February 3
"The Space Between Us" - The first human born on Mars travels to Earth for the first time, experiencing the wonders of the planet through fresh eyes. He embarks on an adventure with a street- smart girl to discover how he came to be.
February 10
"The Lego Batman Movie" (http://www.legobatman.com/) - Bruce Wayne must not only deal with the criminals of Gotham City, but also the responsibility of raising a boy he adopted.
"Fifty Shades Darker" (http://www.fiftyshadesmovie.com/) - While Christian wrestles with his inner demons, Anastasia must confront the anger and envy of the women who came before her.
"John Wick 2" (http://www.johnwick.movie/) - After returning to the criminal underworld to repay a debt, John Wick discovers that a large bounty has been put on his life.
February 17
"The Great Wall" (http://www.thegreatwallmovie.com/) - European mercenaries searching for black powder become embroiled in the defense of the Great Wall of China against a horde of monstrous creatures.
"A Cure for Wellness" (http://www.acureforwellness.com/) - An ambitious young executive is sent to retrieve his company's CEO from an idyllic but mysterious "wellness center" at a remote location in the Swiss Alps but soon suspects that the spa's miraculous treatments are not what they seem.
February 24
"Tulip Fever" - An artist falls for a young married woman while he's commissioned to paint her portrait during the Tulip mania of 17th century Amsterdam.
'Crass commercialism' is what the true founders of McDonald's, Mac (John Carroll Lynch) and Dick (Nick Offerman), rejected in the 1950s. But if it's all up to them, we would never see the famed golden arches conquering the fast food world as it is today.
Directed by John Lee Hancock, "The Founder" tells the story about how a traveling milkshake machine salesman, Ray Kroc (Michael Keaton, "Spotlight"), gets into the business with the McDonald brothers and turns a single burger joint into a worldwide empire.
Initially the McDonald brothers wanted to move west to Hollywood and make it in the movie business. As luck would have it, their movie theater opened at the start of the Great Depression. One thing was clear, however. Even as businesses were failing, people still needed to eat. When a hot dog stand could thrive in such dire economic climate, they pivoted to the restaurant industry. The original McDonald's was born.
Riding the drive-in popularity, the McDonald brothers had customers drive in to the parking lot and waiters come to them. They soon noticed that the majority of sales came from three items - burger, fries and soft drink. The duo switched their business model and invented an automated system of food preparation, ordering and serving, as cleverly demonstrated in the 'burger ballet' practice sequence.
Fast food was a brand new concept at the time. Ray experiences first-hand how impressive it was to have his order ready in 30 seconds, in disposable wrapper, bag and cup. He sees an opportunity with massive potentials and wanted a slice of the pie. Ray envisions golden arches in every town as places of gathering for community, family and food.
While reluctant at first, the McDonald brothers allow Ray to join them. They decide to expand on the franchising element and put him in charge as the head of franchisees. Their main concern is quality control - how to maintain consistency in the standards as far as speed and quality across all locations.
The concern is valid. Facing challenges of rogue franchisees, Ray focuses his recruitment on the right type of people - those with desire, drive and fire to succeed, at the same time, are order-abiders.
The growth of the business has impacted Ray's family life and financials. A fortuitous encounter with a finance executive, Harry Sonneborn (B.J. Novak), at the bank gives him a new lease on life. Instead of being beholden to the McDonald brothers for a tiny percentage of profit, Ray dives into a new kind of business with Harry - land holdings. They tie the franchises into those lands through leases and gain complete control.
Emboldened by success and motivated by bigger profit, Ray goes a step further by violating his original contract with the McDonald brothers. At the suggestion of the wife of one of his franchisees, Joan Smith (Linda Cardellini), he uses a much cheaper raw material for a key item on the menu.
The McDonald brothers don't know what hits them until it's too late. Ray Kroc is the founder of the McDonald Corporation. He may not have the name or invent the system, but he's the one revolutionizing the industry and known to the public.
"The Founder" is fast-paced, crisply packaged with a retro look and comedic touch. Keaton plays the role with folksy charisma and hustler smarm, selling all his pitches. On one side, the movie portrays the ideals of having a vision, ambition, persistence and determination to achieve your dreams. On the other side, ruthlessness to exploit opportunities and win at all costs in the land of the free.
"The Founder" may not be as wholesome as the global brand markets itself to be, but it is an engaging story about the great idealism and darker reality of American capitalism.
Jimmy
Fallon came swinging as the host of the 74thGolden Globe Awards. The opening act was
fantastic, mirroring the Los Angeles jammed freeway song-and-dance number from “La
La Land,” only with celebrities in their cars lining up on the red carpet to
get to the awards show. It transitioned seamlessly
to a modified “City of Stars” piano-playing and gliding-into-the stars dancing
scene with Justin Timberlake.
Unlike
previous hosts – Ricky Gervais, Tina Fey and Amy Poehler – Fallon didn’t make much of an impression. He did get one political zinger out. Golden Globes show is the one place where
Americans still honor the popular vote.
The
first award of the evening, Best Supporting Actor in the motion picture drama category,
went to Aaron Taylor-Johnson (“Nocturnal Animals”). Best Supporting Actress went to Viola Davis (“Fences”). Frontrunner Casey Affleck scored Best Actor (“Manchesterby the Sea”). French actress Isabelle
Huppert surprisingly earned Best Actress award (“Elle”), besting Hollywood A-listers
Amy Adams, Natalie Portman and Jessica Chastain.
“Zootopia,” quite possibly the most brilliant animation of all time, won Best
Animation.
As
expected, “La La Land” racked up the most wins in the musical/comedy
category, including Best Original Score and Best Original Song to begin with. Ryan Gosling was awarded Best Actor. He quipped that it wasn’t the first time he
was mistaken for Ryan Reynolds. Singing and dancing his way through the movie was one of the best filming
experiences he had. Emma Stone, Gosling’s
co-star, predictably won Best Actress. Stone
cited hope and creativity as the two most important things and that she shared
the statue with other working artists. She moved 13 years ago to Los Angeles this week as an aspiring actress.
Damien
Chazelle took home two awards for Best Screenplay and Best Director. He thanked
the producers for taking on a gamble on his proposition for the modern, Los
Angeles-set musical, which was not easy to put together. The movie capped it all by winning Best
Picture in the same category.
Viola
Davis presented Cecil B. DeMille lifetime achievement award to arguably the most revered
actress in Hollywood today, Meryl Streep.
She stated that Streep made her feel proud for being an artist and that
what she had in her – her body, her face, her age – was enough.
Streep
took the stage and made a political joke about Hollywood Foreign Press being the
most vilified party, Hollywood – Foreigners – Press. She went on to reveal which foreign countries
where some actors and actresses were born or raised in and sarcastically noted,
"Hollywood is crawling with outsiders and foreigners, and if you kick us
all out, you’ll have nothing to watch except for football and mixed martial
arts, which are not arts."
Streep
asked the press to stand up to President-elect Donald Trump, “We need the
principled press to hold power to account, to call them on the carpet for every
outrage,” after she called out Trump for mocking a disabled reporter during his
campaign. "Disrespect invites
disrespect, violence incites violence. When
the powerful use their position to bully others we all lose." Streep stirringly ended her speech by quoting the belated Carrie Fisher, "Take your broken heart, make it into art."
And the Golden Globe goes to…
Best
Picture, Drama: “Moonlight”
Best
Picture, Comedy or Musical: “La La Land”
Actress,
Drama: Isabelle Huppert, “Elle”
Actor,
Drama: Casey Affleck, “Manchester by the Sea”
"Every time we get a chance to get ahead, they move the finish line. Every time."
Directed by Theodore Melfi and based on the book by Margot Lee Shetterly, “Hidden Figures” is a remarkable story about three African-American women who worked at NASA in the age of space race as the 'human computers' and their significant contributions to the program. While it tells a weighty story, it is filmed with a lighthearted tone and has a breezy pace.
Katherine Goble Johnson (Taraji P. Henson), Dorothy Vaughn (Octavia Spencer) and Mary Jackson (Janelle Monae) are colleagues and friends at a segregated research center. They ride to work together, socialize and bond over the reality of life in the 60s as women of color.
Denied promotion, Dorothy performs the work of a supervisor without the title or the pay. Mary has the brain of an engineer and prerequisite education but isn't able to enroll in an engineering program at the university. Katherine, a genius mathematician assigned to the Space Task Group is placed as the bottom of the totem pole. Simply because of their color and gender. No matter how brilliant their minds are, they are required to be subservient and are undermined at every turn.
Racism and sexism permeate every fabric of the severely prejudiced society. Not only relegated to the back of the bus, there are 'colored' sections for everything - work area, restroom, cafetaria, even a separate coffee thermos. It's an eye-opener for the younger generations who didn't live through that disturbing era.
Memorable scenes pack emotional and inspirational punch, powered by great acting. Dorothy has to sneak a programming book out of a white-only library because it's not available in her designated library. Mary has to petition the court and summon the courage to speak to the judge for a chance to be able to take the requisite engineering classes held in a white-only high school. Katherine's outburst from being questioned in the open about her work ethic because she disappears for a long period of time during work hours (she has to walk a half mile each time and back to go to the colored ladies room in another building).
Katherine in particular directly helps calculate trajectories of space launch and landing. Some portions of the film deal with number crunching, mathematical equations and later on the dawn of mainframe computers. Even though the end result is widely known, Colonel John Glenn's (Glenn Powell) historical orbit trip, both pre-launch and post-flight efforts to bring him back to Earth safely, bring suspenseful moments. Too soon of an entry point, he would burn upon re-entry. Too late, he will be further away from the Earth gravity and would never be able to return home.
These empowered women march on every day with dedication, diligence, persistence, resilience and determination. It's a fine balance between knowing their place, stepping further back and showing clear deference to their peers and supervisors (Kevin Costner, Jim Parsons, Kirsten Dunst), and at the same time, being resourceful, assertive and confident in themselves in seizing opportunities, moving towards achieving their dreams, and being a part of history.
And if history has taught us anything, there's always a first in everything. It's wonderful to see that these pioneers are no longer hidden. One of the best films of the year, "Hidden Figures" is phenomenally uplifting and life-affirming.
An aspiring actress (Emma Stone, "The Amazing Spider-Man") and an idealist jazz pianist (Ryan Gosling; "The Big Short," "The Ides of March," "Drive") fall in love and work through their ambitions to make it in the city of dreamers and movie stars. The charming leads sing, tap and twirl through their meet-cutes and rocky relationship.
Story-wise, not much happens for a long while, but it kicks in the later part of the movie. It's about the pursuit of one's life passion, versus going with the practical route of settling for a regular job and steady income.
For all the A-listers, there are far more working artists. Countless audition rejections, taking on a second job as a studio barista or a safe one in a local band to make ends meet. The road to achieve one's dreams is not without crushed hopes and personal sacrifice.
Los Angeles is aesthetically filmed, awash with a pastel palette and accentuated with pops of bright colors. Dreamlike cityscapes and streets in daylight, twilight and illuminated night. Flared dresses in blood red, royal blue, emerald green and canary yellow.
Melodious song-and-dance numbers include memorable sequences such as a real freeway traffic jam, whimsical tap-dancing on the hill in the dusk, magical floating among the stars in the planetarium, among others. There's also a melancholic duet on the original song for the movie, "City of Stars."
A romantic musical that blends Old Hollywood fantasy with modern reality, it's a lovely movie to end or start the year.
A mechanical engineer, Jim Preston (Chris Pratt, "Jurassic World," "Guardians of the Galaxy"), is aboard the Starship Avalon, a spaceship transporting over 5,000 passengers to a newly colonized planet, Homestead Colony.
All passengers and crews are in cyrosleep during the planned 120-year interstellar trip. 30 years en route, the spaceship passes through a meteor shower, leading to a cascade of system failures, which results in the malfunction of one of hibernation pods, Jim's. He is awakened 90 years earlier.
Pratt is solid here, in portraying Jim's mental state. From amusing himself with top-flight amenities of the luxury starliner, interacting with the solo android bartender (Michael Sheen, "Tron: Legacy"), to internalizing the terrifying realization of being absolutely alone and will be for the rest of his life. He continues to maintain some level of likeability throughout.
When a second passenger, journalist Aurora Lane (Jennifer Lawrence; "The Hunger Games" series, "X-Men" series, "American Hustle"), is also awakened from slumber, Jim and Aurora naturally form a relationship. They get to know each other, dance with hologram partners, play basketball, watch movies, have drinks, dine in opulence, take heady space walks. But it's a relationship built on a major secret. Jim has done something that irrevocably crosses the line.
Eventually Jim and Aurora realizes that they are onboard of a sinking spaceship and everyone's lives is in mortal danger. The movie rushes toward resolution with a lightning speed, moving from a romantic drama to action.
The movie's got very cool visual effects. A super sleek spacecraft with expansive exterior and interior design that looks futuristically real. A viewing deck for a luminous cosmic show. An infinity pool at the edge of deep space.
Those spoiled by the great sci-fi flicks in the last few years, "Gravity," "Interstellar," "The Martian," and most recently, "Arrival," have undoubtedly looked forward to hopping on the "Passengers" galactic train.
Compared to those critically praised pictures, "Passengers" has garnered less than stellar reactions. It has a lot to do with an early plot twist (which may or may not be a spoiler, depending on which synopsis you've read) and the ending.
While it's easy to judge Jim's morally questionable actions in the beginning, even those who love solitude will likely never know what it truly feels like being the last person alive. Humans are social beings. And Aurora's subsequent actions, she chooses to make those decisions on her own. The movie touches on an existential ("what would you do?") and morality issues.
It may be easy to dismiss "Passengers" as a Titanic in space with a Hollywood ending. Ironically, it would have been just that if it's two passengers stranded in a spaceship and making the best of what they have. But it's more than that. "Passengers" offers a sci-fi romance with a thought-provoking twist.
[Originally posted on 12/29/16] January 6
"Underworld: Blood Wars" (http://www.underworldbloodwars-movie.com/site/) - Vampire death dealer, Selene, fights to end the eternal war between the Lycan clan and the Vampire faction that betrayed her.
"Hidden Figures" (http://www.foxmovies.com/movies/hidden-figures) - A team of African-American women provide NASA with important mathematical data needed to launch the program's first successful space missions.
January 13
"Live by Night" (http://www.livebynight.movie/) - A story set in the Prohibition Era and centered around a group of individuals and their dealings in the world of organized crime.
January 20
"xXx: The Return of Xander Cage" (http://www.returnofxandercage.com/) - Xander Cage is left for dead after an incident, though he secretly returns to action for a new, tough assignment with his handler.
"Split" (http://www.splitmovie.com/) - After three girls are kidnapped by a man with 24 duel personalities they must find some of the different personalities that can help them while running away and staying alive from the others.
January 27
"Resident Evil: The Final Chapter" - (http://www.sonypictures.com/movies/residentevilthefinalchapter/) - Alice is the only survivor of what was meant to be humanity's final stand against the undead. The Umbrella Corporation is gathering its forces for a final strike against the only remaining survivors of the apocalypse.
"Gold" - An unlikely pair venture to the Indonesian jungle in search of gold.
“Lobbying is about foresight and anticipating your opponent’s moves and plotting countermeasures.”
Nothing gets Elizabeth Sloane (Jessica Chastain; "The Martian," "Zero Dark Thirty," "The Debt") up in the morning than strategizing, plotting down tactics and winning. That is, if she sleeps at all. Insomniac and pill-popping Elizabeth is a top lobbyist everyone loves to hate or hates to love. She's not a sympathetic character, but she gets results.
Elizabeth stuns her supervisor and head of a premier lobbying firm, George Dupont (Sam Waterson), and colleague Pat Connors (Michael Stuhlbarg; "Doctor Strange," "Trumbo," "Pawn Sacrifice"), when she unceremoniously rejects NRA's campaign proposal to bring over more women's votes for guns.
Elizabeth quits and takes her team to an underdog firm helmed by Rodolfo Schmidt (Mark Strong; "Kingsman: The Secret Service," "The Imitation Game"), to lead a campaign on behalf of a nonprofit group to implement a universal background check for gun sales. Rodolfo recruited her earlier based on her go-getter reputation, although he regretfully realizes that such acclaim might not have been achieved without some questionable schemes.
Hardheartedly ambitious and cunning to the bone, polishedly put-together Elizabeth is a constant presence among Washington, D.C. movers and shakers, moving and shaking things on behalf of her clients. Behind the scene and in front of the camera, she skillfully shapes public opinions and influences legislators to pass or defeat proposed legislations by all means necessary.
And by all means necessary means exactly that. The two women in Elizabeth's crosshairs are former mentee Jane Molloy (Alison Pill) and current colleague Esme Manucharian (Gugu Mbatha-Raw). Jane has her seemingly clear reasons to stay put with Elizabeth's previous firm. Esme has something that may be fair game for Elizabeth's ride towards winning.
No line is too far to cross, as long as it will put her on the triumphant side when all is said and done. She steamrolls and sacrifices anyone who gets between her and her end-goal. And this time, her career, and freedom, are at risk. She is facing a congressional hearing, led by Congressman Ron Sperling (John Lithgow, "Interstellar"), due to alleged improprieties of her conduct.
It may be easy to dismiss "Miss Sloane" as a gun control propaganda. It's not. It's really a story about the inner workings of D.C. power brokers, how the rich and powerful individuals and organizations pressure and manipulate policy makers, and how positions are lobbied and bought. Our system may be a democracy and we may elect our representatives, but our representatives may not necessarily act in the best of our interest.
Would you vote for or against a cause based on your conscience, because you believe it's the right to do, if it would cost you your career and future? On the other hand, at what price would you be willing to pay if it is to win your cause? What about moral or ethical considerations when it comes to exploiting other people for the benefit of your cause?
Written and styled like an Aaron Sorkin's film, by director John Madden and writer Jonathan Perera, "Miss Sloane" crackles with force and is carried through a ferocious performance by Chastain. Fervently captivating, she owns every frame she is in.
The political blather, rapidly edited and delivered fast, may not be easiest to digest, but really pay attention to Elizabeth's words. There are inconspicuous hints from the very beginning that lead to a surprisingly satisfying payoff.
Amidst adaptations, remakes, prequels and sequels, political thrillers ("Argo," "The Ides of March") are hard to come by these days. "Miss Sloane" is a well-played political chess game.
A mournful loner, handyman
named Lee Chandler (Casey Affleck; "The Finest Hours," "Gone Baby Gone") rushes to
his hometown upon hearing the news about his brother's condition in the hospital. After his brother, Joe (Kyle Chandler; "The Wolf of Wall Street," "Argo"), dies, not only Lee is making
funeral arrangements and handling his financial and legal affairs, to his disbelief, he has been appointed guardian of Joe's teenage son, Patrick (Lucas
Hedges). Patrick has a living mother, but there are reasons why she is not a part of his life.
Returning
home is one of the hardest things for Lee, who faces reminders of his painful
past, including his ex-wife, Randi (Michelle Williams; "My Week with Marilyn," "Shutter Island"), and the working class community that whispers behind his back. In the flashbacks, Lee was a happy-go-lucky
guy with a loving family and friends. An
unfathomable tragedy broke him and drove him out of town.
The
day-to-day interactions between Lee and Patrick, dealing with typical teenage issues, provide some of the lighter
moments. Although it's clear that sorrow
hangs heavy in the air. Affleck simmers
with searing hurt, guilt and grief, with occasional fits of rage. There are two major scenes that are tear-jerkingly
devastating. Emotionally crushing
performance by Affleck and Williams.
"Manchester
by the Sea" is exquisitely shot, with the winter seaside town as an integral part of the film. Snowy streets,
gray skies, cold seas and fishing trips. There's even a
disconcerting talk about what to do with the departed, which would not have
been a conversation in the first place outside of the New England freezing
winter.
Directed and written by Kenneth Lonergan, "Manchester
by the Sea" pulls you in gently and it's soberly absorbing. It feels like real life, with messiness and setbacks. Not everything broken can be made whole again. A simple slice of life story, yet a
complicated one.
Futuristic director Robert Zemeckis ("The Walk") goes old-fashioned with espionage, romance and Casablanca in "Allied."
In 1942, Canadian intelligence officer Max Vatan (Brad Pitt, "The Curious Case of Benjamin Button") quietly parachutes into a Moroccan desert. He is quickly met by a driver, who takes him into town.
At a glitzy party in Casablanca, he locks eyes and lips with a stunning woman, a French resistance fighter, Marianne Beausejour (Marion Cotillard; "The Dark Knight Rises," "Inception"). Cottilard radiates warmth and mystery. Meeting for the first time, they pull the wool over everyone's eyes as a married couple.
Ever the perfectionist, Marianne goes through the cover story down to the last detail. His French accent, the tailored clothes, their rooftop rendevouz. Although the facade may have melted as the two watch the sun rise over sand dunes.
Back to business, their mission is to attain an invitation to an event where a Nazi ambassador will be attending. They will take him out there. A ticking clock counts down to a diversion, the duo executes the assassination with precision and make their exit.
Falling in love, Max and Marianne move to London, get married and have a baby daughter. It's domestic bliss until Max is notified by his superiors that Marianne might be a German spy. He is forced to follow a simple plan that will flush out his wife. And if she is proven to be a traitor, he would be tasked to kill her himself, otherwise, he would be charged for treason.
When feelings are involved though, nothing is simple. Marianne's words could be seen as perceptive or suspect. Max refuses to believe that Marianne is not who she says she is and goes to great length outside of the official channel to prove her innocence. It's a conflict between duty to his country and love for his family.
"Allied" plays like a beautiful montage with sumptuous sets, luxe lighting, impeccable costumes and glamorous stars. Even the nighttime air raid has a movie look. There are suspenseful moments for sure, but as a whole, it doesn't grab you as emotionally as it should be. It does get more real towards the end and it ends on a poignant note.
"Arrival" arrives in theaters as an alien kind of movie, but the Denis Villeneuve-directed sci-fi is anything but. For sure, it's got aliens. But other than their presence, it's not about them... It's really a story about us.
"Arrival" joins the league of cerebral sci-fi films in the last few years - "Gravity" (2013) "Interstellar" (2014) and "The Martian" (2015) - exploring existential themes, carried by strong central characters, graceful cinematography, otherworldly scores, excellent production and sound designs.
The first visual of the spaceship is quietly striking. Shaped like half of an egg, a massive monolith comes to view, hovering low above the plain field of Montana, surrounded by fogs. Suited up in hazmat suits, the crew climbs up an entry point at the base of the shell, gets propelled by gravity, eerily inching closer to the glass panel that separates the creatures from the humans. The aura is foreboding.
The octopus-like creatures, often shrouded in haze, are later called heptapod and they communicate through a series of circular inkblots. While government officials demand answers - who they are who they are, what they are doing, what their purpose on earth is - there's no shortcut to get there. It's mostly up to Louise to first initiate contact in a way that hopefully is universal to interpret and decipher the rest of the swirly symbols.
To make matters urgent, average Americans and other countries have grown restless. What started as a collaboration among nations, primarily data-sharing, has evolved into widespread fear and unrest, particularly after something gets lost in translation. Communication breaks down. A herd mentality follows and global war is now impending. The foreign language lesson method is deemed too slow. Governments want the extraterrestrial objects blown out of the skies.
These scenes are intertwined with Louise having vivid images in her head during the day and in her dreams. Memories of the past, visions of the future. Fragments of her tender relationship with her daughter; her birth, childhood and death. Adams' emotive performance shows in Louise's softness and steely resolve, realization and acceptance of what is. Her life may not be what you think it is.
Language is the basis of civilization. It's how we understand and communicate with the world around us. And therefore, our brain is wired to comprehend certain elements of life in definite ways, such as the notion of time. However, since we may not be alone in this universe, our understanding may not necessarily be-all and end-all.
You could even extrapolate the message that it would behoove us to keep an open mind, observe, listen, learn to seek meaning and understanding, including a principle or practice that may differ from our normal perception, and do our best to communicate with one another.
The ingenuity of the film lies in the overarching premise, pieces that come in the form of the past, present and future that connect a life story to the overall theme, and without your realizing that you've been offered smattering clues about what is transpiring. You're riding this journey with Louise and you'll be awakened along with her towards the denouement.
An enlightening tale about the human mind, communication and perception, "Arrival" is thoughtful and thought-provoking.
This year's Marvel's supremacy streak doesn't end with "Captain America: Civil War." It's got trick up its sleeves with "Doctor Strange," an origin story venturing into a whole other universe.
Dr. Stephen Strange (Benedict Cumberbatch, "The Imitation Game") is a brilliant neurosurgeon. Self-centered and an all-around jerk, he doesn't have any qualms about rejecting medical cases that do not earn him fame or treating people with neglect and disrespect, including his colleague and former flame, Christine Palmer (Rachel McAdams; "Spotlight," "Sherlock Holmes").
The haughty doctor's glorious career ends when he suffers nerve damage on his hands from a car wreck. Luckily, when Western treatments fail him, he finds a former paraplegic, Jonathan Pangborn (Benjamin Bratt), who is miraculously up and running again. Pressed for answers, the man reveals his secret. He took a trip to Kamar-Taj, Nepal, where he claimed he learned spiritual knowledge to elevate his mind and deepen his spirit, which ultimately healed his body.
It's a rough start for Dr. Strange in Kathmandu, a starting point to get to Kamar-Taj. Upon encountering a mysterious warrior, Mordo (Chiwetel Eljofor), he discovers the existence of the Ancient One (Tilda Swinton, "Hail, Caesar!"), the guru of mystical and martial arts, along with her pupils.
A man of science, Dr. Strange was initially dismissive of the Ancient One's esoteric principles. He quickly changes his mind after experiencing an out-of-body experience into an astral plane and infinite multiverse.
Earth is just one of the never-ending dimensions. And as it turns out, its survival is under the threats of otherworldly forces, partly in the form of a former student of the sorceress supreme, Kaecilius (Mads Mikkelsen), and his acolytes. The Avengers may have saved the world, but the world needs more than its grounded superheroes.
While Dr. Strange's transformative journey may have felt too rapid, Cumberbatch credibly carries a regal air and mystical power with his presence, in his olden costume and sentient cloak. The cloak, Cloak of Levitation, is a relic that has chosen him to be the wearer, which leads to some interesting scenes. Dr. Strange magically transforms from a beginner into a master sorcerer; from forming a glowing weapon with his disfigured hands to floating from one dimension portal to another, casting spells and manipulating energy, space and time.
Kaecilius' motive for doing what he does is surprisingly not a typical power grab. Backed into a corner, Dr. Strange violates the natural law of time in order to gain the upper hand and selflessly preserve humanity. Everything is not in the clear, however. A character insinuates a price that humans may have to pay in the future. There's an inherent order of things, including life and death, and they balance humanity.
It's a visually impressive spectacle. Reminiscent of Christopher Nolan's "Inception," skyscrapers, walls and floors are twisting, turning, shifting, shaping, folding and collapsing. Ruins rebuilt. The parallel realms are a kaleidoscope of colors, fire, light and darkness.
Stay tuned for the post credits. The first is a delight, pretty much securing a place for Dr. Strange to meet the Avengers. The second one gives a glimpse of Doctor Strange's real adversary in the to-be-scheduled next installment.
Blending fantasy and magic with the tried-and-true Marvel's formula of superhero action and humor, "Doctor Strange" is a fresh, entrancing entrance into the ever-expanding Marvel Cinematic Universe.
[Originally posted on 12/01/16] December 2
"Jackie" - Following the assassination of President John F. Kennedy, First Lady Jacqueline Kennedy fights through grief and trauma to regain her faith, console her children, and define her husband's historic legacy.
December 9
"La La Land" (http://www.lalaland.movie/) - A jazz pianist falls for an aspiring actress in Los Angeles.
"Miss Sloane" - The most sought after and formidable lobbyist in D.C., known for her cunning and track record of success, has always done whatever is required to win. But when she takes on the most powerful opponent of her career, she finds that winning may come at too high a price.
December 16
"Rogue One: A Star Wars Story" (http://www.starwars.com/rogue-one/) - The Rebellion makes a risky move to steal the plans to the Death Star, setting up the epic saga to follow.
"Collateral Beauty" (http://collateralbeauty-movie.com/) - Retreating from life after a tragedy, a man questions the universe by writing to Love, Time and Death. Receiving unexpected answers, he begins to see how these things interlock and how even loss can reveal moments of meaning and beauty.
December 23
"Passengers" (http://www.passengersmovie.com/) - A spacecraft traveling to a distant colony planet and transporting thousands of people has a malfunction in its sleep chambers. Two passengers are awakened 90 years early.
"Assassin's Creed" (http://www.foxmovies.com/movies/assassins-creed) - When a man explores the memories of his ancestor and gains the skills of a Master Assassin, he discovers that he is a descendant of the secret Assassins society.
"Sing" (http://www.singmovie.com/) - A koala has one final chance to restore his theater to its former glory by producing the world's greatest singing competition.
December 30
"Live by Night" (http://www.livebynight.movie/) - A story set in the Prohibition Era and centered around a group of individuals and their dealings in the world of organized crime.
"Fences" (http://www.fencesmovie.com/) - An African-American father struggles with race relations in the United States while trying to raise his family in the 1950s and coming to terms with the events of his life.
When "Jack Reacher" came out in theaters during the 2012 holiday season, it's a solid alternative to other films competing for awards. A solid, whodunit crime mystery thriller.
Tom Cruise ("Mission Impossible" series, "Edge of Tomorrow," "Oblivion") is back with "Jack Reacher: Never Go Back." This time he's no longer with Christopher McQuarrie, who directed the first movie and also the last "Mission Impossible" installment. Directed by Edward Zwick, and unlike the first 'Reacher,' 'Never Go Back' is an action flick.
Reacher is a former military investigator, a loner and drifter, who only appears when he believes he's needed and to right injustice. His name is a legend and people continue to address him as 'major,' in which he always responds, 'ex-major.'
Reacher flirtatiously connects with Major Susan Turner (Cobie Smulders, "Captain America: The Winter Soldier," "The Avengers") by telephone, with a promise that he would look her up if he's back in Washington, D.C. Turner presently occupies his old post. When Reacher is indeed in town, he tries to see Turner, only to be informed that she has been charged with espionage and relieved from duty. Two officers under her command were found shot in close range during an investigative assignment in Afghanistan.
When another murder connected to the case occurs, Reacher finds himself arrested. Clearly framed, he uses the opportunity to break Turner out of prison. Reacher and Turner are now on the run, trying to uncover a conspiracy and clear their names. The pair is accompanied by a girl, who may or may not be Reacher's daughter. This just came to light when the girl's mother filed a paternity suit against Reacher. Samantha (Danika Yarosh), is an angsty teen who shares some of Reacher's street-smart traits, yet infuriatingly lacks common sense in an instant.
Smulders is fierily fit. The battle of the sexes looks forced and irrelevant, however, considering that it's Reacher who ends up using his street-smarts and tough-guy fights to defeat an army of generic goons and ultimately solve the cover-up. His final mano-o-mano with the top bad guy on a New Orleans rooftop demonstrates Reacher's brutal competence.
'Never Go Back' has some amusing sequences, if not improbable, which rely on coincidences and inconsistency in characters' actions.
If you enjoy action movies, you'll be entertained by 'Never Go Back," but there's nothing special about this run-of-the-mill actioner.
Directed by Tate Taylor, "The Girl on the Train" draws the inevitable comparison with David Fincher's "Gone Girl." The 2014 psychological thriller is deliriously diabolical. Meticulously constructed, layered with intricacy and laced with dread and wit.
Adapted from Paula Hawkins' sensational novel of the same name, "The Girl on the Train," is a story about three women - Rachel (Emily Blunt; "The Huntsman: Winter's War," "Edge of Tomorrow," "The Adjustment Bureau"), Anna (Rebecca Ferguson, "Mission Impossible: Rogue Nation") and Megan (Haley Bennett) - and how their lives are entwined by obsession, loss, lies, betrayal and despair. One did not survive and her demise becomes the central murder mystery of the movie.
Rachel is a depressed and drunken divorcee. Every day she leaves her rented room and boards a train, presumably to her job in New York City. The train's route passes through rows of big, beautiful houses in the grassy suburb. One of the houses is her former home, where her ex-husband, Tom (Justin Theroux) now lives with his new wife and former mistress, Anna, and their baby girl. Before her divorce, Rachel and Tom tried to have a baby on their own and failed. For Rachel, it's crushing to see glimpses of their lives each day.
Rachel also notices a comely couple that lives a couple houses down the street, Megan and Scott (Luke Evans, "Immortal"). They either aren't aware or don't care that their passionate moments can be clearly seen from the train's windows. Rachel imagines that they have a perfect life. Megan is everything that she wants to be.
One day, the infallible image is shattered when Rachel witnesses Megan in the arms of another man on the deck. Little did she know that the blond beauty had a dark past, which led to that moment on the deck. Blinded with rage, she disembarks the train to confront her. There's only one problem. Rachel is sozzled and soon after she's off the train, she blacks out.
Rachel wakes up bruised and bloodied, not knowing what she was doing during the missing hours. She just knows something bad happened. This is not the first time she had blacked out. Her ex-husband used to fill her in, letting her know the things she did when she was drunk and before passing out. They're not pretty; one of the main reasons of their divorce.
A detective (Allison Janney) follows Rachel's trail and questions her. People came forward and said that they saw Rachel in the vicinity during the time of Megan's disappearance and death. She also makes matters worse by reaching out to the husband and having a track record of stalking her ex-husband and his new wife. But she's not the only suspect. The husband and Megan's therapist (Edgar Ramirez) are also thrown into the spotlight.
Revelations come out through repressed memories. Rachel realizes that things are not what they appear to be and she put the two and two together. Unfortunately, a crucial key to the mystery relies solely on a coincidental encounter. And the timelines are all over the map. Flashbacks and time jumps can be great when they are used effectively, but here they are disorienting. The pacing is off the rails.
Blunt keeps the bleak movie rumbling through her acting, on the mark as a wrecked spirit. Although it's one too many close-ups of her glazed eyes, tear-streaked face, slurred voice and haunting expressions.
The whodunit mystery is not only solved in the end, but the story also wrapped up wholly. It feels like the road to get there should be more suspenseful and destination less neat.
"The Girl on the Train" has its moments, but it falls short of its twisty aspirations.
