by Josh Sewell
Guillermo del Toro’s Pinocchio
(Rated PG for dark thematic material, violence, peril, some rude humor and brief smoking. Now playing in limited release and available on Netflix beginning December 9.)
The premise: Oscar-winning director Guillermo del Toro and stop-motion animation legend Mark Gustafson reimagine the classic Carlo Collodi tale of a wooden boy (Gregory Mann) brought to life, his cricket conscience (Ewan McGregor) and the heartbroken toymaker (David Bradley) who created him. This version updates the story to 20th century war-torn Italy, ruled by fascist dictator Benito Mussolini, but maintains the narrative’s alternating darkness and whimsy.
The verdict: The second Pinocchio adaptation of 2022 is by far the best. That’s because Robert Zemeckis’ lackluster remake of the iconic Disney cartoon stayed tediously faithful to the original and relied too much on personality-draining CGI. On the other hand, del Toro puts his signature stamp on the material by focusing on the emotions at the heart of the story while bringing the underlying horror elements to the forefront using dark humor.
Of course, it also doesn’t hurt that the film features some of the most beautiful stop-motion I’ve ever seen. Numerous scenes left me slack jawed and I actually gasped quite a few times. Combine that with stellar voice work from Bradley, McGregor, Mann and a stacked supporting cast that includes Cate Blanchett, Tilda Swinton, Christoph Waltz, John Turturro, Ron Pearlman and Finn Wolfhard, and you’ve got an engaging world that draws you in no matter how familiar the material might be.
Grade: B+
She Said
(Rated R for language and descriptions of sexual assault. Now playing in theaters.)
The premise: In this searing drama – based on true events – Carey Mulligan and Zoe Kazan play New York Times reporters Megan Twohey and Jodi Kantor, who broke one of the most important stories of the modern era. Their work helped shatter decades of silence around the subject of sexual assault in Hollywood and played a major role in bringing serial predator Harvey Weinstein to justice.
The verdict: While She Said doesn’t quite reach the heights of cinematic journalism classics like All the President’s Men and Spotlight, it’s an engaging tribute to dying art of newspapers. As someone with an obvious vested interest in the field, I’m happy for any movie that reminds audiences why reporting is so crucial to a functioning society.
Granted, the first act is heavy on the exposition, leading to some clunky scenes where reporters explain concepts to each other they’d probably already know. Despite a few rocky moments, the outstanding Mulligan and Kazan ensure the film is never dull. The same goes for supporting performers Patricia Clarkson, Andre Brauer and Samantha Morton.
There’s also brilliant work from another actress, though I’m not sure if mentioning her by name would be considered a spoiler. I’ll refrain just in case, but I was genuinely surprised when she appeared onscreen. It might be the bravest performance in the entire film, considering the real-life trauma that prompted her inclusion in the story.
Unfortunately, She Said is underperforming at the box office – not exactly a surprise considering the brutal subject matter. But that’s why I’m writing about it now, even though it’s been out for a couple of weeks. For those who complain that theaters are only offering sequels, reboots and superhero movies, now’s your chance to put your money where your mouth is. If you want quality grown-up options at the multiplex, you have to support them when the opportunity presents itself.
Grade: B
Thirteen Lives
(Rated PG-13 for some strong language and unsettling images. Available on Prime Video.)
The premise: In this harrowing true story, director Ron Howard takes a page out of Paul Greengrass’ playbook by depicting a heroic, dangerous rescue with documentary-style realism. In June 2018, a Thai soccer team consisting of 12 boys and their coach were exploring the Tham Luang cave when a sudden rainstorm traps them behind a maze of flooded tunnels. Facing impossible odds, the local government enlists the help of elite divers from around the world (including characters played by Colin Farrell, Viggo Mortensen and Joel Edgerton) to locate the boys and get them to safety.
The verdict: After the garbage fire that was 2020’s Hillbilly Elegy, I wondered if Ron Howard was done. He’s never been at the top of most film nerds’ list of all-time favorite directors, but he almost never sleepwalks through projects and he’s got a workmanlike approach that – to me, at least – works more often than not. Heck, I even liked Solo: A Star Wars Story more than most critics.
Still, try as I might, I barely made it through Howard’s insipid adaptation of J.D. Vance’s condescending memoir. To be honest, that’s probably why Thirteen Lives wasn’t on my radar when it opened in limited release this summer before quietly hitting Prime Video. Turns out it was my loss – I missed out on a gripping thriller full of strong, understated performances and naturalistic cinematography that puts viewers at the center of the rescue operation.
There are so many effective underwater sequences that my heart rate escalated and claustrophobia kicked in. No exaggeration, I had to hit pause and walk around the room quite a few times. That speaks to Howard’s commitment to realism and authenticity, while also emphasizing the real dangers these real-life heroes confronted in order to save kids they’d never even met.
If – like me – you overlooked Thirteen Lives earlier this year, I strongly recommend going back and checking it out. You’ll be rewarded with one of 2022’s best films.
Grade: A-
(Rated PG for dark thematic material, violence, peril, some rude humor and brief smoking. Now playing in limited release and available on Netflix beginning December 9.)
The premise: Oscar-winning director Guillermo del Toro and stop-motion animation legend Mark Gustafson reimagine the classic Carlo Collodi tale of a wooden boy (Gregory Mann) brought to life, his cricket conscience (Ewan McGregor) and the heartbroken toymaker (David Bradley) who created him. This version updates the story to 20th century war-torn Italy, ruled by fascist dictator Benito Mussolini, but maintains the narrative’s alternating darkness and whimsy.
The verdict: The second Pinocchio adaptation of 2022 is by far the best. That’s because Robert Zemeckis’ lackluster remake of the iconic Disney cartoon stayed tediously faithful to the original and relied too much on personality-draining CGI. On the other hand, del Toro puts his signature stamp on the material by focusing on the emotions at the heart of the story while bringing the underlying horror elements to the forefront using dark humor.
Of course, it also doesn’t hurt that the film features some of the most beautiful stop-motion I’ve ever seen. Numerous scenes left me slack jawed and I actually gasped quite a few times. Combine that with stellar voice work from Bradley, McGregor, Mann and a stacked supporting cast that includes Cate Blanchett, Tilda Swinton, Christoph Waltz, John Turturro, Ron Pearlman and Finn Wolfhard, and you’ve got an engaging world that draws you in no matter how familiar the material might be.
Grade: B+
(Rated R for language and descriptions of sexual assault. Now playing in theaters.)
The premise: In this searing drama – based on true events – Carey Mulligan and Zoe Kazan play New York Times reporters Megan Twohey and Jodi Kantor, who broke one of the most important stories of the modern era. Their work helped shatter decades of silence around the subject of sexual assault in Hollywood and played a major role in bringing serial predator Harvey Weinstein to justice.
The verdict: While She Said doesn’t quite reach the heights of cinematic journalism classics like All the President’s Men and Spotlight, it’s an engaging tribute to dying art of newspapers. As someone with an obvious vested interest in the field, I’m happy for any movie that reminds audiences why reporting is so crucial to a functioning society.
Granted, the first act is heavy on the exposition, leading to some clunky scenes where reporters explain concepts to each other they’d probably already know. Despite a few rocky moments, the outstanding Mulligan and Kazan ensure the film is never dull. The same goes for supporting performers Patricia Clarkson, Andre Brauer and Samantha Morton.
There’s also brilliant work from another actress, though I’m not sure if mentioning her by name would be considered a spoiler. I’ll refrain just in case, but I was genuinely surprised when she appeared onscreen. It might be the bravest performance in the entire film, considering the real-life trauma that prompted her inclusion in the story.
Unfortunately, She Said is underperforming at the box office – not exactly a surprise considering the brutal subject matter. But that’s why I’m writing about it now, even though it’s been out for a couple of weeks. For those who complain that theaters are only offering sequels, reboots and superhero movies, now’s your chance to put your money where your mouth is. If you want quality grown-up options at the multiplex, you have to support them when the opportunity presents itself.
Grade: B
(Rated PG-13 for some strong language and unsettling images. Available on Prime Video.)
The premise: In this harrowing true story, director Ron Howard takes a page out of Paul Greengrass’ playbook by depicting a heroic, dangerous rescue with documentary-style realism. In June 2018, a Thai soccer team consisting of 12 boys and their coach were exploring the Tham Luang cave when a sudden rainstorm traps them behind a maze of flooded tunnels. Facing impossible odds, the local government enlists the help of elite divers from around the world (including characters played by Colin Farrell, Viggo Mortensen and Joel Edgerton) to locate the boys and get them to safety.
The verdict: After the garbage fire that was 2020’s Hillbilly Elegy, I wondered if Ron Howard was done. He’s never been at the top of most film nerds’ list of all-time favorite directors, but he almost never sleepwalks through projects and he’s got a workmanlike approach that – to me, at least – works more often than not. Heck, I even liked Solo: A Star Wars Story more than most critics.
Still, try as I might, I barely made it through Howard’s insipid adaptation of J.D. Vance’s condescending memoir. To be honest, that’s probably why Thirteen Lives wasn’t on my radar when it opened in limited release this summer before quietly hitting Prime Video. Turns out it was my loss – I missed out on a gripping thriller full of strong, understated performances and naturalistic cinematography that puts viewers at the center of the rescue operation.
There are so many effective underwater sequences that my heart rate escalated and claustrophobia kicked in. No exaggeration, I had to hit pause and walk around the room quite a few times. That speaks to Howard’s commitment to realism and authenticity, while also emphasizing the real dangers these real-life heroes confronted in order to save kids they’d never even met.
If – like me – you overlooked Thirteen Lives earlier this year, I strongly recommend going back and checking it out. You’ll be rewarded with one of 2022’s best films.
Grade: A-
Reach out to Josh Sewell on Twitter @IAmJoshSewell
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