Category: Film Reviews by Amy

Yes Day (PG)

Jennifer Garner stars in Yes Day, a delightful family comedy about wacky hijinks on a day when kids pick the fun.

Or put another way, Jennifer Garner plays a mom in a waking nightmare of a horror story about a lady going through some stuff personally and professionally who is bullied by her family into participating in some internet nonsense to prove she can still loosen up and have fun — you know what would be fun how about someone else do the laundry for a change, dishes don’t wash themselves, don’t want to see Mom erupt in a rage volcano when she steps on a Lego how about you PICK UP THE LEGOS.

It is possible this movie touched a nerve.

When the Torres children — young teen Katie (Jenna Ortega), tween Nando (Julian Lerner) and young Ellie (Everly Carganilla) — complain that their mom, Allison (Garner), always says “no” to everything they want to do, she makes a deal with them. If they approach their kid duties (chores, homework) with more gusto, they will earn a Yes Day, a 24-hour period where the parents won’t say no to any of their plans or desires, within legal, geographical and financial limits. (Their “mom says no” complaints are documented both in a haiku Katie writes for school and a movie Nando makes calling his mom a dictator for, among other things, losing her cool when she steps on Legos.) And even though that sounds exhausting, Allison approaches the day with excitement because it means spending non-nagging time with her family, most significantly with independence-seeking Katie and with work-absorbed husband Carlos (Edgar Ramírez). Allison, a former sky-dive and backpack-the-world type, is also under some stress outside the home as her attempts to reenter the workforce have not been successful.

A lot of cute giant ice cream sundae-eating and paintball-ish game-playing ensues. The actors here have good family chemistry, with Ortega believably walking that teen line between having fun with siblings and parents while still wanting to do mature things with her friends, and the other kids turning in cute but not cloying performances. Ramírez turns in a completely fine “likeable dad” performance, even if his character gets the least to do of the bunch. Perhaps because of movies like Alexander and the Terrible, Horrible, No Good, Very Bad Day and her Capital One ads, I’ve come to think of Garner more as a mom character than as her Alias action hero but here she reminds you can she can pull off physical comedy and action-y moments as well as more sitcom-y moments of humor.

Even with a side plot involving Katie and her plans to go to a music festival with some friend’s cousin and some older-dude friends, the movie is basically focused on wholesome goofiness. Wholesome goofiness and carpet-destroying foam — but I don’t think everybody who watches this is going to spend quite as much time thinking “how are they going to get that out of the car upholstery” and “does homeowners insurance cover that” as I did. But then maybe that’s a sign that I need a Yes Day. (No.) B

Rated PG for some rude and suggestive material, and brief language, according to the MPA on filmratings.com. Directed by Miguel Arteta with a screenplay by Justin Malen (based on the book by Amy Krouse Rosenthal and Tom Lichtenheld), Yes Day is an hour and 26 minutes long and is available on Netflix.

Cherry (R)

Tom Holland plays a young man who falls into addiction in Cherry, a movie directed by Russo brothers Anthony and Joe of Marvel movies fame.

Specifically, they directed the Captain Americas Winter Soldier and Civil War and two Avengers — Infinity War and Endgame.I mention this because it’s hard not to watch this movie as “Anthony and Joe Russo show they can do something not Marvel” or maybe as “Anthony Russo and Joe Russo bring popcorn movie flash to a downbeat story.”

We first see Holland, whose character isn’t called by name in the movie, as he prepares to rob a bank, explaining his actions to us in narration that is weaved through the movie. The bank robbery serves as bookends to his short (in years) life story, starting when he is aimlessly attending college and meets Emily (Ciara Bravo), the girlfriend who quickly becomes his wife, through a stint in the Army and into his post-Army years of PTSD, heroin addiction and crime.

The bare bones of Cherry are a thoroughly depressing story that the movie manages to add humor (dark humor) to and that is warmed up by Holland, who I think does an above average job as a kid who seems a little bit like he’s blown by the wind through his life.

Bravo, whose Emily feels more like Holland’s character’s projection of her than she does like a fully formed person, feels sort of sleepy throughout. Their relationship is one of the cores of this movie but her wispiness prevents us from ever really understanding why she stays with Holland or why the relationship is so important to him.

I wasn’t bothered by the movie’s general storytelling showiness, all strange comic/tragic asides, stylized shots and fourth-wall-breaking narration. Perhaps at a runtime shorter (significantly shorter) than two hours and 22 minutes the style of the movie and the general solid-ness of Holland’s performance would be enough to keep things moving and to make the movie’s points (assuming the elements about the military, the war, careless opioid prescription and the socioeconomics of a gray-looking Cleveland are points the movie’s trying to make and not just, like, story-telling accessories). But you feel this movie’s lengthy runtime and it doesn’t always provide you with a good reason why you are lingering in this or that moment. As a result, a lot of the more stylish elements end up feeling like padding.

Cherry isn’t a bad movie but the result of all this moviemaking style put on a relatively thin story is that you feel like you’re getting about four inches of elaborate frosting on one inch of cake. C+

Rated R for graphic drug abuse, disturbing and violent images, pervasive language and sexual content, according to the MPA on filmratings.com. Directed by Anthony Russo and Joe Russo with a screenplay by Angela Russo-Otstot and Jessica Goldberg (from the novel Cherry by Nico Walker), Cherry is two hours and 22 minutes long and is available on Apple TV+.

Featured photo: Yes Day

Raya and the Last Dragon (PG)

Awkwafina voices a dragon and Kelly Marie Tran voices a warrior in Raya and the Last Dragon, a beautifully animated Disney movie in theaters and available via Disney+.

Similar to Mulan, this movie is available for an extra fee to Disney+ subscribers: $29.99 to see the movie before it becomes available to all subscribers on May 4. The fee allows you to watch it as many times as you like, something my kids took full advantage of this weekend.

The movie is set in the fictional land Kumandra, which feels like it is to Southeast Asia what Frozen’s Arendelle is to northern Europe. As Raya (voice of Tran) explains, Kumandra was once a land of harmony and dragons. But smoke creatures called the Druun sucked away much of the life from the land and turned people and dragons to stone. Sisu (voice of Awkwafina), the final dragon, used the last of her powers to create a gem that was able to banish the Druun and un-stone the people — but not the dragons.

The people responded to this brush with annihilation by fighting with each other over the gem and breaking into five kingdoms — Fang, Talon, Spine, Tail and Heart. Heart guarded the dragon gem, which caused mistrust in the other four kingdoms, who were constantly at odds with each other.

Thus is the state of things for centuries until Heart’s Chief Benja (voice of Daniel Dae Kim) tries to get all the kingdoms to come together. He has trained his daughter, Raya, to be a warrior who protects the dragon gem but also has tried to convince her that a rebuilding of trust between the five groups is necessary for the long-term survival of all people.

Naturally, Raya’s first attempts at trust — she thinks she’s found a friend in fellow dragon-fan Namaari (voice of Gemma Chan), the daughter of Fang leader Virana (voice of Sandra Oh) — do not go great. The dragon gem is cracked (with each group grabbing a piece) and the Druun are set loose upon the land again (and return to their turning-people-into-stone ways). Raya ends up on her own, out in the wilderness. (Raya and Namaari are maybe tweens or young teens during this flashback and six years older during the movie’s present day.)

After years of questing, Raya finds Sisu, who reawakens and admits that while she may be the “last” dragon she wasn’t really the “best” dragon, skills-wise. Raya and Sisu decide to undertake another quest: to find the pieces of the dragon gem, each of which contains a magical power from Sisu’s more powerful siblings, and bring them together to give Sisu the power to defeat the Druun (and bring back the people and dragons turned to stone and just generally save the world). Along the way, Raya gathers a crew: kid chef Boun (voice of Izaac Wang), baby pickpocket Noi (voice of Thalia Tran) and her hench-monkeys, and Spine warrior Tong (voice of Benedict Wong). Trailing this group are Namaari and her army. Fang is very determined to pursue a dragon-gem-as-deterrent-weapon policy and seeks to control more of the gem pieces.

Raya and the Last Dragon is absolutely beautiful to look at with some lovely world-establishing in its creatures (the colorful dragons, Raya’s armadillo-y pet), in its landscapes (which vary by kingdom), and in its mythology. Disney animation continues to wow with how it executes little details, such as how it renders water (which here behaves in all sorts of magical ways around dragons and their power). There is also something very Marvel-esque in the way it presents some of the action and the establishing shots, and in how the team came together (I got some serious Guardians of the Galaxy vibes at times).

The score is also very beautiful with melodies that really add some extra oomph to more emotional moments. This movie just missed this 2020’s Oscar contention cutoff (extended until Feb. 28 for the April awards) but I fully expect both this movie and its score to be in serious awards consideration next year.

I saw this movie several times throughout the weekend and while my initial reaction was to wonder if all the questing and history of Kumandra crowded the characters and their emotional arcs, I found that I appreciated this movie’s story-telling and rich world-building more with each viewing. These are solid characters; Raya, Sisu (who is sometimes a dragon and sometimes an Awkwafina-esque human) and Namaari all get interesting arcs that help examine the movie’s themes of trust and how a society at odds can find a way to work for the greater good and the difficulties of doing so. (Add this movie to the list of movies bringing me back to The Good Place and its “what we owe to each other” ruminations.) Even the supporting players (the con-artist baby and her monkeys, the Drax-like Tong, the cautious Virana) get enough space to add something to the emotional fabric of the story. It’s sophisticated stuff — delivered with visuals that look great no matter the size of the screen you’re seeing them on and in a kid-friendly way with the right amount of funny baby and animal antics. A

Featured photo: Raya and the Last Dragon (PG)

Minari (PG-13)

A Korean-American family seeks a path to financial security in rural Arkansas in Minari, an excellent family drama.

While the movie feels like it is telling this story from the point of view of David (Alan Kim), the elementary school-aged youngest child of the Yee family, we get a good glimpse at the inner lives of all the family members. Mom Monica (Yeri Han) is horrified when her husband, Jacob (Steven Yeun), pulls up to the family’s new plot and presents her with a rickety-looking trailer sitting in a field. They have moved from urban California to very rural Arkansas in what seems like the early 1980s to chase Jacob’s dream of having a farm. Specifically, he plans to grow Korean vegetables and sell them to businesses in Korean communities in regional cities, like Houston or Oklahoma City. We get the sense that Jacob (who, like Monica, has immigrated from Korea; the kids seem to have been born in the U.S.) has some experience with farming but not nearly enough experience with convincing Monica of his plan. To pay the bills while he starts his farm, the couple works, as Jacob complains at one point, staring at chicken butts all day — that is, they sort the male and female chicks. David and older sister Anne (Noel Kate Cho) seem to adapt to this new environment, amusing themselves by poking around the family’s land or watching TV while drinking Mountain Dew.

When Monica’s not worrying about their financial precariousness, she is worrying about David, who has a heart murmur and has been told not to run or do the strenuous kid stuff he naturally wants to do. Their new home is an hour away from the nearest hospital, a fact that adds to Monica’s worries.

When the threat of a tornado nearly breaks the wound-tight Monica, Jacob tries to placate her by telling her to bring her mother to live with them. Monica seems embarrassed to have her mother see her family’s circumstances but Grandma, Soon-ja (Yuh-Jung Youn), treats the whole situation as kind of a hoot, teaching David to play a Korean card game and swear in Korean, watching American wrestling and planting minari in the wild near a pond on the property.

This is such a relatable family and such a relatable story — the dad who needs to succeed beyond his nine-to-five, the mom who feels the weight of her kids’ safety and well-being, the kids torn between their American culture and their parents’ culture, the fish-out-of-water can-we-make-the-best-of-it-or-will-this-break-us scenario. I felt like I knew these characters very quickly and could see all the perspectives and life experience that went into their reactions and decisions. Monica and Jacob have several fights where you can see both sides and can empathize deeply with both of them. Han and Yeun do absolutely excellent work to show us everything about what their characters are thinking or fearing with just a look or a small gesture. The surrounding actors do good work too — Kim is so believable as David, with the exact right amount of kid fear, kid adaptability and kid mischievousness. Youn as the grandmother is also fantastic — you’re not a real grandma, David complains, which Soon-ja gleefully takes as a compliment.

The movie is also shot beautifully — you can see why Monica is aghast that this creaky trailer is the family’s new home but the movie also shows us the home and land in the same light Jacob sees it, his garden of Eden he says, only half joking, at one point.

Minari isn’t just another awards-season movie that deserves its praise; it’s a standout movie that completely immerses you in a family’s life. A+

Rated PG-13 for some thematic elements and a rude gesture, according to the MPA on filmratings.com. Written and directed by Lee Issac Chung, Minari is an hour and 55 minutes long and distributed by A24. It is available for rent.

Featured photo: Minari

Nomadland (R)

Frances McDormand gives one of the year’s great performances in Nomadland, a movie based on the non-fiction book by Jessica Brueder.

The two most common scenes in this movie are McDormand’s Fern talking to people in what feel like actual conversations people are just having with McDormand herself, and Fern by herself enjoying the beauties and working through the difficulties of life as a nomad. Fern became a nomad — specifically, a nomad who lives in a van and travels from one seasonal job (Amazon warehouse) to another (a harvest) — after, basically, losing everything. Her beloved husband died after a painful illness and her town essentially died when the factory employer closed and kicked the workers out of the company housing.

Shorn of everything — her possessions are in a storage locker, she even cut her hair we’re told — Fern packs up a few of her most precious things and heads out. First, she stays at an Amazon-paid-for RV lot while she works packing things at some massive distribution center. Later, we see her follow new friend Linda May to a job as a park host at another RV/campground near a national park. Fellow nomad Dave (David Strathairn, one of the few other people not essentially playing themselves here) is a worker at the park and helps hook Fern up with a job at Wall Drug (a tourist attraction in South Dakota). Dave takes a shine to Fern; she maybe likes him too. They’re both awkward as heck in their flirting but we also get the sense that Dave is an attachment Fern is not ready for.

According to posts on the Nomadland Twitter account, several of the people McDormand’s Fern meets along the way — including Swankie, Linda May and Bob Wells — are essentially playing themselves and had their stories told in the book. I think this approach helps to ground this movie and keep the story focused on Fern and her life, rather than letting it spin off into thinkpiece territory. Fern is working through grief and dealing with a life turning point when we first meet her and that makes her story (and all the socio-economic aspects to it) all the much more layered and meaningful.

I realize that projecting soul-deep authenticity is sort of a baseline of any McDormand performance but she really does knock it out of the park here. I cared about Fern, and the movie makes us understand why she makes the choices she does and empathize with them.

And on top of this, the movie is beautiful — beautiful to look at (so many shots of the western and midwestern country) and beautiful to listen to, with a really excellent score. Definitely add Nomadland to your awards season must-watch list. A

Rated R for some full nudity, according to the MPA on filmratings.com. Directed by Chloe Zhao with a screenplay by Zhao (from the book Nomadland: Surviving America in the Twenty-First Century by Jessica Bruder), Nomadland is an hour and 48 minutes long, is distributed by Searchlight Pictures and is in some theaters and available via Hulu.

The Map of Tiny Perfect Things (PG-13)

Two teens are stuck in one of those Groundhog Day/Edge of Tomorrow-time loops in The Map of Tiny Perfect Things.

We enter in the middle of Mark’s (Kyle Allen) time-loop experience. He knows all the beats of this one day he’s been living over and over. Currently, he is using his knowledge of when and where everything happens, down to the second and the milimeter, to get the attention of a specific girl who always falls into the water at the neighborhood pool after getting hit by a beach ball. That is, she falls in if Mark isn’t there to catch her (and sometimes if he is; playing it cool takes a lot of do-overs).

But one day, instead of Mark catching the girl after the ball hits her, another girl walks by and swats the ball away. This new girl’s sudden appearance and the way she looks at and runs away from Mark makes him pretty sure that she, too, is in the loop. After a few “days” of looking, Mark finds and meets Margaret (Kathryn Newton). They are, as she says, marooned on this island together, so they hang out and become friends, even creating a project to map all of the little awesome moments (a guy getting pushed out of the way of bird poop, an eagle grabbing a fish, a girl showing up all the lesser skaters at a local skateboard hangout) that happen during their one day. But every evening Margaret mysteriously leaves him, and Mark isn’t sure how to turn these regular hangouts into something more. Or how to even have something more when he can never move forward.

Unlike other timey-wimey movies, Mark actually has a good group of people around him that he can lean on. We see him interact with his dad (Josh Hamilton), his sister (Cleo Fraser) and his best friend (Jermaine Harris), who don’t know about the “one day over and over” thing but are still able to help him work through some things. It’s all very sweet and allows the movie to examine the regular teen clash of emotions of wanting to grow up and also not being ready to move on. Newton in particular stands out as being a solid up-and-comer; I liked her in the recent Freaky and this movie similarly shows her skill with blending drama and humor, silliness and genuine emotion. B+

Rated PG-13 for brief strong language, some teen drinking and sexual references, according to the MPA on filmratings.com. Directed by Ian Samuels from a screenplay by Lev Grossman, The Map of Tiny Perfect Things is an hour and 38 minutes long and is distributed by Amazon, where it is available on Amazon Prime.

Featured photo: Nomadland

Barb and Star Go to Vista Del Mar (PG-13)

Everybody is wonderfully game in the delightfully silly Barb and Star Go to Vista Del Mar, a movie co-written by Annie Mumolo and Kristen Wiig, the writers of Bridesmaids.

Comparatively, Bridesmaids played it straight. Barb and Star goes all in on its weirdness.

Barb (Mumolo) and Star (Wiig) are poofy-haired besties whose favorite flavor is “plain,” whose wardrobe is built on culottes and who work together at a Jennifer Convertibles in Nebraska. When their store is closed and they are kicked out of Talking Club (run with an iron passive-aggressive fist by a woman played by Vanessa Bayer, so well used here as so many of the movie’s supporting roles and cameos are), Barb and Star decide to throw caution to the wind and go on an exotic vacation — to the middle-aged-vacationer-friendly Vista Del Mar, Florida. They end up at a hotel with a real “cruise ship but on land” vibe and, during their first night, end up at the bar sharing a giant hallucinogenics-containing scorpion bowl with Edgar (Jamie Dornan). Edgar is drowning his sorrows over his would-be girlfriend, Sharon Gordon Fisherman (also Wiig, looking very “Dr. Evil meets 2013’s Snowpiercer” but chic). Sharon won’t become an “official couple” with him until after he helps her release a swarm of genetically modified mosquitoes meant to kill the residents of Vista Del Mar because they were mean to Sharon when she was a kid.

Other things that happen in this movie: A character has a conversation with a crab. Andy Garcia shows up in a cameo, still in Mamma Mia! Here We Go Again! mode. A human cannon serves as a significant plot point. Dornan shows an almost superhuman lack of vanity (there’s a power ballad! on a beach! I have never liked him more than I do here).

I did wonder, occasionally, if this movie was being cruel to Barb and Star, if it was punching down at these ladies with their haircuts and their general middle-ness. But I don’t think it is, ultimately. Through all the silliness, Wiig and Mumolo, who seem to be having such a sunny great time here, give these characters a core that includes general decency and their deep love and friendship for each other.

Barb and Star Go To Vista Del Mar is great goofy fun and I highly recommend it. B+

Rated PG-13 for crude sexual content, drug use and some strong language, according to the MPA on filmratings.com. Directed by Josh Greenbaum with a screenplay by Annie Mumulo & Kristen Wiig, Barb and Star Go to Vista Del Mar is an hour and 47 minutes long and is distributed by Lionsgate. It is available to rent.

Judas and the Black Messiah (R)

Daniel Kaluuya and Lakeith Stanfield do standout work in Judas and the Black Messiah, a movie about the real-life activism and death of Fred Hampton of the Black Panther Party.

In the late 1960s, Bill O’Neal (Stanfield) is arrested after a rather inventive car theft and given a choice by FBI agent Roy Mitchell (Jesse Plemons): prison time or becoming an informant for the FBI. Bill picks not-prison and is sent to join the Black Panther Party in Illinois, where Fred Hampton (Kaluuya) is the Illinois party chairman. As Bill finds his way into the party and Fred’s inner circle, he sees Hampton attempt to unite different social-political factions in Chicago to work for similar goals, largely related to poverty and police brutality.

We also see the charismatic Hampton begin a relationship with Deborah Johnson (Dominique Fishback), now known as Akua Njeri. They try to build a life of activism together while the FBI relentlessly pursues Hampton and the Panthers however they can.

Judas and the Black Messiah shares some of the same historical space as fellow award-season hopeful The Trial of the Chicago 7. But where that movie was filled with big Aaron Sorkin speeches and cutesy Aaron Sorkin character notes, this movie feels like it is about real people with real motivations and personalities. There are little moments, particularly with Kaluuya and Fishback as Fred and Deborah, where you feel like you’re watching a fully-formed person wrestle with not just Big Political Ideas but with what those ideas mean to them and the course of their life. Stanfield makes you feel O’Neal’s uncertainty about what he’s asked to do by the FBI and his growing difficulty of balancing what seems like a genuine respect for Hampton and the aims of the Black Panthers with his willingness to help Mitchell (and his desire to stay out of jail).

This is a well-told story filled with strong performances about a slice of history the movie makes feel fresh and relevant. A

Rated R for violence and pervasive language, according to the MPA on filmratings.com. Directed by Shaka King with a screenplay by William Berson and Shaka King, Judas and the Black Messiah is two hours and five minutes long and distributed by Warner Bros. It is in local theaters and on HBO Max until mid-March.

Featured photo: Barb and Star Go to Vista Del Mar

The Little Things (R)

A couple argue in Malcolm & Marie, a movie somewhat reminiscent of the talky (if mannered) indies of the 1990s.

Did you like your Clerks and your Blue in the Face-type movies? This is slicker than those but there is something in it that reminds me of them. Like those movies (with their backstories of being funded by credit cards), this one leans on dialogue in part because of behind-the-scenes constraints. According to media reports, Malcolm & Marie was made during Covid times. So while multiple characters — an actress, past girlfriends, a “white lady from the LA Times” (who becomes a stand-in for all film critics) — and a big fancy party are in the narrative mix, on screen there are only two people at one location.

Malcolm (John David Washington) is a filmmaker ecstatic after the premiere of his new movie. He is so giddy that it takes him a while after he and his girlfriend, Marie (Zendaya), return home to notice that she’s mad. We learn that while introducing the film at the event, Malcolm thanked all the people involved in the film but not Marie. And, in the hours since, the lack of a thank you has become A Whole Thing.

Thus this relatively spare setup digs into relationship stuff, relationships-in-a-Hollywood-environment stuff, ideas about the art of film, ideas about the criticism of film, stuff about who gets to make art with whose life experiences. Has that description made you say “ugh, pass” or “OK, tell me more”? I feel like if you have a low tolerance for this much self-conscious, very movie-scripty talkiness, Malcolm & Marie may not entirely win you over. But I found all of this self-aware movie-ness kind of charmingly spunky even when it’s being A Lot.

Washington joins his father (Denzel Washington) in that group of actors who I just enjoy watching, no matter how good or flawed or adequate the scene they’re in is. He’s fun here and seemingly having fun and also turning in an engaging performance that at times maybe feels a little like an audition for a better movie but it was thoroughly watchable. Zendaya is often fine but not always able to match the heft that Washington brings to a scene, a state exaggerated by the way her character is written and their age difference (Zendaya is 24 and Washington is 36). I’m not sure how much older the movie wants us to believe Malcolm is than Marie or how we’re supposed to think that plays in to their relationship. In a movie so all about who is telling whose stories and why, it’s an oversight that gets in the way.

So, yeah, there’s a lot of talking about what we’re talking about. And it’s not a relaxing good time to watch couples fight. The setup does occasionally border on stagey and the movie continues for a few minutes past the point of its natural ending. But I had enough nostalgia for this kind of chatty movie and Washington delivered enough moments of a fun performance that I had a better than average time. C+

Rated R for pervasive language and sexual content, according to the MPA on filmratings.com. Written and directed by Sam Levinson (son of Barry, and this movie about a movie-maker takes on a whole new entertaining layer when you know that), Malcolm & Marie is an hour and 46 minutes long and is available on Netflix.

Featured photo: Malcolm & Marie