Monte Yazzie's Favorite Christmas Movies

Meet Me In St. Louis (1944)

Directed by Vincente Minnelli

The 1944 Technicolor romantic musical “Meet Me In St. Louis” may not be the first film to come to mind when thinking about Christmas films. The story about the Smith household, told in seasonal vignettes over the course of a year, is a lavishly composed film that features a exceptional performance from Judy Garland. It’s impossible not to get into the holiday spirit once Ms. Garland performs “Have Yourself a Merry Little Christmas”.

Love Actually (2003)

Directed by Richard Curtis

“I feel it in my fingers, I feel it in my toes.” When Bill Nighy’s aging rock star character Billy Mack sings those lines the Christmas spirit is alive. “Love Actually” might be considered by some as a sappy romantic comedy, however I think it’s a better than average Christmas movie. Based in London a month before the big holiday, this film focuses on the lives of numerous couples exploring what love and the Christmas spirit means to them.

Black Christmas (1974)

Directed by Bob Clark

It’s amazing that director Bob Clark has a hand in creating two holiday themed classics. “A Christmas Story”, more than 30 years after its release, still plays on repeat on Christmas morning. However, Mr. Clark’s horror film “Black Christmas” had a role in changing the landscape of horror and helped in defining the modern slasher movie genre. While on Christmas break a group of sorority girls are stalked by a unseen killer; it’s a simple plot that is executed with tension and fear. 

A Christmas Carol (1971)

Directed by Richard Williams

You can’t have a holiday list without including one of the many versions of Charles Dickens “A Christmas Carol”. While I enjoy many of the versions, especially the 1984 version with George C. Scott, the animated version directed by Richard Williams is one my favorites. The animation is beautiful and creepy with a tone that is consistently gloomy, similar to the composition of the Scrooge character. This version brings out the darker aspects of the tale, displaying a world without hope; this makes it all the more enriching when the light of joy comes through in the finale. A must watch for Christmas Carol enthusiasts.

BONUS

"And All Through The House" (Tales From The Crypt Season 1 Ep. 2)

Directed by Robert Zemeckis

Director Robert Zemeckis and screenwriter Fred Dekker crafted one of the best episodes of the entire “Tales From The Crypt” series with “And All Through The House”. A quick and effective tale that defined the structure of the entire television series with Larry Drake as an escaped mental patient stalking a vengeful wife in a Santa outfit on Christmas Eve. It’s a short but effective season’s greetings.  

Jeff Mitchell's Favorite Christmas Movies

No question, Christmas was my favorite holiday during my youth.   What is not to love about a treasure trove of carefully wrapped gifts sitting underneath a Douglas Fir Christmas tree, peppered with blinking lights and dozens of handmade ornaments made from past art classes, right?  My family was not particularly religious, but we thought of the holiday as a blessing, a rare glimpse of warmth during a long, blustery Upstate New York winter. 

Today, as a bachelor, I admit that – these days - Christmas is not too much more than a small, pleasant diversion.  With 330 days of sunshine a year, Dec. 25 is not a needed glimmer of comfort, but instead, a day off and a nice excuse to visit a crowded cineplex to watch three new movies back-to-back-to-back.  I would not exactly claim that “Bah! Humbug!” frequents my vocabulary, but I am less celebratory of the day than most Americans.  

Having said that, my favorite Christmas movies will probably not differ too much from yours, but I certainly had to pull down some cobwebs to jog my memory.  It’s been a while.  Perhaps I will watch some of these on Christmas Day 2017, but – quite frankly - I’d love to see “I, Tonya” again and catch “All the Money in the World” and even “Jumanji: Welcome to the Jungle” in busy movie theatres.

5. “Scrooged” (1988) – This updated take on “A Christmas Carol” features Bill Murray as Frank Cross, a miserable television executive whose station is broadcasting a live showing of the aforementioned famed story on Christmas Eve.  Frank’s selfish, unapologetic persona rubs everyone the wrong way, and for his bad energy-efforts, the ghosts of Christmas Past, Present and Future visit him in an attempt to change his ways.  No, this is not the most regal version of “A Christmas Carol”, but Murray’s sardonic humor is fun to watch.  Shades of his “Saturday Night Live” lounge singer act nicely appear in the third act, and Carol Kane’s take on the Ghost of Christmas Present is priceless too.  

4. “The Muppet Christmas Carol” (1992) – Sure, “A Christmas Carol” has been repurposed about 1,000,006 times (See # 5), but not like this.  Director Brian Henson spins a charming version of the story - Muppet-style - in his feature film debut.  Henson perfectly casts Michael Caine as Scrooge, and the talented actor faces the Muppet-ghosts of Christmas Past, Present and Future.  For good measure, his old business partners Jacob and Robert Marley are played by those cranky old men from the theatre balcony, Waldorf and Statler.  Much of the fun is anticipating which Muppets will play the famous Dickens characters, so I will not give away any more secrets.  If you have young kids, this movie should be their first experience with “A Christmas Carol”, but there is a very good chance that you will enjoy it even more.

3. “Bad Santa” (2003) – Department store Santas have been inadvertently scaring little children for years.  Well, it’s probably due to their long grey beards, but I digress.  On the other hand, children and adults of all ages should feel apprehensive of Willie (Billy Bob Thornton), who is one of the very worst Santas in recorded history.  This belligerent thief with massive drinking and manners problems, uses his Kris Kringle alter ego as a cover to perform larcenies. When he is not arguing with his business partner, Marcus (Tony Cox), and a dim kid who follows him around, Willie forms a romantic relationship with Sue (Lauren Graham) who possess a Santa fetish.  This Rated-R comedy is not for kids, but this film proudly features one of Thornton’s most memorable roles and 91 minutes of offensive hilarity.   

2. “It’s a Wonderful Life” (1946) – Frank Capra’s classic is not exactly a Christmas movie, but since its long-standing holiday season run on television and, of course, the picture’s ending, this wonderful Jimmy Stewart and Donna Reed vehicle fits the bill.  All-around good guy George Bailey (Stewart) always plays by the rules, but due to a simple mistake by his Uncle Billy, the family’s loan company faces dire consequences.  George contemplates suicide, but an angel named Clarence cleverly attempts to change his mind.  Led by Stewart’s and Reed’s earnest performances and Capra’s hand in capturing the beauty of everyday moments, “It’s a Wonderful Life” blooms with humanity and good feelings.  The dance/swimming pool scene is a perfect example of a hundred smile-inducing moments. 

1. “A Christmas Story” (1983) – Mother and Old Man Parker (Melinda Dillon and Darren McGavin) make every attempt to deliver a warm, memorable Christmas for their kids, Ralphie and Randy, but director Bob Clark’s film breaks many holiday movie rules that existed at that time, because their efforts were also laced with daily dysfunction.  Designed warts and all, the picture paints a comedic and relatable winter wonderland, complete with Randy’s obnoxious snowsuit, an impatient department store elf, the infamous leg lamp, and much, much more.   This particular critic saw “A Christmas Story” in a movie theatre in 1983, and looking back 34 years, one can easily see that its style paved the way for countless TV series and films, like “Malcom in the Middle” (2000 – 2006) and the “Diary of a Wimpy Kid” series. 

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.

Ben Cahlamers Favorite Christmas Films

5. Home Alone – I was old enough to understand the film’s more mature themes, but young enough to still appreciate the juvenile humor. This was John Hughes at his finest and he introduced the world to a young Macaulay Culkin, who defends his house from two cat burglars (Joe Pesci, Daniel Stern) and a very worried mom (Catherine O’Hara).

4. A Christmas Story – This was another tradition in my home. Mom and dad introduced me to it. Although it gets continuous play on TNT and TBS between Christmas Eve and Christmas Day, there’s never a moment where I’m not chuckling over the vindictive nature of each of the characters. The voice over narration is exquisite. Peter Billingsley plays Ralphie perfectly: one look at that face, and you’d never believe that he was the troublemaker. The best scene isn’t “you’ll shoot your eye out” or the bunny rabbit onesie. It is Chinese dinner on Christmas day and “fa rah rah rah rah”’s.

3. Elf – This film represents, I think, the understanding that most kids have about jolly old Saint Nick. But, it was a good opportunity for Will Ferrell to do what he does best: he plays the biggest kid on the block, and in this film, that’s a literal translation as he was an orphaned human being who Santa picks up, and raises him among the elves. James Caan plays his long lost father. Peter Drinklage is an absolute firecracker. Veterans Ed Asner and Bob Newhart make appearances as well.

2. Die Hard – The eternal battle (okay, so it’s only been going on since 1988) whether this film is a Christmas movie or not is not as essential as the film’s location in Los Angeles. As a resident of the Valley, I can definitively say that it is a Christmas movie. Bruce Willis plays a lone New York City cop when the building is overrun by terrorists, namely Hans Gruber (Alan Rickman) and his henchman (Alexander Godunov). The supporting cast, including Reginald Vel Johnson make this a memorable holiday classic.

1. It’s A Wonderful Life – Frank Capra’s classic featuring Jimmy Stewart is breathtaking every time I watch it. Nothing gets me more choked up than hearing “every time a bell rings, an angel gets its wings.” Do right by others, be there for one another and you’ll earn your just rewards.

From the Phoenix Film Festival critic staff, we wish you the Happiest of Holidays and a Happy New Year. We’ll see you at the movies in 2018.

Molly's Game - Movie Review by Monte Yazzie

Molly’s Game

Director: Aaron Sorkin

Starring: Jessica Chastain, Idris Elba, Kevin Costner,

“Sports doesn’t build character, it reveals it”. My high school basketball coach drilled this sentiment into my head, especially when things weren’t going like I had planned them. Molly Bloom was on the verge of punching her ticket to the Winter Olympic Games until an unavoidable disaster sent her plummeting down a hill, severely injuring her in the process, and shattering the chance she had been training for her entire life. If this wasn’t one of those character building moments, I don’t know what is.

Aaron Sorkin tackles this interesting true life story of a would-be Olympic athlete turned organizer of one the world’s most exclusive high stakes poker games with all the wordy flair and verbose film style you might expect from this screenwriter turned director. Starring Jessica Chastain in the pivotal role of Molly Bloom, “Molly’s Game” is a quick witted, fast paced story about the fortitude of a woman who refused to play by the rules.

Molly Bloom (Jessica Chastain) is struggling after her accident on the slopes. She has moved to Los Angeles, sleeping on a friends couch, and works as a waitress at night and an office secretary for a loud mouthed executive named Dean Keith (Jeremy Strong). Dean is pretending his way towards the Hollywood dream, rubbing elbows with high rollers at a high stakes poker match that he organizes in the back room of restaurant. Molly gets roped into Dean’s scheme, though Molly has never been much of a follower and soon starts her own exclusive poker game, bringing the wrath of movie stars, mobsters, and the federal government.

“Molly’s Game” is a jumpy, high energy film that feels more like a heist flick than a drama about greedy poker players and a headstrong yet drug addicted gambling facilitator. The film has a fluctuating timeline that hops throughout three facets of Molly’s life; while this method of editing has a tendency to becoming somewhat confusing, annoyingly so, it also works in giving the story legs.

Mr. Sorkin has consistently displayed his talent as a wordsmith, but his characters are also part of the reason the speeches, the sentimental stories, and the pointed word placed in the perfect position have such power. Molly is provided so many qualities amidst her extensive flaws, she is strong willed, determined, confident, conniving, manipulative, and deceitful. She is the kind of character that could be wholly comfortable strong-arming a power move in a board room or on the gritty streets while still composing herself as an upstanding professional.

Jessica Chastain gives yet another knock-out performance as Mollly; she completely embodies the confidence and compassion of the character, displaying the conviction of a woman who will not be told how to live, how to work, or how to act. Working against Ms. Chastain’s tough character is Idris Elba who plays the respectable attorney that represents Molly. Mr. Elba does a great job of bringing conflict and conviction to Molly’s story, playing the only character who sees through some of the more disreputable qualities that forwarded Molly into the position of power she had. Amidst these two fine performances is also Kevin Costner playing Molly’s psychiatrist father. Costner has one of the best speeches of the film in a uncomfortable yet poignant conversation with his daughter.

This is Aaron Sorkin’s directorial debut; in places, like with the editing decisions and some of the meandering scenes, you can feel the growing pains of a first time director. However, the narrative content is completely suited for Sorkin’s style as a writer, building intriguing characters that are both complicated yet sympathetic. What “Molly’s Game” does best above all is reveal the character that a woman must have amidst the objectification, the barriers, the cheap shots, and the manipulation when fighting in a world controlled by men.

Monte’s Rating

4.00 out of 5.00

I, Tonya - Movie Review by Jeff Mitchell

‘I, Tonya’ scores gold

Directed by: Craig Gillespie

Written by: Steven Rogers

Starring: Margot Robbie, Allison Janney, Sebastian Stan, Mckenna Grace, and Paul Walter Hauser

“I, Tonya” – “America.  They want someone to love, but they want someone to hate.” – Tonya Harding (Margot Robbie)

Twenty-three years ago, and specifically during the 1994 Winter Olympic Games in Lillehammer, Norway, the most hated person in America was a 23-year-old figure skater.  Tonya Harding.  The American public directed their ire - fueled by a constant media swarm from both very reputable and questionable news outlets - at Ms. Harding due to the infamous assault on her main rival Nancy Kerrigan (Caitlin Carver) at a Detroit ice rink just one month prior.  Although, Harding did not conduct the assault herself, many Americans were convinced that she not only knew about the Kerrigan attack ahead of time, but probably masterminded it. 

Take a ride in a time machine back to February 1994 and ask anyone in the Continental United States, “Who is the world’s number one villain?”

Some might throw out Darth Vader, Count Dracula or Freddy Krueger, but Tonya Harding could be the most popular answer. 

Thanks to director Craig Gillespie (“Lars and the Real Girl” (2007), “Million Dollar Arm” (2014)), movie audiences do not need to build a time machine, because he takes us to the 1994 Winter Olympics and all the way back to the 1970s in an intentionally chaotic and surprisingly uproarious Tonya Harding biography that is nothing short of brilliant, explosive cinema.  Simply put, “I, Tonya” is one of the very best films of 2017 and should not be missed by those who lived through (and those who did not live through) the 1994 firestorm about an unlikely ice skater/villain.

The picture moves like a motorcycle breezing at 85 mph through 55 mph freeway traffic, darting, zipping and cutting through crowded lanes and offering unexpected moments of danger.  Throughout the film’s entire 119-minute runtime, Gillespie repeatedly stuns us into holding our breath, grants us some temporary relief and then throws us into sudden detonations of humor at unorthodox, bizarre and tragic turns that became Ms. Harding’s life, especially during the winter of 1994. 

Filmed as a feature film biopic - with a documentary-feel that repeatedly breaks the fourth wall - Tonya (Robbie), her mother LaVona (Allison Janney) and Jeff Gillooly (Sebastian Stan) air out their perspectives that help organically explain the dysfunction within this skater’s universe.  In the end, Gillespie’s film – supported by writer Steven Rogers’s script – invokes sympathy towards Ms. Harding as well.

LaVona – fueled by a steady diet of cigarettes and gurgling internal frustration and rage - pushed young Tonya (nicely played by Mckenna Grace of “Gifted” (2017) fame) to be the best and considered anyone within eyeshot or earshot an enemy.  Her acidic attitude towards everyone in her path did not spare Tonya either, as one immediately recognizes LaVona as the chief antagonist.  Every second of Janney’s performance projects a villainess hypnosis that shocks, disgusts and engenders volatile bursts of hilarious disbelief.  One would have to search very hard to find an ounce of LaVona’s humanity, but it probably resides beneath thousands of layers of deep-seeded abuse and neglect, and the results are equal bouts of horror and laughter.  Hands down, Janney should win the Best Supporting Actress Oscar, and Robbie should – at least – be nominated for Best Actress. 

During a Q&A session at the 2017 Toronto International Film Festival, Robbie said that she practiced skating for three or four months, five days per week, and even though computers helped present a CGI triple axel on-screen, she did all of her own skating.  Robbie is a marvel to watch.  She seems to channel Harding during the skater’s awkward teenage years, biggest successes, downfall, and even in present day, by speaking to the camera in her kitchen and reminiscing about her sorted history in between cigarette puffs.  Much credit should go to the film’s makeup department, as Harding’s various looks were scarily spot-on.

The film not only reveals the level of LaVona’s verbal and emotional abuse, but Jeff’s never-ending physical (and emotional) violence against Tonya during their turbulent relationship too.  Together, LaVona and Jeff stand as Tonya’s most soul crushing demons that make millions and millions of haters after the 1994 Kerrigan attack pale in comparison.  

“I, Tonya” does not have a recent comparison-film, as this highly unique comedy and odd, dramatic biopic constantly amazes during its nearly two-hour journey.  Harding’s history, including the ill-planned Kerrigan assault, glues our eyeballs to the screen, and Paul Walter Hauser should also garner a special achievement award as Tonya’s “bodyguard” Shawn Eckhardt.  Along with Robbie and Janney, the three deliver a triad of unforgettable performances that are absolutely worth multiple viewings, and not because we love to hate their work and the movie.  “I, Tonya” is – somehow - just easy to love.   

(4/4 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.

Pitch Perfect 3 - Movie Review by Jeff Mitchell

The Bellas are fun, but ‘Pitch Perfect 3’ hits many sour notes

Directed by: Trish Sie

Written by: Kay Cannon and Mike White

Starring: Anna Kendrick, Rebel Wilson, Brittany Snow, Anna Camp, Hailee Steinfeld, Hana Mae Lee, Chrissie Fit, Elizabeth Banks, and John Michael Higgins

“Pitch Perfect 3” – “Three Is a Magic Number” – Bob Dorough, “Schoolhouse Rock!”

The Barden University Bellas, or better known as the Barden Bellas, hope that three is their magic number in 2017, as these a cappella ladies – led by Beca (Anna Kendrick) and Fat Amy (Rebel Wilson) - arrive in theatres in “Pitch Perfect 3”. 

Their initial leap on the big screen in 2012 was a critical and box office hit, and the 2015 follow-up admittedly meandered, but packed enough jokes and even some Green Bay Packers to offer an entertaining trip to the movies. 

The first two pictures ran 112 and 115 minutes, respectively, but this third installment sprints for just 93, which should act as a red flag for the audience.  Although the very likable Bellas are back for a new adventure, writers Kay Cannon and Mike White disappoint, because they scripted an unfulfilling story that is thinner than Emma Stone on a hunger strike and carries less gravitas than Justin Bieber’s 13th birthday party.   

It is a film that diehard “Pitch Perfect” fans will somewhat embrace, because the ladies strike their familiar comedic and musical chords, easily pull some laughs from the audience and clasp their warm on-screen comradery.  At the same time, without a worthy script, their cinematic magic runs on fumes, and three – instead – becomes a crowd.

These days, our Bellas are not attracting big raucous crowds, as they have graduated college and are trying to make their livings by starting their own businesses or coping with difficult entry level jobs.  Thankfully, Aubrey’s (Anna Camp) father has a big time post in the U.S. military, and he scores the Bellas a spot on a USO music tour.  The tour also doubles as a competition, and the winning musical group gets an opening act slot with hip hop star DJ Khaled!  Pretty cool. 

The problem is the other acts are bands who play instruments.  The Bellas may be outmatched and out of practice, but are not out of the running, as they strut their stuff during a picturesque four-country European tour.  When they are not whipping through well-choreographed routines and perfectly crooning to some recent and not-so-recent favs, director Trish Sie unfortunately dives the ladies into forgettable exchanges with even more forgettable supporting characters. 

Chloe (Brittany Snow) forms an instant crush with a random military escort.  Beca occasionally converses with a bland music executive, and Fat Amy reunites with her long-lost dad (John Lithgow).  Fergus (Lithgow) becomes the most important side player, as he tries to extort money from his daughter that involves the entire Bella-contingent during the third act in a tacky action-adventure storyline that would have been rejected by the “Night Rider” (1982 – 1986) writers.  Oh, apparently, Emily (Hailee Steinfeld) – who is still enrolled in school - has some upcoming exams, because Sie found it important to mention at least twice.  While we are on the subject of numbers, this critic only counted three countries in the four-country USO tour, but if the Bellas score a win, who cares about the details, right? 

When do they have time to practice?  Never mind, I digress.

Well, the movie’s point is to simply celebrate these memorable characters – who also include Lilly (Hana Mae Lee), Flo (Chrissie Fit), the antagonistic announcers Gail (Elizabeth Banks) and John (John Michael Higgins), and more – in a victory lap, but the filmmakers did a disservice to this ensemble by forgetting to include a proper story.  Sure, there is enough nostalgia here for even casual fans to enjoy, but thoughts of better films in 2012 and 2015 will haunt the experience.

Maybe if Sie asked the Bellas to sing “Three Is a Magic Number”?  It’s just as well, because the song would have been a false claim.

(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.

Jumanji: Welcome to the Jungle - Movie Review by Monte Yazzie

Jumanji: Welcome to the Jungle

Directed by: Jake Kasdan

Starring: Dwayne Johnson, Kevin Hart, Jack Black, Karen Gillan, Rhys Darby, Nick Jonas, Alex Wolff, Ser’Darius Blain, Madison Iseman, Morgan Turner, and Bobby Cannavale

A magical board game called Jumanji wreaked havoc on two kids in the 1990’s, unleashing a jungle of wild animals, dangerous challenges, and a long lost man who had been trapped in the game for decades. The 1995 film starred Robin Williams at the peak of his stardom and brought a playful adventure tale to life in a family friendly way.

Continuing the gameplay in the sequel “Jumanji: Welcome to the Jungle” are a group of high school students stuck in detention. Here the group of teenagers are transported into a video game jungle adventure world. Director Jake Kasdan takes a somewhat mediocre computer generated fueled action film and injects it with extremely likable cast of characters, making this film a fun and funny adventure romp.

Spencer (Alex Wolff) is a high school nerd who loves to play video games and has terrible allergies. Fridge (Ser’Darius Blain) is a football player struggling with his grades, he makes Spencer do his homework. Bethany (Madison Iseman) is a self absorbed popular girl more concerned about getting the perfect selfie than paying attention in class. Martha (Morgan Turner) is a defiant loner who doesn’t understand the purpose of gym class and would much rather be learning than making friends. These four students cross paths in detention and find an old video game while cleaning, but after picking their characters in the game they are transported into another world.

Now the students must survive the game playing as their adult avatars; Spencer becomes Dr. Smolder Bravestone (Dwayne Johnson), a muscular hero with zero weaknesses, Fridge becomes Moose Finbar (Kevin Hart), a small in stature zoologist and weapons holder, Martha becomes Ruby Roundhouse (Karen Gillan), a dance fighting commando, and Bethany becomes Professor Sheldon Oberon (Jack Black), a middle-aged man who is also a cartographer.

“Jumanji: Welcome to the Jungle” moves pretty quick for a film that runs about 20 minutes too long. Much of the story operates in the basic format as the 1995 film, except this time around the method of transportation takes the gamers into the adventure rather than the adventure coming to them. CGI hippos, elephants, jaguars, rhinos, and a slew of other creatures and jungle backgrounds take the visual spectacle to lengths that hamper some of the better storytelling elements. But it’s hardly the story that will entice audiences into the theaters for this one.

What saves “Jumanji: Welcome to the Jungle” from being another half hearted sequel is the cast, both the young actors and the adult actors compose a nice blend of characters with simple traits played genuine. Dwayne Johnson leads the cast as the heroic tough guy who is embodied by an unconfident, scared teenager. Mr. Johnson’s natural comedic charm makes this character believable. Kevin Hart plays the sidekick although he is embodied by the football playing jock. Mr. Hart is always the biggest character in the room, even when Dwayne Johnson is present; this confidence is played for laughs many times throughout the film. Karen Gillan is also good as Ruby Roundhouse, though her character is sometimes overshadowed. Still, she has a few moments to shine, in particular a dance fighting scene played to an amusing soundtrack choice. Jack Black steals the show here playing Professor Oberon with all the physical and verbal touches of a teenage girl.

Playing the in-game characters opposite their teenage players gives the journey a few nice touches, especially when the scared teenager must become confident, when the jock needs to be a team player, or when the self-absorbed girl must sacrifice to save someone else. While these moments come in the most obvious ways, the actors do a good job of selling the performance.

“Jumanji: Welcome to the Jungle” may not be the most ingenious sequel to the original 1995 film but it doesn’t seem too concerned about oneupmanship. This is one of those films that seems perfectly suited for easy laughs and simple fun.

Monte’s Rating

3.00 out of 5.00

Call Me by Your Name - Movie Review by Ben Cahlamer

Call Me by Your Name

Directed by Luca Guadagnino

Screenplay by James Ivory, based on Call Me by Your Name by André Aciman

Starring Armie Hammer, Timothee Chalamet, Michael Stuhlbarg, Amira Casar, Esther Garrel, Victoire Due Bois

The best moments in our lives are when we least expect something to happen. This is true in all aspects in life, but especially in love. Love is such a tender experience, especially to a seventeen-year-old who might be aware of certain feelings and reactions, but never really knowing how to handle either.

Italian director, Luca Guagadnino’s Call Me by Your Name, is the rich, lush adaptation of André Aciman’s coming-of-age novel of the same name, on which James Ivory used to base his screenplay. Set in the summer of 1983, young Elio Pearlman (Timothée Chalamet) lives in the Italian countryside in his parent’s villa. His father, Sam (Michael Stuhlbarg) is a professor of archaeology. He and his wife, Annella (Amira Casar) invite a young graduate student, Oliver (Armie Hammer) to spend the summer with them in order to complete his graduate work. As Oliver and Elio form a bond, it turns into something much more than either expected.

This film is very much the work of a master who understands, not only the original novel, but also how to frame an unspoken love in so few words; but mere actions. Mr. Chalamet’s performance is one of many highlights as he plays a young man trying to find his place in the world while working through feelings of love while contemplating its effect on his heritage. Mr. Hammer is stunning as Oliver, a carefree individual who knows what he wants, but is cautious about announcing his intentions.

There is a natural inclination between Mr. Chalamet and Mr. Hammer, an ease if you will, that allows them to long for each other in the way that passionate lovers do. Mr. Guadagnino was certain to have Chalamet and Hammer spend as much time with each other over the shot and it shows in their performances, even down to the sensual part of the each of their respective roles. There is a natural ease about Michael Stuhlbarg’s performance that blends into the overall framework Mr. Guadagnino created, a joyous and inviting environment that Mr. and Mrs. Pearlman offer. There’s never an elitist attitude in any of the situations. Only understanding.

Key to the dialog-lite nature of the film is the cinematography. Sayombhu Mukdeeprom brilliantly captured the natural light of the Italian countryside as well as the essence of being a teenager in the early 1980’s. The use of natural light extends to interior locations as well. Most importantly, his cinematography passionately captures Elio and Oliver in a natural way.

In keeping with Elio’s nature, music is as much a character as the others. Sufjan Stevens, a multi-talented singer-songwriter contributed to the film’s score, much of it piano-based. In addition, Mr. Guadagnino used pieces from Bach and Revel, pieces that Elio would have played in the film along with contemporary, 1980’s pop tracks that were popular in Europe.

Firmly cemented in multiple ‘Top 10’ lists, the accolades for the film, especially the performances have begun to roll in as of this writing, including the National Board of Review and the American Film Institute. It premiered to a standing ovation at Sundance, Berlin and New York, the latter had the longest standing ovation in that festival’s history.) Both Chalamet and Hammer have been nominated by the Critics’ Choice Movie Awards, the Spirit Awards and the Golden Globes, while Stuhlbarg has also been nominated by the Spirit Awards, sharing the same category with Hammer. The Phoenix Critics Circle awarded Chalamet with their Best Actor Award as well.

Expanding today, Call Me by Your Name is a perfectly timed film that speaks on multiple levels. Much like Brokeback Mountain and last year’s Moonlight, Mr. Guadagnino’s final installment in his Desire trilogy, following I Am Love (2009) and A Bigger Splash (2015) ends on a very high note, while being respectful of its many nuances.

3 out of 4

Downsizing - Movie Review by Jeff Mitchell

‘Downsizing’ does not reach lofty heights

Directed by: Alexander Payne

Written by: Alexander Payne and Jim Taylor

Starring: Matt Damon, Kristen Wiig, Christoph Waltz, and Hong Chau

“Downsizing” – According to Google, the definition of downsizing is:  to make a company or organization smaller by eliminating staff positions.  Of course, “smaller” means to reduce expenses, and many movies have emotionally captured this guttural corporate practice.  “Falling Down” (1993), “Up in the Air” (2009) and “Two Days, One Night” (2014) immediately come to mind, and in 2017, director Alexander Payne seems to have focused his sights on this most unpleasant topic.  His movie, however, does not cut into job reduction at all, but instead embraces Google’s second downsizing definition:  to make something smaller.  In Payne’s science fiction comedy, that something is people.  Yes, people.

With Earth’s population reaching seven billion squarely on his mind, Dr. Jorgen Asbjornsen (Rolf Lassgard) discovers the impossible and perfects a means to shrink a human being to just a few inches tall, with the hope that a world inhabited by tiny humans will dramatically reduce consumption and waste. 

Save the planet.  Sounds easier than shipping seven billion individuals to Mars, right?

Paul and Audrey Safranek (Matt Damon and Kristen Wiig) – a pleasant, but financially struggling couple - decide to volunteer for this unusual medical procedure, which, of course, is infinitely more complicated than injecting Botox into a forehead or filling a cavity.  Speaking of which, Payne introduces some hilarious prep for the soon-to-be-shrunken human beings, including some in-house dentists who remove fillings, because tiny hunks of porcelain or silver do not reduce in size along with their human volunteers.  Hey, an impossible issue would occur if a said filling was accidentally left in the mouth of a 5-foot 10-inch man, who now only stands five inches tall.   

Many of the film’s little people in a big world scenes offer amusing visuals, including a conventional passenger jet’s seating arrangements and the awkward mechanics of signing an 8 ½” by 11” legal document.  Payne, however, does not rely on size disparities throughout his 2-hour 15-minute picture.  Movies – like “The Incredible Shrinking Woman” (1981), “Honey, I Shrunk the Kids” (1989) and “Ant-Man” (2015) - have explored these narratives and punchlines before, but here, the suddenly tiny people live in a place called Leisure Land, which is size proportionate.  The homes may only reach a height of Barbie’s Dream House, but the comfortable, diminutive McMansions sit on well-manicured lots that resemble suburban utopia with no hints of “giant” ants, killer lawnmowers or normal sized bathtubs with “deadly” faucets that could wash our heroes down the drain. 

Payne takes a more personal approach with less focus on the physical journey, and much more on a spiritual one, and specifically, Paul’s.  The film’s second half features this regular, middle class American’s attempts to find himself and discover his purpose.   The problem is Payne’s film suffers from gentle schizophrenia, as he first sets up a folly, but then unveils his narrative’s intention as a feel-good journey of growth. 

At the end of the day, “Downsizing” does not deliver enough of either. 

During the movie’s second hour, the miniature statures of Leisure Land’s inhabitants become dramatically less important to the story, and only an occasional reminder (of their miniscule size) is thrown in for good measure.  Meanwhile, Paul’s sudden left turn into finding his way becomes paramount, as the movie tries to evoke empathy for Leisure Land’s less affluent citizens.  Whether Payne’s and cowriter Jim Taylor’s screenplay-shift feels too abrupt or Damon cannot carry us through Paul’s emotional voyage, the film does not resonate like it should, at least with this critic.  Sure, as the lead protagonist, Paul’s effort to overcome life’s obstacles is critical to the success of the movie, but Payne suffocates the audience with it, and the original whimsy does not shrink, but disappears.    

By far, the most engaging players are Paul’s eccentric neighbor Dusan (Christoph Waltz) and a willful cleaning woman named Ngoc Lan Tran (Hong Chau).  In different ways, they both pull Paul away from his bland, vanilla existence and into a figuratively larger world of societal connections, but these plot threads could have existed without the film’s fantastical initial premise.

Payne’s sci-fi and heartwarming turns are departures from his sardonic comedies like “Election” (1999), “About Schmidt” (2002), “Sideways” (2004), and “Nebraska” (2013).  “Downsizing” barely feels like a Payne film, and although stepping out of one’s comfort zone may be good for the soul, this one stumbles on its way to the finish line.  “Downsizing” does not deserve a pink slip, but after viewing its performance over 135 minutes, it does not reach lofty heights.

(2/4 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 Greatest Showman - Movie Review by Ben Cahlamer

The Greatest Showman

Directed by Michael Gracey

Screenplay by Jenny Bicks and Bill Condon

Story by Jenny Bicks

Starring Hugh Jackman, Zac Efron, Michelle Williams, Rebecca Ferguson, Zendaya

In an era of political upheaval and media mergers and acquisitions the likes of which the world has never seen, it is of particular interest that Twentieth Century Fox would choose to release a film about a struggling shyster who would eventually form one of the most famous variety acts, and circuses in the world. And a musical at that.

Set during the Depression Era, Ms. Bicks and Mr. Condon’s script focuses on the character of P. T. Barnum played with glee by Hugh Jackman. The fact that he’s already been nominated for a Golden Globe Best Actor – Comedy of Musical should be of no surprise.

Mr. Jackman is genuinely the star of the film as he rockets from ‘nothing’ to ‘something’ in under two hours. His wife, Charity is played by Michelle Williams. As P. T. comes from nothing, Charity comes from a life of privilege. That doesn’t stop P. T. from falling in love with her as a young lad, recognizing that he could give her a life that wealth never could afford.

As Mr. Jackman is the star, so are the musical numbers. Mr. Condon, who has worked on other musicals (Dreamgirls, Beauty and the Beast) previously, is perfect for this type of film. The trouble is that the story, such as it is, frames the musical numbers and a 105-minute run time doesn’t leave much room for the framework to expand. Had they expanded the drama just a bit more, the already dynamic characters would have jumped right out of the screen.

As it is, there are two key beats in the film that I think serve the film the best. The first is when Barnum meets playwright Phillip Carlyle played by Zac Efron. Their duet, “The Other Side” is the most intimately performed number, between two future friends. The second is an ongoing distaste that Mr. Barnum has for professional criticism. I leave it to you to discover the how’s and the why’s it works. The entire troupe performs the Golden Globe – nominated “This Is Me,” which highlights the story’s progression.

The lacking drama that I mentioned earlier is not completely dismissed. In his quest for glory, and in a rather awkward moment, P. T. and Philip are introduced to Jenny Lind, a famous Swedish singer played by Rebecca Ferguson. Her introduction represents a fundamental change for Barnum in the narrative. Ms. Ferguson’s performance reminded me of Maïwenn’s performance as the Diva, Plavalaguna in Luc Besson’s The Fifth Element: it is within the chaos of life that this perfection soars, inspires and, ultimately, captivates Barnum. Oh the irony!

As Jenny Lind is to Barnum, so is Zendaya’s Anne Wheeler to Phillip. Because of the time the film is set, the discrimination against Anne based on color prevents her from having the same opportunities afforded her as Phillip. That doesn’t stop Phillip from falling head-over-heels over her, though it does complicate their lives. It’s these small touches which tug on the fabric of the narrative. They serve their purpose, but the drama isn’t as strong as it could have potentially been. The musical number, “Rewrite the Stars” is brilliantly staged and the duo are magnetic on the screen, but it detracts from the dramatic tension that the film desperately needed.

Is it a showstopper? No.

The fundamentals are there, even if we’ve seen these themes previously. The cast does a wonderful job of personifying the musical pieces. It’s not The Sound of Music, however a strong cast and well-staged musical numbers should delight fans the world over, much the same as P. T. Barnum eventually did.

3 out of 4

Ferdinand - Movie Review by Ben Cahlamer

Ferdinand

Directed by Carlos Saldanha

Screenplay by Robert L. Baird, Tim Federle and Brad Copeland

Story by Ron Burch, David Kidd and Don Rhymer based on The Story of Ferdinand by Munro Leaf and Robert Lawson

Starring John Cena, Kate McKinnon, Anthony Anderson, Bobby Cannavale, Peyton Manning, Gina Rodriguez, Miguel Angel Silvestre, David Tennant

I have never seen a bullfight, live or on TV. But, I have seen them portrayed in other movies, and I’ve always noticed a vibrancy about it as the matador stands in the middle of a ring, holding out a red kerchief or scarf to draw the bull’s attention to charge.  Ole!

If the above description has you excited for an impending bullfight, I hate to disappoint you, but I’m really talking about Carlos Saldanha’s (Blue Sky’s Ice Age, Rio) animated film, Ferdinand, which is just as exciting.

Set in the Catalonia region of Spain, young Ferdinand (voiced by John Cena) believes life is to be respected and treasured. He is raised on a small farm with open fields of flowers. When tragedy strikes, he is captured and must decide if his fight is dedicated to protecting others or if it is as a fighting bull.

The voice casting surprised me. John Cena, started out as a professional wrestler with the WWE. Like Ferdinand, he is not light on his feet, but he infuses the character with a strength that I have not seen in other animal characters.Kate McKinnon is hilarious as the goat, Lupe. Her wit and resourcefulness are second to none, and yet her monotone inspiration are exactly what Ferdinand needs. David Tenant delights at Angus, the Scottish bull with too much hair and Peyton Manning voices Guapo, a spirited bull. It is Bobby Cannavale as Valiente is the most interesting character in the film. He is always fighting for a place of prominence, literally bullying the other bulls to give him as much room as possible. It was a good match for Cena’s Ferdinand.

Where the voice cast is one of the strongest I’ve seen this year, the story’s inconsistency drags down the full emotional impact. The essence of Ferdinand’s introspective nature comes shining through and the tension between he and Valiente is felt constantly. However, the story felt like three completely separate acts. Yes, Robert Baird, Tim Federle and Brad Copeland made sure to connect all three acts, but it is haphazardly done. They do keep the focus on Ferdinand’s struggles and the final act, is absolutely stunning.

The 3D CGI animation is still a technical marvel to me, but in comparison to other, recent animated films, Ferdinand felt flat. There are sequences where the animation just absolutely shines. Blue Sky did a magnificent job of capturing the facial expressions of the characters. John Powell who was worked with director Saldanha previously, delivers a Spanish – infused score, highlighting the heart and soul of each of the characters.

Based on the children’s novel The Story of Ferdinand by Munro Leaf and Robert Lawson, the folks at Blue Sky Animation and 20th Century Fox have crafted a tale full of heart, ingenuity and ultimately, humanity. The road, which is paved with good intentions, is bumpy, but you’ll find that the journey is worth taking.

2.5 out of 4

Star Wars: The Last Jedi - Movie Review by Monte Yazzie

Star Wars: The Last Jedi

Director: Rian Johnson

Starring: Daisy Ridley, John Boyega, Mark Hamill, Carrie Fisher, Adam Driver, Gwendoline Christie, Domhnall Gleason, Laura Dern, Oscar Isaac, Andy Serkis, Kelly Marie Tran, and Benicio Del Toro

The battle between good and evil continues in the newest “Star Wars” film. 40 years ago the franchise, which shows no sign of slowing down under Disney’s guidance, created a science fiction opera that pitted a rebellious young boy with astounding hidden skills against an evil empire lead by a masked villain that would become one of cinema’s most iconic characters. “Star Wars: The Last Jedi” continues the latest saga, which restarted two years ago with a scavenger named Rey (Daisy Ridley) and rogue stormtrooper named Finn (John Boyega) leading the charge, with an immersive tale that is an impressive visual spectacle but also a story that has humor and heart.

The story picks up nearly immediately after the events of “The Force Awakens”. The Resistance, embattled and suffering heavy casualties in their fight for freedom, are being chased by the First Order. Leia (Carrie Fisher) clings to the hope of finding her brother Luke (Mark Hamill), who has gone into hiding due to his failure with prodigy Kylo Ren (Adam Driver). Rey is struggling with her new role with the Resistance, but more specifically with motivating Luke to help her hone her new found skills with the Force. Finn is on a journey of his own, this time with help from an ally named Rose (Kelly Marie Tran); the two are tasked with a dangerous mission to help provide safe escape for the Resistance from the First Order’s clutches.

Writer and director Rian Johnson has the difficult task of following J.J. Abrams’ “The Force Awakens”, which was trip down nostalgia avenue that worked in making fans remember why they fell in love with ”Star Wars” in the first place. Mr. Johnson, who has already amassed a quality resume with films like “Brick” and “Looper”, crafts the “The Last Jedi” with all the subtle and purposeful touches one would expect from a “Star Wars” film. These films are manufactured machines that resist the individuality a filmmaker may want to influence, especially a talent like Rian Johnson. So, surprisingly, it’s interesting when Mr. Johnson’s influence successfully peeks through. It’s felt most noticeable with the humor brought into the film, which works in crafting a nice balance at times with the serious tone that is established early on.

Loss is an emotional focus that lingers throughout a majority of the “Star Wars” universe. Whether the loss of life, the loss of freedom, or the loss of self, these films have a tendency to be somewhat downtrodden at times. That’s what makes the journey against the odds so meaningful many times throughout the franchise run. “The Last Jedi” has this quality too, it utilizes the final events of “The Force Awakens” to create an atmosphere that feels anxious and desperate; this makes an early space fight have so much more tension because it feels like no one is safe. But it also allows new characters opportunity to make strong impacts, in particular Finn who is provided more opportunities to delve into the merits of his character.

This quality of loss and redemption is most obvious with the return of Luke Skywalker. The journey for Luke is tragic, the character has lived a life defined by loss. Mark Hamill reprises the role and confidently portrays Luke as a heroic figure who understands the sadness that comes with conflict and the price that comes with victory. Carrie Fisher brings a subtle emotional quality to a character that is throughout the film steadfast and tough. Ms. Fisher’s portrayal of Leia has always been a shining light throughout the “Star Wars” series, her untimely death earlier this year adds a somber sentiment to these scenes. Adam Driver, who plays the big bad Kylo Ren, is one of the more interesting characters in this new installment. Mr. Driver does a nice job of making the petulant and emotionally conflicted character have a genuine human quality that makes the performance so much meaningful when Kylo Ren is given more critical choices to make. That's what ultimately makes Kylo Ren so fascinating as a villain, the fact that choice plays the most prominent role in his creation.

At two and half hours in length, the film has moments that feel long and a little over convoluted. While some characters are provided nice spotlights others are trolled along, given small moments to make an appearance when a narrative shift is needed. Also the structure of the story, which jumps around within three stories lead by Rey, Finn, and Poe (Oscar Isaac) as they two-step with Luke, Leia, and Kylo, has a tendency to create some issues concerning the tone from scene to scene. However, when director Rian Johnson takes control, the film moves in really unique ways, embracing elements that are playful and crafting images that are truly powerful.

“Star Wars: The Last Jedi” continues the journey of good versus evil in satisfying ways. Rian Johnson does a good job of further solidifying the new characters into the epic mythology that has come before but also provides a place for the original characters to still influence everything in memorable ways. Where “Star Wars: The Force Awakens” employed a return to the past to craft their introduction, “Star Wars: The Last Jedi” composes a film that is trying to look towards the future, a film that is trying to create its own path. And for the most part, it succeeds.

Monte’s Rating

3.75 out of 5.00

Star Wars: The Last Jedi - Movie Review by Jeff Mitchell

‘Star Wars: The Last Jedi’ carries visual thrills and missed opportunities

Written and directed by: Rian Johnson

Starring: Daisy Ridley, Mark Hamill, Adam Driver, John Boyega, Carrie Fisher, Andy Serkis, Domhnall Gleeson, Laura Dern, Oscar Isaac, Kelly Marie Tran, and Benicio Del Toro

“Star Wars: The Last Jedi” – The marketing department behind the Star Wars franchise must be brilliant.  With billions of dollars in tickets sold over eight films (including “Rogue One: A Star Wars Story” (2016)), hired advertising suits certainly know the cinematic beats that will attract their audience.  On the other hand, Star Wars probably does not need a marketing department at all, because after George Lucas’s visionary masterstroke arrived in 1977, fans bought into his wondrous space opera and the films that followed, and rightfully so!  

Well, as writer/director Rian Johnson’s “Star Wars: The Last Jedi” unfolds, one might wonder if the Resistance needs a better marketing department, because – yet again – they are greatly outnumbered by the draconian, downright awful First Order.  The First Order, whose members sport pitch black threads and their faces wear scowls (coupled with occasional smirks), are simply not easy to like, but the Resistance - like the Rebel Alliance before it – is facing overwhelming odds against a superior military and legions of bad guys.   Maybe someone in the Resistance should form a promotions department or at least print up some fliers, because they seem to be missing an opportunity to recruit new freedom fighters.

Johnson must have recruited a talented film crew, because his movie looks absolutely stunning.  Mixed with some new mechanized ships, weapons and contraptions and along with some fearsome, familiar ones, the battles on land and space spectacularly strike the right science fiction, escapist tones that both children and adults pine for during a Star Wars picture.  The film offers about a half-dozen take-your-breath-away moments and credit Johnson for thoughtfully constructing these particular sequences that will steal a collective bit of oxygen from the lungs of theatre audiences.  On the other hand, the sluggish and very mechanical main plot thread, the surprisingly undeveloped relationships between key characters and a few head-scratching choices (which I will not reveal) construct a questionable foundation that the aforementioned visuals and assorted heart-stopping minutes cannot conceal.

As great as the movie looks, “Star Wars: The Last Jedi” is a missed opportunity. 

The story obviously picks up after the events of “Star Wars: The Force Awakens” (2015), and in one particular case, immediately afterwards.  Rey (Daisy Ridley) and Chewbacca (Peter Mayhew) visit Luke Skywalker (Mark Hamill) on his tiny, lonely island, and she attempts to hand his old lightsaber to him.  Rey and Chewie crossed the galaxy to convince Luke to join Leia (Carrie Fisher) and the Resistance to bolster the fight against the First Order.  Additionally, Rey might learn about her particular affinity towards the Force, while she is there.   Why not?  When in Rome…err, when on an isolated island with no cell service and a Jedi Master standing in front of you…

Meanwhile, The First Order – led by General Hux (Domhnall Gleeson) and Kylo Ren (Adam Driver) - is in relentless pursuit of Leia, Poe (Oscar Isaac), Finn (John Boyega) and rest of the Resistance, who continue to experience their numbers problem. 

With a highly intriguing mix of old characters and relatively new ones (Rey, Poe, Finn, Hux, Kylo Ren, and more) and brand spanking new ones – played by Laura Dern, Kelly Marie Tran and Benicio Del Toro – Johnson holds the ingredients for a complex, character-driven story to match his visual storytelling.  Sadly, that never materializes, as he appears content to highlight long stretches of uneventful exposition instead. 

With Rey and Luke, Johnson’s script offers some scarce table scraps of new facts, and - like two people staring at their individual cell phones during a nice meal on a Saturday night - their time feels completely wasted on the island. 

Admittedly, Rey and Kylo Ren’s verbal duels do raise a new hope (pardon the pun) for a warm détente and also a fear for a dark turn.  I will not reveal the results of their particular encounters, but – stylistically - their engagements play in the same ballpark as the artless, highly criticized exchanges between Anakin (Hayden Christensen) and Padme (Natalie Portman) in “Star Wars: Episode II – Attack of the Clones” (2002).  Although, they are not quite that bad.

Outside of some long-winded talk, the picture contains three extensive physical clashes between the baddies and the good guys, but the biggest conflict in the movie is finding enough screen time for the very worthy characters.  Except for the opening 15 minutes, Poe is really given nothing substantive to do.  For Laura Dern’s character (who I will not name or describe), Johnson presents no backstory or establishing scenes, so her few on-screen moments do not generate enough gravitas. 

Somehow, Chewbacca must have learned magic in his spare time, because he pulls off a tremendous on-screen disappearing trick.  He is barely in the picture.  In fact, when he suddenly reappears in the third act, this particular critic actually forgot that he was starring in movie, as the screenplay treats him like a bit, sideshow player, like some of the new Star Wars creatures:  the Porgs who look like cute little penguins and a pack of albino wolves who may have accidentally stepped into a glitter factory.

Finn and a resistance fighter named Rose (Tran) do chew up lots of movie minutes on a special mission, but their tangential side project feels recycled, as just a vehicle to show off a new planet.

All of this and more fill a very long 2 hours and 32 minutes but with only a fraction of the swashbuckling fun of “Star Wars: The Force Awakens”.  Sure, the 2015 picture might be a fraternal twin to “Star Wars: Episode IV – A New Hope” (1977), but it recaptured that magic, those goosebumps that a great Star Wars film can give. 

Despite meticulous efforts, mammoth productions, striking locales, some enjoyable fan-friendly moments, and about six explosive swathes of celluloid, “Star Wars: The Last Jedi” is missing that goosebumps-factor.  The 152-minute picture felt familiar and not nostalgic, but repetitive within its own narrative.  It is not the worst film in the series, but perhaps the biggest waste in terms of advancing the 9-part storyline.  Of course, casual and diehard Star Wars fans should see this film, and many, many audiences will hopefully and probably walk out of theatres with big smiles, because it is a rare treat to experience a brand new movie from this iconic franchise. 

Unfortunately, this particular critic walked away with a lengthy list of the film’s missed opportunities while also wanting to help jumpstart the Resistance’s nonexistent recruiting campaign. 

(2/4 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.

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.