The Post - Movie Review by Ben Cahlamer

The Post

Directed by Steven Spielberg

Written by Liz Hannah and Josh Singer

Starring Meryl Streep, Tom Hanks, Sarah Paulson, Bob Odenkirk, Tracy Letts, Bradley Whitford, Bruce Greenwood, Matthew Rhys

“If ever a time should come, when vain and aspiring men shall possess the highest seats in Government, our country will stand in need of its experienced patriots to prevent its ruin.”

– Samuel Adams

I’m not usually given to opening a film review with a quote from one of this country’s founding fathers, but there is something to be said about the power the press has to shape this country’s ideological thinking. Or, at least there was in the early 1970’s. And that’s the picture that master director Steven Spielberg paints for us in his latest thriller, The Post.

As the film opens, the script by Liz Hannah and Josh Singer offers background on Vietnam, our war there and its political tensions across multiple presidencies. This leads into the Nixon administration, where we are given a glimpse of his distaste for the press and his efforts to hush them. As the story further unfolds, we learn of the struggles of a modern national newspaper in the early 1970s as Katherine Graham (Streep) forges an unlikely alliance with her new editor, the brash, young Ben Bradlee (Hanks).

This is classic Spielberg at its finest. Not just because Hannah and Singer’s script is so meticulous, but because the entire story waltzes through its own minimalism as if we know exactly what the outcome will be. However, it never lets the dangers of the time, the risks in what Graham and Bradlee were trying to accomplish during this struggle. More importantly, it uses the small tears that were slowly beginning to widen in the Constitutional Crisis during the struggle to keep the tension built.

It is important to note the role that The New York Times played in all of this. History will show that they were the first to break the Pentagon Papers story, and they were the reason for the case being taken all the way up to the Supreme Court. The film does fold these events into the story, as they are integral to decisions the films’ narrative structure, but they are not the main focus of the story. Whether the narrative choices are kind to history will be up for audiences to decide. For this critic, their role was given an appropriate amount of light, and heightened the thematic tension.

It is easy to compare The Post to Spotlight from a few years back, but I would be reticent to make this same comparison: The Post is very much about the protecting the source from being corrupted, having integrity in reporting the news and holding our government to its very highest standards; Spotlight was about slowly investigating and building the case. And, they are two truly separate functions in journalism. Mr. Spielberg never lets us forget this difference, and that’s the key to his success here. The first rate cast drive home the ideology and integrity behind their decisions. Nothing is taken lightly, but nothing lingers either.

In the 1970’s, our primary method of receiving the news was in a newspaper like The Washington Post or the 5 PM and 10 PM newscasts, where hard research and attention to detail drove whether a story made it to column 1 on page 1 or column 1 on page 14 in the sports section. Mr. Spielberg makes it a point to mention that not every effort to obtain information was on the level, but it was a last effort to obtain information. Mr. Spielberg also, cleverly, reminds us that the news cycle never stops, even if it wasn’t reported, back then, 24 hours a day.

As the film expands this weekend, and opens wide on January 12th, one might be inclined to look at this film with an eye towards our modern state of journalism, government and the role each plays in a balanced and just society. Hopefully the distinction is not lost.

3 out of 4

Hostiles - Movie Review by Jeff Mitchell

‘Hostiles’ is a purposely grim, well-acted but incomplete western

Written and directed by: Scott Cooper

Starring: Christian Bale, Wes Studi, Rosamund Pike, Q’orianka Kilcher, and Adam Beach

“Hostiles” – “He’s a butcher.” – Capt. Joseph J. Blocker (Christian Bale)

“Then the two of you should get along just fine.” – Jeremiah Wilks (Bill Camp)

For decades, Capt. Joseph J. Blocker (Bale) has lived his adult life immersed in violence via his chosen profession in the U.S. Calvary.   After spending a career hunting down and killing Native Americans, he has become hardened and emotionally inhibited - something less than human, without a hint of light or angelic joy - after causing and witnessing so much death.

His commanding officer Col. Abraham Biggs (Stephen Lang) gives Joseph a new assignment.  Actually “gives” is not the right word, because he forces the unwilling captain to escort Chief Yellow Hawk (Wes Studi) and his family from New Mexico to Montana, to let the man die with dignity on his homeland.  Joseph vehemently opposes this particular mission, because Yellow Hawk is a lifelong enemy, a “butcher” as he states. 

A hostile.

Chief Yellow Hawk feels the same way about Capt. Blocker, but after seven years in a U.S. Calvary jail and in the twilight of his life, he seems at peace.

Writer/director Scott Cooper (“Out of the Furnace” (2013), “Black Mass” (2015)) does not shy away from dark material, and here, he dives headfirst into his bleak picture, not necessarily filled with death, but lathered in the stink of past casualties and the brutality of some ugly, on-screen ones.  Certainly, horrible slices of everyday life littered the American West during the 19th century, and Cooper offers an unflinching portrayal of the said period in 1892.

Bale is unflinching as well.  As Capt. Blocker, he delivers convincing somber tones of regret and seething anger, as a man currently living with layers of violence protecting a vulnerable human core, and the film’s main arc successfully captures his journey towards - possibly - shedding this hardened shell.  Rosalie Quaid (Rosamund Pike) might be a person to tap into his humanity.  Blocker, his men and Chief Yellow Hawk’s family unexpectedly meet Rosalie on their northern trek.  Tragically, she is currently churning with demons of her own, as she suffered a fate that is very reminiscent of the opening scene from Clint Eastwood’s “The Outlaw Josey Wales” (1976).   Pike gives a devastating and heartbreaking supporting performance that tosses several damaging daggers into one’s soul, as her sorrow pours off the screen.  The hope is that she can summon some lasting strength from the bowels of despair.

While Joseph’s and Rosalie’s spiritual journeys stand as two tall pillars in the film, Chief Yellow Hawk’s and his family’s – Black Hawk (Adam Beach), Elk Woman (Q’orianka Kilcher), Living Woman (Tanaya Beatty), and Little Bear (Xavier Horsechief) – stories are sadly not explored.  The picture falls down in this space, because several individual narratives should be expressed, not just two.  At a minimum, Yellow Hawk’s feelings should have been articulated, but outside a few lines of personal reflection, the audience learns next to nothing about him.  Meanwhile, Black Hawk, Elk Woman, Living Woman, and Little Bear are just along for the ride. 

With the film’s 2-hour 13-minute runtime, Cooper offers plenty of opportunities for insight and character growth for these supporting players.  Instead, he wanders into a storyline cul-de-sac at the film’s 74th minute with an oddly-placed cameo.  The cameo and associated subplot serve very little purpose, except to illustrate the captain’s mindset from his distant past, which actually is not terribly different from his present.  In fact, this tangent – inserted more than halfway into “Hostiles” – further calls out the picture’s already-existing pacing issues. 

These pacing issues, however, are somewhat offset by gorgeous and glorious moments of prairies, mountain trails and campfires underneath the stars, as Cooper thoughtfully captures the beauty and allure of the region under tranquil peace.  These occasional serene moments are also soon paired with bloodshed, but that was the reality of the time that still arguably loiters in 2017.   “Hostiles” effectively reflects a grim sliver of the country’s history that deserves to be told, but Cooper only recounts half the story.  Mind you, he does not “butcher” the film but wanders into repeated, circular themes, and ultimately, the work feels incomplete.   

(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.

Insidious: The Last Key - Movie Review by Monte Yazzie

Insidious: The Last Key

Director: Adam Robitel

Starring: Lin Shaye, Leigh Whannell, Angus Sampson, Kirk Acevedo, Caitlin Gerard, Spencer Locke, and Josh Stewart

“The Further”, the foggy spirit space where supernatural entities exist, has been explored numerous times within the frightening franchise “Insidious”. The liaison into the darkness is a psychic named Elise, played with vigor by actress Lin Shaye, however she does more than just connect people to the other side. Elise is a protector of sorts, a medium who rids the world of evil spirits; she has encountered terrible entities throughout her entire life.

“Insidious: The Last Key”, the fourth installment in the franchise, focuses on the somber and tragic life of Elise. Directed by Adam Robitel, who made the underrated 2014 horror film “The Taking of Deborah Logan”, provides Lin Shaye with the opportunity to shine as the lead of this film while also executing an effective scare or two. Unfortunately the narrative stumbles into overused cliches, uninteresting setups, and ghosts that never conjure the scares this franchise is known for.

We are introduced to Elise (played as a youth by Ava Kolker and as an adult by Lin Shaye) as a child growing up with her family in a large home located next to a prison in Five Keys, New Mexico. Elise’s father Gerald (Josh Stewart) works at the prison, he is abusive towards Elise and her brother Christian (played as a youth by Pierce Pope and as an adult by Bruce Davison). Elise’s supernatural gift brings about an evil entity that attaches itself to Elise’s family and anyone who lives inside the house after them.

It’s about time Lin Shaye was given the spotlight for this franchise. Her character is one of the more interesting parts about these films, offering a character who seems fearless yet is still affected by the scary encounters because she understands that real consequences exist with the terrible spirits she is hunting. Ms. Shaye gives it her all here, the performance holds much of the film together. It is unfortunate that many times in the film she is provided with some cringe-worthy dialogue and moments that never really tap into the emotional qualities of the character.

The film jumps throughout a few different timelines, transitioning from Elise’s life as a young woman in her family home to her life as a grown adult with her new quirky family of Specs (Leigh Whannell) and Tucker (Angus Sampson), the spectral hunting team that documents Elise’s travels. The other timeline concerns the history of the franchise, as this film aims to tie everything in the “Insidious” universe together. The composition of the film does a decent job of jumping throughout the different stories, but with everything trying to be told here some aspects feels rushed while others are completely overlooked. The film builds towards a climax that doesn’t feel very satisfying, which is a disservice to the franchise favorite characters on display here.

Mr. Robitel does a fine job of building an atmosphere, sometimes toying with expectations in amusing, less frightful, ways. The film composes moments that should satisfy fans of the franchise even though it doesn’t have the polish of the original film and doesn’t always craft the purposeful jump scares of the second or third film. While “Insidious: The Last Key” may be scarce on scares and story, it’s nice having Lin Shaye’s character in the spotlight here.

Monte’s Rating

2.75 out of 5.00

Monte Yazzie's Best of 2017

Monte’s Favorite Films of 2017

2017 was an interesting year filled with heavy moments of frustration, conflict, and confusion throughout our world. However, I’d like to believe that it also had its moments of joy, peace, and tranquility in smaller more motivating ways. Film was equally as divisive, with films from numerous walks of genre making exceptional statements that were melancholy, heartfelt, and argumentative. That’s a good thing, film should challenge itself to take risks and make statements, to portray and paint the world in different ways with different perspectives. That’s what this artistic medium has the power to do, influence in ways both subtle and direct. With every horror film that made a social statement, drama that challenged contemporary ideologies, romantic comedy that portrayed difference with commonality, or science fiction movie that provided insight into a piece of humanity…it all serves in making film accessible to new voices, new ideas, and new visions. It’s, in my humble opinion, the purpose of any artistic endeavor. Here are the films that moved me, enlightened me, and captured my spirit in 2017. My favorite films of 2017.

15.    Good Time

A night of bad choices follows a despicable young man named Connie, played with poise and energy by Robert Pattinson, as he tries to stay one step ahead of all the trouble that is trying to find him. The Safdie Brother’s direct this story of brotherhood and consequence with pulsing anxiousness and vibrant life.

14.    Three Billboards Outside Ebbing, Missouri

“Three Billboards Outside Ebbing, Missouri” can be an emotional journey at times, but it’s also undeniably fascinating watching such interesting characters journey through a film that is at many times somber, comedic, and tragic; sometimes all of those emotions at the same time. Frances McDormand gives an emotionally charged performance that is one of the best of 2017.

13.    The Beguiled

It’s understandable why director Sophia Coppola would remake the 1971 pulp drama “The Beguiled”; the director has a particular talent for crafting strong and complicated female leads but also creating a multifaceted ensemble. Ms. Coppola’s version of “The Beguiled” is different than the original, a unique vision that is lonesome, beautiful and captivating.

12.    Hounds of Love

Director Ben Young composes an unsettling character study in the debut feature “Hounds of Love”. The film centers on a serial killer couple living in Perth, Australia during the 1980’s. Mr. Young shrewdly constructs this film, utilizing effective filmmaking techniques that help in building the suspense and making the nastier bits much more shocking than they actually are. The performances are exceptional here; along with the creative hand of Ben Young, “Hounds of Love” is an effective piece of cinema.

11.    Lady Bird

The story of a mother and daughter is superbly told by writer/director Greta Gerwig. Boosting standout performances from Saoirse Ronan and Laurie Metcalf, this film about the growing pains of growing up is sweetly genuine, making it feel somewhat autobiographical. The portrayal of youth here is one of the best of any film in 2017.

10.    Call Me By Your Name

This coming-of-age story gives way to a love story that is gorgeously composed and peaked with performances that are achingly passionate. Director Luca Guadagnino’s film “Call Me By Your Name” is patiently paced, building the intimacy, the confusion, the lust, and the ultimate joys of first love with heartbreaking authenticity. Timothee Chalamet gives a [p[]stunning and confident performance as Elio. It’s one of those films that holds an exquisite power because of how it handles and portrays the emotions of love; it will stay with you far after it ends.

9.      Blade Runner 2049

Director Denis Villaneuve takes the task of continuing the Ridley Scott classic sci-fi saga with “Blade Runner 2049”. Mr. Villaneuve’s striking visual style and skillful narrative design is a perfect companion to the original film, taking the memorable aspects that play proper tribute to the 1982 film and adding exceptional elements that propose new questions concerning the nature of humanity and thought provoking ideologies concerning technologies influence on the future. Mr. Villaneuve and team have created a visual stunning sequel.

8.      The Big Sick

Romantic comedies can be a tedious effort. While “The Big Sick” may feel familiar, it moves and operates in very genuine and unique ways. Themes of clashing cultures, race issues, and relationship complications are all handled with care, with attention given to the small and sometimes complicated bits that flesh out a script and make characters more relatable and stories more authentic.“The Big Sick” hits so many satisfying notes it’s almost impossible not to find something that makes you smile. The jokes are sweet while also having an edgy element, and the romantic qualities are sincere due large in part to some really great performances. It’s the best romantic comedy of 2017.

7.      Raw

Director Julia Ducournau has crafted an impressive debut film with her uncomfortable and emotionally daring film “Raw”. Ms. Ducournau utilizes the film to challenge how filmmakers are utilizing the genre to tell stories, especially ones dealing with commentary concerning gender and sexual empowerment. “Raw” is a coming-of-age film that displays the fragility of the process of growing up but also the complicated relationship found in every individualized family unit. Raw, in many ways, is the best description for this film.

6.      Baby Driver

Director Edgar Wright has always had a distinguishable style, however with every film in his growing catalog the director has only become better at combining his unique editing, camera, and narrative flow into a tightly packaged work. With "Baby Driver" the director may have perfected his style, making a film that is ridiculously fun and filled with creative filmmaking elements. “Baby Driver” doesn’t do anything new to transcend the heist genre, in fact it takes a lot from the 1978 Walter Hill film “The Driver”; still what Mr. Wright does with everything that defines this specific subgenre of action film is bold and innovative, crafting one of the best music videos ever made.

5.      mother!

Director Darren Aronofsky, the filmmaker behind films like “Requiem for a Dream” and “Black Swan”, composes a story that functions as a metaphor, a parable, and a satire; possibly much more depending on what you might be looking for or feeling at that particular moment. Mr. Aronofsky paints an allegory that is a bold artistic expression with equally frustrating and fascinating strokes; it’s deeply personal and echoes sentiments from places religious, political, and ecological. “mother!” in many instances is what filmmaking should be, a vessel for the expression of ideas.

4.      Dunkirk

Film has a funny way of changing how one perceives historical events, the lens of cinema can paint new pictures and compose narratives in ways that alter the true significance of what happened in the past. Christopher Nolan, understanding of this concept, composes "Dunkirk" with an emphasis on emotion and perspective. In doing this Mr. Nolan has crafted an immersive experience, a war film that has all the technical aptitude the director has built his career upon but also the emotional quality associated with the aspect of a soldier's survival. “Dunkirk" is an exceptional war film that has rousing heart. Mr. Nolan proves again why he is one of best directors to do the job.

3.      Get Out

No film, of all genre of films released in 2017, felt more timely and of the moment than Jordan Peele’s “Get Out”. Released mere months after the divisive Presidential election, the United States was at a boiling point with social concerns surrounding race and gender. “Get Out” tapped into race, cultural, and socioeconomic issues, transcending yet honoring the horror genre with a film that manipulated tension and crafted an atmosphere like a Hitchcock film. Jordan Peele proves himself more than just a comedic talent but perhaps one of the most conscious filmmakers currently working.

2.      Phantom Thread

Director Paul Thomas Anderson and actor Daniel Day-Lewis are similar in that they strive for a unique purpose and rally for perfection. “Phantom Thread” is a complicated love story, one that harbors themes of dominating control, deep and dangerous emotional connections, and a passion that is not easily defined. Anderson paints an image here that will linger long after it is over, not because of anything offensive or obscene but because of the startling and subtle emotion portrayed by Daniel Day-Lewis and Vicky Krieps, a newcomer who steals scenes from one of the greatest living actors in the business. This is supposedly Mr. Day-Lewis’ last film, if so, he ends on a fine note.

1.      The Shape Of Water

“The Shape of Water” is one of the most beautiful and superbly acted films in 2017. Guillermo Del Toro composes another fairytale, this time with a romantic touch that permeates far beyond the premise of an amphibious creature meeting a mute woman might suggest. 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. Mr. Del Toro has always blended and manipulated genre characteristics, the auteur is quickly defining his own genre of filmmaking. It is movie magic at its finest.

Honorable Mention:

•   Only The Brave

•   I, Tonya

•   War for the Planet of the Apes

•   Okja

•   Brawl in Cell Block 99

•   Hounds of Love

•   The Post

•   Patti Cake$

•   Coco

•   The Square

•   A Quiet Passion

•   Molly’s Game

•   The Disaster Artist

•   It Comes At Night

•   Logan

•   Dave Made A Maze

•   Colossal

•   Mudbound

Ben Cahlamer's Best of 2017

Ben Cahlamer’s Best of 2017

10. Good Time (A24) The Safdie Brothers’ crafted a tale of intrigue as Connie tries to find every angle to not only cover his own, but to spring his brother from jail after a failed bank heist. It’s a chase movie, with a vibrant look and sound. And Robert Pattinson is electric.

9. The Big Sick (Amazon Studios) A genuine bright spot this past summer, Kumail Nanjiani and his real life wife, Emily V. Gordon wrote an abbreviated (and fictionalized) version of how they met. Zoe Kazan plays Emily and Ray Romano and Holly Hunter co-star as her parents. Hunter’s performance rivals Laurie Metcalf’s and Allison Janney’s performances.

8. Ingrid Goes West (Neon) A film about social media and stalking, Aubrey Plaza plays Ingrid, a down on her luck young lady who just wants to be liked. When she moves to Los Angeles to follow her Instagram obsession, Taylor Sloane (Elizabeth Olsen), Ingrid’s ways catch up to her, but not before finding the true meaning of friendship.

7. The Killing of a Sacred Deer (A24) Yorgos Lanthimos’ film about the power of suggestion is a stunning film. Featuring performances from Colin Farrell, Nicole Kidman and Barry Keoghan, the film is one of many dark comedies, but this films’ nuances say one thing, but they contain multiple different meanings.

6. Lady Bird (A24) Greta Gerwig’s directorial debut is full of amazing performances and feel good moments. Saoirse Ronan and Laurie Metcalf are dynamite on the screen as a mother – daughter duo. Tracy Letts is in the backdrop, but his performance never lets you forget that he’s there for support.

5. I, Tonya (Neon) The autobiographical look at the life of Tonya Harding, Craig Gillespie’s dark comedy is full of wit and charm, and surprisingly, empathy towards Tonya. Margot Robbie is sensational, while Sebastian Stan plays Jeff Gillooly her husband. Allison Janney is a hoot as her vindictive mother, who wanted nothing but the best for her daughter.

4. Dunkirk (Warner Brothers) Christopher Nolan’s World War II epic divided a number of people over the summer, but one thing’s for certain: there was no shortage of tension in this tight thriller which effortlessly combines three vantage points to tell the same story. It is certainly one of the most uniquely constructed films this year and looks stunning on IMAX.

3. The Shape of Water (Fox Searchlight) This film caught me by surprise. I was familiar with Guillermo Del Toro, but hadn’t seen any of his works. Then this love story in the guise of the ‘Creature from the Black Lagoon’ comes along. Its premise is simple, but its intentions are not. Sally Hawkins, Richard Jenkins, Michael Shannon, Michael Stuhlbarg, Octavia Spenser and Doug Jones star.

2. Call Me by Your Name (Sony Pictures Classics) There was a lot of buzz about this film, especially the performances coming out of Sundance and a number of latter year festivals. Luca Guagadnino’s lush film is set in the Italian countryside in 1983. Oliver, played by Armie Hammer, is a graduate student invited to stay with the family for the summer, studying under Sam, Elio’s father and a professor of archaeology. The film is an “actors’ movie” which focuses on the performances, but the story is as paramount to this film as are the performances.

1. Three Billboards Outside Ebbing, Missouri (Fox Searchlight) Martin McDonagh’s dark comedy sits at the top of my list because of its “no holds barred” brazenness. It tells the story of grief and of rage, but it does it in a very approachable way. Frances McDormand, Woody Harrelson and Sam Rockwell are three of the most memorable characters this year and their performances here are no exception.

Honorable Mentions:

The Post

The Florida Project

Phantom Thread

All the Money in the World

The Square

Tom of Finland

Columbus

Get Out

City of Ghosts

The Midnighters*

The Lost City of Z

Land of the Little People*

Beach Rats

Dean

Lucky

Jeff Mitchell's Best of 2017

Jeff Mitchell’s Top 20 Films of 2017

No matter how one feels about 2017, from a movie-perspective, I think that the year has been a most eventful and enjoyable one!  After seeing 247 new films over 12 months, 45 movies could have easily found their way on my Top 20 list.  Well, after much hand-wringing and lots of careful consideration over a few late nights, here are the best 20 films that I have seen in 2017.  (By the way, which film just missed the list?  No. 21 is “Logan Lucky”, Steven Soderbergh’s comedy/heist film.)  

20. “Colossal” – Gloria (Anne Hathaway) is just floating through life in New York City, and after her umpteenth, irresponsible episode, her boyfriend unceremoniously breaks up with her, so she moves back home to the small town that she gladly left behind years ago.   If Gloria thought that her life could not be more turned around, she slowly realizes that she is linked to a Godzilla-like monster who is causing havoc and panic in Seoul.  In his most unique and clever screenplay, writer/director Nacho Vigalondo’s quirky comedy also shifts tones in a sudden move that is almost as surprising as the aforementioned plot, as Hathaway and Jason Sudeikis artfully play in their characters’ unpredictable spaces.    

19. “Call Me by Your Name” – Set in Italy during the summer of 1983, an American teenager, Elio (Timothee Chalamet), has an unforeseen love affair with his father’s graduate assistant, Oliver (Armie Hammer), in a film that director Luca Guadagnino gives the time and space to let their budding relationship breathe over a 2-hour 12-minute runtime.   Elio and Oliver walk with nuanced chemistry, as often times their feelings go unsaid, and their actual spoken words deliver effective complementary impacts.  Elio’s father (Michael Stuhlbarg) offers some words - in one key moment - that effectively tie the film together in an unexpected, breathtaking way. 

18. “A Ghost Story” -  Although writer/director David Lowery’s film contains one – arguably – scary moment, “A Ghost Story” is not a horror film.  Not at all.  Instead, it best resembles a 1-hour 32-minute lesson: to embrace, savor and enjoy the time that we have on this planet…while we are alive.  Casey Affleck and Rooney Mara play an unnamed couple who rent a three-bedroom rural ranch that is haunted by a ghost, one compelled to search for earthly answers from the past.  Terrence Malick’s “The Tree of Life” (2011) is the closest film-comparison in terms of mood, tone and narrative construction, and this polarizing film will effectively haunt those who embrace its eccentric, spiritual experience.

17. “Lady Bird” – Greta Gerwig’s picture appears autobiographical, as both her and her lead character, Lady Bird (Saoirse Ronan), grew/grow up in Sacramento, attended/attend a Catholic high school and dreamed/dream of getting into an East Coast college.  Gerwig, however, said at the 2017 New York Film Festival, “None of the things that happen in the movie literally happened to me, but they all rhyme with the truth.”  Her comedy follows Lady Bird’s senior year with a collection of hilarious detours, mishaps and opportunities for growth, but the strength of the picture lies with the title character’s relationship with her mom, dad and brother (Laurie Metcalf, Tracy Letts and Jordan Rodrigues) in the most honest family picture of the year.  Chances are that “Lady Bird” will “rhyme with the truth” for many, many others.

16. “The Disaster Artist” – “The Room” (2003) is rightfully considered one of the worst movies in recent memory, but legions of fans have embraced it as a cult classic and continue to religiously watch this disaster (as an unintended comedy) at late-night screenings to this day.  Director James Franco’s downright hilarious film – based upon actor Greg Sestero’s memoir - revisits the making of “The Room”, and he also offers a pitch-perfect performance of its unorthodox creator, Tommy Wiseau.  Franco is simply brilliant as Wiseau, who sports 80s heavy metal hair, claims that he is from New Orleans (but carries a thick Eastern European accent) and enjoys an endless supply of money.  “The Room” fans will immediately embrace this picture and probably watch it over and over and over.  What if you have not seen “The Room”?  Well, it is probably a prerequisite for “The Disaster Artist”.

15. “Wind River” – Screenwriter Taylor Sheridan (“Sicario” (2015), “Hell or High Water” (2016)) is no stranger to creating material that is soaked in bleak and somber tones, and with “Wind River”, he wrote and directed a picture dripping with a similar dark ambiance.  During the coldest months of winter in Wind River, Wyo. (a Native American reservation), a game tracker (Jeremy Renner) finds a woman frozen to death, faced down in the snow and without her shoes, but the mystery deepens, because her (Kelsey Asbille) body is miles from anywhere.  A green FBI agent from Las Vegas (Elizabeth Olsen) arrives to help, but she feels somewhat emotionally frozen, like her new environment.  The performances, including Gil Birmingham and Althea Sam, carry demonstrative sobrieties - save Graham Greene, who offers welcome humor in spots – that match this detective story which delves into backyard justice.

14. “What Will People Say” – Writer/director Iram Haq serves a haunting family conflict between modern-day freedoms and vigorous tradition, as Nisha (Maria Mozhdah) – a 16-year-old Pakistani girl living in Norway - clashes with her parents’ conservative ideals.  Very early in the movie, her father, Mirza (Adil Hussain), misunderstands an awkward circumstance and takes his rage out on Nisha in extreme ways.  Intolerance and inflexibility rule in Nisha’s household, and she suffers through an emotional rollercoaster that forces the audience hold its collective breath during displays of control and abuse.   Nisha lives a nightmare that she cannot wake up from and with no allies in sight, the film yanks on our heartstrings and leaves a lingering mark.  For those who embraced 2015’s “Mustang”, “What Will People Say” will resonate as well.  

13. “Maudie” – Sally Hawkins delivers an Oscar-worthy performance with her heartbreaking and inspirational turn as Maud Lewis in a biopic about a sweet, immensely determined and talented artist from Nova Scotia.  Lewis - a fragile woman, riddled with rheumatoid arthritis and no stranger to emotional and physical abuse - decided to move in with Everett (Ethan Hawke), a simple man who uses corrosive anger and blunt insults as his chief methods of communication.  Director Aisling Walsh spends long, important and difficult minutes in the couple’s modest home to build towards an emotional payoff, when life bends in more positive directions through Maud’s cheerful paintings.  Bring your tissues for tears of gloom, joy and revelations. 

12. “Raw” – Justine’s (Garance Marillier) parents drop her off at veterinary school, and she feels a bit nervous about her new journey.  Her older sister, Alexia (Ella Rumpf), already studies there and should be an obvious friendly face, but the college feels like a horror show, as the upper classmen constantly haze the younger students.  Under a backdrop of very disturbing, organized teasing, a more gruesome horror show rises when Justine – a vegetarian – acquires her first taste of meat.  Writer/director Julia Ducournau weaves an unseemly tale of twisted hunger in a supposed bastion of learning.  Filmed in Belgium, this movie keeps the audience off-balance through a story of personal despair via uncontrollable primal urges that cross an extremely taboo human boundary.  A highly effective and deeply disturbing horror movie.   

11. “Thelma” – Although a bit shy, Thelma (Eili Harboe) seems like an ordinary 18-year-old heading off to college.  She is an only child, so her folks – Trond (Henrik Rafaelsen) and Unni (Ellen Dorrit Petersen) – lean toward helicopter parent-tendencies.  In between attempts to make friends and study in the library, Thelma falls ill, and the doctors cannot rationalize the reasons.  In Joachim Trier’s slow-burning thriller, Thelma unknowingly carries more in her DNA than meets the eye, while she struggles to explain her present…and past.  Trier paints an antiseptic, lonely world for Thelma, and then suddenly pulls five-bell fire alarms due to onscreen emergencies.  Occasionally frightening imagery balances the steady narrative, as Harboe, Rafaelsen, Petersen, and Kaya Wilkins (who plays Thelma’s friend) offer strong, contemporary performances in Trier’s unpredictable world.  

10. “The Square” – Writer/director Ruben Ostlund (“Force Majeure” (2014)) is back with an infinitely quirky and entertaining picture about an art curator’s (Claes Bang) experiences after an unusual incident during an ordinary morning in Stockholm.  Ostlund fills his movie with many said incidents, odd visuals and strong comedic writing, as the eccentricities of the museum’s modern art sometimes reflect the lives of the everyday characters.   Bang firmly anchors the picture, while the supporting players cinematically – and sometimes inexplicably - dart around him.  Elisabeth Moss is hysterical as an American journalist, and Terry Notary contributes to the year’s most uncomfortable scene (in a comedy) with his portrayal of an unconventional performance artist.  

9. “Three Billboards Outside Ebbing, Missouri” – Frances McDormand is destined for an Oscar nomination with her best performance since “Fargo” (1996) in writer/director Martin McDonagh’s (“In Bruges” (2008), “Seven Psychopaths” (2012)) latest dark comedy.  Mildred Hayes (McDormand) pays $5,000 to place a message on three billboards, and her actions cause an uproar in the small town of Ebbing and the surrounding areas.  Sam Rockwell deserves an Oscar nomination too – by playing a bigoted deputy with terrible cases of arrested development and poor judgment - and Woody Harrelson, Peter Dinklage and John Hawkes lead an outstanding supporting cast.  Salty language, rough behavior and violence heavily pepper the snappy dialogue and big laughs in one of the year’s most quotable screenplays.

8. “Baby Driver” – Writer/director Edgar Wright literally and figuratively puts the pedal to the metal in his utterly spectacular and stylish heist picture, in which a 20-something named Baby (Ansel Elgort) drives getaway cars for a collection of felonious types (Jamie Foxx, Jon Hamm, Kevin Spacey, Jon Bernthal, Elza Gonzalez, and more).  A nifty, hip soundtrack synchronizes with intricate robbery plans, burning rubber, squealing tires, and an abundance of gunplay in a movie that resonates a specific cinematic euphoria, not unlike two pictures in semi-recent memory, “48 Hours” (1982) and “Pulp Fiction” (1994).  Along with the devilishly impressive, criminal choreography, Wright includes a sweet romance between Baby and a virginal waitress, Debora (Lily James), that grounds the movie with an emotional heartbeat.     

7. “Dawson City: Frozen Time” – When “Talkies” arrived, silent films died, but who could possibly have guessed that they were buried in Dawson City, which sits in northwest Canada, near the Alaskan border.  Director Bill Morrison recounts the mindboggling discovery of over 500 silent films in the one of the most remote areas in North America.  Visually, Morrison constructs the vast majority of his documentary with found-stills and footage of this kinetic little town - that boomed during the gold rush at the turn of the 20th century - and also the previously-lost silent movies.  As Dawson City’s history plays out, Morrison cleverly marries the city’s story with thoughtful edits from the stacks and stacks of silent pictures from the era.  An absolute must-see for film and history buffs, as the ghosts from this bizarre story will sit with you long after the end-credits roll. 

6. “Hounds of Love” – John (Stephen Curry) and Evelyn (Emma Booth) kidnap teenage girls for - apparently - the “sport” of it, as writer/director Ben Young’s camera enters their home and documents the daily, grimy details of the couple’s sick escapades.  The picture feels so raw and authentic, it captures a documentary-like feel that crawls into the darkest crevice of your brain and burrows itself into your permanent memory.  Vicki’s (Ashleigh Cummings) memory is permanently scarred when John and Evelyn choose her as their latest teen prize and escape seems hopeless except for one psychological, longshot idea by playing the “lovebirds” against one another.  Creepy, intense and unforgettable, this Australian thriller/nightmare truly is a frightening gem. 

5. “A Quiet Passion” – Cynthia Nixon delivers one of the very best performances of 2017 with her affecting portrayal of Emily Dickinson in writer/director Terence Davies thoughtfully-crafted picture.  Davies weaves Dickinson’s work into his script, as she fights uphill battles against 19th century sexism and her own demons.  Although Dickinson carries substantial love for her family, she shows little regard for her own worth, as a happy young woman regresses toward isolation and self-doubt.  Using his cinematic gifts, Davies works lighting, music and camera movement to reflect impactful swings of mood, humor, conflict, and duress in a simple setting - the Dickinson home - for a majority of the picture, while Nixon nurtures every nuanced second of her screen time.  A heartbreaking treasure.

4. “Dunkirk” – With hundreds of thousands of Allied troops trapped on the French beaches of Dunkirk and time running out, only an extraordinary rescue can save these men and women.  Writer/director Christopher Nolan plays with time and space – from three different perspectives - and amasses extraordinary on-location efforts to recreate this landmark event of World War II in, arguably, the most compelling war film since “Saving Private Ryan” (1998).   The picture throws the audience into dire despair and then progresses within massive set pieces that connect in ways that are not always clear…at first.  In fact, it may take more than one viewing to completely absorb the film’s intricate and enormous moving parts.  A-list cast members - including Mark Rylance, Tom Hardy, Kenneth Branagh, and Cillian Murphy – effectively offer their characters’ small, individual pieces into this sweeping story commanded by Nolan’s bravado.      

3. “Loveless” – Unfortunately, a significant portion of marriages fail, and this includes the nuptials of Zhenya (Maryana Spivak) and Boris (Aleksey Rozin).  They not only exist in a loveless marriage, but they absolutely despise each other and are not afraid to express their ire in the most vicious of terms.   Zhenya and Boris do still live together but are in the process of selling their apartment and physically going their separate ways.   The problem is that their son (about 10 years old) prematurely goes his separate way, and suddenly, this cheerless couple is coping with a missing child.  Director Andrey Zvyagintsev’s (“Leviathan” (2014)) dark picture purposely mires in misery and hopelessness, and the famous analogy finding needle in a haystack does not even begin to describe the scope of the couple’s new struggle.  Skillfully filmed and constructed under a gloomy atmosphere, “Loveless” is a stunner.

2. “I, Tonya” – The 1994 Winter Olympics in Lillehammer, Norway is mostly remembered (in the U.S., anyway) as the dramatic climax of the Tonya Harding/Nancy Kerrigan saga.  This duel between two very different figure skaters seized the nation’s attention, primarily due to the infamous attack on Kerrigan in Detroit, Mich.  Twenty-three years later, director Craig Gillespie revisits the incident in the Motor City, but much, much more than that, his picture is a Tonya Harding biography with Margot Robbie starring in the title role.  Robbie is mesmerizing as Tonya, as she dazzles on the ice and also conveys the consequences of the physical and emotional abuse that Ms. Harding endured by her husband, Jeff Gillooly (Sebastian Stan), and mother, LaVona Golden (Allison Janney). “I, Tonya” simultaneously generates honest sympathy for Harding and wildly entertains with drama and heaps of unexpected humor, while also routinely breaking the fourth wall.  The Academy should just hand Janney the Best Supporting Actress Oscar now and also give Robbie a Best Actress nomination.

1. “The Florida Project” – The Magic Castle – splashed in purple and yellow - sits in Orlando, Fla., but tourists from around the world do not target it as a specific destination.  It is an extended stay motel that resides near a busy freeway and a concrete neighborhood of fast food joints and discount gift shops, but to 6-year-old Moonee (Brooklynn Prince), this is her playground!  Director Sean Baker (“Tangerine” (2015)) organically captures Moonee’s daily adventures of mischief and laughter, as she and her friends find wonder and opportunity in ways that only children can.  Baker’s film volleys between comedy and tragedy, because he presents – in full view – Moonee’s meager living conditions provided by her irresponsible, but loving, mother (Bria Vinaite).  Willem Dafoe gives the best supporting actor performance of the year as The Magic Castle’s emotionally-weathered, sympathetic manager in a movie that offers a revealing, transparent view of America’s have-nots.   

All the Money in the World - Movie Review by Ben Cahlamer

All the Money in the World

Directed by Ridley Scott

Written by David Scarpa based on Painfully Rich: The Outrageous Fortunes and Misfortunes of the Heirs of J. Paul Getty by John Pearson

Starring Michelle Williams, Christopher Plummer, Mark Wahlberg, Romain Duris, Charlie Plummer

Using the lens of a film camera to capture history has always been an interesting exercise to me. For one, the trade craft have an opportunity to look at fashion and make up; the prop department gets to find classic cars of the era while set designers find just the right artwork to hang on the wall. Filming the 1970s in 2017 has its own set of logistical challenges as well, as Ridley Scott learned during the filming of his latest crime thriller, All the Money in the World.

Why is any of the above germane to your enjoyment of this film?

David Scarpa’s story, set in the mid-1970s, is as much about the look of the times the film is set as much as it is about the story and the man behind an empire. Mr. Scott, for his many gifts, is a perfectionist and there’s no better director out there today to have captured this era or its main subjects, let alone to have captured it twice.

The film centers on the kidnapping of John Paul Getty III (Charlie Plummer) by an organized crime syndicate. A ransom demand is issued for his release, however Gail Getty (Williams) doesn’t have the money to pay the ransom and she fears the worst. As a result, she turns to J. Paul Getty (Christopher Plummer) for help, for which he refuses to pay the ransom. Instead, he turns to his business affairs manager, Fletcher Chase (Mark Wahlberg) to investigate and assist Ms. Getty through the ordeal.

The cast is first rate. Ms. Williams’ performance reminded me of Ellen Burstyn’s performance in The Exorcist: regal, stylish and fashionable, yet very much weary from the family events of the time. Mark Wahlberg has played this role previously, but his performance is fresh. He reminded me of Alain Delon in Scorpio: cool, collected and when called upon, unassuming. Charlie Plummer as young J. Paul Getty could be reminiscent of any young jettsetting actor/musician of the mid-1970’s, but Shaun Cassidy comes to mind: footloose and fancy-free while also being very worldly, having lived in Italy and Morocco as a teenager, yet like his mom, he was guarded. The film suggests that his worldliness made it easier to kidnap him, while his guard prolonged his captivity: he was ingenious when given the chance. Romain Duris, who I wasn’t familiar with before this film, plays Cinquanta, one of young Getty’s captors.

There is a duality between Gail and Fletcher which runs over the course of the film, a symbiotic need even if neither immediately recognizes it. The same duality runs between John Paul and Cinquanta. Both of these relationships are a strong foundation to a remarkable story.

At the center of it all is the man with the tight purse strings, J. Paul Getty. Christopher Plummer, who has been recognized with a Golden Globe nomination for his performance, is absolutely magnetic as the old, miser. As the world’s richest oil magnate, ‘deal’ and ‘discount’ were his operative phrases; ‘family’ was most definitely not one of his top priorities.

As much as it was a logistical nightmare to recreate 1970s Europe, so was the casting of the pivotal role of J. Paul Getty. Reports surfaced during casting that Christopher Plummer was Mr. Scott’s first choice for the role, but he was unavailable. The role was awarded to Kevin Spacey, whose scenes appeared in early trailers and advertising. The film was also set to close the AFI Fest this year, but when a scandal rocked Hollywood and directly implicated Mr. Spacey, the studio decided to pull the film from the AFI Fest and Mr. Scott recasted the role with his original choice, reshooting Mr. Getty’s scenes in just nine days, keeping the film’s release more or less on track.

As with any film Ridley Scott touches, there are many layers and nuances and All the Money in the World is no exception. Each character represents a pawn in Mr. Getty’s grand chess game. Some move willingly, others not so. But, there is an end game in mind, and the reveal at the end of the film is so subtly done that you almost don’t see it coming. And, that’s the hallmark of a Ridley Scott film.

Now in theaters, Ridley Scott’s All the Money in the World captures the essence of what the Getty’s represent to society at large, past and present, while offering a wonderful, modern 1970’s-esque escapist film like The French Connection. Mr. Scott effectively channels his inner Billy Friedkin and John Frankenheimer while exploring the dynamic of a dynasty.

3.5 out of 4

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.