Author Archives: Keith Garlington

First Glance: “Every Breath You Take”

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First announced in 2012 with Rob Reiner attached to direct, “Every Breath You Take” has taken a few detours over the last 9-ish years. Now it’s set for an early April release with Vaughn Stein directing from a screenplay by David Murray. The psychological thriller sports an interesting cast including Casey Affleck, Michelle Monaghan, Sam Claflin, and India Eisley. The first trailer dropped recently and while some elements look pretty familiar, there could be more going on than we may think.

Affleck plays a psychiatrist who loses a young female patient to suicide. Soon he and his family are caught in a terrifying game of cat-and-mouse with the girl’s brother (Claflin). It’s a safe bet that things aren’t quite as they appear and I’m sure we can expect several twists and turns along the way. I like the tense and foreboding tone and if Stein can avoid many of the usual genre pot holes and trappings this could be an entertaining little thriller.

“Every Breath You Take” is set to release April 2nd. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

Random Thoughts: On the 2021 Oscar Nominations

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I think it’s safe to say 2020 was a year none of us will forget. Like everything else, the craziness of the year was reflected in the movie industry. So many movies were postponed, pushed to streaming, or halted altogether. But 2020 still gave us some great flicks and Oscar time is here to celebrate them. Quite a bit later than normal but hey, it has been a crazy time. This morning the Academy announced this year’s batch of nominations. One thing that hasn’t changed, they have given us things to applaud, things to gripe about, and some things that leave us scratching our heads. Here are a few random thoughts.

  • “Mank” led the way this morning with 10 nominations yet it kinda feels like it could be one of those “The Color Purple” scenarios. I loved “Mank” and hope it wins some statues. But the stars don’t feel aligned.
  • On the other hand “Ma Rainey’s Black Bottom” didn’t fair quite as well. It did grab major awards for Viola Davis and Chadwick Boseman. But nothing for Best Picture. I’m not upset. “Ma Rainey” is a good movie but not a great one.
  • Speaking of Boseman, he’s a shoo-in to win Best Actor. He’s good in “Ma Rainey” and gets a couple of huge attention-getting scenes. And of course there is the sad factor of his passing. I so wish Anthony Hopkins would win. He gives not only the best performance of 2020, but one of the best of the decade.
  • The Best Picture category is pretty solid. I could do without “Judas and the Black Messiah” and “The Trial of the Chicago 7”, but happy for everything else.
  • Let me go ahead and get this out of the way. “Borat Subsequent Moviefilm”? Really? It getting a screenplay nomination is baffling. It’s a considerably lesser movie than its predecessor. So is the Academy awarding Sasha Baron Cohen’s outspoken political takes instead?
  • And Maria Bakalova. Very good in “Borat”, but an Oscar nominee? Is this simply a sentimental favorite or another sign that 2020 was one surreal and wacky year?
  • As for that Supporting Actress category, lots of gnashing of teeth over Glenn Close’s nomination for “Hillbilly Elegy”. Look I agree, the movie wasn’t great but Close was. And she’s also nominated for a Razzie? Sure, okay.
  • I was happy for Youn Yuh-jung and Amanda Seyfried. Both deserve to be there.
  • No Supporting Actor nod for Bill Murray. Not enough people seem to appreciate Sofia Coppola’s delightful “On the Rocks”. What a shame.
  • Yet both Daniel Kaluuya and Lakeith Stanfield get Supporting Actor nominations for “Judas and the Black Messiah”, a decent but uneven movie. And shouldn’t Stanfield be in the Lead Actor category?
  • Only Visual Effects and Production Design for “Tenet”? I mean I wasn’t expecting Best Picture (even though it belongs there) but not even Best Original Song for “The Plan”?
  • No “Dick Johnson is Dead” in the documentary category? Really? It had won numerous awards coming in but gets the cold shoulder from the Academy.
  • It was a pretty quiet morning for “Da 5 Bloods”. It makes sense. Pretty good movie but far from Spike Lee’s best work.
  • No Mads Mikkelsen for Best Actor. I knew it was a longshot but I was hoping the Academy would do the right thing. But no one else has so I’m not surprised.
  • But speaking of “Another Round”, it does get nominated for Best International Film. And with “Minari” competing as an American movie maybe this Danish gem will get a much deserved win.
  • And Thomas Vinterberg for Best Director? I love it! But couldn’t they have slipped “Another Round” into the Best Picture race. After all there were only eight nominees.
  • I am assuming Vinterberg took Aaron Sorkin’s spot? If so, Bravo! “The Trial of the Chicago 7” was a good movie but hardly great. Or did he take Regina King’s spot? I really liked King’s work but I still prefer Vinterberg.
  • Steven Yeun becomes the first Asian American to be nominated for Best Actor. That’s a sad, hard to believe fact. But if anyone deserves it Yeun does. What a great performance in a truly great film (“Minari”).
  • Speaking of “Minari”, I love that film so much and hats off to the Academy for handing it six nominations including Best Picture. Well deserved.
  • Isn’t it great that “Minari” was nominated for Best Original Score? I was starting to worry it would go largely unnoticed this awards season. It’s soooo good. Well done Academy voters.
  • Wonderful to see “The Father” with six nominations. It truly was one of the very best films of 2020. Not only was Hopkins nominated but also the wonderful Olivia Coleman for Supporting Actress. I would love to hear her name announced on Awards night.
  • Another big year for Netflix. This morning they broke their own record getting a total of 35 nominations.
  • Nothing for Dick Poop?
  • Happy to see “The Midnight Sky” nominated for Best Visual Effects. One of the more underrated movies of 2020.
  • “Nomadland” is still considered the Best Picture and for good reason. Nominations also for Chloe Zhao for directing and Adapted Screenplay and Frances McDormand for Best Actress.
  • As for Best Actress, that’s a pretty stacked category. I actually think McDormand should win but I would smile big for either Mulligan or Kirby.
  • Also happy for “Sound of Metal” and its six nominations including Best Picture, Original Screenplay, Best Actor (Riz Ahmed), and Best Supporting Actor (Paul Raci). What a journey it has been for this moving indie.
  • What a ride it has been for Emerald Fennell. Her feature film debut “Promising Young Woman” grabs five nominations including Best Picture. She herself is nominated for Best Director and Best Original Screenplay. Gotta be happy for her.
  • Quite a showing for “News of the World”. I’d be surprised if it wins anything but it’s a very good movie and worth a few mentions.
  • And what a morning for Leslie Odom, Jr. He becomes the third person to be nominated for both acting and songwriting (“One Night in Miami…”). Well done sir.
  • About Best Original Song, laugh at me but I’m rooting for “Husavik (My Hometown)”.

Those are a few random thoughts. What did you think of the Academy’s picks? Let me know in the comments section below. And in case you missed it, here is the full list of this year’s nominees.

Best Picture

“The Father”

“Judas and the Black Messiah”

“Mank”

“Minari”

“Nomadland”

“Promising Young Woman”

“Sound of Metal”

“The Trial of the Chicago 7”

Best Director

Thomas Vinterberg (“Another Round”)

David Fincher (“Mank”) 

Lee Isaac Chung (“Minari”) 

Emerald Fennell (“Promising Young Woman”) 

Chloé Zhao (“Nomadland”) 

Best Actor in a Leading Role

Riz Ahmed (“Sound of Metal”) 

Chadwick Boseman (“Ma Rainey’s Black Bottom”) 

Anthony Hopkins (“The Father”) 

Gary Oldman (“Mank”) 

Steven Yeun (“Minari”) 

Best Actress in a Leading Role

Viola Davis (“Ma Rainey’s Black Bottom”) 

Andra Day (“The United States v. Billie Holiday”) 

Vanessa Kirby (“Pieces of a Woman”) 

Frances McDormand (“Nomadland”) 

Carey Mulligan (“Promising Young Woman”) 

Best Actor in a Supporting Role

Sacha Baron Cohen (“The Trial of the Chicago 7”) 

Daniel Kaluuya (“Judas and the Black Messiah”) 

Leslie Odom Jr. (“One Night in Miami…”) 

Paul Raci (“Sound of Metal”) 

Lakeith Stanfield (“Judas and the Black Messiah”)

Best Actress in a Supporting Role

Maria Bakalova (“Borat Subsequent Moviefilm”) 

Glenn Close (“Hillbilly Elegy”) 

Olivia Colman (“The Father”) 

Amanda Seyfried (“Mank”) 

Yuh-jung Youn (“Minari”) 

Best Animated Feature Film

“Onward” 

“Over the Moon” 

“A Shaun the Sheep Movie: Farmageddon”

“Soul” 

“Wolfwalkers” 

Best Adapted Screenplay

“Borat Subsequent Moviefilm” 

“The Father”

“Nomadland”

“One Night in Miami…”

“The White Tiger”

Best Original Screenplay

“Judas and the Black Messiah”

“Minari”

“Promising Young Woman”

“Sound of Metal”

“The Trial of the Chicago”

Best Original Song

“Fight for You” (“Judas and the Black Messiah”)

“Hear My Voice” (“The Trial of the Chicago 7”)

“Húsavík” (“Eurovision Song Contest”)

“Io Si (Seen)” (“The Life Ahead”)

“Speak Now” (“One Night in Miami…”)

Best Original Score

“Da 5 Bloods” 

“Mank”

“Minari”

“News of the World”

“Soul” 

Best Sound

“Greyhound”

“Mank”

“News of the World”

“Soul”

“Sound of Metal”

Best Costume Design

“Emma” 

“Mank”

“Ma Rainey’s Black Bottom”

“Mulan”

“Pinocchio”

Best Animated Short Film

“Burrow” 

“Genius Loci” 

“If Anything Happens I Love You”

“Opera” 

“Yes-People”

Best Live-Action Short Film

“Feeling Through” 

“The Letter Room” 

“The Present” 

“Two Distant Strangers” 

“White Eye” 

Best Cinematography

“Judas and the Black Messiah”

“Mank”

“News of the World”

“Nomadland”

“The Trial of the Chicago 7”

Best Documentary Feature

“Collective”

“Crip Camp”

“The Mole Agent”

“My Octopus Teacher”

“Time”

Best Documentary Short Subject

“Colette”

“A Concerto Is a Conversation”

“Do Not Split”

“Hunger Ward”

“A Love Song for Latasha”

Best Film Editing

“The Father”

“Nomadland” 

“Promising Young Woman”

“Sound of Metal”

“The Trial of the Chicago 7”

Best International Feature Film

“Another Round” (Denmark) 

“Better Days” (Hong Kong)

“Collective” (Romania) 

“The Man Who Sold His Skin” (Tunisia)

“Quo Vadis, Aida?”(Bosnia and Herzegovina) 

Best Makeup and Hairstyling

“Emma” 

“Hillbilly Elegy”

“Ma Rainey’s Black Bottom”

“Mank”

“Pinocchio”

Best Production Design

“The Father”

“Ma Rainey’s Black Bottom”

“Mank”

“News of the World” 

“Tenet”

Best Visual Effects

“Love and Monsters”  

“The Midnight Sky”

“Mulan”

“The One and Only Ivan”

“Tenet”

REVIEW: “Zack Snyder’s Justice League” (2021)

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The roller coaster story behind “Zack Snyder’s Justice League” is probably more legendary than anything the filmmaker could ever put on screen. From the troubled production of 2017’s “Justice League” to the enormous social media hashtag movement that brought Zack Snyder’s full vision to life, the history of this new four-hour epic is as fascinating as it is unheard of. News of the #SnyderCut (as it affectionately became known as) immediately stoked the excitement of legions of DCEU fans who were stung by Joss Whedon’s 2017 mess. It was also met with its share of scoffers made up mostly of soured critics, Marvel die-hards, and others who were overly anxious to write it off from the start.

To get a better understanding of the Snyder Cut‘s significance you need to know its backstory. Zack Snyder was given the keys to DC’s version of the MCU and his universe was to be anchored by the Justice League. His story arc began with “Man of Steel” followed by “Batman v Superman: Dawn of Justice” and was to wrap up with a “Justice League” trilogy. But as shooting completed for his first “Justice League” film Snyder was forced to leave the project following a devastating family tragedy. Instead of waiting for Snyder to return, an already unhappy Warner Bros. brought in Joss Whedon to oversee post-production. Whedon made major changes to the script, dramatically lightened the tone, oversaw numerous reshoots, and whittled the running time down to two hours. Cinematographer Fabian Wagner would later say only 10% of what he and Snyder shot made Whedon’s theatrical cut.

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Image Courtesy of Warner Bros.

While Whedon’s “Justice League” was certainly lighter and goofier, it was also mediocre at best and considered a box-office bomb, falling $60 million short of what it needed to break even. It led to Warner Bros. abandoning Snyder’s vision and reworking their DCEU strategy. In a nutshell Zack Snyder’s “Justice League” trilogy was over before he had an opportunity to make the first movie. But then rumors of a full director’s cut began swirling around on social media. Snyder confirmed its existence and soon the call for the Snyder Cut to be released picked up steam. Even members of the cast and crew (including Gal Gadot and Ben Affleck) joined the chorus. In an unprecedented move Warner Bros. gave Snyder and his cut the green light, pitching in $70 million for added scenes, editing, and visual effects enhancements. Enter “Zack Snyder’s Justice League” now set for its big release on HBO Max.

It should be said that even without its troubled production, it was going to be an uphill climb for this “Justice League”. Many people had revolted against Snyder’s daring vision. It clashed with everything we had been programmed to expect from superhero movies. Even more, it looked at two iconic characters from pop culture at specific times in their lives that have rarely been explored. Snyder’s Batman is older, worn down from over two decades of fighting crime. The “beautiful lie” that brought Batman out of the depths is also the weight pulling Bruce Wayne further and further down. He now teeters on the precipice. Alfred knows it and now the citizens of Gotham fear this more violent Batman as much as the criminals. Bruce has lost faith in humanity and he’s reached a point where yes, we see him kill. Snyder knows the longstanding ‘rules’. So what happened to Batman? What brought him to this place? Can he find redemption?

At the same time Snyder’s Superman was just beginning his journey on earth. Both “Man of Steel” and its direct sequel “Batman v Superman” dealt with Clark finding his place in a world not ready to face his existence. With Clark’s arrival came a new era of the meta-humans and it brought him face-to-face with the uglier sides of humanity – our penchant for hating what we don’t understand; our sheep-like tendency to follow the wrong voices. In many ways Snyder’s Lex Luthor embodies that very misguided and destructive nature. It’s the world Clark’s cynical but wise father was shielding him from. So of course Superman would be conflicted and unsure of himself.

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Image Courtesy of Warner Bros.

These darker layers of humanity are still missed by many of Snyder’s most vocal detractors yet they are integral to his more probing vision. This is a major reason why Whedon’s romp clashed so profoundly. But with “Zack Snyder’s Justice League” that essential narrative and tonal continuity is restored. This is the follow-up “Batman v Superman” deserved – an audacious effort that not only builds on the story its two predecessors was telling, but that opens up those films in several thrilling ways that I don’t dare spoil.

One of the biggest and best changes comes with the characters themselves. This “Justice League” feels like a meaningful continuation of some journeys and an exciting introduction to others. These aren’t the walking punchlines from Whedon’s “Avengers” knock-off. The cringe-inducing silliness has essentially been wiped away (kinda like Whedon’s name in the credits). In Snyder’s cut, he and screenwriter Chris Terrio take their characters seriously, often looking beyond their superpowers to their personal struggles, imperfections, and insecurities. These are ingredients sorely missing from the 2017 film. And while mankind has a crucial presence, this film’s chief focus remains on the heroes burdened with saving it.

But this is still a movie based on arguably the most iconic superheroes in comic book history and Snyder does them and the genre justice. For all of the humanity infused into his characters, there is just as much out-of-this-world, super-powered awe. “ZSJL” is like a graphic novel brought to life with dazzling action sequences and digital effects that are consistently mind-blowing. The astonishing CGI helps visualize some truly magnificent worlds. It also creates these grand and sometimes edgy cinematic set pieces that are some of the best you’ll see in a superhero movie. Staying with the technical stuff, it takes no time getting used to the much talked about 1.33:1 aspect ratio. I was skeptical going in but after seeing the beautiful full images without the tops and bottoms chopped, I was quickly won over.

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Image Courtesy of Warner Bros.

Perhaps the most amazing thing about “ZSJL” (besides its very existence) is how well it flows from start to finish. And how for four hours there is never a lull or any downtime. That’s because Snyder and Terrio pay attention to every character both intimately and in battle. None of our time with them feels wasted. Ray Fisher’s Cyborg is the biggest beneficiary. Not only is it a great performance from Fisher, but this portrait of the tortured Cyborg is so much more complete. Same with Ezra Miller’s Flash who is now naturally awkward and funny rather than an annoying stooge. Both Wonder Woman (Gal Gadot) and Aquaman (Jason Momoa) get several scenes that better link them to their solo films. And as expected Ben Affleck as Batman and Henry Cavill as Superman remain terrific fits. And unlike before, this time we get a villain that we understand. Steppenwolf (Ciarán Hinds) was egregiously shortchanged in the 2017 film. Here he’s menacing, motivated, and is a precursor to a far greater evil. Then weave in a rich, stellar supporting cast full of familiar faces and a few fascinating new ones as well.

“Zack Snyder’s Justice League” is a new movie in practically every way. You see it in the intimate character development, the flow of the story, the jaw-dropping digital artistry. It’s also refreshing. I like the MCU. I’ve seen all of the films multiple times each. But after 23 movies, nuances and all, you grow accustomed to the tone, the structure, etc. Thankfully Zack Snyder went for something different rather than copy a tried-and-true formula. But his “Justice League” is more than simply a movie full of ambition. It’s a truly great blockbuster, one that surpasses the earlier theater release in every conceivable way. Would we have ever gotten this four-hour sprawling superhero epic in 2017? Doubtful. Will this film change the minds of those determined to dislike Zack Snyder’s take on the DC universe? Also doubtful. But personally speaking, I’m thrilled this movie exists and yes, I can enthusiastically say “I want more”. “Zack Snyder’s Justice League” premieres March 18th on HBO Max.

VERDICT – 4.5 STARS

4-5-stars

REVIEW: “Stan & Ollie”

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In the States it seems like “Stan & Ollie” came and went with barely a peep. Yes John C. Reilly earned a Golden Globe nomination and the film received a warm reception from critics, but otherwise it’s a film that got no real attention. I don’t remember it hitting any theater around me and the promotion for the movie seemed nonexistent. It’s unfortunate because “Stan & Ollie” is a solid biopic minus most of the usual trappings.

I’ve have an enormous affection for Laurel & Hardy going back to my childhood. PBS was instrumental in introducing me to and developing my love for the classic comics from the silent era (Lloyd, Keaton, Chaplin) as well as Hal Roach’s biggest acts, Our Gang and of course Stan Laurel and Oliver Hardy. To this day I adore all of these great comedians, but there was and is something special about Laurel and Hardy. I’ve seen most of their ‘talkie’ shorts and can quote many of them. I’ve watched their feature films like “Way out West”, “Sons of the Desert”, and “The Flying Deuces” countless times. So natural “Stan & Ollie” had an immediate appeal.

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Photo: Sony Pictures

The film comes from director Jon S. Baird and screenwriter Jeff Pope. But the biggest draws are the two stars and their stunning likenesses to their characters (Steve Coogan as Stan Laurel and John C. Reilly as Oliver Hardy). Everything rings true – their distinct voices, comic mannerisms, even individual details from Oliver’s signature toothbrush mustache to Stanley’s wry smile. Most importantly, neither Coogan or Reilly are simply relying on impersonations. Their performances dig into both the personal and performance sides of Stan and Oliver.

The bulk of the film is set in 1953 during the comedy duo’s final appearances as an act. The two embark on an arduous stage tour across England and Ireland while struggling to find funding for their next movie. The tour starts in rinky-dink theaters with small crowds thanks to shoddy promotion from their British producer Bernard Delfront (Rufus Jones). But after adding more public appearances to their already intense schedule, they begin grabbing bigger crowds and booking larger venues.

The boys are joined by their wives in London where the duo is booked for a two-week engagement at the Lyceum Theatre. But soon old wounds from the the past begin festering, specifically about their brief split several years earlier (seen in a prologue). Pent-up bitterness and resentment threaten to not only end a beloved comedy team but a longstanding friendship as well.

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Photo: Sony Pictures

The film is driven by its warm and endearing central relationship. There is a tender, organic chemistry between Coogan and Reilly that fits well with Stan and Ollie’s easy-going camaraderie. An unexpected spark comes with the appearance of their wives, Oliver’s anxious and concerned Lucille (Shirley Henderson) and Stan’s Russian-born fireball Ida (Nina Arianda). Both add a bit of zest at a time when the movie really needs it.

But I can’t overstate just how terrific the stage performance scenes are. With an almost eerie similitude, the film captures some of Laurel and Hardy’s greatest bits. Take the stage recreation of their classic short “County Hospital”. From the pinpoint line readings to the smallest gesture, you swear you’re seeing the real thing.

I’m not sure if any movie biopic has captured its subject(s) as authentically as “Stan & Ollie”. Fans of the pair will find the similarities uncanny. But what makes the movie is their ability to go beyond appearances and mix physical authenticity with genuine humanity. Best of all it captures what fans like myself love about Laurel and Hardy while giving us a behind the scenes glance at their enduring friendship.

VERDICT – 4 STARS

4-stars

5 Phenomenal Action Movie Tough Girls

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It seems like it has been forever and a day since I last did a Phenomenal 5. But with Sundance and awards season (mostly) in the bag what better time than now? There are countless action movies that feature tough guys. In fact, in the 80’s and 90’s an entire action genre centered around muscle-bound beefcakes. But we do a disservice if we fail to recognize that there have been some tough-as-nails women who can hold their own with ANY of the fellas. So why not give these women their due by listing five of the coolest and toughest? To no surprise there were several tough girls to choose from so I wouldn’t call this the definitive list. But there’s no denying that these 5 Movie Tough Girls are most surely phenomenal.

#5 – Furiosa (“Mad Max: Fury Road”)

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There were so many glorious surprises in George Miller’s nitrous-injected thrillride “Mad Max: Fury Road”. Near the top of that list was Charlize Theron as Imperator Furiosa. Tom Hardy’s Max is a key character and he’s who the movie is named after. But in many ways Furiosa is the lead and this is her story. And when the two pair up in one particularly ferocious fight scene, she most certainly gets her licks in. Furiosa is tenacious, determined, and as tough as the come.

#4 – The Bride (“Kill Bill: Volume 1 & 2”)

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Fueled by an insatiable thirst for vengeance, Uma Thurman’s Bride slices and dices her way through countless baddies as good as any, better than most. And it’s telling that she is arguably the toughest character you’ll find in the entirety of Quentin Tarantino’s hyper-violent filmography. That’s saying something. Thurman delivers the whole package: brains, brutality, grit and moxie. Oh, and she does the bulk of her damage with her custom-made Hattori Hanzō samurai sword. Tough? Without question!

#3 – Sarah Connor (“Terminator 2: Judgement Day”)

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In the first Terminator picture, Sarah Connor was essentially a girl running from danger. Boy how things change in “Terminator 2”. Linda Hamilton bulked up and gave Sarah a grittier edge with a hardened militaristic personality. Knowing the war that’s coming, Sarah fights alongside Arnold Schwarzenegger every step of the way. Whether it’s with her fists or a wide assortment of weaponry, she blasts away at anyone who gets in her path human or robotic. This new Sarah Connor certainly left her mark on the movie landscape and has to be on this list.

#2 – Princess Leia (“Star Wars” Series)

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When watching the original “Star Wars”, it doesn’t take long to see that Princess Leia is much more than some damsel in distress. In the franchise’s earliest scenes we see her open rebellion against the evil Galactic Empire and her unwillingness to compromise. It also doesn’t take Han and Luke long to see that she’s a no-nonsense woman who tells it like it is. She’s handy with the laser blaster and she doesn’t mind putting herself in danger to help others. She plays a pivotal role in saving Han’s life and it was Leia who killed Jabba the Hutt. Carrie Fisher’s Leia is as surly as any tough guy and she has more smarts than most.

#1- Ellen Ripley (“Alien” Series)

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It may be unfair, but any time I see Sigourney Weaver, I automatically think of Ellen Ripley. I absolutely love this character and her toughness is a key reason. In the first “Alien” picture (SPOILER) she was the only survivor of her ship’s crew and she single-handedly killed the alien. In the second film we see just how tough Ripley is. She uses grenades, flamethrowers, pulse rifles, and even a robotic crane to kill more aliens, even their queen. In the third film she takes more drastic measures to quell an alien spread. Throughout the series Ripley encounters a variety of so-called “tough guys”. Isn’t it interesting that she is the one who actually survives. Sounds like she’s the one who’s truly tough.

There you have it. There were several others that I considered but these stood out the most. Do you agree or disagree with my list? Do you see someone who I left off? Who would you include on your list? Please take time to share your thoughts in the comments section below.

REVIEW: “Tom & Jerry” (2021)

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You can count me among the many who grew up watching “Tom and Jerry”. Not the countless straight to DVD feature films, but the classic Hanna and Barbera shorts that have played and replayed for decades. And as a testament to their timelessness, my two kids (both in their upper teens now) latched onto the cat and mouse rivals when they were children, cackling at their wacky hijinks and watching them whenever they were on television.

This latest iteration of the titular slapstick duo has been in the works since 2009. Created as a live-action/computer-animated mash-up, “Tom & Jerry” is helmed by director Tom Story. The story takes place in New York City where all animals (and only animals) are animated. Don’t ask me why. I really have no idea. Weird singing pigeons, elephants, peacocks, a bengal tiger, and of course Thomas D. Cat and Jerome A. Mouse, all vividly animated and melded into the real-world setting. Right off the bat you notice the animation as one of the film’s strengths (except for the annoying pigeons but that’s enough about them).

You might think Tom and Jerry would be the stars of their own movie but that’s not the case. In fact they often play second fiddle to the human characters, namely Kayla (Chloë Grace Moretz). She’s a down-on-her-luck twenty-something who has lost her job but fibs her way into a temporary position at New York City’s Royal Gate Hotel. She wins the trust of the hotel’s manager Rob Delaney but catches the ire of Terrance (Michael Peña), the event manager and the film’s human antagonist. What’s funny is that he’s also the only person smart enough to recognize how ridiculous things become.

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Image Courtesy of Warner Bros.

It turns out the Royal Gate is set to host the proverbial ‘Wedding of the Century‘ between high society socialites Ben (Colin Jost) and Preeta (Pallavi Sharda). Preparations are underway but are instantly threatened when both Tom and Jerry arrive. Unfortunately we only get their signature chaotic mayhem in a few small bursts and in ways that only seems to serve the human characters and their stories. The film is mostly focused on Kayla who’s tasked with removing the mouse problem once Jerry moves into the hotel. And what better way to impress management and secure full-time employment than getting rid of the rodent and saving the big wedding? So she hires Tom to discreetly help. Guess how that goes.

So basically Tom and Jerry end up relegated to supporting duty for the trite and shallow human stories. In fairness asking two non-speaking animated characters who were at their best doing six-minute shorts to carry a movie like this is a tall order. But this movie needs more of them. Still “Tom & Jerry” does have a playful spirit which young kids will enjoy and it scatters a few giggles along the way which keep it from being too dry. And while this is no “Who Framed Roger Rabbit”, the classic 2-D animation is a warm and nostalgic touch. If only those pesky (and boring) human characters would have stayed out of the way. “Tom & Jerry” is now showing in theaters and streaming on HBO Max.

VERDICT – 2.5 STARS

2-5-stars