In Dublin, a Group of Dreamers Aspires to Fame

Ferdia Walsh-Peelo (left) and Lucy Boynton in "Sing Street"
Photo Credit: Imdb.com 

Irish film director John Carney is an individual who seems to have an intense love of music, as he has used it in several of his films.  He did so in 2007 with “Once,” and in 2014 with “Begin Again.”  Through this movies, he explores the bonds between people as they work to have their musical talents flourish.  

He brings us his third musical film with the comedy-drama “Sing Street.”  Once again focusing on young musicians, Carney shows his signature blend of drama, humor, romance, and music in one of the best and most deliriously charming movies of the year.

In 1985, 15-year-old Conor Lalor (Ferdia Walsh-Peelo) lives in inner-city Dublin with his older brother (Jack Reynor), his older sister (Kelly Thornton), and his bickering parents (Aidan Gillen and Maria Doyle Kennedy).  Due to finances, Conor’s parents transfer him to a cheaper school, where he gets picked on upon his arrival.  

One day after school, he meets a young girl named Raphina (Lucy Boynton), who dreams of moving to London to become a model.  Instantly attracted to her, Conor asks Raphina if she would like to appear in a music video for his band, and she agrees.  There’s only one problem - he doesn’t have a band.  Conor decides to gather some new friends to form a band, and they soon realize the musical potential they didn't realize they had.

In his acting debut, Ferdia Walsh-Peelo proves to be a young and mature actor who knows how to handle himself as the center of a film.  He’s not a cliched individual who’s trying to succeed with his art, but is a believable character made even more so by the difficulties he must face in order to achieve his dreams.

Lucy Boynton is radiant as the philosophical young woman who catches Conor’s eye.  Boynton has several deep moments, including a scene where she expresses her character’s wise-beyond-her-years view of the young characters’ working-class lives, eventually leading Conor to approach his art and life with a new mentality.  Boynton has a presence that makes the film glow whenever she’s on screen, and she helps to lift the relationship between Raphina and Conor into something more than a typical boyfriend-girlfriend relationship.

As Conor’s older brother, Jack Reynor’s character serves as a sort-of mentor to Conor and educates him on rock.  These are heartfelt scenes between the brothers where they bond over music, and their brotherly arc eventually leads to a pivotal scene where Reynor’s character explains to Conor his past dreams of musicianship.

The film is loaded with songs that you are sure to be playing back in your head, making you wish the band in the movie was an actual group you could see perform live.  Watching the band perform their songs, such as “The Riddle of the Model,” “Drive It Like You Stole It,” “A Beautiful Sea,” and “To Find You,” helps you see the true extent of their talent, making you believe they have what it takes to make it to the big time.  Aside from the original songs, the film also treats us to songs from music legends, such as The Cure, Duran Duran, and Hall & Oates.  With the soundtrack being a blend of the film’s original songs and tunes from real-life performers, this is a winning combination of the characters’ creations and inspirations.

The screenplay by Carney takes a simple coming-of-age, follow-your-dreams story and creates an emotional, witty, and layered film about transcending unfortunate circumstances to find success in doing what you love.  A standout quality of the narrative is how it’s not just focused on the relationship between Conor and Raphina, but also spends time with Conor’s family life, the musical process between him and his bandmates, the tension at school he faces with bullies and his principal, and details concerning Raphina’s background and ambitions.  As a result, we get to know the main characters every bit as well through their everyday experiences as we do through their art.  It’s because of these plot points that we are able to see a full journey of these individuals as they rise from their humble beginnings to potential stardom.

To see “Sing Street” is to experience one of those occasions where you walk out of the theater, and you’re absolutely in love with what you just watched.  Although you will be won over by the movie as a whole, the last five minutes will put a smile on your face that will be impossible to remove because of the endearing nature of the film.

Carney has dealt with fictional stories up until now, so it will be interesting to see him bring a real-life artist’s story to the screen at some point in the future, which is something at which I’m sure he will excel.  Until then, you can have a blissfully entertaining time as you witness Carney pair his exceptional filmmaking with an unbridled passion for music.

Grade: A

Mad Money and a Madder Investor

Jack O'Connell (left) and George Clooney in "Money Monster"
Photo Credit: Imdb.com 

The global financial crisis of the late 2000s is one of the most significant events so far this century, so it was a given that it was going to be the topic of several movies.  Over the years, we’ve gotten Charles Ferguson’s documentary “Inside Job” from 2010, J.C. Chandor’s drama “Margin Call” from 2011, and more recently, Adam McKay’s comedy “The Big Short,” all of which offer in-depth views of the most shattering economic event since the Great Depression.

While this crisis occurred several years ago, it’s still fascinating to see how we view Wall Street and the world economy all of this time later.  Now, actress Jodie Foster steps into the director’s chair for the financial thriller “Money Monster,” which, despite having a talented cast, never fully provides much of the intrigue and depth that a subject like this deserves.

In New York City, Lee Gates (George Clooney) is a television personality on a show called “Money Monster,” where he provides financial advice for his viewers.  During one of his broadcasts, investor Kyle Budwell (Jack O’Connell) goes into the studio and takes Lee hostage.  Kyle reveals he lost his life savings after following a bad tip from the show, and he now wants to know what exactly happened to his money.  As Kyle forces the crew to continue filming, show director Patty Fenn (Julia Roberts) tries to help Lee as he attempts to uncover what transpired in the economy that made his advice go horribly wrong.

While the acting is reliably good from George Clooney as the showy, Jim Cramer-like TV host and Julia Roberts as his dedicated director, there’s nothing much that’s interesting about them.  Clooney and Roberts do their best with the material they’re given; but, with their talents, they deserve roles that are better written than these.

Even though Jack O’Connell’s role is about as thinly written as those of Clooney and Roberts’, he’s at least given the chance to be a little more dynamic with his character because he gets to portray an unhinged and vengeful victim of the economy, and he’s easily one of the very few memorable aspects of the film.

The screenplay by Alan Di Fiore, Jim Kouf, and Jamie Linden presents an interesting idea, but it hardly goes deeper than its get-revenge-on-Wall-Street angle.  A film that deals with the inner workings of the financial world should be much more ambitious with the views it presents and have characters that we care about who become involved with the tense scenario.  If the movie was a little longer, than the writers may have been able to add more layers to the story.

While Jodie Foster’s direction is serviceable and able to wring a bit of suspense out of the film’s events, I would like to see what she can do when she has material for a better thriller with which to work, especially considering she has considerable experience with those types of movies.

After starring in such films as “The Silence of the Lambs,” “Inside Man,” and “Panic Room,” Foster knows her way around thrillers, and she now shows glimmers of potential in directing them.  If she can get her hands on a finer script, it would be a terrific opportunity for Foster to display her full filmmaking potential.

A movie such as “Money Monster” should make you furious at the dirty dealings of Wall Street.  But because the film is not fully committed to doing more with its premise, you just end up feeling indifferent towards what you watch, which is something that shouldn’t happen when a movie deals with a topic such as this.

Grade: C 

From Fighting Villains to Fighting Within Ranks

Chris Evans (left) and Robert Downey Jr. in "Captain America: Civil War"
Photo Credit: Imdb.com

This is a spoiler-free review.   

Last July, “Ant-Man” brought Phase Two of the Marvel Cinematic Universe to a close, and we are now at the beginning of Phase Three.  Despite being 13 movies into the MCU, there are still more stories to tell, more characters to introduce, and new conflicts to face.  The MCU has been going on for eight years now, and the world that was established in 2008 with the first “Iron Man” film has now reached a pivotal moment in its ongoing expansion.

After directing the thrilling “Captain America: The Winter Soldier,” Anthony and Joe Russo return to helm “Captain America: Civil War.”  And not only is it one of the very best films the MCU has put out, but it also concludes the “Captain America” story as that rare trilogy where each film is better than the last.

While on a mission in Nigeria to stop the theft of a biological weapon, the damage done during the fight between Captain America’s team and their targets leaves several civilians dead.  Back at home, the Avengers meet with Secretary of State Thaddeus Ross (William Hurt), who tells them the amount of destruction caused by the fights with their adversaries has prompted world leaders to create a set of accords that will cause the Avengers to operate under government regulation.  While Steve Rogers / Captain America (Chris Evans) is opposed to the idea of answering to anyone else, Tony Stark / Iron Man (Robert Downey Jr.) stands firm with the accords’ intentions.  What follows next will pit the Avengers against each other and set off a chain of events that may create some irreversible changes within the group.

Although the cast is loaded with memorable performances, the bookends are Chris Evans and Robert Downey Jr.  Given the heightened stakes of the narrative, the performances from Evans and Downey Jr. have evolved to accomplish in bringing the emotion required for these more dramatic events that threaten what the Avengers stand for.  Yes, the two heroes still get to throw humorous quips at each other from time to time, but the wit doesn't do anything to dilute the tension brewing between them.

It’s fun to see many of the Avengers return for the film, but it’s the offering of two great additions that will really get you talking: Peter Parker / Spider-Man (Tom Holland) and T’Challa / Black Panther (Chadwick Boseman).  Although we still have to wait a while until to see more of their characters in their solo films (to be released in July 2017 and February 2018, respectively), the film offers enough footage of them to quench our curiosity and get an idea of what to expect from their contributions to the MCU.  Boseman, with his well-polished accent and depiction of his character’s heavy heart, shows he has the ability to become a major player for the Avengers.  Star status in the famed superhero group is also set for Holland, and based on the footage of him you see in “Civil War,” he could shape up to be a dynamite Spider-Man.  Because Holland is younger than Tobey Maguire and Andrew Garfield when they portrayed the well-known web-slinger, he shows he will provide the character with a refreshingly quirky and fun-loving high-school persona.

In terms of a villain, we have Helmut Zemo (Daniel Brühl), whose character’s motives for his actions are rather basic and are sort of akin to what Loki wanted to accomplish in the first “Avengers” film in terms of getting the Avengers to turn on each other.  However, Brühl’s talent is enough to make his character a little more interesting than it could have been, and we’re actually given enough time to follow his character, even in the middle of the fighting amongst the heroes.

Based on Mark Millar’s seven-issue comic series, “Civil War,” the screenplay comes from Christopher Markus and Stephen McFeely, who penned the first two “Captain America” films.  They have created a story that’s paced in a way that makes the film’s two-and-a-half-hour running time fly by, using a steady pattern of action- and dialogue-driven scenes.  What’s also great about the story is that even though the film has an abundance of characters, everyone has enough screen time to make an impression, even if it’s only for a few minutes.  Markus and McFeely are tapped to write the screenplay for the two-part “Avengers: Infinity War” (part one - May 2018, part two - May 2019), which will feature even more characters than we have at the moment.  “Civil War” shows that if this writing duo can balance a detailed story and abundance of characters over the course of one movie, they can surely do it for a two-movie narrative.

Given how well the Russos are able to handle a cast as big as this and all of the stunning action, I have full confidence in their abilities to deliver a spectacular conclusion for “Infinity War.”  What’s admirable about the film is how they are able to create more of a balance between the humor and the drama, with the humor feeling appropriate in the spots where it appears, unlike in a handful of other MCU films.  One significant way in which the Russos balance the humor and the drama is in the two main action set-pieces: a battle sequence at an airport, and the final fight between Captain America and Iron Man.  In the former, we have all of the heroes together, which is a perfect time for them to engage in wonderful action and exchange quips as their powers and personalities clash.  In contrast, the fight between Captain America and Iron Man is more emotional because it comes after one of the film’s several big reveals, and we see the leader from each side of the debate fighting each other after spending time fighting together, and it may be one of the MCU’s most emotionally charged sequences.  In the end, both fight scenes are everything for which you could have hoped.

Phase Three is off to a thunderous beginning and will be the biggest one yet, as we still have nine more movies to anticipate.  The next chapter is “Doctor Strange,” which is set to be released this November, and it may be one of the MCU’s most interesting solo movies do date.  Until then, “Captain America: Civil War” will thrill you with its impressive world-building as we move one step closer to the epic finale.

Grade: A-    

Jon Favreau Offers Adventure and Beauty in His Jungle

From left: Bagheera (Ben Kingsley), Baloo (Bill Murray),
Mowgli (Neel Sethi), and Raksha (Lupita Nyong'o) in "The Jungle Book"
Photo Credit: Imdb.com 

Over the past few years, Walt Disney Studios has given some of their classic animated films the live-action treatment, and still have a few more on the way.  As of now, we’ve gotten Tim Burton’s “Alice in Wonderful” and Robert Stromberg’s “Maleficent,” both of which suffered from an overabundance of showy CGI; last year, however, we were given Kenneth Branagh’s beautifully crafted adaptation of “Cinderella,” which showed us there’s the possibility that these live-action remakes could offer something great.

The next Disney animated film to get a remake is “The Jungle Book,” which is directed by Jon Favreau and based on the stories by Rudyard Kipling.  Although this movie has its fair share of CGI, it never feels like it’s there for just the “wow” factor, something of which “Alice in Wonderland” and “Maleficent” are guilty.  The film is bolstered by a strong lead performance from newcomer Neel Sethi, a world-class voice cast, a beloved story, and superb visual magic.  With all of this, Favreau has made a film of pure excitement that manages to top its animated predecessor.

As an infant, Mowgli (Sethi) is found in the jungle by a panther named Bagheera (Ben Kingsley), who then brings him to be raised by a wolf, Raksha (Lupita Nyong’o) and her pack, which is led by Akela (Giancarlo Esposito).  One day, during the jungle’s dry season, the animals group together to drink the remaining water, which is all part of a truce that lets animals gather with each other without the fear of getting eaten by their predators.  When a tiger named Shere Khan (Idris Elba) notices Mowgli in the crowd, he threatens to kill him if he is not handed over to him by the end of the drought.  Not wanting any of his family to endanger themselves in hiding him, Mowgli decides to leave the jungle and go back to his village, and Bagheera volunteers to guide him.  While on this journey, Mowgli will meet several animals who either want to help or harm him, and he will eventually come to realize his place in the jungle. 

In his feature-film debut, Sethi is able to carry the movie as he interacts with the CGI animals.  Sethi’s ability to act alongside them and not have any other human characters in the film speaks to his talents and marks the beginning of a promising career.  Sethi converses with the animals as if he’s standing next to the real things, showing full confidence in his abilities to be at the heart of a big-budget film.

The talented voice cast is what helps us feel the strong emotions displayed by the animal characters.  Bill Murray brings his wonderful humor as the lovable bear Baloo; Ben Kingsley offers a sense of majesty as the protective Bagheera; Idris Elba is a perfect fit as the ferocious and ruthless Shere Khan; Christopher Walken is one of the highlights of the voice cast as the greedy orangutan, King Louie; Lupita Nyong’o offers her soothing voice as the motherly wolf Raksha; Scarlett Johansson is excellent as the cunning snake Kaa; and Giancarlo Esposito brings a feeling of authority as Akela.

Normally, I don’t care for movies that are overloaded with visual effects, but what the filmmakers use for this film is gorgeous.  The jungle is wonderfully vivid, and the realistic look makes for an immersive experience that had me wish all movies that take place in these CGI worlds could be as careful and attentive to detail in creating their environments.  Similar to other films that have brought effects-driven worlds to life, such as “Avatar,” “Prometheus,” and “Life of Pi,” “The Jungle Book” doesn’t just use average visual effects in the hopes that audiences will flock to the movie just to see a live-action version of a Disney classic; you can tell that the filmmaking team took their time in realizing the world they wanted to create and provided it with the details and scope that would make this film an absolute treat on the big screen.

The screenplay by Justin Marks doesn’t add much that’s new to the story, but his narrative still manages to stay true to the spirit of the animated film, and also manages to enhance the magic of it by adding a bit more emotion to the narrative.  He uses all of the important parts of the story that are essential to Mowgli’s coming-of-age journey as the character realizes his place amongst the wildlife of the jungle.  In between all of the thrills, Marks also includes the animated film’s beloved songs “The Bare Necessities” and “I Wan’na Be Like You,” which transported me back to the time I first watched the original as a young viewer.

What Favreau proved with “Iron Man” (not so much “Iron Man 2,” unfortunately) is when he’s given a compelling script and a film that requires special effects, he can offer some very memorable entertainment.  There aren’t any dull spots in his directing, and he keeps the story going by heightening the sense of adventure throughout the film.  With stunning CGI effects, a classic story, a talented cast, and Bill Pope’s sweeping cinematography that gives us splendid images of the jungle, Favreau has crafted a visually splendid and well-acted film that can be loved by audiences of all ages, just like many of Disney’s films from the past and present.

If “The Jungle Book” is further indication of the quality Disney’s future live-action remakes will have going forward, we’re in for some more worthwhile revisits to our favorite classics.

Grade: A-