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Ryan Gosling’s ‘First Man’ is an Awe-inspiring Space Spectacle

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Ryan Gosling, Corey Stoll, and Lukas Haas in Damien Chazelle’s First Man.

Image: Warner Bros.

“First Man is a big film about the small things that went into an enormous event.

It’s no spoiler that the climax here is Neil Armstrong’s 1969 walk on the moon. For the first 90 minutes, though, First Man holds back on the inherent drama of that premise.

It follows Neil (Ryan Gosling) as he makes his way through the NASA ranks, and at home as he mourns the death of his young daughter. It spends time on a bunch of promising missions that go nowhere, and on complex questions the engineers will have to solve. There’s some action sprinkled in there, and a few precious moments of euphoria. Mostly, it’s sweating the small stuff.

That choice is puzzling at first, even frustrating: We know the guy gets to the moon, so let’s get on with it already! Why are we wasting time with all this minutiae?

But those tedious concerns and disappointing dead ends are exactly the point. First Man is about work, and more specifically about the enormous amount of work (and luck) that goes into an achievement as momentous as the moon landing. It demands patience, but it gave back what I put into it several times over.

A rocket takes off in First Man.

Image: Warner Bros.

Director Damien Chazelle keeps his eye on the unromantic details that usually get glossed over in retellings of historical events. Literally: Much of this movie is composed of shots of dials, switches, and the top half of Gosling’s face……………………..”

Read more: https://mashable.com/article/first-man-movie-review/

New Movie Reviews

Creed II review – Rocky saga continues with knockout sequel

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“Before he delivered arguably Marvel’s most dazzling chapter to date, Ryan Coogler had managed something close to impossible in Hollywood: he had found a fresh way to reboot a dusty franchise. In a landscape of endless thirst and vacant remixing, he had somehow managed to concoct a nifty, imaginative way back into the Rocky saga with Creed, a film that felt old-fashioned yet fresh, intimate yet grand, a rousing return from the grave.

By focusing on the son of Rocky’s competitor-turned-friend Apollo Creed, Coogler was also able to reteam with Michael B Jordan, who made such an indelible impression in his first film, 2013’s devastating fact-based drama Fruitvale Station. The duo worked together again in Black Panther earlier this year, with Jordan switching tacks to play villain Killmonger, and so soon after, seeing him return as Creed is a further reminder of his broad star appeal, the sort of rare leading man one can imagine remaining at the top of his game for years to come. Given his time in Wakanda, Coogler was unable to return but he has handed over directorial duties to Steven Caple Jr, who impressed in 2016 with debut feature The Land, and it is a similarly deft rise from micro-budget indie to franchise film-making.

While it’s not quite the showstopper that its predecessor was, Creed II is still another knockout piece of entertainment. There’s a keen awareness of what made Creed work so well without it feeling like a lethargic rehash. This time, Adonis (Jordan) is the heavyweight champion of the world, in a loving relationship with his pregnant musician girlfriend Bianca (Tessa Thompson) and still living near and working out with a recovering Rocky (Sylvester Stallone). But there’s discontent from……………………………………..”

Read More Here: https://www.theguardian.com/film/2018/nov/16/creed-ii-review-rocky-sylvester-stallone-michael-b-jordan

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They Shall Not Grow Old review – a breathtaking journey into the trenches

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Written by Mark Kermode, Observer film critic

“There’s a familiar mantra that computers have somehow taken the humanity out of cinema. In an age when it’s possible to conjure spectacular action from digital effects, many modern movies have developed a sense of weightlessness – the inconsequentiality of artifice. Along with Avatar director James Cameron, New Zealand film-maker Peter Jackson has been at the forefront of the digital revolution, with his twin Tolkien trilogies (The Lord of the Rings and The Hobbit) pushing the boundaries of computer-generated entertainment.

Yet with his latest project, a revivification of the Imperial War Museum’s archive of first world war footage, Jackson has done something quite remarkable: using 21st-century technology to put the humanity back into old movie stock. The result is utterly breathtaking.

Commissioned for the Armistice centenary by IWM and 14-18 NOW in association with the BBC, They Shall Not Grow Old is not a document of the world at war. Rather, it is an arresting snapshot of the lives of British soldiers who went to fight in Europe, many of them having lied about their tender ages to enlist. There are no historians, narrators or political commentators to guide us; the voices we hear are those of veterans, many gathered by the BBC during the making of its 1964 documentary series The Great War.

As we watch a line of soldiers marching through mud towards the front, something extraordinary happens. The film seems almost miraculously to change from silent black-and-white footage to colour film with sound, as though 100 years of film history had been suddenly telescoped into a single moment. Stepping through the looking glass, we find ourselves right there in the trenches, surrounded by young men whose faces are as close and clear as those of people we would pass in the street. I’ve often argued that cinema is a time machine, but rarely has that seemed so true………………………………………………”

Read the rest of the article here: https://www.theguardian.com/film/2018/nov/11/they-shall-not-grow-old-peter-jackson-review-first-world-war-footage

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What critics thought of ‘Fantastic Beasts: The Crimes of Grindelwald’

Charmaine Blake

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Image: Jaap Buitendijk / warner bros.

“The real driving force behind Crimes of Grindelwald seems to be a burning desire to set up a sequel. If only it had gone to the trouble of making me want to see one.”

Early reviews of Fantastic Beasts: The Crimes of Grindelwald reveal critics, like Mashable‘s Angie Han, are less than spellbound by the second part of the planned five film franchise.

The Harry Potter spinoff marks the tenth cinematic visit to J.K. Rowling’s Wizarding World; and while trips to Hogwarts are always welcome, the monstrous flick isn’t leaving anyone wanting more. According to critics, the starring performances of Eddie Redmayne and Johnny Depp both fall flat, while the fan service remains thin and unimaginative.

In theaters November 16, Crimes of Grindelwald will need to dazzle fans better than it wowed critics to keep momentum up. If not, the beastly flick could meet a grisly end.

Check out critics’ takes on Fantastic Beasts: The Crimes of Grindelwald below.

Crimes of Grindelwald is a little too focused on its own long game

Peter Bradshaw, The Guardian:

This Fantastic Beasts film is as watchable and entertaining as expected and it’s an attractive Christmas event, but some of the wonder, novelty and sheer narrative rush of the first film has been mislaid in favour of a more diffuse plot focus, spread out among a bigger ensemble cast. There’s also a more self-conscious, effortful laying down of foundations for a big mythic franchise with apocalyptic battles still way off below the horizon.

Andrew Barker, Variety:

Unfortunately, even the most meticulous world-building is only half the journey; you still have to populate that world with real characters and compelling stories, and it’s that second half of the equation that comes up missing in “Fantastic Beasts: The Crimes of Grindelwald.” The noisiest, most rhythmless, and least coherent entry in the Wizarding World saga since Alfonso Cuarón first gave the franchise its sea legs in 2004, “Grindelwald” feels less like “The Hobbit” than a trawl through the appendixes of “The Silmarillion” — a confusing jumble of new characters and eye-crossing marginalia. Most of the surface pleasures of filmic Potterdom (the chiaroscuro tones, the overqualified character actors, the superb costuming, James Newton Howard’s warmly enveloping score) have survived intact, but real magic is in short supply.

Eddie Redmayne’s Newt is still no Harry

Eric Francisco, Inverse:

Two movies in, I don’t know what Newt wants besides becoming the Wizarding World’s Steve Irwin. That goal involves neither Grindelwald nor Dumbledore, and, even as a reluctant protagonist, I fail to see any reason why Newt is qualified to lead this story. Things only happen to Newt. Nothing happens because of him. This was also Harry Potter’s problem, but at least Potter’s “Chosen One” schtick had legs to get him through seven books and eight movies. Newt doesn’t even have that, which makes the prospect of another Fantastic Beasts sound less exciting and more like a threat against the Muggle world……………………………..”

Read more: https://mashable.com/article/fantastic-beasts-crimes-of-grindelwald-review-roundup/

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