Long Shot (2019)

Director: Jonathan Levine

Cast: Seth Rogen, Charlize Theron, June Diane Raphael, O’Shea Jackson Jr., Andy Serkis, Bob Odenkirk, Alexander Skarsgard

Screenplay: Dan Sterling, Liz Hannah

125 mins. Rated R for strong sexual content, language throughout and some drug use.

 

Long Shot kind of came out of nowhere. I don’t think anyone expected to be such a crowd-pleaser but reviews have been pretty solid for the film. I finally got a chance to catch it in the theater, and while I don’t it is ground-breaking comedy, it was still quite a chuckler.

Secretary of State Charlotte Field (Charlize Theron, Monster, Atomic Blonde) is planning on running for President when currently-seated President Chambers (Bob Odenkirk, Incredibles 2, TV’s Better Call Saul) decides not to attempt a second-term run. Charlotte’s biggest opportunity heading into the race is that she is considered cold and the public doesn’t connect with her, so when she comes across someone she knew from her youth, recently-out-of-a-job journalist Fred Flarsky (Seth, Rogen, This is the End, Like Father), she takes him on as her speech-writer to help connect her to voters. Then, as they work more and more closely together, they find that they each bring out the best of each other, but is Flarsky a liability for Charlotte’s White House run?

The term I would use to describe the central relationship of Long Shot is cute. I genuinely believed the chemistry between Theron and Rogen, and their scenes together were cute. I think director Jonathan Levine (50/50, Snatched) mined the relationship and the screenplay from Dan Sterling and Liz Hannah for some pretty solid comedy gold. This is a surprisingly good role for Charlize Theron, considering we haven’t seen much from her in a romantic comedy aspect. Yes, there have been films like Young Adult and Tully, but those roles have been much more tied into her dramatic performance than the guffaw-style laughs she goes for here.

Don’t get me wrong, there is a level of drama to Long Shot, but it is clear that the film is not taking itself as seriously as the films I have previously mentioned. It’s taking shots at our current political climate, lampooning and laughing at the current administration with its President Chambers, and Alexander Skarsgard (The Aftermath, TV’s True Blood) is rather silly and playful as the Prime Minister of Canada. Not everything works in the film, and some of the comedy dries up near the end as the film somewhat struggles to find its ending, but the last ten minutes were a fantastic finale that plays into its romantic comedy elements while also remaining somewhat unexpected.

The film also features a scene-stealing performance from the enigmatic and often-unrecognizable Andy Serkis (War for the Planet of the Apes, The Adventures of Tintin) as Peter Wembley, a media mogul who bought the paper that Fred previously worked for and also wants Charlotte on his team, politically-speaking. He doesn’t have a lot of scenes but every time he popped up, I lost it laughing. His performance is the best of the film, and some of the things he does are slimy as can be.

Long Shot limps a bit in its second act. It struggles to find its footing in order to get to a reasonably-satisfying conclusion, but thankfully it finds a great ending to land on, saving a fun romantic comedy that strives to be about more than just romance and comedy. I’ll leave it up to you to decide how successful it is in that respect, but I found it quite funny. I would temper your expectations for all the people saying it’s the best romantic comedy in years, but it works quite well all the same.

 

3.5/5

-Kyle A. Goethe

Missing Link (2019)

Director: Chris Butler

Cast: Hugh Jackman, Zoe Saldana, Emma Thompson, Stephen Fry, David Walliams, Timothy Olyphant, Matt Lucas, Amrita Acharia, Zach Galifianakis

Screenplay: Chris Butler

94 mins. Rated PG for action/peril and some mild rude humor.

 

I loved Laika’s last film, Kubo and the Two Strings. I couldn’t praise that film enough, so when I heard that Laika was next tackling the yeti/Bigfoot myth, I was initially excited, even though every animation franchise is doing the yeti/Bigfoot movie in the last year with Smallfoot and Abominable both dropping pretty close to it.

Explorer Sir Lionel Frost (Hugh Jackman, Les Misérables, The Front Runner) believes himself to be the world’s greatest at unearthing legends and myths, but when he is tasked by Mr. Link (Zach Galifianakis, The Hangover, TV’s Baskets), a Bigfoot, with finding his relatives, he takes it upon himself to track them down and earn his merit among his peers.

Missing Link was a disappointingly boring movie with a budget that could kill Laika. Being one of the few people who saw the film, I can honestly say that very little of it was actually retained in my memory not more than a few hours after seeing it. The voice acting was all nice and everything, but this movie cost too much money to not be enjoyable.

It was bright and shiny and the animation was great (from a technical aspect, the movie is quite well-made), but the story really lost me. I had no interest in the characters and their journey. I didn’t like Lionel Frost because he was an unlikable jerk. I didn’t like Mr. Link because he was annoying. I didn’t connect with any of them. Adelina Fortnight (Zoe Saldana, Avatar, Star Trek: Beyond), Frost’s ex, was utterly forgettable and didn’t really contribute to the story. It just didn’t work for me.

Missing Link has some nice aspects, but with a disappointing screenplay and unlikable characters, it just wasn’t my cup of tea. It’s a shame, as I truly enjoyed writer/director Chris Butler’s previous film, ParaNorman. This is one Link that should probably stay missing.

 

2/5

-Kyle A. Goethe

Hellboy (2019)

Director: Neil Marshall

Cast: David Harbour, Milla Jovovich, Ian McShane, Sasha Lane, Daniel Dae Kim, Thomas Haden Church

Screenplay: Andrew Cosby

120 mins. Rated R for strong bloody violence and gore throughout, and language.

 

So when it was announced that the next Hellboy film would not be a follow-up to the tremendous first two films with Guillermo del Toro and Ron Perlman, I was initially upset, but I let it pass because it seemed like there was nothing that could be done about it. I got more excited about the prospect of a reboot when David Harbour (Revolutionary Road, TV’s Stranger Things) was cast as the new Hellboy and Neil Marshall (Dog Soldiers, Tales of Halloween) would be directing. It all seemed like it was coming together rather nicely, and I even liked the vibe of the trailers. It appeared that everything was going to come out all right for this new iteration of Hellboy. Then, I saw it.

Back during the Dark Ages, the evil Blood Queen Vivian Nimue (Milla Jovovich, The Fifth Element, Future World) unleashed a plague of death and destruction until she was stopped, dismembered, and buried by King Arthur and his knights. Now, in present day, the Baba Yaga is attempting to bring Nimue back to life. It’s up to the B.P.R.D. and its demonic agent, Hellboy, to stop Nimue once and for all. But what if Hellboy is exactly what the Blood Queen wants?

Hellboy is, at times, almost nonsensical. There’s a lot of mythology and story jammed into this movie, and just about none of it is entertaining at all. Characters do things to drive the plot without any real reason for any of it. They just do things. Things just happen. Characters provide exposition that drags on and on. What angers me the most is that the film is bad and forgettable and oh so boring. It’s disappointing because this is what we got instead of a true sequel to a good franchise. I know I don’t like to compare films to each other, but this was such a major step down from what fans wanted.

On the plus side, I liked David Harbour’s work as Hellboy. He plays him very differently than I expected, with Hellboy having an existential crisis about his place in the world, and for that part, he works quite well. His Hellboy is one struggling to find good within his inherently evil framework. It’s a sad and solitary journey. I also thought Jovovich did a good job as the Blood Queen, but her character is written so one-note that it’s hard to find anything identifiable with her villainous persona outside of I’M A VILLAIN AND I DO VILLAIN THINGS.

It’s obvious that screenwriter Andrew Cosby is most well-known for TV’s Eureka because this feels like a pilot to a series instead of a full beginning-middle-end movie. Everything in the film is a setup for what comes next. Hell, I wrote in my social media review that the post-credits scenes are better than the move that preceded them. The film ends on a note that says “Won’t the sequel be fun, right?” instead of just giving that film here. Del Toro did a great job setting up the Hellboy origin story in his films, and Marshall’s film runs through it pretty quick, so we don’t need all this setup for a better sequel we will likely not see.

Hellboy’s production was littered with rumors of behind-the-scenes problems, so it’s no surprise the film is littered with story-problems and pacing issues. I can’t believe how bored I was with this movie. I thought if there was one positive I would leave the theater with, it would at least be a fun movie. It was not a fun movie. Leave this one dead and buried and get me Guillermo del Toro.

 

2/5

-Kyle A. Goethe

 

 

For my review of the anthology film Tales of Halloween, click here.

Toy Story 4 (2019)

Director: Josh Cooley

Cast: Tom Hanks, Tim Allen, Annie Potts, Tony Hale, Keegan-Michael Key, Jordan Peele, Madeleine McGraw, Christina Hendricks, Keanu Reeves, Ally Maki, Jay Hernandez, Lori Alan, Joan Cusack

Screenplay: Andrew Stanton, Stephany Folsom

100 mins. Rated G.

IMDb Top 250: #132 (as of 7/9/2019)

 

We didn’t need a Toy Story 4. That’s what I kept saying. We just didn’t need it. Toy Story 3 was a great ending to a solid trilogy and we didn’t need to muddy the waters with another installment almost destined to be terrible. We trusted Pixar not to ruin this one, and our trust in them was worth it.

It’s been two years since Andy gave his toys over to Bonnie (Madeleine McGraw, American Sniper, Ant-Man and the Wasp) and departed for college, and the toys have been on a great many adventures since then. Andy’s favorite toy Sheriff Woody (Tom Hanks, Cast Away, The Post) is struggling, though, as he has been seemingly forgotten by Bonnie when playtime occurs, but he remains vigilant in his duties to protect her, so when she becomes nervous at kindergarten orientation and makes a new toy, Forky (Tony Hale, Batman Ninja, TV’s Arrested Development), out of some trash and crafting supplies, Woody takes it upon himself to teach Forky how to be the best toy he can be. During this time, Bonnie and her family are on a vacation in the RV, and at one of the stops, Woody spots a lamp at an antique store that he believes may belong to Bo Peep (Annie Potts, Ghostbusters, TV’s Young Sheldon), a toy that one belonged to Andy’s sister, one that he cared for very deeply. Woody and Forky also come across the menacing Gabby Gabby (Christina Hendricks, Ginger & Rosa, TV’s Good Girls), a defective antique toy who wants Woody’s voice box for her own. Now, Woody must return Forky to Bonnie without getting caught by Gabby Gabby, and he is also forced to confront his own wants in the process.

Let’s cover the purpose of Toy Story 4, because if there was one criticism in just about any fan’s mind as they enter the theater, it’s the question of WHY? Why Toy Story 4? Well, I will say this. I think Toy Story 4 is the second-best film in the series behind the third film. That being said, I think Toy Story 4’s ending is so much better than the third film. It leaves up in a very satisfying place and works very well in questioning everything that came before. It’s a film that looks at the toys we have and asks a lot of questions.

This is very much Woody’s story, and he goes on it mostly without the help of the other toys, encountering lots of new characters in the process. While Toy Story 3 is the ending of the story in relation to Andy, Toy Story 4 takes a good hard look at Woody, a toy that has always been in service of his human, but he is confronted with the very real idea that he may not be Bonnie’s favorite toy. His character arc, especially in relation to Forky’s existential crisis of self, is very well-layered and something I’ve always wanted more out of.

The new characters are so wonderful as well. Keegan-Michael Key (Keanu, TV’s Friends from College) and Jordan Peele (Captain Underpants: The First Epic Movie, TV’s The Twilight Zone) appear together as Ducky and Bunny, two sentient toys made sown-together at the hands, and they are an absolute delight. Key and Peele use the classic comedic timing and chemistry that they’ve been known for to make this the funniest of the Toy Story movies. They had me in stitches, never once ruining the scene by trying to hard.

Then, there’s Duke Caboom (Keanu Reeves, The Matrix, John Wick: Chapter 3 – Parabellum), a Canadian daredevil toy with a motorcycle capable of performing incredible stunts, or at least, that’s what the commercials had said. I love all the character Reeves packed into such a limited screen time. He worked tirelessly on embodying his character with the director, and it shows in the work. His is a similar character to the one that Buzz Lightyear (Tim Allen, El Camino Christmas, TV’s Home Improvement) was in the first film: a toy that is coming to terms with its limits. He is broken on the inside because he was never able to meet the expectations of his commercial.

The only real flaw I had with Toy Story 4 is that I believe that Gabby Gabby is probably the worst villain of the entire franchise. It sounds like I may be in the minority on this one, but I’m going to speak my reasons and let them stand. I never found Gabby Gabby as a villain to be very menacing. Yes, she’s a little creepy and her henchmen ventriloquist dummies are certainly frightening and strange enough, but I never really saw her as villainous in the way that I saw, say, Lotso from Toy Story 3. Maybe it’s just me, but I felt like she was antagonistic but never villainous.

Toy Story 4 also feels, at times, like a big game of I Spy. The antique store, where a good portion of the film is set, is chock full of Easter Eggs and references to other Pixar films, to Toy Story films, and to other pop culturally iconic movies, most notably The Shining, which has always had a somewhat odd connection to the Toy Story franchise. Then, there’s voice cameos galore, many of which I didn’t catch until someone told me about them after the film ended. It’s just a celebration of so much magic that Disney and Pixar can craft.

Toy Story 4 is the perfect true finale to the franchise, one I hope they actually keep to, and I absolutely adored this movie. It’s the ending that feels most earned, not just throughout this installment, but through the entire series. It’s a powerful finale that will drive many to tears, this writer included. I really enjoyed it.

 

4/5

-Kyle A. Goethe

Midsommar (2019)

Director: Ari Aster

Cast: Florence Pugh, Jack Reynor, Vilhelm Blomgren, William Jackson Harper, Will Poulter

Screenplay: Ari Aster

147 mins. Rated R for disturbing ritualistic violence and grisly images, strong sexual content, graphic nudity, drug use and language.

 

Okay, I’m here to help. I’m here to protect you from possibly the worst marketing I’ve seen in a long time. Here it is: Midsommar isn’t a horror film. There, I said it.

Midsommar stars Florence Pugh (The Falling, Fighting with My Family) as Dani, a grieving girlfriend who is fighting off depression after a horrible tragedy. She joins boyfriend Christian (Jack Reynor, Glassland, Kin) on a trip with him and his friends to Sweden to be a part of a mid-summer festival. Christian’s friends Josh (William Jackson Harper, Paterson, TV’s The Good Place) and Mark (Will Poulter, We’re the Millers, Black Mirror: Bandersnatch) aren’t big fans of Dani, and they’ve been pushing Christian to break things off with her, but Pelle (Vilhelm Blomgren), who has family in the festival, welcomes her along. As the festival moves along, though, it becomes clear that this is more than Dani signed up for, and as the horrors unravel, she and the others find escape to be quite unlikely.

Midsommar’s biggest sin is its length. This movie is too damned long, and most of its horrific moments occur in the first hour. I struggled to get to the end. It’s also terribly marketed as a horror film, and it’s not one. Sure, there are horror elements to the film, some truly disturbing visuals, much like Guillermo del Toro’s gothic romance Crimson Peak, but the marketing sells it on the horror and it’s much more of a dark drama with some fantasy elements. If you go in expecting to be terrified, I don’t think you’ll get that. Director Ari Aster (Hereditary) said it himself a year ago, but every piece of marketing focuses on the phrase “Ari Aster’s New Nightmare,” something the film cannot reach.

The film has some truly striking visuals, though, and many of them stuck with me, as did the writing. When I looked back at the hints and foreshadowing in the film, much of it I didn’t catch until long after leaving the theater. It’s a cleverly-written screenplay that tackles some very difficult themes, and from that are some great performances from the cast, most notably Pugh. She’s damn incredible as Dani, a complete departure from her recent work in Fighting with My Family.

I will probably revisit Midsommar when it hits home video. For all my frustrations with its length, it has stuck in my head. I’m hearing rumors of an extended cut of the film, which I may try out in a more comfortable chair. For me, I was hoping for something that would scare me like Hereditary did. It wasn’t awful, but I was disappointed (and bored).

 

2.5/5

-Kyle A. Goethe

Spider-Man: Far From Home (2019)

Director: Jon Watts

Cast: Tom Holland, Samuel L. Jackson, Jake Gyllenhaal, Zendaya, Cobie Smulders, Jon Favreau, J.B. Smoove, Jacob Batalon, Martin Starr, Marisa Tomei

Screenplay: Chris McKenna, Erik Sommers

129 mins. Rated PG-13 for sci-fi action violence, some language and brief suggestive content.

 

Well, Endgame is all done. We’ve culminated the MCU to our hearts’ content. There isn’t anything else to say, right? Oh, there’s another one already? Oh. Hey, everyone! Spider-Man is alive!

It’s been eight months since The Blip was reversed, and Peter Parker (Tom Holland, The Impossible, Pilgrimage) is still reeling from the death of his mentor and friend, Tony Stark. He’s been in the spotlight more and more since that time, scrutinized and studied, with reporters and people everywhere asking who will be the next Iron Man. Peter is more than happy to be leaving the country on a class trip to Europe for the summer, as it will give him a break from Spider-Man and allow him to have some more time with MJ (Zendaya, The Greatest Showman, Duck Duck Goose). Peter quickly discovers that he cannot escape his responsibilities as Spider-Man, though, when Nick Fury (Samuel L. Jackson, Pulp Fiction, The Hitman’s Bodyguard) comes looking for him. Fury has a mission for him: to team up with Quentin Beck (Jake Gyllenhaal, Nightcrawler, Velvet Buzzsaw), a hero from another universe that was destroyed by the Elementals, which have now found their way to our Earth. Can Peter juggle his class trip with his duties as an Avenger?

Kevin Feige was right when he called Far From Home the finale of Phase 3. In a lot of ways, it ties up a lot of the threads hanging on from Endgame in its own interesting way. It’s a more lighthearted finale to Phase 3 while also forever changing the MCU going forward. As a coda to The Infinity Saga, it is a powerful one, and it is a more MCU-centric film than a straightforward Spider-Man adventure.

Tom Holland is amazing as ever, this being his fifth outing as the web-slinger. He truly is the best version of Peter Parker I’ve seen. He embodies all that teenage high-school Peter Parker should, and yet, he is wise in some ways beyond his years because of all the things he’s been through in his short time as Spider-Man.

Jake Gyllenhaal’s work as Mysterio didn’t completely work in the movie. There were times I liked what he was doing and times I really didn’t. I think it boils down to the way his character was written because it did jump around a bit. I liked the way Mysterio translated from the comics to the film but I would have liked to dive into his character a lot more. It would have made his arc all the more powerful.

Zendaya’s version of MJ is much more fleshed out this time around and it works really well for the film, especially with how the possible relationship elements with Peter play out. She isn’t weird and quirky for the sake of it but just she finds interest in some of the more morbid elements of history and society. It’s a nerves thing, and you could call it out if you want, but there’s enough subtlety to give her a fascinating arc.

What’s so great about the film is how each character, major and minor, seemingly gets an arc in the film. It’s not extremely fleshed out, but there’s a lot going on and many of the minor characters get some sort of growth throughout the film.

I will say this. There are two post-credits scenes in the film and you have to see both. The first one is very important to Spider-Man’s story (it just should have been the end of the film and not a post-credits scene), and the other is major in the overall MCU story. You cannot miss these scenes!

Spider-Man: Far From Home juggles a lot of elements, and it works pretty well in that way. It does feel like it is cleaning up a lot of plot threads instead of focusing on Peter as much as I would have liked, but it does a great job with the classic Peter-doesn’t-want-to-be-Spider-Man story that all of the second installment Spider-Man films have done. I would have liked a better written Mysterio and a little tighter focus on Peter and company, but overall, this was an exhilarating sendoff to Phase 3, one very worth seeing.

 

3.5/5

-Kyle A. Goethe

 

 

For my review of Joe Johnston’s Captain America: The First Avenger, click here.

For my review of Anna Boden & Ryan Fleck’s Captain Marvel, click here.

For my review of Jon Favreau’s Iron Man, click here.

For my review of Jon Favreau’s Iron Man 2, click here.

For my review of Louis Leterrier’s The Incredible Hulk, click here.

For my review of Leythum’s A Funny Thing Happened on the Way to Thor’s Hammer, click here.

For my review of Anthony & Joe Russo’s Captain America: The Winter Soldier, click here.

For my review of James Gunn’s Guardians of the Galaxy, click here.

For my review of James Gunn’s Guardians of the Galaxy vol. 2, click here.

For my review of Joss Whedon’s Avengers: Age of Ultron, click here.

For my review of Anthony & Joe Russo’s Captain America: Civil War, click here.

For my review of Ryan Coogler’s Black Panther, click here.

For my review of Jon Watts’s Spider-Man: Homecoming, click here.

For my review of Taika Waititi’s Thor: Ragnarok, click here.

For my review of Anthony & Joe Russo’s Avengers: Infinity War, click here.

For my review of Anthony & Joe Russo’s Avengers: Endgame, click here.

Katherine Ryan: Glitter Room (2019)

Director: Linda Mendoza

Cast: Katherine Ryan

65 mins. Not Rated.

 

Katherine Ryan’s new stand-up special, Glitter Room, covers topics like dealing with men, parenting her daughter Violet, wanting to murder other mothers, the Kardashians, and men again. And men again. And men yet again.

Ryan’s special has one major flaw which unravels the entirety of the special, and it is that the stand-up has very few topics and she hits the same jokes over and over to wildly different results. I enjoyed most of the beginning of her act, but as she went on, I found myself waiting for the 65-minute runtime to come to an end.

Again, I have to point out that I found the first bits of the special to be quite funny, and I wasn’t offended by all the jabs at men because I did think it started very funny, but then over time the repetition lost a lot of its edge and soul. My wife was watching the special with me, and at one point, she turned to me and asked me how much of it was left because she was bored as hell, and then she remarked that this special was too long, telling me that she felt like she’d been sitting for over two hours. We were about 50 minutes in and I agreed, the comedy that didn’t work made the special drag on and on and feel so much longer.

Katherine Ryan has some comedic chops. That’s not something I’ll fight her on. Her insight was quite engaging at the beginning of Glitter Room. Her problem in the special is that she sticks to too few topics that become dull by its end. She needs to change it up more next time around.

 

2.5/5

-Kyle A. Goethe

Pet Sematary (2019)

Director: Kevin Kölsch, Dennis Widmyer

Cast: Jason Clarke, Amy Seimetz, John Lithgow

Screenplay: Jeff Buhler

101 mins. Rated R for horror violence, bloody images, and some language.

 

Pet Sematary is a haunting novel by Stephen King, one which he claims he almost regrets publishing because it was too dark, even for him. Now, that sounds like a lovely little marketing statement. In all fairness, the novel stayed with me long after finishing it. The original film was fine enough, and it surprisingly retained a lot of the more disturbing elements that one would possibly try to avoid, but I think it’s fair to say that someone should take another crack at it. This year, Kevin Kölsch and Dennis Widmyer (Starry Eyes, Holidays) did just that.

Louis (Jason Clarke, Zero Dark Thirty, Serenity) and Rachel (Amy Seimetz, Upstream Color, Wild Nights with Emily) Creed have just moved into their new home in Ludlow, Maine with their kids and pet cat. Louis has a new job working at the university hospital. After some time in the new home, the Creed family cat, Church, dies, and their neighbor Jud (John Lithgow, Late Night, TV’s 3rd Rock from the Sun) brings Louis to a space located just beyond the Pet Sematary behind the house. Louis buries Church there, and soon after, Church is up and walking again. But something is different with the family cat. He smells like rotted flesh and bites and scratches whenever possible. Louis begins to learn a painful secret about the Pet Sematary, one that will stay with him as further tragedy strikes: whatever is buried out beyond the Pet Sematary comes back, just not the same as it was, and sometimes dead is better.

I would have liked to see Andy Muschietti’s interpretation of the classic novel. The It director had expressed interest in attacking this one, but Kölsch and Widmyer got to it first, and the result is…fine. It has an awesomely grim view of the Creed family saga, and the changes to the story are interesting, but I failed to understand why such changes needed to be made. In effect, the changes to the story for this version of the film almost make it tamer than the previous film, an odd thing that I had not expected.

What’s confusing about the changing of most of the back-half of the film and the ending, apart from the notion that it really offers nothing new to the story, is that the film frequently makes small, almost unnoticeable references to the source novel and how it plays out. It kind of just reminds you of how the story is different, and that doesn’t work well for it. The film of course makes plenty of references to King’s other works, but it is the ones that reference tiny details of the novel that seemingly have no point being in the film.

Clarke and Seimetz are perfectly fine with the material, and Lithgow is expertly cast in a way that he offers an interesting character from the book a very unique and welcome interpretation. His is the best performance in the film.

There’s still a lot of the film that works really well, too, from the performances of the two children and the several real cats that played Church to the constant sense of dread that the directors placed over the proceedings. The scares are still there, and there’s some gruesomely haunting imagery in the film, all of it serves to unnerve its audience quite well. I found the experience quite enjoyable, but the problem was, about a day after seeing the film, I had forgotten much of what I really liked about it. The film didn’t stick with me the same way the source novel did, and that’s a damn shame.

Pet Sematary is an enjoyable albeit disturbing little movie that I enjoyed upon seeing. It’s also a forgettable experience that won’t leave much of a lasting effect on its viewers. Some of you may actually like that, as it deals with not-so-fun topics at times. I am saddened that it didn’t turn out as great as I had hoped, but it also wasn’t all that bad either. The film is fine. Just fine enough to warrant a viewing.

 

3/5

-Kyle A. Goethe

Apollo 11 (2019)

Director: Todd Douglas Miller

Cast: Buzz Aldrin, Janet Armstrong, Neil Armstrong

93 mins. Rated G.

 

Especially after seeing First Man, I thought I understood the Apollo 11 mission perfectly. That was, until I saw Apollo 11.

Apollo 11 is a documentary comprised of tons of footage of the famous manned mission to the moon. A lot of this footage has never been publically available until now. Director Todd Douglas Miller (Dinosaur 13, Scaring the Fish) has meticulously assembled, with an incredible team, a narrative from this footage, detailing the entire mission from moments before liftoff to the first step on the moon and then the return.

I don’t need to overly-detail what this doc is about because I think you’ll get it. What’s so fascinating about it is how engaging the film is. Everyone knows this story, right? I do, and yet, in a packed theater with tons of other people, many of which I would assume were actually alive during this time, and we were all enthralled with the story. Miller does something fascinating with his storytelling that made me forget that I knew exactly what was going to happen. I was looking at the screen, searching for details to further unearth, and I couldn’t look away.

This is a documentary worth looking at behind the scenes as well. I did a little research and discovered some of the making of material, and it’s incredible to see the rules adhered to by the creative team in trying to make every specific detail true and correct to factual events. The score for the film was completed only with instruments available in 1969 and all the footage is accurate except where expressly noted. Every attempt was made to make this film accessible as though we were watching it in 1969 itself, and that’s an incredible feat all it’s own.

Apollo 11 is a spectacular behind-the-scenes doc about one of the most incredible human acts in history. It gives its audience the ability to re-experience the moon landing all over again, and what an experience it is. If you are still capable of seeing this one at an IMAX theater, do so. Now.

 

4.5/5

-Kyle A. Goethe

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