Ben Cahlamers Favorite Christmas Films

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

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

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

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

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

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

Molly's Game - Movie Review by Monte Yazzie

Molly’s Game

Director: Aaron Sorkin

Starring: Jessica Chastain, Idris Elba, Kevin Costner,

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

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

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

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

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

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

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

Monte’s Rating

4.00 out of 5.00

I, Tonya - Movie Review by Jeff Mitchell

‘I, Tonya’ scores gold

Directed by: Craig Gillespie

Written by: Steven Rogers

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

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

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

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

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

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

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

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

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

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

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

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

(4/4 stars)

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

Pitch Perfect 3 - Movie Review by Jeff Mitchell

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

Directed by: Trish Sie

Written by: Kay Cannon and Mike White

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

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

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

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

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

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

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

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

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

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

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

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

(1.5/4 stars)

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

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

Jumanji: Welcome to the Jungle

Directed by: Jake Kasdan

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

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

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

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

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

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

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

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

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

Monte’s Rating

3.00 out of 5.00

Call Me by Your Name - Movie Review by Ben Cahlamer

Call Me by Your Name

Directed by Luca Guadagnino

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

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

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

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

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

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

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

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

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

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

3 out of 4

Downsizing - Movie Review by Jeff Mitchell

‘Downsizing’ does not reach lofty heights

Directed by: Alexander Payne

Written by: Alexander Payne and Jim Taylor

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

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

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

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

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

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

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

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

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

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

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

(2/4 stars)

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

The Greatest Showman - Movie Review by Ben Cahlamer

The Greatest Showman

Directed by Michael Gracey

Screenplay by Jenny Bicks and Bill Condon

Story by Jenny Bicks

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

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

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

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

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

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

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

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

Is it a showstopper? No.

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

3 out of 4

Ferdinand - Movie Review by Ben Cahlamer

Ferdinand

Directed by Carlos Saldanha

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

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

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

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

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

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

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

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

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

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

2.5 out of 4

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

Star Wars: The Last Jedi

Director: Rian Johnson

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

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

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

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

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

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

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

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

Monte’s Rating

3.75 out of 5.00

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

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

Written and directed by: Rian Johnson

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

(2/4 stars)

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

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

Star Wars: The Last Jedi

Written and Directed by Rian Johnson

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

“Breathe . . .. Just Breathe.”

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

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

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

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

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

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

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

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

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

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

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

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

3 out of 4

The Shape of Water - Movie Review by Monte Yazzie

The Shape of Water

Director: Guillermo Del Toro

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

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

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

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

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

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

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

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

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

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

Monte’s Rating

4.50 out of 5.00

The Disaster Artist - Movie Review by Monte Yazzie

The Disaster Artist

Director: James Franco

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

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

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

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

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

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

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

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

Monte’s Rating

4.25 out of 5.00

Darkest Hour - Movie Review by Jeff Mitchell

Oldman’s performance brings light to ‘Darkest Hour’

Directed by: Joe Wright

Written by: Anthony McCarten

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

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

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

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

“He is delusional.” 

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

“He’s a drunkard.”

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

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

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

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

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

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

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

(3/4 stars)     

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

The Disaster Artist - Movie Review by Ben Cahlamer

The Disaster Artist

Directed by James Franco

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

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

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

Why is any of this important?

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

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

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

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

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

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

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

3.8 out of 4

Wonder Wheel - Movie Review by Ben Cahlamer

Wonder Wheel

Written and Directed by Woody Allen

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

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

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

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

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

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

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

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

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

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

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

2.5 out of 4

The Disaster Artist - Movie Review by Jeff Mitchell

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

Directed by: James Franco

Written by: Scott Neustadter and Michael H. Weber

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

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

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

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

Enter James Franco.

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

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

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

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

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

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

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

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

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

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

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

(3.5/4 stars)

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

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

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

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

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

Jeff Mitchell’s Top Five

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

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

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

Well, he has a point.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Good question. 

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

Monte Yazzie’s Top Five

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

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

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

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

see b-movie reviews at www.dchighway.com

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

Ben Cahlamer’s Top Five

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

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

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

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

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

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

A Bad Idea Gone Wrong - Movie Review by Jeff Mitchell

‘A Bad Idea Gone Wrong’ gets a lot right

Written and directed by: Jason Headley

Starring: Matt Jones, Will Rogers and Eleanore Pienta

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

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

Bringing a talkative toddler to a Rated-R movie.

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

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

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

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

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

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

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

(3/4 stars)

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