Saturday, September 17, 2016

Now You See Me 2 - 6 stars out of 10

Now You See Me 2 - 6 stars out of 10

"Now You See Me 2" is an average crime thriller that is hindered by the success of the series' first installment.  The unique nature of the original demands that this sequel moves in an entirely different direction and as a result, the only connection between the two films is that they contain the same main characters (one of whom is replaced). The first issue is that the opening of this film does a terrible job of recapping the first film.  Any person who sees this after a 3-year hiatus from watching the original will have completely forgotten the characters and important events, making for a very confusing opening flashback.  Since the film couldn’t center around Robin Hood-esque bank heists without being a total repeat, the thematic focus shifts into several different directions that include a love story, a character dealing with the lingering memories of his father’s death, an evil twin brother, a new international enemy, and a better understanding of The Eye.  There is way too much going on and this oversaturated story would work better as standalone film than as a continuation of the original story.  We loved “Now You See Me” because of the clever incorporation of magic tricks into “Ocean’s Eleven” scenarios, but every aspect of the sequel falls short.  The whole card-throwing-around-the-secured-room sequence goes on for so long and is so farfetched that we lose the belief that this film could actually be real.  The actors are decent, particularly Morgan Freeman and Michael Caine; meanwhile, Daniel Radcliffe feels like he was pigeonholed into this role in order to sell tickets and Woody Harrelson’s dual role is as ludicrous as it is comical.  Jesse Eisenberg, Mark Ruffalo, Dave Franco, and Lizzy Caplan work well together, but the magic tricks are the real star.  Also, the cinematography of Macau and London outshine anything written in this script.  I didn’t hate “Now You See Me 2” but I also believe that it has killed the momentum of the series instead of enhancing the story introduced by the first film.

[Pictured: The ensemble cast is good but, considering the names, you would expect a lot more]

Wednesday, September 14, 2016

Florence Foster Jenkins - 9 stars out of 10

Florence Foster Jenkins - 9 stars out of 10

I had been anticipating “Florence Foster Jenkins” for nearly two years since it was first reported and it is everything that I hoped it would be!  There is nothing better than listening to Meryl Streep butcher opera's greatest hits for two hours.  But beneath the obvious comic value, there is a story that celebrates Jenkins’ spirit and passion for music, in spite of the sounds that she produces.  This film required a delicate balance in order to recreate the bad singing of Jenkins without making fun of her.  If anything, Meryl Streep's singing isn't bad enough!   It provides the perfect amount of comedy to earn “Madame Florence” a whimsical place in our hearts.   The cast of this film deserves a SAG, solely for keeping a straight face throughout Streep's singing.  The facial expressions of Simon Helberg during Florence's first vocal lesson are some of the greatest expressions that I have ever seen on screen.  And the laughter on the elevator will have everyone in the theater laughing out loud.  I have taught my middle school students about “the worst opera singer of all time” for many years but my perspective has completely changed now that I know the whole story.  Honestly, this film taught me a lot about judging others and the importance of empathizing with a person’s circumstances.  You could say that I used to be like the critics who delighted in writing scathing reviews about Jenkins' abominable performances, but now I feel more like the metaphorical character of Agnes Stark who cheers her on and celebrates the joy that music brought to her.  The script is well-written, the acting is fantastic, and the serious content is given a proper amount of attention within the context of the film’s lighthearted mood.  I appreciate the inclusion of Cole Porter (who was one of Jenkins' biggest fans) and loved the boldly crass acting of Nina Arianda (in the role of Stark).  The most stunning piece of the film is Streep as she captures every nuance of Jenkins' poor vocal technique.  From the unrefined register breaks to her painfully flat upper range, and she "perfectly" recreates every error contained in Jenkins' infamous recordings.  It is inevitable that “Florence Foster Jenkins” will appear on the Oscar ballot next year, but this film is more than just Oscar bait.  It is a testament to the power of music when one expresses it with passion , even if there is a disconnect between the music in their heart and the sound that emerges from their mouth.

[Pictured: Beneath the elaborate costumes and mountains of money, Florence was simply a woman who loved to sing.]