Welcome to WeeklyWilson.com, where author/film critic Connie (Corcoran) Wilson avoids totally losing her marbles in semi-retirement by writing about film (see the Chicago Film Festival reviews and SXSW), politics and books----her own books and those of other people. You'll also find her diverging frequently to share humorous (or not-so-humorous) anecdotes and concerns. Try it! You'll like it!

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“Reminiscence:” Hugh Jackman Visits the Past

 

The budget for Hugh Jackman’s new film “Reminiscence” was $68 million. For this, you get a peek at Miami “after the flood” caused by global warming. This is a futuristic world in which a machine designed, originally, to interrogate prisoners via their dreams, is now used in the post-war society as a way to take a stroll down memory lane.

A private investigator of the mind (Hugh Jackman as Nick Bannister), assisted by his former partner in the military (Thandiwe Newton as Emily “Watts” Sanders), helps clients take a stroll back through time in a world where “nostalgia never goes out of style” and “the past is addictive.” One wonders how Nick Bannister (Jackman) cannot see that his kick-ass female partner would/should/could have been his perfect romantic partner, but nevermind about that potential plot point.

Various customers come and go in the converted bank building that Nick and Emily use as their dream-trip headquarters. Each individual that  gets in the tank, has electrodes attached to his/her head, and receives a shot in the neck, helping him or her to revisit the past. Each time traveler becomes a part of the plot puzzle, a plot that is tremendously complicated and is, perhaps, weakened by so many threads that must come together to form the complete story.

The set for sunken Miami was built in New Orleans in an abandoned theme park. It is impressive. Director Lisa Joy said that walking on the set for the first time was one of her biggest thrills. The sets were fantastic; it is not surprising to learn that Lisa Joy (the director in this, her film dbut) worked on “West World.”

THE GOOD:  CINEMATOGRAPHY

The holographic images used for the dream sequences were fantastic, created by Cinematographer Paul Cameron who said, “It needed a certain holographic reality, so the challenge, for me, was to create this illusion for the memories live on set.” Cameron, who had worked with Director Lisa Joy on “West World,” used halo gauze material, a projection system, and a curved screen. The thin mesh was stretched in the shape of a half cylinder and three 20K projectors mapped on the circular screen, including a Sony Venice 4K camera using TODD AO 2X anamorphic lenses for soft vintage-looking rear projection.

The cinematographer can take a huge bow. As he explained, “You’re laser projecting onto this fabric that has been stretched into this curved shape that’s a little out of focus.” Said Cameron, “It’s a layer within a layer and so that becomes the syntax of the film. It gets very tricky with Jackman and Ferguson, popping in and out of memory, especially when he even steps into hers for the most surreal moment.”

Let’s talk for a moment about that “most surreal moment.” Even made-up worlds usually have rules about how that world works. I commented to my companion that it didn’t seem “right” that Jackman’s character could simply step into a dream sequence that is being replayed, when it  was originally a scene between Rebecca Ferguson’s lead female character Mae and the crooked cop Cyrus Boothe (Cliff Curtis). Some of the “rules” of this future world are spelled out for us. For instance, we know that when a subject is in the tank, if they are asked to summon a memory that they don’t have, they have a fit, like a small child watching a video game who might fall to the floor and have a seizure. I wanted to know the “rules” for one character stepping into the memories of another on replay of the other character’s dream.  I still enjoyed the “step into my dream” sequence, but I wondered if it was really “allowed” in Lisa Joy’s Future World.

Besides the Cinematographer’s revolutionary achievements, the sunken world created by the special effects and set people were truly outstanding. Some have mentioned “Inception” as a similar film, and that is not surprising, considering that Jonathan Nolan (a producer on this film and husband of the director) is Christopher Nolan’s brother.

Other films mentioned that have the same futuristic look are “Blade Runner,” “Inception,” “Minority Report,” “Strange Days,” “Eternal Sunshine of the Spotless Mind,” “Vanilla Sky,” “Total Recall,” “Déjà Vu” and, of course, television’s “West World,” the previous work experience of the director) The noir attitude, lighting and theme are comparable to “Chinatown” and “L.A. Confidential.” Visually, this film is their equal. In terms of the smooth intersection of the many plot strands, the acting, and the overall impression, it is not up to the standards of most of those I have listed, but it is enjoyable and certainly very ambitious in scope.

There were some totally original scenes, such as Jackman’s rescue from a tank full of electric eels and the near death-by-piano of the corrupt cop Cyrus Boothe, played by Cliff Curtis.

I found Hugh Jackman’s acting, as a man obsessed with finding Mae, the object of his affections, believable and on target. He’s definitely got the hypnotic vocal quality to lead passengers through time down the rabbit hole. I did wonder why, in every scene, whether or not Hugh Jackman had just taken part in a fight scene, he was slightly limping (his right leg seemed injured.)

THE BAD

I wasn’t as solidly onboard with the casting of Rebecca Ferguson, the Swedish and British actress who starred opposite Tom Cruise in “Mission Impossible: Rogue Nation” (and is set to star in the next “Mission Impossible” film) opposite Hugh Jackman.  Even though Ferguson previously appeared in “The Greatest Showman” with Jackman, portraying Jenny Lind, as a romantic duo they don’t have “heat.”

It’s hard to define this onscreen quality, but when the pairing onscreen has it and it works, you know it. When it doesn’t, you may find yourself saying, “What does he see in her?” or “What does she see in him?” Taylor and Burton onscreen (and off) had “heat.” Sigourney Weaver and Mel Gibson had it Big Time in “The Year of Living Dangerously” (1982) and so did Richard Gere and Kim Basinger in 1986’s “No Mercy.” If you want a more recent example, the recently canceled television series “Bad Girls” with Christina Hendricks as Beth and Manny Manolo as Rio provided sexual frisson whenever the two were onscreen together, although it is rumored that they didn’t really like each other in real life.

Prior to her lead in “Mission Impossible,” the 39-year-old Ferguson had smaller parts in “Florence Foster Jenkins” (2016) and “The Girl on the Train” (2016), but, for me, she was curiously unconvincing here as a femme fatale who instantly mesmerizes at least four of the male characters while singing in seedy nightclubs. The song “Where or When” is integral to the plot. We hear Ferguson singing it. Her singing is so-so, which I’ve also said about the singing in another recent offering, “Annette,” but not about the singing of Jennifer Hudson in “Respect.” Ferguson is distant, not involved emotionally, and could have been replaced by any attractive female leading lady. (SPOILER) When she ingested some mysterious drug and jumped off a building, I didn’t mourn her passing even for a moment.

 It was hard for me to understand how Ferguson could so reliably captivate so many men so quickly. I remember a display at the Field Museum concerning the real Cleopatra and how captivating she was to so many of her powerful male contemporaries, although her death mask showed her to be just average in appearance.

Rebecca Ferguson, for me, was part of the reason the film as a whole did not “work.” She is an oddly inert presence throughout.  She doesn’t engage us. She is remote. Detached.  Is it because Ferguson’s character (Mae) in the script is ambivalent, presented as both bad and good? For much of the film we are convinced she is a scheming manipulator. However, from Jackman’s POV, she is his angelic dream girl. It takes the entire film to sort truth from fiction.

Because both depictions of Mae are out there until the very end of the film, it is hard to root for her or against her. I noticed that she wore extremely high fashion dresses in most of her scenes. The high fashion gowns had midriff cut-outs and were used in blue, red, gold and every other color. Yet her apartment has no electricity when she first takes Jackman there after her duties as a chanteuse. [This caused me to jot down “Quite the wardrobe for someone with no money for electricity!”]

THE SCREENPLAY

Many have expressed their unhappiness with the script. It was on the Black List, as it is called, for some time, which is a list of the best scripts out there that have not yet been made into films. Personally, I liked the script, but I agree that it isn’t how “real” people talk.

I also found the water scenes (Jackman almost being drowned in an aquarium tan full of electric eels; Cliff Curtis’ character almost experiencing “death by piano” underwater) to be original, inventive, creative and well-executed.

But what about the actual words the characters speak?

Here are some lines from the script. Decide for yourself if these are good or bad:

“The past can haunt a man.”

“Just a series of moments, each one perfect. A bead on the necklace of time.”

“It’s us who haunt the past.”

“Late is a construct of linear time.  We don’t deal in that.”

“Time is no longer a one-way stream.”

“Nostalgia has become a way of life.”

“The past is addictive.”

“You can’t remember something that never made an impression.”

“We’re all haunted by something.”

“The city simmers with unrest.”

“Memories are like perfume: better in small doses.”

“People don’t just vanish.”

“There is no such thing as a happy ending.”

“To find where she’d gone, I had to know where she’d been.”

“You’ve been had and you don’t even know why.”

“Stay here in this life. Stay here with me.”

“The barons stay alive by drowning everyone else.  Only the rich mold the world to their delusions.”

“When you’re young, you think the future will play out like dominoes.  You have no idea the things that are lined up.”

“Nothing’s an accident with Mae.”

“When the waves came they washed away our lives.”

“You’re an empty man looking for a woman to blame.”

“The truth is not gonna’ set you free.  It’s gonna’ damn you.”

“I was so stupid to think that falling in love could save me.”

“Love is the thing we cling to.”

“Missing people is a part of the world.”

VERDICT:

Look back at the films listed that this one emulates. If you liked those, you’ll probably like this one—perhaps not as much as those, but it’s definitely cut from the same bolt of cloth.

 

 

 

 

Van Gogh Immersive in Chicago Is Mesmerizing

Van Gogh.

The Van Gogh Immersive Exhibit in Chicago is now touring various cities in the U.S.

I tried to get tickets for the showing in Chicago for my July 23rd birthday, but the soonest I could get us in was August 17th. The price for 2 tickets with a “flex” schedule option was about $131.00.

This allowed us to show up at 3 p.m. or slightly before or after and stay pretty much as long as we wished, although the actual program itself seemed to run about 35 to 45 minutes.

First, be advised that there are a lot of steps to gain entrance to the building. This would not be a good exhibit (in Chicago, anyway) if you have difficulty climbing stairs.

They route you through the gift shop and there were many very nice things in the gift shop. They were priced as high as you would expect. A reproduction of a Van Gogh painting on a silk scarf ended up costing $83.

You are handed a cushion and the seating is primarily benches scattered throughout the building. It is much like drifting through a regular museum with the occasional seating in front of a painting. There were also some folding chairs with backs that one could retrieve from along the walls, which turned out to be a nice relief after being seated for quite a while with no back on the benches.

Van Gogh on floors and walls in Chicago.

We entered when the program, which is paired with music, was about 20 minutes from being over. We stayed through a brief intermission and then watched the entire program from the beginning. I would say that we were there roughly an hour, from start to finish.

Van Gogh Immersive Exhibit

Van Gogh Immersive Exhibit

Van Gogh.

Jennifer Hudson as Aretha Franklin in “RESPECT”

The first cut of “Respect,” Jennifer Hudson’s starring role as Aretha Franklin, ran 5 and ½ hours. The final cut runs 2 hours and 25 minutes. Both of those times for this movie are too long.

It was nice that a female director and screenwriter were involved in the project, but Director Liesl Tommy is only known for “Jessica Jones” (2015) and “The Walking Dead” (2010). At the risk of being  snarky, this film has about as much energy as “The Walking Dead.” It drags to the point that even Jennifer Hudson’s undeniable vocal talent cannot sustain interest in this overlong bio-pic.

Broadway theater director Liesl Tommy is working from a script by screenwriter Tracey Scott Wilson (Producer of “The Americans” in 2013). Forest Whitaker plays Aretha’s domineering father.Mary Jane Blige has a role playing Dinah Washington and Marc Maron (“G.L.O.W.”) plays Jerry Wexler. Skye Dakota Turner plays Aretha as a child and is very good. These competent actors do as well as they can with a script and a film that is simply a showcase for Hudson singing Franklin’s hits, one by one. For that, you can simply play her records/CDs. This is a bio-pic that is supposed to be telling us about Aretha Franklin’s life, but  one which glosses over many essential threads of the Queen of Soul.

There is an allusion to a childhood marked by sexual abuse, with Aretha giving birth to the first of four children at age 12 in 1955 and a second child at age 14 in 1957. Who was the father of child #1 and child #2? Franklin did not like to talk about her children during interviews and various answers as to who sired child #1 exist (one possible father was named in a handwritten will found after Aretha’ death and was the man who became her first husband, but other potential fathers were mentioned.)

Since the first two children were essentially products of rape, statutory or outright, Aretha’s reluctance to talk about those offspring is understandable. Marlon Wayans gets the role of the man who enters Aretha’s childhood bedroom when she is very young and molests her. Later, in the film’s version, Edward Jordan (Marlon’s character) and Aretha marry and he becomes the father of her second child, born when Aretha is 14.

But the children are barely seen. “Who is raising these four children?” Yes, we can look this up elsewhere, but even there the answers make it sound like a floating support network of random friends and family raised Aretha Franklin’s four sons.

Likewise, in looking up information about her mother, who divorced Clarence Franklin because of his numerous infidelities, we learn that she died of a heart attack before Aretha’s 10th birthday. Yet, in the film, Aretha is shown as a young woman of at least twenty preparing a meal for friends and bragging about how good her cooking is when the phone rings and word comes of the death of her mom. The movie doesn’t even have the news being given directly to Aretha, but to whomever answered the phone. There is no clear cause of death passed on to Aretha by the answerer, nor to us, the audience. We can find out (by looking it up) that she died of a heart attack, but shouldn’t a bio-pic mention what killed the subject’s mom? And shouldn’t it have been more accurate concerning how old or young Aretha was when her mom died?

Aretha was born in Memphis, Tennessee.  Here is the house that is said to be her birthplace.

Aretha Franklin’s birth place in Memphis.

In watching the film and watching the celebrities who are said to have dropped by Aretha’s childhood home (and are pictured there during a Saturday night party), the home certainly must have been one that followed the Franklins’ move to New York (and, later, Encino, California and Bloomington Hills outside Detroit.) Aretha’s father, Clarence, did do well as a fellow preacher and contemporary of Martin Luther King. He was known as “the man with the Million Dollar Voice.” But the Memphis house pictured is a far cry from the comfortable old house depicted in the movie.

In an interview in the Chicago “Tribune” Hudson said, of her female director, “I love that Liesl was brave enough to allow things to breathe.” She remarked on how the actors chosen to play their roles were also musicians.

I don’t know what Hudson meant by “allowed it to breathe” but the inaccuracies (like when Aretha’s mother died) and the failure to address such things as “Who’s minding Aretha’s kids?” or “Who shot Clarence, Sr.., and why?” are not small lapses of judgment or tiny inconsequential matters in Aretha Franklin’s life.

Losing your mother at age ten is traumatic. We could make a guess that Aretha’s becoming a mother, herself, just two years later could be a consequence of such early loss. Her father—-“the man with the million-dollar voice”—-died of his wounds (shot during a break-in at the house) in 1984, when Aretha was 42. The phone call that came to Aretha to tell her about her mother’s death, looks almost like the director got confused about which parent died when. (The woman setting the table when that unsettling news reaches her looked closer to 42 than 10.)

There are allusions in the film to Aretha and her preacher father traveling together, with him preaching and her singing, but we never see any of that early beginning outside of his church. The entire flow of the screenplay, based on a Callie Khouri story, lurches along like that.

Aretha wanted Jennifer Hudson to play her in a bio-pic;  they began meeting right after “Dreamgirls,” so it has been 15 years of waiting for Jennifer, a Chicago girl, to get to play the Queen of Soul.

We waited so long for so little.

“For MadMen Only:” Crash Course in Comedy Legend Del Close

 

Patton Oswalt in “For Madmen Only”

The name Del Close is not one most of us associate with the pre-eminent comedians of the past twenty-five years, but we should.

In the documentary “For Madmen Only” from Heather Ross, narrated by Michaela Watkins we learn about this guru of comedy who helped discover and ultimately shape such talents as Bill Murray and Chris Farley.

The number of talking heads who pay homage to Del Close as their teacher is lengthy. Here is a quick look at who you will find in this documentary talking about Del Close: Robin Williams, Bill Murray, Tina Fey, Amy Poehler, Patton Oswalt,  Mike Myers, Will Farrell, Chris Farley, Steven Colbert, Jon Favreau, George Wendt, director Adam McKay, Ike Barinholtz, John Belushi, Harold Ramis, Dave Thomas, John Candy, Rick Moranis, Catharine O’Hara, Jason Sudeikis, Rachel Dratch, Howard Hesseman, Tim Meadows, Mike Nichols, Elaine May and “Better Call Saul’s” Bob Odenkirk.

The early performances onstage by famous comics is legendary.

Who was Del Close? And what, exactly, did he do to help that impressive list of comics get their start?

Amy Pohler in “For Madmen Only.”

John Belushi in “For Madmen Only.”

In 1960 Close moved to Chicago, his home base for much of the rest of his life, to perform and direct at Second City, but was fired due to substance abuse. He spent the latter half of the 1960s in San Francisco where he was the house director of improv ensemble The Committee. He toured with the Merry Pranksters, and created light shows for Grateful Dead shows. In 1972 he returned to Chicago and to Second City. He also directed and performed for Second City’s troupe in Toronto, in 1977. Prior to those Chicago years with Second City, Close had, at age 23, become a member of the Compass Players in St. Louis.

When most of the cast—including Mike Nichols and Elaine May—moved to New York City, Close followed. He developed a stand-up comedy act, appeared in the Broadway musical revue The Nervous Set, and performed briefly with an improv company in Greenwich Village.

Del Close, subject of “For Madmen Only.”

Del Close was certifiable. He ran away from home at the age of 17 and joined the circus, working as a fire-eater and being shot from a cannon. He spent time in mental hospitals and was checked out to do his show in Chicago and then checked back in to the Cook County Hospital Psych Ward. He had had a complete breakdown while supervising the Great White North in Toronto in 1976, a Second City outpost.

From a troubled childhood that saw Del’s alcoholic neglectful father commit suicide came a highly intelligent and highly creative comic genius who was devoted to promoting improvisation as an entirely separate art form, which he called “Harold.” He also supervised a magazine for D.C. Comics called “The Wasteland,” although he admits, “Most of our readership didn’t quite get it.”

This documentary written by Alan Samuel Golman and Heather Ross describes Close as “a living legend in comedy.” Bill Murray organized a deathbed party for the inveterate smoker, who refused to quit even when emphysema was killing him.

Jason Sudeikis of “Ted Lasso” on “For Madmen Only.”

The Del stories involving pot, alcohol and psychedelics never quit, starting with groups like the Merry Pranksters and continuing on until his death. Close died on March 4, 1999, at the Illinois Masonic Hospital (now the Advocate Illinois Masonic Medical Center) in Chicago, five days before his 65th birthday. An early birthday party was held for him by Bill Murray, who summoned many of Del’s former students to his bedside, a party which is on film in the documentary.

Close bequeathed his skull to Chicago’s Goodman Theatre to be used in its productions of Hamlet, and specified that he be duly credited in the program as portraying Yorick. Charna Halpern, Close’s long-time professional partner and the executor of his will, donated a skull—purportedly Close’s—to the Goodman in a high-profile televised ceremony on July 1, 1999.

A front-page article in the Chicago Tribune in July 2006 questioned the authenticity of the skull, citing the presence of teeth (Close had no teeth at the time of his death) and autopsy marks (Close was not autopsied), among other problems.

Halpern stood by her story at the time, but admitted in a The New Yorker interview three months later that she had purchased the skull from a local medical supply company. Halpern is shown onscreen bemoaning the fact that the public learned that this was not, in truth, Del Close’s real skull.

This film is a tribute to the creative comic who lived and taught this credo:  “You have a light within you. Burn it out.”

“For Madmen Only” premiered on July 27th and is available on Apple TV and Altovid

M. Night Shymalan’s “Old” Leads the Box Office on July 23rd, 2021 Weekend

Night Shymalan has always investigated original concepts, ideas that are out-of-the-box, even in his iconic 1999 film “The Sixth Sense.” He has had his share of hits or misses, scoring with “Split” in 2016 and less so with “Glass,” television’s “Wayward Pines,” “Signs,” “The Village,” and “Lady in the Water.”

We’ve gotten spoiled by some of Shymalan’s “twist” endings. It’s unfair to hold the writer/director to “Sixth Sense” exacting standards every time out. Shymalan largely funds his own films himself; it looks like a lot of Bollywood talent was employed on “Old,” which was shot in the Dominican Republic.

THE PLOT:

A family is embarking on what may be their last trip as a unit. Parents Guy (Gail Garcia Bernal) and Prisca (Vicky Krieps) have taken their 6-year-old son Trent and their 11-year-old daughter Maddox on vacation.

Mom and Dad are having some difficulties in their personal relationship. Each has a health issue (Gail Garcia Bernal’s health issue is a blood-clotting problem. His wife, Prisca’s, ailment is a tumor.) As the plot progresses we will learn that most of the tourists at the resort have a health issue of one sort or another.

Prisca thinks she wants out of the marriage and has been unfaithful, but she wants to protect their 6 year-old son Trent and their 11-year-old daughter Maddox  from this unhappy personal news and give them one last happy family outing.We get to see three different sets of actors portray the children, gradually aging them as the beach does its thing. It is unclear why Mom and Dad barely age and one of the film’s flaws.

When the family reaches the resort, they are met by Madrid, carrying a tray of drinks. The actress is Francesca Eastwood, the 28-year-old daughter of Clint Eastwood and actress Frances Fisher, offering them a drink based on their preferences. Later. the managing director of the resort suggests that the family can be transported to a hidden secret beach. They board a van (driven by none other than Director Shymalan, who usually appears briefly in his films, a la Hitchcock) and are dropped off at the remote beach with the understanding that they will be picked back up at 5 p.m.

That last bit of housekeeping turns out to be bogus. If they try to leave the beach they pass out from mysterious and painful headaches and wind up unconscious on the beach. One tourist, who attempts to swim out, doesn’t make it. (Famous last words: “Don’t worry. I was on the swim team.”) One who tries to climb the forbidding-looking cliffs that surround the beach falls to her death.

Getting off the beach is a bitch, but if they stay, they are going to die there as they quickly age 2 years an hour. If you’re there 24 hours, you’ll age 48 years. That will quickly kill off the elderly woman (Agnes) with the dog, Dr. Charles’ mother. It also takes its toll on any health concerns, like Prisca’s slow-going tumor that is suddenly catapulted into hyper-drive. Having time telescope so rapidly brings the parents back to their senses and makes them realize what they have in their marriage, but it’s too little, too late.

The premise of a mysterious beach that can cause the body to age 2 years in one hour is intriguing. Especially in the wake of this pandemic year, an event that has not happened for one hundred years and one which has touched so many of us on a deeply personal level, this is something we can relate to.  As we have watched an insidious killer take our friends and loved ones, the theme of mortality and time changing all things dramatically has become poignantly relevant to one in three Americans who have lost close friends or loved ones. The idea of time flying by and robbing us of our looks, our health, and, ultimately, our very lives, is something that any human being can relate to even in normal times—but even more so in a plague year.

THE GOOD

The premise is interesting and worthwhile. It has been adapted from the graphic novel “Sandcastle” by Pierre Oscar-Levy/Frederick Peeters. The dialogue in the adaptation for the screen by Shymalan does not really flow well. There is a lot of information introduced by having the young son of parents Prisca (Vicky Krieps of “The Phantom Thread”) and Guy (Gabriel Barcia Bernal of “Mozart in the Jungle”)  ask everyone who they are and what they do. This technique does not yield the smoothest flow of information or dialogue. It’s even klutzier than a voice-over would have been.

SPOILERS

One of the problems with the film is the pace of the plot. It moves too quickly over momentous events with no time to build up any interest in whatever character has just bitten the dust.  There are dead bodies turning up floating in the water, attacks by a paranoid schizophrenic tourist on the beach, and the group doesn’t wait around to act. Example: letting the doctor on the beach operate with a pocket knife roughly five minutes after a tumor’s acceleration in size causes Prisca to pass out. That  seemed a tad speedy. There was talk of whether the group had any alcohol to use as an antiseptic. If the answer was yes, we never saw the antiseptic materialize before Dr. Charles (Rufus Sewell, who played the Fuhrer John Smith in “The Man in Castle the High Castle”) was plunging what looked like an old pocketknife into Prisca’s mid-section.

Another ridiculous plot point has one family’s young daughter mature from six to adolescence, become pregnant by Guy’s son (who has also accelerated from the age of six) without even a compulsory sex scene, and—voila!—she delivers a baby on the beach, all in record time.

I turned to my husband and said, “You wouldn’t want to doze off on this beach with this group around. They’d be throwing dirt in your face in your grave before you nodded off.”

THE BAD:

The inclusion of an instantaneous pregnancy and childbirth and the impromptu operation-on-the-tumor did not enhance the film or buttress its believability. Far from it. Both could well have been omitted, as could some of the many tourists.

For instance, the big Black character, a rapper known as Mid-sized Sedan (Aaron Pierre), never really was necessary, other than to be the object of a random attack by Rufus Sewell playing Charles, the dotty doctor.

I just watched Rufus Sewell portray Nazi Fuhrer John Smith in the final season of “The Man in the High Castle.” Watching him randomly puncture people with sharp objects was quite the change of pace. (We later learn in the film that, while he is a cardiac thoracic surgeon, he is suffering from mental health issues).Charles has a much-younger hot wife (Abbey Lee of “Mad Max Fury Road” and “Lovecraft Country”) and Chrystal displays her toned bikini body alongside Charles’ elderly mother, Agnes (Kathleen Chalfant), before Agnes shuffles off this mortal coil.  Chrystal’s demise in a cave was like something out of a third-rate horror movie. Chrystal didn’t really offer much to the film other than her beach body.

CINEMATOGRAPHY:

While there were some crafty shots that concealed the reaction of the parents to their children’s sudden aging until the final moment, there were so many blurry unframed shots from Cinematographer Michael Gioulakis that I thought the cliffs were making me dizzy, too. One critic praised the blurry focus. I was not a fan. The cinematography and music were unremarkable, but the beach—which gave the director fits—was spectacular.

MUSIC:

There is a song called “Remain,”  composed by Saleka Night Shymalan, that was tuneless and forgettable.

VERDICT:

Overall, I was not impressed with the film as a whole, but I always find M. Night Shymalan’s hits or misses interesting and original.

“Good Girls” Leaves the Air After 4 Years: What Happened to the Promised Season #5 ?

Christia Fredericks, Mae Whitman and Retta (l to r), (NBC Photo)

Weeks before the official cancellation of “Good Girls,” TV Line reported that “Good Girls” was being renewed for a season #5 that would wrap up the plot of the three female friends who had become suburban criminals.

The show involved, principally, Christina Hendricks, (who was also Executive Producer) as Beth Boland and her two female partners in crime. Hendricks, last of “Mad Men” as the buxom secretary Joan Holloway, played Beth Boland in all 50 episodes, ably supported by Retta as her Black best friend Ruby Hill and Mae Whitman as her divorced younger sister Annie Marks.

Annie is the mother of a young son, Ben (who started the series as a young girl named Sadie, just as the actor Isaiah Stannard began on the show as Sadie, but morphed into Ben).

I remember being confused on the show in its first season (2018). I asked my husband whether the character was male or female. I had heard the character being addressed as “Sadie,” so I was initially convinced of the truth of that name, but, as the series progressed, Sadie morphed into Ben. a budding lacrosse player with a ding-bat Mom who doesn’t know how to cook and acts impulsively.

Reno Wilson, who was Mike’s best friend and partner on “Mike & Molly,” plays Retta’s husband and they are coping with a daughter who has undergone a kidney transplant. Matthew Lillard played Dean Boland, Beth (Christina Hendrick’s) husband and depicts him as a bit of a lightweight. Dean doesn’t seem too bright, and he definitely is not very successful in his career as a salesman.

Beth and Rio on “Good Girls” (NBC Photo).

Annie is divorced, but strikes up a romance with a homeless man, Kevin, in the final episodes, while helping her sister, Beth, and Ruby (Retta) rob a grocery store. The three do this because each has a pressing need for money and it seemed like a good idea at the time. Over the course of the four seasons, this led to the trio printing counterfeit money for a sinister criminal overlord, Rio, portrayed by Manny Montana.

Experience Counts

Old-timers like Jessica Walters (2 episodes), who died on March 24, 2021, at age 80; Ione Skye (Donovan’s daughter, who starred in “Say Anything”); Andrew McCarthy (who, in addition to being part of the Brat Pack, directed several episodes); June Squibb, who was Oscar-nominated for her role opposite Bruce Dern in “Nebraska” and is 91; and Jonathan Silverman (“Weekend at Bernie’s) made appearances throughout the run of the show. McCarthy played a hitman who couldn’t deliver (in addition to his directorial duties).

What Made the Show “Work”?

Manny Montana as Rio in “Good Girls.” (NBC Photo)

But the real interest in the show came about because of the heat generated between Christina Hendricks’ character and Manny Montana’s character of Rio, the tattooed crime boss—this despite rumors that the two did not get along in real life. The scenes with these two were hot and rife with tension, but we wanted the story arc to take Beth through the paces and decide if she was going to stay with her boring doofus of a husband, Dean (Matthew Lillard) or potentially dump Dean for either Rio (Manny Montana) or his cousin Nick, portrayed by Ignacio Serraccio.

Supposedly, this was to have been settled in a final Season #5. Even though the female leads offered to take pay cuts to allow the story to wind down, it is said that Manny Montana did not follow suit. I would add, as others have, that his character could easily have been written out of the show, since his life of crime was bound to catch up with him sooner or later, and the writers would have had another season to finish the show properly. The ending tonight was disappointing. We did get to see Rio’s tattoo (no, it’s not real and only takes about 5 minutes to apply) one more time and there were questions aplenty about who went where and why.

Questions I have (SPOILER ALERT):

  • Beth gets shot while pulling a job in Arizona or wherever they all have relocated. Are we to assume she dies? She was also shot in her old home and then was just fine again, although the gun that was left with her prints on it supposedly had been used to “off” the young print-maker who helped them in earlier episodes. If she IS alive, why isn’t SHE heading to jail, as her sister seems to be by episode’s end?
  • Why did the young female print-maker have to be killed? Yes, it shows us that Rio means business, but couldn’t he have shot someone we hadn’t gotten to know? Maybe he could have shot Nick while tussling playfully in that “mano-a-mano” way they seemed born to.
  • Why are 2 men supposedly panting after Christina Hendricks’ character (Beth) when she has shown no indication that she intends to ever leave her husband Dean? Rio and Nick are both vying for her hand, it seems, when her hand seems pretty firmly tied up with her family and her suburban life.
  • Did the scene with Dean in their bedroom, with Beth packing his clothes, simply mean that he was reporting to prison for the crimes he has already been found guilty of (ankle monitor, etc.) or does that mean that Dean and Beth are through?
  • What is going to happen to Nick now that dirt on his illegal activities in his Grandmother’s name have surfaced?
  • Does Rio really “want” Beth, or does he simply want a little strange on the side?
  • Were Annie and Kevin a “thing” now? Are they really living in a mobile home somewhere in the Southwest for good? What happens to Ben if Annie’s in jail and if Christina is—?
  • What’s up with Ruby and her husband and her daughter? Is their marriage still intact? Is their daughter okay?
  • Did this Finale seem as though the writers were told to do the best they could in the time they had, so that’s why it didn’t “gel?” Because that is my current opinion. I’m still trying to figure out whether Ruby’s daughter is okay and what relevance the mean cosmetics maestro and his bitchy wife and child had to do with anything. I would have liked to have seen an entire season built around Rio and Beth and Nick and Dean and the final decision about Beth’s “life after Dean goes to prison.” (for the crimes she committed) and after she has had a taste of being the Boss Lady, which she obviously craved and misses.
  • Did Manny Montana get fired, and that’s why the series ended abruptly? (Because that is one rumor that is circulating.) I’m hoping he is cast in something gritty where he can play the hell out of it in this strong/silent man fashio. [But I’ve seen pictures of Manny with log hair and someone should tell him to forgetaboutit on the long locks.]

Beth and Rio in the finale on July 22nd.

Whether Manny Montana’s departure from the series caused its demise is true or not, this has to be considered a break-through role for him, much like the much-discussed character in “Bridgerton” (Simon Basset) who has set female hearts aflutter.

We can all use some Eastwood-like Strong and Silent in a male lead, since Clint just turned 90, so bring it on!

Experience Counts

Old-timers like Jessica Walters (2 episodes), who died on March 24, 2021, at age 80; Ione Skye (Donovan’s daughter, who starred in “Say Anything”); Andrew McCarthy (who, in addition to being part of the Brat Pack, directed several episodes); June Squibb, who was Oscar-nominated for her role opposite Bruce Dern in “Nebraska” and is 91; and Jonathan Silverman (“Weekend at Bernie’s) made appearances throughout the run of the show. McCarthy played a hitman who couldn’t deliver (in addition to his directorial duties).

What Made the Show “Work”?

But the real interest in the show came about because of the heat generated between Christina Hendricks’ character and Manny Montana’s character of Rio, the tattooed crime boss—this despite rumors that the two did not get along in real life. The scenes with these two were hot and rife with tension, but we wanted the story arc to take Beth through the paces and decide if she was going to stay with her boring doofus of a husband, Dean (Matthew Lillard) or potentially dump Dean for either Rio (Manny Montana) or his cousin Nick, portrayed by Ignacio Serraccio.

Supposedly, this was to have been settled in a final Season #5. Even though the female leads offered to take pay cuts to allow the story to wind down, it is said that Manny Montana did not follow suit. I would add, as others have, that his character could easily have been written out of the show, since his life of crime was bound to catch up with him sooner or later, and the writers would have had another season to finish the show properly. The ending tonight was disappointing. We did get to see Rio’s tattoo (no, it’s not real and only takes about 5

Whether Manny Montana’s departure from the series caused its demise is true or not, this has to be considered a break-through role for him, much like the much-discussed character in “Bridgerton” (Simon Basset) who has set female hearts aflutter.

We can all use some Eastwood-like Strong and Silent in a male lead, since Clint just turned 90, so bring it on!

William F. Nolan: A Living Legend in Dark Fantasy Leaves Us

William F. Nolan & Connie Wilson.

Incredibly sad to learn of the death of William F. Nolan, co-writer of “Logan’s Run” and so much more.

I first met Bill when interviewing him some twenty years ago or so. He became a mentor and wrote many blurbs for my books, telling me I had real talent. In his later years, Bill would hold forth online and friend and fellow writer Jason V Brock and wife Sunni looked out for Bill in his old age in Vancouver, Washington.

This picture was taken in Austin, Texas, at a long-ago Horror Writers’ Conference and Bill was in fine form and on panels. His short stories were the best and his optimistic attitude towards a writer just attempting to write “long” (after years of writing “short”) was much appreciated.

Here’s what Bill wrote for the back of my second book, “Red Is for Rage:” “Connie Wilson is back and the return trip will be a joy to her readers.  I’ve praised her work in the past and am happy to repeat the performance here and now.  She’s good. She’s DAMN good! In a world of mainly bad-to-fair writers, she stands above the crowd with plot, description and strong characters. Believe me, you’ll enjoy her latest! That’s a guarantee! Go, Connie!”

How could you not love a blurb like that from the author of “Logan’s Run,” “Logan’s World,” “Nightworlds” and a living legend in dark fantasy? Bill had literally hundreds of works, including “Twilight Zone” episodes and worked with the author’s group that included Ray Bradbury among their numbers and arose in southern California in the fifties. He was residing in Vancouver, Washington, at the end of his life and died from the complications of an infection. He was 93.

I won’t be able to send him flowers (or a cookie bouquet) on his birthday this year, as I had in previous years. I am so sad to learn that he has shuffled off this mortal coil. He joins my boss at Performance Learning Systems, Inc. (Joe Hasenstab) and my first serious boyfriend (LaVerne Wilkinson) as important people in my life who have died in the very recent past.

As Wikipedia put it: Among his many accolades, Nolan was nominated once for the Edgar Allan Poe Award from the Mystery Writers of America.[1] He was voted a Living Legend in Dark Fantasy by the International Horror Guild in 2002, and in 2006 was bestowed the honorary title of Author Emeritus by the Science Fiction and Fantasy Writers of America. In 2010, he received the Lifetime Achievement Bram Stoker Award from the Horror Writers Association (HWA). In 2013 he was a recipient, along with Brian W. Aldiss, of the World Fantasy Convention Award in Brighton, England by the World Fantasy Convention. In May 2014, Nolan was presented with another Bram Stoker Award, for Superior Achievement in Nonfiction; this was for his collection about his late friend Ray Bradbury, called Nolan on Bradbury: Sixty Years of Writing about the Master of Science Fiction.[5] In 2015, Nolan was named a World Horror Society Grand Master; the award was presented at the World Horror Convention in Atlanta, GA in May of that year.[

BornWilliam Francis Nolan
March 6, 1928
Kansas City, Missouri, U.S.
DiedJuly 15, 2021 (aged 93)
Vancouver, Washington, U.S.
OccupationWriter, Artist, Actor
GenreScience fiction, Magical Realism, Fantasy, Literary, Western, and Horror
Notable worksLogan’s RunTrilogy of TerrorBurnt Offerings (film)Helltracks
Notable awardsMWA Edgar Allan Poe Award Nominee (1x); IHG Living Legend in Dark Fantasy Winner, 2002; SFWA Author Emeritus, 2006; HWA Lifetime Achievement Award Winner, 2010; World Fantasy Convention Award, 2013; World Horror Society Grand Master, 2015
Years active1952–2021

“Happy-Go-Lucky” Is Worth A Look

My apologies to all who thought—as I did—that Weekly in the title Weekly Wilson meant that I would not go more than a week without posting.

I have excuses.

Mostly, the excuses involve my always-rocky relationship with computers.

The hinge on my laptop somehow came undone. So, no laptop to write my post on and most of the graphics I’d need are within said laptop. Computer Revolutions scavenged a new top from an old computer and ordered and installed a new hinge. They did this between Friday and Tuesday, but I still was without a computer recently.

In the meantime, I tried to go downstairs and use my desk top.

Can’t make it type even a letter to the sister for her birthday. Not sure why. Could be “updates.” Could be that I owe money for something that I don’t know about. After all, we were gone from November through May, so various “updates” had to be installed.

Now that I’m (more-or-less) back, I’d like to recommend some viewing, including “Start Up,” which features Martin Freeman and Ron Perlman in a tale from Miami about the Internet, which also features Academy-Award winning actress Mira Sorvino, whom you seldom see onscreen. (Her career a Harvey Weinstein casualty, I believe).

We started watching “The Ice Road” last night, the #1 rental on Netflix with Liam Neeson. When we got to the point where both trucks were on their sides, I asked how they were going to get them both upright again. Still don’t know, as the film quit loading/running.

Last, but not least, Sally Hawkins (the deaf mute girl in “The Shape of Water”) and “Terry” (from “Ray Donovan,” as portrayed by Eddie Marsan) appeared on my late-night television viewing in “Happy-Go-Lucky” and I heartily recommend this film if you are in the market for an upbeat film (from 2008) that has a lot to say about optimism in the face of life’s normal setbacks. (Preview above).

“Cruella” Success Sets Up Sequels for the “101 Dalmatians” Villainess

Cruella De Vil, the big budget Disney picture starring Emma Stone and Emma Thompson, debuted on May 28th and screams “Sequel” from the moment the last scene fades. Director Craig Gillespie has pulled out all the fashion stops on this one, and it shows.

In the last 23 hours, the Hollywood Reporter has confirmed those sequel suspicions, with these remarks:

“We are very pleased with Cruella’s box office success, in conjunction with its strong Disney+ Premier Access performance to date,” a Disney spokesperson said in a statement. “The film has been incredibly well received by audiences around the world, with a 97% Audience Score on Rotten Tomatoes, in addition to A’s in every demographic from CinemaScore on opening weekend, ranking it among the most popular of our live-action re-imaginings. We look forward to a long run as audiences continue to enjoy this fantastic film.”

Emma Stone in Cruella (2021)   Everything I had read about the performances (Top Notch), the soundtrack (great), and the costuming (exceptionally great) was confirmed. There is even an acceptable backstory for how Cruella got so cruel, crafted by  Dana Fox, Tony McNamara, Aline Brosh McKenna, Kelly  Marsel and Steve Zissin.  My remark to my companion, as we left the theater, was that it was obvious there would be a sequel that would pick up where this film left off. And I was right.

Cruella is a 2021 American crime comedy film based on the character Cruella de Vil from Dodie Smith’s 1956 novel The Hundred and One Dalmatians and Walt Disney‘s 1961 animated film adaptation.

Unlike other films that have spun off from animated beginnings, this one seems to have more interest in developing sympathy for the devil that Cruella becomes (one of the many soundtrack choices from the Rolling Stones that is heard throughout the action). Audiences didn’t prefer the film versions of Disney offerings like “The Lion King” to the Disney animated pictures, but this one may be the exception to that rule. That song, by the way (“Sympathy for the Devil) released on November 1st, 1968, is but one of the many 70s punk songs like “These Boots Are Made for Walkin,’” “Time of the Season,” “Whole Lotta’ Love,” “Should I Stay Or Should I Go,” and on and on. The music is a large part of the success of the film.

COSTUMING & SETS

Cruella (2021)Emma Thompson in Cruella (2021)Cruella (2021)Emma Thompson in Cruella (2021)Emma Stone, Joel Fry, and Paul Walter Hauser in Cruella (2021)

So are the fashions and with a $200 million budget, you see some over-the-top fashions. “Screen Rant” reports that the film is far pricier than most Disney re-imagined fare. Cruella’s production budget is reportedly $200 million, making it a very expensive endeavor. That price tag is higher than other Disney live-action re-imaginings like Aladdin ($183 million)Beauty and the Beast ($160 million), and Maleficent: Mistress of Evil ($185 million). Cruella’s budget is more in line with what one would expect from a tentpole comic book adaptation. Disney’s upcoming Black Widow also cost around $200 million to make.”

So, we have established that the soundtrack and costuming and make-up will scream “Oscar” in March.

What about the acting?

ACTING: Competent, as one would expect from the two Emmas (Stone and Thompson). Also doing good work are the supporting players, namely Joel Fry as Jasper and Paul Walter Hauser as Horace, with a stylish turn from John McRea as Artie and Billie Gadson as the 5-year-old Estella/Cruella. Mark Strong also has a pivotal role as John the valet, a role that reminds of something Stanley Tucci would play.

 

Joel Fry in Cruella (2021)Cruella (2021)

PLOT:

Set in 1970s London  amidst the emergence of the punk rock movement, Cruella traces the trajectory of Estella (Stone), and the tragedies and ecstasies that mark her formative years. Her mother, Catherine (Emily Beecham) plays a seminal role in shaping her worldview. Despite being a loving and nurturing presence, Catherine often encourages Estella to “fit in” in order to stay out of trouble. Estella is viewed as somewhat different for her beautiful, black-and-white ombré hair and her  rebellious nature. As Estella defends herself in talking about the mother/daughter relationship, “It wasn’t her I was challenging; it was the world.”

As the film progresses, our heroine (Emma Stone) declares, “I want to make art, and I want to make trouble.” At first, she is constrained by her loving mother (Emily Beecham) from realizing her full potential in either field. The pair then begin a journey to London, where Estella hopes to become a fashion designer.

Derailed along the way by circumstances beyond their control (“Happy accidents can change the whole course of your life…Happy may not be the right word.”), Estella ends up living and working in an abandoned building, alongside a couple of childhood grifters straight out of a Dickens novel, Jasper (Joel Fry) and Horace (Paul Walter Hauser).

Top cast

One of the fast friends, Jasper (Joel Fry) submits an application for Estella to work at the Liberty House Fashion Firm that she so admires. That opens the door to frustration, followed by eventual fame and fortune when the Baroness (Emma Thompson)—THE arbiter of fashion in the swinging 70s scene— sees Estella’s potential and hires her to be her assistant, ripping off her originality and vision at every turn while lording it over the rest of society.

Using fantastic settings like the Tower of London (yes, THAT Tower of London) doesn’t hurt the film at all. Gorgeous mansions and even more gorgeous gowns are a treat for the eye.

As the plot thickens, Estella realizes, “I’m not sweet Estella, try as I might. I’m Cruella. Born bad and a little bit mad.” She adds, “People do need a villain to believe in, so I’m happy to fit the bill.”

We’ll be seeing a lot more of Cruella in future films, and I hope the films are as entertaining as this one was.

“A Quiet Place II” Is Terrific Sequel to the 2018 Original Film

Director John Krasinski said, on an appearance on Seth Meyer recently to promote “A Quiet Place 2,” “If you’re a fan of the movie, I wanted to bookend the pandemic for you.” He was talking about the delayed release of one of the season’s most anticipated sequels, “A Quiet Place 2.” It actually premiered in New York City on March 8, 2020, and we all know what happened after that.

I remember the premiere of the original film at the Paramount Theater in Austin, Texas, as opening night of SXSW 2018 and how amazed the audience and I were at the film we had just seen. It was great! Original. Fresh. Scary. Thrilling. Well-acted. The audience gave it a well-deserved standing ovation.

All those adjectives can be used for the sequel, and, thanks to jump scares and a terrific Marco Beltrami score coupled with great special effects and convincing acting, you’re in for a wonderful time scaring yourself silly viewing “A Quiet Place 2.”

The boys from Bettendorf, Iowa, who thought up the fresh idea (which languished on the Black List of great movie scripts for 10 years or more before Krasinski became involved as a vehicle for his wife, Emily Blunt) now get an opening credit as the creators of the original characters, but Krasinski has taken over with expert help from his cast, Marco Beltrami’s heart-pounding score, and the special effects genies of Industrial Light & Magic and Lucasfilm.

There is a brief flashback involving John Krasinski as Lee Abbott, who died at the end of “A Quiet Place, #1.” His real-life wife, Emily Blunt, reprises her original role as Evelyn Abbott and the surviving children, Millicent Simmonds as Regan and Noah Jupe as Marcus, plus her new-born baby are all back. Co-stars, this time out, are Cillian Murphy as neighbor Emmett and Djimon Hounsou as a man on Long Island (who is given too small a part).

The film opens in the very same pharmacy/general store that we know from the first film, and Lee (John Krasinski) is quickly picking up some water and some snacks to take to a baseball game that is ongoing. (I noticed that he must have a running tab at the store; at no point did he pay for the goodies.)

While the baseball game is underway some sort of strange aerial event takes place, which, even now, I cannot explain properly. Is it the arrival of aliens? Is it a bombing? Not sure, but the baseball game is quickly abandoned. It must have been an invasion, because the spectators in the small town are suddenly being picked off on Main Street by the creatures we know from the first film. Chaos ensues.

It was this scene, with Emily Blunt trying to flee in her vehicle, that Krasinski talked about shooting early in the film. It took six weeks of planning and 3 weeks with stunt people to make sure that Blunt would be able to do the action-packed scene without injury. A pod was built on top of the vehicle she is shown to be driving, and it was operated by an expert stunt driver who, according to husband John, reassured her, “Don’t worry, Miss Emily. I’m the best.” They did the scene one time. It is truly terrifying and is completely thrilling.  Krasinski described it as “definitely the hardest scene” to film.

As the film proceeds, the surviving Abbott family (post Film #1) must abandon their home, which is both flooded and on fire. They begin walking, barefoot, to one of the neighboring homes where signal fires have been burning at night.

The neighboring residence turns out to be occupied by Emmett, played by Cillian Murphy (“Inception,” “Dunkirk,” “The Dark Knight Rises”), whose own children died the day of the invasion and whose wife is also dead. He has holed up in what appears to be some sort of abandoned steel furnace that has a soundproof  interior. It has a secure door and one must climb down to enter it, so it is relatively safe from the creatures.

Shooting inside the steel furnace set as a bunker for the Abbott family proved difficult because of its small size. Production designer Jess Gonchor built three different sizes, with removable front and back and sections that pulled out.

“Often we were on a jib arm with small remote heads on the end of it,” added Morgan, “and we would literally push in and out through the tube with the characters as they entered and exited. It was like a scene out of ‘Alien.’”

Emmett is not thrilled that he has been joined by a woman with three children in tow.

Emily Blunt and Noah Jupe in A Quiet Place Part II.
Emily Blunt and Noah Jupe in A Quiet Place Part II. Photo: Paramount Pictures

At first, despite Marcus’ injury in a bear trap as they approach, Emmett insists that they must leave in the morning, but that soon gives way to an actual rescue that Emmett attempts, when the deaf older child, Regan (Millicent Simmonds), deciphers the message of non-stop playing of “Beyond the Sea” by a radio station as a message. They must go to the sea, she reasons.  She sets out to do this over the objections of younger brother Marcus (Noah Jupe of “Ford v. Ferrari”and “Honeyboy.”) and without her mother’s knowledge or permission.

The map that we catch a brief glimpse of clearly says the island is Long Island. Thanks go out at film’s end to Buffalo, Akron, Dover and Pawling as some of the sites used in filming AQP2.

The film ends in a way that screams: SEQUEL. Krasinski said, initially, that he did not know whether a third Quiet Place would happen, but he made plans just in case. “I set up a couple of tiny little Easter eggs in [Part II] that not only explain more about [the original], but would allow for more mythology,” Krasinski shared last year.

“I haven’t heard from the studio that they want a third one,” says Writer/Director John Krasinski, “But the good news is that the studio and I are on the same page in that this isn’t one of those franchises where we keep pumping them out if they make money. I think we’ve proven that this is an original idea that is really beloved by people in a way that… I don’t want to break that promise to people.”

Later, it was revealed that “A Quiet Place 3” is officially a go. Paramount Pictures has announced that the franchise is set to continue with a third movie, which is to be written and directed by Jeff Nichols (MudMidnight Special).

Krasinski got able help on #2 from a new (female) cinematographer, Polly Morgan, and the editor, Michael Schaever, had his work cut out for him as there are multiple quick cuts between action going on in the steel furnace, with action going on at the dock or on the island. Long shots with real film were the name of the game, an homage to the films of Steven Spielberg and to such influences on Krasinski as “There Will Be Blood,” westerns of yesteryear, and Steven Spielberg’s films, which, said Krasinski, kept the focus on the protagonist in peril.

In this film, it is the teen-agers who must cope with the monsters and with their loss of their father in the first film. Millicent Simmonds plays a much bigger role than in the first film and does a great job.

All-in-all, it’s one heck of a great film.  I look forward to seeing #3, when the survivors back at the steel furnace have to be transported to safety on the island, (as well as any other adventures the creative minds of the Paramount team come up with).

It’s great to have a “new Spielberg” coming out with novel, crowd-pleasing material, and I only hope he can keep up the level of cinematography, music, writing, acting and directing in the inevitable follow-up(s).

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