Genre: Spy Drama

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The setting is New Mexico in the late 1800s. Samuel Jones (Tommy Lee Jones) makes a surprise return to the isolated ranch of his grown daughter Maggie (Cate Blanchett). He had abandoned the family to join the Chiricahua tribe when Maggie was a child, and she never forgave him. Now Maggie is raising two daughters, teenager Lilly (Evan Rachel Wood) and the younger but more spirited Dot (Jenna Boyd). Brake (Aaron Eckhart) is Maggie's unofficial partner.
A renegade group of Apache sex slavers led by the evil El Brujo (Eric Schweig) kills Brake and kidnaps Lilly, intending to sell her along with other captive women in Mexico. Getting no assistance from the authorities, Maggie reluctantly seeks Jones' help, and Dot insists on joining them on a perilous journey to rescue Lilly.
Carrying strong echoes from the classic John Wayne western The Searchers, The Missing is an ode to the genre's fundamentals. Written by Ken Kaufman and directed by Ron Howard, the plot is anchored by a dangerous but necessary rescue campaign, with a sub-theme of forgiveness sought and withheld between father and daughter. The movie is slow but determined, dripping with the power of robust characters and the dangers of a challenging landscape captured by cinematographer Salvatore Totino.
Despite a long running length of well over two hours, Howard maintains interest with regular highlights. A jagged path through a rocky mountain becomes a drowning hazard during a downpour. The previously sheltered and unappreciative Lilly, now a captive, discovers her inner resolve during interludes with the slavers and their bounty of kidnapped women. A sub-plot of allies is introduced in the story of a Chiricahua father and son who join forces with Samuel and Maggie to try and free their own captive from El Brujo's clutches.During the quiet interludes, Maggie refuses to easily forgive the father who abandoned her and hastened her mother's death. Jones can only be true to himself, and accepts the emotional punishment with stoic resignation. The sustained tension between them adds welcome character depth.
Violence spices up the mix. Kaufman and Howard do not hold back on El Brujo's willingness to use supernatural powers, witchcraft, and torture to intimidate and thrive. In a harrowing and difficult sequence, Maggie, Jones and Dot stumble onto the site of El Brujo's barbarism, and the remnants of his savagery are abhorrent. He is a formidable opponent, brought to life by a domineering Eric Schweig performance full of physicality and few words. Opposing him is Tommy Lee Jones at his craggy best carrying the burden of a mistake-filled life, well matched by a tenacious Cate Blanchett refusing to give up on finding her daughter.
The Missing lacks premise originality, but finds a rugged and respectful genre salute.
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In 1939, Stan Carlisle (Bradley Cooper) burns the body of his dead father and drifts across the land. He finds work with the traveling carnival owned by Bruno (Ron Perlman), where the main attraction is a geek show. Stan meets Zeena (Toni Collette), who runs a clairvoyant act with the perpetually drunk Pete (David Strathairn). Stan eyes the communication codes used by Zeena and Pete as his ticket to riches, and convinces performer Molly (Rooney Mara) to partner with him in both romance and business. He ignores warnings about the dangers of dabbling in the afterlife.
Stan and Molly find success with an upscale clairvoyant act in big city hotels, attracting the attention of conniving psychologist Dr. Lilith Ritter (Cate Blanchett). She agrees to an uneasy scheme, providing Stan confidential information about her wealthy clients Judge Kimball (Peter MacNeill) and the tycoon Ezra Grindle (Richard Jenkins), while he dupes them with fake seances. Molly disapproves of Stan's greed and intrusion into the spirit world, but he pushes ahead.
Directed and co-written by Guillermo del Toro, Nightmare Alley is an adaptation of the William Lindsay Gresham book, previously brought to the screen in a 1947 Tyrone Power classic. Here del Toro switches to colour, and with the help of Dan Laustsen's stellar cinematography delivers stunning beauty. Every scene is a masterpiece of picturesque framing and angular tension highlighting a noir psyche, although the glossy visuals threaten to slip into postcard artificiality.
Beyond the rich artistry, Nightmare Alley is bloated and unbalanced. The relatively simple rise-and-fall story of one man stretches to a tiresome 150 minutes, and often focuses on the wrong elements. It's a full one hour into the movie before Stan and Molly leave the carnival, and in that entire time, Zeena and Pete's show is never once presented as an effective act inspiring Stan's ambition. Once Stan and Molly achieve success, they are denied the thrill of commanding a room and instead are immediately reduced to a bickering couple. Without a reservoir of trust and affection, the rupture of their relationship loses impact.del Toro's favorite theme of monsters among us gets a good workout. The chicken-biting geek is a monstrous representation of comeuppance as a freak show with audiences marveling at how low a man can fall. Meanwhile, both Stan and Dr. Lilith struggle with insatiable urges for emotional domination and avarice, their monsters within engaged in dark battles of possession.
Cate Blanchett as Dr. Lilith adds a jolt of intrigue once she enters the movie about halfway through, finally presenting Stan with a soul more twisted than his own. But Lilith plays in a higher league: she is sophisticated, successful, and resourceful, while he is a scrappy small-timer with misguided delusions of grandeur. His initial victory in guessing the contents of her purse was never going to be anything more than beginner's luck, and she predictably designs his downfall with methodical relish.
In the lead role Bradley Cooper is adequate and charismatic without quite finding the necessary level of behind-the-eyes intensity. Rooney Mara is underutilized, and the rest of the cast includes small roles for Willem Dafoe and Mary Steenburgen.
Nightmare Alley is visually vibrant, but rarely visceral.
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At Michigan State University, astronomy doctoral student Kate Dibiasky (Jennifer Lawrence) discovers a new large comet, with a trajectory to strike and destroy Earth in 6 months. She alerts her Professor Dr. Randall Mindy (Leonardo DiCaprio), and they are soon connected with Dr. Teddy Oglethorpe (Rob Morgan), head of the Planetary Defense Coordination Office. They are granted an audience with US President Janie Orlean (Meryl Streep) and her Chief of Staff (and son) Jason (Jonah Hill), who don't take the threat seriously.
Randall and Kate take their story to the media, landing at the top-rated television show hosted by Brie (Cate Blanchett) and Jack (Tyler Perry). Brie's main takeaway is that Randall is a dishy scientist and she sets out to seduce him. Meanwhile the end-of-the-world threat starts to cause panic, but also political divisions, with the science being questioned. When powerful cellular phone and social media tycoon Peter Isherwell (Mark Rylance) announces the comet contains precious minerals worth trillions, attempts to destroy it are abandoned in favour of trying to exploit the riches, causing further divisions between sidelined scientists and power-hungry politicians.
Both the funniest thing and the scariest thing about Don't Look Up is that it's all too real. Sure, writer and director Adam McKay cannot resist triple-underlining some of his satirical jabs, but unlike in his previous outing, here the glib attitude is controlled and the hits well outnumber the misses.The premise of a massive comet about to strike Earth may well be the next cataclysmic event facing humanity, but could also stand in for climate change, the next pandemic, or any other large casualty threat. With recent history as an excellent guide, the reactions portrayed in Don't Look Up are more than believable. Memes, ratings, personal attacks, personality cults, denial of science, obfuscation campaigns, political calculus, and profit motives overwhelm the simple truth, inflicting unnecessary death in large numbers.
In a manic example of cramming more as a representation of what counts as important, side-plots and intentional distractions litter the film, some funnier than others. Brie cannot wait to claim Randall as a sexual conquest, threatening his marriage to June (Melanie Lynskey). President Orlean is embroiled in an ever-worsening scandal related to her Supreme Court appointee (Erik Parillo). A politically incorrect pilot (Ron Perlman) leads the initial suicide mission to the comet. After being shunned by the world and having the comet named after her, Dibiasky befriends skater dude Yule (Timothée Chalamet). And most notably, pop star Riley Bina (Ariana Grande) is going through a romantic break-up and reconciliation, a story deemed much more important than the impending end of the world.
A dream cast sharpens all the satirical angles. Despite the abundant talent pool at his disposal, McKay finds meaningful and memorable roles for each, helped by the long 138 minutes of running time. Leonardo DiCaprio has fun as an anxiety-wracked scientist suddenly thrust into the spotlight and labeled an AILF (Astronomer I'd Like to F**k). Mark Rylance is the other stand-out as the truly creepy (no eye contact) tech tycoon holding all the true power, his line delivery a study in understated bludgeoning. Less successful is Jonah Hill as the nepotistic appointment who actually believes he is smart, his contributions rarely clicking.
Openly flirting with species-get-what-they-deserve resignation, Don't Look Up is depressingly funny.
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The year is 1199, and Robin Longstride (Russell Crowe) is an archer in the army of Richard The Lionheart (Danny Huston), as England's King fights his way back home from the crusades. But Richard is felled by an arrow at a battle in France, and his weakling brother Prince John (Oscar Isaac) ascends to the throne. Robin impersonates the dead knight Sir Robert Loxley and along with a small group of men they make it back to England.
Meanwhile John is being undermined by his double-crossing friend Godfrey (Mark Strong), who is really working for France's King Philip to weaken England and enable an invasion. In Nottingham Robin meets and falls in love with Marion Loxley (Cate Blanchett), while her father, the elderly and blind Walter (Max von Sydow), helps Robin understand his lineage.
John's extreme taxation policies and Godfrey's raids on fellow Englishmen push the country towards civil war and serve Philip's agenda. Robin teams up with Lionheart loyalist William Marshal (William Hurt) to try and avert disaster.
Running a luxurious 140 minutes with content to match, Robin Hood is an engrossing drama, mixing historical factoids with plenty of rambunctious fiction. Director Ridley Scott re-teams with his Gladiator star Russell Crowe, and although the results are not quite as spectacular, this is still a finely crafted tale of swords, bows, and arrows, rich with story lines, court intrigue, memorable characters and no shortage of large-scale bone-crunching battles.
The Brian Helgeland screenplay steers well clear of the frivolity, simplistic heroics and light-heartedness associated with previous cinematic Robin Hood versions. This is a mud-splattered and grim outing, levity limited to a couple of brief dialogue exchanges, the merry men pushed well into the background. In search of a wider audience Scott avoids blood and gore visuals, but this adventure would have benefited from more realistic representations of the era's brutality.The narrative weakness resides in Robin's relatively limited influence on events around him. For the most part he is on the edge of the major plot points, first with Richard the Lionheart's army then back in England where John, Godfrey and Marshal are driving the agenda. Even in the quieter moments at the Loxley estate, Robin's surroundings and fate are defined by Walter's wisdom and Marion gradually learning to love him.
Robin's personality does emerge on a few occasions, speaking truth to power (and paying for it) when invited to do so by Lionheart, recognizing the opportunity to impersonate a knight as a ticket home, and then helping Marion's fledgling estate avert starvation by plotting his first steal-from-the-rich escapade.
Now provided with a pre-banditry history of hostility and hurt, Robin Hood emerges as a more hardened legend.
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