by Josh Sewell
Dear Evan Hansen
(Rated PG-13 for thematic material involving suicide, brief strong language and some suggestive references. Opens in theaters on September 24.)
The premise: In director Steven Chbosky’s (The Perks of Being a Wallflower) big-screen adaptation of the smash Broadway musical, Ben Platt reprises the titular role of an anxious, isolated high schooler thrust into the social media spotlight following the tragic death of a classmate. The film is written by show creators Steven Levenson, Benj Pasek and Justin Paul (the latter are also the songwriting duo behind The Greatest Showman).
The verdict: I went into Dear Evan Hansen as someone who liked the stage show fine enough, but knew the buzz around the movie version was rough. Still, as the story clumsily argues, social media amplifies everything. I decided to ignore the chatter, block out any preconceived notions and go into the flick with an open mind.
Less than 10 minutes later, I was watching through my fingers and cringing so hard my teeth hurt. It was harrowing to realize I still had two hours to go. What’s more, the subject matter is so nauseating that it’s not even the entertaining kind of bad movie (like Cats).
As a melodramatic musical, it crashes and burns because it’s hard to overcome the plot’s inherent creepiness. However, it’s inadvertently effective if you pretend it’s a psychological thriller. The story blames anxiety and good intentions for Evan’s monstrous choices (which I won’t get into for spoiler reasons), but the truth is he’s a toxic person.
It doesn’t help that the 27-year-old Platt – yes, this has already been discussed to death – looks far too old to credibly portray a high school senior. In the stage production, Evan’s decisions are slightly easier to forgive because of his baby face and naïveté. When the character looks like a middle-aged man, he comes off as a sociopath.
I mean, Platt played a college student in Pitch Perfect almost a decade ago. Having him reprise the role of Evan here torpedoes the film. It’s a shame, because there are a couple of strong performances – courtesy of Kaitlyn Dever and Amy Adams – and good songs underneath the problematic stuff.
I genuinely like “Waving Through a Window” and “You Will Be Found.” Unfortunately, the latter’s inclusion here is frustrating – it perfectly captures the emotional manipulation of social media, but in service of a vile message. Whether you’re a fan of the musical or a curious newbie, I recommend staying far, far away.
Grade: D
Midnight Mass
(Rated TV-MA for language, violence, gore and smoking. Available on Netflix starting September 24.)
The premise: Mike Flanagan (The Haunting of Hill House) crafts a terrifying, deeply empathetic story of an isolated island town full of hurting people. Crockett Island’s problems are amplified by the return of disgraced golden boy Riley Flynn (Zach Gilford) and the arrival of charismatic priest Father Paul (Hamish Linklater). When the latter seems to be at the center of unexplainable miraculous events, a renewed religious fervor takes hold of the community. But the skeptical Riley questions the origins of these wonders.
The verdict: I can’t discuss why I love Midnight Mass, or why it affected me so profoundly, without getting into spoilers that would ruin its brutal, beautiful surprises. I’ll just get to the point and say this series is the best piece of entertainment I’ve watched so far this year.
I realize that’s high praise, especially when I can’t elaborate, but I haven’t been able to stop thinking about these wonderful characters, as well as what Flanagan has to say about the importance of faith and the dangers of fanaticism. The topic couldn’t be timelier, but the show makes its points without pandering or preaching; that’s impressive when one of the protagonists is an actual priest.
What a brilliant, scary and emotionally devastating series. Flanagan, finally getting the opportunity to make his passion project, pours everything he has into it. There’s some incredible slow-burn horror, with the early episodes’ methodical setup and deep focus on characters ultimately paying off in a huge way. When I realized what the story was building toward, I gasped. There are literal jaw-dropping moments.
Everyone in the cast is incredible, so it’s almost impossible to single anyone out. Still, it’s worth mentioning the outstanding performances from Gilford (the best he’s been since Friday Night Lights), Linklater and Kate Siegel (playing Riley’s old flame that might be rekindled). Samantha Sloyan is also excellent as one of the most loathsome antagonists in recent memory.
I can’t recommend Midnight Mass enough. Flanagan ripped my heart out and showed it to me, but I love him for it. This one’s a must-watch, folks.
Grade: A+
The Guilty
(Rated R for language throughout. Opens in theaters on September 24 and available on Netflix starting October 1.)
The premise: Set during a single morning at in a 911 call center, sidelined cop Joe Baylor (Jake Gyllenhaal) is determined to save a caller who’s in grave danger. However, he discovers the situation isn’t as simple as it appears.
The verdict: Gyllenhaal is excellent (as always) in what is pretty much a one-man show. Aside from a couple of brief moments with co-workers, Joe isolates himself so he can talk to a number of characters on the phone (voiced by talented actors like Riley Keough, Peter Sarsgaard, Ethan Hawke, Eli Goree and Da’Vine Joy Randolph) as the day spirals out of control.
I haven’t seen the 2018 Danish original (which is currently available on Hulu), but director Antoine Fuqua’s remake is really engaging. That’s impressive considering most of The Guilty is a guy pacing between two rooms and yelling into a headset. In some respects, it reminded me a lot of Joel Schumacher’s 2002 thriller Phone Booth.
Fuqua combats the monotony with terrific set design and some interesting camera shots, including lots of handheld action. Plus, Nic Pizzolatto’s screenplay reveals Joe’s disturbing backstory with realistic exposition that doesn’t feel shoehorned in. They prove it’s possible to make a socially-distanced film during the pandemic that’s not a boring slog (unlike Morgan Freeman’s awful Vanquish).
Grade: B
Home Video Spotlight
Breakdown
(Rated R for strong violence/terror and language. Now available.)
This 1997 thriller, starring Kurt Russell as a stranded motorist searching for his missing wife, hits Blu-ray as part of the Paramount Presents line. The disc boasts a wide array of new bonus features, including an audio commentary from Russell and director Jonathan Mostow; an alternate opening (with optional commentary from Mostow); three featurettes; an isolated audio track of Basil Poledouris’ score; and access to a digital copy of the film.
Hardball
(Rated PG-13 for thematic elements, language and some violence. Now available.)
This heartwarming baseball drama starring Keanu Reeves, Diane Lane and Michael B. Jordan (in one of his first roles) arrives on Blu-ray to celebrate its 20th anniversary. Reeves plays Conor, a gambler who owes money to some dangerous guys. Desperate for cash, he reluctantly takes a job coaching a group of tough-talking kids from Chicago’s inner city. Bonus features include an audio commentary from director Brian Robbins and writer John Gatins; a making-of featurette; deleted scenes; and the “Hardball” music video.
“Crocodile” Dundee Trilogy
(Rated PG-13/PG. Now available.)
Paul Hogan’s hit 1980s comedy “Crocodile” Dundee – which earned over $328 million worldwide and spawned two sequels – celebrates its 35th anniversary this year. To commemorate the occasion, Paramount recently released all three films in a single Blu-ray collection. It contains making-of featurettes, theatrical trailers and access to digital copies of the films.
(Rated PG-13 for thematic material involving suicide, brief strong language and some suggestive references. Opens in theaters on September 24.)
The premise: In director Steven Chbosky’s (The Perks of Being a Wallflower) big-screen adaptation of the smash Broadway musical, Ben Platt reprises the titular role of an anxious, isolated high schooler thrust into the social media spotlight following the tragic death of a classmate. The film is written by show creators Steven Levenson, Benj Pasek and Justin Paul (the latter are also the songwriting duo behind The Greatest Showman).
The verdict: I went into Dear Evan Hansen as someone who liked the stage show fine enough, but knew the buzz around the movie version was rough. Still, as the story clumsily argues, social media amplifies everything. I decided to ignore the chatter, block out any preconceived notions and go into the flick with an open mind.
Less than 10 minutes later, I was watching through my fingers and cringing so hard my teeth hurt. It was harrowing to realize I still had two hours to go. What’s more, the subject matter is so nauseating that it’s not even the entertaining kind of bad movie (like Cats).
As a melodramatic musical, it crashes and burns because it’s hard to overcome the plot’s inherent creepiness. However, it’s inadvertently effective if you pretend it’s a psychological thriller. The story blames anxiety and good intentions for Evan’s monstrous choices (which I won’t get into for spoiler reasons), but the truth is he’s a toxic person.
It doesn’t help that the 27-year-old Platt – yes, this has already been discussed to death – looks far too old to credibly portray a high school senior. In the stage production, Evan’s decisions are slightly easier to forgive because of his baby face and naïveté. When the character looks like a middle-aged man, he comes off as a sociopath.
I mean, Platt played a college student in Pitch Perfect almost a decade ago. Having him reprise the role of Evan here torpedoes the film. It’s a shame, because there are a couple of strong performances – courtesy of Kaitlyn Dever and Amy Adams – and good songs underneath the problematic stuff.
I genuinely like “Waving Through a Window” and “You Will Be Found.” Unfortunately, the latter’s inclusion here is frustrating – it perfectly captures the emotional manipulation of social media, but in service of a vile message. Whether you’re a fan of the musical or a curious newbie, I recommend staying far, far away.
Grade: D
(Rated TV-MA for language, violence, gore and smoking. Available on Netflix starting September 24.)
The premise: Mike Flanagan (The Haunting of Hill House) crafts a terrifying, deeply empathetic story of an isolated island town full of hurting people. Crockett Island’s problems are amplified by the return of disgraced golden boy Riley Flynn (Zach Gilford) and the arrival of charismatic priest Father Paul (Hamish Linklater). When the latter seems to be at the center of unexplainable miraculous events, a renewed religious fervor takes hold of the community. But the skeptical Riley questions the origins of these wonders.
The verdict: I can’t discuss why I love Midnight Mass, or why it affected me so profoundly, without getting into spoilers that would ruin its brutal, beautiful surprises. I’ll just get to the point and say this series is the best piece of entertainment I’ve watched so far this year.
I realize that’s high praise, especially when I can’t elaborate, but I haven’t been able to stop thinking about these wonderful characters, as well as what Flanagan has to say about the importance of faith and the dangers of fanaticism. The topic couldn’t be timelier, but the show makes its points without pandering or preaching; that’s impressive when one of the protagonists is an actual priest.
What a brilliant, scary and emotionally devastating series. Flanagan, finally getting the opportunity to make his passion project, pours everything he has into it. There’s some incredible slow-burn horror, with the early episodes’ methodical setup and deep focus on characters ultimately paying off in a huge way. When I realized what the story was building toward, I gasped. There are literal jaw-dropping moments.
Everyone in the cast is incredible, so it’s almost impossible to single anyone out. Still, it’s worth mentioning the outstanding performances from Gilford (the best he’s been since Friday Night Lights), Linklater and Kate Siegel (playing Riley’s old flame that might be rekindled). Samantha Sloyan is also excellent as one of the most loathsome antagonists in recent memory.
I can’t recommend Midnight Mass enough. Flanagan ripped my heart out and showed it to me, but I love him for it. This one’s a must-watch, folks.
Grade: A+
(Rated R for language throughout. Opens in theaters on September 24 and available on Netflix starting October 1.)
The premise: Set during a single morning at in a 911 call center, sidelined cop Joe Baylor (Jake Gyllenhaal) is determined to save a caller who’s in grave danger. However, he discovers the situation isn’t as simple as it appears.
The verdict: Gyllenhaal is excellent (as always) in what is pretty much a one-man show. Aside from a couple of brief moments with co-workers, Joe isolates himself so he can talk to a number of characters on the phone (voiced by talented actors like Riley Keough, Peter Sarsgaard, Ethan Hawke, Eli Goree and Da’Vine Joy Randolph) as the day spirals out of control.
I haven’t seen the 2018 Danish original (which is currently available on Hulu), but director Antoine Fuqua’s remake is really engaging. That’s impressive considering most of The Guilty is a guy pacing between two rooms and yelling into a headset. In some respects, it reminded me a lot of Joel Schumacher’s 2002 thriller Phone Booth.
Fuqua combats the monotony with terrific set design and some interesting camera shots, including lots of handheld action. Plus, Nic Pizzolatto’s screenplay reveals Joe’s disturbing backstory with realistic exposition that doesn’t feel shoehorned in. They prove it’s possible to make a socially-distanced film during the pandemic that’s not a boring slog (unlike Morgan Freeman’s awful Vanquish).
Grade: B
Home Video Spotlight
(Rated R for strong violence/terror and language. Now available.)
This 1997 thriller, starring Kurt Russell as a stranded motorist searching for his missing wife, hits Blu-ray as part of the Paramount Presents line. The disc boasts a wide array of new bonus features, including an audio commentary from Russell and director Jonathan Mostow; an alternate opening (with optional commentary from Mostow); three featurettes; an isolated audio track of Basil Poledouris’ score; and access to a digital copy of the film.
(Rated PG-13 for thematic elements, language and some violence. Now available.)
This heartwarming baseball drama starring Keanu Reeves, Diane Lane and Michael B. Jordan (in one of his first roles) arrives on Blu-ray to celebrate its 20th anniversary. Reeves plays Conor, a gambler who owes money to some dangerous guys. Desperate for cash, he reluctantly takes a job coaching a group of tough-talking kids from Chicago’s inner city. Bonus features include an audio commentary from director Brian Robbins and writer John Gatins; a making-of featurette; deleted scenes; and the “Hardball” music video.
(Rated PG-13/PG. Now available.)
Paul Hogan’s hit 1980s comedy “Crocodile” Dundee – which earned over $328 million worldwide and spawned two sequels – celebrates its 35th anniversary this year. To commemorate the occasion, Paramount recently released all three films in a single Blu-ray collection. It contains making-of featurettes, theatrical trailers and access to digital copies of the films.
Reach out to Josh Sewell on Twitter @IAmJoshSewell
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