THE BEST CHRISTMAS PAGEANT EVER

        Photos courtesy of Lionsgate

Nostalgia can be deceptive from time to time.  Things often are better remembered than they actually were.  When I saw the trailer for the THE BEST CHRISTMAS PAGEANT EVER, I was surprised at how pedestrian it appeared.  I remember reading the book in elementary school, and it being one of my favorites, but this recollection must have been wrong based on the rather dull preview of this big screen adaptation.

I am glad that I couldn't have been more wrong.  After seeing the 91% critics score, and 97% audience approval for the movie on Rotten Tomatoes, I was able to convince my wife, and two teenage daughters, to venture to the multiplex to check out a PG-rated live action film, and it wasn't even a Disney production.

The film is based on a popular 1972 short story written by Barbara Robinson, titled, Best Christmas Pageant Ever, about a gang of siblings called the Herdmans, who wreak havoc in school and throughout the community, and decide they want to be a part of a church's annual Christmas pageant.  There are six Herdman kids, four boys and two girls, and despite their varying age and gender, all seem to enjoy fighting, stealing, cussing and basically anything abhorrent to kids and adults.  The film is told through the eyes of Beth, a classmate of Imogene Herdman, the eldest of the Herdman kids, and daughter to Grace, the mother who decides to fill in for the lifetime pageant director.  Beth sees the Herdman kids just like everyone else, troublemakers who have no business in church, let alone the Christmas pageant.  After Beth's brother Charlie brags about after-church cookies, cake and desserts, the Herdmans decide to attend church to aide their sweet tooth.

The Herdmans hear about the upcoming Christmas pageant in church that Sunday, and return the following week to claim their roles.  Imogene is the lone volunteer to play Mary, while her other brothers grab the roles of Joseph and the Three Wiseman, and her little sister. Gladys snags the part of the angel.

Grace already feeling the community and church pressure of directing the pageant, and the 75th anniversary of the annual event, has more added stress by the Herdmans occupying all of the lead parts.

THE BEST CHRISTMAS PAGEANT EVER is a refreshing look at Christianity in its purest sense, adhering to the golden rule, and tending to the lost sheep.  In spite of the pressure from several church members, Grace goes on with the Herdmans in the lead roles, telling Beth that Jesus came for all of us, including the Herdmans.  Director Dallas Jenkins, most notable as the creator of the TV series The Chosen, along with screenwriters Platte Clark, Darin McDaniel and Ryan Swanson, craft the Herdmans as very unlikable, and often times unbearable.  The foursome pull no punches, as we watch the kids lie, steal and cuss out their teachers.  The kids use the Lord's name in vain in church on multiple occasions. Imogene goes as far as snatching a locket from Beth's neck, one that her mom gave her.

With each passing scene, the edge of the Herdmans is gradually dulled, as we take a look into their lives.  Their parents are never seen, we witness the jubilation as Beth's dad, Bob, delivers a Christmas ham to their home and Imogene reveals the real reason they want to be part of the play, as an escape from reality.

The performances are solid, lending authenticity to the film, whether its Judy Greer's earnestness as Grace, Molly Belle Wright's sincerity as Beth or the genuine anger, bitterness and sadness of Beatrice Schneider's Imogene.  The supporting players are not as sharply defined, but rather colorful archetypes that serve a purpose.  Imagine real-life Springfield residents from The Simpsons.

It had been roughly 40 years since I had read THE BEST CHRISTMAS PAGEANT EVER, so much of the film seemed fresh and new.  I knew the jest of the story, and remembered how it played out, but I don't remember it having as grand of an impact, particularly the climatic moment.  There are surprises throughout the movie, and of course, during the pageant, but the biggest surprise is the most unpredictable moment as Beth calls it, and the one that rings the truest and hits the hardest.

THE BEST CHRISTMAS PAGEANT EVER is truly what Christmas is all about.  A ticket to this holiday gem might be the best gift you give this season.  A merry Christmas courtesy of the Herdmans. 

HACKSAW RIDGE

        Photos courtesy of Summit Entertainment and Cross Creek Pictures

A World War Two Army medic is a conscientious objector serving on the front lines in director Mel Gibson's HACKSAW RIDGE.  

Andrew Garfield is Desmond Doss, a Virginia native raised in a two-parent household, with a brother and abusive father.  Picking up some of his father's tendencies, Desmond nearly kills his brother when he strikes him with a brick as children.  The event is a tragic one, and one that shapes Desmond's view on violence.  

Years later, his brother Hal joins the Army to fight in World War Two.  Desmond, wanting to serve, joins the armed forces a medic, but refuses to be armed, sighting his religious beliefs.  His stance ruffles many feathers, particularly Sergeant Howell his no-nonsense superior played by Vince Vaughn and many of the men in his troop.

As a biographical war film based on a pacifist serving during the last World War, HACKSAW RIDGE arrives at just the right time. With starkly contrasting points of view from its lead character and his fellow serviceman, HACKSAW RIDGE proves that a pacifist cannot only assist during war time efforts, but can be an integral piece.  

Mixing messages of faith and peace in the midst of a war film is no easy task, particularly a film which depicts the violence in brutal, yet necessary terms. Gibson gives air to Ecclesiates chapter three, verse three, or if you're a Byrds fan, "Turn, Turn, Turn", showing that not only is their a time for war and peace, but it may be in the same instance.  Garfield plays Doss as slow-witted, but not dumb, optimistic, yet not naive and the reward is a truly unique individual that stands by his convictions, while allowing others to stand by theirs. 

It's a rare cinematic treat to watch two sides of the coin be displayed, not only respecting each point of view, but giving equal treatment. HACKSAW RIDGE's battle sequences are unique in their own right. With a wide variety of obstacles to overcome, from standard warfare to underground bunkers to a giant cliff to repel, the film recreates events with a clear understanding of the deadly encounters that US forces faced at Hacksaw Ridge.  

The film is an anomaly of sorts, and refreshing one at that.  A war time film that calls for both war and peace and the necessity of both. I highly recommend HACKSAW RIDGE with a B+.

ROGUE ONE: A STAR WARS STORY

The Rebel Alliance attempts to steal plans for the Empire's Death Star in ROGUE ONE: A STAR WARS STORY.  

Set just prior to STAR WARS EPISODE ONE: THE NEW HOPE, ROGUE ONE follows a different story in the STAR WARS saga, the story of Jyn Erso, an orphan played by Felicity Jones, who fled her home as a child following the death of her mother and the capture of her father, Galen, at the hands of the Empire.  Jyn is found by Saw, played by Forrest Whitaker, an independent rebel and ally of Jyn's late mother.  Years pass, and the rebel forces learn of an Empire device, the Death Star, that can destroy entire planets.  Although Galen has been with the Empire for years, he's been working internally against it, building a fail safe within the Death Star.  

After reuniting with his daughter, Galen reveals to Jyn that there's a way to detonate the Death Star.  Jyn wishes to work with rebel forces to defeat the Empire, but the Rebel Alliance questions her motives as her father worked with the Empire.

ROGUE ONE overcompensates for its course correction from the last STAR WARS fresh start, referring to STAR WARS EPISODE ONE: THE PHANTOM MENACE, not EPISODE SEVEN: THE FORCE AWAKENS. 

Where THE PHANTOM MENACE was more in touch with STAR WARS child-like nature, sometimes to nauseating effect, ROGUE ONE is rather grim, dull and often lifeless.  The performances are stoic with Jones and co-star Diego Luna rarely revealing any personality or little emotion.  Their characters are workmanlike in nature, much like the plot, focused on the mechanics of what their characters are discovering, rather than revealing any soul.  

The story amounts to gathering information and relaying a message, not exactly groundbreaking storytelling.  The infusion of the force is heavy-handed, and reverts to repeated sermonizing from Chirrut Imwe, a blind warrior, who continues to iterate the phrase, "The force is with me and I am one with the force".  

ROGUE ONE is not without its successes.  The special effects have never been better, the cameos are wonderfully sprinkled throughout and the conclusion is a refreshingly dark, yet meaningful testament to the lead characters faith in their mission.  

ROGUE ONE: A STAR WARS STORY does well with the secondary aspects, but falters with the most crucial parts.  I don't recommend it with a "C".

STAR WARS: THE FORCE AWAKENS

        Photos courtesy of Lucasfilm

The epic space saga between the light and dark side continues in the seventh episode of STAR WARS with THE FORCE AWAKENS.  Thirty years after the fall of the second Death Star, the dark side is still alive.  The defunct Galactic Empire have been replaced by the First Order, a devastating militia that seeks universal domination.  The opposition, the Resistance, a military force led by General Leia Organa stands in the way of the First Order.  

STAR WARS: THE FORCE AWAKENS centers around a former storm trooper Finn, played by John Boyega, who flees the First Order and ends up with a Rey, a scavenger played by Daisey Ridley, who has obtained valuable information about the lone remaining Jedi, Luke Skywalker and his potential whereabouts.  After a run in with Hans Solo and Chewbacca, the foursome of Hans, Finn, Rey and Chewie head out on the Millennium Falcon in search of answers.

STAR WARS: THE FORCE AWAKENS is a nostalgic slice of entertainment, a blockbuster of yesteryear, a film as focused on plot and mythology as it is special effects and set pieces.  

This blockbuster of blockbusters, unlike episodes one through three, isn't hamstrung by a course already determined, but is allowed the luxury of referring back to past characters and events to set the trajectory for the future.  With the luxury of bringing back staples like Leia, Hans Solo, Chewie and more, writer-director JJ Abrams and writers Lawerence Kasdan and Micael Arndt can leave character development as an afterthought with built in ties to the familiar faves.  

Although the foundation has been laid with Finn and Rey, their stoic personalities lend little vested interest.  Kylo Ren, the commander of the First Order's storm troopers, and the new face of the dark side has the most compelling backstory and is certain to push episodes eight and nine on a terrific path.  Presumably Finn and Rey will deliver a more compelling story moving forward, but in THE FORCE AWAKENS they serve more as pawns in a deliberately entangled web of dark family dynamics and big moments.  

Although the film recollects and recreates moments from the original, episode seven still stands on its own with a darker edge and mystery to boot.  STAR WARS: THE FORCE AWAKENS recreates some of the series old magic, while charting its own course.  I highly recommend it with a B+.

BRIDGE OF SPIES

                                   Photos courtesy of Dreamworks and 20th Century Fox

Tom Hanks attempts to broker a deal between Eastern and Western superpowers in Steven Spielberg's cold war drama BRIDGE OF SPIES.  BRIDGE OF SPIES is based on the real-life account of James Donovan, an American insurance lawyer who came to defend a Russian spy in the United States and later went on to serve as a mediator between America and the former Soviet Union in negotiating an exchange of each countries spies.

Hanks is Donovan, a husband and father of three, who is recruited by the US government and the insurance company he works for, to defend Rudolf Abel, played by Mark Rylance, a Soviet spy that has been detained by the FBI for espionage. Hanks represents Abel, but loses a hard-fought case against the bureau.  Donovan's victory comes in Abel's sentencing, as the court rules that Abel be detained in a federal prison for up to 30 years, as opposed to instituting a death sentence.

This sentencing would later prove crucial, as Donovan is called upon by the United State government to broke an exchange deal between the former Soviet Union and the United States, exchanging Abel for captured US spy and pilot Francis Gary Powers.

BRIDGE OF SPIES is a nice companion piece for Spielberg's last cinematic endeavor, LINCOLN. Both are centered around historical United States moments, and both films are focused on the mechanisms of two of America's most prized institutions.

Where LINCOLN dabbled in politics and the legislative process, BRIDGE OF SPIES centers its attention around the American judicial system.  Politics again come into play in BRIDGE OF SPIES as Spielberg thoughtfully infuses his account of the proceedings with what he believes unites us all as Americans, our constitution.  Early in BRIDGE OF SPIES, Donovan interacts with CIA Agent Glienicke Bridge, played by Martin Dew, and iterates that although their heritages are distinctly different, that both men as Americans and are bound together by the rules, the US Constitution.  Spielberg argues that all men should be treated equally under "the rules", whether they're a US citizen or not.  Central to BRIDGE OF SPIES are the performances of Hanks and Rylance.  Hanks embodies Donovan as an every man, initially taking the assignment out of obligation, but later seeing it as a patriotic duty.  Rylance's portrayal is a bit trickier, keeping the mystery surrounding Abel concealed, while allowing bits of the spy's personality to seep through his performance.

Where LINCOLN was a careful and thorough examination of the United States legislative process, BRIDGE OF SPIES is an emotional plea for American ideals.  Spielberg crafts a riveting negotiating thriller wrapped around his vision of what our country stands for.  I highly recommend BRIDGE OF SPIES with a B+.

THE HANGOVER PART TWO

Photos courtesy of Warner Bros. Pictures

The wolf pack is back, but this time the bachelor party is taken overseas in the comedy sequel THE HANGOVER 2.

This time around, Stu is the one tying the knot, with Phil, Doug and Alan along for the ride again, this time in Thailand. Stu, not wishing for another repeat of their stint in Vegas, elects for a bachelor party brunch at I-HOP before they leave the states. This won’t due as far as Phil is concerned, so following the rehearsal dinner, he convinces his buddies, and Stu’s soon-to-be 16-year-old brother-in-law, to join him for one beer around the campfire before packing it in for the night.

One-beer, and several hours later, Phil, Stu and Alan find themselves hung over in a seedy Bangkok motel, minus Teddy, but not his finger. With little time to spare before the wedding, the threesome hit the streets in search of Teddy.

THE HANGOVER TWO is almost a carbon copy of the original, taking almost identical situations and events and magnifying the absurdity for maximum laughs. This is blatantly intentional from the set-up, a toast; the morning after, a severe hangover in a trashed hotel room; and a lost member of the wedding party. These are just a few of the many similarities between THE HANGOVER and THE HANGOVER PART TWO.

Although the replica plot leaves little surprises, the laughs come fast and furious thanks to a screenplay with dialogue-driven humor, and a cast who’s camaraderie is matched only by its insanity. In many ways, THE HANGOVER PART TWO serves as a highly successful situation comedy. We’ve been there, and done that, but watching the same characters jump through the hoops once again elicits a tremendous amount of laughs due to the built in personalities of the wolf pack, and the heightened attitude and intensity in director Todd Phillips films.

The talented cast of comics returns, with Ed Helms still apprehensive and conservative as Stu, Bradley Cooper back as the school teacher gone wild Phil and Zach Galifinakis reprises his role of Alan, the somewhat naïve, awkward and always inappropriate brother-in-law of Doug (who again is an afterthought).

Although THE HANGOVER PART TWO doesn’t earn high marks for creativity, it does score thanks to writer-director Todd Phillips no-holds barred screenplay and direction, and a cast who’ll do anything for a laugh.

Grade: B