'Yesterday' (2019) Review

Synopsis: Jack Malik is a struggling singer-songwriter in an English seaside town whose dreams of fame are rapidly fading despite the fierce devotion and support of his childhood best friend, Ellie. After a freak bus accident during a mysterious global blackout, Jack wakes up to discover that The Beatles never existed. Performing songs by the greatest band in history to a world that has never heard them, Jack becomes an overnight sensation.

Runtime: 116 minutes

MPAA Rating: PG-13 (for suggestive content and language)

Who should see it? Fans of The Beatles and romantic comedies.

Directed by Danny Boyle and featuring a screenplay by Richard Curtis, Yesterday is a lighthearted summer rom-com which coasts on the charming implications of its fascinating premise. For example, Jack struggles to remember the lyrics to "Eleanor Rigby," and Google can't help him out of this memory bind... Not to mention that The Beatles aren't the only thing the world has forgotten, a tidbit which fuels several jokes throughout the film's runtime. A lacking explanation behind the world's selective pop-culture amnesia will surely ruffle some feathers, but I wasn't too bothered because I presume whatever reasoning Curtis and Boyle concocted would prove to be ridiculously convoluted.

Yesterday remains simple from start-to-finish, telling the story of an overnight sensation. However, the premise of Yesterday lends a refreshing perspective to the familiar archetype. Jack must grapple with the guilt of exploiting the greatest pop-music nobody else remembers to fuel his rising stardom. Additionally, his success strains his personal relationships. Boyle and Curtis remain focused on these dilemmas as they strum through many of The Beatles' greatest hits, and neither the consequences of fame or the film's charming sensibilities are lost in the shuffle.

Himesh Patel and Lily James lead the affair with giddy charisma and share a sincere connection. While it would have been nice to hear James sing considering her scene-stealing display in last year's Mamma Mia! Here We Go Again, Patel tactfully covers The Beatles' beloved tunes with a warm, delicate approach and pleasant singing voice. Otherwise, Ed Sheeran, Joel Fry, and Kate McKinnon are amusing in their respective supporting roles.

Like the best Beatles hits, Yesterday is an easygoing crowdpleaser that'll make your troubles seem so far away.

Film Assessment: B

'Mamma Mia! Here We Go Again' Review

Mamma Mia! Here We Go Again fluctuates between the lives of Donna circa 1979 and her daughter Sophie in the present day to intertwine two tales and show how relationships formed in the past resonate in the present. Determined to live out her mother's dream, Sophie prepares for the grand re-opening of her hotel the Bella Donna with the guidance of her mother's friends. As she becomes overwhelmed by the daunting tasks, Sophie learns more about Donna's past as she discovers how she ran the hotel, met each of Sophie's dads, and raised a baby all on her own.

Written and directed by Ol Parker, Mamma Mia! Here We Go Again is a prequel/sequel to the decade-old jukebox musical motion-picture, Mamma Mia!. Story writing credits go to Parker, Richard Curtis, and Catherine Johnson (a writer/producer on the first film), but I noticed Here We Go Again's storytelling structure seems to have been inspired by The Godfather Part II. The film cuts between timelines on a dime which occasionally allows for some creative transitions, but there were also several switches that were just jarring, unnecessary, and awkward in execution. This decision to split the screentime between these two storylines is an interesting one, but ultimately the fractured focus holds each narrative from reaching its full potential. The audience is then left with a half-baked musical memoir. 

I'm sure some of you are already upset that I'd dare critique the plot of a musical because "that's not the point," but I can rattle off plenty of marvelous movie musicals with both a quality story and incredible music. La La Land, Sing Street, Into The Woods, Les Misérables, Enchanted, West Side Story, Phantom of the Opera, Oliver!, Singing' in the Rain, The Sound of Music, The Wizard of Oz, and most Disney productions. I could go on, but I won't for the sake of length. I'm actually getting war flashbacks to December when I was unimpressed with The Greatest Showman and am already aware this will likely be a contested review as well, but I don't really care because I feel like I need to share my genuine opinion on things rather than conform to what others deem to be appropriate. There's not really a way around it... Mamma Mia! Here We Go Again is a lackluster sequel and mediocre musical in nearly every way imaginable.

As I've already addressed, the story's stretched thin by the decision to tell a story on two fronts. There's somehow even less of a plot holding this thing together than the first film, no regard for continuity, and some baffling choices were made as to how to best progress the series (I presume there will be an unnecessary third installment as well). While I certainly enjoyed the first two-thirds for the most part due to some energetic, entertaining musical numbers, the third act lost all momentum and dragged so much. It was only an hour and fifty four minutes, but towards the end I kept thinking to myself "when is this going to end?..." It seriously felt like I was watching a three hour film because the energy and sense of pacing completely disappeared. At that point, it was torturous to say the least... but I'll get to that momentarily... Just be patient and remember that this is coming from someone who LIKES musicals... 

One story element that was handled quite distastefully was Donna's trio of romantic entanglements. Here We Go Again was already put in a tough spot when it decided to depict this because the first film dictated that these encounters happened within quick succession of one another. Otherwise, Donna would have immediately known who Sophie's father was. However, Donna basically slept with each guy after a quick musical number and you didn't really buy the chemistry between the actors because everything happened so fast... Next thing you know, she's moved on. There didn't seem to be much effort being made to flesh out the relationships whatsoever. To me, it really painted Donna in a bad light and I wish I could have bought into the bonds being formed between Donna and the three men. 

If Here We Go Again got one thing right though, it was casting Lily James as a young Donna. Between this, Cinderella (2015), and Baby Driver, James has proven herself to be a captivating, charismatic screen presence and I'd love to see her as a female lead in more musicals. She has the looks, an exceptional singing voice, and a genuinely uplifting aura. She wound up being a great stand-in for Meryl Streep in a weird way as well, but more on that in a moment...

Alongside Lily as younger versions of characters from the first film are Jessica Keenan Wynn, Alexa Davies, Jeremy Irvine, Josh Dylan, and Hugh Skinner. They play young Tanya, Rosie, Sam, Bill, and Harry respectively, but each actor did an excellent job channeling the persona and mannerisms of the older actor while making the role their own.

Meanwhile, returning cast members Amanda Seyfried, Christine Baranski, Julie Walters, Pierce Brosnan, Stellan Skarsgård, Colin Firth, and Dominic Cooper do a swell job reprising their respective roles. None of them are really given any substantial material outside of Seyfried, but their presence definitely won't go unnoticed either.

You can't really write a review of a film which stars Meryl Streep without addressing her whatsoever, and I've gotta say she was is in like two scenes at most. There really wasn't much of a legitimate reason for her conspicuous absence either... The actress is still alive, so you think a film banking on her name would want to make the most of her, but they really wasted her to be completely honest. I'm guessing it was to keep the budget down because I presume she commands a big paycheck and they didn't want to pay her an unreasonable amount. 

I try not to be overly negative, but there's no polite way to get around the fact that Cher sounded god-awful in this. Like I'm pretty positive my ears got some form of cancer after listening to her... I was baffled at how such a beloved pop singer could sound so terrible. I guess it makes sense that she's basically a has-been now... To make matters worse, her role had absolutely no bearing on the plot and was clearly written with the intention of shoe-horning a cameo appearance for Cher. My entire family agreed that she sounded terrible, so it wasn't just me either. 

To put it simply, Here We Go Again is a disappointing follow-up to a feel-good musical. There are some bright spots, but not even more ABBA could save this thing from its sealed fate as an inferior sequel. I realize it's called Mamma Mia! Here We Go Again, but Mamma Mia! Let's Please Never Do This Again would have been a more fitting title. 

Film Assessment: C+

'Darkest Hour' Review

Nominated For: Best Picture, Best Actor; Gary Oldman, Best Cinematography, Best Costume Design, Best Makeup and Hairstyling, and Best Production Design.

Won: Best Actor; Gary Oldman and Best Makeup and Hairstyling.

Darkest Hour informs audiences of the appointment of Winston Churchill to the office of British Prime Minister in the early days of World War II. The film then details the struggles he faced in his early days of office as Churchill must decide to negotiate a peace treaty with Nazi Germany or rally the British to fight for their freedom and liberty.

Some of you may or not remember that there was another World War II film released this year that depicted the mass evacuation of 338,000 troops from the beaches of Dunkirk, that being Christopher Nolan's Dunkirk of course. Well, Darkest Hour essentially is the administrative account behind those events. If you're looking to catch up on the year's awards contenders, I'd highly recommend watching the two together as a Dunkirk Double Feature in the order of Darkest Hour to first get the administrative context and then Dunkirk to see the events unfold, because I'm sure both films will bring in a substantial number of significant nominations based on the pedigree and craftsmanship. 

Joe Wright oversees the biographical picture with Anthony McCarten penning the screenplay, and each does a fine job in their respective roles of director and writer. The film is also stimulated by Bruno Delbonnel's captivating cinematography and a spellbinding score from Dario Marianelli that help Darkest Hour to stand out from the crowd of historical dramas. Unlike most bio-pics, Wright and McCarten don't simply define Churchill by his life story though. Instead, they let Churchill's character shine through Oldman's exceptional performance and the decision-making behind the evacuation of Dunkirk. One scene aboard a subway really speaks volume to the kind of man Churchill was, and you'll know exactly what I'm talking about once you see it... Although not entirely accurate, Wright's gone on record to say there's no evidence to suggest something like that didn't happen considering Churchill would often disappear and was known to speak with the common people to hear their opinion on matters. However, the film never overtly glorifies Churchill. Wright and McCarten always show him for who he really is, even if that means starting the film with Churchill absent from Parliament and instead lounging about at home eating breakfast in his bathrobe...

Darkest Hour depicts Churchill in the most humane light possible, as it's shown that a great deal of pressure surrounded him on a daily basis due to being in such a high position of authority. You never get the sense Wright is toying with the audience to trick them into thinking he's one of Great Britain's most courageous Prime Ministers purely on account of his success. Wright ensures audiences feel the massive weight on his shoulders. There's a scene of him having to administrate from the loo for goodness sake! Wright makes it known that Churchill wasn't dubbed the "British Bulldog" for his ferocity alone. Wright reveals that Churchill is a revered historical figure because of his courageous strength and resolve in leading a nation amidst unsurpassable adversity. 

To me, some of the best acting performances are those where an actor completely disappears into the role, and Gary Oldman does just that with his take on Winston Churchill. Oldman's almost entirely unrecognizable due to the superb seamless hair and makeup work, and on top of that, he captures the quirks and mannerisms of Churchill so well that you genuinely feel like you're watching Winston Churchill onscreen. Oldman's had a distinguished career, so I wouldn't go as far to saying this is his best performance per say, but it definitely ranks high among his best work. At this point in time, Oldman seems to be the frontrunner for that coveted Best Actor Oscar, and it would certainly be a well deserved win if he winds up with one more opportunity to hold up the trademark "V" for victory come March.

Oldman's also backed by some solid supporting actors including Lily James, Kristin Scott Thomas, Ben Mendelsohn, Ronald Pickup, and Stephen Dillane in the respective roles of the steadfast secretary Elizabeth Layton, loving wife Clemmie, the regal King George VI, nervous Neville Chamberlain, and intense adversary Lord Viscount Halifax.

Whether you're a history buff or cinephile wondering if The Darkest Hour represents Churchill's finest hours, there's no need to fret, because The Darkest Hour is victorious in its efforts to pay respects to Winston Churchill while telling an inspirational and exciting account of what transpired behind the scenes of the massive evacuation at Dunkirk.

Film Assessment: B+

'Baby Driver' Review

Nominated For: Best Film Editing, Best Sound Editing, and Best Sound Mixing.

Baby Driver follows the antics of Baby, a gifted getaway driver, as he meets a lovely diner waitress and seeks a way out of the criminal world upon falling in love. Once he's payed off his debt, Baby's brought in for one last job that puts his love, livelihood, and freedom on the line.

Edgar Wright is one of my favorite filmmakers working today because he consistently puts out unique quality content and I can confidently say Baby Driver doesn't disappoint. Baby Driver is the first film to be written and directed by Wright following his departure from Ant-Man, so it's understandable that quite a bit of pressure surrounded Wright on this project. Thankfully, Wright proves he's not out of gas though as he rampantly revs his creative engine and shifts gears to bring audiences a heist film unlike no other.

Baby Driver differentiates itself from the rest of its genre by becoming a jukebox musical straight from the get-go thanks to a kickin' soundtrack. From beginning to end, Baby Driver is driven by music with marvelous meticulously staged set pieces and mere movements choreographed to near perfection. When the action accelerates, the music crescendoes with an encroaching accelerando that will have your heart racing. Wright's song choices not only suit the stunts but often times fit the circumstances of the story as well. The soundtrack featuring the likes of Queen and The Beach Boys enhances the events in a way I'm unsure an orchestrated score possibly could, even though Steven Price composes high caliber pieces for the transitional sequences. 

Every single frame of Baby Driver was conscientiously constructed with the intention of not only matching music but popping with a visual flair you'll be hard pressed to find anywhere else this summer. The editing's exceptional, the cinematography captures the pristine and grungy look of Atlanta perfectly, the color palette's as rich as La La Land, and the practical car chases have more hustle and bustle than any Fast and Furious entry. Also don't discount the auditory arena as I'm assured the sound design showcased won't be topped this year.

To top all of this off, Wright's script is roaring with heart, humor, and unpredictability. You'll think you know exactly how things are gonna play out but Wright will boldly blindside you time and time again till the story seems like it's spiraling out of control. Wright keeps a steady hand on the wheel though, taking audiences on a wild ride they won't soon forget. One element I was rather impressed by was how Wright naturally incorporated the rockin' tunes into his high flying narrative. I always admire when music is not only integrated in a film to sound cool but to serve a story purpose and Baby's funky playlist helps drown out the hum of Baby's tinnitus. But Baby doesn't just listen to these tracks to help him function. He has a clear appreciation for every ditty on his infinite iPods and they fully form Baby as a compelling character. There's a lot more under the surface of Baby than meets the eye and Elgort communicates it all with a poignant balance. 

Ansel Elgort portrays Baby with a cool-headed charm and straight-faced silence. Those may sound contradictory but Elgort makes it work. I believe Elgort is stepping into the leading man phase of his career and I can't wait to see what he has in store. Opposite Elgort, Lily James's Debora exhibits the attitude of the southern sweetheart and will delight the audience the second she strides in the background humming "B-A-B-Y." As for their chemistry, Elgort and James set off a spark the moment they step into frame together with their congenial connection.

The tactical team amassed to pull off the heist changes from job to job but the faces you'll see a majority of the time are Jon Hamm and Eiza González's lovesick Buddy and Darling alongside Jamie Fox's deranged killer Bats. Hamm demonstrates the most range of the bunch as he snaps from a calm, collected criminal to an unhinged psychopath in a matter of seconds. In the back seat, González disdainfully files her nails with troublesome thoughts crossing her mind and Fox is dripping from head-to-toe with shameless swagger.

Kevin Spacey delivers deadpanned dialogue like no-one else as the ringleader Doc, imbuing a cold, calculating demeanor while incorporating a sardonic wit when possible. You're never sure where his loyalties lie so he's a fascinating character in this crazy car chase movie. Filling out the ensemble, Jon Bernthal ensures Griff comes across as a gruff gangster and Brogan Hall cleverly quips his way into a memorable role as Doc's snide nephew Samm.

It's not too often I finish a film eager to watch it again right then and there, but I just knew I had to back up and see Baby Driver again after my first viewing a month ago so I naturally sped into the theater again premiere night. After seeing Baby Driver twice, I'd compare the experience to cruising down an unfamiliar street. You go in search of something fresh and exciting and are pleasantly surprised to discover everything you hoped for, never missing a beat along the way. That's why Baby Driver's now my favorite film from Edgar Wright in addition to being my favorite film released this year.

Film Assessment: A+

'Cinderella' (2015) Review

Nominated For: Best Costume Design.

Cinderella is a pleasant retelling of the classic tale by Kenneth Branagh, who directed Thor. I really enjoyed the film and thought the visual effects that were used were spectacular. I liked the creative decisions made by Branagh especially everything that the Fairy Godmother changed for Cinderella. The costumes and production design were both fantastic and beautiful to view. The acting in the film is great, I especially liked Cate Blanchett as the evil Stepmother and Lily James as Cinderella. This film has fewer twists and changes to the classic tale as opposed to the changes that were made from Sleeping Beauty to Maleficent but there are indeed a few changes and twists to the overall story, they just don't affect the story too much as I expected they'd differentiate from the classic Disney animated version. This film provides much more backstory before the events of the ball, etc. Another incentive to seeing the film is that there is a short film Frozen Fever attached that takes place after the events of Frozen. This short film is very entertaining, recaptures the tone of Frozen in only a few minutes, and features another great song. Overall I would highly recommend this film if you enjoy the story of Cinderella or were interested in watching Cinderella or Frozen Fever.