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period film

Wonder Woman 1984 (2020)

Wonder Woman 1984 Review: Sequel Floats On One Wing - The Returning Gal  Gadot - 2.5 Stars (Out Of 5)

DIRECTOR: Patty Jenkins

CAST: Gal Gadot, Chris Pine, Pedro Pascal, Kristen Wiig

REVIEW:

Unpopular opinion time: while I acknowledged 2017’s Wonder Woman as the most solid movie to come out of the troubled DC Expanded Universe at the time (which was no great accomplishment when held up against the hot messes of Batman v Superman and Suicide Squad), I wasn’t onboard the bandwagon showering it with rapturous praise, and felt it was a fairly standard-issue comic book superhero origin story. With Wonder Woman 1984, Patty Jenkins (returning to the director’s chair) has crafted a sequel that is bigger, brighter, and flashier than its predecessor, serving up flashy eighties glitz (as indicated by its title) and cheerfully campy superhero action wedded to a sometimes surprisingly heartfelt and thematically rich plotline that recaptures the earnestness and heroics first ingrained in pop culture by Richard Donner’s Superman (from which it borrows a page or two). Its tonal differences from its predecessor might gain it a mixed reception from the first film’s ardent fans, but it’s a welcome blast of fresh air and unabashedly old-fashioned comic book superhero heroics.

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Mank (2020)

https://i1.wp.com/media.criticalhit.net//2020/10/Mank_trailer_GaryOldman.jpg

DIRECTOR: David Fincher

CAST: Gary Oldman, Amanda Seyfried, Lily Collins, Arliss Howard, Tuppence Middleton, Joseph Cross, Ferdinand Kingsley, Tom Pelphrey, Sam Troughton, Tom Burke, Toby Leonard Moore, Charles Dance

REVIEW:

David Fincher’s period piece, telling the (mostly) true story of Citizen Kane screenwriter Herman “Mank” Mankiewicz, filmed in black-and-white and made to emulate the look and feel of an actual movie from the 1940s with meticulous verisimilitude, may be the notoriously perfectionist and visually dynamic director’s most technically challenging (and in some ways technically accomplished) project to date, but his laser-focus on capturing the look, style, and feel of a 1940s Hollywood motion picture results in a lukewarm emotional temperature. For Fincher, this has been a passion project and a labor of love; he’s working off a script credited to his own late journalist/essayist father Jack Fincher (although producer Eric Roth, who previously wrote Fincher’s 2008 film The Curious Case of Benjamin Button, also had a hand in the screenplay), who wrote what would eventually become Mank in the 1990s. Fincher had originally intended to film his father’s script in 1997 after finishing The Game, envisioning it as starring Kevin Spacey and Jodie Foster, but plans fell through (his father never lived to see it finally completed, passing away in 2003). Alas, while one can respect what Fincher has accomplished here on a technical level, whatever passion may have gone into the making of Mank is not stirred by watching it. Mank is entertaining and engaging, especially for those with an interest in the subject matter or an appreciation for “Classic Hollywood”, but it’s at times emotionally uninvolving and appeals more to appreciators of witty dialogue and technical filmmaking craftsmanship than to the heart.

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Enola Holmes (2020)

Enola Holmes Teaser Unites Millie Bobby Brown & Henry Cavill on Netflix  This September

DIRECTOR: Harry Bradbeer

CAST: Millie Bobby Brown, Henry Cavill, Sam Claflin, Helena Bonham Carter, Louis Partridge, Burn Gorman, Adeel Akhtar, Fiona Shaw, Susie Wokoma, Frances de la Tour

REVIEW:

An adaptation of the first of a series of Sherlock Holmes spin-off novels by Nancy Springer inventing his younger (but equally deductive) sister Enola, Enola Holmes is a thin but breezy YA mystery-adventure that works almost in spite of itself. Fans of Sir Arthur Conan Doyle’s original Sherlock Holmes mysteries might be unimpressed by what amounts to YA spin-off fanfiction, but for those who aren’t too demanding, it’s a slight but charming diversion carried by a delightfully effervescent lead performance by Millie Bobby Brown.

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The Devil All The Time (2020)

Netflix's 'The Devil All the Time' is an overheated mess: Movie review

DIRECTOR: Antonio Campos

CAST: Tom Holland, Robert Pattinson, Sebastian Stan, Jason Clarke, Riley Keough, Bill Skarsgard, Eliza Scanlen, Haley Bennett, Mia Wasikowska, Harry Melling

REVIEW:

An adaptation of Donald Ray Pollock’s novel of the same name, The Devil All The Time suffers from a scattershot ensemble narrative—and overly slavish fidelity to Pollock’s sprawling written work—but compensates with a solid cast and a strong sense of atmosphere and slow burn tension to be a morbidly engrossing odyssey into darkness, even if it doesn’t quite add up to the sum of its parts.

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Mulan (2020)

Mulan's 2020 online release: Everything to know - CNET

DIRECTOR: Niki Caro

CAST: Liu Yifei, Donnie Yen, Jason Scott Lee, Gong Li, Jet Li, Tzi Ma, Yoson An, Rosalind Chao

REVIEW:

After such titles as Bill Condon’s Beauty and the Beast, Guy Ritchie’s Aladdin, and Jon Favreau’s The Lion King, Niki Caro’s Mulan finally does something a little different. Partly the filmmakers had a little more wiggle room because the 1998 animated musical original is not as iconic as the above titles, and was never considered among Disney top tier, but avoiding a scene-by-scene regurgitation helps Mulan avoid the feeling of an expensive cosplay that befell the previous live-action remakes. Mulan overall feels fresher and stands on its own as an engaging adventure.

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Hamilton (2020)

DIRECTOR: Thomas Kail

CAST: Lin-Manuel Miranda, Leslie Odom Jr., Christopher Jackson, Phillipa Soo, Renée Elise Goldsberry, Daveed Diggs, Jonathan Groff

REVIEW:

Counting Hamilton as a “movie” is using the term loosely, rather a live film recording of the original run of the 2015 Broadway musical featuring its original cast, but while no filmed recording can fully recreate the immersive nature of seeing a show live, Hamilton‘s release on online streaming service Disney + (following Disney outbidding all competition to call dibs on the film rights) gives a chance for those who missed or could not afford the opportunity to buy Broadway tickets, or those who wish to revisit the play’s original run with its original cast, a chance to experience the phenomenon for themselves. A musical adaptation of Ron Chernow’s 2004 biography of American Founding Father Alexander Hamilton, with Broadway star Lin-Manuel Miranda composing the songs, writing the lyrics, and starring in the title role, Hamilton deserves its success and popularity. While non-musical fans might not be converted, for those to whom the medium appeals, it’s a lively, lavish, passionate production of the highest quality combining rap, pop, and showtunes to turn a biography into an engaging and energetic modernized history lesson that both educates and entertains.

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Little Women (2019)

DIRECTOR: Greta Gerwig

CAST: Saoirse Ronan, Emma Watson, Florence Pugh, Eliza Scanlen, Laura Dern, Timothée Chalamet, Chris Cooper, Meryl Streep, Tracy Letts, James Norton, Bob Odenkirk, Louis Garrel

REVIEW:

When it comes to a story that’s been adapted as many times as Louisa May Alcott’s 1868 novel Little Women (most prominently by Gillian Armstrong in 1994), the differences between versions of such an oft-told story are matters of performances and screenwriting choices. Comparing Greta Gerwig’s adaptation to Armstrong’s is a bit like comparing apples and oranges. Armstrong’s was a straightforward telling. Gerwig juggles the time frame and deconstructs some aspects while (as might be expected from her prior cinematic output) honing in on the feminist elements. The result is intriguingly “different” enough to have a valid claim to exist as its own thing, but in some ways is a less satisfying experience.

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1917 (2019)

DIRECTOR: Sam Mendes

CAST: George MacKay, Dean-Charles Chapman

REVIEW:

Despite being the original so-called “War to End All Wars” (only to be surpassed for both global scale and body count by WWII a mere twenty years later), WWI hasn’t gotten much attention from the movies. Apart from All Quiet on the Western Front all the way back in 1930, and Steven Spielberg’s War Horse, there aren’t many notable films, or even films period, centering on the 1914-1919 conflict. With 1917, Sam Mendes has added at least one worthy entry to the slim ranks of WWI films. Filmed in seemingly one continuous unbroken take, 1917 is a visceral, immersive experience that takes us along with its two protagonists on a harrowing odyssey. It’s not the most “feel good” viewing (though nor is it as unremittingly bleak and hopeless as All Quiet on the Western Front), but it is by turns harrowing, heart-tugging, exhausting, heroic, and satisfying. All Quiet on the Western Front is its only real rival for the best WWI film ever made—not that there’s much other competition for that title—and for one of the last films of the year, it also stakes a worthy claim to being one of the most technically impressive and most powerful.

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Ford v. Ferrari (2019)

DIRECTOR: James Mangold

CAST: Matt Damon, Christian Bale, Jon Bernthal, Tracy Letts, Josh Lucas, Caitriona Balfe, Noah Jupe, Ray McKinnon

REVIEW:

Ford v. Ferrari, director James Mangold’s (Walk the Line, Logan) docudrama chronicling events leading up and involving the 1965 and 1966 Le Mans, is likely to appeal to the same audience that appreciate Rush, Ron Howard’s similarly-themed docudrama. The key difference is that the central dynamic here, rather than the “frenemies” there, is in full-blown “buddy movie” mode—albeit not without a little tension—but both movies do an effective job of balancing visceral racing sequences with strong human drama.

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Midway (2019)

DIRECTOR: Roland Emmerich

CAST: Ed Skrein, Patrick Wilson, Woody Harrelson, Luke Evans, Mandy Moore, Dennis Quaid, Aaron Eckhart, Nick Jonas, Keean Johnson, Luke Kleintank, Darren Criss, Tadanobu Asano, Etsushi Toyokawa

REVIEW:

One goes into “a film by Roland Emmerich” with tempered expectations. I wasn’t expecting the next great war epic, but I had—I thought—reasonable expectations of something along the lines of Michael Bay’s Pearl Harbor; some big-scale war action intermixed with corny human drama. Alas, even for those modest expectations, Midway fails to deliver, once again begging the question of why such a hack as Emmerich continues to have his relentless mediocrity rewarded with gigs directing big-budget disaster/war movies. In fact, while I’m no Michael Bay fan, one could say that at least Bay knows he makes big, dumb action flicks where lots of stuff blows up real good. Emmerich occasionally displays pretensions of helming historical epics, and here (as usual) his reach exceeds his grasp.

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