My Top Ten Films of 2021 (In no particular order)-

The Unknown Saint- quietly amusing fable about a thief determined to retrieve his hidden loot from an unlikely place.

Cruella- a surprising entertainment starring Emma Stone in the origin of Cruella De Ville.

The summer of Soul- fascinating documentary on the Harlem Cultural Festival of 1969 that most people never even knew happened.

Pig- Nicolas Cage’s best work since “Leaving Las Vegas”. He stars as a man searching for his truffle pig. Doesn’t sound like much but it’s terrific.

Dune: Part One- Despites some flaws, this is a sweeping epic science fiction adventure.

Belfast- wonderful coming of age story set against the turbulent times of the “Troubles” in Northern Ireland.

Last Night in Soho- terrific mash-up of swinging ‘60’s London, a ghost story, a murder mystery and horror film rolled into one really fun film.

Licorice Pizza- odd coming of age love story with terrific performances by Cooper Hoffman and Alana Haim.

The Power of the Dog- Brilliantly written and directed by Jane Campion, the film sneaks up on you until an explosive revelation at the end makes you rethink everything.

The Tragedy of Macbeth- Denzel Washington is a towering presence in this Joel Coen black and white, ethereal adaptation of Shakespeare’s Macbeth.

West Side Story (2021)

           With a screenplay by Tony Kushner and directed by Steven Spielberg, this version of the beloved musical hits a high note in the careers of both men. While playing tribute to the original 1961 film, Mr. Kushner's script and Mr. Spielberg's direction are filled with a modern sensibility (especially when it comes to the Latino characters and history) that infuses new life into the classic.

      The film still takes place in the late fifties and the visuals, set design and costumes are wonderful. All the songs from the original are in place but the filmmakers take some liberty with time and location and while some of the original choreography is noticeable,  choreographer Justin Peck elevates the dance numbers for a modern audience and they are just as exciting as the original, if not more.

      Mr. Spielberg and his frequent collaborator, cinematographer Janusz Kaminski make brilliant use of the camera, swooping in and out and around all the actors.  They make bold choices for wide shots, close-ups and angles to maximize the look and feel of the story. 

 And speaking of bold choices, it is a cast of fairly unknown young actors in the lead roles, with the exception of Ansel Elgort (Baby Driver) as Tony. Maria is played by newcomer, Rachel Zegler, Riff is played by Mike Faist, Bernardo is played by David Alvarez (so good in American Rust), and Anita is played by Ariana DeBose. Mr. Alvarez and Ms. Debose almost steal the film out from under Ms. Zegler and Mr. Elgort. In secondary co-starring roles are Corey Stoll as Lt. Schrank, Brian D'Arcy James as Officer Krupke, Iris Memas as Anybodys, Josh Andres Rivera as Chino and in a wonderful casting choice, Rita Moreno (Anita in the 1961 film) as Valentina. 

      Nothing can replace the original as an American iconic film but this new version is a fine companion piece that contains many of its own rewards.

C'mon, C'mon

            Joaquin Phoenix stars in this new Indie drama as Johnny, a radio journalist traveling the country interviewing kids about their lives and thoughts about the future. When his sister Viv, played by Gaby Hoffman asks him to watch her nine-year-old son Jesse for a few days, Johnny agrees and that sends the plot in motion. 

            Viv has to travel to Oakland to look after her estranged husband, played by Scoot McNairy, struggling with mental illness. Jesse hasn't seen his uncle in over a year but they develop a tenuous relationship and Johnny ends up taking Jesse on the road with him as he does his interviews. Johnny learns some life lessons from Jesse and through multiple phone calls with Viv, reconnects with his sister.

             Jesse is played by newcomer Woody Norman and he is a natural. He has great chemistry with Mr. Phoenix, who after the anxiety and tension of "Joker" probably needed a small film like this, playing a fairly normal guy learning to appreciate his nephew and the sweet relationship that grows between them.

            Written and directed by Mike Mills, the film is shot in black and white (a trend in films this year) and moves from Detroit to LA, and then to New York and New Orleans. The interviews with the various kids seem genuine and unscripted. It's a charming film with a different type of role for Mr. Phoenix who gets to show off his natural skills in a new way.

The Matrix Resurrections

                You can't keep a good franchise down.  The beloved trilogy came to a pretty final conclusion at the end of "The Matrix Revolutions", killing off its two main characters but of course with science fiction stories, there is always a way to bring characters back to life, especially if there is money in it for a movie studio and the filmmakers.

          Once again Keanu Reeves stars as Neo (aka Thomas Anderson) and returning to the digital world with him are Carrie Anne-Moss as Trinity, Jada Pinkett Smith as Niobe and Lambert Wilson as The Merovingian. Joining them this time out are Jonathan Groff as Mr. Smith, Neil Patrick Harris as "The Analyst", Priyanka Chopra Jonas as Sati, Jessica Henwick as Bugs and Yahya Abdul-Mateen II as Morpheus.

               When the film begins, Neo has been repaired by the machines and his memories suppressed. He believes himself to be Thomas Anderson, a coder and creator of the video game, The Matrix. The first inside joke comes when his boss suggests that their parent company Warner Brothers wants a sequel to The Matrix Trilogy. As with the previous films, it's lines like this that make the audience start to question are we watching a movie, a video game or inside a game inside a movie? That's half the fun of The Matrix. The plots are so convoluted and disorienting that you may find yourself looking for the controls to manipulate what happens next.

                If you break it down to its basics, it's a love story. Our hero, Neo has returned to the Matrix to find and rescue his true love, Trinity. Everything else is window dressing. But it's remarkable window dressing. The fight scenes and stunts continue to amaze (even if there is nothing new about them), the visuals are stunning and the performances are all well done. Mr. Reeves slips back into Neo's skin like an old glove. Ms. Anne-Moss still plays a tough as nails Trinity and Mr. Abdul-Mateen II and Mr. Groff makes the characters of Morpheus and Smith their own. 

              Was there a need for another Matrix film? Not really but for fans, it will be fun to watch Neo take the red pill and go down the rabbit hole once again.

The Tragedy of Macbeth

         Going solo for the first time without the collaboration of his brother Ethan, Joel Coen writes and directs this new version of Shakespeare's classic play. Filmed in stark black & white, following the original text and led by a tremendous performance by Denzel Washington as Macbeth, this new version is one for the ages.

          The play has been performed since 1606 and in a massive variety of ways both on stage and on screen. Mr. Coen brings his own vision to the story and breaks it down to basic visuals and text. The sets are magnificent, cold and angular yet ethereal and foreboding. Thick fog and mist envelope the characters at times creating an otherworldly sense of dread. Carter Burwell provides the perfect musical foundation. The cinematography by Bruno Delbonnel is remarkable, framed in a deliberate and disorienting way. Shot entirely on soundstages, rather than actual landscapes brings an intimacy to the film and forces the viewer to really concentrate on the text and the actors.

          And what an ensemble of actors they are...Mr. Washington is a towering presence, even as he starts to lose his mind. His partner in heinous crime is Francis McDormand as Lady Macbeth.  She is maleficence personified. The film co-stars Brendan Gleeson as the doomed King Duncan, Harry Melling as his son Malcom, Corey Hawkins as Macduff, Moses Engram as Lady Macduff, Bertie Carvel as Banquo, Alex Hassel as Ross and the truly remarkable Kathryn Hunter as the three witches (and an old man).

           If you are a fan of "the Scottish play", or just a fan of acting excellence, it is not to be missed. It's in theaters now and on Apple TV January 16th.

Don't Look Up

 

         Written and directed by Adam McKay, this comic satire is an allegory of the state of the world today. And while it is sporadically very funny, it's underlying themes are all too depressing.

         When doctoral astronomy student, Kate Dibiasky, played by Jennifer Lawrence, discovers a comet heading towards earth, she immediately tells Dr. Randall Mindy, an astronomy professor played by Leonardo DiCaprio, of the impending danger. The two make every attempt to warn the government and the media of the disaster facing the world but no one takes them seriously.  Ms. Lawrence and Mr. DiCaprio are both terrific, alternating between hysteria and resignation at the various responses they receive everywhere they turn.

         The film is stuffed with an all-star cast. Meryl Streep plays the self-absorbed President of the United States, a not too subtle riff on a recent former president. Jonah Hill is her Chief of Staff as well as her son. Ms. Streep is clearly enjoying herself and Mr. Hill really plays idiotic, going for the big laughs. Also co-starring are Cate Blanchett and Tyler Perry as cheerful, vapid, morning television hosts. Rob Morgan as the only scientist who actually believes in the impending doom. Mark Rylance, pitch perfect, as a tech billionaire and founder of BASH,  a mash up of obvious current tech billionaires.  and in various other roles, Timothee Chalamet, Ron Perlman, Arianda Grande, Himesh Patel, Melanie Lynskey, Michael Chiklis, and Paul Guilfoyle.

         Mr. McKay's bombastic direction takes no prisoners making his points. He layers on the comedic responses to the horrific situation and we laugh to keep from crying. The film has its funny moments but also tries too hard and at times is so over the top, you can actually lose interest.  I think Mr. McKay may have had "Dr. Strangelove" in mind when conceiving "Don't Look Up" and while clever and smart, it falls short of the brilliance of that iconic film. 

The Power of the Dog

 

             Written and directed by the remarkable Jane Campion (based on the novel by Thomas Savage), this new drama takes place in 1925 on a sprawling cattle ranch in Montana.  The two brothers, the volatile Phil and the reserved George, who own the ranch, are played respectively by Benedict Cumberbatch and Jesse Plemmons.

              Phil is the "cowboy" of the two, working hands on with the horses, cattle and side by side with their ranch hands. He is always telling stories about "Bronco Henry", his late mentor who taught him all his cowboy skills. George, the more subdued of the two, wears suits with a bowtie and seems to spend much if his time engaged in the finances of running the ranch.  When Phil suddenly marries Rose, a widow with a teenage son, Phil is resentful of her inclusion in their life and taunts and teases her at every turn, especially making fun of her effeminate son Peter.

          Kirsten Dunst plays Rose and Kodi Smit-McPhee plays Peter. The film also costars Thomasin McKenzie, Genevieve Lemon and in smaller roles, Frances Conroy and Keith Carradine.

           The cast is excellent, especially Mr. Cumberbatch, Ms. Dunst and Mr. Smit- McPhee. Phil's taunts and resentments of Rose take their toll and Ms. Dunst's gradual change over the course of the film is a wonder in its tragedy.  Phil's relationship with Peter borders on underlying and suppressed homoerotic feelings that are brought to the surface in a particularly brilliant scene.

            The cinematography is stunning and Ms. Campion's direction while deliberately slow and steady, gives her actor's the time and range to fully express the building tension of their relationships. The story goes to an unexpected place and subtly sneaks up on you until ending on an explosive revelation that will make you rethink the entire film. 

Licorice Pizza

        Defying the simple description of a "coming of age film", this new comedy-drama is from writer/director Paul Thomas Anderson. As with many of his films, the story is set in the San Fernando Valley circa 1973 and revolves around the odd relationship between 15-year-old Gary Valentine (played by Cooper Hoffman) and 25-year-old Alana Kane (played by Alana Haim).

        Ms. Haim is one third of the band, "Haim" along with her two sisters, who play her sisters in the film. And keeping it in the family, Alana Kane's parents are played by the Haim sister's real parents.

        Gary Valentine is based on one of Mr. Anderson's friends and many of the plot points are culled from real events. While still in high school, Gary has an entrepreneurial spirit and after spending time as a child actor, starts a waterbed company and later on opens a pinball arcade. After meeting Alana at a photo shoot at his school, they become friends and she gets involved in his various business ventures flirting with him from time to time.

        Sean Penn has a cameo as Jack Holden (based on William Holden) in an odd scene involving Tom Waits, Alana and a motorcycle. Bradley Cooper also has a cameo as Jon Peters, once the boyfriend of Barbra Streisand. The sequence involving Mr. Cooper is one of the best in the film.

        Mr. Hoffman and Ms. Haim have a wonderful chemistry and while their relationship is the heart of the film, the plot moves in odd directions and you are never quite sure where it's going. The film could have also benefitted from some additional editing.

        Familiar with period, Mr. Anderson knows how to get the mood and visuals of the time right and uses a wonderful soundtrack that enhances the story perfectly. It's an odd tale of first love that may not appeal to everyone but both leads are terrific and have bright futures ahead.

The King's Man

 

               The third film in the series is actually a prequel to learn the origin of The Kingsmen. Written by Matthew Vaughn (with Karl Gajdusek) and directed by Mr. Vaughn, it's a grand adventure incorporating elements of history mixed with fictional characters.

               The film stars Ralph Fiennes, Gemma Arterton, Matthew Goode, Rhys Ifans, Tom Hollander, Harris Dickinsen, Daniel Bruhl, Djimon Hounsou, and Charles Dance. Mr. Fiennes, in fine form, is the impeccably dressed Duke of Oxford destined to start the Kingsmen Secret Service. Mr. Dickinsen plays his son Conrad. Mr. Ifans is the Russian Monk, Rasputin and clearly is enjoying himself in an over-the-top performance. Ms. Arterton and Mr. Hounsou assist Mr. Fiennes in his secret attempt to defeat Germany and end World War I.

                 Mr. Vaughn is known for his kinetic style of directing and while there are plenty of moments that qualify, most come in the second half of the film. Uncharacteristically, the first half is rather slow and devoid of much action. The plot can't decide if it's a war story with spies or a spy story in a war. It is quite a long setup for what comes next but Mr. Vaughn redeems himself for the slow start once the story finds its footing.

                 The mix of wonderful vintage costumes, terrific stunt work and CGI when necessary, bring all the action to vivid life. And in the end, it's all quite enjoyable fun. Anyone for tea?

Spider-Man: No Way Home

      Revealed at the end of "Spider-Man: Far From Home", the world found out that Peter Parker was Spider-Man and now as the new film begins, Peter's life is a mess. The casual viewer will probably get lost in the chaos that ensues when Dr. Strange casts a spell to make people forget that Peter Parker is Spider-man. Fans however, will absolutely not be disappointed.

      Tom Holland returns as Spider-Man, along with Zendaya as MJ, Jacob Batalon as Ned, Marisa Tomei as Aunt May, Jon Favreau as "Happy" Hogan, and Benedict Cumberbatch as Dr. Strange. There are many other cast surprises that I won't spoil here (although social media has probably spoiled them already). 

     Mr. Holland and Mr. Cumberbatch have great chemistry together which makes for a lot of fun as they try to correct the damage done by the spell gone wrong. The film does lack a certain gravitas that existed in the other films, making this one much more appealing to a younger fan audience.  The violence is very cartoonish with very little blood but it is a whirlwind of action, especially late in the film and will satisfy viewers of any age. The special effects are first rate and the script by Chris McKenna and Erik Sommers adds just enough drama to keep things balanced. 

       This film completes the trilogy started with "Spider-Man: Homecoming" and it is a fitting conclusion but we have obviously not seen the last of Spider-Man as Marvel continues its next stage of comic-based films. As with all their films, there are post credit scenes. The first is a great surprise but the second, while fun, is just a short trailer for the new Dr. Strange film and it is already all-over social media so save your time unless you just have to see it on the big screen.

The Unforgivable

 

     Sandra Bullock stars in this unrelenting grim drama. Ms. Bullock proves once again that she can play against type as a convicted murderer just released from prison, trying to make a new life for herself. In doing so, she also begins a search for her younger sister who she hasn't seen for 20 years and has never responded to her letters.

      The film goes in some interesting directions, some contrived and some surprising.  Ms. Bullock is stoic and dead serious throughout, barely letting herself even smile. There is an unexpected plot twist that adds a degree of suspense that contributes even more anxiety to the already dark and anxious drama. 

       The fine supporting cast includes Vincent D'Onofrio, Jon Bernthal, Aisling Franciosi, Richard Thomas, Rob Morgan and Viola Davis.

        Out for a short time in the theaters, the film is available now on Netflix.

Being the Ricardos

            Aaron Sorkin writes and directs this dramatic look at Lucille Ball and Desi Arnaz, behind the scenes of "I Love Lucy".  Based on their true story, the real life of these two icons was far different from their televised life on one of the most popular and endearing TV sitcoms of all time.

            While the casting at first may seem odd, it is actually brilliant. Nicole Kidman takes on the daunting task of portraying the beloved comedienne, giving her best performance since "Destroyer". With hair and makeup perfect, she transforms into Lucille Ball, even getting her raspy vocal tone down perfectly. Javier Bardem plays Desi Arnaz and while he may not physically resemble Mr. Arnaz, he does come to embody his tone and spirit. Taking on the roles of Vivian Vance and William Frawley (as Fred and Ethel Mertz) are Nina Arianda and J.K. Simmons, both perfect. The film has some terrific co-stars as well. Tony Hale, Alia Shawkat ( probably reminiscing about "Arrested Development" in their downtime), Jon Rubinstein, Linda Lavin, Clark Gregg, Jake Lacy and Ronny Cox.

            Mr. Sorkin's intelligent, rapid-fire dialog and caustic wit are on full display with some great lines, mostly reserved for Ms. Kidman but enough to go around for the rest of the cast. He sets the film during a particularly difficult time in their lives, when Lucy was accused of being a communist and Desi was having either real or imagined affairs putting stress on their marriage. The story is told during one week of production from the Monday read through to the Friday actual filming in front of a live audience. Through his lens, Mr. Sorkin also faithfully recreates a few famous scenes in the series, filming them in the original black & white. 

           We come to learn quite a bit about the powerful Hollywood couple during the course of the film, most of which I assume to be true since Desi Arnaz Jr. and Lucy Arnaz are both executive producers. It's a fascinating backstory that throws back the curtain and take us behind the scenes in what is most definitely a drama and no laughing matter. The film is in theaters now and will be available on Amazon Prime, December 21st.

 

House of Gucci

        A rare miss for director Ridley Scott, this sordid tale meanders all over, never sets a proper tone or pace, and wastes most of a talented cast. That said, it's based on the downfall of the real Gucci family and makes for fascinating viewing. 

       What Mr. Scott and his team do get right is the look and feel of the period. The set design, locations, costumes and music are all first rate but wasted in a film that just can't find its footing.

        Lady Gaga, one of the few highlights of the film, stars as Patrizia Reggiani who marries Maurizio Gucci (a miscast Adam Driver who can't keep track of his accent) and firmly establishes her place in the Gucci empire. Mr. Driver may physically resemble the real Maurizio but his portrayal is just not convincing. The film also stars Al Pacino as Aldo Gucci and he chews every piece of scenery around him with his usual bombastic style. Jared Leto is Paulo Gucci. Hidden under tons of makeup, Mr. Leto is fun to watch in an over-the-top performance. Rounding out this star filled cast is Jeremy Irons, bringing some dignity to the short role as Rodolfo Gucci and Salma Hayek as Patrizia's fortune teller confident. In smaller but important roles is Jack Houston, Reeve Carny and Camille Cottin.

       Everyone loves a good scandal, especially when it involves the rich and famous. For that reason, along with its star power, the film will probably do better than it deserves.

Passing

          Written and directed by Rebecca Hall, this new Netflix drama is a fascinating period piece about two light skinned black women, who meet after years apart. Tessa Thompson is Irene, married to a prominent black doctor played by Andre Holland and Ruth Negga is Claire, "passing" for white, and married to a wealthy businessman played by Alexander Skarsgard.

          As the two women reconnect, it becomes obvious that Claire has missed her African-American roots and becomes increasingly involved with Irene, her family and friends. Irene, on the other hand, begins to resent Irene's intrusion into her life but is too timid and polite to turn her away.

         Ms. Thompson and Ms. Negga are both excellent. The film also co-stars Bill Camp and Gbenga Akinnagbe. The period costumes and set designs are exquisite.  It is beautifully shot in black and white but directed with too light a touch by Ms. Hall. While it attempts to explore many issues, it never really digs below the surface and instead just focuses on the two women and the growing divide between their morals and personalities, culminating in a most unexpected way.

Red Notice

 

          More like Red Cliché, this big budget action-comedy adventure tries to be everything for everyone.  Starring Dwayne Johnson, Ryan Reynolds, and Gal Gadot, it's a globetrotting heist film filled with plots from every heist and long con film ever made. It co-stars Ritu Arya and Chris Diamontopolous.

           Mr. Johnson is a federal agent who reluctantly teams up with a notorious art thief played by Mr. Reynolds to catch another art thief played by Ms. Gadot, before she can acquire all of Cleopatra's legendary golden eggs. It's all mindless fun, fuel by its attractive cast and their individual strengths. Mr. Reynolds is quick with the one-liners, Ms. Gadot gets to show off her martial arts skills and Mr. Johnson is...well...Mr. Johnson, who starts to look pretty bored as the film moves along from one exotic location to another.

           As one of the highest grossing (and costliest) Netflix films ever, expect a sequel or even two.

The Harder They Fall

         Director and co-writer (with Boaz Yakin) Jeymes Samuel owes quite a bit to Sergio Leone and Quentin Tarantino in this revisionist western. Featuring a predominantly black cast, this violent revenge story is filled with quirky camera work, interesting cinematography and a cool eclectic soundtrack. A title card at the beginning explains that while the story is fictious, its characters are based on real outlaws, cowboys and lawmen of the old west.

        The film stars Jonathan Majors, Idris Elba, Regina King, Zazie Beetz, Delroy Lindo, Lakeith Stanfield, RJ Ryder, Edi Gathegi, Deon Cole, and Danielle Deadwyler. It's a great cast and everyone seems to be enjoying playing gunslingers and cowboys. The problem lies in the plot. It's paper thin, just a straight forward revenge story with no subplot. It does moves along at a rapid clip, filled with bloody violence throughout.

        Mr. Samuel and Mr. Boaz make a few not-so-subtle points about race but ultimately, it's just one long disappointing story with a last-minute twist that attempts to make things more interesting. It even leaves the door open for a sequel, that, if it happens, hopefully will be a richer, more rewarding story as there is so much real history to draw from.

Last Night in Soho

 

        I usually don't start my reviews like this but I have to say, I loved this film!  Writer/director Edgar Wright is truly an original voice in film today. Here he combines a murder mystery, a ghost story, and an ode to swinging sixties London into a wildly entertaining genre mash-up that you never see coming.

        Thomasin McKenzie stars as Ellie Turner, a suburban English girl accepted into a prestigious London Fashion college. The film starts off mildly and sweet but once Ellie moves off campus into a rented apartment, things take a sharp turn. She begins to have visions of a young sixties' woman named Sandie, played by Anya Taylor-Joy, that turns into more of a psychic connection putting Ellie in the middle of period London nightlife. 

        To say anymore would spoil the surprising twists in the story. Suffice to say, the music and fashion of the period is just great.  Mr. Wright knows his way around a successful soundtrack and knows how to put it to good use (see his earlier film, "Baby Driver"). His casting here is perfect. Ms. McKenzie is perfect as the innocent girl forced to grow up quickly and Ms. Taylor-Joy is the epitome of cool. Co-starring as Ellie's landlady is Lady Diana Rigg (in her last role) and she makes the most of a small but significant role. The film also co-stars Terrence Stamp, perfect casting as a connection to the British films of the sixties, Matt Smith, and Michael Ajao.

         Fair warning that what starts out innocently enough descends into horror and violence, but the fun is how Mr. Wright uses the twists and keeps the audience guessing. It's so clever with a cast that shines, backed by great visuals and wonderful music, that even with the dark direction it takes, it's one of the most entertaining films of the year.

          The film is still in theaters and now available on video on demand. 

Belfast

       

     Written and directed by Kenneth Branagh, based on his own childhood, "Belfast" is a wonderful coming of age film. Set in 1969, the film juxtaposes young Buddy's innocent childhood against the start of the "Troubles", a turbulent time in Northern Ireland pitting Catholics against Protestants.

      Buddy, played by Jude Hill (a sensational first-time performance) is surrounded by a loving family and friends. His parents are played by Caitriona Balfe and Jamie Dornan. His grandparents by Judi Dench and Ciaran Hinds. Colin Morgan completes the family as Buddy's brother Billy. It's a perfectly cast film with outstanding acting from the entire ensemble. 

      After a brief contemporary opening, the film flashes back to 1969 and switches to black and white for the majority of the story. The cinematography is stunning and Oscar worthy. The soundtrack is filled with wonderful Van Morrison classics. Mr. Branagh's direction conveys his memories of innocent times, filled with love and yet he keeps us on edge as the dangerous times lurk at the edges of every scene. 

       In this season of two hour plus mega films, Mr. Branagh brings this terrific story to life in under two hours without wasting a frame. You don't have to be Irish to appreciate its universal themes.  Oscar nominations loom large in multiple categories.

Dune: Part One

 

       Directed by Denis Villeneuve (and co-written by Mr. Villeneuve with Jon Spaihts and Eric Roth), this third attempt at the science fiction classic finally gets it right. By splitting the book into two films (part two will be released October 2023), Mr. Villeneuve and his team concentrate on the first half of the novel and admirably create a complete film but still leave plenty of story for part two.

    The film boasts a terrific cast including Zendaya, Rebecca Ferguson, Oscar Isaac, Josh Brolin, Stellan Skarsgard, Dave Bautista, Stephen McKinley Henderson, Jason Momoa, Charlotte Rampling, Javier Bardem and in the pivotal role of Paul Atreides, Timothee Chalamet. 

     

    Zendaya spends most of the film in non-speaking dream sequences but is clearly a central character in part two. Mr. Skarsgard is a key villain in heavy makeup, recognizable only by his unmistakable voice. As Paul's parents, both Mr. Isaac and Ms. Ferguson are both excellent, especially Ms. Ferguson. Mr. Chalamet, while doing his best, is the weakest link in the cast. He's a fine actor but he lacks the strength and charisma for such an important role. Hopefully he will grow into the role in part two as his character's destiny is fulfilled.

     Mr. Villeneuve's vision is brought to life in spectacular fashion by its art direction, special effects, exotic locations and cinematography. It is a visual masterpiece enhanced by a sweeping score by Hans Zimmer ( although a bit overwhelming at times ). While the film has been simultaneously released on HBO MAX, I recommend seeing in in a theater on the largest screen possible to appreciate its incredible landscapes and the full scope of the production. 

      The film has a running time of over two and a half hours and at times can feel even longer, with too many dull moments that slow the story. A bit more editing would have been welcome, especially since we know from the onset, it's only part one. There are some excellent action sequences though, but they occur, for the most part, in the second half of the film.

        The novel "Dune" is an iconic science fiction classic and this ambitious, sweeping epic, despite its flaws, does justice to the novel. I can only hope Part Two brings as satisfying a conclusion.

The French Dispatch

    Just what you would expect from writer/director Wes Anderson, a film filled with whimsy, wit, intelligence, and an excellent ensemble cast. The story revolves around a fictional magazine based in France, which is the foreign arm of the Liberty, Kansas Evening Sun. 

     The plot presents three central unconnected articles you would find from various parts of the magazine, such as arts, food and politics with a forward and an epilogue and bookended with scenes at the magazine.

      The colorful cast of characters includes Bill Murray as the editor of the "Dispatch", Frances McDormand, Tilda Swinton, Jeffrey Wright, and Owen Wilson as writers as well as Adrian Brody, Benicio del Toro, Lea Seydoux, Timothee Chalamet, Mathieu Amalric, Elizabeth Moss, and Jason Schwartzman (one of the co-writers of the story). There are also too many other recognizable stars to mention in other minor roles.  

    The featured articles are "The Concrete Masterpiece" which features Ms. Swinton (who is simply marvelous), Mr. Brody, Mr. del Toro and Ms. Seydoux. "Revisions to a Manifesto" featuring Ms. McDormand, Mr. Chalamet and Lyna Khoudri and "The Private Dining Room of the Police Commissioner" which features Jeffrey Wright (in a terrific ode to James Baldwin), Mr. Amalric and many fun cameos. 

    Mr. Anderson shoots scenes in color, black & white, and animation mixing them all throughout the film creating a constant visual treat. Delightful in so many ways, from the acting, the wonderful musical score, and the incredibly colorful visual palate, the film is a feast for Wes Anderson fans. The casual viewer may find the film a bit too smart for its own good but still enjoy it for the visuals, music and plethora of actors found within its charms.

No Time To Die

 

        Daniel Craig concludes his five-film arc as superspy, James Bond and goes out with a bang in this final installment. Directed with great authority by Cary Joji Fukunaga, the film has the stunts and action you would expect from a James Bond film but is also filled with more emotion than its predecessors.

        Co-starring with Mr. Craig are Rami Malek, Lea Seydoux, Lashana Lynch, Ben Wishaw, Naomie Harris, Jeffrey Wright, Christoph Waltz, Ralph Fiennes, Ana de Armas, Billy Magnssen, David Dencik, and Rory Kinnear. Mr. Malek is the main villain of the film but doesn't really appear until the third act and when he does, he is underwhelming in the cannon of Bond villains. Ana de Armas (wearing a killer dress) plays a fun and capable CIA agent but unfortunately only appears in one sequence. Lashana Lynch is a new double 0 agent who holds her own with Mr. Craig.

        At almost a three-hour running time, the plot can be overwhelming at times and even a bit confusing (it may help to watch "Spectre" first for a refresher course on reappearing characters). The screenplay (credited to four writers) pays homage to past Bond films with many references that are fun to spot (some easier than others). As with all Bond films, especially of late, the exotic locales can almost be considered characters themselves and in this film, the locations don't disappoint. The cinematography brings out the best in the exquisite scenery.

       Of note is the lack of blood for all the characters killed, and a very chaste Bond who at one point, rather than sleep with a woman, actually shakes her hand. While these points keep things PG-13, the film does have a darker side and is quite vicious at times. Mr. Craig plays Bond as a wounded animal, cornered and more dangerous than ever. Fans won't be disappointed.

The Last Duel

                Based on a true story, this new film is the story of the last duel fought in 1386 France. The duel is fought to decide the fate of a squire accused of rape. Directed by Ridley Scott, it is a fascinating drama told from three points of view, a device most famously used in the classic Japanese film, "Rashomon". Mr. Scott films the battle scenes and of course, the title duel with great aplomb, violent, vicious, and very realistic.  His dramatic scenes are just as powerful, due to the chemistry of its terrific cast.

              The film stars Adam Driver, Matt Damon, Ben Affleck and Jody Comer as Marguerite de Carrouges. Mr. Damon and Mr. Affleck co-wrote the script with Nicole Holofcener.  At the start of the film, Mr. Damon's Jean de Carrouges and Mr. Driver's Jacques Le Gris are friends fighting side by side. When Count Pierre d'Alencon, played by Mr. Affleck, names Le Grius his Overlord, the friendship of the two men sours as their fates move in opposite directions. de Carrouges marries Ms. Comer to improve his station and it is then that the relationship of the three intersect told from three "chapters", each telling a different "truth".

               While all the acting is excellent (you'd expect nothing less from this cast), Mr. Driver and Ms. Comer both stand out. Both play complicated roles due to the different perspectives of the "chapters" and while Mr. Damon also handles the subtle differences in his character in each chapter well, it is Mr. Driver and Ms. Comer that really carry the emotional and difficult story. Mr. Affleck, on the other hand, plays the Count as a privileged, rich boy and is just annoying but I imagine that's how the part was written.

                For a story that takes place in 1386, it resonates well even today and unfortunately,  that's a scary realization. The film is an excellent historical drama, filled with intense moments both on and off the battlefield that is thought provoking long after it ends.

The Many Saints of Newark

 

               Those expecting the story of a young Tony Soprano are bound to be disappointed. While Tony and most of all the other major characters beloved by Soprano fans are certainly in the film, the focus is on Dickie Moltisanti, Christopher's father who was always referenced but never seen on the TV series. The film's title actually makes that very clear.

                  Alessandro Nivola plays Dickie who is very good as a conflicted mobster with a very hot temper. Of course, he is worshipped by his nephew, Tony, played by Michael Gandolfini ( James Gandolfini's real life son).  It's a bit of stunt casting but it works, mostly because he is not asked to do much except portray a teenager growing up in a very complicated family. His mother, Olivia Soprano, is played brilliantly by Vera Farmiga, who nails the role made famous by Nancy Marchand. His father, Johnny Boy Soprano is played by Jon Bernthal, and lest we forget, Uncle Junior, played by a convincing Corey Stoll.

                    Co-starring as a young Silvio is John Magaro and as Paulie, Billy Magnussen. It's fun to see characters fan love as their younger selves with their trademark looks and attitude already evident. We even meet the young Pussy Bonpensiero, Artie Bucco, Janice Soprano, and in one scene, a young Carmela De Angelis. The problem for fans, is we don't see enough of them. The thin plot centers on the growing war between Dickie and Harold McBryaer, played against type by Leslie Odum Jr. Characters important to this story include Ray Liotta as Dickie's father and his twin brother, Sally and Michela De Rossi as his young Italian bride, Giuseppina.

                      David Chase, who created "The Sopranos" co-wrote the script with Lawrence Konner but does not direct. Alan Taylor directs the film but somehow misses the gravitas of the script by stringing scenes together and cutting too quickly from one to the next. Scenes jump around, teasing us with favorite characters but never really giving them much to do. Mr. Chase's script explores the race riots in Newark that took place in the 1960's and Mr. Taylor does capture the look and feel of the turbulent times and even locations fans have come to love.

                      The film is far from perfect but does a good job filling in a backstory fans have always asked for. Billed as "a Sopranos story" and teasing us with glimpses of these characters make you wonder if there is more to come in Tony's formative years. We can only hope.