Month: August 2019

Today’s quick review: The Secret of NIMH. Mrs. Brisby (Elizabeth Hartman), a widowed mouse who lives in a farmer’s field with her family, must figure out a way to get her sick child to safety before the farmer’s plow destroys her home. Aided by Jeremy (Dom DeLuise), a clumsy crow, Mrs. Brisby braves the farmer’s cat and other perils to seek the help of Nicodemus (Derek Jacobi), a wise, old rat who was friends with her husband.

The Secret of NIMH is a family animated fantasy adventure based on a book by Robert C. O’Brien. The Secret of NIMH tells the story of a courageous mouse who faces great danger to save her family. The movie features a likable heroine, an engaging plot, lush animation, and a dash of magic. Its dramatic tone and mature content skew dark for a kids’ movie, but adult viewers and resilient youngsters will appreciate the weight this brings to the film.

The Secret of NIMH has an ususually strong story. The building blocks are simple and familiar: talking animals, a heroic journey, and a small-scale conflict writ large. What sets The Secret of NIMH apart is its quality of execution. The stakes are clear from the very beginning, the plot unfolds at a steady clip with a few good wrinkles along the way, and everything is presented with an appropriate sense of mystery and wonder.

The keystone of the story is a top-notch protagonist. Mrs. Brisby is a brave and purehearted mouse who’s easy to root for. Neither the strongest nor the smartest animal in her world, she succeeds through courage and persistence. The supporting characters are not especially complex, but they suit the needs of the story perfectly. The story and characters are backed by striking, brooding painted backgrounds and lively character animation.

Try The Secret of NIMH when you’re in the mood for a mature sort of kids’ movie. Its unflinching treatment of death and danger sets The Secret of NIMH apart from most other family adventures, while its rock-solid story and high-quality animation make it worth the watch. Skip it if you’re looking for something lighter. For a more comedic take on a similar premise, check out The Rescuers or The Rescuers Down Under.

7.6 out of 10 on IMDB. I give it a 7.0 to 7.5 for high all-around quality.

Today’s quick review: Ocean’s 11. Danny Ocean (Frank Sinatra) and Jimmy Foster (Peter Lawford) round up nine more of their Army buddies, including Sam Harmon (Dean Martin) and Josh Howard (Sammy Davis, Jr.), for a daring criminal enterprise. The plan is to rob five Las Vegas casinos at the same time, just after midnight on New Year’s, by using a blackout as cover. But the real challenge will be getting the money out of Vegas once they have it.

Ocean’s 11 is a crime movie with an ensemble cast. The Rat Pack unites as a group of World War II veterans with a scheme that’s worth a fortune. The movie features a motley cast of thieves, a classic soundtrack, and decent banter. However, its long setup, brief heist, and limited payoff keep Ocean’s 11 from living up to its full potential. Rather than its plot, the film has to rely on characters that are not quite strong enough to carry it.

Ocean’s 11 takes a while to get going. Danny Ocean spends the first forty minutes of the movie just assembling his crew, and with one or two exceptions, the characters aren’t distinctive enough to justify the wait. The leads have a fun dynamic between them that comes through intermittently, but their dialogue can be hard to follow, thanks to their breezy speaking style, a proliferation of characters, and minimal exposition to get the viewer started.

The heist has a few interesting ideas, but in the end there isn’t much to it. The plot has a tendency to drift, first as the movie introduces its cast and later on as the gang deals with the aftermath of their attempted robbery. One or two of the subplots do end up mattering, but others, such as Danny’s patchy relationship with his wife (Angie Dickinson), are dropped without ceremony. The result is a somewhat underwhelming heist story.

Watch Ocean’s 11 when you’re in the mood for an old-school crime movie with a strong cast. Its execution leaves something to be desired, both as a heist movie and a nominal comedy, but fans of the actors may appreciate its style. Modern audiences will be better off with the remake starring George Clooney, Brad Pitt, and Matt Damon, which features a better plot and funnier dialogue. For a heist comedy with more heart, try the original Going in Style.

6.6 out of 10 on IMDB. I give it a 6.5 for a solid cast and a decent premise held back by a weak plot.

Today’s quick review: Nacho Libre. Nacho (Jack Black), a friar at a Mexican monastery, has dreamed his whole life of becoming a luchador. He finally gets his chance when he spots a flyer for an amateur wrestling league. Donning a mask, Nacho teams up with Esqueleto (Hector Jimenez), a scrawny beggar he met on the street, to fight for fame, for the money to support the orphans, and to impress the beautiful Sister Encarnacion (Ana de la Reguera).

Nacho Libre is an underdog sports comedy starring Jack Black. Nacho Libre tells the story of an underappreciated friar and his forbidden passion for lucha libre. Unfortuantely, the movie falls short of its ambitions. The characters are more loser than lovable, the humor misses the mark, and the romance, such as it is, is irredeemably awkward. Slow pacing, a static presentation style, and a flat story arc put the nail in the coffin.

Nacho Libre has the makings of a fun movie, but it has a hard time following through. The comedy is a mixture of physical humor, underdog scenarios, and the skillfully awkward antics of Jack Black, with a splash of toilet humor for good measure. But there are only a handful of gags that hit home, and even the best ones are muted thanks to the long setup and cooldown for each joke. The film never keeps its momentum for long.

From a story perspective, Nacho Libre makes a few key mistakes. Nacho is not a sympathetic protagonist. He’s an underdog whose redeeming features are buried under a thick layer of erratic behavior and ineptitude. The recipe is right but the proportions are wrong: Nacho is a joke first and a character second, giving him little room to grow and robbing the story of its heart.

The plot has similar issues. Nacho Libre strips away too much of the classic underdog story and ends up taking away most of its drama. Even as a light, almost flippant take on the genre, the movie would benefit from a touch of drama to tie everything together, make Nacho more sympathetic, and keep the plot moving along. The romance is similarly stunted. Nacho’s impossible love for a nun is played for laughs, but it’s another blow to the film’s core.

Watch Nacho Libre only if you are a die-hard fan of Jack Black or goofy, awkward comedies. Nacho Libre has its moments, and its particular flavor of humor will catch some viewers the right way, but most will be better off skipping it. For a funnier, more heartfelt movie starring Jack Black, try Be Kind Rewind. For a sillier and more successful comedy in a similar vein, try Dodgeball or Zoolander.

5.7 out of 10 on IMDB. I give it a 5.5 for a weak story and humor that misses the mark.

“Just another Wednesday.” —The Nurse

Today’s quick review: Hotel Artemis. After a bank job goes wrong, a robber (Sterling K. Brown) takes his injured brother to the Hotel Artemis, a hospital and safehouse for criminals, where the Nurse (Jodie Foster) tries to patch them up. But with a riot raging outside, a VIP patient on the way, and the power on the fritz, the Hotel Artemis may not be safe for long. The brothers must decide whether to ride out the storm inside or head for greener pastures.

Hotel Artemis is a crime thriller with sci-fi elements. Set in a near-future Los Angeles torn by water shortages and riots, Hotel Artemis injects a dash of futuristic technology into the crime genre. The film makes a lot out of a simple premise. Intriguing plot hooks, dynamic characters, a compelling setting, and a cast of familiar faces make Hotel Artemis a solid watch. However, failure to capitalize on its strengths keeps it from going further.

The allure of Hotel Artemis begins with its setting. The Hotel Artemis oozes with flavor, a decrepit ruin of a hotel converted into a high-tech hospital and a sturdy safehouse. The Nurse and her orderly (Dave Bautista) are the only ones keeping the place running, and the Hotel manages to be both an impregnable fortress and an aging institution on the verge of collapse. Just being set in the Hotel gives the movie a great sense of atmosphere.

But what makes the setting come alive is its characters. The standout performance is from Jodie Foster, an affable, tough-as-nails nurse who has spent over two decades patching up criminals at the Hotel. Her character is sharp, nuanced, instantly likable, and given depth by her agoraphobia. The other lead role belongs to Sterling K. Brown, who plays a savvy criminal constantly dragged into bad situations by his irresponsible brother.

Hotel Artemis also has a talented supporting cast. Dave Bautista plays the tough, loyal, and impossibly large orderly. Sofia Boutella and Charlie Day are the hotel’s other guests, an assassin laying low and a sleazy businessman, respectively. Jeff Goldblum and Zachary Quinto round out the main cast as an injured crime boss and his weakling son. They are not the deepest or most original characters, but all of them have their moments.

The movie’s chief failing is that it doesn’t go far enough. Within the first half-hour, Hotel Artemis sets up half a dozen tantalizing plot threads, any one of which could drive the rest of the movie on its own. The only problem is that the film loses confidence in what it has. Rather than weave the threads together in a spectacular tapestry of conflict, coincidence, and cross purposes, it lets each one play out linearly and more or less separately.

The result is a good movie with glimmers of greatness. Hotel Artemis could have easily been as complex as Lucky Number Slevin or Smokin’ Aces, as stylish as John Wick or Atomic Blonde, or as moving as the various character-focused crime dramas. But instead it shows glimpses of potential. Its style, its plot, and its characters are all competently handled, but a few changes could have really made them shine.

Give Hotel Artemis a shot if you’re a fan of stylized crime movies with novel premises. Though it falls short of its potential, what’s there is decent at worst and often quite enjoyable. But those looking for flawless storytelling should look elsewhere. For a crime movie with a similar atmosphere and lots more action, try John Wick and its sequel. For a stylized action movie with a similar atmosphere and more intrigue, check out Atomic Blonde.

6.3 out of 10 on IMDB. I give it a 7.0 for a clever premise, an interesting world, and an engaging plot, held back by the inability to put all its pieces together.

Today’s quick review: Pom Poko. When their forest home is endangered by the spread of suburban housing developments, the raccoons of Tama Hills decide to protect their way of life with their magical powers of transformation. The raccoons use pranks, scare tactics, and sabotage to try to drive off the humans. But with the forest dwindling and times getting tough, even the raccoons’ magic may not be enough to stop the humans’ advance.

Pom Poko is a Japanese animated fantasy comedy from director Isao Takahata and Studio Ghibli. Pom Poko tells the story of a tribe of raccoons determined to protect their forest in their own peculiar way. The movie mixes light, cartoonish antics with a strong environmental message and tragic overtones. The storytelling style most closely resembles a history, with lots of exposition and only passing focus on individual characters.

Pom Poko’s greatest draw is its colorful cast of raccoons. The raccoons of Tama Hills are a lazy, easygoing lot who nonetheless rally when their home is threatened. Their powers of transformation let them change shape, turn into inanimate objects, or even impersonate people, a skill they put to good use against the humans. Their friendships and quarrels show the friendly, earnest, and chaotic side of human nature writ small.

However, Pom Poko does have some peculiarities that set it apart from typical family comedies. The story takes place over the course of several years, relying heavily on the narration to convey the key events. The raccoons struggle has a certain amount of tragedy to it, and they run into setback after setback. The film is also steeped in Japanese culture, although it does a good job of explaining the bits of folklore that are impmortant to the plot.

Overall, Pom Poko makes for an odd but enjoyable watch. It has the liveliness and beauty that all Studio Ghibli films share, and even its stranger qualities have a certain charm to them. Skip it if you’re looking for a focused adventure with a singular hero. For a stylized comedy with similar story and presentational elements, try Isle of Dogs. For a Studio Ghibli film with a similar vibe and a lighter tone, try My Neighbor Totoro.

7.4 out of 10 on IMDB. I give it a 7.0 to 7.5 for fun characters and a high degree of craftsmanship, held back somewhat by its unusual choices.

Today’s quick review: The Muppets Take Manhattan. After graduating from college, the Muppets decide to take their senior variety show, a musical called “Manhattan Melodies”, to Broadway. But finding a producer proves difficult, and as tempers run high and funds run low, the Muppets decide to go their separate ways. It’s up to Kermit, the musical’s writer and director, to stay in New York, sell the musical, and keep his friends’ dream alive.

The Muppets Take Manhattan is a musical comedy in typical Muppet style. Featuring a motley cast of puppets, enthusiastic musical numbers, and a fun sense of humor, The Muppets Take Manhattan sees Kermit, Miss Piggy, Fozzie, Gonzo, and their friends try to break into Broadway. The movie has many of the strengths of the usual Muppet formula, but its plot, music, and ending are all a step down from the Muppets at their best.

The Muppets Take Manhattan has a few flaws that keep it from living up to its full potential. The plot has the structure of an underdog story, but there’s little in the way of intermediary progress. Much of the Muppet cast spends the movie out of town, putting a damper on the ensemble camaraderie the Muppets are known for. The musical numbers are also a step below average, fun but forgettable songs that are often only loosely tied to the story.

Still, The Muppets Take Manhattan gets enough right to be an entertaining watch. The antics of Kermit and friends hold the same appeal as ever, the story is earnest, and there are a few impressive feats of puppetry. Give The Muppets Take Manhattan a shot when you’re in the mood for something light an innocent. For a better take on a similar premise, check out the original Muppet Movie.

6.9 out of 10 on IMDB. I give it a 6.5 to 7.0 for charm and enthusiasm tempered by mixed execution.

Today’s quick review: Song of the Thin Man. Nick (William Powell) and Nora (Myrna Loy) Charles end up in the middle of another murder mystery when the conductor of the jazz band on a gambling boat is shot. Suspicion falls on Phil Brant (Bruce Cowling), a friend of Nick and Nora, but he’s not the only one with a motive. To solve the crime, Nick must conduct his own investigation and beat the police, vengeful bookies, and the real murderer to the punch.

Song of the Thin Man is a crime comedy as well as the sixth and last entry into the Thin Man series. Song of the Thin Man puts a more dramatic spin on the usual Thin Man formula of wisecracks and light mystery. The film dives into the mystery early and doesn’t let up until Nick has untangled every knot in the case. However, shaky fundamentals and muted comedy make Song of the Thin Man a somewhat weaker, though still entertaining, finale to the series.

Song of the Thin Man injects more drama into its mystery than before. Nick operates independently from the police, the details of the case are darker, and the outcome is less certain. The drama is effective enough, and ignoring a few minor flaws, the mystery is well-constructed. But the perilous tone puts a damper on the humor, and restrained performances from William Powell and Myrna Loy keep the film from sparkling like the series at its best.

Still, Song of the Thin Man has enough going for it to make for a fun watch. The mystery is solid, the dialogue is clever, and the film is headlined by two capable actors. Fans of classic comedies will enjoy Song of the Thin Man almost as much as the other Thin Man movies, while noir aficionados may appreciate it as an unusually light entry into the genre. For more like it, check out the other five films in the series.

7.1 out of 10 on IMDB. I give it a 7.0 for good mystery, a dash of comedy, and mixed execution.

Today’s quick review: The Thin Man Goes Home. Nick Charles (William Powell) takes his wife Nora (Myrna Loy) to go visit his parents (Lucile Watson and Harry Davenport) in his old hometown. But his reputation as a detective sends the small town’s criminals into a panic, culminating in a murder on his parents’ doorstep. The victim is a local artist who was in some kind of trouble, but it will talk all of Nick’s skills to find out what.

The Thin Man Goes Home is a crime comedy and the fifth movie in the Thin Man series. The Thin Man Goes Home puts a small-town twist on the usual formula. Rather than solving a crime in New York or Los Angeles, Nick has to ply his trade as a detective among the places and faces of his youth. The Thin Man Goes Home hits many of the same beats as the other Thin Man movies, but its execution is not as polished, leaving it a fun but unexceptional watch.

The film’s flaws are subtle and subjective. The mystery has several good twists along the way, but the wrap-up depends heavily on clues that have been kept hidden from the viewer. On the comedy side, The Thin Man Goes Home gives Nora more to do, but the dialogue and situations are not quite as punchy as the best films in the series. Nick’s parents also don’t make as much of an impact as they could have.

Check out The Thin Man Goes Home if you’re a fan of the series and in the mood for something light. Depending on your taste in mystery and comedy, The Thin Man Goes Home can be a step down from the series’ peak, but it still makes for a charming watch. Those who like the classics would do well to give it a shot, if only to catch William Powell and Myrna Loy in action. Skip it if older comedies don’t appeal to you.

7.4 out of 10 on IMDB. I give it a 7.0 for good comedy and a decent mystery, but lacking the expertise of its predecessors.

Today’s quick review: Shadow of the Thin Man. Nick Charles (William Powell) and his wife Nora (Myrna Loy) have their day at the horse track ruined when a jockey accused of fixing races is found murdered. Lt. Abrams (Sam Levene) begs Nick, a renowned detective, to take a look at the case. But it’s only when suspicion for a second murder falls on Paul Clarke (Barry Nelson), a reporter and a friend of Nick, that he agrees to search for the real culprit.

Shadow of the Thin Man is a crime comedy and the fourth film in the Thin Man series. Shadow of the Thin Man brings back Nick and Nora Charles for another mystery, this time investigating a gambling racket that has turned bloody. The film has the same virtues as the previous ones: two leads with great chemistry, a steady stream of banter, and a solid mystery. Though not as outstanding as the first film, Shadow of the Thin Man is a worthy sequel.

Shadow of the Thin Man puts a greater emphasis on mystery than the previous films. It sets up the mystery early, introduces a slew of characters connected to it, and lets the events of the plot play out naturally, rather than cramming them into the back half of the movie. The result is a typical Thin Man mystery with better pacing and a better payoff. The cost is a slight dip in the amount of comedy, but there’s still plenty left to entertain.

Try Shadow of the Thin Man if you’re a fan of the series, or if you’re just in the mood for an amusing, well-constructed mystery. William Powell and Myrna Loy are still a delight to watch, and the early start to the mystery changes up the formula just enough to keep things fresh. Skip it if you are looking for a more dramatic mystery or an edgier comedy. For a serious noir, try The Maltese Falcon.

7.3 out of 10 on IMDB. I give it a 7.0 to 7.5 for a solid plot and a pair of entertaining leads.

Today’s quick review: It Happened One Night. Ellen Andrews (Claudette Colbert), the daughter of a Wall Street tycoon, escapes her father’s clutches to go marry her sweetheart. All that stands in her way is a cross-country bus trip from Miami to New York. But when the trip proves more difficult than expected, Ellen accepts the help of Pete Warne (Clark Gable), a down-on-his-luck reporter who agrees to help her get to New York in exchange for her story.

It Happened One Night is a classic romantic comedy with an engaging plot and a strong pair of leads. The story follows Ellen Andrews and Pete Warne from their chance meeting to their eventual partnership as Ellen tries to make it to New York. Along the way, they confront thieves, rain, bus troubles, poverty, and every obstacle in between. As the trip wears on, their frosty relationship gradually turns into something resembling love.

It Happened One Night’s most distinctive feature is its pair of headstrong leads. Claudette Colbert stars as Ellen Andrews, a runaway heiress with poor street smarts and a capricious personality. Clark Gable plays opposite her as Pete Warne, a gruff, sarcastic newsman who sees Ellen as his ticket back into his boss’s good graces. Each one is flawed and disagreeable, but together they make an excellent pair who grow over the course of the movie.

However, it can be hit-or-miss. Everything from the humor to the plot to the romance depends on the viewer’s favorable impression of its two leads, and neither one is immediately likable. But as the viewer gets to know them better, their fiery interactions grow more charming and more amusing. The film has a knack for character development, and the many twists and turns of their journey let the film set up a clever, satisfying payoff.

Try It Happened One Night if you’re a fan of classic-style, antagonistic romance. Not everyone will take to Clark Gable and Claudette Colbert, but those who do will be treated to a dynamic romance with a well-structured plot. Skip it if you prefer the sweeter variety of romance. For another romantic comedy in a similar vein, try The Philadelphia Story, Roman Holiday, or His Girl Friday.

8.1 out of 10 on IMDB. I give it a 7.5 for two colorful leads and a strong plot.