Review: ‘Cult Killer,’ starring Alice Eve, Shelley Hennig, Paul Reid and Antonio Banderas

January 25, 2024

by Carla Hay

Alice Eve in “Cult Killer” (Photo courtesy of Saban Films)

“Cult Killer”

Directed by Jon Keeyes

Culture Representation: Taking place in Dublin, the crime drama film “Cult Killer” features a predominantly white cast of characters (with one Latin person and one black person) representing the working-class, middle-class and wealthy.

Culture Clash: A librarian-turned-private-investigator is hired by the police to assist in investigating the death of a colleague and to find the serial killer who is murdering wealthy people in the area.

Culture Audience: “Cult Killer” will appeal primarily to people who are fans of star Antonio Banderas and don’t mind watching murder mysteries that have plot holes and ridiculous scenarios.

Antonio Banderas and Alice Eve in “Cult Killer” (Photo courtesy of Saban Films)

“Cult Killer” took a potentially intriguing story idea about a vengeful serial killer and ruined it with a messy plot holes, too many flashbacks, and an idiotic showdown scene that sinks this movie into a pile of cinematic garbage. This is the type of movie where most of the acting isn’t terrible, but the film becomes undone by the way it’s written and directed. There are moments of suspense in finding out the motive for the killings, but once that motive is revealed, “Cult Killer” becomes a predictable and mindless mush.

Directed by Jon Keeyes and written by Charles Burnley, “Cult Killer” takes place in Dublin. The movie was filmed on location in Ireland. The locations are some of the few authentic-looking things about “Cult Killer.” The movie’s cinematography gives everything a dark blueish-green tint that makes “Cult Killer” look like an unnecessarily murky-looking film.

“Cult Killer” also relies too heavily on flashbacks, which might or might not confuse viewers. From these flashbacks, viewers can learn that a widower private investigator named Mikeal Tallini (played by Antonio Banderas) befriended and became a sponsor to an alcoholic librarian named Cassie Holt (played by Alice Eve), who was sexually abused by her stepgrandfather when she was 8 to about 18 years old. Cassie secretly recorded the abuse, which was used as evidence to put her abuser in prison for a number of years.

Now in her early 40s, Cassie (who is originally from England) eventually sobered up and began working with Mikeal (who is originally from Spain) as a private investigator. He mentored her by teaching her investigative skills and fight skills. Mikeal has a friendly relationship with a Dublin police sergeant named Rory McMahon (played by Paul Reid), who is investigating the death of a wealthy elderly man named John Abernathy. It soon becomes apparent that people in John’s social circle are being targeted for murder.

Without giving away too much information, it’s enough to say that something happens to Mikeal that puts Cassie on the case to find this killer. John’s social circle includes a wealthy married couple named Dottie Evans (played by Olwen Fouéré) and Edgar Evans (played by Nick Dunning); the Evans couple’s sleazy attorney Victor Harrison (played by Matthew Tompkins); and a fixer/investigator employed by Victor named Wallace (played by Kim DeLonghi), who is hired by Victor to clean up his clients’ scandalous messes.

There’s also a mysterious American in her 20s named Jamie Douglas (played by Shelley Hennig), who singles out Cassie to establish a rapport with her. Most of the investigation revolves around the Evans couple’s mansion where John was killed. After a while, it becomes obvious what the motive of the murders is, even before the motive is actually revealed in the movie.

Because the killer and motive are revealed about halfway through the movie, “Cult Killer” becomes a messy back-and-forth of showing the killer evading capture and showing flashbacks to the platonic working relationship between Cassie and Mikeal. Cassie is the movie’s protagonist, but Eve’s acting in the role is often stiff and dull. Banderas mumbles a lot in this film. Some of the flashbacks become very irritating after a while and don’t really add much meaning to the story. They are essentially “filler” scenes to distract from the flimsy plot that falls apart by the end of the movie.

There’s a pivotal scene toward the end of “Cult Killer” that makes no sense. Viewers who see this scene must ask themselves: “If these very wealthy people are being targeted for murder, what are they doing walking on a street with no security protection, when they have aggressive security people guarding their house?” It’s one of many questions that have no answers in “Cult Killer,” because a substandard crime drama like this one has too many plot holes to be believable.

Saban Films released “Cult Killer” in select U.S. cinemas on January 19, 2024.

Review: ‘Journey to Bethlehem,’ starring Fiona Palomo, Milo Manheim, Lecrae, Joel Smallbone and Antonio Banderas

January 4, 2024

by Carla Hay

Fiona Palomo and Milo Manheim in “Journey to Bethlehem” (Photo courtesy of Affirm Films)

“Journey to Bethlehem”

Directed by Adam Anders

Culture Representation: Taking place in the Israeli cities of Nazareth and Bethlehem, the musical “Journey to Bethlehem” (based on New Testament teachings in the Christian Bible) features a racially diverse group of characters (white, Asian, Latino and black) representing the working-class, middle-class and wealthy.

Culture Clash: A virgin named Mary, who is reluctant to marry her fiancé Joseph, is banished from her family after claiming that she is giving birth to the son of God, and the couple goes into hiding from the evil king Herod, who wants to kill the children of Bethlehem.

Culture Audience: “Journey to Bethlehem” will appeal primarily to fans of musicals and faith-based movies that put a contemporary spin on ancient teachings.

Antonio Banderas in “Journey to Bethlehem” (Photo courtesy of Affirm Films)

As an earnest faith-based musical, “Journey to Bethlehem” does what it’s supposed to do for its intended audience. Other people might be surprised by the charm and appeal of this pop music version of the Bible’s nativity story about Jesus Christ. “Journey to Bethlehem” has some impressive visual effects and production design, considering its relatively low production budget of a reported $6 million. There are also engaging performances from the cast members, even if some of the characters are close to being cariactures.

Directed by Adam Anders (who co-wrote the “Journey to Bethlehem” screenplay with Peter Barsocchini), “Journey to Bethlehem” begins with this voiceover narration: “Long ago, in the time of Caesar Augustus and in the land of Judah, ruled by the evil King Herod, there lived a young woman named Mary, who didn’t know yet that she was chosen by God to fulfill an ancient prophecy to bring forth a promised king sent to save the world.” That king, of course is Jesus Christ.

“Journey to Bethlehem” (which was filmed in Spain) stays faithful to the basics of the biblical story but takes a lot of liberties in the interpretations of the characters. Just like in the Bible, the three kings who knew of the prophecy see the star that signals the arrival of this divine child. In “Journey to Bethlehem,” these three kings are portrayed as a somewhat comedic trio that bickers and banters with each other. It’s not slapstick insult comedy like the Three Stooges. It’s more like the biblical version of Spinal Tap.

Balthazar (played by Geno Segers) is the king with astronomy skills. Caspar (played by Rizwan Manji) is described in the movie as the king who is “the greatest scholar in all the lands.” Melchior (played by Omid Djalili) is the king who’s a great navigator and a map expert. Caspar (who is has a super-serious personality) and Melchior (who has a goofy personality) frequently clash with each other, while easygoing and optimistic Caspar is the most likely one of the three kings to keep the peace when there are conflicts within this lively trio.

Meanwhile, in Bethlehem, Mary (played by Fiona Palomo) is dreading her upcoming arranged marriage because she would rather be a teacher than a wife at this stage in her life. Mary has been betrothed to a man whom she hasn’t met yet. Her father Joachim (played by Antonio Cantos), who is a teacher, tells Mary: “You are a girl. You will be a wife, not a teacher, as tradition demands.” Mary’s mother Ana (played by Maria Pau Pigem) agrees with her husband.

At an open-air market, Mary has a “meet cute” moment with a young adult stranger named Joseph (played by Milo Manheim) when they accidentally bump into each other. He seems to be immediately attracted to her, but she seems to be a little attracted to him too. However, Mary is preoccupied with her worries about the upcoming marriage that she does not want. She’s polite to Joseph but she dismisses his attempts to flirt with her.

Meanwhile, King Herod (played by Antonio Banderas) is fixated on conquering more lands and people. He’s concerned that his eldest son Antipater (played by Joel Smallbone) doesn’t have what it takes to be the type of heir that King Herod wants. King Herod tells Antipater: “A king doesn’t need to be loved—only obeyed and feared.” Antipater, who desperately wants his father’s approval, spends most of the story carrying out Herod’s orders.

When it comes time for Mary to meet her fiancé, the meeting takes place at the home of Mary and her family. The fiancé arrives with his parents. Mary is shocked to find out that her fiancé is Joseph, the same person she met at the market. She’s immediately turned off (and tells Joseph that in a private conversation), because she thinks he shouldn’t have been flirting with her if he knew he was going to marry someone.

Joseph tries to smooth thigs over, but Mary becomes even more resistant to the idea of marrying him. Joseph’s domineering and haughty parents Jacob (played by Antonio Gil) and Rachel (played by Alicia Borrachero) are determined to make this marriage happen, because they want Joseph to inherit what can be offered as part of Mary’s dowry. Mary’s parents also insist that the marriage take place.

Not too long after Mary and Joseph have their first meeting that does not end well, she is visited at night by the angel Gabriel (played by Lecrae), who tells Mary that she will be pregnant and give birth to the son of God while she’s still a virgin. The experience is so profound for Mary, she tells her family members about it. They think she is mentally ill and blasphemous and beg her not to tell Joseph and his family.

However, Mary tells Joseph and his family. And when it becomes obvious that she is pregnant, the wedding is called off, and Mary is exiled to Hebron to live with her middle-aged cousin Elizabeth (played by Yaël Belicha), who is also having a “miracle pregnancy.” Elizabeth and her mute husband Zachariah (played by José María Rueda) welcome Mary into their home and are very protective of her.

King Herod hears about a blasphemous young woman who claims to be pregnant with a child of God. He’s determined to find her to kill her and her unborn child, so he sends Antipater on the hunt to find her. The rest of “Journey to Bethlehem” will not be a surprise to people who already know the story from the Bible.

“Journey to Bethlehem” has very good staging of the musical numbers, which often pop and glow with creative lighting and visual effects. Banderas hams it up as the story’s chief villain in a way that almost verges on parody but has enough self-awareness to hold back and deliver a convincing performance. During King Herod’s solo performance of “Good to Be King,” the set transforms into a menacing replication of the depths of hell to put an emphasis of how evil King Herod is.

Palomo and Manheim give engaging performances as Mary and Joseph. Mary is strong-willed and independent, which is an interpretation that might or might not be to a viewer’s liking. Joseph is portrayed as a forward-thinking person who doesn’t treat women as inferior to men. The blossoming romance between Mary and Joseph is portrayed as sweet and something that doesn’t happen right away because of Mary’s reluctance.

As far the movie’s original songs, “Journey to Bethlehem” has has some that are memorable and others that are on the bland side. Ada Anders, Nikki Anders and Peer Åström wrote the music for “Journey to Bethlehem,” whose musical highlights the anthemic climax of “The Nativity Song.” Antipater’s “In My Blood” brings some psychological “daddy issues” angst to the movie, while the three kings’ song “Three Wise Guys” brings much comic relief.

“Journey to Bethlehem” sometimes comes across as a production with a touring company (not the original cast) of a Broadway show. There’s plenty of musical talent, but it’s not the best of the best. However, “Journey to Bethlehem” is entertaining enough for anyone who wants to see a religious musical that isn’t overly preachy or pretentious and can be enjoyed by people of many generations.

Affirm Films released “Journey to Bethlehem” in U.S. cinemas on November 10, 2023. The movie was released on digital and VOD on December 8, 2023. “Journey to Bethlehem” will be released on Blu-ray and DVD on January 16, 2024.

Review: ‘Indiana Jones and the Dial of Destiny,’ starring Harrison Ford, Phoebe Waller-Bridge, Antonio Banderas, Karen Allen, Toby Jones, Boyd Holbrook, Ethann Isidore and Mads Mikkelsen

June 29, 2023

by Carla Hay

Ethann Isidore, Harrison Ford and Phoebe Waller-Bridge in “Indiana Jones and the Dial of Destiny” (Photo courtesy of Lucasfilm)

“Indiana Jones and the Dial of Destiny”

Directed by James Mangold

Some language in German and Greek with subtitles

Culture Representation: Taking place in 1969 (with some flashbacks to the 1940s), in various parts of universe, the action film “Indiana Jones and the Dial of Destiny” features a predominantly white cast of characters (with some people of African, Middle Eastern and Latino heritage) representing the working-class, middle-class and wealthy.

Culture Clash: American hero Indiana Jones fights Nazis, as he tries to regain possession of a powerful time-travel artifact called the Archimedes Dial that has been stolen by his British con-artist goddaughter. 

Culture Audience: Besides appealing to the obvious target audience of “Indiana Jones” franchise fans and Harrison Ford fans, “Indiana Jones and the Dial of Destiny” will appeal primarily to people who don’t mind watching formulaic action movies that lack original ideas.

Mads Mikkelsen in “Indiana Jones and the Dial of Destiny” (Photo courtesy of Lucasfilm

“Indiana Jones and the Dial of Destiny” should be renamed “Indiana Jones and the Long-Winded Cash Grab.” It’s an overstuffed pile-on of formulaic action, insipid dialogue and ripoff ideas. It’s an utter failure of originality. And with a total running time of 154 minutes, only the most die-hard Indiana Jones fans will feel like this repetitive film is worth the very long ride that over-relies on Indiana Jones nostalgia instead of doing something truly bold and creative with this franchise.

Directed by James Mangold, “Indiana Jones and the Dial of Destiny” is the fifth movie in the “Indiana Jones” series, which began with 1981’s “Raiders of the Lost Ark”—still the best movie in the franchise—which was about an American hero battling against treasure-stealing Nazis. “Indiana Jones and the Dial of Destiny” is the first “Indiana Jones” movie that isn’t directed by Steven Spielberg. The screenplay for “Indiana Jones and the Dial of Destiny” was co-written by Mangold, Jez Butterworth, John-Henry Butterworth and David Koepp. The movie had its world premiere at the 2023 Cannes Film Festival.

“Indiana Jones and the Dial of Destiny” begins somewhere in Nazi-occupied Europe during World War II, with a very misguided action sequence that lasts for about 15 to 20 minutes. The sequence shows a middle-aged Indiana “Indy” Jones (played by Harrison Ford, with de-aging computer imagery in these scenes) fighting off Nazis with his longtime British friend Basil Shaw (played by Toby Jones, also de-aged in this sequence), who is an archaeologist and an Oxford University professor. In this sequence, Indiana does things such as fight Nazis on the roof of a moving train. Basil has been captured by the Nazis. But of course, Indiana is able to rescue Basil.

Indiana and Basil want to get a hold of the Archimedes Dial, an artifact that is believed to have the ability to open time portals. The Nazi contingent is led by Colonel Weber (played by Thomas Kretschmann), who is in charge of stealing valuable art and artifacts from Nazi-occupied countries and sending these treasures to Germany. One of the star subordinates of Colonel Weber is Dr. Jürgen Voller (played by Mads Mikkelsen, also de-aged in the 1940s scenes), who comes across Indiana Jones in the battle over the Archimedes Dial.

While still on top of the moving train, Indiana finds himself at the mercy of Jürgen, who has a gun and demands that Indiana Jones hand over the Archimedes Dial. Indiana abides by this request, and Jürgen escapes by sliding down a nearby pole. The conclusion of this fight immediately looks phony, because if this fight had happened in real life, a ruthless Nazi such as Jürgen would have immediately killed Indiana and Basil after getting the dial. But there would be no “Indiana Jones” sequels if that happened, so expect Indiana Jones to escape death again and again in unrealistic action scenes.

Another glaring reason why this sequence is very misguided is that it will make viewers wonder, “How long is this movie going to show a younger (fake-looking) Indiana Jones instead of the senior citizen that Ford is in real life?” It’s an example of how “Indiana Jones and the Dial of Destiny” relies too heavily on nostalgia. This high-energy action sequence will only just remind people of how the earlier “Indiana Jones” movies from the 20th century are better than the “Indiana Jones” movies released in the 21st century.

After this overly long trip down memory lane of how Indiana Jones used to look, “Indiana Jones and the Dial of Destiny” fast-forwards to the year 1969, when Indiana Jones is a cranky, bitter old man. He’s an archaelogy professor at Hunter College in New York City. He’s on the verge of retiring after teaching at Hunter College for the past 10 years. And he lives alone, because he’s separated from his wife Marion (played by Karen Allen), who met him in the story depicted in “Raiders of the Lost Ark.” “Indiana Jones and the Dial of Destiny” explains later why Indiana and Marion have separated. (Hint: She left him.)

Someone who shows up unexpectedly in one of Indiana’s class sessions is Helena Shaw (played by Phoebe Waller-Bridge), who is Basil’s daughter. Helena is also Indiana’s goddaughter. She’s looking for the Archimedes Dial, which is believed to have been lost over the French Alps. As shown in the opening sequence, Jürgen thought he had the Archimedes Dial, but somehow Indiana fooled him by giving him only half of the dial. Indiana really kept the other half of the dial. Basil (who is deceased in 1969) lost the other half, so now Helena wants to find both halves.

The rest of “Indiana Jones and the Dial of Destiny” is about this quest, which includes a lot of bickering and backstabbing from the very annoying Helena, who is a con artist. Of course, we all know how this is going to go in the end, since Helena has the story arc of “Can this con artist be trusted? Can this con artist be redeemed?” Another question that comes to mind when watching Helena is: “Can this con artist get any more irritating?”

And once again, the Nazis (this time, neo-Nazis) are on the hunt for the Archimedes Dial too. Jürgen has another identity hiding his Nazi past. He’s now a physicist named Dr. Lehrer Schmidt, who works in the United States’ outer-space program. Jürgen/Lerer has a generic right-hand man named Klaber (played by Boyd Holbrook), who zips around cities on motorbikes as if he thinks he’s a Nazi version of James Dean. Jürgen/Lerer also has a henchman named Hauke (played by Olivier Richters), who also does a lot of the dirty work.

Along the way, Indiana Jones encounters a CIA operative named Agent Mason (played by Shaunette Renée Wilson), who is undercover as a Black Power militant. It’s just a sorry excuse for the movie to have Agent Mason say the word “cracker” as a racist term used to describe a white person. It takes entirely too long for Agent Mason to figure out that Klaber is a Nazi who is working undercover as U.S. law enforcement. This isn’t spoiler information, since the trailer for “Indiana Jones and the Dial of Destiny” clearly shows that Klaber is one of the villains.

A former excavator named Sallah (played by John Rhys-Davies), an old friend from Indiana Jones’ past, used to live in Cairo but is now a taxi driver in New York City. (And you know what that means when the movie has inevitable chase/action scenes in New York City.) Sallah shows up in the movie to check off more nostalgia boxes for “Indiana Jones and the Dial of Destiny.” Antonio Banderas has a cameo as Renaldo, a sailor/fisherman who gives advice to Indiana on how to find an expert diver in Greece. It’s a role that really just celebrity stunt casting.

“Indiana Jones and the Dial of Destiny” recycles the formula of giving Indiana Jones an adolescent male sidekick, who is a smart alecky motormouth. Qe Huy Quan had that role in 1984’s “Indiana Jones and the Temple of Doom,” the second movie in the series. Shia LaBeouf had that role in 2008’s “Indiana Jones and the Kingdom of the Crystal Skull,” the fourth movie in the series. And in “Indiana Jones and the Dial of Destiny,” Ethann Isidore has that role, as Teddy, a bratty teenager who doesn’t trust Indiana at first because he’s a friend of Helena’s. No one seems to question how creepy it is for Helena to be hanging out with a kid this young when he’s not related to her.

The acting performances in the movie are nothing special. Everyone seems to be playing their roles as if they’re video game characters. Expect to see the usual “race against time” action sequences, people yelling at each other, and narrow escapes from death that don’t look realistic at all. One of the more ridiculous action sequences is Indiana riding a horse in a New York City subway station as if he’s in the Kentucky Derby.

Sure, “Indiana Jones and the Dial of Destiny” is supposed to be an escapism adventure movie. And sure, people can enjoy seeing Ford returning to a character who is way past his prime. And sure, the globetrotting scenes are eye-catching. (The movie was filmed in Morocco, Sicily and the United Kingdom.) But “Indiana Jones and the Dial of Destiny” is an example of how computer technology cannot replace a good story. Compare “Raiders of the Lost Ark” to “Indiana Jones and the Dial of Destiny” to understand why “better filmmaking technology” doesn’t always equal “better filmmaking.”

Walt Disney Pictures will release “Indiana Jones and the Dial of Destiny” in U.S. cinemas on June 30, 2023.

Review: ‘Puss in Boots: The Last Wish,’ starring the voices of Antonio Banderas, Salma Hayek, Olivia Colman, Harvey Guillén, Samson Kayo, Wagner Moura, John Mulaney, Florence Pugh and Ray Winstone

November 27, 2022

by Carla Hay

Puss in Boots (voiced by Antonio Banderas) in “Puss in Boots: The Last Wish” (Image courtesy of DreamWorks Animation)

“Puss in Boots: The Last Wish”

Directed by Joel Crawford; co-directed by Januel Mercado 

Some language in Spanish with no subtitles

Culture Representation: Taking place in a fictional world populated by classic fairy-tale characters and original DreamWorks Animation characters, the animated film “Puss in Boots: The Last Wish” features a racially diverse voice cast (Latino, white and black) portraying humans and talking animals.

Culture Clash: Outlaw pirate cat Puss in Boots goes on a quest with friends and competes with enemies to find a magical Wishing Star that can grant one last wish to whomever gets to the star first.

Culture Audience: “Puss in Boots” will appeal primarily to people who are fans of the movie’s voice cast members; the “Puss in Boots” and “Shrek” franchises; and movies that are family-friendly, thrilling stories with a lot of heart.

Pictured clockwise, from far left: Baby Bear (voiced by Samson Kayo), Papa Bear (voiced by Ray Winstone), Mama Bear (voiced by Olivia Colman) and Goldilocks (voiced by Florence Pugh) in “Puss in Boots: The Last Wish” (Image courtesy of DreamWorks Animation)

“Puss in Boots: The Last Wish” is a fun-filled adventure packed with comedic moments, poignant life lessons and some wacky surprises. This sequel is an instant classic that charms with a talented voice cast, stunning visuals and a very entertaining story. “Puss in Boots: The Last Wish” is more than a worthy follow-up to 2011’s “Puss in Boots.” “Puss in Boots: The Last Wish” could easily be considered one of the best movies from DreamWorks Animation.

Directed by Joel Crawford and co-directed by Januel Mercado, “Puss in Boots: The Last Wish” is the type of sequel where it’s not necessary to see the original movie to understand the story. Most viewers will probably know already that the swashbuckling, outlaw pirate cat known as Puss in Boots (voiced by Antonio Banderas) first made an appearance in 2004’s “Shrek 2” and subsequently appeared in 2007’s “Shrek the Third” and 2010’s “Shrek Forever After.” The first “Puss in Boots” movie was his origin story. Also part of the “Puss in Boots” franchise are the 2012 short film “Puss in Boots: The Three Diablos,” the 2015-2018 Netflix series “The Adventures of Puss in Boots” and the 2017 Netflix interactive special “Puss in Book: Trapped in an Epic Tale.”

In “Puss in Boots: The Last Wish,” Puss goes on a quest to the Black Forest to find a magical Wishing Star that can grant one last wish to anyone who finds the star first. He’s got some help from friends and some competition from enemies. Before he gets to the Black Forest, the movie has a meaningful subplot about Puss facing his own mortality. This character development shows a vulnerable side to Puss, whose swaggering confidence and bravery are tested throughout the story.

In the beginning of “Puss in Boots: The Last Wish,” Puss is his usually lovably arrogant self, and he’s still a fugitive from the law who’s wanted for a bank robbery that he was tricked into committing. (The first “Puss in Boots” movie goes into more details about this robbery.) Puss barrels his way into a foreign land, where he ends up in a palace, and slides down the portrait painting of the ruling governor (voiced by Bernardo De Paula), who watches in horror as Puss’s claws drag through the painting and ruin it. Puss then fights and defeats a tree monster, but Puss is soon knocked unconscious by a giant bell that falls on him.

Puss wakes up in the office a man who describe himself as the local medical doctor (voiced by Anthony Mendez), who explains that he also works as a barber, a veterinarian and a witch doctor. The doctor tells Puss that Puss actually died but was able to be revived. The doctor knows that cats have nine lives, so he asks Puss how many lives Puss has used up already. Puss has never really thought about it before, but after some reflection, Puss realizes that he has used eight of his nine lives. After Puss dies in his ninth life, Puss will be dead forever.

The doctor gives Puss this advice that Puss doesn’t want to hear: “You need to retire.” The doctor recommends that Puss go to a home of an animal rescuer named Mama Luna (voiced by Da’Vine Joy Randolph), who operates a cat sanctuary out of her house called Mama Luna’s Cat Rescue. Puss refuses to take that advice and quickly leaves the office. The doctor says these parting words to Puss: “Death comes for us all.”

While Puss contemplates his next move, he says to himself while he looks in a mirror: “You’re too good-looking to retire.” Puss goes to a saloon to drink some of his sorrows away. And it’s there that he meets a bounty hunter called the Big Bad Wolf, also known as Wolf (voiced by Wagner Moura), who has been looking to capture Puss. And you know what happens next.

During their fight, Puss is armed with his trusty fencing sword, while Wolf has two scythes that he uses in each hand. Puss’ life flashes before his eyes during this battle. And for the first time in his life, Puss experiences true fear that makes him temporarily freeze. Puss runs into a room, where Wolf traps him by locking Puss inside the room. However, Puss finds a way to escape.

The panic attack that Puss experienced unnerves him so much, he decides to take the doctor’s advice. Puss doesn’t really want to retire, but he’s more afraid of dying in his next fight. Before Puss goes to Mama Luna’s Cat Rescue, he buries his pirate clothes in a shallow grave and gives a mournful retirement speech out loud that no one can hear except Puss.

Mama Luna’s Cat Rescue is crowded with dozens of cats that Mama Luna knows is a violation of health code laws. A running joke in Mama Luna’s dialogue is that she’s constantly paranoid about getting in trouble with animal care officials for all the cats that she keeps indoors. Mama Luna is a bachelorette with a big personality, and she seems to run the sanctuary all by herself. She loves her cats and takes good care of them, but she appears dangerously close to being a cat hoarder.

Puss, who is naturally a loner, is miserable at this cat sanctuary. He’s bored in his new home and dislikes the communal meals that he is forced to have with the other cats. During Puss’ forlorn “retirement,” the Doors song “This Is the End” (sung by Dan Navarro, a co-writer of the movie’s original songs) plays to comedic effect.

Puss soon meets an unlikely friend at this sanctuary: a small, talkative dog disguised as a cat. His name is Perro (voiced by Harvey Guillén), but Puss eventually gives him the nickname Perrito. (In Spanish, the word “perro” means “dog,” and the word “perrito” means “little dog.”) Perrito is humble, very optimistic, and eager to make friends. In other words, he’s almost the complete opposite of Puss.

There would be no “Puss in Boots: The Last Wish” if Puss stayed at the cat sanctuary for the rest of the movie. His time at Mama Luna’s Cat Rescue comes to an end with the arrival of four home invaders: Goldilocks (voiced by Florence Pugh) and the three Bears: Mama Bear (voiced by Olivia Colman), Papa Bear (voiced by Ray Winstone) and Baby Bear (voiced by Samson Kayo), who has some rivalry going on with Goldilocks, whose nickname is Goldi.

Just like in the fairy tale, Goldilocks is a human orphan who has been adopted into this bear family. But unlike the fairy tale, Goldi is now a tough young woman who is in the bounty-hunting business with her bear family. All four of them have tracked Puss to Mama Luna’s Cat Rescue with the intent to capture Puss.

During this attempted capture, Puss and Perrito also find out that Goldi and the Three Bears are also looking for the map to the Wishing Star. It’s how Puss and Perrito find out that this Wishing Star will grant one last wish to the first person who finds the star. It doesn’t take a genius to know that Puss now wants to find the Wishing Star too, because his wish is to live forever.

Puss and Perrito manage to escape outside from Goldi and the Three Bears. Puss decides he’s coming out of retirement to find the Wishing Star. He gathers his clothes, his sword, and brings Perrito (a willing sidekick) along for this new adventure. Perrito doesn’t have a wish. He’s just happy he’s found a new friend.

Along the way, Puss and Perrito find out that another outlaw is in search of the Wishing Star: Jack Horner (voiced by John Mulaney), a wealthy underworld boss who operates in the back of a bakery. Jack hasn’t lost his bratty ways since he was a child known as Little Jack Horner, who famously ruined a pie by sticking his thumb in it. Jack is now a ruthless villain who has several minions helping him find the map to the Wishing Star. Jack’s wish is to become the most powerful person in this fairtyale universe.

During the journey that Puss and Perrito take to the Black Forest to find the Wishing Star, Puss unexpectedly reunites with his on-again/off-again love Kitty Softpaws (voiced by Salma Hayek), who reveals that she was hiding in a trunk. Puss and Kitty haven’t seen each other in years. And let’s just say that they have “unfinished business.” Kitty, who is very cynical about many things, prides herself for being just as brave and stubborn as Puss, so naturally this on-again/off-again couple will clash.

“Puss in Boots: The Last Wish” doesn’t overstuff the movie with too many characters, thereby giving room for the movie to develop all the principal characters in ways that are better than the average animated adventure film. Puss is now prone to having a few panic attacks, which can throw him off his usually fearless game. Kitty struggles with learning to know the difference between being independent and being mistrustful. The relationship between Kitty and Puss goes through a realistic evolution during this adventure.

Perrito is a mixture of being innocent and wise about life, but not in a contrived and cloying way. He is by far the most adorable and sincere character in the movie, so expect kids (and quite a few adults) to want Perrito toys and other Perrito merchandise after seeing this movie. When Perrito tells his tragic backstory about his human family making numerous attempts to abandon him, Perrito chooses to remember it with so much optimism, he describes these abandonment attempts as the family playing pranks on him.

Goldi has her own family issues: Even though the bears raised her as one of their own, she still feels like a misfit because she’s a human in a family of bears. Jack is an unfortunate example of someone who was bullied as a child but then grew up to be a bully. As for Wolf, he might not be what he first appears to be, and his actions in the movie might not be as easy to predict as some people might think.

All of the cast members give very good performances, with Banderas, Hayek, Guillén and Pugh as the standouts. They all make their characters sound like they have fully formed personalities instead of being two-dimensional cartoon characters reciting lines. The movie’s snappy dialogue can be enjoyed by people of all ages (open-minded adults will appreciate the cheeky almost-cursing in the movie), while the plot has some predictability but also some innovation that’s unexpected.

“Puss in Boots” might disappoint some people expecting to hear more original songs in the movie. However, the centerpiece original song (“Fearless Hero”), which is heard at different times in the movie, is catchy and memorable. Navarro, Heitor Pereira and Paul Fisher co-wrote “Fearless Hero,” which at one point is performed by Banderas and Pereira in the movie. Navarro and Daniel Oviedo co-wrote “La Vida Es Una,” performed by Karol G during the movie’s end credits.

Everything in “Puss in Boots: The Last Wish: is well-paced, with the action scenes particularly fun to watch. When Puss in Boots first made an appearance in “Shrek 2,” he was a true scene-stealer. With “Puss in Boots: The Last Wish,” the Puss in Boots franchise is now stealing some of the thunder from the better-known “Shrek” movies. And the high quality and engaging story of “Puss in Boots: The Last Wish” make it the type of movie that can be considered a beloved treasure by fans of animated films.

Universal Pictures/DreamWorks Animation will release “Puss in Boots: The Last Wish” in U.S. cinemas on December 21, 2022. A sneak preview of the movie was shown in U.S. cinemas on November 26, 2022.

Review: ‘Official Competition,’ starring Penélope Cruz, Antonio Banderas and Oscar Martínez

July 9, 2022

by Carla Hay

Antonio Banderas, Penélope Cruz and Oscar Martínez in “Official Competition” (Photo by Manolo Pavon/IFC Films)

“Official Competition”

Directed by Mariano Cohn and Gastón Duprat

Spanish with subtitles

Culture Representation: Taking place primarily in Madrid, Spain, the comedy/drama film “Official Competition” features a cast of Spanish characters representing the working-class, middle-class and wealthy.

Culture Clash: An eccentric filmmaker, who has been hired by a rich businessman to direct a movie, takes pleasure in playing mind games with the two famous actors whom she cast as co-stars in the movie. 

Culture Audience: “Official Competition” will appeal primarily to people who are fans of stars Penélope Cruz and Antonio Banderas and films that have a satirical “movie within a movie” plot.

Oscar Martínez, Penélope Cruz and Antonio Banderas in “Official Competition” (Photo courtesy of IFC Films)

With a total running time of 115 minutes, “Official Competition” drags on for a little longer than it should, but this slightly offbeat comedy/drama has some sharp observations about how celebrities can be coddled and exploited in the movie industry. The movie shows in many acerbic ways how people will enable those with a certain level of fame and fortune to humiliate or bully others, in the name of creating “art.” There are no real heroes or villains in “Official Competition”—just a lot of very flawed and damaged people who have questionable (or no) boundaries.

Directed by Mariano Cohn and Gastón Duprat (who both co-wrote the screenplay with Andrés Duprat, Gastón’s older brother), “Official Competition” takes place in Madrid, but the themes in the movie are universal to wherever movies financed by wealthy people can be made. “Official Competition” made the rounds at several film festivals including the 2021 Venice International Film Festival (where the movie had its world premiere), the 2021 Toronto International Film Festival and the 2022 Tribeca Film Festival. In many ways, “Official Competition” is an incisive parody of rich people who think they can buy their way into artistic creativity and any accolades that come with it.

It’s why wealthy pharmaceutical tycoon Humberto Suárez (played by José Luis Gómez) decides to go into the movie business, shortly after his 80th birthday. Humberto wants his legacy to be more than just his success in the pharmaceutical industry. He wants the glamour and cachet of making a movie with famous filmmakers and celebrity actors.

After his 80th birthday party that was held at his company headquarters, Humberto asks a subordinate executive named Matías (played by Manolo Solo) how people perceive Humberto. Matías replies, “As a man who started from nothing, and today is a leader in the pharmaceutical industry, and feeds almost 10,000 families.”

Humberto says, “I’ll tell you how they see me: as a millionaire with an obscene fortune but without prestige … I want to be remembered differently.” Humberto contemplates either donating to the state a bridge named after himself, or financing a movie. He chooses to finance a movie.

Humberto decides to be a financial backer/producer for the latest movie of the artsiest filmmaker he can find. He wants someone who’s edgy enough to be considered innovative, but mainstream enough that this person is capable of winning prestigious awards. And the person whose name comes up immediately and whom he chooses is avant-garde filmmaker Lola Cuevas (played by Penélope Cruz), who is known for her extreme ways of rehearsing and making a movie.

Lola, who has been making movies since 1996, has a 2015 movie called “Haze,” which is considered her “masterpiece.” One of her quirks is that Lola doesn’t give interviews. Therefore, she doesn’t give a lot of public insight into her filmmaking process. By keeping an aura of mystery about herself, Lola has made herself more in demand to certain people who want to work with her.

Humberto meets with Lola, and he agrees to Lola’s demands that she have complete creative control over the movie. Lola hires the two actors who will be equal co-stars in the film that she’s writing and directing and which Humberto will be financing. These co-stars are Félix Rivero (played by Antonio Banderas) and Iván Torres (played by Oscar Martínez), who are opposites in many ways.

Félix, who is a restless bachelor playboy, is more caught up in being a movie star than in being a serious actor. And he has a filmography of commercial blockbusters to prove it. Iván, who’s been in a stable, longtime marriage, takes the craft of acting very seriously. Iván is famous for being in highly respected stage productions that don’t necessarily make a lot of money but they are often award-worthy. Iván also teaches a college course in acting to eager students who admire him. The only college-age people Félix wants to teach are the young women he takes as his lovers.

In Lola’s meeting with Humberto, she explains the plot of this movie, which is a story about a love triangle between two brothers and a woman who’s a sex worker. In this story, older brother Pedro is “rich and self-confident,” while younger brother Manuel is “dull and introverted.” The movie takes place in 1970, in a country town.

Manuel is driving a car with his parents as passengers. The car gets into a horrific accident that kills the parents, but Manuel survives. An embittered Pedro makes sure that Manuel goes to prison for this accident. (It’s never stated what the crime was in this car accident.) While Manuel is in prison, Pedro lives his life freely, and he starts a romance with a sex worker named Lucy.

Pedro has a successful foundry business, but people in the community are suspicious of how he’s actually made his fortune. Meanwhile, Manuel is released from prison, and he starts having an affair with Lucy. However, Pedro has more money than Manuel. And so, when Pedro proposes marriage to Lucy, she chooses to marry Pedro.

But there’s more drama in this love triangle, because Lucy finds out she’s pregnant. Manuel or Pedro could be the father. The brothers eventually reconcile, but Lola says that there’s more to the story. Viewers of Lola’s movie will have to find out if the child’s paternity is confirmed and what ultimately happens in this love triangle.

In Lola’s movie, Iván has the role of older brother Pedro, while Félix is cast as younger brother Manuel. The movie’s very first “table read” (where the actors sit at a table to read a script together, usually with the director in attendance) takes place in a conference room at the headquarters of Humberto’s company. Lola is at this table read with Iván and Félix as the only cast members in attendance. This table read is the first time that Iván and Félix meet each other and rehearse together.

As an example of their different personalities and styles of working, Iván has already prepared a complex psychological portrait of his Pedro character. By contrast, Félix has no such preparation, because he thinks that his Manuel character doesn’t really have a backstory. During this table read/rehearsal, Lola makes it clear to both of these actors that she has a very specific idea of how they should act out their lines of dialogue. She makes Iván and Félix repeat the dialogue with her suggestions on how to change their delivery until Lola thinks they get it right.

What follows is a series of mind games that Lola ends up playing on these two actors, whom she often pits against each other. And sometimes, she sets up situations where the two actors are pitted against her. “Official Competition” tends to be a little repetitive in showing how all three of these people irritate each other, but the performances remain compelling throughout the movie.

Cruz is the obvious standout, even if her portrayal of Lola sometimes veers into being a caricature of manipulative directors. However, considering some of the wild and true stories of extreme manipulation tactics that some directors have used on cast members in real life, what Lola does in the movie isn’t too far off the mark. The unpredictability of “Official Competition” is almost entirely dependent on the Lola character.

Banderas is perfectly fine in his role as an actor who balances doing big-budget blockbuster movies with “prestige” low-budget independent films. (It’s something that Banderas does in real life too.) Martínez gives the most realistic performance of the three “Official Competition” stars, because many “serious actors” are just like Iván: They think that acting on stage is the real test of an actor’s talent, and doing on-screen work is just filler to pay the bills.

One of Lola’s mind games is to make Iván and Félix rehearse under a giant boulder that is being held over their heads by a crane. It puts Iván and Félix on a nervous edge, but Lola insists that they will have a better rehearsal this way. But surprise! After the rehearsal, Lola reveals to Iván and Félix that the boulder was really made out of cardboard.

Another of Lola’s manipulations includes asking Iván and Félix to bring all of their awards to the rehearsal headquarters. She brings the awards that she has won too, including the Palme d’Or, the top prize for the Cannes Film Festival. During this meeting in a small auditorium, Lola asks Iván and Félix to talk about their awards and what these trophies mean to them.

And then, Lola tells Iván and Félix to sit in the audience chairs in the auditorium. An employee then encases Iván and Félix together in Saran wrap until only their eyes and noses are left uncovered. Having been rendered unable to move, Iván and Félix watch as Lola does something that enrages them, but they’re physically helpless and can’t do anything to stop her.

“Official Competition” shows a constant tug-of-war over power and control, not just for Lola’s movie but also for how the principals involved want to be perceived in life. The name of Lola’s movie is never mentioned in “Official Competition” because the name doesn’t have to be mentioned. The ego battles are not about Lola’s movie but are about the people at the center of the battles and how they choose to handle difficult situations.

“Official Competition” also has sly depictions of nepotism and how sexuality is used as a way to exert power and control. Humberto’s daughter Diana Suárez (played by Irene Escolar), who’s her 20s, has been cast in Lola’s movie in the role of Lucy, the woman in the love triangle with brothers Pedro and Manuel. Diana has very little experience as an actress, and she isn’t particularly talented, so it’s not hard to figure out why she got a co-starring role in this movie.

Lola is a control freak and probably resents being pressured into casting Diana in this role. And so, there’s a scene where Lola tries to exert her power and control in a way that makes Humberto feel very uncomfortable. It happens when Humberto has stopped by to watch rehearsals of the movie.

Lola has placed dozens of microphones on the rehearsal stage to amplify whatever sounds are being made on the stage. She tells Iván and Félix to each take turns passionately kissing Diana, since they are both portraying brothers in love with the same woman. Humberto doesn’t seem to have a problem watching two famous actors passionately kissing his daughter in these rehearsals, as the sounds of their smooching fill the auditorium.

But then, Lola (who is openly queer) tells Iván and Félix that they’re not getting the kissing scenes done in the way that she thinks meets her standards. Lola then steps in and tells them she’ll show them how she wants the kissing scenes done. And then, Lola begins passionately kissing Diana. The two women get so caught up in their makeout session, they begin rolling around on the floor while kissing. This spectacle makes Humberto very uncomfortable, and he quickly leaves the room—just the way Lola probably planned it.

Lola and Diana then being a real-life affair with each other. It’s questionable if this relationship is love or just lust. But the movie makes a point in showing how easy it is for directors to get sexually involved with cast members in consensual relationships. It just so happens that the director in this case is a woman in a male-dominated field, and this woman acts exactly how people act when they use their power as sexual enticement to their subordinates who want some type of career advancement.

Even though Iván and Félix know that Lola prefers to have women as lovers, that doesn’t stop these two actors from sexually flirting with Lola. Félix is more forward about his intentions, by kissing Lola sensually on the neck in an encounter in a dressing room. Meanwhile, Iván tries the tactic of attempting to give Lola a massage. It’s not said out loud, but viewers will get the impression from the way that Iván and Félix are acting with these flirtations that they’re not accustomed to taking orders from a female director, so they try to get some of their own masculine control with Lola by testing her sexual boundaries.

Lola also shows her insecurities in her relationship with Diana, who likes to do aerobic exercises and dancing on social media, sometimes while Lola is watching. When Lola is alone in her bedroom, she’s seen trying to imitate these exercises and dance moves. It’s an indication that Lola might be trying to keep up with the much-younger Diana.

“Official Competition” doesn’t give much insight into Lola’s personal history for viewers to find out if she’s going through a mid-life crisis or if she’s ever found true love. Lola is a loner whose only real constant companion is her assistant Julia (played by Nagore Aranburu), who has to be ready to accommodate Lola’s unusual requests and whims. Observant viewers will notice that Lola has a mostly female crew, which is an indication that outspoken feminist Lola practices what she preaches about female empowerment in the movie industry.

There’s an amusing scene near the beginning of the film, where Félix tells Iván that a woman has been standing outside the building, as if she’s waiting for someone to come outside. Félix makes a bet with Iván that this mystery woman is probably someone who’s dating Lola. As Félix and Iván walk outside and see the woman, Iván casually introduces the woman to Félix. The woman is actually Iván’s wife, Violeta (played by Pilar Castro), a well-known author of children’s books. An embarrassed Félix now knows he made a wrong assumption.

Making wrong assumptions about other people is the catalyst for much of the comedy and drama in “Official Competition.” In a profession (the movie industry) that is all about making people believe what they see on screen, “Official Competition” doesn’t always succeed in making some of these antics and tricks look believable. Where “Official Competition” fares best is in showing the infuriating or funny ways that people in this make-believe profession get caught up in fooling others and themselves.

IFC Films released “Official Competition” in select U.S. cinemas on June 21, 2022. The movie’s release date on digital and VOD is August 2, 2022. “Official Competition” was released in Spain on February 25, 2022.

Review: ‘Uncharted’ (2022), starring Tom Holland and Mark Wahlberg

February 15, 2022

by Carla Hay

Sophia Ali, Mark Wahlberg and Tom Holland in “Uncharted” (Photo by Clay Enos/Columbia Pictures)

“Uncharted” (2022)

Directed by Ruben Fleischer

Culture Representation: Taking place in New York City, Boston, Spain and the Philippines, the action film “Uncharted” features a predominantly white cast of characters (with a few African Americans, Latinos and Asians) representing the working-class, middle-class and wealthy.

Culture Clash: A 25-year-old American man who’s had a longtime obsession with finding Portuguese explorer Ferdinand Magellan’s legendary gold fortune teams up with two cynical art thieves—a middle-aged man and a woman in her 20s— to find this treasure.

Culture Audience: “Uncharted” will appeal mainly to people who are fans of stars Tom Holland and Mark Wahlberg, because their on-screen appeal is one of the few highlights of this messy and idiotic action flick.

Antonio Banderas in “Uncharted” (Photo by Clay Enos/Columbia Pictures)

Even by standards of suspending disbelief for far-fetched action movies, “Uncharted” is still a disjointed and disappointing mess that thinks it’s funnier and better than it really is. Not even the on-screen charisma of stars Tom Holland and Mark Wahlberg can save this movie from being relentlessly moronic, with sloppily staged stunts, characters with cardboard personalities, and a storyline that often drags. Unfortunately, “Uncharted” is just another in a long list of movies based on video games that fail to improve on the video game in a cinematic way.

Directed by Ruben Fleischer, “Uncharted” starts off with an over-the-top stunt scene that’s an indication of the idiocy to come for the rest of the movie: Nathan “Nate” Drake (played by Holland), a 25-year-old adventurer, is hanging off of a string of cargo boxes held together by rope and dangling out of an airplane that’s high in the sky. Considering that Nate is not wearing a helmet for protection, and he doesn’t appear to be affected by the deadly wind velocity, you just know that “Uncharted” is going to be the type of movie where viewers will be rolling their eyes and asking themselves, “Are we supposed to believe that people could survive these stunts in real life?”

Nate (who is not a superhero with superhuman abilities) is able make leaps and bounds in the air, like he’s Spider-Man, a character played by Holland in other movies. Maybe the filmmakers of “Uncharted” think that just because Holland is Spider-Man in other movies, audiences are supposed to believe any human character that Holland plays in another movie can magically have Spider-Man-like powers too. It just makes this movie (and its visual effects) look even more absurd.

As Nathan bounces around and leaps unrealistically from box to box in the air, a red Mercedes 300 Gullwing suddenly starts barreling out of the airplane directly toward Nate. Someone then grabs Nate’s hand, but the movie then does a dissolve edit to show a flashback to 15 years earlier in Boston, when Nate’s older brother Sam grabs Nate’s hand to prevent him from falling from a building. In the last third of the movie “Uncharted” circles back to the airplane scene by showing what caused Nate to fall out of that plane.

In this flashback, 10-year-old Nate (played by Tiernan Jones) and Sam (played by Rudy Pankow), who’s about five or six years older than Nate, are breaking into a museum at night to steal what is purported to be the very first map of the world. The screenplay for “Uncharted” (written by Rafe Judkins, Art Marcum and Matt Holloway) is so shambolic, it never really explains why these two brothers want to steal this priceless art. Is it a prank? Is it to sell the map on the black market? Is it because they think they can keep the map like a trophy and are too stupid to know better?

Whatever their reasons are for this inept break-in, Nate and Sam are quickly apprehended by security guards. Nate and Sam are orphans whose parents have gone missing and are presumed dead. They are living in an orphanage run by Catholic nuns. Because Sam has been in trouble before, and now has “three strikes against him,” he’s kicked out of the orphanage and is expected to be held in a juvenile detention center. For whatever reason that’s never explained in the movie, Nate escapes any punishment.

Sam runs away from the orphanage the night before he’s supposed to be taken into custody. Before he leaves, Sam gives Nate his most cherished possession: a brass ring on a chain, as proof that he has an incentive to see Nate again. Sam tells Nate: “I’ll come back for you, Nate. I promise.” Nate hasn’t seen Sam in person since that night.

Nate and Sam are history buffs who are obsessed with the legend of a gold fortune hidden in the 1500s by Portuguese explorer Ferdinand Magellan. As children, they planned for years to go looking for this treasure when they got old enough to do so. But this separation has put a big halt to those plans.

“Uncharted” then fast-forwards to the present day. Nate is now a bartender at a trendy lounge in New York City. He’s still a history buff who likes to spout trivia, such as who invented certain things and when. This type of knowledge doesn’t really impress a pretty blonde customer named Zoe (played by Alana Bolden), whom Nate flirts with one night when he’s working. She has this response: “You’re kind of weird, but you’re kind of cute too.”

The same night, after the lounge has closed, a customer sitting at a table refuses to leave. He introduces himself as Victor “Sully” Sullivan (played by Wahlberg), and he tells Nate that he wants to hire Nate for an adventurous job. Nate is suspicious, but he takes Victor’s business card, which lists Victor’s address, phone number and business title as “Private Acquisitions.”

Out of curiosity, Nate shows up unannounced to the address on the card. Victor is there, and that’s how Nate finds out that Victor collects valuable and historical artifacts, most of which are stolen. And that’s not all: Victor knows Sam, whom he says he hasn’t seen or heard from in about two years. “He ghosted me,” Victor says about Sam.

Victor is also interested in finding Magellan’s gold treasure, which is valued at about $5 billion. Victor has sought out Nate because Victor figures that Sam might have left some clues for Nate to find this treasure. Victor suggests to Nate that if they both team up to find the gold together, there’s a chance they’ll also find Sam. Does that make any sense? Of course not, but Nate goes along with it anyway, mainly because Victor has the money and resources to finance this trip.

But not so fast, Nate. Victor is skeptical that Nate has what it takes for some of the violence that’s sure to come with this job. Victor sees Nate as just a nerdy young guy who might be too sheltered and inexperienced to be an effective partner for Victor. And so, Victor wants Nate to pass a test.

There’s an upcoming auction of rare Spanish art from the Renaissance era. Victor’s plan is to steal a jewel-encrusted crucifix at this auction. And he wants Nate to be his accomplice. And this auction leads Victor and Nate to encounter the two chief villains in the story.

At the auction are two people who will stop at nothing to get this crucifix too. Santiago Moncada (played by Antonio Banderas) is a wealthy Spanish collector who’s the heir to a family fortune. But not for long, because Santiago’s father Armando Moncada (played by Manuel de Blas) has recently announced that he’s giving away the family fortune to charity. Santiago, who’s the head of the Moncada Foundation, is infuriated by this decision, but Armando remains unmoved by Santiago’s pleas to change his mind. “I should have cut you off years ago,” Armando tells Santiago with disgust.

The other person who’s at the auction to get the crucifix is a mysterious and shady mercenary named Jo Braddock (played by Tati Gabrielle), who wants to be called by her last name. Braddock used to be romantically involved with Victor, but he broke up with her. She’s very bitter about it, so there’s an extra reason why she wants to beat Victor at his own game. It’s briefly mentioned that when Braddock and Victor were romantically involved with each other, she was his partner in crime too.

The auction devolves into one of many of the movie’s ridiculous fight scenes, where people with weapons spend too much time trading insults when they could easily defeat their opponent by using the weapons. And even though Braddock has combat skills, she unrealistically defeats several armed people who are much taller and stronger than she is when they gang up on her in a group. In reality, anyone would be easily defeated when being the only person to fight a group of at least five or six armed and dangerous people.

Victor and Nate soon find out there’s someone else who wants the crucifix too. She’s a skilled thief named Chloe Frazer (played by Sophia Ali), who’s also looking for Magellan’s treasure. Victor already knows Chloe, since they’ve been rivals in previous art thefts. Predictably, Nate and Chloe have an instant dislike of each other, which turns into mutual attraction, which they try to fight/deny/suppress in a cliché “will they or won’t they get together” subplot. Nate and Chloe have a hard time trusting each other, since one of them could betray the other at any moment.

Victor, Nate and Chloe team up for a flimsy reason explained in the movie. Their shenanigans take them to Spain and the Philippines, two landmark destinations for Magellan’s voyage around the world. The villains are never far behind, of course. Santiago wants Magellan’s treasure too, because he claims it was stolen from the Moncada family. The bombastic and moronic fight scenes that would kill people in real life will have viewers wondering by the middle of the movie: “How are these characters still alive?”

Victor and Nate’s reluctant partnership just rehashes the over-used movie stereotype of “the grouchy older guy who’s annoyed with the eager younger guy, but they have to find a way to work together.” On the way to the auction that’s shown in the beginning of the movie, Victor ridicules Nate for chewing bubblegum at this black-tie, formal event. The bubblegum comes in handy though, when Nate uses it to prop open a door to a room that can only be accessed through an electronic system.

Victor keeps calling Nate a “kid” in a condescending manner, which gets very tiresome, very quickly. There’s a scene shown in one of the trailers for “Uncharted” where Victor has a newly grown moustache. Nate asks Victor, while pointing and grinning, “What is that thing on your face?” Victor replies, “Puberty’s right around the corner, kid. You can grow your own.” It’s more than a little ridiculous that Victor treats a 25-year-old Nate as if Nate is a pre-pubescent child, but that’s what you’re going to see while Victor and Nate exchange unfunny jokes that fall flat.

The movie also tries to have “cutesy” banter between Victor and Nate. An example is when Nate tells Victor during an action scene: “You can get shot in the head, or you can come down here for a cuddle.” Fortunately, the stale and witless dialogue between Victor and Nate isn’t in the majority of “Uncharted,” because there’s a long stretch of the movie where Nate and Chloe work together without Victor being around at all.

In addition to having cringeworthy dialogue, “Uncharted” has very phony-looking production design. Hidden tunnels and hidden caves that are supposed to show signs of rot and decay instead look like very polished and overly staged movie sets. This lack of authenticity is very distracting and just makes “Uncharted” look too glossy instead of being the gritty action flick that it should have been.

“Uncharted” takes a steep nosedive into stupidity with too many action scenes that would cause death or serious injuries in real life, but the characters barely show any signs of being affected. One of the worst is a scene where Chloe and Nate plunge deep into the ocean as a result of falling from high above in the air. When they emerge after being thrashed around by deadly waves, they have no injuries, their clothes are still fully intact, and Chloe still has full makeup on.

As much as Holland tries to inject some fun into his Nate character, Holland is just doing an older version of the teenage Peter Parker character that he plays in the “Spider-Man” movies. Wahlberg’s portrayal of Victor is just recycling the same sarcastic grump character that Wahlberg has played in dozens of other movies. Banderas hams it up as a generic villain, which is essentially a shallower version of the wealthy villain he played in the obnoxiously bad 2021 action flick “The Hitman’s Wife’s Bodyguard.”

Ali’s portrayal of Chloe is adequate, but Ali is stymied by the filmmakers not letting Chloe be a fully developed person but just a character to do stunts and trade sardonic quips with Nate and Victor. Chloe tells a little bit of a backstory about herself to explain why she has a hard time trusting people, but this background information is literally a brief mention that seems like a half-hearted attempt to try give Chloe more depth. As for Gabrielle’s Braddock character, she has no depth at all and has some of the worst lines in this terrible movie.

“Uncharted” might satisfy people who have very low standards on what makes a good action film. Not all action films have to be completely realistic, but they should at least have coherent storytelling, an exciting pace and compelling characters. “Uncharted” has none of those qualities.

The characters are boring villains and superficial heroes. This horribly edited movie also tends to drag and get repetitive. An epilogue and mid-credits scene make it obvious that the “Uncharted” filmmakers want to make a sequel. “Uncharted” is such a horrendous dud, any plans for an “Uncharted” movie series should be left permanently off of the movie industry map, but good taste never gets in the way of filmmakers who want to make millions from churning out garbage movies.

Columbia Pictures will release “Uncharted” in U.S. cinemas on February 18, 2022.

Review: ‘The Hitman’s Wife’s Bodyguard,’ starring Ryan Reynolds, Samuel L. Jackson, Salma Hayek, Antonio Banderas and Morgan Freeman

June 10, 2021

by Carla Hay

Samuel L. Jackson, Antonio Banderas, Salma Hayek and Ryan Reynolds in “The Hitman’s Wife’s Bodyguard” (Photo by David Appleby/Lionsgate)

“The Hitman’s Wife’s Bodyguard”

Directed by Patrick Hughes

Culture Representation: Taking place in Italy, Greece, the United Kingdom, Luxembourg and Croatia, the action flick “The Hitman’s Wife’s Bodyguard” features a predominantly white cast of characters (with some African Americans, Latinos and Asians) representing the middle-class, law enforcement and the criminal underground.

Culture Clash: A disgraced bodyguard is hired to protect the wife of the hitman who clashed with the bodyguard in the 2017 movie “The Hitman’s Bodyguard.”

Culture Audience: “The Hitman’s Wife’s Bodyguard” will appeal primarily to people who want to see a silly action flick that is horribly made and frequently sexist.

Salma Hayek in “The Hitman’s Wife’s Bodyguard” (Photo by David Appleby/Lionsgate)

Outdated and idiotic, “The Hitman’s Wife’s Bodyguard” looks like it was made by people whose minds are stuck in the 20th century, when it was more acceptable for American action movies to portray non-white people as less-intelligent caricatures and for women to be treated as nothing more than sex objects. An all-white-male team of principal filmmakers (director, producers, writers) decided to dump this stupid sequel into the world. And like most sequels, it’s far inferior to the original.

Directed by Patrick Hughes, “The Hitman’s Wife’s Bodyguard” was written by Tom O’Connor, Phillip Murphy and Brandon Murphy. The movie is the sequel to 2017’s “The Hitman’s Bodyguard,” a formulaic and occasionally funny action flick, starring Ryan Reynolds as neurotic bodyguard Michael Bryce and Samuel L. Jackson as gruff hitman Darius Kincaid who are (cliché alert) complete opposites, who don’t get along with each other but are forced to work together. Hughes directed and O’Connor wrote “The Hitman’s Bodyguard,” which was a mediocre movie but not as aggressively dumb and offensive as “The Hitman’s Wife’s Bodyguard.”

It’s hard to know if the addition of brother screenwriters Phillip Murphy (who has a background as a graffiti artist) and Brandon Murphy (who has a background as a stand-up comedian) had anything to do with lowering the quality of this sequel, but enough people signed off on this crappy film that the blame can’t be put on just two people. “The Hitman’s Wife’s Bodyguard” is supposed to be an action comedy, but there’s almost nothing funny or exciting about this dreck that’s a brain-dead ode to toxic masculinity.

In “The Hitman’s Wife’s Bodyguard,” the addition of Salma Hayek in a co-starring role could have been an opportunity to showcase her like Halle Berry was showcased as a badass equal to her male co-stars in the 2019 action hit “John Wick: Chapter 3 – Parabellum.” But no. The filmmakers of “The Hitman’s Wife’s Bodyguard” wouldn’t allow this woman of color to have her own powerful worth in this story. Instead, Hayek (who is capable of doing better-quality work) is reduced to being objectified and depicted in the worst negative stereotypes that Hollywood has for Latinas.

Hayek had a small role in “The Hitman’s Bodyguard” as Sonia Kincaid, the con-artist wife of hitman Darius Kincaid. It’s easy to speculate that Hayek reprised this role in this sequel because she wants to prove that she’s still sexy at an age when many actresses over the age of 50 get less opportunities because of ageism or they usually have to play safe “wife and mother” roles. Whatever she was paid to do “The Hitman’s Wife’s Bodyguard” (and it was probably a lot less than what Reynolds and Jackson were paid), it wasn’t worth the cost to her dignity for perpetuating Hollywood’s negative stereotyping that Latinas are nothing more than hot-tempered sexpots.

“The Hitman’s Wife’s Bodyguard” was also clearly an excuse to spend millions at different glamorous locations around the world. It’s all such a waste, because no amount of picture-perfect locations or flashy stunts can fool people into thinking that this is a good movie. Messy trash wrapped up in a shiny box is still messy trash.

The incoherent story that’s masquerading as a plot in “The Hitman’s Wife’s Bodyguard” is that Michael is now a disgraced bodyguard who has lost his license because he couldn’t prevent his most important client (a political leader) from being assassinated. He’s gone from winning Bodyguard of the Year at the Executive Protection Awards to being unlicensed and facing an upcoming tribunal that will decide if he can get his bodyguard license back. Michael spends a lot of time feeling sorry for himself because he’s not the respected bodyguard that he used to be.

Meanwhile, at European Union (E.U.) headquarters in Luxembourg, E.U. chief Walter Fiscer (played by Brian Caspe) has announced that the E.U. has issued sanctions on Greece. Greek billionaire tycoon Aristotle Papadopolous (played by Antonio Banderas) is enraged by these sanctions, so he has some of his goons kidnap Walter. While in captivity, where he is tortured, Walter is told that he has four days to reverse the E.U.’s decision about the sanctions.

Michael has been in therapy, but even his female therapist has gotten sick of him and tells Michael that he has now “graduated” from therapy. Taking his therapist’s advice to go on a vacation, Michael is relaxing at a beach resort, as he reads the self-help book “The Secret” and listens to whatever he’s listening to on his headphones. All of sudden, mayhem breaks out in the resort.

Several armed terrorists invade the place and start shooting everywhere. This movie’s slapstick comedy is so witless that viewers are supposed to believe that Michael doesn’t hear the chaos because he’s got headphones on and he doesn’t see anything because he’s wearing sunglasses.

But someone comes to Michael’s rescue during this terrorist attack: Sonia, who grabs Michael and tells him that her husband Darius told her to find Michael so that Michael could be her bodyguard. Michael and Sonia escape by motor scooter and then jump off of a cliff. Darius eventually joins them for more shenanigans where there’s a lot of pointless arguing and more stunts.

Somewhere in this muddled mess of a story, there’s a Croatian computer hacker named Gunther (played by Blake Ritson), who’s hired by Aristotle to set off bombs at whatever places that Aristotle wants to be blown up. There’s an Interpol informant named Carlo (who’s never seen in the movie), who gets murdered. And there’s a sexist, xenophobic and arrogant Interpol agent from the U.S. named Bobby O’Neill (played by Frank Grillo, doing a dubious Boston accent), who’s determined to find out and capture who’s responsible for Carlo’s death and these revenge acts against the E.U.

At various points in the story, these things happen: Darius is kidnapped; Sonia disguises herself as Carlo’s blonde British mistress; and one of Michael’s rich former clients named Seifert (played by Richard E. Grant, in a cameo) almost blows Michael’s cover at a nightclub. There’s also a lot of predictable shootouts and explosions.

Michael reunites with someone from his past who currently lives in Italy. Morgan Freeman portrays that person from Michael’s past, and how his character knows Michael is supposed to be a surprise. This person’s connection to Michael is really just a way for the filmmakers to exploit racial stereotypes for badly written jokes.

Speaking of exploitation, this loathsome movie is unrelenting in objectifying Hayek and making her into a shrill, nasty and jealous shrew who shows off as many of her body parts as possible while fully clothed. There’s a lot of very “male gaze” close-up camera shots of her breasts and rear end. And at one point, during one of these rear-end angles, Darius says of Sonia in a terrible pun: “I’m just protecting my assets,” where he puts an emphasis on saying “ass.” Yes, it’s that kind of movie.

It isn’t just the men who talk about Sonia’s body parts in crude and demeaning ways. There’s a subplot about Sonia and Darius wanting to start a family, but they haven’t had any luck conceiving. Sonia comments out loud to Michael on why she thinks she can’t get pregnant: “My pussy’s just too tight.”

In this very male-dominated film, the only female star who shares top billing is reduced to saying a line like that, which is no better than bad dialogue from a porn movie. That tells you all you need to know about how these filmmakers feel about how about a female star deserves to be treated in their movies. Meanwhile, the male stars in “The Hitman’s Wife’s Bodyguard” have dumb lines too, but nothing that makes them talk like low-level porn actors. It’s sexism that’s unnecessary and frankly disgusting.

And don’t be fooled into thinking that this move isn’t sexist, just because Interpol agent Bobby has a female supervisor, because her role is nothing but being a cranky battle-axe, while Bobby gets all the glory of being the star Interpol agent in this story. Not surprisingly, Bobby resents having to report to a woman. Bobby’s supervisor is an older British woman named Crowley (played by Caroline Goodall), who is stereotypically stern and uptight in the way that American male filmmakers tend to portray older British women.

And the ethnic stereotyping doesn’t end there. The filmmakers make Sonia (who’s Mexican, just like Hayek is in real life) look so ignorant that she can’t pronounce Michael’s last name correctly in English. She repeatedly pronounces Bryce (rhymes with “rice”) as “breece” (rhymes with “fleece”). It’s yet another negative stereotype that makes it look like anyone whose original language is Spanish can’t possibly master the English language. There are racist undertones to this stereotyping, since Hayek is a woman of color.

The movie overall perpetuates negative and racist stereotypes because the three non-Anglo actors with the most screen time (Jackson, Hayek and Banderas) all portray characters who are criminals. The people who don’t notice these negative stereotypes are usually the same type of people who think this type of racist stereotyping should be normal in movies and television. But the reality is that what people see on screen, when it comes to representation of certain demographics, has an effect on how people perceive those demographics in real life. It’s part of the vicious cycle of bigotry that instills the false idea that certain races are “inferior” to others.

The male-female relationships in this movie are either about sex or resentment that a woman might be smarter than a man. Bobby is assigned a translator named Ailso (played by Alice McMillan), a Scot whose only role in the film is to be eye candy, based on the bland lines that she’s given. Instead of being impressed that Ailso knows multiple languages, Bobby just belittles her for her Scottish name, and she’s sidelined for most of the movie.

Sonia and Darius are portrayed as a horny couple, so there are repetitive scenes of them talking about their sex life or having sex, while a mortified Michael is nearby. It’s just more racist stereotyping that depicts African Americans and Latinos as hypersexual. Viewers won’t be surprised when it’s revealed that Sonia used to be Aristotle’s lover too.

There’s a flashback scene of Sonia and Aristotle’s past relatonship, where she comes across as a scheming gold digger. Hayek and Banderas previously co-starred in 1995’s “Desperado” and 2003’s “Once Upon a Time in Mexico,” action films that were both written, produced and directed by Robert Rodriguez. Although fans of those two movies might be thrilled that Hayek and Banderas are in another film together, “The Hitman’s Wife’s Bodyguard” is a cringeworthy reunion for both of these talented actors.

All of the stars of this movie are doing versions of other characters they’ve played in other films. Reynolds has made a career out of playing emotionally insecure and sarcastic characters in comedies. Jackson does his usual schtick as a quick-tempered loose cannon. Banderas, who is originally from Spain, has played a cold-blooded villain before, but in this movie he doesn’t even try to get into character because he sounds Spanish, not Greek. Freeman is doing his usual “I’m wiser than you are” persona.

But the most problematic way that a character is written and portrayed in the movie is with Hayek’s Sonia. Hayek is not a starlet who’s desperate to get a big break. She’s an Oscar-nominated actress who’s also an experienced movie producer. It’s kind of sad that she’s sunk to this level to be in such a horrendous and embarrassing dud. The next time she lectures people about Hispanic representation in Hollywood movies, she needs to check herself and think about why she allowed herself to be used in this degrading movie that’s the epitome of why there’s a culture of damaging discrimination against women and people of color.

“The Hitman’s Wife’s Bodyguard” doesn’t even have action scenes that are thrilling or imaginative. The scenes with fire and explosions have cheap-looking CGI effects. Watch any “John Wick” or “Mission: Impossible” movie to see how action scenes are done right and how action scenes can be innovative. Everything in “The Hitman’s Wife’s Bodyguard” is like garbage that should’ve been thrown out a long time ago: It’s awful, it’s worthless, and it’s got a lingering stench that no amount of exotic locations can cover up.

Lionsgate will release “Hitman’s Wife’s Bodyguard” in U.S. cinemas on June 16, 2021, with sneak preview screenings on June 11 and June 12, 2021.

Review: ‘Dolittle,’ starring Robert Downey Jr.

January 17, 2020

by Carla Hay

Robert Downey Jr.  and parrot Polynesia (voiced by Emma Thompson) in “Dolittle” (Photo courtesy of Universal Pictures)

“Dolittle”

Directed by Stephen Gaghan

Culture Representation: Set primarily in the United Kingdom, this dramatic adventure movie’s live-action characters are nearly all white; the voice actors portraying the animated animals are a racially mixed cast; and the social classes range from working-class to royalty.

Culture Clash: A reclusive doctor with the special power to talk to animals reluctantly goes on a journey to find a rare medical cure, and faces obstacles that include more than one villain.

Culture Audience: “Dolittle” will appeal primarily to fans of children-oriented entertainment who don’t mind if the visuals are much better than the storytelling.

Dab-Dab the duck (voiced by Octavia Spencer), polar bear Yoshi (voiced by John Cena), parrot Polynesia (voiced by Emma Thompson), Dr. John Dolittle (played by Robert Downey Jr.), ostrich Plimpton (voiced by Kumail Nanjiani), Tommy Stubbins (played by Harry Collett) and gorilla Chee-Chee (voiced by Rami Malek) in “Dolittle” (Photo courtesy of Universal Pictures)

It’s not really a good sign when a major-studio film headlined by an A-list movie star is released in January, the month that’s a notorious dumping ground for bad movies. Universal Pictures must have known that “Dolittle” was going to be a dud, even with star Robert Downey Jr. coming off his major hot streak in the blockbuster superhero “Avengers” and “Iron Man” movies. (“Avengers: Endgame,” Downey’s 2019 movie that was released before “Dolittle,” now holds the record as the world’s biggest box-office movie hit of all time, ending the 10-year reign at the top held by “Avatar.”) “Dolittle” isn’t a terrible film. It’s just a terribly generic film in an era when we’ve been bombarded with kids-oriented movies that have talking animals.

By making “Dolittle” an action-adventure film, “Dolittle” director Stephen Gaghan, who wrote the screenplay with Dan Gregor and Doug Mand, tried to do something different from previous “Dolittle” movies. The original 1967 “Dr. Dolittle” film, starring Rex Harrison and a cast of other Brits, was a musical adapted from Hugh Lofting’s “Dr. Dolittle” book series. The three “Dr. Dolittle” movies from 1998, 2000 and 2006 were slapstick American comedies—the first two starred Eddie Murphy as the title character, and a third film was an ill-conceived flop starring Kyla Pratt, who played Dolittle’s daughter in the first two Murphy-starring films.

Gaghan’s “Dolittle” goes back to the original United Kingdom location, during the mid-1800s era of a young Queen Victoria (played by Jessie Buckley), who has come down with a mysterious illness. During the film’s animated opening sequence, viewers see that veterinarian John Dolittle once led a happy life taking care of animals with his beloved wife Lily (played by Kasia Smutniak), who died tragically.

Fast forward seven years later, and Dr. Dolittle has become a cranky hermit who has neglected his hygiene (he’s so unkempt that a mouse has been living in his beard), as he lives with his animals on his estate that’s essentially an animal sanctuary. The filmmakers have made Dolittle a Welshman, so it might take a while for some viewers to getting used to hearing Downey speak in a Welsh accent that sounds a little too pretentious for a movie where most of his co-stars are animated talking animals. This is a kids’ movie, not Shakespeare.

Tommy Stubbins (played by Harry Collett), a boy from the small village of Puddleby-on-the-Marsh, is an orphaned misfit who lives with his aunt and uncle. Tommy loves animals, and is therefore uncomfortable when he’s forced to go hunting with his uncle. When Tommy accidentally shoots a squirrel while hunting, he decides to take the injured animal to the mysterious Dr. Dolittle, even though the doctor has a reputation for being a curmudgeon. Instead of being afraid of Dolittle’s menagerie of wild animals, Tommy is fascinated and finds out that he has a knack for communicating with animals too. Affected by Tommy’s presence, Dolittle cleans himself up, as he notices that Tommy sees him as a role model and possible mentor.

It isn’t long before Dolittle gets another visitor: Queen Victoria’s attendant Lady Rose (played Carmel Laniado), who arrives with orders to bring Dolittle to Buckingham Palace to give medical aid to the queen. Dolittle has a big incentive to save the queen’s life, because his property has been loaned to him by the queen, and if she dies, he will lose the property.

While at the palace, Dolittle has an awkward reunion with a former school rival: royal physician Dr. Blair Müdfly (played by Michael Sheen), who is jealous of Dolittle’s talent and acclaim. Müdfly is such an over-the-top villain that he practically twirls his moustache and gnashes his teeth. And there’s another antagonist in the story: the ambitious Lord Thomas Badgley (played by Jim Broadbent), who will inherit the throne if Queen Victoria dies. (At this point in her life, Victoria is not married and has no children.)

Dolittle determines that the best cure for the queen’s life-threatening illness is fruit from the Eden Tree on Eden Tree Island, because this fruit is said to have magical powers. (How biblical.) Tommy has essentially decided that he doesn’t really want to go home, so he tags along on Dolittle’s voyage, with Dolittle’s numerous animals in tow as they set sail on a ship called the Water Lily.

Now, about the animals. The problem with “Dolittle” is that there are too many of them in this film. If you’re someone with a short attention span, good luck trying to keep track of all the talking animals. The “Madagascar” movies (another animated series with a variety of wild animals that talk) worked so well because the animals were in a relatively small group and their personalities were so distinct. In “Dolittle,” the personalities of most of the animals tend to blend together in a crowded mush, with the notable exception of the parrot Polynesia (voiced by Emma Thompson), a dutifully efficient assistant/caretaker with a whip-smart attitude. Polynesia holds a special place in Dolittle’s heart because the parrot used to be owned by Dolittle’s late wife Lily.

The other animals in this mixed-bag menagerie are Chee-Chee (voiced by Rami Malek), an insecure gorilla; Dab-Dab (voiced by Octavia Spencer), a maternal, scatterbrained American Pekin duck; Plimpton, a nervous osctrich (voiced by Kumail Nanjiani); Yoshi (voiced by John Cena), a polar bear who hates the cold, loves adventure, and often bickers with Plimpton; Betsy (voiced by Selena Gomez), a kind giraffe; Kevin (voiced by Crag Robinson), the injured squirrel that was accidentally shot by Tommy and who has a cheeky sense of humor; Tutu (voiced by Marion Cotillard), a fearless fox with leadership qualities; and Mini (voiced by Nick A. Fisher), a baby sugar glider that’s constantly curious.

Meanwhile, other talking animals include brainy dog Jip (voiced by Tom Holland), a long-haired Lurcher tasked with guarding the queen; Humphrey (voiced by Tim Treloar), a whale that helps navigate the Water Lily; James (voiced by Jason Mantzoukas), a nervous dragonfly; Barry (voiced by Ralph Fiennes), a Bengal tiger with mommy issues and a grudge against Dolittle; Don Carpenterino (voiced by David Sheinkopf), the leader of an ant colony; Army Ant (voiced by Matthew Wolfe), Don’s sidekick; and Dragon (voiced by Frances de la Tour), guardian of the Eden Tree.

As for other human characters, there’s also Pirate King Rassouli (played by Antonio Banderas), who lives on Monteverde Island, one of the stops along the way to Eden Tree Island. Banderas hams it up as yet another adversary to Dolittle and his crew. Large ensembles can work for well-written, live-action films geared to adults. But when it’s a mostly animated film geared to kids, the movie can come across as too cluttered for its own good.

“Dolittle” certainly has an impressive cast of acting talent. It’s too bad that so many of the characters are bland. Furthermore, Chee-Chee (the gorilla that’s a visual standout) is a missed opportunity, since the character was miscast for its voice. Malek sounds more like the minature “Frozen” snowman Olaf than a massive gorilla. The Chee-Chee character needed an actor with a deeper voice to better reflect the gorilla’s intimidating physical presence. Former wrestling champ Cena, who’s the voice of Yoshi the polar bear, would have been better in the role of Chee-Chee.

Although the characters in this movie are very underdeveloped, the compelling visual effects (overseen by visual effects supervisors Nicolas Aithadi and John Dykstra) are the most entertaining aspect of the film. Young children who are dazzled by visuals should enjoy “Dolittle” for the movie’s colorful ambiance, even if they won’t remember most of the movie’s animal characters weeks after seeing this film. (Don’t expect there to be a high demand for “Dolittle” toys.) More mature viewers might get easily bored with this movie, because it wallows in a lot of mediocrity that wastes this talented cast.

Simply put: “Dolittle” is not the kind of movie that people looking for high-quality entertainment will rush to see multiple times while it’s in theaters. We all know how this movie is going to end anyway.

Universal Pictures released “Dolittle” in U.S. cinemas on January 17, 2020.

 

 

 

2020 Golden Globe Awards: presenters announced

January 3, 2020

by Carla Hay

The Hollywood Foreign Press Association (the organization the votes for the Golden Globe Awards) and Dick Clark Productions (which co-produces the Golden Globes telecast) have announced the presenters of the 2020 Golden Globe Awards ceremony, which takes place January 5 at the Beverly Hilton in Beverly Hills California. NBC will have the U.S. telecast of the show, beginning at 8 p.m. Eastern Time/5 p.m. Pacific Time.

Here are the presenters in alphabetical order:

  • Tim Allen
  • Jennifer Aniston*
  • Christian Bale*
  • Antonio Banderas*
  • Jason Bateman
  • Annette Bening*
  • Cate Blanchett*
  • Matt Bomer
  • Pierce Brosnan
  • Glenn Close
  • Daniel Craig*
  • Ted Danson
  • Ana de Armas*
  • Leonardo DiCaprio*
  • Ansel Elgort
  • Chris Evans
  • Dakota Fanning
  • Will Ferrell
  • Lauren Graham
  • Tiffany Haddish
  • Kit Harington*
  • Salma Hayek
  • Scarlett Johansson*
  • Elton John*
  • Nick Jonas
  • Harvey Keitel
  • Zoe Kravitz
  • Jennifer Lopez*
  • Rami Malek*
  • Kate McKinnon
  • Helen Mirren
  • Jason Momoa
  • Gwyneth Paltrow
  • Amy Poehler
  • Brad Pitt*
  • Da’Vine Joy Randolph
  • Margot Robbie*
  • Paul Rudd*
  • Wesley Snipes
  • Octavia Spencer
  • Bernie Taupin*
  • Charlize Theron*
  • Sofia Vergara
  • Kerry Washington
  • Naomi Watts
  • Rachel Weisz
  • Reese Witherspoon*

*2020 Golden Globe Awards nominee

Ricky Gervais is hosting the show. Tom Hanks will be receive the Cecil B. DeMille Award for career achievement, while Ellen DeGeneres will be getting the Carol Burnett Award, which is given to people who have excelled in comedy. The Carol Burnett Award debuted at the Golden Globes in 2019, and Burnett was the first recipient of the prize. Dylan and Paris Brosnan (sons of Pierce Brosnan) will serve as the 2020 Golden Globe Ambassadors.

Click here for a complete list of nominations for the 2020 Golden Globe Awards.

2019 Hollywood Film Awards: recap and photos

November 3, 2019

Al Pacino (left), winner of the Hollywood Supporting Actor Award, and “The Godfather” director Francis Ford Coppola at the 23rd Annual Hollywood Film Awards at the Beverly Hilton Hotel in Beverly Hills, California, on November 3, 2019. (Photo by Amy Sussman/Getty Images)

The following is a press release from Dick Clark Productions:

The 23rd Annual “Hollywood Film Awards” brought together Hollywood’s elite to honor the year’s most talked about and highly anticipated actors, actresses and films, and those who helped bring them to life. The awards ceremony, celebrating its 23rd anniversary as the official launch of the awards season, was hosted by actor and comedian Rob Riggle, and took place at The Beverly Hilton in Beverly Hills. In its 23-year history, over 340 of the world’s biggest stars and filmmakers have been highlighted at the “Hollywood Film Awards” and more than 140 of the honorees have gone on to garner Oscar nominations and/or wins.

Rob Riggle  at the 23rd Annual Hollywood Film Awards at the 23rd Annual Hollywood Film Awards at the 23rd Annual Hollywood Film Awards at the Beverly Hilton Hotel in Beverly Hills, California, on November 3, 2019. (Photo by Kevin Winter/Getty Images for HFA)

Host Rob Riggle infused the ceremony with heart and humor, proving to be a steadfast guide through the evening’s many memorable moments. There was no shortage of standing ovations for both presenters and honorees alike, who included some of the most iconic members of the Hollywood community. Al Pacino took time to acknowledge many of his fellow honorees and friends in the room as he accepted the “Hollywood Supporting Actor Award.”

Martin Scorsese at the Beverly Hilton Hotel in Beverly Hills, California, on November 3, 2019. (Photo by Emma McIntyre/Getty Images for HFA)

After a presentation from her mentor Martin Scorsese, “Hollywood Producer Award” recipient Emma Tillinger Koskoff delivered an emotional speech, offering a tear-filled thank you to the legendary director and producer. “Hollywood Filmmaker Award” honoree Bong Joon Ho, spoke in his native tongue to deliver a universal message that “we use only one language of cinema.”

Nicole Kidman and Charlize Theron at the 23rd Annual Hollywood Film Awards at the Beverly Hilton Hotel in Beverly Hills, California, on November 3, 2019. (Photo by Kevin Winter/Getty Images for HFA)

In a touching moment between “Hollywood Career Achievement Award” presenter Nicole Kidman and this year’s honoree Charlize Theron, Kidman remarked that “we don’t get to choose our heroes, but through this journey, I got to work with one of mine!”

Antonio Banderas and Dakota Johnson at the Beverly Hilton Hotel in Beverly Hills, California, on November 3, 2019. (Photo by Amy Sussman/Getty Images)

Dakota Johnson took the stage to present Antonio Banderas with the “Hollywood Actor Award,” and reflected upon her realization that Banderas has become one of the most influential people in her life. He accepted by dedicating the award to Dakota, and his daughter Stella, who was in the room to share the night with him.

Cynthia Erivo at the 23rd Annual Hollywood Film Awards at the Beverly Hilton Hotel in Beverly Hills, California, on November 3, 2019. (Photo by Emma McIntyre/Getty Images for HFA)

Viola Davis presented Cynthia Erivo with the “Hollywood Breakout Actress Award,” calling her “fearlessness personified” as she takes on the role of Harriet Tubman. Ray Romano brought the laughs as he showered praise upon “Hollywood Breakout Actor” honoree Taron Egerton, pointing out how unfair it is that Egerton is not only endlessly talented, but funny as well.

Robert Downey Jr. and Shia LaBeouf at the 23rd Annual Hollywood Film Awards at the Beverly Hilton Hotel in Beverly Hills, California, on November 3, 2019 . (Photo by Frazer Harrison/Getty Images for HFA)

Christian Bale and Matt Damon turned up to honor their “Ford v Ferrari” director James Mangold, while Robert Downey Jr. was on hand to laud “Honey Boy” actor and screenwriter Shia LeBeouf with the “Hollywood Breakthrough Screenwriter Award.”  Former co-stars Jennifer Garner and Olivia Wilde celebrated Wilde’s “Hollywood Breakthrough Director Award,” each sharing humorous tales of their adventures together on set.

Olivia Wilde at the 23rd Annual Hollywood Film Awards at the Beverly Hilton Hotel in Beverly Hills, California, on November 3, 2019. (Photo by Emma McIntyre/Getty Images for HFA)

Kevin Feige and Victoria Alonso joined together to accept the “Hollywood Blockbuster Award,” thanking their amazing writers, directors, and awe-inspiring cast, including presenter Mark Ruffalo. Alicia Keys began her tribute to “Hollywood Song Award” honoree Pharrell Williams by recognizing all of the love in the room, before Williams delivered a powerful speech focusing on the unparalleled contributions made by “The Black Godfather” subject, Clarence Avant. He said that he has opened doors when others would glue them shut and has consistently demanded equality throughout his career.

Finn Wittrock, Renée Zellweger and Jessie Buckley at the 23rd Annual Hollywood Film Awards at the Beverly Hilton Hotel in Beverly Hills, California, on November 3, 2019. (Photo by Amy Sussman/Getty Images)

“Judy” co-stars Finn Wittrock and Jessie Buckley were on hand to recognize their leading lady Renée Zellweger with the “Hollywood Actress Award.” She said that the experience of playing Judy Garland was “one of those rare opportunities that essentially make no sense at all, but becomes your greatest accomplishment!”

Laura Dern and Willem Dafoe at the 23rd Annual Hollywood Film Awards at the Beverly Hilton Hotel in Beverly Hills, California, on November 3, 2019. (Photo by Frazer Harrison/Getty Images for HFA)

After an earnest tribute from Jon Hamm, “Hollywood Screenwriter Award” honoree Anthony McCarten joked about finding success when he strayed from his teacher’s advice to write what he knows. He advised others to write what they want to know, that curiosity is what drove him to this project. Willem Dafoe presented his friend and colleague Laura Dern with the “Hollywood Supporting Actress Award,” praising the inspiring way in which she connects to audiences through her compassion.

This year’s award show honored the following:

“Hollywood Career Achievement Award”
Charlize Theron, presented by Nicole Kidman

“Hollywood Actor Award”
Antonio Banderas for Pain and Glory, presented by Dakota Johnson

“Hollywood Actress Award”
Renée Zellweger for Judy, presented by Finn Wittrock & Jessie Buckley

“Hollywood Supporting Actor Award”
Al Pacino for The Irishman, presented by Francis Ford Coppola

“Hollywood Supporting Actress Award”
Laura Dern for Marriage Story, presented by Willem Dafoe

“Hollywood Producer Award”
Emma Tillinger Koskoff for The Irishman, presented by Martin Scorsese

“Hollywood Director Award”
James Mangold for Ford v Ferrari, presented by Christian Bale & Matt Damon

“Hollywood Filmmaker Award”
Bong Joon Ho for Parasite, presented by Sienna Miller

“Hollywood Screenwriter Award”
Anthony McCarten for The Two Popes, presented by Jon Hamm

“Hollywood Blockbuster Award”
Avengers: Endgame, presented by Mark Ruffalo

“Hollywood Song Award”
Pharrell Williams for Letter To My Godfather, presented by Alicia Keys

“Hollywood Breakout Actor Award”
Taron Egerton for Rocketman, presented by Ray Romano

“Hollywood Breakout Actress Award”
Cynthia Erivo for Harriet, presented by Viola Davis

“Hollywood Breakthrough Director Award”
Olivia Wilde for Booksmart, presented by Jennifer Garner

“Hollywood Breakthrough Screenwriter Award”
Shia LaBeouf for Honey Boy, presented by Robert Downey Jr.

“Hollywood Animation Award”
Toy Story 4

“Hollywood Cinematography Award”
Mihai Malaimare Jr. for Jojo Rabbit

“Hollywood Film Composer Award”
Randy Newman for Marriage Story

“Hollywood Editor Award”
Michael McCusker & Andrew Buckland for Ford v Ferrari

“Hollywood Visual Effects Award”
Pablo Helman for The Irishman

“Hollywood Sound Award”
Donald Sylvester, Paul Massey, David Giammarco, & Steven A. Morrow for Ford v Ferrari

“Hollywood Costume Design Award”
Anna Mary Scott Robbins for Downton Abbey

“Hollywood Make-Up & Hair Styling Award”
Lizzie Yianni-Georgiou, Tapio Salmi, & Barrie Gower for Rocketman

“Hollywood Production Design Award”
Ra Vincent for Jojo Rabbit

Honoree Portraits are available on the show’s Twitter and Instagram pages. For all information and highlights, please visit the website for the Hollywood Film Awards.

For the latest news, follow the “Hollywood Film Awards” on social and join the conversation by using the official hashtag for the show, #HollywoodAwards.

Twitter: @HollywoodAwards
Facebook: Facebook.com/HollywoodAwards
Instagram: @hollywoodawards

About Dick Clark Productions
Dick Clark Productions (DCP) is the world’s largest producer and proprietor of televised live event entertainment programming with the “Academy of Country Music Awards,” “American Music Awards,” “Billboard Music Awards,” “Golden Globe Awards,” “Dick Clark’s New Year’s Rockin’ Eve with Ryan Seacrest” and the “Streamy Awards.” Weekly television programming includes “So You Think You Can Dance” from 19 Entertainment and DCP. DCP also owns one of the world’s most unique and extensive entertainment archive libraries with over 60 years of award-winning shows, historic programs, specials, performances and legendary programming. DCP is a division of Valence Media, a diversified and integrated media company with divisions and strategic investments in television, film, live entertainment, digital media and publishing. For additional information, visit www.dickclark.com.

About the Hollywood Film Awards
The Hollywood Film Awards, founded in 1997, were created to celebrate Hollywood and launch the awards season. The recipients of the awards are selected by an Advisory Team for their body of work and/or a film(s) that is to be released during the calendar year. For additional information, visit www.hollywoodawards.com.

Copyright 2017-2024 Culture Mix
CULTURE MIX