Thumbnails May 16
by Tony Medley
A Bigger Splash
This stylish, atmospheric remake of 1969ís ďLa PiscineĒ about a
rock singer Tilda Swinton, her boyfriend, Matthias Schoenaerts, her
former lover, Ralph Feinnes, and his femme fatale daughter, Dakota
Johnson, is highlighted by fine acting and exceptional cinematography.
There is a lot of talk and the least erotic nudity (and lots of it) ever
seen in a movie, but itís underlined by disturbing rising tension.
(Opens May 4).
As long as
you can accept the premise, which I was able to do, the pressure never
lets up in this high octane, edge of your seat thriller. Despite a
close-your-eyes scene of torture at the beginning that did not need to
be so graphic it is a relatively believable sci-fi chase film not unduly
overloaded with special effects.
Winterís War (7/10):
Although Iím fantasied out, for what this is, itís entertaining. Who
knew there was a sequel to the story of Snow White (told in Hollywood
style in 2012 in ďSnow White and The HuntsmanĒ)? Like most fantasies
this is, well, fantastic, so forget that thereís anything here that is
even close to being credible or realistic. But itís sometimes humorous,
has beautiful women (Charlize Thereon and Emily Blunt), a good-looking
guy (Chris Hemsworth), and some nice special effects, especially of
The Family Fang
Slow as molasses with lots of shots of people thinking, this strange
story of a married couple (Christopher Walken and Maryann Plunkett)
devoted to performance art and their two children (Nicole Kidman and
director Jason Bateman) who are not so devoted, is exacerbated by
Kidmanís constant whispering of many if not most of her lines. It didnít
bother me much because I didnít care what she was saying, or what anyone
else was saying either, for that matter.
The Boss (1/10):
This crude, profane monstrosity threatens to give nepotism a bad name.
Melissa McCarthy gave her husband, Ben Falcone, his first directing gig
with the deplorable Tammy (2014) that was worse than awful. The
so-called humor in this film is basically limited to frank discussions
of men performing sex acts on other men. F-bombs and tawdry language are
neither funny nor humorous and are inadequate substitutes for actual
humor. But when you can neither write nor direct with wit and style,
thatís what youíre left with, a gift from Judd Apatow, the patriarch of
guy (Jake Gyllenhaal) who emotionally destructs after losing his wife,
this nonsense isnít just one of the worst movies of this year, itís one
of the worst movies Iíve seen, ever. Wasted along with Jake are Naomi
Watts and Chris Cooper.
The Meddler (0/10):
news is that this chick flick starring Susan Sarandon in virtually every
scene as a wife who has lost her husband and is running around trying to
do good deeds for others, does, in fact, end. While you might feel that
you are trapped inside one of the new lasers on a 20 year trip to our
nearest star, Alpha Centauri, and that there is no end in sight, that is
an illusion created by a contrived, politically correct story and some
really dismal acting and directing. But, contrary to what you might feel
as you are sitting there entombed with this film in a darkened theater,
you will not die of boredom. I am living, breathing evidence that
survival is possible. On the plus side, Juice Newton sings ďAngel of the
MorningĒ near the end, and J.K. Simmons gives his usual good
performance, but heís only in it for about 10 minutes.