/4 stars)

Jeff – a member of the Phoenix Critics Circle – has penned film reviews since 2008 and graduated from ASU’s Walter Cronkite School of Journalism.  Follow Jeff and the Phoenix Film Festival on Twitter @MitchFilmCritic and @PhoenixFilmFest, respectively

Wonder - Movie Review by Jeff Mitchell

Tremblay, Roberts and Wilson kindly deliver in ‘Wonder’

Directed by: Stephen Chbosky

Written by: Stephen Chbosky, Steve Conrad and Jack Thorne based on the novel by R.J. Palacio

Starring: Jacob Tremblay, Julia Roberts, Owen Wilson, Izabela Vidovic, Mandy Patinkin, Daveed Diggs, and Danielle Rose Russell

“Wonder” – Be kind.

Auggie (Jacob Tremblay) walks with his parents – Isabel (Julia Roberts) and Nate (Owen Wilson) - towards Beecher Prep for his first day of middle school, and he is terrified.  Sure, middle school can be terrifying for just about any kid.  Think back to your years during that preadolescent and adolescent brew of confusion mixed with caste systems of rumors, doubt and Darwinism that distract from the primary tasks at hand: reading, writing and arithmetic.  

His future schoolwork does not concern him, but the potentially toxic social concoction does, because Auggie was born with genetic facial deformities.  Twenty-seven surgeries have helped normalize his appearance, but he does not look like other 10-year-olds, and this kind and thoughtful little boy demonizes himself because of it.  Isabel homeschooled Auggie through fourth grade, but now he is literally taking his first steps on a formal learning institution’s campus, and his mom pleads, “Dear God, please make them be nice to him.”

Be kind.

Co-writer/director Stephen Chbosky (“The Perks of Being a Wallflower” (2012)) and Tremblay - who is unrecognizable, not unlike Eric Stoltz in “Mask” (1985) – successfully capture Auggie’s emotional 5th grade journey.  That’s no surprise, but Chbosky unexpectedly and refreshingly devotes significant screen time with other key characters as well.  First and foremost, “Wonder” is Auggie’s spiritual mountain to climb.  His challenges also greatly impact others, especially those closest to him, namely his supportive and loving parents and sister, Olivia (Izabela Vidovic) or “Via” for short, and the picture frequently checks in with her often enough to almost call her a co-lead character. 

Vidovic’s Via successfully garners admiration and sympathy from the audience, as she deeply cares for her brother but also aches due to less devoted attention from her folks.  The film – at least during its first half – is structured in a chapter-format by presenting the names “Auggie” or “Via” on-screen, as introductions to their individual perspectives.  This approach gives some reprieve from Auggie’s heavy-handed troubles with close focus on Via’s own problems with isolation and the sudden, unknown brushoff from her best friend, Miranda (Danielle Rose Russell).  Certainly, Auggie grapples with monumental changes, but Via’s problems are no less real, as the picture thoughtfully embraces her story with sincerity.

Be kind.

Roberts is wonderfully cast, as Isabel convincingly communicates her sincere love for Auggie throughout the picture.  In one particular break-your-heart scene (after a difficult day of school), Tremblay and Roberts wholly convey Auggie’s helpless despair and Isabel’s strength to hold it together and not completely sob along with him.  Roberts does not normally play an understanding mom on-screen, but she falls into the role effortlessly with grace and sensitivity.  Wilson’s Nate is the least developed family member-character.  He is easy going dad who must earn at least a quarter of million dollars a year at some unknown big job, but cashes in plenty of time at home to show love and support while also giving Isabel gray hair with occasional glimpses of arrested development.  Nate does not hinder the film’s flow, but we don’t learn much about him, as Wilson basically plays the considerate, but semi-out-of-touch Nick Campbell from “The Internship” (2013).  Hey, perhaps Nate works at Google? 

One does not need to confer with Google to know that an acting-triad of Tremblay, Roberts and Wilson - plus a nice performance from Vidovic - will provide compelling moments of celluloid textile for the audience, but the picture is also anchored by a serviceable script.  Surely, “Wonder” carries familiar family and school themes, and it jams too many smaller narratives into one hour and 57 minutes.  In fact, the film feels like it reaches its rightful conclusion at the 1h 40m mark, but carries on for another 17 minutes. 

While the film’s beats are common, the characters – including key supporting ones, like Principal Tushman (Mandy Patinkin), a teacher named Mr. Browne (Daveed Diggs) and two school friends – enrich Auggie’s world and ours as well.  “Wonder” delivers a compassionate teaching moment that is so important for kids, and during these divisive times, a most worthy reminder for adults.

Be kind.

(3/4 stars)

Jeff – a member of the Phoenix Critics Circle – has penned film reviews since 2008 and graduated from ASU’s Walter Cronkite School of Journalism.  Follow Jeff and the Phoenix Film Festival on Twitter @MitchFilmCritic and @PhoenixFilmFest, respectively.

Murder on the Orient Express - Movie Review by Ben Cahlamer

Murder on the Orient Express

Directed by Kenneth Branagh

Written by Michael Green

Starring Kenneth Branagh, Penélope Cruz, Willem Dafoe, Judi Dench, Johnny Depp, Josh Gad, Derek Jacobi, Leslie Ododm Jr, Michelle Pfeiffer, Daisy Ridley

My uncle once told me that when a movie features a ‘cast of 1000’s’, it typically wouldn’t be very good. This was based on the all-star murder mysteries that permeated tele-movies and theatrical movies of the mid-1970’s where a bevy of big named players would endure a small movie in order to build their credibility as actors. Sydney Lumet’s Murder on the Orient Express from 1974 was one such movie. However, audiences ate it up. Sadly, I haven’t seen it. However, as we explore Kenneth Branagh’s reimagining of the Agatha Christie mystery of the same name, I went in with a fresh pair of eyes and no expectations.

In the lead role of the Belgian detective, Hercules Poirot is Branagh. As the film opens, we learn intimate details about what would today be identified as obsessive compulsive disorder, but as he reminds us early in the story that life is real and murder is out of the ordinary. After solving one last crime, Poirot looks forward to some respite when he is called back into service on the Orient Express bound for France.

As with the aforementioned ‘cast of 1000’s’ comment, Branagh’s Orient Express features a strong cast of big names and up-and-comers. Front and center is Johnny Depp as Samuel Ratchett, an antiquities dealer looking for protection. Willem Dafoe plays Professor Gerhard Hardman, an Austrian professor trying to get to a conference. Penelope Cruz plays Pilar, a sultry au pair with more on her mind than meets the eye. In the plum role of Princess Dragomiroff is Dame Judi Dench, who manages to steal the show without even batting an eyelid. Josh Gad stepped out of his comfort zone as Hector MacQueen, someone who imbibes a bit more than he should. Michelle Pfeiffer surprises as Caroline Hubbard while Daisy Ridley demonstrates that she can wield more than a lightsaber as Mary Debenham. Tom Bateman plays Bouc, the director of the Orient Express and Poirot’s friend.

Mr. Branagh shot the film in such a way that the investigative conversations felt like we were watching a stage play while the special effects made the film feel as grand and as opulent as the train’s namesake. Much like Poirot, Mr. Branagh had a purpose for every shot, and there is an economy in the choices he made. The script, written by Michael Green based on Agatha Christie’s classic novel creates the openness while balancing against the intimacy of the setting. Patrick Doyle’s piano-based score enhances the opulence, the openness and the intimacy that Mr. Branagh aimed to achieve. This is a rare film amongst the special effects laden films we get where something explodes every five minutes. Here, the biggest effect is an avalanche caused by a lightning strike.

The rarity also works against the film. Mr. Branagh makes sure to frame himself, minimizing the supporting characters, especially once they were eliminated as suspects. They each have their moment, yet as the clues mounted up, you begin to realize what the story is about. I struggled with Mr. Bateman’s Bouc, who was extremely helpful in the early stages of the film, even offering some levity to Mr. Poirot’s indulgent nature. As the story wrapped up, he became less and less important. 

I won’t share what questions I had because that would give the film away. However, the visual effects and the opulence that Mr. Branagh delivers makes the film worth seeing on as big a screen as possible.

2.5 out of 4 stars