The Greatest Showman (B). This musical has done only so-so with the critics (Metacritic.com score 45/100 last time I checked), but I must say that I was entertained. The versatile and (to me) eminently likable Hugh Jackman (Logan) stars as P.T. Barnum in a film that is apparently very loosely based on the real Barnum’s life. It is exceptionally sentimental, setting up all sorts of underdogs for us to root for—the impoverished child Barnum in love with the daughter of a rich meanie, the slightly less impoverished adult Barnum hatching his first scheme to entertain the masses, the gaggle of differently abled people (unkindly called “freaks” by some characters) Barnum recruits for his show, and even an inter-racial potential couple. There are lots of songs, and I must say they mostly sounded kind of the same to me. And the big song-and-dance numbers featuring Barnum’s performers resemble the big song-and-dance numbers you might see on “Dancing with the Stars,” and the lights and noise pretty well bludgeon you into submission. Michelle Williams (Oz the Great and Powerful) isn’t given much to do as Barnum’s wife, but Zac Efron (Neighbors) and the formerly unknown to me Zendaya (Spider-Man: Homecoming) have nice supporting roles and a nice musical number together. If you don’t mind a little sap and a little schmaltz, I say give The Greatest Showman a chance.
The Snows of Kilimanjaro (D). I think this is the first DVD I’ve watched all year, and wow was it a snoozer. I think I picked it up at a big sale at the Dallas Public Library. Whatever I paid, it was too much! Gregory Peck (The Gunfighter, also directed by Snows director Henry King) stars as Harry Street, a successful writer and world traveler who has gotten injured while on safari in Africa with his beautiful wife Helen (Susan Hayward, I Married a Witch). He gets delirious with infection, and most of the movie is told in flashbacks–long ones about the great love of his life, Cynthia (Ava Gardner, Show Boat), and shorter ones about his dalliance with a rich artist (Hildegard Knef, Decision Before Dawn). None of it is very engaging, and Harry himself seems like no great prize to me. There’s lots of stock footage of African wildlife, and the soundtrack was very hard to understand at times. There are no extras on the DVD, either. Maybe I would have liked it better if I had ever read the Ernest Hemingway story on which it was based. Nah.
The Big Sick (B). This is a pleasant and affable little romantic comedy with a couple of twists. First, it’s apparently based on the star’s real life romancing of his wife. And second, the main plot point is that the female lead (Zoe Kazan, What If) gets a mysterious illness that puts her into a coma halfway through the movie. After that, it’s mostly about the fellow, Kumail (Kumail Nanjiani, Life as We Know It) having to deal with the girl’s parents (well-played by Ray Romano, TV’s Everybody Loves Raymond, and Holly Hunter, Thirteen) while their daughter is in potentially mortal danger. Also, he’s juggling his would-be career as a stand-up comedian and his overbearing Pakistani parents’ attempts to push him into an arranged marriage. Not everything totally worked for me, but there were enough chuckles, and the leads were likable enough, that I enjoyed it.
A new movie review from the desk of The Movie Snob.
The Hero (B-). That voice. That mustache. The unmistakable Sam Elliott (Tombstone) has an unusual starring role in this little indie flick. He plays a washed-up actor who spends his days smoking marijuana with a buddy (Nick Offerman, We’re the Millers) and doing voiceover work for commercials. And, we quickly learn, he’s facing a serious cancer problem. So he wants to reach out to his estranged daughter, Lucy (Krysten Ritter, Big Eyes). He also, somewhat less credibly, starts dating a woman about half his age (Laura Prepon, TV’s Orange Is the New Black). Katharine Ross (The Graduate), who is actually married to Elliott, has a very small part as his ex-wife. All in all, the movie is a little pedestrian, a little predictable, a little off at times, but Elliott managed to keep me invested. And at 93 minutes long, it doesn’t overstay its welcome.
P.S. I forgot to give a shout-out to Max Gail, who has a small part in this movie. I don’t know that I’ve seen him since his glory days at Detective Wojciehowicz on TV’s Barney Miller, but I recognized him as soon as he popped up in The Hero. Judging from IMDB, he has been working pretty steadily since his Miller days.
Their Finest (B+). It doesn’t have the grabbiest title, but this picture by Danish director Lone Scherfig (An Education) is my favorite of the year so far. The year is 1940, and Catrin Cole (Gemma Arterton, Quantum of Solace) has moved from Wales to London with her artist husband Ellis (Jack Huston, Pride and Prejudice and Zombies). But his dour art isn’t selling, so Catrin gets a job as a screenwriter on a propaganda film about the evacuation of Dunkirk. She clashes with the obnoxious head screenwriter Tom Buckley (Sam Claflin, Pirates of the Caribbean: On Stranger Tides), learns to massage the bruised ego of past-his-prime movie star Ambrose Hilliard (Bill Nighy, I Capture the Castle), and generally gets a crash course in the trials and tribulations of moviemaking. Jeremy Irons (Appaloosa) pops up unexpectedly as a pompous war minister. The sexism of the era is conveyed effectively without being overdone. On the whole, I quite enjoyed the movie.
Passengers (B). The critics haven’t been too kind to this new sci-fi flick, but I liked it pretty well. For this particular movie it’s kind of hard to know what would count as spoilers, so first I’ll just say what the movie is about based on the first ten minutes: an awesome starship from Earth is on a 120-year journey to a new world, with 5,000 passengers and a couple hundred crew members all sleeping the voyage away in suspended animation. But a little problem crops up, and a single passenger—a lowly engineer named Jim (Chris Pratt, Jurassic World)—is woken up 90 years too soon. There’s no way he can put himself back into hibernation, and communicating with Earth is impossible, so he faces living the rest of his life completely alone. The movie is about how he deals with that fate.
The rest of this review might contain spoilers if you haven’t seen any previews for this movie.
As the previews show, and as even the movie’s posters give away, Jim doesn’t stay alone. Another passenger, the lovely Aurora (Jennifer Lawrence, Silver Linings Playbook) also wakes up. How that comes to pass, and how she and Jim get along after she wakes up, are among the most interesting parts of the movie. Michael Sheen (TRON: Legacy) turns up as Arthur, the robotic bartender. The movie’s final act gets rather less interesting as coincidences and unbelievable events pile up. Still, I liked the movie overall. I thought Pratt and Lawrence were very likable, kind of like Ryan Gosling and Emma Stone in La La Land. If you like science fiction, I say give Passengers a try.
Café Society (B). I know Woody Allen is a skeezy old moral nihilist who married his lover’s adopted daughter. Still, I have to say I have enjoyed at least some of his recent movies. (Irrational Man was a pretty glaring exception.) I caught a private screening of Café Society the other night and enjoyed it pretty well. (Okay, it just happened that I was the only person in the theater that night. Still, I felt special.)
Jesse Eisenberg (To Rome With Love) plays “the Woody Allen character.” His name is Bobby Dorfman, and he’s a young man at loose ends in 1930s New York. So he moves to L.A. where his uncle Phil (Steve Carell, Crazy, Stupid, Love) is a hotshot agent to all the top movie stars. Bobby falls in love with Phil’s secretary Veronica (Kristen Stewart, Clouds of Sils Maria), but she’s got a boyfriend. Meanwhile, back in NYC, Bobby’s older brother Ben (Corey Stoll, Midnight in Paris) is making a living as a thug and racketeer. I can’t say more without committing spoilers, but I thought it was an entertaining picture. Bobby is less loquacious and neurotic then most of the Woody-esque characters in Allen’s films, which is a nice change of pace. I’m not sure Kristen Stewart is as pretty and interesting as the movie needs her to be, but I could suspend disbelief well enough.