Greetings again from the darkness. This is not a comedy. Ordinarily a movie review would not begin by telling you what the movie is not, but when the theatre marquee flashes “Starring Melissa McCarthy and Tiffany Haddish”, most anyone would assume they are in for a 2-hour laugh out loud romp with the promise of some outlandish one-liners to drop at the next party. Instead, the directorial debut from Andrea Berloff is a relatively violent mob movie. Ms. Berloff also adapted the screenplay from the Vertigo comic book series by Ollie Masters and Ming Doyle.
Kathy (Ms. McCarthy), Ruby (Ms. Haddish), and Claire (Elisabeth Moss) are left isolated when their mob-connected husbands are busted by the FBI, and sent to prison. Survival instincts kick in for the previously uninvolved ladies, and they quickly realize that a bit of strategy would allow them to not only run the business their husbands left behind, but also build it into something better. Of course the mobsters left behind are none-too-pleased with the women outperforming them, and so we get a good old fashioned ‘brains vs. brawn’ battle.
The setting is the Hell’s Kitchen section of Manhattan. The year is 1978, so the Irish community still has a stronghold on the area. This is basically the same timeframe and the same streets that serve as the setting for the classic TAXI DRIVER (1976). We see what happens when a woman’s touch is applied to gangster activities: bonds are built, services are rendered, and payments are made. The illusion of power draws the three women in deeper, and the movie has us believe they are good at it. The issue is, as viewers, we never really buy into these three seizing this power. We are just supposed to sit back and accept that Kathy is an expert community organizer, Ruby gets things done behind the scenes, and timid Claire evolves. Actually, Claire’s (Ms. Moss) transformation is the best part of the film. Seeing her discover new talents and her true persona is as exciting for us as it is for her. However, in total, the 3 characters are little more than caricatures.
In addition to the three stars, the cast is deep. The three husbands are played by Brian d’Arcy James, James Badge Dale, and Jeremy Bobb, and all three are criminals and bad husbands. Domhnall Gleeson resumes his chameleon ways in what could have been a more interesting role, Common plays a federal agent, Annabella Sciorra has a nice turn as a mobster’s wife, and the great Margo Martindale (with prop cane) and Bill Camp are both standouts (as they usually are) in their respective gangster roles.
The film does a nice job tying in historical elements of the era, including the construction plans for the Javitz Center. There are more than a few moments of violence, but the shots aren’t nearly as dramatic as we’ve come to expect in mob movies. It’s simply not as gritty as it pretends to be. There are some similarities to last year’s WIDOWS (directed by Steve McQueen and starring Viola Davis), but with this cast, Ms. Berloff might have considered approaching the tone of Jonathan Demme’s MARRIED TO THE MOB (1988). A raised eyebrow from the ultra-talented Ms. Haddish elicited laughter from the audience, rather than respect for her power. I expect it will be a crowd-pleaser for those along for the ride. Just remember – it’s not a comedy.
Greetings again from the darkness. Director Lenny Abrahamson’s follow up to his stellar film ROOM (Oscar nominated for Best Picture and Best Director) is based on Sarah Waters graphic novel, and adapted for the screen by Lucinda Coxon (THE DANISH GIRL). Very early on, the film succeeds in giving viewers that “I have a bad feeling” sensation … usually a very good sign for films in this genre.
The always excellent Domhnall Gleeson stars as Faraday, the local town doctor called out to check on the lone remaining housekeeper at Hundreds Hall. For a couple hundred years, it’s been the Ayres family home, and though, in its past, a glorious fixture among Britain’s elite, the home, grounds and family themselves are all now little more than a distant memory of their once great selves. When he was a mere lad, Faraday’s mum had served on staff, and his memories of the grand palace are jolted by the sight of its current dilapidated state.
The Ayres family now consists of Charlotte Rampling as the matriarch who has yet to move past the death of her beloved daughter Susan so many years ago; Will Poulter as Roderick, the son who was disfigured and maimed during the war; and Ruth Wilson as surviving daughter Caroline, who seems to have surrendered any semblance of life in order to care for her mother, brother, and home … each in various stages of ill-repair.
This is a strange family who mostly keep to themselves, well, except for Faraday who seems drawn to the family … or is it the house? Even his romantic interest in Caroline could be seen as an excuse to regularly return to the house. His flashbacks to childhood and a festival held on the estate grounds provide glimpses of his connection, but with Gleeson’s mostly reserved façade, we never really know what’s going on in his head.
Part haunted house, part ghost story, and part psychological thriller; however, it’s really not fully any of these. There seems to be a missing link – something for us to grab hold of as viewers. The film is wonderfully cloaked in dread and looks fabulous – replete with ominous music and a creepy old mansion. Unfortunately those things are accompanied by the slowest build up in cinematic history. “A snail’s pace” is too kind as a description. The film is very well acted, but horror films and thrillers need more than atmosphere, otherwise frustration sets in with the viewer. There is little doubt this played much better on the pages of Ms. Waters’ book.
Greetings again from the darkness. Him. Mother. Man. Woman. When those are the identifiers of the four main characters (none have a real name), one might assume that the filmmaker is lazy. However, after watching the latest from the psycho-creative force known as Darren Aronofsky, we understand that names weren’t necessary, and even if they had been, he was probably too mentally exhausted from finding ways to torture those characters and confound the viewers.
The first half of the film is discomforting and creepy while the second half is downright crazed and deranged. You won’t find many story details in this review, as the fun is in the shock. Most of the film is through the eyes of Jennifer Lawrence, and we share her confusion and disoriented state. She is married to a famous poet played by Javier Bardem (yes, the age difference is acknowledged). While she spends her days refurbishing their stunning country home, he battles severe writer’s block. Needless to say, their domestic bliss goes wrong … but it’s not the kind of wrong we’ve ever seen before.
Aronofsky and cinematographer Matthew Libatique (both Oscar nominees) confine us in excruciatingly tight shots resulting in further disorientation and claustrophobia through most of the film. By the time we get a single wide shot of the home’s exterior, we’ve just about given up hope. And once Ed Harris and Michelle Pfeiffer show up, we kick into full ROSEMARY’S BABYmode … only more frenetic and hyper.
It should be noted that it’s not a traditional horror film – heck, it’s hardly a traditional film at all. It’s built on confusion, and metaphors abound. Aronofsky seems intent on causing endless post-viewing discussions and debate over what it “means”. A case can be made for commentary on ego, fame, Mother Nature, deity/religion, and a sign of the times – the entitled “takers” of the world. The most obvious explanation is that the price paid for creativity is quite dear, and often causes a release from reality. There is a vicious cycle occurring here and our realization happens after the crescendo of insanity that is the film’s peak.
WTF moments are too many to count, and Ms. Lawrence pulls off what has to be the roughest on screen pregnancy we’ve seen. It’s a real treat to see Michelle Pfeiffer back in form after being out of the spotlight for four years. The score from Johan Johannsson is remarkable and there are ground-breaking visual effects (easy to miss during the audacious, frenzied second half action). Aronofsky is clearly provoking us, though it’s abundantly unclear to what end. His previous twisted, mind-benders include REQUIEM FOR A DREAM and BLACK SWAN… both of which seem like mainstream family fare in comparison. This is a love it or hate it project, and most will likely fall into the latter. But for those who embrace the deranged and audacious, the love will be everlasting.
Greetings again from the darkness. “Keep breathing.” A flashback in the opening sequence has Hugh Glass whispering the phrase as advice to his young son Hawk, the product of Glass and his beloved Pawnee bride. The phrase has a recurring role throughout the film … possibly serving as a courtesy reminder from director Alejandro Gonzalez Inarritu to the moviegoers mesmerized (and nearly traumatized) by the incredible brutality of what is on screen.
It’s a master class in filmmaking by those at the top of their game. Inarritu is the reigning Oscar winning director for Birdman or (The Unexpected Virtue of Ignorance),and he has re-teamed with the reigning Oscar winning cinematographer from that movie, Emmanuel Lubezki. Two of the finest actors of their generation, Leonardo DiCaprio and Tom Hardy, strip away any semblance of pampered movie stardom to deliver ultra-realistic performances in a story “based in part” on the true to life novel by Michael Punke.
An early action sequence is startling in its ferocity as Arikara surround and attack a group of hunters and trappers, and the whoosh of arrows – many of which find their mark – abruptly drag us into a world that we are unfamiliar with and certainly unprepared for. It’s early 19th century U.S. frontier, and just about everyone and everything can kill you. Providing just enough time for us to pry our fingers off the armrests, Inarritu stuns us with what is undoubtedly the most fantastic grizzly bear attack on a movie star ever filmed. In what appears to be a single take (which also happens to be the number of breaths I took), Mama Grizzly treats Leonardo the way a young puppy treats its first chew toy. Scratched, chewed, tossed and stomped. This scene is savage and brutal, and sets the stage for the true, yet still unbelievable odyssey of survival by frontiersman Hugh Glass.
Tom Hardy excels as the calmly psychotic villain Fitzgerald, though some of his early hillbilly-tinged dialogue is difficult to catch. His hulking presence fits with our imagined look of the frontiersman of the era … tough and unforgiving nearly beyond belief. His bullying of youngster Jim Bridger (played by Will Poulter) and power struggles with Captain Henry (Domhnall Gleeson) are at frightening levels of intensity. Fans of Tarantino’s Inglourious Basterdswill smile as they recognize the name of mountain man Jim Bridger … though that’s one of the few smiles offered by this 156 minute gut-wrenching ordeal. It would not be surprising if DiCaprio’s mantel sports an Oscar in a few months. He is that superb in a role that has nothing to do with good looks or charm.
A tale of survival. A quest for revenge. It’s both of those, as well as a reminder that nature can be both beautiful and brutal. Some of the photography is almost poetic, and often reminds of the work of director Terrence Malick. And in the blink of an eye, that moment is shattered by the torrential force of river rapids carrying Glass over the waterfall, or his taking a horseback ride off a steep cliff (one of the most dramatic shots of the film). The journey of Glass is unknown in distance or time in the movie, but there is no question as to the numerous struggles with the elements and the raw physicality required to persevere. If you can avoid diverting your eyes, there are visuals here that will be sincerely appreciated – even as you squirm, cringe and moan throughout.
From a technical standpoint, the film was shot on location in Canada and Argentina using only natural lighting, and emphasizing aspects of nature that often are overlooked. The sound of arrows, bears, and even DiCaprio’s breathing are profound and crucial to the overall effect, as are the animal skin garments and other costumes. It’s impossible to tell where CGI meets reality, but the visceral experience will be quite unique for most viewers … and not soon forgotten.
Greetings again from the darkness. In what can justifiably be termed a cultural event, director J.J. Abrams brings us Episode VII in a film franchise (developed by George Lucas, now owned by Disney) that date backs almost 40 years. While I was one of the lucky ones who waited patiently in line to see the first Star Warson opening day in 1977, I can only be described as a series fan rather than a Star Wars geek. My bond is with Han Solo and Chewbacca, so I’m not here to debate the minutiae of costumes, timelines and weaponry.
What I can happily report is that Mr. Abrams (he’s also directed Star Trek and Mission Impossible films) has found just the right blend of nostalgia, science-fiction, and geeky gadgetry to appeal to the widest of all audiences. The film is an honorable tribute to the previous six in the series, yet it’s more than entertaining enough to stand alone for new comers.
As we expect and hope for, the screen is filled with fantastical visuals that somehow push our imagination, while at the same time, feel realistic to the story and action. The aerial dogfights are adrenaline-pumping and spectacular in their vividness, and the more grounded action scenes feature Stormtroopers who have clearly had lots of target practice since the previous films.
You need only watch the trailer or read the credits to know that some of the old familiar faces are back: Harrison Ford as Han Solo, Mark Hamill as Luke Skywalker, Carrie Fisher as Princess Leia, Peter Mayhew as Chewbacca, and of course, our old pals C-3P0 and R2D2. Also back is the remarkable composer John Williams – likely to receive his fiftieth (yes, 50!) Oscar nomination for his work here. In addition to the familiar, new faces abound: John Boyega as Finn, Daisy Ridley as Rey, Adam Driver as Kyle (don’t call me Ben) Ren, Oscar Isaac as Poe, Gwendoline Christie as Captain Phasma, and Domhnall Gleeson as Captain Hux. There is also the magic of Andy Serkis as Supreme Leader Snoke, and an all-too-brief sequence featuring Max von Sydow. Oscar winner Lupita Nyong’o voices Maz Kanata, and there is an impressive list of other cameos available online if you are interested (Daniel Craig being the most eye-raising).
Abrams along with action cinematographer extraordinaire Daniel Mindel take full advantage of all available technical aspects in creating stunning visuals and spine-tingling sound. It’s a film made to be watched on the biggest screen with the best sound system, so ask around if you aren’t sure. If you are a long-time fan of Han and Chewy, you’ll enjoy catching up with old friends. If you are unfamiliar with the Star Wars galaxy, this latest will hook you into the force.
Greetings again from the darkness. A popular proverb “Home is where the heart is” is filled with truth … unless the heart belongs in two places. Such is the case with Ellis, an Irish girl who leaves behind her family and homeland to discover the new world opportunities afforded by 1950’s America. The film is based on the popular and critically-acclaimed novel from Colm Toibin, and is directed by John Crowley (Is Anybody There? 2008) with a screenplay from Nick Hornby (About a Boy, An Education). It’s a blend of romance, drama, and self-discovery, while also examining a couple of diverse cultures from lands separated by more than 3000 miles (and a big ocean).
Saoirse Ronan plays Ellis in a performance that is sure to garner much Oscar talk. It’s only been 8 years since Ms. Ronan exploded onto the screen as 13 year old Briony in Atonement. In this current role we watch her blossom like a flower as she grows from a timid and reserved shop girl with a bleak future in Ireland, to a fully-realized woman with much spirit and hope. On that journey, she experiences many life obstacles including seasickness, homesickness, catty and envious housemates, heartbreak and romantic awkwardness … all while dealing with the overwhelming nature of her new world.
Director Cowley makes some interesting visual choices. We begin with a muted color palette and mostly close camera shots of Ellis’ life in Ireland. This “closed in” feeling continues through her crossing of the Atlantic. However, once she steps through the blue doors of Ellis Island, the world opens up with wide shots and shocks of bright colors. These contrasts blend together in the third segment where Ellis returns to Ireland after a family tragedy. The look of the film at any given time mirrors the mood and circumstance of our lead character.
Ellis struggles to adjust to the United States, both in the bordering house run by the colorful Ms. Kehoe (a terrific Julie Walters), and in the ritzy Bartocci store where she clerks for a demanding supervisor (Jessica Pare’, “Mad Men”). Ms. Kehoe provides her girls with such life guidance as “Giddiness is the 8th Deadly Sin”. It doesn’t take long for Ellis to meet Tony (a breakout performance by Emory Cohen, The Place Beyond the Pines), a pleasant and polite local Italian plumber who is enchanted by her. Their time together provides a wonderful comparison piece for today’s courtship vs. that of the 1950’s.
The movie is beautifully paced, filmed and acted; however, there are some issues to fight through with the story and details of the main character. Her return to Ireland introduces Jim Ferrell (solid work from the ever-evolving Domhnall Gleeson), and just like that, Ellis is confused about Tony’s line: “This is where your life is”. This time of confusion for her, creates similar type confusion for viewers as we either understand her uncertainty, or question it. This distracts a bit from some of the impactful elements like her transition from clueless fish-out-of-water on her first cruise, to strong mentor for an Irish girl much like her younger self on a later trip. The script has more than a few of these moments of gold, and Saoirse brilliantly nails each.
Greetings again from the darkness. Louis Zamperini was a true American hero and his life story is epic and legendary. The son of Italian immigrants, young Louie easily found trouble, and only the efforts of his older brother and a local police officer allowed him to discover inner strength through his talent for distance running. As a 19 year old, Louie ran in the 1936 Berlin Olympics, and later enlisted in the Air Force and served as a bombardier during WWII. After a horrible plane crash, he spent a grueling 47 days adrift at sea in a life raft, until rescued/captured by the Japanese. Zamperini served as a Prisoner of War, where he was subjected to immense physical and psychological torture, until the war finally ended.
Zamperini’s story has long deserved to be made into a movie, and it has bounced around Hollywood since 1957. However, it wasn’t until Laura Hillenbrand’s biography on Zamperini became a best seller in 2010 that the film version was given the go-ahead. With screenplay credits for Joel Coen, Ethan Coen, Richard LaGravenese, and William Nicholson, cinematography from the great Roger Deakins (the first Air Force battle sequence is breath-taking), and a score from Alexandre Desplat, it was a bit surprising when Angelina Jolie was named director. After all, she only had one previous credit as a director, and that film (In the Land of Blood and Honey, 2011) was nowhere near the scope of this project.
Given the true life inspirational story and the truly heroic events of its featured character, the film can best be labeled a mild disappointment. It is extremely impressive to look at, but somehow lacking in emotion … despite some excruciatingly uncomfortable moments. The film strives for the level of historic epic, yet its conventional tone and approach leave us wondering what’s missing. The single most effective and emotional moment occurs in a short clip of the real Louis Zamperini running as an Olympic torch bearer at age 80 for the 1998 Olympics (in Japan!).
Jack O’Connell pours everything he has into capturing the spirit of Zamperini, and he is certainly an actor to keep an eye on. Japanese rock star Miyaki plays “The Bird” Watanabe, a sadistic POW camp commander who brutalized Zamperini, but Miyaki lacks the chops to pull off this crucial role – going a bit heavy on the posturing. The film uses the line “If you can take it, you can make it” as its rallying cry, but too many gaps are left for the audience to bridge as we watch Louie go from a punk kid to a war hero with almost mystical courage and perseverance. Other supporting work comes from Domhnall Gleeson, Garrett Hedlund, Jai Courtney and CJ Valleroy (as young Louie).
On paper, all the pieces are in place for an Oscar contender, and the film may very well play well with voters. My preference would have been to have the real life Louis Zamperini more involved … through either narration or interviews. He spent the second half of his life as a motivational speaker and story-teller, and would have added an incredible element to the film. Unfortunately, Mr. Zamperini (pictured left) died 4 months prior to the release of the film so he never saw the finished product. It’s likely he died knowing that his legacy is part of American history and that he did in fact “make it”.
Greetings again from the darkness. Most movies fit pretty easily into a genre: drama, comedy, action, etc. This latest from film festival favorite Lenny Abrahamson is tough to classify. It begins with silly and funny inner-dialogue from an aspiring musician/songwriter (Domhnall Gleeson), transitions into a dark dramady with complex characters and dialogue, and finishes as a bleak statement on mental illness and the music business.
That’s more than I would typically disclose, but some have described the film as an outright comedy and I find that unconcsionable. If you are expecting a laugh riot, you will not only be disappointed, but are likely to miss the unique perspective provided.
The screenplay is written by The Men Who Stare at Goats collaborators Jon Ronson and Peter Straughan. Clearly inspired by the late British comedian and musician Chris Sievey (and his character Frank Sidebottom), Mr. Ronson’s work with Mr. Sievey is the driving force. It’s also the reason Gleeson’s character is emphasized over Michael Fassbender‘s titular character who dons the paper mache head for the bulk of the movie. This script decision probably keeps the film from reaching greatness.
The exceptional and attention-grabbing first 15 minutes set up a movie that dissolves into an exploration of the creative process within mental illness … Franks states numerous times that he has a certificate (certifiable). There is also an ongoing battle between art and commerce, as waged by Maggie Gyllenhaal‘s character and that of Gleeson. Social Media power is on full display as this avant-garde performance art band gathers a huge following prior to ever really producing any music.
Fassbender is somehow exceptional in his “masked” performance, and it’s very interesting to see Ms. Gyllenhaal in a different type role. Gleeson lacks the charisma to carry the film, but the supporting cast of Scoot McNairy (who I think should have played the Gleeson role), Francois Civil, Carla Azar (Autolux drummer) and Tess Harper all deliver and prevent the film from drooping.
Without seeing Frank’s facial expressions, we witness his transformation from mystic/guru to an unstable and socially uncomfortable dude striving for likability, but unsure what the term really means. Must artists suffer for their art? Why does society latch onto the newest social media gimmick? What is creative success and why are so many afraid of it? The film begs these and other unanswerable questions. Certainly interesting, but definitely not 90 minutes of laughter.
SEE THIS MOVIE IF:you have always had a secret desire to be a rock star wearing a giant paper mache head at all times (and who hasn’t?) OR you have an interest in the role of creativity in treating mental illness.
SKIP THIS MOVIE IF: you are expecting some gimmicky comedy like Ted … though this one is funnier than Howard the Duck.
Greetings again from the darkness. Writer/director John Michael McDonagh and actor Brendon Gleeson re-team (The Guard, 2011) in what can be viewed as one giant leap for both filmmaker and actor. Mr. McDonagh is immensely talented and seems to be a natural at keeping his viewers unsure of what’s coming, and Mr. Gleeson gives his best yet performance of a quite impressive career.
Set and filmed in a western Irish coastal town, the film has a most unusual first scene, including an acknowledgment of such as the priest (Gleeson) says “Certainly a startling opening line“. This occurs in the confessional, with an extreme close-up, as the unseen (by us) parishioner then says “I’m going to kill you Father“. With Sunday week as the promised deadline, the movie follows the Priest with a placard for each day, as he makes his way through consulting the maze of local town characters. He also receives a visit from his daughter (Kelly Reilly), fresh off a suicide attempt (he was married prior to joining the priesthood).
The film bounces from very dark humor to extreme philosophical and theological discussions (faith and mortality) between the town folks and the priest. We quickly learn what a good man (with an imperfect past) he is, and struggle to understand why the locals flash such vitriol his way. The Catholic Church, and all that implies these days, certainly plays a key role, but more than that, this is about the make-up and character of people.
An impressive and talented supporing cast includes Aidan Gillen as the atheist doctor with a dark side, Chris O’Dowd as the local butcher, Orla O’Rourke as his unfaitful wife about town, Isaach DeBankola as one of her chums, Dylan Moran as the conflicted local rich boy, Killian Scott as the frustrated virginal local, Domhnall Gleeson (Brendan’s son) as an incarcerated serial killer, and the always great M Emmet Walsh – back on screen as the local old timer who spins yarns and enjoys attention.
This is not the place to go into detail about the story, as the film is best unwrapped and interpreted by each viewer. Rather than a whodunnit, it has a rare who-is-going-to-do-it element that hovers over each scene. What can be said is that this is exceptional filmmaking: it’s well directed, beautifully photographed (landscapes and aerials), superbly acted, has a terrific script (incredible dialogue), and encourages much discussion.
Greetings again from the darkness. We are all familiar with the phrase “All the World’s a Stage”, and director Joe Wright and writer Tom Stoppard twist the phrase into “All the Stage is the World” in their re-imagining of Leo Tolstoy‘s literary classic. With a bold and ambitious vision, the story plays out mostly within the confines of a theatre … utilizing not just the stage, but the rafters, backstage and all nooks. This is pulled off in a most operatic manner with heavy production, remarkable sets and costumes, and the use of curtains and doors for a change of scene. Additionally, most of the actors move like dancers and, at times, the dialogue delivery borders on musicality.
Tolstoy’s story has been adapted for the screen in more than two dozen versions, including two from screen legend Greta Garbo (1927, 1935). Who better to take on the role of Anna than Keira Knightley, the ultimate period actress of our generation. It’s her third film with Joe Wright (Atonement, Pride and Prejudice) and by far, the least traditional in presentation. This version focuses on the affair between Anna and Vronsky (Aaron Taylor-Johnson from Kick-Ass), and her resolve in tossing aside her standing in Russian high-society … and even giving up her son.
We do gets bits and pieces of the other story lines: Oblonsky (Matthew Macfadyen) provides some comic relief from the start despite his extra-marital wanderings from his wife (Kelly Macdonald); the stoic determination of the bureaucrat Karenin (Jude Law) as he insists on maintaining the proper illusion; and the down-to-earth landowner Levin (Domhnall Gleeson, Brendan’s son) with his pursuit of perfect farming and the beautiful Kitty (Alicia Vikander). Some viewer disappointment creeps in when we realize that Levin’s story is minimized here for the torrid love affair of Anna and Vronsky. Levin’s story is allowed to sneak outside the theatre setting … presumably since he is the only character living in the real world.
Tolstoy’s powerful story is stymied to some degree by the lack of sympathy we feel for Anna … while we certainly understand her lack of connection to the cold Karenin, we never sense more than a physical attraction and unreasonable wish between she and Vronsky. The strength of the story stems from Anna’s knowing willingness to surrender her place in society for the sake of what should interprets as true love. When one of the society ladies states she could forgive Anna for breaking the law, but not for breaking the rules, we fully comprehend what a ridiculous state those in high society exist.
It’s difficult to imagine a wide acceptance of this unique presentation; however, the technical aspects of the film deserve much Oscar consideration – cinematography, set design, costumes, etc are all first rate. And Keira Knightley proves again that costume dramas are where she is at her best.
SEE THIS MOVIE IF: you thought all possible presentations of literary classics had been explored OR you need further proof that no actress today seems more natural in the unnatural costume dramas than Keira Knightley
SKIP THIS MOVIE IF: film interpretations of the elite literary classics leave you with an empty feeling
Greetings again from the darkness. This is not a comedy. Ordinarily a movie review would not begin by telling you what the movie is not, but when the theatre marquee flashes “Starring Melissa McCarthy and Tiffany Haddish”, most anyone would assume they are in for a 2-hour laugh out loud romp with the promise of some outlandish one-liners to drop at the next party. Instead, the directorial debut from Andrea Berloff is a relatively violent mob movie. Ms. Berloff also adapted the screenplay from the Vertigo comic book series by Ollie Masters and Ming Doyle.
Posted by David Ferguson 
Movie Reviews from the Dark 