The Lost City / ***½ (PG-13)

Loretta/Angela: Sandra Bullock

Alan/Dash: Channing Tatum

Abigail Fairfax: Daniel Radcliffe

Beth Hatten: Da’Vine Joy Randolph

Jack Trainer: Brad Pitt

Paramount Pictures presents a film directed by Aaron Nee & Adam Nee. Written by Oran Uziel and Dana Fox and Adam Nee & Aaron Nee from a story by Seth Gordon. Running time: 112 min. Rated PG-13 (for violence and some bloody images, suggestive material, partial nudity and language).

If the new adventure comedy The Lost City tells us anything, it is that we have missed the physical comedy of Sandra Bullock. This movie is many things. It’s clearly an homage to the now classic comedy adventure Romancing the Stone, taking many of its story cues and improving upon some of that film’s more dated aspects. It’s a reminder of Channing Tatum’s talents in making fun of his own buff physical appearance. It’s a chance for Brad Pitt and Daniel Radcliffe to shed some of the iconic status of their own public perception. It’s a fun time. It’s a laugh factory. But mostly, it’s a chance for Sandra Bullock to shine again in the type of role that made her famous.

The movie opens in a tomb. Our heroes, Angela & Dash (Bullock & Tatum), are tied up on the floor, surrounded by snakes with a villain monologuing at them. After questioning the plausibility of the situation, Angela says, “Delete!” and the snakes disappear. She says, “Delete!” again and the monologuing villain disappears. She says, “Delete!” again and we find Angela sitting at a computer in an apartment looking frustrated. Turns out she is actually Loretta, a romance novelist and recluse since the death of her archaeologist husband. Her own archaeological dreams were sidetracked by her surprise success writing a romance novel series focusing more on the sexual exploits than the archaeological adventures of Angela and Dash. 

At this point–and frankly, when all is said and done–The Lost City is essentially a loose remake of the 1983 Stone. Loretta’s agent, Beth Hatten–a force of nature in the form of De’Vine Joy Randolph–begs her reclusive client for the final chapters of her new book as the book tour looms. When Beth finally gets Loretta out of her cocoon of wine and bubble baths, the first stop on the tour involves a Q & A with Loretta and her forever cover model, Alan (Tatum), who needs to be reminded he isn’t really Dash. Loretta makes it clear to Dash and all her fans that the fantasy is over just before she’s kidnapped.

Daniel Radcliffe continues his journey successfully distancing himself from his most famous role as a titular wizard with his portrayal of Abigail Fairfax. “It’s a gender neutral name!” Fairfax is the second in line to a large family fortune wishing to make his name finding a rare artifact, since he was publicly passed up to run the family business. He has kidnapped Loretta because he believes her new book holds the key to where the artifact might be located. Radcliffe does a wonderful job keeping you guessing for the first third of the film as to whether he is tooth-nashingly evil or just has no idea as to how to properly deal with people. He plays well against his good boy image.

Alan, who clearly has feelings for Loretta, is determined to be more than just a cover model and sets out to rescue the real life version of his fictional love. He enlists the help of a professional rescuer, a mercenary played by Brad Pitt. Like Radcliffe, Pitt uses his own public image to build a solid comedic performance. His hero for hire is amiable enough to let Alan tag along on the rescue and the whole adventure just takes off from there.

Like its predecessor, Stone, The Lost City masterfully merges comedy with its adventure premise, relying heavily on the personalities of its cast of characters to anchor its laughs. All five of the leads have big laugh moments, but this is clearly Bullock’s and Tatum’s party. Even on that front, the script leans more heavily toward Bullock in a far more progressive leading performance for a female than Stone’s sometimes cringe-inducing treatment of its female protagonist from its male protagonist. Although Loretta is the one being rescued, Alan is never in control of her fate. She is never dependent on him, and she is the driver of every aspect of the plot, never the tool of it. Meanwhile, Tatum is more than willing to play a muscle-bound damsel in distress.

Like last year’s Jungle Cruise, The Lost City is a welcome escape of pure fun without the modern heaviness that comes with today’s typical blockbuster fare. This one is even more hilarious, however, thanks to the deftness of Bullock’s physical comedy. There aren’t really any serious moments here, except for one that gets glossed over until it’s finally dealt with in the closing moments for an unexpected laugh. I really can’t express how wonderful the comedic performances are in this movie. If ever we need to laugh and fantasize it is now, and The Lost City is here to deliver.

The Lost City is currently playing in theaters and streaming exclusively on Paramount +.

Little Women / **** (PG)

Columbia Pictures

Jo March: Saoirse Ronan

Meg March: Emma Watson

Amy March: Florence Pugh

Beth March: Eliza Scanlen

Marmee March: Laura Dern

Theodore ‘Laurie’ Laurence: Timothée Chalamet

Aunt March: Meryl Streep

Mr. Laurence: Chris Cooper

Mr. Dashwood: Tracy Letts

Columbia Pictures presents a film written and directed by Greta Gerwig. Based on the novel by Louisa May Alcott. Running time: 135 min. Rated PG (for thematic elements and brief smoking).

When I saw Ladybird, Greta Gerwig’s directorial debut, there was no question in my mind that this was the ascendance of an incredible new filmmaking talent. Along with writing the Best Picture Oscar-nominated movie, director Gerwig showed a gift for imbuing a film with a sense of place, as its setting of Sacramento was a character itself. Her direction was original and took risks. It was worthy of every accolade that was lauded upon it. Never in my wildest imagination could I foresee even more of a leap in vision, skill and artistry in her sophomore effort because of how good her first effort was, but my, oh my. She is something. Little Women is nothing short of a masterpiece comparable to the works of the greatest directors in cinema.

I’ve never read the book by Louisa May Alcott, nor have I seen the 1933, 1949, or 1994 film adaptations–although I always meant to see the 90s version, I’m a big fan of Winona Ryder’s work. I don’t know how true to the novel this version is. I don’t know what changes Gerwig made, although it’s pretty obvious she made some significant changes. Some of the dialogue is given a modern take. Not so much as to take you out of the amazing immersion in the time period she pulls off, but enough to freshen it up for modern audiences and give a better sense of the emotions behind certain actions and exchanges. I suspect much of the order of events is changed with the way she jumps between the women they become and the events that made them so. She also conflates some of Alcott’s story about publishing her book with her main character Jo’s experience as a female writer in a time when women’s opportunities for gainful employment were limited.

Crimson Peak / **½ (R)

Edith Cushing: Mia Wasikowska

Thomas Sharpe: Tom Hiddleston

Lucille Sharpe: Jessica Chastain

Dr. Alan McMichael: Charlie Hunnam

Carter Cushing: Jim Beaver

Universal Pictures presents a film directed by Guillermo del Toro. Written by del Toro & Matthew Robbins. Running time: 119 min. Rated R (for bloody violence, some sexual content and brief strong language).

After “Pacific Rim”, which played as a minor improvement over a “Transformers” movie, I couldn’t wait for director/writer Guillermo del Toro to return to his horror fantasy roots with “Crimson Peak”, a gothic horror romance that has del Toro reminiscing about horror traditions of the past. Del Toro has a grand palette, especially in horror environments, making “Crimson Peak” a film that plays to his strengths as a director. The beautiful images are there, in a script that feels a little stilted, making this one a disappointment on some levels, but exactly what it should be on others.

Pitch Perfect 2 / *** (PG-13)

Beca: Anna Kendrick

Fat Amy: Rebel Wilson

Emily: Hailee Steinfeld

Chloe: Brittany Snow

Jesse: Skylar Astin

Bumper: Adam DeVine

Kommissar: Birgitte Hjort Sørensen

Pieter Krämer: Flula Borg

John: John Michael Higgins

Gail: Elizabeth Banks

Universal Pictures presents a film directed by Elizabeth Banks. Written by Kay Cannon. Running time: 115 min. Rated PG-13 (for innuendo and language).

So when “Pitch Perfect” was released in theaters in 2012, I’m guessing I wasn’t alone in thinking, “Yeah, a movie about a cappella singing competitions? I’ll catch it at home if it gets good reviews.” The movie only made a little over $5 million on its opening weekend. Not exactly breaking the box office. Then people started talking about it, and word of mouth was that it was worth the admission price. By the end of the year it had netted over $68 million at the U.S. box office and was a huge hit on home video formats. A $5 million opening weekend isn’t supposed to do that.

With its snappy dialogue, great musical numbers and the introduction of Rebel Wilson as a fresh face in comedy, a “Pitch Perfect” sequel became inevitable. So here it is three years later, the girls who make up the musical group The Bellas are three years older, and the audience gets pretty much the same treatment for their encore. That’s what we’re paying for, so that isn’t a complaint. As a critic, it leaves little to discuss beyond the plot, but I enjoyed myself, so I’ll give it another whirl too.

Criterion Thoughts—The 39 Steps (1935) ***½

UR, 85 min.

Director: Alfred Hitchcock

Writers: Charles Bennett, Ian Hay, John Buchan (novel)

Starring: Robert Donat, Madeleine Carroll, Lucie Mannheim, Godfrey Tearle, Peggy Ashcroft, John Laurie, Helen Haye, Frank Cellier, Wylie Watson

Alfred Hitchcock’s “The 39 Steps” plays as a movie trying to break out of the constraints of its times. It is an example of how Hitchcock needed the power and scope of Hollywood to jump the cinematic art forward in just the way he did after his marriage with Tinsletown. It is a movie that bursts at its cinematic seams for greater production value and a leap forward in storytelling for the format.

As is often the case with Hitch, he unsettles his audience with his opening images. A man buys a ticket at a box office and the next few shots are those of feet. Even the purchase of the ticket fails to show us a face or even a torso of the man we are following into a theater. Without seeing any faces and with a sequence of feet walking this way and that, we are immediately placed into the mindset of a sort of chase going on. And yet, we have no notion of who is being chased, or why, or who is doing the chasing. The inside of the theater is a scene of a degree of chaos.

Ebert Thoughts ’15—The Son of the Sheik (1926) ***

UR, 68 min.

Director: Geo. Fitzmaurice

Writers: Frances Marion, Fred de Gresac, George Marion Jr., Edith Maude Hull (novel)

Starring: Rudolph Valentino, Vilma Banky, George Fawcett, Montague Love, Karl Dane, Bull Montana, Binunsky Hyman, Agnes Ayers

The biggest disappointment of missing Ebertfest each and every year is missing the Alloy Orchestra’s live accompaniment of the year’s silent feature. This year’s film is Rudolph Valentino’s “The Son of the Sheik”, a sequel to his film “The Sheik”, not that you have to see the first film to follow the second.

I love seeing the silent films. I don’t watch a lot of silent films, but Ebertfest ensures that I will watch at least one every year. I think that’s a good rule for any cineaste. You should watch at least one silent film a year. More would be better. It was such an innovative time in cinema. At Eberfest I’ve seen some of the best. More importantly, I’ve seen something from just about every silent legend.

Spring / *** (UR)

Evan: Lou Taylor Pucci

Louise: Nadia Hilker

Drafthouse Films presents a film directed by Justin Benson and Aaron Moorhead. Written by Benson. Running time: 109 min. Unrated (contains sexuality including graphic nudity, disturbing images, violence, and language).

After a winter like many on the East Coast experienced this year, people were ready to believe anything could be an improvement. Over the long months of storm after accumulating storm, the walls were beginning to move in on the psyche and many were ready to move someplace warmer. But, always comes the spring—a rebirth of nature and the spirit. Nature, however, holds many mysteries, and sometimes you might wish it had stayed in hibernation. Such are the discoveries of the hero in Justin Benson’s and Aaron Moorhead’s new horror/romance “Spring”, a moody nightmare that turns the tables on the expectations of the horror genre, giving way to another genre all together.

Criterion Thoughts—21 Days (1940) ***

NR, 72 min.

Director: Basil Dean

Writers: Basil Dean, Graham Greene, John Galsworthy (short story “First and the Last”)

Starring: Laurence Olivier, Leslie Banks, Vivian Leigh, Francis L. Sullivan, David Thorne, Hay Petrie

What does it mean that I can’t even figure out which collection the first film in my Criterion Thoughts series comes from? Criterion Thoughts will feature films from the premiere DVD and BluRay series of films released under the Criterion Collection banner. This first film comes from their films featured on Hulu Plus and certainly seems to fit well into the Criterion Collection. Unfortunately, I can’t tell you which collection you need to buy to get it. I’m guessing it was featured in one of their Eclipse Series.

“21 Days” was released in the U.S. as “21 Days Together” after sitting on the shelf for 2 years until star Vivian Leigh’s popularity exploded due to her success as Scarlett O’Hara in “Gone With the Wind”. It also features one of the earliest collaborations between the husband and wife acting team of Laurence Olivier and Leigh. In fact, this British film is filled with elite pedigree of the early British film scene. The film also stars the fine character actor Leslie Banks as the third lead. It was Basil Dean’s final directorial effort after 15 films beginning with 1929’s “The Return of Sherlock Holmes”. Dean would continue to produce films for another decade. Dean co-wrote the screenplay with Graham Greene, perhaps the greatest British crime writer of all time.

Romance Thoughts ‘15—Obvious Child (2014) ***½

R, 84 min.

Director: Gillian Robespierre

Writers: Gillian Robespierre (also short film), Karen Maine (also short film), Elisabeth Holm, Anna Bean (short film)

Starring: Jenny Slate, Jake Lacey, Gaby Hoffman, Gabe Liedman, Richard Kind, Polly Draper, David Cross

Sick of those formula driven romances? “Obvious Child” provides a fresh alternative to those highly predictable rom coms while remaining truly romantic and pretty consitently funny throughout. It’s a little more serious than your average rom com fare because it deals with realistic people and some subject matter that is decidedly unromantic, but it hits home as a positive romance with roots in the reality of relationships that we’re used to dealing with in an actual love affair.

Penny Thoughts ‘15—Groundhog Day (1993) ***½

PG, 101 min.

Director: Harold Ramis

Writers: Danny Rubin, Harold Ramis

Starring: Bill Murray, Andie MacDowell, Chris Elliott, Stephen Tobolowsky, Brian Doyle-Murray, Marita Geraghty, Angela Paton

So the time has come once again for us all to have our annual existential comedy experience and relive the same day over and over until we get it right. Perhaps we could all use the unexplained peril of Bill Murray’s self-centered hero from one of the unlikeliest of cinematic comedy successes of all time. “Groundhog Day” was released in February of 1993 to a Valentine’s Day crowd most likely expecting nothing more than another romantic comedy that seemed slightly off target release date wise considering it was the wrong holiday by a couple weeks. Instead they got a comedy with a brain that really wanted to tackle the deep issues that lay at the core of its otherwise silly premise.

Penny Thoughts ‘15—Galavant, season 1 (2015) ***½

TV-14, 8 23-min. episodes

Creator: Dan Fogelman

Directors: Chris Koch, John Fortenberry, James Griffiths

Writers: Dan Fogelman, Alan Menken (music), Glenn Slater (lyrics), Kirker Butler, John Hoberg, Casey Johnson, Kat Likkel, Kristin Newman, Scott Weinger, David Windsor

Starring: Joshua Sasse, Karen David, Timothy Omundson, Mallory Jansen, Vinnie Jones, Luke Youngblood, Darren Evans, Ben Presley, Stanley Townsend, Genevieve Allenbury

Guest starring: Tim Plester, Sophie McShera, Rutger Hauer, Faith Prince, Weird ‘Al’ Yankovic, Hugh Bonneville, Michael Brandon, Michael Jibson, Rory Wilton, Ricky Gervais, John Stamos, Kenneth Collard, Anthony Head

I can’t tell you how happy I am that ABC was willing to take a risk like this on network television. A few years ago, who could’ve imagined a half-hour comedy musical set in medieval times in which the characters make fun of themselves, musicals, network television and all sorts of stereotypes? I think streaming services have a lot to do with the networks putting risks like this one out there.

American Sniper / *** (R)

Chris Kyle: Bradley Cooper

Taya: Sienna Miller

Dauber: Kevin Lacz

Biggles: Jake McDorman

Dandridge: Cory Hardict

Marc Lee: Luke Grimes

Goat-Winston: Kyle Gallner

Jeff Kyle: Keir O’Donnell

Warner Bros. Pictures presents a film directed by Clint Eastwood. Written by Jason Hall. Based on the memoir by Chris Kyle and Scott McEwen and Jim DeFelice. Running time: 132 min. Rated R (for strong and disturbing war violence, and language throughout including some sexual references).

I find myself approaching my review of Clint Eastwood’s “American Sniper” in much the same way I think the filmmakers approached the material themselves—vey carefully. “American Sniper” has been a runaway hit with audiences and grabbed a surprise 6 Oscar nominations after an awards season where it barely made an impression elsewhere. It tells the story of real life U.S. Navy SEAL Chris Kyle, who is credited as the deadliest American sniper in history. It is based on his own memoir of the same name. A veteran he was trying to help killed Kyle on a shooting range in 2013.

A Million Ways To Die in the West (2014) **

Albert: Seth McFarlane

Anna: Charlize Theron

Louise: Amanda Seyfried

Clinch: Liam Neeson

Edward: Giovanni Ribisi

Foy: Neil Patrick Harris

Ruth: Sarah Silverman

Universal Pictures presents a film directed by Seth McFarlane. Written by McFarlane & Alec Sulkin & Wellesley Wild. Running time: 116 min. Rated R (for strong crude and sexual content, language throughout, some violence and drug material).

I read a misguided article about acting recently that took the stance that many Oscar nominated performances thought to be great were somehow holding back and playing it safe. A much wiser friend of mine, and excellent actor in his own right, debunked this fool’s theories with a simple truth about the art of acting. He essentially said that what is required for a good performance is that the performer find some sort of truth in the material. This is really the case with all art. Including the entire effort of a film. Even good slapstick comedy is anchored in truth.

Penny Thoughts ‘14—The Towering Inferno (1974) ***

PG, 165 min.

Director: John Guillerman

Writers: Stirling Silliphant, Richard Martin Stern (novel “The Tower”), Thomas N. Scortia (novel “The Glass Inferno”), Frank M. Robinson (novel “The Glass Inferno”)

Starring: Paul Newman, Steve McQueen, William Holden, Faye Dunaway, Fred Astaire, Susan Blakley, Richard Chamberlain, Jennifer Jones, O.J. Simpson, Robert Vaughn, Robert Wagner, Susan Flannery, Sheila Mathews, Normann Burton, Jack Collins, Don Gordon, Felton Perry, Gregory Sierra, Ernie Orsatti, Dabney Coleman, Mike Lookinland

I think “The Towering Inferno” was the first movie for which I ever developed an obsession. It was a major score for the major networks—back in the day when they were the only three channels to choose from—to get this film on their “Movie of the Week”. I’m not sure which one had it first, but when it aired, it was a two-night event.

Penny Thoughts ‘14—Team America: World Police (2004) **

R, 98 min.

Director: Trey Parker

Writers: Trey Parker, Matt Stone, Pam Brady

Voices: Trey Parker, Matt Stone, Kristen Miller, Masasa, Daran Norris, Phil Hendrie, Maurice LaMarche

So in light of the critical failure of “The Interview”, many critics have been recalling the feature length puppet movie from “South Park” creators, Trey Parker and Matt Stone, “Team America: World Police” as a more satisfying skewering of a North Korean leader. While there are certainly aspects of that film that are more successful than “The Interview”, I believe these recollections are more like wishful thinking for what either of the films could’ve been rather than what they actually are.

Penny Thoughts ‘14—The Fountainhead (1949) **

NR, 114 min.

Director: King Vidor

Writer: Ayn Rand (also novel)

Starring: Gary Cooper, Patricia Neal, Raymond Massey, Kent Smith, Robert Douglas, Henry Hull, Ray Collins

I suppose I can see how at one point in time the philosophies of Ayn Rand might’ve held appeal to some, but at this point, her narrow minded ideals seem like a pretty tough sell to me. Back when King Vidor made her novel “The Fountainhead” into a film, with Gary Cooper and Patricia Neal as her idealized leads, maybe her ramblings didn’t sound quite so elitist, although I would guess she wouldn’t have a problem with that term. That’s what is hardest to swallow from her for me, the way she sees “the people” as something lesser than her characters.

Holiday Thoughts ‘14—Kingdom of Heaven (2005) ****

R, 190 min. (director’s cut)

Director: Ridley Scott

Writer: William Monaghan

Starring: Orlando Bloom, Eva Green, Jeremy Irons, David Thewlis, Marton Csokas, Brendan Gleeson, Edward Norton, Velibor Topic, Alexander Siddig, Liam Neeson, Ghassan Massoud, Michael Sheen, Jouko Ahola, Kevin McKidd, Jon Finch

With “Exodus: Gods and Kings” in theaters for early preview screenings tomorrow, director Ridley Scott takes his shot at the biblical epic. This is hardly Scott’s first foray into Christian themes, however. Perhaps one of his most overlooked films, “Kingdom of Heaven”, takes a look at faith in the backdrop of the Crusades to restore the Christian lands around Jerusalem. It isn’t really a Christmas themed movie as it has little to do with Christ’s life on Earth, but I include it for this year’s Holiday Thoughts because it contains one of the best portraits of what it means to be a good Christian in times that most Christians lose sight of the teachings of Christ.

Penny Thoughts ‘14—The Lord of the Rings: The Return of the King (2003) ****

PG-13, 251 min. (special extended edition)

Director: Peter Jackson

Writers: Fran Walsh, Philippa Boyens, Peter Jackson, J.R.R. Tolkien (novel)

Starring: Elijah Wood, Ian McKellen, Viggo Mortensen, Sean Astin, Andy Serkis, Miranda Otto, David Wenham, Bernard Hill, Billy Boyd, Dominic Monaghan, Orlando Bloom, John Rhys-Davies, John Noble, Hugo Weaving, Ian Holm, Liv Tyler, Karl Urban, Alan Howard (voice), Sala Baker, Marton Csokas, Bruce Hopkins, Sean Bean, Brad Dourif, Christopher Lee, Bruce Spence

When you ask children to sit through a four-hour movie, it had better have a lot of action within it to keep them checked in. If anything, “The Lord of the Ring: The Return of the King” accomplishes that task in spades. What’s really impressive is that it isn’t merely action. Jackson juggles several different storylines all filled with their own catharsis and depth and masterfully edited together in such a way that the action keeps things moving but never runs over the depth and sentiment.

Penny Thoughts ‘14—Palo Alto (2014) **

R, 100 min.

Director: Gia Coppola

Writers: Gia Coppola, James Franco (short stories)

Starring: Jack Kilmer, Emma Roberts, Nat Wolff, James Franco, Zoe Levin, Olivia Crocicchia, Claudia Levy, Val Kilmer

This is one of those rare occasions where I’ve actually read the book upon which the movie is based. I read James Franco’s collection of short stories, “Palo Alto: Stories”, and I didn’t particularly like it. He has a natural hand for writing, but it seemed he was trying too hard to be indifferent about his characters’ lives. He writes about harsh lives of adolescence and bad choices, but he seemed too willing to leave his characters hanging without any judgment or catharsis.

Penny Thoughts ‘14—Nymphomaniac, vol. I (2014) ***½

NR, 117 min.

Director/Writer: Lars von Trier

Starring: Charlotte Gainsbourg, Stellan Skarsgård, Stacy Martin, Shia LaBeouf, Christian Slater, Uma Thurman, Sophie Kennedy Clark, Connie Nielsen, Ananya Berg

I’m not really sure what I was expecting from Lars von Trier’s latest controversial epic, the two-part “Nymphomaniac”. I suppose I was expecting something a little more sexually harsh, like Vincent Gallo’s “The Brown Bunny” or von Trier’s own “Antichrist”. “Nymphomaniac”, however, is a much more sympathetic portrait of sexual deviancy, at least throughout the first volume.