Screenplay: Philippa Boyens, Peter Jackson & Fran Walsh based on King Kong by Merian C. Cooper & Edgar Wallace
Cinematography: Andrew Lesnie; Editing: Jamie Selkirk; Production Design: Grant Major; Set Decoration: Simon Bright & Dan Hennah; Costumes: Terry Ryan; Score: James Newton Howard
Stars: Naomi Watts (Ann Darrow), Jack Black (Carl Denham), Adrien Brody (Jack Driscoll), Andy Serkis (Kong/Lumpy), Kyle Chandler (Bruce Baxter), Jamie Bell (Jimmy), Evan Parke (Ben Hayes), Colin Hanks (Preston), Thomas Kretschmann (Cpt. Englehorn), John Sumner (Herb), Lobo Chan (Choy), Craig Hall (Mike), William Johnson (Manny)
When reigning Best Actress Brie Larson began absenting herself from the award show circuit last season, I was aghast to learn it was due to her prior commitment to Skull Island, the latest contribution to standing King Kong lore. Like most movie monsters Kong just doesn’t want to stay dead, so considering that Peter Jackson’s prior 2005 adaptation just passed its 10th anniversary, the time has come to revisit a modern classic.
Screenplay: Mark L. Smith & Alejandro G. Iñárritu; based in part on novel by Michael Punke
Cinematography: Emmanuel Lubezki; Editing: Stephen Mirrione
Production Design: Jack Fisk; Set Decoration: Caitlin Jane Parsons & Hamish Purdy; Costumes: Jacqueline West; Score: Ryuichi Sakamoto & Alva Noto
Stars: Leonardo DiCaprio (Hugh Glass), Tom Hardy (John Fitzgerald), Domhnall Gleeson (Cpt. Andrew Henry), Will Poullter (Jim Bridger), Duane Howard (Elk Dog), Forrest Goodluck (Hawk, Glass’ son), Arthur Redcloud (Hikuc), Melaw Nakehk’o (Powaqa), Kristoffer Joner (Murphy), Paul Anderson (Anderson), Lukas Haas (Jones)
rev·e·nant (noun) a person who has returned, especially supposedly from the dead. A revenant is a visible ghost or animated corpse that was believed to return from the grave to terrorize the living. The word “revenant” is derived from the Latin word, reveniens, “returning” (see also the related French verb “revenir”, meaning “to come back”).
Based on the novel by Michael Punke, director Alejandro González Iñárritu’s The Revenant is the (relatively) true story of Hugh Glass (Leonardo DiCaprio), a frontiersman in 19th ct. America who was mauled by a grizzly bear, and left for dead by companions John Fitzgerald (Tom Hardy) and Jim Bridger (Will Poullter) after they prematurely buried him alive.
Cinematography: Jarin Blaschke; Editing: Louise Ford
Production Design: Craig Lathrop; Set Decoration: Mary Kirkland
Costumes: Linda Muir; Score: Mark Korven
Stars: Anya Taylor-Joy (Thomasin), Ralph Ineson (William), Kate Dickie (Katherine), Harvey Scrimshaw (Caleb), Ellie Grainger (Mercy), Lucas Dawson (Jonas), Bathsheba Garnett (The Witch), Sarah Stephens (Young Witch), Julian Richings (Governor), Wahab Chaudhry (Voice of Black Phillip)
A true sleeper creeper, promos state The Witch is like watching something we shouldn’t be seeing, but see it for goodness sake! Having kept a low profile, the appeal of this movie should spread by word of mouth, the same way witch hunting hysteria did back in the day. One of the few horror films of recent vintage to genuinely unnerve viewers had to reach all the way back to the foundations of the country to find its scares.
DreamWorks/20th Ct. Fox/Participant (2015) 142 min. PG-13
Director: Steven Spielberg
Screenplay: Matt Charman, Joel & Ethan Coen; Cinematography: Janusz Kaminski; Editing: Michael Kahn; Production Design: Adam Stockhausen; Set Decoration: Rena DeAngelo & Bernhard Henrich; Costumes: Kasia Walicka-Maimone; Score: Thomas Newman
Stars: Tom Hanks (James B. Donovan), Mark Rylance (Rudolf Abel), Amy Ryan (Mary Donovan), Sebastian Koch (Wolfgang Vogel), Alan Alda (Thomas Watters), Austin Stowell (Francis Gary Powers), Scott Shepherd (Hoffman), Dakin Matthews (Judge Byers), Billy Magnussen (Doug Forrester), Will Rogers (Frederic Pryor), Mikhail Gorevoy (Ivan Schischkin), Jesse Plemons (Joe Murphy)
At the height of the Cold War, insurance lawyer James Donovan (Tom Hanks) is assigned the case of Rudolf Abel (Mark Rylance), a Soviet spy apprehended in the act of espionage. Though he’s pressured not to put together much of a defense, Donovan believes not to do so would be unethical. Arguing for imprisonment rather than execution, he convinces the feds Abel could be used as a bargaining chip with the USSR at some point in the future. Not long after, U-2 spy Francis Gary Powers (Austin Stowell) is shot down and another American, college student Frederic Pryor (Will Rogers) apprehended on the East German side of the Berlin Wall. Asked by his country to intercede on America’s behalf, Donovan attempts to negotiate an exchange of prisoners.
Cinematography: Dan Laustsen; Editing: Bernat Vilaplana
Production Design: Thomas E. Sanders; Set Decoration: Jeffrey A. Melvin & Shane Vieau; Costumes: Kate Hawley; Score: Fernando Velázquez
Stars: Mia Wasikowska (Edith Cushing), Tom Hiddleston (Sir Thomas Sharpe), Jessica Chastain (Lady Lucille Sharpe), Charlie Hunnam (Dr. Alan McMichael), Jim Beaver (Carter Cushing), Burn Gorman (Mr. Holly), Javier Botet (Ghosts of Pamela, Enola & Margaret), Doug Jones (Ghosts of Edith’s Mother, The Dowager Lady Sharpe)
Well-cast, sumptuous reimagining of the classic ghost story, Crimson Peak is classy entertainment, so we can forgive it the many delirious, unapologetic excesses into Gothic melodrama. There’s something decidedly refreshing about a film that accepts itself for what it is, as this one does, rather than striving to convince us it’s anything grander than that. Embracing the conventions of the genre wholeheartedly, the director Guillermo del Toro revels in his own richly absurd, deliciously overripe camp scares. He has no qualms about crafting a movie that’s a throwback to the most Victorian of haunted house humbugs.
Screenplay: Emma Donoghue, based on her novel Room
Cinematography: Danny Cohen; Editing: Nathan Nugent
Production Design: Ethan Tobman; Set Decoration: Mary Kirkland; Costumes: Lea Carlson; Score: Stephen Rennicks
Stars: Brie Larson (Joy Newsome), Jacob Tremblay (Jack Newsome), Sean Bridgers (Old Nick), Joan Allen (Nancy Newsome), Tom McCamus (Leo), William H. Macy (Robert Newsome), Amanda Brugel (Officer Parker), Cas Anvar (Dr. Mittal), Wendy Crewson (Talk Show Hostess), Joe Pingue (Officer Grabowski)
I’m nothing short of ecstatic about Irish director Lenny Abrahamson’s Room, the story of a kidnapped woman, Joy Newsome (Brie Larson), who escapes the garden shed where she’s been held prisoner for seven years, along with her born in captivity son Jack (Jacob Tremblay), exposing him to the outside world for the first time. Though the movie, adapted by Emma Donoghue from her novel is fictionalized, she was inspired by so many similar cases that have come to light recently, it bears the ring of authenticity.
Screenplay: Nick Hornby; based on novel by Colm Tóibín
Cinematography: Yves Bélanger; Editing: Jake Roberts; Production Design: François Séguin; Set Decoration: Suzanne Cloutier, Jenny Oman & Louise Tremblay; Costumes: Odile Dicks-Mireaux; Score: Michael Brook
Despite its title Brooklyn is not a Spike Lee joint but rather a twee little piece of loveliness adapted from Colm Tóibín’s 2009 novel of the same name about a wistful Irish immigrant from Enniscorthy, Eilis Lacey (Saoirse Ronan), who feels bereft of home and loved ones in 1952 New York until meeting and marrying Tony (Emory Cohen), an Italian-American. Returning home for a time following her sister Rose’s (Fiona Glascott) passing, Eilis’ faded love for all she’s been missing in her homeland is reawakened, threatening to severe the ties she’s established for a new life in America.
Screenplay: Charles Leavitt; based on story by Rick Jaffa, Charles Leavitt & Amanda Silver & novel by Nathaniel Philbrick
Cinematography: Anthony Dod Mantle; Editing: Dan Hanley & Mike Hill
Production Design: Mark Tildesley; Set Decoration: Dominic Capon; Costumes: Julian Day; Score: Roque Baños
Stars: Chris Hemsworth (Owen Chase), Benjamin Walker (George Pollard), Cillian Murphy (Matthew Joy), Brendan Gleeson (old Thomas Nickerson), Ben Whishaw (Herman Melville), Tom Holland (young Thomas Nickerson), Frank Dillane (Owen Coffin), Michelle Fairley (Mrs. Nickerson)
The aged survivor of a maritime disaster, Thomas Nickerson (Brendan Gleeson) recounts his tale of woe to a young Herman Melville (Ben Whishaw). When a boy (Tom Holland) in 1819 Nantucket he signed aboard the whale ship Essex, under the inexperienced command of George Pollard Jr. (Benjamin Walker). Having been promised the post himself, resentful first mate Owen Chase (Chris Hemsworth) has little respect for his captain, and the two men clash constantly over discipline and protocol.
Cinematography: Declan Quinn; Editing: Wyatt Smith
Production Design: Stuart Wurtzel; Set Decoration: George DeTitta Jr.
Costumes: Ann Roth; Score: Mark Wolfson
Stars: Meryl Streep (Ricki Rendazzo), Kevin Kline (Pete), Mamie Gummer (Julie), Rick Springfield (Greg), Audra McDonald (Maureen), Sebastian Stan (Joshua), Nick Westrate (Adam), Ben Platt (Daniel), Charlotte Rae (Oma), Rick Rosas (Buster), Gabriel Ebert (Max), Joe Vitale (Joe)
Ricki and the Flash should have been so much better, perfectly encapsulating as it does many of the recurring themes that director Jonathan Demme and screenwriter Diablo Cody have consistently gravitated to over the years. Cody, whose been amusingly open about her freewheeling past as a stripper before reinventing herself as an upstart intellectual and Oscar-winning screenwriter, has always stood out as something of a scandal even amid the less than provincial Hollywood community, the way Clara Bow did in the Roaring Twenties and Marilyn Monroe in the conservative ’50s.
Cinematography: Maryse Alberti; Editing: Luke Franco Ciarrocchi
Production Design: Naaman Marshall; Set Decoration: Christine Wick
Costumes: Amy Westcott; Score: Paul Cantelon
Stars: Olivia DeJonge (Rebecca Jamison), Ed Oxenbould (Tyler Jamison), Kathryn Hahn (Paula Jamison), Deanna Dunagan (Nana), Peter McRobbie (Pop Pop), Benjamin Kanes (Robert Mendelsohn), Celia Keenan-Bolger (Stacey)
When director M. Night Shyamalan’s The Sixth Sense was originally released, way back when, playing concurrent with The Blair Witch Project, the two movies went head to head in a standoff to determine which path horror would head down in the new millennium. The Sixth Sense was professionally put together and stylistically innovative, with a pull the rug out from under you sensibility that toyed with its own narrative form and the concept of visual storytelling itself. The Blair Witch Project on the other hand swung to the opposite extreme with its amateurish, low-budget, hardscrabble approach paring both horror and cinema down to their bare essentials in order to play on viewers’ most primal fears of the unseen and the unknown.