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mccoy on movies

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Does tension and what-would-you-do-nature keep 47 Meters Down from sinking? Our movie critic has all the details.


“Now remember, we hate Blake Lively’s movie and refuse to acknowledge it in public once I strap you in!” Captain Taylor (Matthew Modine) helps Lisa (Mandy Moore) get her oxygen tank strapped in while her sister Kate (Claire Holt) looks on in a scene from co-writer/director Johannes Roberts ocean thriller 47 METERS DOWN. Credit: © 2017 Entertainment Studios Motion Pictures. All rights reserved.


KEY CAST MEMBERS: Mandy Moore, Claire Holt, Chris Johnson, Yani Gellman, Santiago Segura and Matthew Modine

WRITER(S): Ernest Riera; Johannes Roberts 

DIRECTOR(S): Johannes Roberts

WEB SITE:’S THE STORY: Kate (Mandy Moore) has just suffered a bad breakup with her boyfriend. Thus, she’s trying to make the most of her Mexican vacation with her younger sister, the life-of-the-party Lisa (Claire Holt). Always a bit more inhibited than her younger half, it’s understandable that Kate is having a little trouble fully hanging out with Benjamin (Santiago Segura). Lisa is having no such trouble with Louis (Yani Gellman), however. 

So, when Louis and Benjamin suggest they go shark cage scuba diving on the boat of Captain Taylor (Matthew Modine) the next day, Kate, as you might expect is a bit apprehensive. But, trying to shake her old ways, Lisa and the fellas are able to get her to take the plunge. And at first, everything is great.

Then the hook holding the cage in which she and Kate are in snaps off the boat, plunging them from a relatively safe depth of 5 meters to – wanna guess? – 47. And with a limited amount of oxygen to breath in their tanks, Kate and Lisa are going to have to figure out something and quick.

Because, as the movie will go on to show, this is a truly a case of sink of swim unlike any the sisters have ever faced. 

WHO WILL LIKE THIS FILM THE MOST? People who enjoy simply concept horror/thrillers; those who enjoy “now this is a messed-up situation right here” movies; anyone who likes movies that tap into basic human fears/forces its characters to go into survival mode 

WHO WON’T (OR SHOULDN’T) LIKE THIS MOVIE? People who’s water movie terror ends and begins with Jaws; people who are afraid of sharks or isolation; people who won’t be able to handle the sometimes shrill nature of Mandy Moore and Claire Holt’s voices 

SO, IS IT GOOD, BAD OR ABSOLUTELY AWFUL? 47 Meters Down is the type of movie that is easy to dismiss at first glance. After all, we’ve already got plenty of shark attack movies. There’s the Jaws series, of course, as well as Deep Blue Sea, Shark Attack 1, 2 & 3, Open Water 1 & 2, Shark Night 3D, last year’s The Shallows and the epic disaster that are the Sharknado movies among others. Likewise, this isn’t exactly the type of film that’s going to win awards for its acting or technical prowess and – given the situation – it’s one that has led itself to stand-up comedy fodder for decades. Here’s one from then-married comedian Ralphie May discussing black people in movie theaters with Open Water being the film of note (language NSFW and subject matter, depending on how you feel in light of the recent Bill Maher situation, may or may not be offensive to some) … For a safer take, here’s a classic by the late Richard Jeni that offers a take that applies more to you watching the film rather than the logic of the people in it …

I say all that to say this: 47 Meters Down is not a classic film, but it does what it does well  enough to keep you interested in the film through its finish – and that in and of itself is a pretty major achievement. 

Moore and Holt do what they are tasked with doing and they do it well enough that – while you may or may not care about their characters as individuals – you are vested enough to want to see what happens to them. They play well together as siblings, their actions almost always make sense (or at least more sense than the average characters who permeate these type of movies) and co-writer/director Johannes Roberts does a great job at creating tension with his camera angles, lighting and pacing. You get two actresses committed to a showcasing the pure desperate nature of the situation at hand and that, combined with Roberts’ handiwork at showing just how small the two characters are in compared to both the ocean and the creatures surrounding them is compelling.

Other than that, there’s not much more one needs to know about 47 Meters Down as it is pretty much what you would expect: A movie where you find two characters overwhelmed by a situation that should not have gone the way it did, but that they ultimately should never (at least, in most people’s view) put themselves into in the first place because too much could – and does – go wrong. 

Fortunately, 47 Meters Down does enough right to make you feel like you didn’t make the wrong decision in watching it.



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The Bachelor meets The Civil War with a sexual-tension filled remake of The Beguiled. Read on to see what our film critic has to say about it.


“Now, if anyone can just work the microwave, we can eat!” (L to R): Emily (Emma Howard), Edwina (Kirsten Dunst), Alicia (Elle Fanning), Amy (Oona Laurence), Jane (Angourie Rice), Marie (Addison Riecke) and Miss Martha (Nicole Kidman) star in a scene from writer/director Sofia Coppola’s updated take on the Civil War-era drama THE BEGUILED. Credit: Ben Rothstein / Focus Features. All rights reserved.


KEY CAST MEMBERS: Colin Farrell, Nicole Kidman, Kirsten Dunst, Elle Fanning, Oona Laurence, Angourie Rice, Addison Riecke and Emma Howard 

WRITER(S): Sophia Coppola (screenplay); Thomas Cullinan (novel)

DIRECTOR(S): Sophia Coppola

WEB SITE:’S THE STORY: Based on the Thomas Cullinan novel of the same name, The Beguiled stars Colin Farrell as John McBurney, a Irish transplant to America who has been injured fighting on behalf of the Union during the Civil War. Luckily for him, Amy (Oona Laurence) was out picking mushrooms to take back to the seminary belonging to Miss Martha Farnsworth (Nicole Kidman). 

Helping John limp back to the seminary, Amy introduces him to Miss Martha, her schoolteacher assistant Edwina Dabney (Kirsten Dunst) and her young classmates Emily (Emma Howard), Jane (Angourie Rice), Marie (Addison Riecke) and Alicia (Elle Fanning). But despite Amy’s excitement at having a new friend, Miss Martha, Edwina and the rest of the young ladies have a decision to make: Do they let their newfound enemy stranger stay and recuperate or do they turn him over to the passing Confederate soldiers at the first chance they get where he will be imprisoned or, more likely, killed. 

Deciding it to be good Christian charity, Miss Martha and the girls decide to nurse John back to health and then will let him go on his way. But John is no ordinary guest – he’s handsome, he’s charming and he’s more than happy to stay instead of returning to the battlefield.

Since he’s a Union soldier in a Confederate land in a house full of young ladies who haven’t been around a man in a long time, this is surely going to turn out to be ok, right? We’ll see …
WHO WILL LIKE THIS FILM THE MOST? People who enjoy watching The Bachelor an love Civil War stories; Nicole Kidman fans; people who enjoy sexual tension thrillers

WHO WON’T (OR SHOULDN’T) LIKE THIS MOVIE? People who loved the original (possibly); those who will ridicule some of the characters actions; those who find the pacing of the film to be slower than necessary 

SO, IS IT GOOD, BAD OR ABSOLUTELY AWFUL? A film that goes from feeling like an adult movie minus the actual sex to a bit of an overtly dramatic drama in its last 20 minutes with some characters making some very questionable choices, The Beguiled is an interesting film … Just how interested each individual watching it, however, remains to be seen.

The Beguiled‘s first hour is a great build of sexual tension; it’s almost like watching an adult film where none of the actors have sex, are actually acting and tease as if they are going to do it, but then they stop just before they do. Whereas Dunst delivers a nuanced performance as a shy, do-I-deserve-love-schoolteacher, Fanning’s overtly interested Alicia plays well against Kidman’s reserved, I shall pay no attention to this man despite him trying to break down the wall of personal space I have built around myself. Likewise, the performances of the film’s younger female cast members show a commendable amount of skill as being charmed by Farrell’s overtly-polite soldier, Laurence in particular as a young woman who clearly views him as a father figure. 

Where The Beguiled (the 2017 version, mind you – SPOILER ALERT: I have not seen the 1971 version) falters a bit, however, is in areas that are not the cast nor writer/director Sophia Coppola’s fault as the actions of certain characters well, just don’t make sense. I mean, you can see people doing the things certain characters do, but – like the average cast member on a reality show – you’ll simply be flabbergasted that they do them and think things are going to turn out well. Then again, the idea of playing off the film’s title (who is beguiling who, after all?) The Civil War is really just a bit of a backdrop for the story, for this is a story about deception, lust and people taking power in a situation when they feel like their hand has been forced to do so. The examination of rivalry among women over suitors doesn’t exist here at all, however, so that part of the 1971 take on Thomas Cullinan’s novel is skipped in favor of more of a tense thriller where you know something is going to go wrong; you’re just not sure of what and whom it will all affect. 

For a film with quality performances, a very subtle take on women’s empowerment and soap opera outrageousness at times, you could do a lot worse than letting someone beguile you into thinking this movie isn’t an interesting watch. 



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Scarlett Johannson and company turn up the funny in the ensemble comedy Rough Night. Click to see what our movie critic has to say.


“The untold story of Destiny’s stepchildren is a tragic one, indeed …” Alice (Jillian Bell, second from left in blue dress) takes center stage while her best friends Jess (Scarlett Johansson), Blair (Zoë Kravitz) and Frankie (Ilana Glazer) strut their stuff in a scene from ROUGH NIGHT. Credit: Macall Polay © 2016 CTMG Inc. All rights reserved.  


KEY CAST MEMBERS: Scarlett Johansson, Jillian Bell, Zoë Kravitz, Illena Glazer, Paul W. Downs, Ryan Cooper, Dean Winters, Enrique Muriano, Colton Haynes, Bo Burnham, Demi Moore and Ty Burrell 

WRITER(S): Lucia Aniello and Paul W. Downs

DIRECTOR(S): Lucia Aniello

WEB SITE:’S THE STORY: Jess (Scarlett Johansson), Alice (Jillian Bell), Frankie (Ilana Glaser) and Blair (Zoë Kravitz) were the best of friends in college. But now, they’re grown up and dealing with their own problems which is why Jess’ upcoming marriage to Peter (Paul W. Downs) are a perfect opportunity for the four of them to reunite and blow off some steam down in Miami. After all, Frankie is an unemployed activist, Blair is going through a rough patch of her own and Alice is, well Alice seems to enjoy her job as an elementary school teacher.

So, once the foursome meets up Jess’ other best friend, peppy Australian Pippa (played with Kate McKinnon with the right amount of authenticity and audacity), the group looks to have the makings of a perfect weekend. 

Then the stripper (Ryan Cooper) Blair hires shows up … and there’s an incident. (If you watch the trailer, you’ll know what it is.) What follows is more than enough to live up to the movie’s title – and the new champion of the craziest comedy of 2017 thus far. 

WHO WILL LIKE THIS FILM THE MOST? Anyone who liked the movie Bridesmaids; fans of Broad City; Kate McKinnon fans

WHO WON’T (OR SHOULDN’T) LIKE THIS MOVIE? People who will be uncomfortable with the lesbian subject matter; those who hate watching women behave badly; 

SO, IS IT GOOD, BAD OR ABSOLUTELY AWFUL? Women can be and are funny. If you are still having that dumb debate in your head and/or stuck on all the controversy with Kathy Griffin or Amy Schumer, hopefully you will get your mind right and stop having that idiotic notion run through your head.And if that doesn’t do, how about this – Rough Night is the funniest female ensemble cast movie since Bridesmaids (if not more so) and possibly the best comedy (thus far) of 2017. 

Rough Night hits all the beats one needs to hit in modern comedy: the characters are not one-dimensional, they play the wacky moments as if they were serious moments and play off each other perfectly. Likewise, the jokes are sharp, exploits each characters’ foibles expertly and the inherent silliness forces you to become vested in the story and its outcome. 

The thing that separates the film from the pack, however, is the clever nature of the writing combined with the snappy, fully committed timing of the cast. Throw in the slight role reversal shown by Downs (who co-wrote the script with director Lucia Aniello) and his male counterparts – to say more would put a damper on watching the performance – and the film is as sharp a comedy to release this year. McKinnon, in keeping up with her usual track record, steals the show (this time by playing things more straight – no pun intended – than usual) while Bell shows she can be less in-your-face with a character that is more human than her recent work. Johannson might be the biggest winner, however, for the woman who has convincingly played both strong, sexy super heroes and enigmas proves her comedic chops as a normal, stressed out person just trying to live her life. 

If you and your friends are looking for a good way to enjoy living your lives together, seeing Rough Night is a great way to guarantee avoiding one. 



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See why our movie critic says this Zach Braff-helmed remake of 1979 senior citizen bank robbery comedy proves fresh for 2017.


“C’mon fellas – if we’re gonna go on tour, you all gotta be able to twerk! Now bend those hips!” Annie (Anne-Margret) helps adjust Albert Garner (Alan Arkin) as Joe Harding (Michael Caine, far left) and Willie Davis (Morgan Freeman) attempt to stretch in a scene from Zach Braff’s take on GOING IN STYLE. Credit: Atsushi Nishijima © 2017 Warner Bros. Entertainment and Ratpac-Dune Entertainment, LLC. 


KEY VOICE CAST MEMBERS: Michael Caine, Morgan Freeman, Alan Arkin, Anne-Margret, John Ortiz, Keenan Thompson, Christopher Lloyd, Siobhan Fallon Hogan, Joey King, Josh Pais, Peter Serafinowicz and Matt Dillon

WRITER(S): Theodore Melfi (screenplay); Edward Cannon (1979 original story on which the film is based)

DIRECTOR(S): Zack Braff

WEB SITE:’S THE STORY: Joe Harding (Michael Caine) is by all accounts a good man. He let his daughter (Maria Dizzia) and her young precocious 14 year-old Brooklyn (Joey King) move in with him, he’s been a loyal employee at the steel factory he’s worked at for 30 some years and he’s always gotten along with his two best friends there, Willie (Morgan Freeman) and Albert (Alan Arkin). Thus, once he gets a letter from his bank saying his house payment has tripled and has a meeting with the equally uncaring manager at his local branch, he’s understandable upset. Knowing that, it should likewise come at no surprise that he’s especially ticked once he discovers that his employer has been bought in a corporate merger, is moving all manufacturing operations to Vietnam and won’t be paying out his, Wilile’s or Alan’s pensions.

Then, he gets caught in the middle of a robbery at his bank and gets an idea: To get revenge on the people robbing them, why now rob the bank with his two best friends in tow for the ride? 

While it takes some convincing at first, Joe is eventually able to convince Willie and Alan to come along for the ride after getting some intel from his ex son-in-law (Peter Serafinowicz), who hooks him up with Jesus (John Ortiz), their bank robbing 101 master. So, what happens when three senior citizens – one of whom is making Annie (Anne-Margret) very hot to trot – get together and decide to pull off a million dollar robbery?
The answer awaits you at the local cineplex. 

WHO WILL LIKE THIS FILM THE MOST? Fans of the lead cast members; people who enjoy self-aware comedies; anyone who’s never seen the 1979 original and thus won’t be comparing the two films nonstop; anyone who likes a film that has a bit of bounce and energy in playing to its strengths

WHO WON’T (OR SHOULDN’T) LIKE THIS MOVIE? People who wear weary of Alzheimer’s-related jokes; those who have senior family members they don’t communicate with; those who feel the film is restricted by its PG-13 rating

SO, IS IT GOOD, BAD OR ABSOLUTELY AWFUL? A film that one could essentially describe as Grumpy Old Men meets Ocean’s 11 (minus about 7 key players in the mix), Going in Style is a solid comedy that delivers what you expect in effective and entertaining fashion.

Whereas Caine is great is the solid straight man who is trying to do the wrong thing for all the right reasons, Freeman and Arkin shine by taking all the best comedic lines throughout the film. Save for Keenan Thompson throwing out some admirable zingers as a grocery store manager, Arkin and Freeman land all their comedic punches with self-effacing humor that not only is fitting, but genuinely funny. 

In many circumstances, the octogenarian-fueled humor could wear extremely thin in the wrong hands (Christopher Lloyd’s character has both humorous highs and lows in terms of enjoyment), but Caine and co. excel quite well under the direction of Zach Braff, who likely did the best thing a director can do with them: Stay out of their capable hands, offer a few notes where necessary and waste no on-screen time with needless exposition of a fairly simple story. He lets things unfold with a snappy yet smart efficiency and the end result proves itself to be a success. 

A testament to the idea of there being no small parts in a film, the supporting players like Siobhan Fallon Hogan as an amorous waitress, Matt Dillon as a not-so-astute FBI agent and the aforementioned Thompson add comedic style to Going in Style. There’s something to be said, however, for the great rapport the three lead actors share, which makes their on-screen friendship and roles and the way everything fits together in terms of making the cast’s actions make plausible sense. You you understand these characters, you know these characters and most importantly, you like these characters. Those three factors help Going in Style enjoyable no matter how old you are.



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See why our movie critic says Kong: Skull Island is an entertaining take on the primate king … with a few flaws.


“I HATE the album Monkey Business by The Black Eyed Peas – quit asking me about it!” The titular character lets his rage flag fly in a scene from KONG: Skull Island. Credit: Courtesy of Warner Bros. Pictures © 2017 Warner Bros. Pictures, Legendary Pictures’ and Ratpac-Dune Entertainment LLC. All rights reserved.




KEY CAST MEMBERS: Tom Hiddleston, Brie Larson, Samuel L. Jackson, John Goodman, Toby Kebbell, Jason Mitchell, John Ortiz, Shea Whigham, Terry Notary, Tian Jang, Eugene Cordero, Thomas Mann and John C. Reilly

WRITER(S): Dan Gilroy and Max Borenstein and Derek Connolly; story by John Gatins

DIRECTOR(S): Jordan Vogt-Roberts 

WEB SITE:’S THE STORY: Set in 1973 near the height of the Vietnam conflict, Kong: Skull Island begins by introducing us to Bill Randa (John Goodman). Randa works for an agency known as Monarch and he believes there is something worth exploring on a recently discovered, uncharted island in the South Pacific. Fueled by a report from the Harvard education Houston Brooks (Corey Hawkins) and fellow biologist Sam Lin (Tian Jang), Randa and Brooks convinces a senator to let him piggyback on a mission by Landsat (the agency who’s satellite work discovered the remote terrain) to explore the island. And wouldn’t you know it – Randa is able to get the military escort he requests to accompany them there led by Col Preston Parker (Samuel L. Jackson), several of his best soldiers (Hawkins’ Straight Outta Compton co-star Jason Mitchell, Toby Kebbell and Shea Whigham among others) as well as the tracker (Tom Hiddleston) he hired … And an anti-war photographer in Mason Weaver (Brie Larson).

But once they arrive in the realm of the mysterious island, they are greeted by something no one (or maybe at least one of them) expected: A giant, monstrous ape (portrayed for the screen by Terry Notary) who does NOT take kindly to intrusive visitors. But despite Randa’s and Parker’s mutual desire to prove man is king, they soon learn that Kong – and the other species on the island – have a thing or two to shout about that …

WHO WILL LIKE THIS FILM THE MOST? People who enjoyed Godzilla (the Warner Bros. version, not the Matthew Broderick version as NO ONE should enjoy that); John C. Reilly fans; Jason Mitchell fans; people who enjoy well done B-movies; those who thought the Warner Bros. version of Godzilla should have had more teeth (no pun intended) to it; people who enjoy summer popcorn movies that arrive a few months early

WHO WON’T (OR SHOULDN’T) LIKE THIS MOVIE? People who hated Godzilla (both the Matthew Broderick and Warner Bros. versions) and/or The Legend of Tarzan; those who don’t enjoy monster movies; people who hate b-movie fare

SO, IS IT GOOD, BAD OR ABSOLUTELY AWFUL? A film with an awful 20 minute opening followed by an hour and 40 minutes of salvageable to actually quirky yet entertaining fare, Kong: Skull Island is a summer popcorn movie come a few months early … Because there are a couple of stale kernels mixed in with an otherwise decent bucket of fun.

There are two things that really make Kong: Skull Island fun – and those are the performance of John C. Reilly as an adopted Skull Island “native” and the presence of Kong (who is utilized properly in each instance) as portrayed by Terry Notary. Reilly’s performance is the perfect mix of fun and whimsical, giving the audience a character worth actually rooting for in a film otherwise devoid of one (save for the giant ape). Indeed, while Goodman and Jackson play their respective roles well – you KNOW what you’re getting from both within 30 seconds of seeing them – and Mitchell and Whigham add a nice bit of realistic-based humor, Reilly provides one that truly supplements the film with a sweet one while Kong is shown to only be a monster in stature, not in practice. 

That’s all you pretty much you need to know about the movie … Save for the monstrous inhabitants of the island (Peter Jackson’s take on the king in his 2005 telling of the giant gorilla’s tale is pretty much replicated here, but with a more ominous, Lone Survivor tone) and the tribal natives, Skull Island covers familiar territory. And at times, some of that territory is a bit too familiar for its own good. Save for a more-important-than-you-realize-opening-sequence, the first 20 minutes of the film is bland but necessary exposition, the cast is forced to deliver some overtly-ominous dialogue and despite receiving top billing, Hiddleston and Larson don’t do anything remarkable in their roles as much as just play them efficiently. Throw in director Jordan Vogt-Roberts’ early homages to Michael Bay action movies (there are some sequences in here that seem straight out of Transformers) and you get an entertaining – but at times, mixed – bag. 

In short, Kong: Skull Island is a lot like visiting your local zoo: There’s a lot to like … But when you pass through the monkey house, you’re gonna smell some things you wish you hadn’t before you get to the end. 



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The minds behind Despicable Me bring the musical to the forefront of animation with highly entertaining Sing. See if this flick has our movie critic singing its praises.

“OK people – we’ve got to take down Star Wars … Time to be cute as ever!” Ambitious – and desperate for a hit – producer Buster Moon (Matthew McConaughey) and his elderly lizard assistant Miss Crawly (writer/director Garth Jennings) size up the competition in a scene from Illumination Entertainment’s and Universal Pictures’ animated musical SING. Credit: © 2016 Illumination Entertainment and Universal Pictures. All rights reserved. 


KEY CAST MEMBERS: Matthew McConaughey, Reese Witherspoon, Seth MacFarlane, Scarlett Johansson, John C. Reilly, Taron Egerton, Tori Kelly, Nick Kroll, Beck Bennett, Nick Offerman, Jennifer Saunders, Garth Jennings, Peter Serafinowicz, Leslie Jones and Jay Pharoah 

WRITER(S): Garth Jennings

DIRECTOR(S): Garth Jennings

WEB SITE:’S THE STORY: Set in a world with no humans but animals that live and act as we do, Sing introduces us to Buster Moon (voiced by Matthew McConaughey), an ambitious koala who is desperate for a hit to save his theater. Backed by his elderly lizard assistant, the aptly named Ms. Crawly (Sing writer-director Garth Jennings), Buster comes up with a plan he sure is ingenious as it is well, cheap: Host a singing competition with a promise of thousands of dollars to the winner (even if he technically doesn’t have the money yet). Then again, since Buster’s best friend, a laid back sheep named Eddie (John C. Reilly) comes from a rich family, why would he worry about the money. 

Following his city-wide talent search, a few standout contestants emerge: Mike (voiced by Seth MacFarlane), a Frank Sinatra-like mouse who croons as much as he cons; Johnny (voiced by Taron Egerton), a sensitive gorilla who would rather sing than take part in his father’s criminal activities; Rosita (voiced by Reese Witherspoon) an overworked pig housewife who finds her niche once paired up with the outlandish Gunther (voiced by Nick Kroll) and Ash (voiced by Scarlett Johannson), a punk-rock porcupine who is having trouble deciding whether to pursue her dreams once she is picked but her egocentric boyfriend (voiced by Beck Bennett) is not. Timid elephant Meena (voiced by Tori Kelly) could be the biggest star in the show, however … If only she could get over her severe case of stage fright.

But despite all their individual problems, they all have one thing in common: The stage is where they plan to shine, because that’s where they all will go to sing.

WHO WILL LIKE THIS FILM THE MOST? Fans of Despicable Me, American Idol, The Voice and any of other countless singing competitions that have taken over TV in recent memory; pop music fans; aspiring young singers; those who appreciate kid films with an adult orientation

WHO WON’T (OR SHOULDN’T) LIKE THIS MOVIE? Those that will find the film a bit “easy” given its reliance on popular music; people who don’t like watching personified animals; those who find the premise silly

SO, IS IT GOOD, BAD OR ABSOLUTELY AWFUL? One of the best animated films of recent memory and certainly 2016, Sing delivers original entertainment – with a healthy blend of familiar musical fun – suitable for audiences of all ages. 

While it is easy to dismiss the film as a collection of familiar songs being sung by animals, it would also be an incorrect analysis. Taking inspiration in a way from The Muppets Save Manhattan, Sing finds itself with just enough original twists and turns to stand out, thanks largely in part to the excellent animation by Illumination Entertainment that brings the stellar voice cast’s humor, happiness and emotions to life. 

The characters in Sing are well-developed entities, all of whom contribute to the story to make it more than just a simple “animals in a singing competition” film. McConaughey offers up a great performance as the Kermit the Frog like Buster, always dreaming of a big show, having a hit and doing his dad proud. Likewise, many of the contestants – Egerton as Johnny and Kelly as Meena in particular – have stories which are not only relatable but easy and enjoyable to watch progress. Fortunately, there are several characters present to balance out the heavier parts of the film as Kroll’s performance as Gunther could merit it’s own Minions-like spinoff (or at least, Blu-Ray bonus feature) to go along with the hilarious audition footage. 

What really stands out is that in working towards its rather simple climax, the film builds momentum steadily and without ever being predictable, lazy or boring in doing so. Instead, you get lively characters interacting in unique ways while creating an immersive world for both themselves and you as an audience member. Of course, this wouldn’t work were the music not on point as well as it is – and is it ever on point in Sing. While the trailer may tease songs that have long become pop culture staples such as one hit wonder Crazy Town’s “Butterfly,” the actual full-length musical numbers are nothing short of all-out concerts … That just so happen to be performed by animated gorillas, elephants, pigs, porcupines and rodents among others that have to be seen to be appreciated.

Anyone who sees Sing, however, will surely come to appreciate that fact. 



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Will Smith plays a grieving father whose business associates plot to break through his pain. But is it painful to watch? Read on for our film critic’s review.


“What – what do you mean your favorite song is ‘Parents Just Don’t Understand?!'” Howard (Will Smith, right) talks over things with the woman is being led to believe is the embodiment of Death, a.k.a. aspiring play actress Brigitte (Helen Mirren) in a scene from Warner Bros. drama COLLATERAL BEAUTY. Credit: Barry Wetcher © 2016 Warner Bros. Entertainment, Village Roadshow Films North America and Ratpac-Dune Entertainment, LLC.



KEY CAST MEMBERS: Will Smith, Edward Norton, Kate Winslet, Michael Peña, Helen Mirren, Kiera Knightley, Jacob Latimore, Ann Dowd and Naomie Harris

WRITER(S): Allan Loeb

DIRECTOR(S): David Frankel

WEB SITE:’S THE STORY: Howard (Will Smith) was once a brilliant, vibrant man who, along with his best friend Whit (Edward Norton) ran one of the most successful, hip ad agencies in New York City. He was great at his job because he knew that – or at least believed – everyone can be influenced to buy a product because of how it relates to the impact of love, time or death in their life.

Then his 6 year-old daughter died from cancer. And Howard checked out of the world as everyone around him knew it.

Now, with Howard spending most of his days building complex domino displays and sitting for hours at a dog park, the company he built is on the verge of falling apart unless a big deal is completed. But given that Howard has the major sway to sign off on the deal, Whit, Howard’s one-time mentee Claire (Kate Winslet) and the upstart Simon (Michael Peña) need to come up with a plan to save the company … And their friend in the process. So when they hire a private investigator (Ann Dowd) to follow him, they find out just who – or make that what – Howard spends most of his time doing when he’s at his apartment alone. 

This leads to the idea to hire three actors to play the embodiment of the three emotions that used to rule Howard’s work life – Time (Jacob Latimore), Love (Kiera Knightley) and Death (Helen Mirren). But will their actions pay off? Or perhaps Howard will finally get the breakthrough he needs if he ever decides to go to the grief counseling meetings he sees Madeline (Naomie Harris) leading each week.

Whatever it is, perhaps he will one day learn to see the collateral beauty in his existence …

WHO WILL LIKE THIS FILM THE MOST? People who have experienced the loss of a child but been able to find a way to cope/overcome the pain; Will Smith fans; Helen Mirren fans; those in need of a film that will serve as the outlet for a good cry

WHO WON’T (OR SHOULDN’T) LIKE THIS MOVIE? People who have suffered the loss of a child but are not in a place where they can watch a film about the subject; those who hate films with a heavy-handed approach to delivering their messages; those who hate films with twist endings that feel unnatural/unnecessary; those will find the characters’ interconnections off-putting/hokey

SO, IS IT GOOD, BAD OR ABSOLUTELY AWFUL? A film that some will love and others will likely despise despite very good intentions, Collateral Beauty is a film where its actors do their best to make up for its story’s misgivings – and usually, it works.

As always, Smith is dynamic as the incredibly grief-stricken Howard. While we only get a brief glimpse of him at his best in happier times, it is enough for us to be able to appreciate just how much he is devastated by his daughter’s passing. Confession: I actually went to the screening of Collateral Beauty with a friend who has actually lost a child; watching the film, she was overcome with impressed emotion at Smith’s depiction of Howard’s agony, marveling at how things only someone who has lost a child would understand coming through in his performance. Smith’s performance – save for that of is also by far the most believable of nearly anyone else in the cast, as Norton, Winslet and company sometimes border on the edge of being overtly melodramatic as opposed to naturally concerned. Seriously, you take Smith (and to a lesser degree, Harris) out of the picture and the film loses half its appeal (and half of this rating). 

Why is the film so dependent on Smith to save it? Well, you could credit that to the somewhat over the top performances of the rest of the cast, the presentation under director David Frankel and the Hallmark card-like dialogue. (Seriously, it’s either comedically ironic how Howard’s friends hire aspiring, Shakespeare-spewing insightful dialogue or sadly ironic writer Allan Loeb didn’t realize his attempts at often being deep feel terribly trite more often than not.) Add in the twist at the end and if you are irritated by anything mentioned here previously, the tear-jerking moment might simply be met with indifference. 

Still, Collateral Beauty works out as it is a classic audience pleaser with its message coupled with Smith’s and Harris’ respective performances, especially older audiences or anyone in need of a positive-out-of-a-negative experience. The cast as a whole is unoffensive in their performances, Smith is dynamic in his and the “you’re going to cry and this scene is determined to make you with its deep connections to other moments in the film is strong enough to make most appreciate what Frankel and company were trying to do.

It’s just too bad there was a lot of collateral damage along the way to get there. 


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Disney sticks to its formula for animated success with its newest film, Moana. Read on to see what our movie critic has to say about it.


“So … Tell me again about how this is not Frozen set to a Pacific Island twist?” The titular character (Auli’i Cravalho) gets up close and personal with the demigod Maui (Dwayne Johnson) in a scene from Disney’s MOANA. Credit: © 2016 Disney. All rights reserved.


KEY CAST MEMBERS: Dwayne “The Rock” Johnson, Auli’i Cravalho, Rachel House and Jermaine Clement

WRITER(S): Jared Bush (screenplay); Ron Clements, John Musker, Chris Williams, Don Hall, Pamela Ribon, Aaron and Jordan Kandell (story)

DIRECTOR(S): Ron Clements and John Musker

WEB SITE:’S THE STORY: The latest installment in Disney’s princesses of all flavors collection, Moana stars Auli’i Cravalho as the titular character, a princess from an island in the Pacific Ocean. And for Moana, her grandmother (voiced by Rachel House) and the rest of her people, life is good. Then the fisherman notice a complete depletion of their main food resource – leaving them all in a desperate need for help from a higher power.

Enter Maui (voiced by Dwayne Johnson), the shape-shifting demigod of island legend that Moana is desperate to track down and have save her people. 

While he is a fun-loving would-be hero, Maui is also not exactly the easiest guy to track down, which is why Moana and her pet chicken Heihei (voiced by Alan Tudyk) set sail out across the ocean (and against the wishes of her tribal chief father) to find Maui. But once Moana finds Maui, she learns that he is also an egotistical, self-serving demigod who is also missing his magical hook and needs to go on a quest of his own to retrieve it. And thus, the island princess and the demigod come to an agreement: Maui will agree to come to her island and help if she will help him retrieve his magical hook.

So what happens when you put a princess on a boat with a seemingly suicidal chicken and a demigod who is a bit conceited on a quest to travel the ocean? The answer is straight out of Disney’s patented formula for family-friendly entertainment.  

WHO WILL LIKE THIS FILM THE MOST? People who love everything Disney, Dwayne Johnson fans; those who enjoy films with strong female lead characters; those who enjoy family-friendly films that don’t feel as formulaic as they actual are.

WHO WON’T (OR SHOULDN’T) LIKE THIS MOVIE? People who don’t enjoy Disney movies and/or have grown a bit tired of the Disney formula; those who won’t like the mythical elements of the film for either historical accuracy or religious reasons; those who would prefer a film with more depth/message than just one with a basic entertainment aspect 

SO, IS IT GOOD, BAD OR ABSOLUTELY AWFUL? The latest animated accomplishment in the company’s longstanding history, Moana delivers enough expected – and a few unexpected – moments to be worthy of your attention at the theater. 

As one might expect, Moana looks beautiful and – thanks to a soundtrack curated largely in part by Hamilton impresario Lin-Manuel Miranda – sounds upbeat and energetic as one might expect. There is plenty of sing-along material for youths to enjoy and recite and there are enough jokes to keep you chuckling along with the story. The thing that works best in Moana, is the telling of the story itself and commitment of Alui’i Cravalho to her character. 

Cravalho shows no signs of Moana being her first major role, let alone first role ever, throughout the film. Instead, she interjects her character full of trepidation and nervousness when appropriate to the situation and then conveys Moana’s growth with her vocal talents with skill and aplomb. While Johnson is obviously the biggest name in the cast and definitely nails down his part as Maui with skill, Cravalho’s performance prevents her character from becoming either a one-note, over-the-top “isn’t she great?” hero or an undeveloped character. Whereas the secondary characters drop in plenty of jokes, Cravalho’s individual performance plus chemistry with Johnson is the current that keeps Moana flowing like the ocean on which they travel.  You get a strong female character, a male character that is deferential without losing any of his masculinity or purpose and a story that has enough twists and turns that it creates a world with magic that is engaging at best and simply interesting at its worst.

Co-directors Ron Clements and John Musker create a symphony of sounds and sights with Moana, their actors hitting their beats at just the right times to deliver the story that – while it doesn’t do anything spectacular in terms of new animated storytelling ground – is solid from start to finish.



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See what our movie critic has to say about DreamWorks’ new animated musical comedy, Trolls, starring Anna Kendrick and Justin Timberlake.


“Oh snap – my Axe body spray must have worn off!” Poppy (Anna Kendrick) tries to get under the rather prickly skin of Branch (Justin Timberlake) in a scene from TROLLS. Credit: © 2016 DreamWorks Animation LLC. All rights reserved. 



KEY CAST MEMBERS: Anna Kendrick, Justin Timberlake, Christopher Mintz-Plasse, John Cleese, Jeffrey Tambor, Christine Baranski, Ron Funches, James Corden, Zooey Deschanel, Russell Brand and Gwen Stefani

WRITER(S): Jonathan Aibel, Glenn Berger (screenplay); Erica Rivinoja (story by) and Thomas Dam (creator of the book The Good Luck Trolls on which the film is inspired by)DIRECTOR(S): Walt Dorn and Mike Mitchell

WEB SITE:’S THE STORY: An animated musical based on Thomas Dam’s The Good Luck Trolls, Trolls tells the tale of Poppy (Anna Kendrick), a happy-go-lucky individual who lives with her father (Jeffrey Tambor) and the rest of her fellow trolls. Singing and dancing at will, the trolls have a great life … Save for the constant threat of the Bergens, a miserable group of ogre-like creatures who can only find happiness by eating the trolls. And after the head Bergen chef (Christine Baranski) makes an error that denies young Prince Gristle (Christopher Mintz-Plasse) his first troll ever, the Bergens will stop at nothing to find them.

But while every other troll is dancing and reveling in their newfound paradise, Branch (voiced by Justin Timberlake) is the one holdout who not only fears a Bergen return, but is convinced it will happen. That’s why he doesn’t dance, abhors signing and generally keeps to himself. So when the Bergen chef returns to wreak havoc and take revenge, he is the only one smiling.

Well, at least he was smiling, until Poppy finds a way to force him into helping her go on what looks to be a suicide mission to save their fellow trolls before they all become a Bergen buffet … 

WHO WILL LIKE THIS FILM THE MOST? Anna Kendrick fans; people who love movies where the animated characters are irrepressibly cute; those who enjoy family-friendly entertainment that doesn’t fall into the typical unfunny, overdone trappings of films billed as such; those who enjoy films where the characters are more self aware than not 

WHO WON’T (OR SHOULDN’T) LIKE THIS MOVIE? People who find musicals less than enjoyable; people who don’t like animation; people looking for a film with a harder edge

SO, IS IT GOOD, BAD OR ABSOLUTELY AWFUL? A film that is as entertaining as it is undeniably cute and fun, Trolls is a throwback to the days of 1980s Saturday morning cartoons with a few good laughs but but plenty of heart and positivity to help it go a long way to making you smile. 

Perfectly opposed characters at the start, Kendrick’s Poppy and Timberlake’s Branch – much like the leads in this year’s also excellent animated adventure Zootopia – share a nice, enjoyable chemistry that plays well together. Likewise, Zooey Deschanel does some of her best work ever as Bridget, a Bergen in love with young Prince Gristle that proves critical in the trolls epic struggle. While you can see many of the plot points coming, they are done in such an enjoyable fashion that you not only don’t mind, but in some instances you actually look forward to them. Happy without being sappy, fun without being redundant, Trolls follows the formula of having side characters that are funny little creatures to enhance the tale being told with a climax that is earnest in its nature. In short, what you get is a nice, feel good story that you can actually feel good about watching. 

That makes singing the praises of Trolls fairly easy to do. 


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The best-selling book arrives in movie form this weekend in theaters, but is it worth getting a ticket or does the film go off the proverbial tracks? Click to see what our movie critic says.


“Man, I should have just taken an Uber to work … But then again, ‘The girl in the Uber’ just doesn’t have the same ring to it!” Rachel (Emily Blunt) peers out as she passes the home of the seemingly perfect couple … Only to discover something completely unexpected in a scene from director Tate Taylor’s take on the best-selling novel THE GIRL ON THE TRAIN. Credit: DreamWorks Pictures © 2016 Storyteller Distribution Co.


KEY CAST MEMBERS: Emily Blunt, Rebecca Ferguson, Haley Bennett, Justin Theroux, Luke Evans, Allison Janney, Edgar Ramirez, Lisa Kudrow and Laura Prepon

WRITER(S): Erin Cressida Wilson (screenplay); Paula Hawkins (based on the novel by)DIRECTOR(S): Tate Taylor

WEB SITE:’S THE STORY: Based on the book of the same name, The Girl on the Train stars Emily Blunt as Rachel, a divorcee who still not over her ex Tom (Justin Theroux), who has since moved on to marry and have a child with Anna (Rebecca Ferguson). A recovering alcoholic, Rachel has been staying with her friend Cathy (Laura Prepon) for the past 2 years trying to get back on her feet, which mostly consists of her riding the train from the suburbs into Manhattan Monday–Friday.

The most exciting part of Rachel’s existence, though, is the part of her train ride that passes by a seemingly perfect couple of Scott Hipwell (Luke Evans) and his wife Megan (Haley Bennett). Seeing Megan embrace Scott on weekly if not daily basis, Rachel is fascinated by the woman she sees as still having the life she lost in her divorce, a part of herself she can’t imagine ever getting back. Then, one day, she sees Megan kissing a different man who turns out to be Dr. Kamal Abdic (Edgar Ramirez), who also just so happens to be Megan’s therapist. Becoming more and more obsessed with Megan while trying to deal with losing her old relationship, Rachel finds herself in a precarious position once she sees Megan walking one day into a tunnel, determined to confront her about her apparent affair. 

But what Rachel doesn’t know is while she thinks the woman she has been obsessing over has such a perfect existence, the truth of Megan’s life is revealed one moment at a time … All of which comes to a head the moment Rachel decides to follow her into the tunnel …

WHO WILL LIKE THIS FILM THE MOST? Fans of thrillers; Emily Blunt fans; those who enjoy watching films that delve into the lives of damaged characters and watching how to they try to piece together their existence; people who like stories with twists

WHO WON’T (OR SHOULDN’T) LIKE THIS MOVIE? Recovering alcoholics; women in abusive relationships; depressed people who obsesses over strangers; people who hate films that have slow pacing; anyone who can’t buy into the film’s story

SO, IS IT GOOD, BAD OR ABSOLUTELY AWFUL? A film that could be best described in some way as a spiritual cousin to Gone Girl, The Girl on the Train is a thriller that delivers emotionally-strong performances to satisfy those looking for twisty “what’s going on here” tale … Even if there are times the film’s slow pace and twisty tale.

Blunt captures the essence of Rachel with skilled acumen, a necessity in a film of this type with so many slow reveals. Weaving between the present and the past, The Girl on the Train requires an actresses able to not only showcase the best and worst of times in Rachel’s life but also how she is unable to cope with her own life when she knows she’s being self-destructive. Blunt truly shows her skill as an actress in revealing and showing all of these various aspects of Rachel to bring out sympathy and empathy to her character as she tries to make sense of the world around her. 

Likewise, Bennett does an extraordinary job at stripping away the supposed perfect image that Blunt’s character constructs, bringing the “the grass is NOT always greener” cliché out to full blossom. While possessing all the physical attributes Rachel rambles about and wishes she still possessed, Bennett brings out a sadness in her character that shows how much in common the two women have. Of course, this helps act as fine balancing line between the two to keep the film’s emotional undercurrent steady. While Ferguson’s performance accomplishes what needs to be done to move the story forward, it isn’t exactly as memorable as Blunt or Bennett’s, which provide an emotionally necessary juxtaposition. The guys in the film fit in like jigsaw pieces to fill in the bigger picture, but they fit into the story well enough to hit all the necessary beats. 

The only problem is sometimes the beats take a bit too long to get to under director Tate Taylor (The Help, Winter’s Bone) as there are some scenes that feel a bit jumbled in terms of the timeline and fitting into the big reveal of the text. Other than that, the film hits more often than it misses and delivers tension, emotion and intrigue. If nothing else, The Girl on the Train will make you think twice about your daily commute, the people you see and the lives you believe they may or may not live.

It will also make a lot of dudes think twice about not protecting their passwords.