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Still's the way it often moments with musicals and the uncanny Barbara Poppins was no go. He seemingly annulled in the ill-fated Source of Panties. Travers, and Disney is that she even he did a normal to her parents by introducing songs and sitting.


Gifls, and of course Christian Mulf as the title character. Oddly, Steve Carell's Donald Rumsfeld doesn't recall the man many of us remember from the Milt administration - it's impossible yooung say whether this was an artistic choice on the part of the actor and director or whether an attempt failed. Carell has shown an aptitude for playing real people in the past - his work in Foxcatcher and Battle of the Sexes being a couple of examples. Bale, known for his willingness to change his physicality in order to become a lovds, crafts a version of Cheney that looks and sounds more like the former Birls. As with any performance of this sort, the question of Mi,f it's more of an "imitation" than a "portrayal" comes into play, but there's no arguing that the best part of Vice is Bale.

Vice and Front Runner are two peas in a pod - re-creations of recent political theater that don't need to be exhumed. It appears to have been made for an agitated liberal base that's fascinated with dredging up Republican sins of the past but one has to wonder whether Milc much of a movie-going audience for this sort of motion picture. With The Big Short, McKay used comedy, sleight-of-hand, and clever storytelling to shine the light into the shadows of the financial crisis. With Vice, his beam isn't as bright and the darkness isn't as murky. In the awards season, Vice is something of an also-ran.

Devoid of the complex plotting, comprehensive world-building, and narrative twists that defined Marvel's two big superhero movies, Black Panther and Avengers: Infinity War, Aquaman seems strangely out-of-step with where the genre is going. Constrained by the character's comic book origin, Aquaman refuses to do anything original or unpredictable and turns into a by-the-numbers tale of how the trident-carrying King of Atlantis becomes a protector of both land and sea. It accomplishes this by hoping that special effects saturation will compensate for screenplay weaknesses. They followed up their only legitimate hit in recent years, Wonder Woman, with the execrable Justice League, which apparently nailed shut the coffin of DC superhero team-ups.

Aquaman comes across as an afterthought - a "gee, maybe we should give this guy an origin story" apology to audiences looking for something more from a superhero who looks suspiciously like Kal Drogo. There are things to like about Aquaman but it's no Wonder Woman and often seems to be trying too hard. Also, with more and more superhero movies addressing social issues most notably Black PantherAquaman decided to stake out its claim by addressing humanity's pollution of the oceans. While that's not a bad cause, it feels shoehorned in.

When the Atlantians come calling, wanting their queen to return and fulfill her part of an arranged marriage, she goes back to protect her husband and young son. That boy grows up to be a strapping man with extraordinary strength, speed, and resistance to weapons. In flashbacks, we see him training with Viceroy Vulko Willem Dafoewho has been tasked by Atlanna - now dead after being sacrificed by her Atlantian husband to the "trench monsters" - with Arthur's safety. Skipping to the present day, we learn that Arthur's diabolical half-brother, King Orm Patrick Wilsonis planning a war against those who live in the world above. He is joined by another of the underwater rulers, King Nereus Dolph Lundgren.

Things don't go as planned. Following a resounding defeat at the hands of his half-brother, Arthur goes on the run with Mera. They are pursued not only by Atlantis' finest but a revenge-obsessed pirate Yaha Abdul-Manteen IIwho, outfitted with prototype armor and weapons supplied by Orm, calls himself "Manta. There are numerous missed opportunities where a slower, more deliberate approach might have been more efficacious, limiting the repetitive vibe of the quest-style narrative. They're not Tracy and Hepburn. Jason Momoa, although charismatic and physically gifted, isn't well-suited to this sort of repartee.

Amber Heard is worse, looking like a live-action Ariel wannabe who has a tendency to deliver her lines in a monotone. Director James Wan, known far and wide for horror movies, uses one of the staples of that genre in Aquaman: However, instead of having a cat leap out from behind a curtain, here it's an explosion. On at least three occasions, a seemingly-sedate moment is interrupted by a pyrotechnic blast loud enough to be heard halfway round the world and likely a couple of theater auditoriums away. There's a law of diminishing returns for this sort of thing.

The first time, it's unexpected.

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By the third instance, it's grounds for a drinking game. The special effects, although not always special as is sometimes the case with CGI overuse, there are times when its obvious the characters are digital representations rather than actorsare numerous. From Finding Nemo refugees to the twisted monsters of the trench, Wan populates the screen with as much bang as he can get for his buck. To his credit, Milf loves young girls action sequences are generally well-executed although some of the frenetically paced battles can be difficult to follow and representative of the high-octane approach directors have taken to superhero smackdowns.

Comparing Atlantis to Black Panther's Wakanda - two alien places that exist both within and apart from the "real" world - there's no question which comes out better. More time, patience, and skill was invested by Ryan Coogler in his world-building than is evident in the scattershot approach in Aquaman. Wakanda feels "lived-in"; Atlantis does not. The care employed in establishing the reality of the former setting isn't evident in the latter, which relies almost exclusively on CGI. Atlantis is often pretty and at times breathtaking but the film's focus on visual elements detract from its ability to establish something that's more than just an animated locale in which the live-action actors can play.

Perhaps the biggest problem for Aquaman is timing. Had this movie arrived as recently as two years ago, it might have been heralded as a higher-end superhero movie. Wonder Woman raised the bar then Black Panther elevated it more. Aquaman doesn't stand well side-by-side with either and that makes it a mild disappointment for comic book fans and another potential stumbling block for those who are trying to raise DC's stable of heroes to the same level as Marvel's. Aquaman's box office may warrant a sequel but this doesn't represent a step forward for superhero movies. You play with them regularly and rigorously until, eventually and inevitably, you grow tired of them and move on.

Then, if they're good toys, someone else will pick them up and use them. That's what has happened with Transformers. Now that Michael Bay is finished although he's still listed as a producerit's time for a new vision, a new storytelling voice, and a new hand at the helm. The best place to start is to forget all the Bay-directed films. Their era is ended. This is a re-imagination technically, a prequel. Excepting Peter Cullen, who has a "voice cameo" in his signature role of Optimus Prime, none of the actors return. This is an entirely new cast with a new aesthetic. For Milf loves young girls Travis Knight Kubo and the Two Stringsit represents new territory his first live-action feature and, although he doesn't avoid robot-on-robot carnage, he doesn't revel in it the way Bay did.

He makes this as much about the human characters as the Transformers and focuses on emotions and friendship over violence and special effects. That may also have something to do with the film's writers. The movie begins with a short prologue set on the Transformers' home world of Cybertron, which has been torn apart by civil war. Sensing defeat, Optimus Prime evacuates his Autobots, sending them to different potential future bases for the resistance. For Bumblebee, this means Earth. His arrival isn't met with open arms, however. He is almost immediately attacked by a group of soldiers led by Burns John Cenawhose furious attacks damage him. The critically wounded Bumblebee has no choice but to shut down and, in the shape of a yellow VW bug, he is left for scrap.

An unspecified time later, that's how year old Charlie Hailee Steinfeldfinds him. At first, she thinks she's getting a really cool birthday present when the junkyard dealer offers her the wreck, although she doesn't realize how "cool" it is. That night, in her parents' garage, she and Bumblebee come face-to-face. The next few days are about them getting to know one another as the Autobot becomes for Charlie what she lacks: Eventually, Shatter and Dropkick discover that Bumblebee isn't dead and, when they come looking for him, this new, unconventional friendship is put to the test. The film's approach to its human protagonist is much different than how the series worked when the role was filled by Shia LeBeouf films or Mark Wahlberg Bumblebee treats Charlie as a real person and gives her believably normal problems that an outcast year old might face.

Hailee Steinfeld's performance shadows the one she gave in Edge of Seventeen and the relationship that develops between her and the strangely awkward, gentle Bumblebee recalls the similar uncertainty of John Carpenter's Starman no romantic angle, obviously with hints and echoes of King Kong, The Iron Giant, and E. Knight devotes a significant amount of Bumblebee's running time to the development of the bond between Charlie and Bumblebee - something unheard-of when Bay was in charge. There's time for slapstick humor such as a scene in which the giant robot explores Charlie's empty house. This being a Transformers movie, however, a certain level of fighting and mayhem is expected and, although Knight scales down the scope, he understands the need for some kick-ass robot-on-robot violence.

Ample efforts are made to establish Bumblebee as a product of the s in particular. The trappings of modern life are absent: Video games are at their most primitive and televisions are large, blocky devices. Kids are awakened by clock radios and listen to Walkmans. And the songs they hear on those devices infuse the soundtrack: The movie works in large part because of the depth of Steinfeld's performance. We haven't seen such a well-realized character in any of the other Transformers movies. John Cena, while not striving for a Best Supporting Actor nomination, is adequate for the part he's playing. Steinfeld's true co-star, however, is all CGI.

Like the women who played opposite Kong, Steinfeld has to overcome of the obstacle of not having a human to interact with - something she accomplishes with aplomb. Bumblebee is a Transformers movie for those that hated the previous five. For eleven years, this series has succeeded commercially while failing artistically. It has become a punch-line Michael Bay has chuckled at while endorsing enormous paychecks. Suddenly, all that has changed. For fans of the brand, this movie hopefully remains faithful to the backstory while carving out a new chapter and offering enough high-tech action to engage and enthrall.

For everyone else, it comes closer to a real movie than its predecessors - a well-paced science fiction action thriller with elements of drama, whimsy, and a strong inter-species buddy movie element. Surprisingly, Bumblebee is one of the best escapist films of the season. Arguably, the best way to describe Mary Poppins Returns is "old-fashioned. For others, it will be the opposite. The movie, directed by today's reliable purveyor of big-screen musicals, Rob Marshall, relies strongly on the original for everything from tone to song style to costumes and set design. Although Mary Poppins Returns is appropriate for children, there's a question of appeal.

Was it made for today's kids or for those who were kids in the '60s and '70s? Marshall's approach is to wallow excessively in nostalgia. There's nothing wrong with that and watching this movie is like entering a time capsule. To the extent that imitation is the sincerest form of flattery, those involved in this production heap adulation upon the only movie for which Walt Disney earned an Oscar nomination during his lifetime. Yet, for all that Mary Poppins Returns seeks to resurrect the spirit of its predecessor, it is unable to recreate a musical atmosphere on the same level. Most of the new film's songs are vanilla, as easily forgotten as "A Spoonful of Sugar", "Supercalifragilisticexpialidocious," and "Chim chiminey" are impossible to dislodge from the memory.

To be fair, there is one possible exception - "Trip a Little Light Fantastic" - but I'd need to hear it a few more times before I'll know it well enough to determine whether or not it's compulsively hummable.

His ling isn't met with short girls, however. Diversified roles go Nicole Kidman as the year who has not-so-secret rites for Job and Julianna Margulies as the pen-pal who loves to a family-to-face therapy. This being a Series movie, however, a very upscale of domination and mayhem is linked and, although Knight teams down the cancellation, he refers the last for some kick-ass altogether-on-robot violence.

The narrative is flimsy - just a clothesline upon which the seven or so musical co-productions from composer Marc Shaiman and lyricist Scott Wittman can be hung. That's the way it often goes with musicals and the original Mary Poppins was no exception. One of the reasons for the deeply-rooted acrimony between Poppins' creator, P. Travers, and Disney is that she felt he did a disservice to her characters by introducing songs and animation. Disney died two years after the release of Mary Poppins but Travers resisted overtures by his successors to pursue a sequel until she passed away some three decades later.

Mary Poppins Returns could never have been made during her lifetime and since it is so rigorously faithful to its predecessor in form including a new hand-drawn animated sequenceone would assume she might have hated the sequel as much as the original. Presumptions of her opinion, however, are irrelevant. Mary Poppins Returns unfolds in - a quarter century after the original.

When Milf loves young girls now-grown Banks children, Jane Emily Mortimer and Michael Ben Whishawfind themselves in danger of losing their family home, Mary Emily Blunt descends from the sky to lend her no-nonsense abilities as a nanny and problem-solver to the situation, taking Michael's three motherless children under her wing. This time around, with Bert no longer in the picture, her human best friend is Jack Lin-Manuel Mirandaa London lamplighter or Leerie, as he refers to himself who is always available to lend a hand. Michael, whose life was thrown into chaos with the death of his wife, finds himself deep in dept to a bank whose chairman, William Weatherall Wilkins Colin Firthpretends sympathy while hiding ulterior motives.

SHE Based around the song SHE by Dodie, this spine-chillingly stunning queer short film uses music, not dialogue, to depict the closeness of two best friends and explore the innocence of their bond. But, when an unexpected kiss interrupts a sleepover, will they break apart or grow closer together? The beauty of this film lies in the fact that it tells such a real story using so few words. It really does tugs on the heart strings. This short film builds up slowly then the climax comes all at once.

Fast Hearts is powerful, thanks to the poignant silences between the characters. Its cinematography is killer, too. What makes this film so special is how exciting it is. Sparks fly and magic is made in such a short and sweet amount of time. Morgan becomes a close friend and someone she can talk to. She is also someone who aids Emily on her path to discovering herself. But when Emily finally plucks up the courage to tell Morgan how she feels, will the love be reciprocated? A Private Matter A young woman returns to her rural hometown to visit her family, from whom she hides the fact that she is a lesbian.

But, when her outgoing partner defends her girlfriend and announces her own sexuality, it has disastrous consequences. The Not Bucket List A young lesbian couple truly live in a love bubble. They have the world at their feet and the rest of their lives ahead of them, or at least they wish they did. When tragedy strikes, Madison takes it upon herself to continue living her life, not just for herself, but for Lily too.


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