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Posts Tagged ‘Emilia Clarke’

“LAST CHRISTMAS”: Drowning by eggnog

Posted in Uncategorized, tagged , , , , , , on November 7, 2019| Leave a Comment »

Emilia Clarke

“LAST CHRISTMAS” My rating: C-

102 minutes | MPAA rating: PG-13

Despite my general hatred of seasonally-themed romantic comedies (like chugging a gallon of eggnog), there were reasons to think “Last Christmas” might be different.

For starters, it was written by Emma Thompson (who in addition to being a great actress gave us the screenplays for “Sense and Sensibility,” “Nanny McPhee” and “Bridget Jones’ Baby”) and directed by Paul Feig of “Bridesmaids” fame.

Surely those two could provide just enough edge to make all that good cheer palatable.

If only.

“Last Christmas,” which purportedly was inspired by the George Michael song of the same name, is an unbearable mess, too dour to be truly funny and too silly to work dramatically.

Most of the film is a too-quirky dramady that botches just about everything it attempts; in its final stages the script delivers a plot twist that has been so poorly set up that it hardly makes a dent in the audience ennui.

Kate (Emilia Clark) is a mess.  Though she considers herself an aspiring singer, she works in a year-round Christmas store in London where she is required to suit up as an elf — even in the summer.  Her off hours are devoted to boozing and sleeping with cute strangers.  At odds with her parents, she lives out of a suitcase, crashing on the couches of friends whose patience is wearing thin.

We’re supposed to find her charming in an offbeat way; mostly she’s just irritating.

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“SOLO: A Star Wars Story”: The wiseass as a young man

Posted in Uncategorized, tagged , , , , , , , on May 24, 2018| Leave a Comment »

Joonas Suotamo, Alden Ehrenreich

“SOLO: A STAR WARS STORY” My rating: B- 

135 minutes | MPAA rating: PG-13

For one who has felt smothered by the solemn pomposity of recent “Star Wars” releases, the prequel “Solo: A Star Wars Story” is a palate cleanser, an origin yarn about two of the franchise’s most beloved characters in which the words “The Force” are never uttered.

Yeah, it’s overlong. And as is par for the course for “Star Wars” films,  and the plot is mostly a series of mini-quests providing plenty of opportunity for f/x and action overkill. But at its best “Solo” reminds of why we fell in love with a galaxy far, far away in the first place.

Directed with assurance if not much personality by veteran Ron Howard (taking over after “Lego Movie” creators Phil Lord and Chris Miller were dismissed…who can tell who directed what in the final cut?), “Solo” follows Han Solo (Alden Ehrenreich) from his youth through his first big adventure(s).

Along the way father-and-son screenwriters Lawrence and Jonathan Kasdan take the opportunity to fill in seminal but never-before-seen moments from Han’s bio:  How he got his last name in an “Ellis Island” moment, his first encounter with the towering Wookie Chewbacca (Joonas Suotamo), his acquisition of the Millennium Falcon and that distinctive blaster in the low-slung holster, and his early partnership/rivalry with gambler/smuggler Lando Calrissian (Donald Glover).

Our yarn begins on a planet where young Han and his girl Qi’ra (Emilia Clarke) are among the orphans in the gang controlled by Lady Proxima, a huge caterpillar voiced by Linda Hunt (think “Oliver Twist’s” Fagin.) Already a conniver, Han absconds with a vial of a priceless energy source called coaxion, a few ounces of which should allow him and Qi’ra to bribe their way off the planet.

But things go bad and Han finds himself on his own, vowing to return for Qi’ra.

He enlists in the Imperial Air Force with dreams of piloting his own ship, but a few years later is a mere grunt knee-deep in trench warfare on a mud planet.  There he encounters not only Chewbacca, but crosses path with a band of mercenaries run by Beckett (Woody Harrelson), who at the behest of the shadowy criminal syndicate Crimson Dawn steals materiel from the Imperial forces.

Pushing his way into Beckett’s group, Han participates in the film’s action highlight, the highjacking of a freight train speeding through a mountainous ice planet.  A mashup of “Snowpiercer” and a “Mad Max” movie, this sequence finds Beckett’s band battling not only the train’s Imperial guards but a rival crew of bandits intent on stealing their prize. (more…)

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