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I am not subject to motion sickness in theaters but I could sympathize with how those who are might react to some of the scenes in First Man. In a post-screening discussion among colleagues, this was the first issue that came up. It's not a "little thing" - it's a legitimate impediment to appreciating an otherwise involving drama.

First Man follows the development of the space program from through as seen through Armstrong's eyes for the earlier Mercury phase, see The Right Stuff. Personal tragedy and achievement form parallel forces in Armstrong's life. He loses his young daughter to cancer and several close friends, including his best pal, Ed White Jason Clarke , fall prey to work-related accidents.

The final quarter of First Man depicts the Apollo 11 mission, including the tense descent to the moon and Armstrong's delivery of the memorable line: Taken out of context, this might seem to be an egregious, unpatriotic omission. In context, however, nothing could be further from the truth. The moon scenes aren't about recreating history; they are about providing a window into Armstrong's thinking. As such, most of what the astronauts did on the moon isn't in the film.

And the flag itself isn't removed - only its planting. There are two shots of the lunar lander with the flag very visible next to it. The flag is a visible touchstone throughout the film and a deep sense of patriotism is evident in the subtext. Toward the end, a French woman expresses appreciation for American ingenuity and perseverance. One of the final scenes is a re-affirmation of Kennedy's determination that America put a man on the moon and return him home safely by the end of the s decade.

Those who would level charges against Chazelle should see the movie before jumping to conclusions. Armstrong was an engineer, a pioneer, a father and husband, and an American. The movie depicts all of these things. His moments of grief, self-doubt, and self-recrimination are all private. Gosling's performance honors both the man and the icon. His delivery of Armstrong's moon-landing statement, although subtly manipulated by computer, is so perfect that many will think Chazelle appropriated the actual recording.

Making the most of a supporting character, Claire Foy's interpretation of Armstrong's firebrand wife, Janet, appears to be headed directly for a Best Supporting Actress nomination. Despite being about spacefaring, this is not a special effects-loaded production.

There's some visual razzle-dazzle, to be sure - shots of the spacecraft, of Earth from space, and of the actual landing - but those instances are limited to what's necessary to tell the story and, as a result, are effective without seeming overwhelming or gratuitous. Justin Hurwitz's score is effective in doing justice to the moments of grandeur and the quieter, more personal ones. His style varies between Hans Zimmer for the former and Rachel Portman for the latter.

Timing is undoubtedly one of First Man's assets with Apollo 50 the half-century anniversary of the moon landing coming next year. Interest is high and Chazelle's presentation of events and the central player in them will heighten it. The movie will be released on home video only a few short months before the actual anniversary.

For those who can get past the shaky-cam aspect that infects the cinematography, this is an involving look back in time at one of the most significant human endeavors of the last century. It's not definitive but it is welcome. A Star is Born Hollywood loves coming back to this story; it shows the entire lifecycle of show business and celebrity in one easily-digestible morsel. It's not hard to understand the affinity shown by filmmakers and viewers alike - at the core of A Star Is Born is a relatable melodrama of the sort that rarely gets made in an era when cynicism derides old-fashioned tearjerkers.

This latest iteration of A Star Is Born keeps all the beats of the story intact with the shift from acting to the music business but resets the details to work for a modern audience. In his directorial debut, Cooper is respectful to the source material without being slavishly bound by it. His approach is perhaps the only way this third remake could emerge as its own entity. Although not entirely fresh, it doesn't feel like a tired and unnecessary retread.

Cooper, although recognizable in front of the camera for a variety of high-profile roles, has never helmed a movie of any significance. Lady Gaga, despite being a world-renowned recording artist, has never come close to headlining a major production in an acting capacity.

Going forward with so much inexperience may have been a gamble, but it has paid off. Cooper directs with a sure hand, never overextending himself, and Lady Gaga proves to be a natural performer she's more believable in the role than Barbra Streisand was 42 years ago. She and Cooper exhibit a strong, primal chemistry.

The movie works because we believe in them and have a rooting interest in their star-crossed, doomed love affair. If fame is parabolic in nature, then Country-Rock star Jackson Maine Bradley Cooper is on the downside of his geometric figure while Ally Lady Gaga is beginning her ascent. As Ally soars, rocketing into the stratosphere where Jackson once resided, he plunges into the depths. Her rise is fueled by his generosity and belief in her.

When he meets her, she's a "no one" singing "La Vie en Rose" in a drag bar. He gives her a place on the platform right at the moment when he's falling off it, his addiction to drugs and alcohol combining with his failing hearing to consign him to music history.

His relevance is gone. Soon, he will no longer even be able to sing in a Roy Orbison tribute. But he and Ally are in love.

She tries to look past her gratitude and he tries to overcome the professional jealousy that has him reaching for the bottle. They marry but his bouts of sobriety are a prelude to bigger binges. Although every version of A Star Is Born has addressed the issue of alcoholism, none is more pointed in its depiction than this one. A Star Is Born doesn't sugarcoat Jackson's demons nor does it opt for an unrealistic or facile way out. This has been a consistent strength of every telling of the story but Cooper's take is the most hard-hitting to-date.

With his laconic style and watt smile, Cooper is ideal for Jackson. He also does an excellent vocal impersonation of co-star Sam Elliott this is intentional and explained in the movie.

However, as impressive as he is, Lady Gaga will get the attention. She's very good especially as the self-conscious and insecure pre-stardom Ally and offers more depth and vulnerability than some viewers might have expected. Many singing stars attempt a crossover to acting; few leave this kind of impression. It's fascinating to watch how the actress handles the character's evolution from underpaid working girl to success, with a visual transformation dyed hair, increasingly outrageous costumes into someone who mirrors Lady Gaga's own stage persona.

Music is unquestionably a large part of the movie's appeal. Although it doesn't unfold in the traditional fashion of a musical with characters breaking into song in lieu of speaking dialogue, a portion of A Star Is Born's screen time is devoted to performances.

The numbers range from covers of familiar standards like "La Vie en Rose" and "Pretty Woman" to all-new country and rock songs. Regardless of how the movie does at the box office, there's little doubt the soundtrack will sell. Well-made crowd-pleasing films always have a chance at attracting Oscar attention, especially when they feature unexpectedly strong performances from screen newcomers and focus on serious social issues.

Additionally, Cooper is well-liked in the industry. Using a term from yesteryear which is, after all, where A Star Is Born has its roots , this is a "three-hankie movie. Venom Venom represents the final result of a long-standing attempt by Sony Pictures to give the popular Spider-Man nemesis his own film.

Influenced equally by the comic books and the Deadpool movies, Venom falls considerably short of the high bar set this year by the likes of Black Panther and Avengers: With its short length and jokey tone, the movie feels more like a second-rate knock-off than a legitimate attempt to start a franchise for the Jekyll and Hyde symbiotic title character.

It has taken eleven years for this reboot to get off the ground, with Topher Grace being ably replaced by Tom Hardy, whose comic book cred includes having played Bane in The Dark Knight Rises. Although the movie is light on Spider-Man references, there's a Superman call-out when Kryptonite is mentioned - probably the first time there has been a DC reference in a movie featuring a Marvel character.

This is far from Hardy's most impressive performance but, since he took the role for his son, the lack of depth and passion can be forgiven. Director Ruben Fleischer Zombieland originally intended for Venom to be R-rated and that seems to be the appropriate rating for a film about a dark anti-hero who eats people's heads.

Keeping in mind a possible future cross-over with the MCU, Sony opted for a PG rating which required significant cutting and re-aligning of shots to imply massive carnage without actually showing it at least not graphically. It feels more than a little dishonest but that's not the only problem with the film's look and tone, both of which are "off. The short length, likely the result of overzealous editing, not only opens up plot holes but dilutes any "epic" expectations.

Venom feels more like an afterthought - a promising idea gone wrong somewhere along the way. Yes, it's good for a few laughs - the alien creature's thoughts, which we hear, are replete with amusing one liners, and there are moments of slapstick humor that are as unexpected as they are welcome. The movie takes about a half-hour nearly a third of its running length to get off the ground as it puts all the players in place.

There's Eddie, the intrepid reporter who goes too far in pursuing one of his stories. Riz Ahmed's Carlton Drake is a standard-order Lex Luthor wannabe with an ego to match his fortune and a desire to ignore ethical considerations when doing scientific experimentation.

Finally, there's the venom creature, an alien entity brought to earth and trapped in Drake's lab until one of the billionaire's underlings Jenny Slate grows a conscience and sneaks Eddie in so he can do a story.

Things get out of hand, Eddie gets too close to the alien, symbiosis occurs, and Venom is born. To start with, there's an intriguing Jekyll and Hyde interplay between straight man Eddie and stand-up comedian Venom as the two trade barbs within the former's mind.

Eventually, however, the filmmakers decide this isn't interesting enough so they give Venom a more tangible presence, evolving him from extensions of Eddie to his own partially-independent entity. There are scenes in which he completely takes over providing a hulking "suit" for the smaller human , causing one to wonder about things like where all the extra matter comes from.

Most of the action scenes are perfunctory and the Big Special Effects Battle At The End c'mon, you know it's coming - you can't call that a spoiler is a bit of an anti-climax, especially since it's essentially animated.

Although Venom is forgettable and insignificant, it's not really deserving of scorn and derision. It's over quickly enough that it doesn't cross the "pain" threshold of something that lingers for too long and it offers enough laughs all intentional, I might add that it's sometimes effective as a distraction.

It's just not an especially good superhero movie and it wastes an intriguing premise. Done right, Venom could have been a deliciously conflicted character. Done wrong, we get what the movie provides - a cartoonish entity who can only unleash its base instincts on "bad people. Will it get there? Hard to say box office performance will, as always, be the determining factor but there's little in the first installment to get me excited about a return engagement.

There's nothing wrong with superhero movies existing outside the MCU but one hopes that future filmmakers considering such endeavors will opt for something less cheap, cheesy, and generally unsatisfying as the one Fleisher and his creative team have produced. Venom 3D Venom represents the final result of a long-standing attempt by Sony Pictures to give the popular Spider-Man nemesis his own film. Seemingly made with the under crowd in mind, the screenplay credited to Eric Kripke, adapting the book by John Bellairs doesn't bother to entice or interest any parents who might be in the audience.

Although the movie isn't bad enough to qualify as a slog for older viewers, the boilerplate story makes it tough to stay engaged. Kids, on the other hand, will likely be enthralled. This movie is in their strike zone from the easy-to-identify-with main character to the bright, colorful visuals and the creepy villain.

It's scary in a way that shouldn't cause many nightmares, although the homicidal jack-o-lanterns may be a little intense for anyone under six. Jack Black's participation immediately calls to mind Goosebumps and that's a reasonable association. Goosebumps was pitched at a slightly older audience and threw in a few bones for adults, but the end game was similar. The film's three main characters are an orphan, a warlock, and a good witch.

Jonathan Barnavelt Jack Black lives in the eponymous mansion, which is where he invites his only living relative, his nephew Lewis Owen Vaccaro , to live after the young boy's parents are killed in a car crash.

Jonathan is a recluse of sorts - his only friend is his sharp-tongued platonic compatriot of many years, Florence Zimmerman Cate Blanchett , whose prodigious magical powers have faded.

Jonathan's house once belonged to the black wizard couple Isaac and Selena Izard Kyle MacLachlan and Renee Elise Goldsberry , but the two died when an experiment to create a doomsday clock went wrong. Since then, the warlock has been working to rehabilitate the home. He happily welcomes Lewis, informing him that, although there's no bedtime or mealtime, he has one rule: The moment he says that, everyone in the audience knows what's going to happen The House with a Clock in Its Walls seems like an odd choice for gore-master Eli Roth, the director of the hard-R Hostel and its sequel those movies gave rise to the term "torture porn".

However, in a desensitized culture, I doubt many kids will be fazed by anything in The House with a Clock in Its Walls. The movie is based on a children's book which would be classified as a Young Adult offering in today's parlance , which started a series. The novel, written by John Bellairs, featured illustrations by Edward Gorey, and Roth has attempted to replicate their essence on-screen.

This, as much as anything, may be why the movie occasionally has a Tim Burton-esque feel. Overall, the movie's sense of atmosphere is weak. The house lacks the kind of mystical aspect that infused Hogwarts in the Harry Potter movies. Here, there's a recliner that acts like a puppy, a stained-glass window that changes its images, and the ticking that resonates throughout the building in the middle of the night. What's missing is a sense of wonder. As seen through the eyes of a boy who has never been exposed to real magic, there should be an emphasis on the newness of the experience.

It would be unfair to accuse Cate Blanchett of slumming and her performance lacks the wooden, disinterested quality one often associates with a "name" actor appearing in something below their normal paygrade. Blanchett is invested and her whiplash delivery of Florence's insults is one of the film's pleasures.

She and Black play well off one another. Owen Vaccaro who previously appeared in the two Daddy's Home films is effective as the oddball Lewis, who is desperately lonely and dangerously curious. Jack Black is a steady presence and Owen Vaccaro provides young viewers with a stand-in presence inside the story. It's hard to recommend the film for older movie-goers especially if they aren't accompanying their offspring - it's straightforward, lacking in complexity, and the few small pleasantries it offers aren't worth minutes spent in a theater.

This is a rare age-dependent split verdict. The Predator Predator is one of those tired franchises that Hollywood simply won't give up on. Maybe a box office bonanza will justify Fox's faith but this sixth entry in the series feels too much like a tired retread to be worth making a trip to a theater.

The first film was designed primarily as an Arnold Schwarzenegger vehicle, although the monster was popular enough to warrant a lackluster sequel. After that came the two horrifically bad Alien v.

Predator movies the first was B-movie garbage; the second was an atrocity and an attempt by Nimrod Antal to reclaim things. It didn't really work - the Alien v. Predator cash-grab had forever tainted both franchises and that remains the biggest drawback to being enthusiastic about The Predator.

Although director Shane Black who appeared as an actor in the original denies the existence of the Alien v. Predator duology, the bad taste lingers. The story reads like generic science fiction: The qualities that made the Predators unique have been reduced to quirks.

They are essentially Big Bad Movie Monsters - slasher film antagonists in xenomorph garb. The Predators' prey are one-dimensional characters who function much the same as victims in horror flicks. You can play the "who gets killed in what order" game if you want. Of course, this being a macho movie, there are no teenage campers having sex, so the comparison is imperfect. Black is a capable action director so the individual fight scenes are well-executed and occasionally involving.

It might have helped the excitement level if we had more than a passing affinity for any of the characters. The streak of gallows humor running through the proceedings produces a few good laughs in bad taste.

Unfortunately, the levity undercuts any tension - a quality which The Predator is sorely lacking. The movie saved some money in the casting department. There's not a single A-list actor to be found, which I suppose is apt since The Predator is nothing more than a glorified B-movie. Boyd Holbrook has the most screen time and his character is imbued with more than a little Martin Riggs. Black wrote Lethal Weapon. Well, maybe not quite. The Predator is established as a sequel to Predator, Predator 2, and Predators, with events in those films having occurred.

This movie opens with the crash-landing of a Predator in Mexico. He takes some of the Predator's gear and mails it to his autistic young son, Rory Jacob Tremblay , for safekeeping. To keep Quinn quiet, the government plans to have him incarcerated. Meanwhile, the injured and heavily sedated alien is taken to a super-secret lab run by a psycho named Traeger Sterling K. Brown , whose goal is to weaponize the creatures. This is a common desire shared by the bad guys in the Alien series and the Jurassic World movies.

He recruits expert Casey Bracket Olivia Munn for his team but, soon after her arrival, all hell breaks loose. Another Predator arrives, the first one escapes, and Quinn and his new team of ex-cons having executed a takeover of the bus carting them off to prison arrive on site in time to join forces with Casey.

Good science fiction movies always have at least one "Whoa! The Predator offers nothing of the sort - it's a cobbled-together series of scenes and moments from its predecessors and other franchises. It's a close cousin to Predators in that its desire to recapture some long-lost magic is tinged with desperation. For all the special effects, pyrotechnics, and visual razzle-dazzle, the movie feels more like affectionate fan-fic than a big-budget extension.

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