Home Alone

Movie Name: Home Alone
Year of Release: 1990
Director: Chris Columbus
Starring: Macaulay Culkin, Joe Pesci, Daniel Stern, Catherine O'Hara, John Heard, Roberts Blossom, Angela Goethals, Devin Ratray, Gerry Bamman, Hilary Wolf, John Candy, Larry Hankin, Michael C. Maronna, Kristin Minter, Diana Rein, Senta Moses, Kieran Culkin
Genre: Comedy
Score out of ten (whole numbers only): 5
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Synopsis and Review

One of the films that is now synonymous with the Christmas season is in fact Chris Columbus' "Home Alone". The film which premiered towards the end of 1990, turned out to be one of the biggest hits of the year (only behind Jerry Zucker's "Ghost"), and went on to generate a franchise of its own, that never reached the heights of popularity and success of the first film. The narrative focuses on a young boy by the name of Kevin McAllister. Being the youngest in a big family, Kevin has plenty of personality in order to deal with his older siblings, but this time around he has a fuller house, as his uncle's progeny is also staying with them, since they're all going to Paris to spend Christmas with another part of the family. When there's a mini-meltdown during dinner time, Kevin is banished to sleep in the converted attic. The following morning the entire house is awoken by the transportation service - they all slept in due to a storm and power outage. In the chaos of getting to the airport on time, everyone is accounted for, save for Kevin, who was still asleep in the attic. One of the neighbors' kid got mistakenly counted as him. During the flight, Kate, Kevin's mother, suddenly realizes something is wrong, and is crushed upon realizing they forgot the youngest at home all by himself. Kevin in the meantime initially thinks he made his entire family disappear, and decides to indulge in doing everything he always wanted to. However things take a darker turn, when he realizes that some less than reputable individuals are circling the houses in the neighborhood, which he gathers to be for looting. He has to devise a plan to prevent a plan from preventing the same from happening to his place, at least until his parents get back.

John Hughes' script for "Home Alone" was both economical and ingenious in its premise. Young boy with a resourceful mind puts two inept criminals through a wild ride. That premise summarizes what happens during the entire film. What he does however manage to bring as additional layers of interest, includes nuances to some of the lead characters, which makes them that much richer than say, a cartoon character that is being played by a human actor. The film aims to be somewhat of a universal tale of a kid who is always in trouble and deemed the black sheep of the family (a Bart Simpson of sorts), and put a spin on it, by showing he has a heart, is intelligent, capable, and not entirely defenseless. The film does have a limited dramatic arc, and for all the charisma and good humor Joe Pesci and Daniel Stern bring to their characters, theirs are still a rather comic book type of villainy and buffoonery. The film is limited in many aspects, particularly when it comes to its characters, but Chris Columbus does manage to illustrate some of the set pieces competently, even if the film does feel borderline generic. Much of its charm is derived from the cast, with Macaulay Culkin, Joe Pesci, Daniel Stern, Gerry Bamman, and Catherine O'Hara taking the lion share of compliments. They manage to bring these set-pieces to life, with vivacity, energy, and emotion, which makes their characters a bit more than just short-typed clichés. Chris Columbus, who had previously made a name for himself with the popular "Adventures in Babysitting" and would go on to have other successful features such as "Mrs. Doubtfire", "Nine Months", and "Harry Potter and The Sorcerer's Stone" (to name but a few), didn't bring anything particularly memorable in terms of point of view, but John Hughes' script and the actors' work did ultimately atone for his performance in the director's chair. The production team is top notch, with highlights going to John Williams' score and Julio Macat's cinematography. It is watchable, and it does have its moments, and at times, that's enough. 

Gremlins 2: The New Batch

Movie Name: Gremlins 2: The New Batch
Year of Release: 1990
Director: Joe Dante
Starring: Zach Galligan, Phoebe Cates, John Glover, Havilland Morris, Robert Prosky, Robert Picardo, Christopher Lee, Dick Miller, Jackie Joseph, Gedde Watanabe, Keye Luke, Don Stanton, Dan Stanton, Tony Randall, Howie Mandel
Genre: Comedy
Score out of ten (whole numbers only): 9
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Synopsis and Review

The wonderfully talented Joe Dante had a great string of titles during the 1980s, including his classic "Gremlins", which he followed with the underrated "Explorers", followed by the high energy and extremely funny "Innerspace", closing that decade with the dark comedy "The 'Burbs". He began the 1990s with what has turned out to be one of his best features, and one of the most inventive film sequels ever produced. The narrative once again follows the story of Billy Peltzer, whom we now find living with Kate in New York City. Billy works as an illustrator/conceptual artist and Kate works as a guiding tour host for a state of the art tower building (where they both work), owned and conceived by a quirky billionaire by the name of Daniel Clamp. Gizmo, the mogwai finds himself in trouble, since Mr. Wing passes away, and his store is bought and demolished by Clamp's construction team. Gizmo is captured by scientists and is brought over to the tower to be studied. Thanks to his humming, Billy eventually realizes he's in the building and saves him. However Billy's ambitious manager Marla gets in the way, and Billy asks Kate to go get Gizmo while he's out. Gizmo accidentally gets sprayed with water and immediately spurts new mogwai creatures. The new ones lock Gizmo in the venting system, and go down to the food court in order to become gremlins. The new gremlins set off the fire sprinklers, which spawns the creation of a ton of new creatures, which start wreaking havoc across the building. Billy soon realizes what's happening, and alongside Kate, Daniel Clamp, and even his friend and neighbor from Kingston Falls (who is visiting him and Kate), Murray Futterman, set about deterring their plans before they escape the building and invade the city.

The original "Gremlins" written by Chris Columbus was a fantastical creature comedy and presented a darker yet playful homage to Christmas films (at some point Billy's mom is watching Frank Capra's "It's a Wonderful Life", and the Gremlins spoof that during the narrative). The sequel written by Charles S. Haas, goes even further in its satire goals, by mocking the greed of the yuppies of the 80s, the exploitation and cruelty towards animals in the pursuit of science accolades, the numbness (and dumbness) of TV, and even mocks film critique in the process. Everything goes into the blender of this satire, which also pokes fun at itself, and at entertainment in general. The Gremlins creatures become a viciously critical and brutally honest view to the nonsense of the corporate World, the self importance of a view, while pursuing their own sense of fun and chaos. It's a film packed with such great reflection topics, but wrapped in a comedy vehicle that is inspired by Looney Tunes and the works from Tex Avery and Chuck Jones. The film even has time to politely nod to the classics of horror films with the presence of the towering Christopher Lee (portraying a cold scientist), but overall, Joe Dante puts the pedal to the metal with this film that never lets off, always winking at the audience, but also indicating that the Gremlins aren't really the biggest monsters that we have to fear: that is indeed reserved for humans, those who walk around us wearing very different suits. The characters are along for the ride, including the trio of Billy/Kate/Murray, whose ticks and trademarks from the first film are finely nodded to, and this time around they are joined by the eccentric millionaire, who turns out not to be a completely soulless monster. The film is a wonderful ride, with constant nods to other films, cameos, and a general sense of fun and humor (the femme fatale Gremlin who is a nod to Lauren Bacall, but also to Jessica Rabbit). The cast is uniformly solid, with Zach Galligan, Phoebe Cates, Dick Miller, John Glover, Havilland Morris and Robert Prosky, all firmly establishing their characters. The production team is equally strong, with highlights going to Rick Baker's fantastic creature effects, John Hora's cinematography, and Jerry Goldsmith's score. There's never been a sequel quite like this before, nor since, but it's a testament to Joe Dante's talent that the film continues to feel as fresh and relevant as it did when it premiered in 1990. Worth watching.

Star Wars: Episode III - Revenge of the Sith

Movie Name: Star Wars: Episode III - Revenge of the Sith
Year of Release: 2005
Director: George Lucas
Starring: Ewan McGregor, Hayden Christensen, Natalie Portman, Ian McDiarmid, Christopher Lee, Samuel L. Jackson, Frank Oz, Jimmy Smits, Anthony Daniels, Keisha Castle-Hughes, Bruce Spence, Silas Carson, Temuera Morrison
Genre: Sci-Fi, Adventure
Score out of ten (whole numbers only): 6
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Synopsis and Review

George Lucas was finally able to close the first three chapters of his Space Opera saga in 2005, following the successful, but somehow not entirely well received, episodes I (Phantom Menace) and II (Attack of the Clones). The film once again centers its narrative on Anakin Skywalker, whom we first encounter with Obi-Wan Kenobi on a salvage mission of Chancellor Palpatine. While they do manage to save the Chancellor, Anakin cedes to his fury and violent tendencies, killing Count Dooku in the process. Anakin reunites with Padmé, who informs him of her pregnancy. While those are indeed happy news, Anakin stars having horrible nightmares of her death during childbirth. Hoping to manipulate Anakin further and create friction within the Jedi council, Palpatine appoints him to that council, as his personal representative. However, the other masters do not make him a Jedi Master, something that only further fuels his resentment. At the same time Palpatine tempts Anakin with the dark side of the Force, seducing him with the promises that it has the ability to save Padmé. Upon learning of Palpatine's knowledge of the dark side, Anakin communicates so to the council, who decide to confront and dethrone the Chancellor. Things however don't go according to their plans, and that starts a cascading series of events that leads Anakin on a dark path, one that eventually puts him at a confrontation path with his mentor, Obi-Wan. 

While the prior films of the series tried to illustrate the machinations of the empire, and how multiple cultures, and planets were all involved in these somewhat complex narrative threads, one thing that was always missing, was one of the main propelling components of these films, the journey pertaining to its main characters. How were their journeys shaped, what informed their decisions, and how those informed the narratives that eventually flowed into the original Star Wars films from the 1970s. George Lucas was finally able to bring together more of those journeys, on par with the usual visual artistry, to "Revenge of the Sith", where this group of characters is able to be more than just simple archetypes, and actually have a true dramatic arc to their existence, and have complex relationships between each other. While of course this isn't a Eugene O'Neill stage play, the film does venture into a complex web of relationships, and how morality can be easily dissuaded when the promise of something meaningful is flashed before someone's eyes. Even if losing that morality, also means losing a sense of integrity and ultimately, humanity, everything that makes them who they are. It's a film that could have gone even further in its illustration of thirst for power, of manipulation of information, and how easily persuaded individuals choose to be when it furthers their own ambitions, something that has been lurking in them but that they have always chosen to avoid (in a lot of ways, the path to fascism, to terror). As it is, the film simplifies to a great extent Anakin's journey to the dark side, but George Lucas manages to maintain his visual flair, and keep the action set pieces always entertaining. The cast goes along for the journey, with Ewan McGregor trying a bit too much to stick with what Alec Guinness had done with the character, while Natalie Portman sadly has very little to do with Padmé, who takes a much more supporting and simplified role in this chapter. Ian McDiarmid truly shines and makes Palpatine a reptilian politician, one who cajoles, manipulates, in the pursuit of his own agenda, while Hayden Christensen sadly fails to properly embody the moral dilemmas of everything his character is going through (it's almost a bit of a too stark transition from who he was to what he's becoming). The production team is phenomenal, with highlights going to David Tattersall's cinematography, John Williams' indelible score, Gavin Bocquet's production design, and Trisha Biggar's costume design. It's a finely crafted film, one that could have been even more ambitious in its scope, but a film that redeems the rather contrived prior episodes George Lucas tackled from this iconic franchise.

Kraven the Hunter

Movie Name: Kraven the Hunter
Year of Release: 2025
Director: J.C. Chandor
Starring: Aaron Taylor Johnson, Russell Crowe, Fred Hechinger, Alessandro Nivola, Ariana DeBose, Christopher Abbott, Levi Miller, Billy Barratt, Murat Seven, Yuri Kolokolnikov
Genre: Sci-Fi, Adventure
Score out of ten (whole numbers only): 2
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Synopsis and Review

J.C. Chandor who up until now has had a fantastic qualitative feature output, has hit a bit of snag with his first foray into the Marvel universe, with what has turned out to be one of the most disappointing films that Marvel has placed their label on. The film follows the tory of Sergei Kravinoff whom we first encounter as a teenager, protecting his younger half brother, following the death of his mother. His father takes the boys on a hunting trip, aiming to teach them about trapping animals, power and control, but ends up putting the boys in danger. Sergei in particularly is injured while protecting Dmitri. He is attacked by a lion and manages to survive because a young girl by the name of Calypso spots him, and gives him a special serum given to her by her late and mystical grandmother. Years later Sergei now goes by the name of Kraven and is a vigilante who tracks and hunts criminals. While in London celebrating his brother's birthday, he is unable to prevent him from being abducted. The man behind the kidnapping is Aleksei Sytsevich, who was known to Kraven's father years ago, but has since become a crime lord himself, and wants to push Nikolai out of the business. Kraven reaches out to Capypso, now a well known lawyer to help him with the Dmitri situation, and while they eventually trace his whereabouts, they also fall into a trap. While they manage to escape, Sytsevich has unleashed a dangerous contract killer on them who uses special skills to get to his victims. 

Sony's attempts at scalping the Spider-Man universe for more and more films based on supporting characters finally hit a stop following the critical and commercial derision this film suffered. Kraven, much like Morbius, Sandman, Green Goblin, Dr. Octopus, Mysterio, Electro, Black Cat, to name but a few, were all a series of villains always hellbent on destroying Spiderman. For some reason the creative teams at Sony have decided to create a series of films with these characters, portraying them as anguished and battered heroes, who by force of circumstances eventually face-off against Spiderman (including in that roster, Venom). The biggest problem with "Kraven the Hunter" is the fact that connections between characters and events are set in motion without much of a discernible narrative thread, the same going for the characters themselves, who magically transform from one thing to the next, without much of a realization for the tremendous gaps that exist in their lives (or what brought them to the current stage of where and who they are). As far as the characters themselves, they aren't given much to do, and the film ultimately feels as if though there's an entire chapter of it missing. Calypso, Aleksei, Nikolai, Dmitri, and even Kraven himself, are given so little in terms of a journey to go on, that everything in this film feels like a set up for a brief action sequence, that ultimately doesn't go anywhere (what is Kraven's ultimate goal, and for that matter, what is Calypso's or Dmitri's or any of the other characters). The cast while peppered with credible names, all get tarnished from this experience, starting with Russell Crowe, someone who has always been a thoughtful and powerful presence, but here is seemingly mocking his own persona, transforming himself into a poor version of what the late Oliver Reed used to make. The recently awarded Ariana DeBose is equally terrible, and really poses the question of how she just recently won an array of acting awards. The usually fantastic Alessandro Nivola doesn't fare much better, with the only untarnished presence being the subtle Christopher Abbott, who thankfully doesn't have much to do. The production team is impeccable, with highlights going to Ben Davis cinematography and Eve Stewart's production design. Maybe somewhere inside some well secluded Marvel vault there's a whole other chapter to this film that has not seen the light of day, but what indeed has is poorly conceived and is a miss-step for the talented J.C. Chandor. 

The Electric State

Movie Name: The Electric State
Year of Release: 2025
Director: Anthony Russo, Joe Russo
Starring: Millie Bobby Brown, Chris Pratt, Giancarlo Esposito, Stanley Tucci, Ke Huy Quan, Woody Norman, Woody Harrelson, Jason Alexander, Holly Hunter, Alan Tudyk
Genre: Sci-Fi, Adventure
Score out of ten (whole numbers only): 4
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Synopsis and Review

The latest film from directors Anthony and Joe Russo, is also one of Netflix's costliest productions (their prior film, also for Netflix, the quickly forgotten "The Gray Man" was also another pricey endeavor). The film is an adaptation of the illustrated novel by Simon Stalenhag (adapted by Christopher Markus and Stephen McFeely, also responsible for the scripts for "Captain America: The First Avenger", "The Chronicles of Narnia: The Lion, The Witch and the Wardrobe", and more recently, "Avengers: Infinity War and Endgame"), and it takes place in an alternate version of the 1990s. In that reality, there's been a war between humans and robots, one which almost destroyed the entire planet. Humans were able to overcome the revolting robots thanks to the Neurocaster Technology developed by Ethan Skate. That technology allows for humans to upload their minds into drone robots, which in turn allows for an army of sentinels to be easily controlled and deployed. The central element of the narrative is Michelle Greene, who is living with her foster dad Ted, following the death of her family (parents and brother) from a car crash. One day while at home she realizes a robot is seeking her out. He is only able to communicate using gestures and a limited of pre-recorded words, but he eventually explains to her that he is controlled by her younger brother Christopher, whom she thought had perished in the car crash. The robot volunteers that she must find Dr. Amherst, who was the medical professional helping their family when they suffered their accident, and that he will know and help her locate him. They both leave since the robot is also being hunted, and set out towards the Exclusion Zone in order to located the doctor and rescue Christopher.

One can't help but think of Steven Spielberg's "AI" and even Steve De Jarnatt's "Cherry 2000", both very different films, but whose influences trickle down and appear throughout this rather bland and uninspired film. The most surprising thing about "The Electric State" is indeed its bloated budget, since the film from a narrative and character development standpoint, doesn't have much to volunteer. Much like "AI" we have a young hero on a quest, one who is helped by someone who is an unexpected partner, in the case of Steven Spielberg's feature, that was the sex worker Gigolo Joe embodied (perfectly one may add) by Jude Law, and here we have the former military and now a somewhat bitter mercenary portrayed by Chris Pratt. Along the way there are a series of discarded robots, who are only trying to exist, and who have been relegated to pariahs or second class citizens (again much like Spielberg's feature), living in what appears to be a post-apocalyptic type of scenario. The film and the narrative is a bit of a head scratcher, since you have one veteran military guy who does everything by the book on the pursuit of this small and motley group, while the villain is quickly established to be the corporate honcho, who is milking a child's body and abilities for his own profit. We never know much about any of these characters, or whatever motivation they seem to have for that matter. Ultimately the film aims to be a Steven Spielberg type of homage, including the score from Alan Silvestri which is very evocative of the work from John Williams, but sadly these characters never entirely gain much presence, and by the time the film is over, it literally feels as if nothing has just happened. The cast is a bit of mixed bag, with Chris Pratt playing a variation of what he did with Peter Quill from "Guardians of the Galaxy", whereas it's difficult to understand if Millie Bobby Brown is playing a teenager or someone from the Real Housewives of New Jersey. Ke Huy Quan hopefully will make better role decisions in the future, as this part adds nothing to his career, the same going for Stanley Tucci, who definitely fared better in Edward Berger's "Conclave". The production team is rather serviceable, but there isn't a truly rapturous moment of dazzlement here, which is shocking considering the resources this team had. It's not as atrocious as some reviews have portrayed it to be, but it is indeed forgettable and dare I say it, unnecessary. 

Conclave

Movie Name: Conclave
Year of Release: 2024
Director: Edward Berger
Starring: Ralph Fiennes, Stanley Tucci, John Lithgow, Isabella Rossellini, Sergio Castellito, Carlos Diehz, Brian F. O'Byrne, Jacek Koman, Thomas Loibl, Rony Kramer, Lucian Msamati, Garrick Hagon
Genre: Drama, Thriller
Score out of ten (whole numbers only): 7
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Synopsis and Review

Director Edward Berger is back, following his well received "All Quiet on the Western Front". This time he is tackling the adaptation of a Robert Harris novel, whose books were also the source for the films "Fatherland", "Enigma", "The Ghost Writer", and "An Officer and a Spy". "Conclave" tracks the events that take place after the Pope dies of a heart attack. Dean/Cardinal Thomas Lawrence of the UK is tasked with running the conclave in order to elect his successor. The main protagonists are Aldo Bellini of the US, Joshua Adeyemi from Nigeria, Joseph Tremblay from Canada, and Goffredo Tedesco from Italy. The operational aspect of electing a new pope is set in motion, with a series of cardinals coming to the Conclave in order to vote, with the addition of a last minute participant, Archbishop Vincent Benitez of Kabul. While all is being prepared, Dean Lawrence becomes aware of the factions, what their stances are, but also more information regarding each of the candidates comes to surface, including for instance, the fact that Tremblay had been asked to resign by the deceased Pope, something he vehemently denies, though other witnesses corroborate the wishes expressed by the late Pope. Initially none of the candidates is able to collect the two thirds of votes needed to win, though Adeyemi takes a lead over the remaining candidates. However, the appearance of a Sister transferred from Nigeria to Rome and present in the conclave, exposes improper behavior from Adeyemi from years past, which resulted in the birth of a son. The presence of the nun is revealed to be something engineered by Tremblay, who justifies it as a request from the late Pope himself. They both find themselves pushed aside from the race. As the race seems to be getting close to its end, a bombing nearby creates consternation on the streets, and also within the conclave. As some voices rise clamoring extreme reactions, quieter, more reasonable, and sensical ones emerge, changing the direction of the conclave.

To Robert Harris' credit, his narratives are always thought provoking and very intelligently conceived, as they leverage what we all know from reality, to illustrate alternative realities, which end up forcing us to think about the "what if", and more so, the "why not". Not that long ago Fernando Meirelles directed "The Two Popes", which approached similar terrain, but "Conclave" definitely goes in its own direction, crafting a quasi-thriller regarding an election process that is closed off to most of us, but nonetheless one that grants the elected individual a tremendous amount of power. Edward Berger competently illustrates what the baseline narrative/plot is about, avoiding much of a stylistic or ideological points of view. Meaning: the film is effectively presented, with the lead characters fairly (and briefly) characterized, with a fantastic cast, which keeps the feature always captivating, but at the same time, the film never gives any indication of what the director's point of view on the topics actually is. It's challenging to understand what differentiates what Edward Berger did here, of what Roger Donaldson, or even Fred Schepisi would have done. These are all fine directors, able to set up a story and assemble a cast, but whose point of view always seems to be missing from their projects. "Conclave" is indeed a watchable film, with a great cast, led by the formidable Ralph Fiennes, who is one of the finest actors working these days, who has great support from Stanley Tucci, Isabella Rossellini, and John Lithgow, with a solid production team, including Stéphane Fontaine's cinematography, but it also feels rather generic, something that even the "gotcha" moment of the third chapter of the narrative can't erase. Being able to competently tell a story is a wonderful trait, but being able to have a point of view is what truly differentiates what directors/artists do. And while this particular Robert Harris story is a solid one, this film while watchable and with some good performances, is one that feels quickly forgettable. 

Heretic

Movie Name: Heretic
Year of Release: 2024
Director: Scott Beck, Bryan Woods
Starring: Hugh Grant, Sophie Thatcher, Chloe East, Topher Grace
Genre: Horror, Thriller
Score out of ten (whole numbers only): 6
Watch it on Amazon

Synopsis and Review

The directing team of Scott Beck and Bryan Woods have steadily been carving a career for themselves, both as directors, but also as writers, having successfully established the "A Quiet Place" franchise with John Krasinski, to name one of their most successful endeavors. Their prior directorial endeavor, "65", with Adam Driver was mostly panned by critics, and didn't reach much of an audience, but "Heretic" has been a fine return to form for this duo. The film focuses on two young women, missionaries from the Mormon church, who happen to knock at the door of a reclusive older gentleman by the name of Mr. Reed. While briefly chatting with them at his door, Reed invites them in, to which the missionaries reply that they can only do so, if another female presence is in the house. Reed reassures them that his wife is inside, baking a pie. After coming in, they all engage in a discussion about religion, and as Reed briefly leaves the room to check on a few things, the young women realize that the front door is locked, and that the scent they thought was coming from the pie, is actually from a candle. The missionaries soon realize they're locked in, and Reed gives them an option to escape the house, by choosing one of two doors he presents to them. Both doors however lead to the same dungeon, where a chained woman eats a poisoned pie only to soon die. Reed claims that she is a prophet from God, and that she will resurrect. In the meantime, one of the Elders of the Mormon Church appears at Reed's door, seeking the young missionaries, and he mentions not having interacted with them. After deflecting the Elder, Reed goes back down to the dungeon, and the events take an even darker turn.

One of the most interesting elements about "Heretic" is of course the casting of the charming and good humored Hugh Grant as the sinister, intelligent, and dangerous Mr. Reed. Much like Robin Williams personified in the lonesome character he played in Mark Romanek's "One Hour Photo", it seems that for aging male comedians, in order to keep consistently working, you must branch out to darker and psychotic characters (turns out being funny is a quality reserved for young people only, older ones have to wither themselves out). The writer/director team of "Heretic" is tremendously successful in creating an environment that progressively unfolds itself, starting with an engaging intellectual conversation between the characters on the topic of religion and faith, and then progressively evolving that discussion to a reflection on control, and eventually on survival. It is indeed a thriller, and it is a chamber piece where an older man with a sinister motivation is apparently in control of the situation, trying out these young women (toying with them), but also a narrative peppered with some surprises. There are some influences from M. Night Shyamalan here, but also from Ari Aster, but the film makers stay on course with their aesthetic and their point of view, though sadly this is a film that is more in love with its own intellectual point of view and its set-up, more so than the actual characters who inhabit it. Not much is surrendered in terms of information or nuance about Mr. Reed, or much about the young women, which makes them all feel less impactful and vividly authentic. The cast is engaging, particularly Hugh Grant, who uses his charm and affable tone to navigate the darker aspects of the character. He gets great support from Sophie Thatcher and Chloe East. The production team is equally solid, even if the cinematography from Chung-hoon Chung is at times almost too dark. Chris Bacon's score and Philip Messina's production design are both highlights of the feature. It's a watchable and well constructed feature, even if it could benefit from some additional attention on character building. 

Blink Twice

Movie Name: Blink Twice
Year of Release: 2024
Director: Zoe Kravitz
Starring: Naomie Ackie, Channing Tatum, Alia Shawkat, Christian Slater, Simon Rex, Adria Arjona, Haley Joel Osment, Luz Caribel Sierra, Levon Hawke, Trem Mullen, Geena Davis, Kyle MacLachlan, Cris Costa, Maria Elena Olivares, Saul Williams, Tiffany Persons
Genre: Mystery, Thriller
Score out of ten (whole numbers only): 5
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Synopsis and Review

"Blink Twice" is Zoe Kravitz's feature directorial debut, following what has been a consistent, if not unremarkable, acting career (she has had some good supporting roles in George Miller's "Mad Max: Fury Road" and Matt Reeves' "The Batman"). "Blink Twice" focuses its attention on the life of a young woman by the name of Frida. We first encounter her working as a cocktail waitress at a high profile exclusive event. She's working the event with her best friend, Jess. While there they both manage to work the situation to their advantage, and end up meeting the billionaire Slater King, a somewhat controversial figure who has decided to take a backseat in terms of visibility due to some controversial statements. He invites them both to his private island for a weekend of rest and relaxation (and partying). They decide to join a group of individuals, all friends of Slater, on that trip. While on the island, Slater's assistant collects everyone's cell phones, so they can unplug, and fully connect with each other. All the women in the group get gift bags, which include perfume, and while on the island they get constant delicious cocktails, mild drugs, and chef prepared meals. Jess starts noticing some memory lapses of her own, and mentions that to Frida. Frida in the meantime is recognized by one of the local workers of the property who calls her Red Rabbit. One night while partying, Jess is bitten by a snake, and later confides to Frida she wants to leave. Frida is against leaving as she's having such a great time. However the following day everything starts changing, once Frida encounters the maid who suggests that she drinks some snake venom. 

As I was watching "Blink Twice" I was reminded of a film where an ordinary event suddenly got out of control, the somewhat mediocre "Very Bad Things", directed by Peter Berg, a film that also featured Christian Slater in one of the lead roles. "Blink Twice" to its credit, does manage to build more context to what is taking place, and does provide some of its characters with a bit more nuance, which goes beyond what can be read from a title card. These are still underdeveloped characters, but they're not completely shallow ones. It's a film with a lofty empowerment angle, one that comes on the heels of a truly despicable and repulsive scenario that is set in motion, however where the film fails to be more successful is in fact on the depiction of the sadists who are behind the events taking place, and the victims of the scenario itself (most of the women are just associated with their professional roles, and not much information regarding them is known). This film could have easily become a version of Eli Roth's "Hostel", but the creative team decided, wisely, to avoid that path. With that being said, if the scenario that is illustrated here is indeed to be taken with a hint of credibility, the characters and motivation behind their actions, should have been given more center stage. The creative team had the willingness to tackle a disturbing topic, but was afraid to go all the way and expose what power and amoral individuals are truly capable of doing, and for that matter explore the "why" (or "why not"). The film doesn't really have the smartness to be a version of an Agatha Christie book/narrative, but also doesn't have the darkness to be a different version of a Stieg Larrson's book/narrative. It falls unsatisfyingly in between. The cast tries their best with the material they have, with Channing Tatum faring quite well in the role of a sinister mogul, with good support from the always reliable Christian Slater, the very talented Kyle MacLachlan, and the very underused Geena Davis. The production team is solid, particularly the cinematography of Adam Newport-Berra and production design from Roberto Bonelli. It's a watchable but also quickly forgettable endeavor.

Mickey 17

Movie Name: Mickey 17
Year of Release: 2024
Director: Bong Joon Ho
Starring: Robert Pattinson, Naomie Ackie, Steven Yeun, Mark Ruffalo, Toni Collette, Holliday Grainger, Cameron Britton, Patsy Ferran, Ian Hanmore, Tim Key
Genre: Sci-Fi, Comedy
Score out of ten (whole numbers only): 5
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Synopsis and Review

Following the resounding success of "Parasite", writer/producer/director Bong Joon Ho has returned, with the adaptation of a novel by author Edward Ashton. The film follows the story of Mickey Barnes, who alongside his best friend Timo, find themselves signing up for an outer space adventure in order to escape the wrath and torture of a loan shark, whom they borrowed money from to pursue an unsuccessful business. Urgently looking to escape, Mickey doesn't look at the fine print of the contract he's signing up for, and ends up under a category labeled "Disposable". During the trip towards the planet Niflheim, which is the goal of the expedition, reaching it and colonizing it, Mickey does all sorts of the tasks, dying in various manners and always being reprinted with his personality and memories. By the time the ship reaches Niflheim, Mickey is on version 17. As he explores the surface of the planet, he falls through the ice and encounters a series of creatures he assumes will kill him. However and much to his surprise they save him, and upon his return to the ship, he's horrified to realize that another Mickey has been printed, and there are now multiple versions of himself, something that is prohibited. His partner, the intelligent and resourceful Nasha is delighted, but Mickey 17 not so much. In the meantime the leader of the expedition, Kenneth Marshall and his wife Ylfa, rule all the action occurring on the ship, and target Mickey 17 and 18 to be terminated since multiples are not allowed to exist. They also set their eyes on the extermination of the indigenous creatures of the planet. However, not all goes according to their plans.

"Mickey 17" much like "Okja" promises a lot more than it eventually delivers. Both films are plagued by concepts (and metaphors) that are meant to elicit reflection, in the case of "Mickey 17" the topic lands on the class struggles that continuously exist, the brutality of humans towards different species (and even their own), and as usual, the ineptitude of those in charge to comprehend and be sensical about the greater good, as opposed to their innate selfishness. All these topics are lofty and worth capturing on film, and gifted directors have approached these topics fairly successfully, including Terry Gilliam's "Brazil", however Bong Joon Ho can't quite find the right tone for this film in particular. The satire never really lands, and the over the top caricatures of some of the key players, while loud and brash, also feel very underdeveloped, independently of the quality of the cast and what they bring to the feature itself. Part of the problems lie with the fact that the villainy of the pseudo awful individuals is never truly fully explored, whereas Mickey as the simpleton lead character doesn't possess the dimension, humor, or for that matter insight, to make the narrative feel as if though it went through an arc where in the last chapter there is indeed a piercing epiphany. For all the technical wizardry on display, it's a film that ultimately feels not particularly inspired. The supporting cast is the winning aspect of this film, particularly the always fantastic Mark Ruffalo, who seems to be capturing a bit of the character he portrayed in Yorgos Lanthimos' "Poor Things", Toni Collette playing an over the top character as the wife of a politician, Steven Yeun as the loser best friend, and Naomi Ackie as the smart and resourceful girlfriend. Robert Pattinson sadly doesn't add much to the film - perhaps it's time to realize he doesn't have the skillset to carry a film as a central performer. The technical team is impressive, including Darius Khondji's cinematography, Fiona Crombie's production design, and Catherine George's costume design. It's by no means a bad film, it's just a forgettable one. 

Ainda Estou Aqui/I'm Still Here

Movie Name: Ainda Estou Aqui/I'm Still Here
Year of Release: 2024
Director: Walter Salles
Starring: Fernanda Torres, Selton Mello, Fernanda Montenegro, Valentina Herszage, Maria Manoella, Barbara Luz, Gabriela Carneiro da Cunha, Luiza Kosovski, Marjorie Estiano, Guilherme Silveira, Antonio Saboia, Cora Mora, Olivia Torres, Pri Helena, Humberto Carrão, Charles Fricks, Maeve Jinkins
Genre: Drama
Score out of ten (whole numbers only): 8
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Synopsis and Review

Walter Salles spent some time directing documentaries since his last feature film "On the Road", which premiered in 2012 to middling reviews. "Ainda Estou Aqui/I'm Still Here" is an adaptation of the book by Marcelo Rubens Paiva, which is an autobiographical look at the events that took place during his childhood. The narrative takes place in Rio de Janeiro in December of 1970, and focuses its attention on the Paiva family. The family is composed of Eunice Paiva, her husband Rubens, who is a former member of the parliament and is now a civil engineer, and their 5 children. Theirs is a home filled with warmth, laughter, love and the constant presence of friends. Some of their friends decide to seek refuge in London, in order to avoid the constant presence and menace imposed by the military Dictatorshi. Eunice and Rubens' oldest daughter goes with them (she and some of her friends had already been stopped by the military in one of their check points). The family has acquired a new plot of land in the area, and is planning on building a new home. One afternoon the family is surprised to witness a group of unknown men with guns come to their house, and demand Rubens goes with them for questioning. While Rubens plays along, a few of those men stay behind in the house with Eunice and the kids. Eunice keeps asking when Rubens is going to come back, only for them to repeat it should be soon. The next day Eunice and her fifteen year old daughter are taken for questioning as well, with hoods over their heads. Eunice is asked if she's been involved with any terrorists, and to identify people who may have ties with what the interrogator deems terrorist actions. She remains in questioning for 5 days, until she is finally released. She keeps asking for Rubens, but no information is provided. 

There's something quite wonderful in the way Walter Salles recreates and brings to life the universe of that family and that microcosms in 1970. The lived-in experience of what life is like in that period in Rio de Janeiro, where the beauty of the locale sharply contrasts with the roughness of the military dictatorship, is perfectly illustrated by the director. The situation in which these characters find themselves in, is progressively disclosed. We're able to witness an array of activities, friendships, and all the emotional ties that the family has with a group of individuals they interact with, all of which illustrate the type of individuals they all are, the joy they live with, embracing art and culture, and teaching progress and humanism to the children. The introduction of the military dictatorship, its violence, its agenda, is indeed presented as a brutal element, since in fact it is one. There's no reason, no justification, no respect, no tolerance, which makes it all the more revolting for Eunice who fails to realize why is her family being targeted. Even after she becomes fully aware of the events Rubens was involved with, the sheer brutality of a government meant to support its own citizens, revolts her, and sends her on a path of survival (for her and her children), but also a path emblazoned with a mission. Unlike other films about dictators or brutal regimes, such as Oliver Stone's "Salvador" or even Roman Polanski's "Death and the Maiden", this film doesn't make itself to be an illustration of the destruction of war, or the bruising felt by its survivors, it's an illustration of how a family perseveres when their existence is completely upended. The whole cast is fantastic, led by the always excellent and subtle Fernanda Torres, who has great support from the underrated Selton Mello and the wondrous Fernanda Montenegro. The production team is fantastic, with particular highlights going to Adrian Teijido's beautiful cinematography, Warren Ellis' score, Carlos Conti's production design, and Cláudia Kopke's costume design. A solid film, subtle but impeccably crafted and performed. 

The Outrun

Movie Name: The Outrun
Year of Release: 2024
Director: Nora Fingscheidt
Starring: Saoirse Ronan, Saskia Reeves, Stephen Dillane, Paapa Essiedu, Izuka Hoyle, Freya Evans, David Garrick
Genre: Drama
Score out of ten (whole numbers only): 7
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Synopsis and Review

Nora Fingscheidt achieved a considerable amount of attention with her prior directorial endeavor, the Netflix release "The Unforgivable", with Sandra Bullock (which racked up quite a high volume of viewership, even if the reviews were not very complimentary). "The Outrun" is based on the book by Amy Liptrot and follows the story of Rona, a young woman who following a stint in rehab for alcoholism, returns home to live with her mom in the Orkney Islands in Scotland. Rona has had to deal with some unexpected issues since she was a child, including her father's bipolar disorder. Through flashbacks we witness her stint in college and the romantic relationship she forms with Daynin. Her drinking eventually leads to the demise of that relationship. She briefly reconnects with him when she's sexually assaulted following a night of drinking, and quickly realizes he's already moved on. While on the Orkney Islands she assists her father with his farming, and eventually takes a job with the Royal Society for the Protection of Birds. She has a brief relapse, which leads her to seek another position on a remote island, by the name of Papa Westray, where she lives by herself and starts forming friendships with the locals. Her mom comes for a brief visit and they manage to connect and communicate candidly. 

"The Outrun" doesn't cover material that hasn't been documented or explored before. There's been countless films about characters/individuals battling alcoholism, some with great results, such as Mike Figgis' "Leaving Las Vegas", others not so excitingly doing the same such as Betty Thomas' "28 Days". What makes "The Outrun" a compelling film to watch is of course the central performance from Saoirse Ronan. Rona is just a young woman trying to figure out her way in the world, and alcohol just enables her to let go of her fears. Unlike some of the characters from other films revolving around alcoholism, which center themselves around charismatic and damaged individuals drowning themselves in sorrow (and guilt), this central character is a young woman who is still trying to understand who she is, and what path she wants to carve for herself in the world. She comes from a slightly off-kilter upbringing, and whatever fears that has instilled in her, she sees drinking as a way to numb those fears and charge ahead. She feels like a regular individual that we could easily cross by in our world. That's one of the most interesting aspects of this character and the film itself: it feels authentic and rooted in the now, even if some scenes do veer off into the metaphorical cliché of embracing the unknown. The director also very smartly positions the narrative in these isolated islands, where very few people live, which gives the central character an opportunity to further reflect about her life, but also rely more on her own abilities and ultimately persevere. The cast is solid, with Saoirse Ronan creating a solid central character, with great supporting turns from Saskia Reeves and Stephen Dillane as her parents. The production team is solid, particularly the cinematography from Yunus Roy Imer. It's a well told story featuring a solid central performance. 

Venom: The Last Dance

Movie Name: Venom: The Last Dance
Year of Release: 2024
Director: Kelly Marcel
Starring: Tom Hardy, Chiwetel Ejiofor, Juno Temple, Rhys Ifans, Alanna Ubach, Stephen Graham, Peggy Lu, Clark Backo, Cristo Fernandez, Jared Abrahamson, Hala Finley, Dash McCloud, Andy Serkis
Genre: Action, Adventure
Score out of ten (whole numbers only): 2
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Synopsis and Review

The last (at least for now) episode of the anti-hero Venom's narrative, arrives by the hand of Kelly Marcel, in her feature directorial debut (she also wrote the scripts for the prior two installments of the series, the first one directed by Ruben Fleischer and the second by Andy Serkis). This time around Eddie Brock/Venom realize they are being named prime suspects of the murder of former detective, Patrick Mulligan. Eddie/Venom decide to go to New York, and try to restore their good name, as they were not responsible for the demise of the former detective (who as it turns out, isn't dead, and is also a symbiote). In the interim they're being tracked by a creature known as a Xenophage, who wants a Codex, something they carry within themselves. The Xenophage wants it in order to give it to Knull, the creator of the symbiotes, and a creature of enormously destructive power. Eddie/Venom in the meantime become also the target of Rex Strickland, a soldier who is in charge of Imperium, a government sponsored operation which is situated on Area 51. Strickland has with him a team of scientists, led by Dr. Teddy Paine, who has the assistance of the resourceful Sadie, and they have been capturing and studying symbiotes. Eddie/Venom are tracked and nearly acquired by the Xenophage while on their way to NY, but manage to escape. They're barefoot and far from everything, but eventually meet up a hippie family who gives them a ride. They're on their way to visit Area 51 and agree to give Eddie/Venom a ride up until Vegas. Their plans however take a turn, when Eddie is captured while in city, and taken to Area 51. 

Looking at Kelly Marcel's screenwriting career, it's somewhat puzzling how she was actually allowed to direct this installment of this film, but then again this series has never been one which primes for the quality of its directorial talent. This latest installment of the Venom series, has even less of passable characters, while sub-plots such as the one involving Rhys Ifans' character's hippie family seemingly appears out of nowhere to further humanize Venom (much like Mrs. Chen), to place them in and out of Area 51, both as potential victims and later on to unexpectedly assist when the hero is in dire need of help, only to disappear once more. The villains are digitally rendered creatures (which usually works out so well in most films), whereas the puppet-master, and therefore the main villain, is barely given any screen time, personality or even a hint of motivation, and is shrouded in so much flowing hair (there are stylists in outer space) and dark lighting, that the individual is never fully seen (which is of course the goal of the film, but still not much is ever done with this entity). It's a brisk film, barely over 90 minutes, but one that is so shallow in terms of narrative/plot definition and characters, that by the time it comes to a closure, it mostly feels like a series of vignettes put together, with no exact purpose aside from gratuitous visual effects involving the symbiote with a horse, and whatever else it latches itself on. The talented cast tries their best with the material they have, but ultimately Tom Hardy, Chiwetel Ejiofor, Rhys Ifans, Alanna Ubach, and Juno Temple can't really salvage this feature. The film has a solid production team, starting with the great cinematography from Fabian Wagner, complemented by Dan Beacon's score, and the visual effects led by Tom Bailey and series of very talented teams. It's not a very good film, even considering the low bar the previous installments had established. 

The Monkey

Movie Name: The Monkey
Year of Release: 2025
Director: Osgood Perkins
Starring: Theo James, Tatiana Maslany, Christian Convery, Colin O'Brien, Elijah Wood, Sarah Levy, Rohan Campbell, Osgood Perkins, Tess Degenstein, Danica Dreyer, Zia Newton, Adam Scott, Laura Mennell, Katie Stuart
Genre: Comedy, Drama
Score out of ten (whole numbers only): 6
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Synopsis and Review

Writer/director Oz/Osgood Perkins is back, following the critical and commercial success of his prior film, "Longlegs". This time around he's adapting a short story by Stephen King, which focuses its attention on two brothers, identical twins by the names of Hal and Bill. Their father has abandoned/left the household, and their mother Lois, is suddenly back in the dating arena, trying to raise them while coming to terms with being by herself. The two siblings don't get along at all, with Bill bullying Hal most of the time. While going through their father's possessions, they come across a stuffed monkey inside a box. They decide to wind it, and later that evening while dining out with their babysitter, she experiences a particularly gruesome death. As Bill's bullying worsens, Hal out of sheer despair, winds the monkey again and hopes his brother is the victim. As it turns out, their mother dies of a particularly rare aneurysm, which racks Hal with guilt, leading him to dismantle and get rid of the monkey. The brothers also end up in Maine living with their aunt (and her husband). When the monkey reappears, it scares the brothers, but Bill decides to wind it up again, which results in their uncle getting killed (by a stampeded). The brothers decide to seal the monkey in a box and throw it down a well. Twenty-five years later, Hal and Bill are estranged, while Hal who has a son, has been avoiding him as much as possible out of fear the young boy is impacted by the monkey. When a series of horrific deaths starts happening again, Hal suspects the monkey may be involved. 

While "Longlegs" was an interesting exercise or variation on some of the paths that Jonathan Demme's "The Silence of the Lambs" created, "The Monkey" is a very different film, both in tone, and also in terms of character development. The film is very economical for starters, succinctly describing and positioning the antagonistic siblings as the focal points for the narrative, providing just enough dimension to them, while also never volunteering much of what has happened with them when they became adults. Osgood Perkins manages to, much like he did in "Longlegs", define an environment quite well, courtesy of stylistic options that he makes, which includes the cinematography and production design. His style options make his films always feel situated in the beginning of the 1980s, even if his narratives are contemporary. All these choices aside, Osgood Perkins also goes for over the top violence in this film, borderline Robert Rodriguez's splatter violence which he illustrated on "Planet Terror", always with a very clearly ironic stance. No matter how morbidly violent the deaths are, it always feels as if the characters are so jaded that none of them are very shaken by it in the least. The narrative moves fast and some character cameos are wonderfully loony, such as Elijah Wood's, Sarah Levy's and even Osgood Perkins' character. Theo James who gets to play Hal and Bill as adults sadly doesn't have much to give to the characters, but the film's purpose is definitely not to be a character study, but to bring this odd entity to life, with over the top death scenes, dark humor, and a conveniently eerie environment. The supporting cast is quite good, including Tatiana Maslany, Adam Scott (in a great cameo), Elijah Wood, and Osgood Perkins as the creepy uncle. The production team is quite solid as well, with highlights going to Nico Aguilar's cinematography, and Danny Vermette's production design. It's a dark and over the top narrative, one worth watching. 

Bridget Jones: Mad About the Boy

Movie Name: Bridget Jones: Mad About the Boy
Year of Release: 2025
Director: Michael Morris
Starring: Renee Zellweger, Chiwetel Ejiofor, Leo Woodall, Hugh Grant, Sally Phillips, Emma Thompson, Jim Broadbent, Gemma Jones, Nico Parker, Shirley Henderson, James Callis, Celia Imrie, Isla Fisher, Leila Farzad, Milla Jankovic, Casper Knopf, Colin Firth, Neil Pearson, Alessandro Bedetti
Genre: Comedy, Drama
Score out of ten (whole numbers only): 6
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Synopsis and Review

Following the unexpected indie success that was "To Leslie", director Michael Morris is back, with a decidedly more emotional turn in the adventures of Bridget Jones. The narrative finds Bridget, now a single mom with two young children, navigating an unexpected turn of events, as Mark Darcy has been killed a few years ago, leaving her with an emotional hole in her life, one that has been challenging to overcome. Following the advice of her medical practitioner, Bridget decides to go back to work, resuming her role as a producer for a TV show. Her friends also mention it's time for her to get back in the dating game, and set up a profile for her on Tinder. She meets a park ranger by the name of Roxster, a younger man, who becomes smitten with her. While the relationship seems to be moving fairly well, he suddenly ghosts her. In the meantime, Bridget finds herself supporting Daniel Cleaver, who has a health scare and in the interim has also become a close friend and confidante. When Roxster reappears and apologizes for his behavior, Bridget decides to move on, focusing on her children and making sure they continue their journey of healing. She also decides to attend a school trip, featuring her son's class with the additional attendance of various teachers, including science teacher Scott Walliker, who as it turns out, is a kind, intelligent and sweet man, and not the brash man Bridget mistook him for. At the school winter holiday pageant, Bridget's son Billy sings "I'd Do Anything" as a tribute to his father, and she thanks Walliker for his time spent with Billy. She also invites him for a holiday celebration. 

It's been a somewhat difficult task to replicate the spirit that the original "Bridget Jones's Diary" captured, which Sharon Maguire directed to much critical and commercial success in 2001, and the sequels that have since been released. Of all the sequels this may well be the most successful one, one where in parallel with the tropes of the romantic comedy, there's also deeper emotional aspects tied with grief, growing older, and trying to make sense of one's life, as life takes dramatic and unexpected turns. It's a bit like Lawrence Kasdan's "Grand Canyon" meets "Bridget Jones' Diary". Bridget is still very much herself, this time around, not as clumsily insecure as she was before, but still attempting to navigate the dating world, with deep bruises from the passing of her dearest one. It's a film that chronicles, not quite as literally as Richard Linklater's "Boyhood" did with the passing of time, but nonetheless it does chronicle the life changes that have occurred with Bridget, her family and circle of close friends. It's a bittersweet film, one that allows for some characters to be more than the typical cliché they've been in the past, even if some of the supporting characters should have gotten a bit more time/bandwidth (though it's nice to witness the evolution of Daniel Cleaver, though Bridget's other close friends deserved a bit more than just the footnote they ended up getting). The cast really does bring this film to life, particularly the always fantastic Renee Zellweger in the lead role, who gets great support from a cast that includes Chiwetel Ejiofor, Hugh Grant, Emma Thompson, Sally Phillips, Jim Broadbent, and Nico Parker. The production team is equally impeccable, featuring the cinematography of Suzie Lavelle,  score from Dustin O'Halloran, and production design by Kave Quinn. An entertaining film worth watching. 

Ever After: A Cinderella Story

Movie Name: Ever After: A Cinderella Story
Year of Release: 1998
Director: Andy Tennant
Starring: Drew Barrymore, Anjelica Huston, Dougray Scott, Megan Dodds, Melanie Lynskey, Timothy West, Patrick Godfrey, Judy Parfitt, Jeroen Krabbe, Lee Ingleby, Kate Lansbury, Walter Sparrow, Jeanne Moreau, Anna Maguire, Richard O'Brien, Peter Gunn
Genre: Fantasy, Romance
Score out of ten (whole numbers only): 5
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Synopsis and Review

Andy Tennant who prior to directing features had a long career in television, directing episodes for a series of TV shows including "The Wonder Years" and "Parker Lewis Can't Lose", firstly got a taste of middling success with "Fools Rush In", but his visibility increased substantially after the success of "Ever After". The narrative follows the adventures of Danielle de Barbarac during the French Renaissance. In the years since her father passed away, she has become a de facto chambermaid/servant to her stepmother, the Baroness Rodmilla, and her two daughters. One day while out and about she meets a young man, who turns out to be Prince Henry, who is attempting to flee the area in order to avoid an arranged marriage. Henry notices Danielle once again when she heads to the palace to buy back a family servant. He becomes so impressed with her passion he orders the man to be released. Henry's father, King Francis negotiates a deal with his son in the meantime: there's a masquerade ball to be held in a few days, upon which Henry will announce his engagement to the woman of his choosing by midnight, or marry the one they have chosen for him. Rodmilla accelerates her efforts of getting one of her daughters to become more visible to Henry, while he is secretly spending more and more time with Danielle. 

"Ever After: A Cinderella Story" much like its title implies, gets its inspiration from Charles Perrault's book "Histoires ou contes du temps passé" (which includes "Little Red Riding Hood" and "Cinderella", to name but a few), but adds a more modernist vibe courtesy of the screenplay by Susannah Grant, Andy Tennant, and Rick Parks. The film sadly doesn't have much substance to it, lacking the magical and delight that the original Walt Disney version originally rendered in its animated version from 1950 (directed by the team of Clyde Geronimi, Wilfred Jackson and Hamilton Luske). There's attempts at modernizing Danielle, by making her more humane and in touch with the plight of her employees (wouldn't you know, she's the original Norma Rae), and also by making her more tomboyish (a bit rough around the edges, means personality wise, you're that much more likely to be less judgmental or artificial). All these attempts at portraying the virtues of Danielle through a more modern prism, versus the not so friendly embodiment of selfishness and villainy from Rodmilla and her daughters, tries to slightly distance the narrative from the black or white aspects of these tales when it comes to defining characters' traits, while still retaining its core message intact. It would have been far more interesting if the narrative did attempt a more radical departure, by illustrating the challenges of women's roles during that time, as opposed to once again pitying them against each other. Even if the script is indeed superficial, it does provide Drew Barrymore and Anjelica Huston a few opportunities to shine and demonstrate what makes them always so watchable, even if the material doesn't do them enough justice. The rest of the cast is solid, particularly Melanie Lynskey, Judy Parfitt, and the magical Jeanne Moreau, who has a wonderful cameo in the film. The production team is equally solid, particularly the wonderful costumes authored by Jenny Beavan. It's watchable, but also forgettable, which seems to be an undercurrent with all the films from this director.