THE MIDNIGHT SKY
As the producer, director, and star of this large-scale sci-fi drama, George Clooney crafts something ambitious and visually thrilling. But with a plot consisting of two separate storylines bound to meet, one is way less interesting than the other. Hint: It’s the one that doesn’t include Clooney.
Clooney plays a solitary scientist who must stop a crew of astronauts from returning to a dying Earth. However, deep down this is a story of connection, regret and redemption. That’s why it’s frustrating the film feels so underwhelming with no sense of urgency. You so badly want to be emotionally invested, yet the staleness makes it impossible to do so. While this could’ve been something special, it’s not a complete bust as the phenomenal production values and an immense and cogitative Clooney are worth remembering.
MANK
For those who worship Citizen Kane and cherish Old Hollywood, you will feel like you’re in cinematic heaven with David Fincher’s latest about critic and alcoholic screenwriter Herman J. Mankiewicz. As the chain-smoking, scathing, brilliant, drunken man himself, Gary Oldman is a marvelous mess. From when he was at the top of his game to being washed-up and hurrying to finish writing what would later be considered the greatest film of all time, Oldman submerges himself in becoming Mank so extraordinarily well.
And without question, this is a tremendous technical achievement. However, I personally felt more or less uninterested in the overall shallow story of self-absorption and the process of creating personal art and having your name on it. The runtime is greatly felt and Fincher’s deconstruction of the studio system isn’t that thrilling no matter how many famous names are mentioned. Most of all, Mank’s working relationship with a young Orson Welles and the infamous writing credit for Kane is disappointingly depicted. In the end, this may be my least favorite of Fincher’s films. It’s hard to see this as anything but style and no substance.
THE PROM
Director Ryan Murphy throws all of the razzle, dazzle viewers can handle, but it doesn’t change the fact that it remains a mostly tiring and mindless musical adaptation. The whole song and dance revolves around theater stars who’re egomaniacs in need of some good PR. They come barging in to a small Indiana town to put a spotlight on a local school’s prom being cancelled after a girl wants to take her girlfriend as her date.
Its well-meaning story of acceptance gets pushed to the back while the more flashier and extravagant aspects are front row. Dealing with all of that for over two hours isn’t that enjoyable. When it comes to the tip-top cast, they’re having way more fun than any of us watching. Plus, a lot of what they’re showcasing doesn’t equal to much. I suppose Meryl Streep is the exception. There’s no upstaging her, but newcomer Jo Ellen Pellman is stellar – playing the one genuine character you’re actually rooting for.
Brandon Vick is a member of The Music City Film Critics’ Association, the resident film critic of the SoBros Network, and the star of The Vick’s Flicks Podcast. Follow him on Twitter @SirBrandonV and be sure to search #VicksFlicks for all of his latest movie reviews.
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