The Purge: Election Year (2016)

Directed by: James DeMonaco. Starring: Frank Grillo, Elizabeth Mitchell, Mykelti Williamson. Runtime: 1h, 45 min. Release date: July 1, 2016.

As the U.S. Election just wrapped up the other day, I thought it would be fitting to post a review of “The Purge: Election Year”. I wrote this review back in August and did not post it, so I had to edit the end bit of the review about Donald Trump ever-so-slightly. 

“The Purge” franchise keeps getting better with each film. Perhaps writer-director James DeMonaco designed it that way – debuting the franchise with a disappointing original that executed its concept poorly, with a huge focus on politics. The one-house setting with a focus on one family was restricting and damning.Now DeMonaco has a formula set where the politics are briefly recapped and then gets right to the carnage. “Election Year” suggests he’s now realized the franchise’s fullest potential, delivering the most focused tale yet.

It’s Election year in 2025 in a very different America, where all crime is legal for 12 hours on a night a year in the Annual Purge, a holiday (for some) introduced by the New Founding Fathers of America to let Americans unleash anger and cleanse their souls, which also reduced crime rates.

It was also a way for the government to put more money in their pockets by thinning the herd and letting the rich kill America’s lowest classes who can’t protect themselves – meaning the government saves money because there are less people on welfare.

Senator Charlie Roan (Elizabeth Mitchell) is a voice for those impoverished, running for president to abolish the Purge, largely because her entire family was killed in 2007’s Purge Night in a darkly amusing scene.

The NFFA fears she’s gaining ground in the race against their candidate Minister Edwidge Owens (Kyle Secor), so they use Purge Night for some “spring cleaning” to take out their enemies, specifically the Senator. To do so, they take away the protection of Level 10+ government officials, so it’s now perfectly legal to kill them.

On the politics side, learning more about the New Founding Fathers is intriguing. The Washington, D.C. setting is opportune for more characterization, and they’re like nutty people blindly following a crazy cult leader.

Dante Bishop (Edwin Hodge), the only actor appear in all three films, has taken over the role of Michael K. Williams’ Carmelo Johns as NFFA’s main oppressor. Frank Grillo returns as Leo Barnes, the head of the Senator’s security detail and her main hope of survival through the Purge. His ability in combat supersedes the character himself, as he’s a badass protector with little depth. Mitchell is great as the Senator, though her morals get in the way of certain events which gets irritating.

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Mykelti Williamson, Frank Grillo, Joseph Julian Soria, Betty Gabriel and Elizabeth Mitchell in The Purge: Election Year(Source)

New low-class characters include Joe (Mykelti Williamson), a deli owner who has to protecting his deli himself after his insurance company raises prices on Purge night. Laney Rucker (Betty Gabriel) is a new character who drives around on Purge night helping those who can’t protect themselves. It’s noble and one of the film’s best concepts.

“Election Year” has horror in its veins thanks to creepy masks and many jump scares. It’s also scary for the low-class citizens who can’t defend themselves on Purge night. The great action and violence from “The Purge: Anarchy” is prominent, and the action sequences are fresh enough to satisfy fans of the franchise and newbies alike. The deaths are cool, especially one by guillotine. The characters are also some of the best yet, in terms of heroes.

The NFFA are cool villains, despite their baffling beliefs. There are neo-Nazi mercenaries who are good, but the main baddie, Earl Danzinger (Terry Serpico), is merely a menacing caricature. That’s what all the villains in “Election Year” feel like – caricatures of the bat-shit craziness of the America portrayed, just bloodthirsty animals wanting to purge.

A main villain, a bratty rich girl named Kimmy (Brittany Mirabile) with two puffs on her hair and a bedazzled rifle, is over-the-top and deliriously annoying – and her motivation is looting for a chocolate bar that Joe wouldn’t let her steal. She’s written in such a way that makes you impatient for her to die.

The characterization of the villains makes me believe the Polite Stranger from the 2013 original won’t be bested. The chilling performance by Rhys Wakefield made him one of the most memorable aspects. DeMonaco’s screenplay is still very good, but his villains have become forgettable.

There was an opportunity to create strong villains with murder tourists, who come from different countries to experience the Purge. Their scene is stylish and frightening. They could have been great – as they’re so prominent in marketing, decked out in patriotic masks of Presidents and the Statue of Liberty. Their potential was squandered when they started babbling about their love of America, and how they really want to kill people.

They were a disappointment, plus, they have the wrong idea: If the Purge ever became real, and it feels like it could with Trump as President, they should leave America on Purge night, not go to it.

Score: 80 out of 100

(This review originally appeared on the Movie Buff.)

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Now You See Me 2 (2016)

Released: June 10, 2016. Directed by: John M. Chu. Starring: Jesse Eisenberg, Mark Ruffalo, Woody Harrelson. Runtime: 2hr, 9 min.

After a year in hiding from the FBI, the bank-robbing-magical-vigilante Four Horsemen return to the spotlight in Now You See Me 2, to publicly expose a technology company called Octa for unethical operations.

After their enemies are a step ahead of them for once, forcibly whisked away to China to perform another impossible heist for tech genius Walter Mabry (Daniel Radcliffe).

One of the sequel’s ways to freshen its premise is one of its finer magic tricks – turning Isla Fisher’s Henley into Lizzy Caplan’s Lula. Fisher wasn’t able to reprise her role due to her pregnancy.

While likable, Henley was a weaker link among the Horsemen in terms of entertainment. Jesse Eisenberg’s J. Daniel Atlas and Woody Harrelson’s Merritt McKinney got the funnier lines and Henley’s most memorable moment was the escape from the piranha water tank.

Caplan’s Lula doesn’t have a truly memorable moment like the piranha tank, but she’s funny and her excitement to join the group is relatable. She has amusing distractions and tricks and sight gags – but Henley was the way more amazing magician.

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Woody Harrelson as Merrit McKinney in Now You See Me 2. (Source)

Jesse Eisenberg returns as the arrogant Daniel Atlas, still sarcastically witty and amusing but arrogant as ever. At least it helped me forget his performance in Batman v Superman: Dawn of Justice somewhat.

Harrelson is doubly funny as the mentalist McKinney, he’s having a lot of fun and it’s contagious watching because he’s so hilarious. An aspect of his diverse performance is a surprise I don’t want to spoil. Dave Franco returns as Jack Wilder – the trickster whose specialty is playing card tricks and sleight of hand.

In NYSM, audiences were shown too often how the film did its trick by magic debunker Thaddeus Bradley (Morgan Freeman). He can’t debunk so much now from a jail cell. In NYSM2, tricks are only explained when it’s detrimental to the story. It’s more mysterious and more like a magic show when we don’t know how they do what seems impossible.

The sequel balances comedy and strong well-edited and well-directed. Jon M. Chu takes the director’s chair from Louis Letterier – maintaining the similar visual style but a stronger focus for the story. They’re still vigilantes in some capacity, but they’re more-so trying to survive against their enemies.

It helps that they’ve gained a new horseman in Mark Ruffalo’s FBI agent Dylan Rhodes, who recruited the horsemen but was also chasing them in the last film.

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Jesse Eisenberg controls the weather as J. Daniel Atlas in Now You See Me 2. (Source)

Learning more about his backstory is intriguing as I liked learning more about the mystery of Lionel Shrike. I thought it was uninspired when Agent Cowan (David Warshofsky) automatically assumes he’s playing both sides even though there’s not much evidence to support the claim. I mean, he is playing both sides but is it just blind intuition?

The FBI are still after the Horsemen, this time led by Agent Cowan and Deputy Director Natalie Austin (Sanaa Lathan, Alien vs. Predator), who is one-note.

There’s not as many big twists this time, but the writing feels more concise and not as confusing. There’s still a wow factor with many of the tricks and the magic is maintained.

It’s a delight to see Daniel Radcliffe return to the wizarding world, this time in a different dynamic as the villainous Muggle, Walter Mabry. He employs the Horsemen to steal a powerful device from a heavily guarded lab for him. He’s a welcome addition to the ensemble.

The heist scene where the Horsemen attempt to steal it is compelling and well-edited, and one of the film’s coolest sequences. The practical effects are also really great. The heist caper still has enough magic up its sleeve to entertain for this sequel.

Score: 75/100

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The Jungle Book (2016)

Released: April 15, 2016. Directed by: Jon Favreau. Starring: Neel Sethi, Bill Murray, Ben Kingsley. Runtime: 1hr, 45 min.

Director Jon Favreau brings his vision of Rudyard Kipling’s classic story of The Jungle Book to the big screen – telling the story with fantastic visuals and a stellar cast.

It’s a coming-of-age tale about Mowgli (Neel Sethi), a man-cub finding his place in his world with animals in the Indian jungle. In fact, Mowgli is one of the film’s only live-action actors with any substantial contribution to the story.

Seethi is given a high task to carry the film as the only live-action actor. His performance is remarkable, capturing the bravery and charming curiosity of Mowgli, as well as his inventive personality.

He’s the heart of the film and he shows a great maturity as the character. It feels like he’s been performing for years – but this is his first theatrical film, his only prior experience was in a short film called Diwali.

While Seethi is virtually the only live-action actor on display in the core cast – the world between the human Mowgli and the motion-captured, computer-generated animals blend together so seamlessly, it feels like he’s truly interacting with real animals.

The visual effects are flawless and so is the attention to detail in how the animals are rendered. It’s really as great as Life of Pi in terms of creating realistic, visually striking animals. The landscape portrayed is vivid and adds to the film all around. The way the actors capture animals’ behaviour and movements adds a heightened realism.

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Neel Sethi in The Jungle Book (Source)

The voice performances for the classic characters are also great. Bill Murray encapsulates Baloo – his laziness is relatable and he’s a fun character.

Ben Kingsley portrays Bagheer, the panther who found Mowgli as an infant in the jungle. He’s also tasked with bringing him to safety to return to his own kind when he is threatened by Shere Khan, the fearsome Bengal tiger. Idris Elba is menacing as the primary villain and doesn’t like Mowgli in the jungle because he is a human and doesn’t trust them. A human gave Shere Khan his scars. This adds a layer to Mowgli, who at times has to question if he could be destructive like that, too.

Also notable is the presence of Christopher Walken as King Louie. He’s changed from an orangutan to a gigantopithecus, to make it native to India. It also gives the scenes with Louie a much grander feel and breathtaking scale because he is so hulking. He’s actually scary here, in a refreshing turn from the original.

His rendition of the original Disney’s “I Wanna Be Like You” serves as one of the feature’s many high points.

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Neel Sethi as Mowgli and Kaa (Scarlett Johansson) in The Jungle Book. (Source)

Murray also sings “Bear Necessities” and Scarlett Johansson as Kaa sings “Trust In Me” through the end credits. That’s it for the songs used from the 1967 animated musical.

Jon Favreau chose to tell the story of how Mowgli got on his own when Kaa (Johansson) was hypnotizing Mowgli, instead of having her sing the song. The slithering character is seen in only one scene – but she’s memorably chilling.

The choice to cast Johansson and gender-swap the character was to done to add another female to the cast, where the only other primary female cast member is Lupita Nyong’o as Raksha.

It is one of the film’s only disappointing aspects that Kaa only has a small role, almost a cameo – as the more utilized “red flower,” fire to the animals, is more utilized as a villain here. The animated Disney flick basically only mentioned “red flower” in passing, so Favreau was more faithful to Kipling’s use of the element.

The way the story is structured is strong and the narrative is so engaging and entertaining. It also handles the iconic characters so, so well. This adaptation was penned by Justin Marks, who shows a great adapting ability. His two other prior screenwriting credits were a television movie (Rewind) and a video game adaptation (Street Fighter: The Legend of Chun-Li).

It might not have songs at every turn, but it handles its own very well as a film with a few violent moments. The third act is a great finale, and the film maintains a compelling pace – peppering comedy, drama and stunning action set pieces throughout. Some of the action even kept me on the edge of my seat at times.

Favreau perfectly finds a difficult balance of capturing the Disney magic, as well as making a mature adaptation that is unique and memorable. I think parents will be bugging their kids to see it so they have an excuse to watch it. And then watch it again. It’s truly great.

Score: 100/100

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The Boss (2016)

Released: April 8, 2016. Directed by: Ben Falcone. Starring: Melissa McCarthy, Kristen Bell, Peter Dinklage. Runtime: 1hr, 39 min.

R-rated comedienne Melissa McCarthy and hubby-and-director Ben Falcone take a second shot at co-writing a screenplay together with The Boss after their first botched attempt in 2014’s Tammy. The good thing is this is a much funnier collaboration.

The basic story follows Michelle Darnell (McCarthy), the (fictional) 47th wealthiest woman of America. The film glosses over how Darnell makes money, simply billing her as a CEO of three Fortune 500 companies. It’s a poor-to-rich story, as Darnell grew up in the foster home system.

Her life gets ruined after she’s imprisoned for insider training. All of her belongings are seized and her house foreclosed, she learns when she’s released. She then stays with her former assistant and single mother Claire (Kristen Bell), basically the only person on who will give her a place to stay because no one is answering Michelle’s calls.

The story feels like Darnell is on a path to make money again, rather than redeeming herself as a person – which just comes out naturally. Her new business venture is a brownie company called Darnell’s Darlings.

She gets the idea after knowing the demand of Dandelions girl guide cookies, after taking Claire’s daughter Rachel (Ella Anderson) to one of the meetings. Claire is the baker for the company because she has a good recipe – and her motivation for helping is to get Michelle off her couch.

Michelle gets more likable throughout. But that’s easy considering her obnoxious introduction at a sold-out arena show about telling people how to make money – where she comes down on a golden phoenix to sing “All I Do Is Win” with DJ Khaled.

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Melissa McCarthy and Kristen Bell in The Boss. (Source)

The Boss is great example of how the essential falling-out of characters can ruin a film’s momentum. The clichéd moment arises because of Michelle’s lack of a family and fear of getting close to people.

The poor narrative is the film’s worst aspect. It feels like the jokes were written first, and then a story was shaped around them. To the credit of Falcone, McCarthy and Steve Mallory, there are many clever jokes and laugh-out-loud moments. That’s the redeeming part that makes this an entertaining film.

A flaw of the film is the fact that Melissa McCarthy gets almost all of the funny jokes. The film suffers when she isn’t on-screen. The character who misses the most is Peter Dinklage’s Renault, an aspiring samurai, or something. He’s obsessed with ex-girlfriend Michelle, where revenge is mostly on his mind, but he still has the hots for her even after she screwed him over.

His banter with his assistant Stephan (Timothy Simons) is simply awkward, but sometimes so stupid it’s almost funny. The character’s so poorly written that Dinklage just has to do his best with the crappiness he is given.

Kristen Bell’s Claire is simply boring – she only has a few good laughs to offer. She’s the set-up for McCarthy’s Darnell, characterized as a single mom who works hard for her daughter. We’re supposed to see Darnell as a really mean boss, but she’s not as bad as any boss in the Horrible Bosses franchise. Maybe we caught her on a nice week?

But Claire just keeps getting stuck with bad bosses, getting stuck with Dana Dandridge (Cecily Strong) when Michelle goes to prison. She’s supposed to be mean, but she’s cringe-worthy and awkward, ribbing Claire for being three minutes late at one point. Tyler Labine as Claire’s love interest is supposed to add a layer in Claire, but all it does is set up a funny scene when Claire prepares for a date.

The characters don’t work, and McCarthy is the best part about this. That’s high praise from me – since I’m not a McCarthy fan. Since everyone else is lackluster, it should be blamed on bad writing and directing from Ben Falcone. It feels like the next time the couple write something together – they should just hire a competent director.

Despite my problems with The Boss, I enjoyed myself and laughed a lot. That’s what counts here. While it may be weaker than any of the three McCarthy and Paul Feig collaborations – Bridesmaids, The Heat and Spy – it’s a lot better than Tammy or Identity Thief.

Score: 65/100

 

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The Bronze (2016)

 

Released: March 18, 2016. Directed by: Bryan Buckley. Starring: Melissa Rauch, Gary Cole, Haley Lu Richardson. Runtime: 1hr, 40 min.

Written by Melissa Rauch (TV’s The Big Bang Theory) and her husband Winston Rauch, The Bronze appears to rely on the idea that since the 4-foot-11 sweet-natured Melissa Rauch is foul-mouthed and aggressive here, it would be so ironic that it would result in big laughs.

The thing is – it’s not funny, and the way it throws a mix of swear words together never amounts to anything hysterical. Which is disappointing, considering it is a passion project.

Rauch stars as Hope Ann Gregory, a local celebrity who brought back an Olympic bronze medal from Rome to Amherst, Ohio. But though she is from Ohio, she has an accent that’s like a bizarre Chicago and Minnesota hybrid.

She gets whatever she wants in the town – from free food to a reserved parking spot next to her favourite diner. She still always wears her Olympic Team USA tracksuit from 2004 – and after an injury ended her gymnastics career, she’s embittered that her 15 minutes of fame is way behind her.

With her life stalled, her former coach commits suicide. (I know what you’re thinking: She doesn’t commit suicide because Hope is such a b–ch, but because it’s needed to advance the plot.) She requests, in her will, that Hope coach Olympic hopeful Maggie Townsend (Haley Lu Richardson) to greatness, and if she does, she will get $500,000.

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Not even Haley Lu Richardson’s smile could save this. (Source)

A problem with the film is the fact that Rauch’s Hope Ann Gregory is plainly unlikable. She’s a bratty 30-year-old misanthrope that sincerely acts like she is still 17 years old. The point of the character is for her to be unlikable – but it is never funny.

We first meet the embittered Gregory in an ode to her large ego – in her bed masturbating to the video of her bronze medal win. Her huge ego definitely surpasses her size, and also feels like an ego of a gold medalist – not a bronze medalist. She’s eventually characterized as being scared of being forgotten.

But even with that and a forced love interest, there’s never a moment where where we root for Hope. There was really only one time I liked her on a mild level, when she was teaching Maggie stage presence. She smiles a lot and she is like a different person – which might be why I liked her in that moment.

She’s hard to relate to and she’s mean to her core, a character aspect that doesn’t work for Rauch’s kind demeanor.

The character we’re rooting for is Maggie – depicted as humble and a bit unrealistically innocent. We want her to win because she seems like a genuinely nice girl. Haley Lu Richardson’s performance is super likable and bubbly as the character. Both Gary Cole, Thomas Middleditch and Sebastian Stan round out the main cast – but they can’t even save this turd.

A writing choice at the end of the film turned this from simply a bad film to a disaster for me. It felt like a last-ditch effort to make Hope more likable. Character decisions made me think that the Rauch writing pair either didn’t understand their characters or just wanted to rush the ending. Either way, it made the characters feel more like caricatures of their huge egos – or results of bad writing – than actual people we might relate to.

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Melissa Rauch as a foul-mouthed, bratty bronze medalist in The Bronze. (Source)

The feature has good cinematography (kudos to the only winner here, Scott Henriksen). I liked the gymnastics of it, but we’re treated to more training scenes and not given enough cool scenes when Maggie is actually competing towards the end.

A sex scene between Rauch and Stan is overtly dark, likely to hide the super obvious Cirque du Soleil stunt doubles for Rauch, and quickly edited and a weaker aspect of the cinematography.

But the coitus feels longer than Maggie’s final display of gymnastics. It threatens to take over the rest of the film in terms of memorable raunchiness – which is saying something.

There’s a lot of raunch from the Rauch couple, but I think the only time I even chuckled was when Ben was having a bad twitch. Otherwise, I was questioning why it was billed as a comedy.

The film itself is mean-spirited overall, with Hope’s actions against everyone. But kudos to Rauch for branching out from her sitcom fame and bringing another unlikable, female antihero asshole to the big screen – as they’re so often portrayed by men. But it just isn’t funny, which is particularly disappointing.

It has none of the (slight) charm that worked for Jason Bateman’s Bad Words. I think that worked to a degree because Bateman actually has the comedic ability and sarcastic wit to believably portray a foul-mouthed, grown up spelling bee contestant.

But with The Bronze, Rauch doesn’t sell it. The language is raunchy, but it doesn’t make it funny. She isn’t believable as being foul-mouthed or aggressive – she looks too innocent. It really fails in almost every aspect and it’s a box office disaster for good reason: It sucks.

Score: 30/100

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The Brothers Grimsby (2016)

The Brothers Grimsby, poster

Released: March 11, 2016. Directed by: Louis Leterrier. Starring: Sacha Baron Cohen, Mark Strong, Isla Fisher. Runtime: 1hr, 23 min.

I’m a huge fan of Sacha Baron Cohen’s work in Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan – the titular journalist character is rather brilliant. And his creation of the character Ali G was also quite funny.

His comedic work really makes him a unique figure, but he hasn’t made a great comedic character since Borat – as both the titular character in Brüno and Aladeen in The Dictator were hit-and-miss.

With Nobby Butcher in The Brothers Grimsby, he creates another hit-and-miss character – but at least gives him some stronger development. Nobby is a drunken football hooligan cheating the welfare system, living in the poverty-stricken town of Grimsby, cheering for his main team England.

When he was a kid, he was separated from his younger brother Sebastian through Grimsby’s orphanage system. Sebastian (Mark Strong) is now the top agent of MI6, on assignment to prevent the assassination of philanthropist Rhonda George (Penelope Cruz), and to uncover a huge terrorism plot by a group called Maelstrom.

When Nobby is able to get tickets to the charity ball and reunite with his brother after 28 years, he hugs him which causes Sebastian to miss his shot on an assassin (Scott Adkins) and hit a spokesperson instead. This mistake causes the other MI6 agents to think he has gone rogue – and Nobby and Sebastian are forced on the run.

The Brothers Grimsby - Hug it out

Grimsby is another addition to the cannon of unlikely people finding themselves in bigger-than-themselves spy missions as a spy, like Johnny English and Spy. While the world created here is a good base for Nobby’s hijinks, he is nowhere near as amusing as Rowan Atkinson’s Johnny English or as hilarious as Melissa McCarthy’s Susan Cooper in Spy.

The story is a bit heartwarming with the brother dynamic but the really raunchy and often gross-out humour rarely hits. The action set pieces are pretty good, well-filmed with Louis Leterrier’s style of direction.

The film is at its most effective in terms of comedy when Nobby is making awful decisions – but humour is ineffective when they hide away from government assassins inside of an elephant, and get stuck in there during mating hour. Yuck.

One masterwork of Grimsby is the casting of Mark Strong. It feels like he could be cast as an actual MI6 agent in a spy franchise so that’s what helps create a believable world. He does his job as the straight man for Nobby’s jokes, even though Nobby’s humour never really hit for me.

At least the film doesn’t stick around for very long. The only part worth rooting about is Donald Trump being the butt of a joke. He’s horrendously rendered via CGI, and there’s a really bad stand-in Daniel Radcliffe as well, but those are really the only jokes that hit for me. And the fact that Nobby’s look is based off of Liam Gallagher’s look is amusing.

Score: 40/100

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Miracles from Heaven (2016)

Released: March 16, 2016. Directed by: Patricia Riggen. Starring: Jennifer Garner, Kylie Rogers, Martin Henderson. Runtime: 1hr 49 min.

Thank you, Miracles from Heaven, for finally showing me why I haven’t been thoroughly entertained while going to church all these years.

It’s because there’s never been a Christian rock band at my church to get me in the spirit of things. Apparently they have all the fun in small Texas towns.

Miracles from Heaven, based on the memoir by Christy Beam, follows the Beam family in Burleson, Texas, as the 10-year-old daughter, Annabel (Kylie Rogers) is diagnosed with a rare digestive disorder for which there is no cure.

The family prays for a miracle and it gets answered in a big and rather bizarre way. If it wasn’t a true story, it would be pretty far-fetched, but I won’t spoil it here in case you haven’t seen the trailer. The film is really about the journey and perseverance throughout the disease, and her mom Christy’s (Jennifer Garner) perseverance into getting Ana the best help available.

Garner is great as the mom in an emotionally powerful performance – crying her way through the film, but doing so in a believable way. She may cross the line of crying one too many times – as it seems like she could have filled a Jacuzzi with her tears. Kylie Rogers as Ana also holds her own very well.

The power is in the characterization, as well, and the fact that the pain her daughter is going through makes Christy question her faith. There’s a laughable moment where people at her Church ask if Ana hasn’t been cured yet because of the family’s sins. It’s laughable for me, but evidently not for Christy.

Anyway, faith is a big thing touched on the film, to a point where it is, admittedly, preachy, but not in the same proselytizing way God’s Not Dead is – trying to force the beliefs down its audience’s throat. That’s the difference between God’s Not Dead’s really bad writing and the fact-based writing of Miracles from Heaven that goes between melodrama and some strong heartbreaking and emotional moments.

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Queen Latifah, Kylie Rogers and Jennifer Garner in Miracles from Heaven. (Source)

There’s really just something works about this movie by the end of it all. It’s charming and Eugenio Derbez is amusing as Dr. Nurko and balances entertaining Ana and being a serious doctor dude well, even while wearing an Elmo tie. Queen Latifah is also quite a welcome player in the film, adding a lot of humour.

Martin Henderson is a good supporting player as Ana’s father, he adds a sense of optimism to the film, actually thinking everything will be okay. There’s a lot of money troubles since he’s started a new animal clinic business and they had to put all of the home’s equity into it.

That adds a new element to the film. He’s working and taking care of his two other daughters, the youngest Adelynn (Courtney Fansler), and the oldest daughter Abbie (Brighton Sharbino, TV’s The Walking Dead). They don’t get as much characterization as Ana or Christy, which is okay since those two are the core, but there could have been a bit more effort to make the supporting players have more dimensions.

The film’s cinematography is strong, and the sequences in Heaven look nice – there are a lot of bright colours and lots of butterflies. It looks unique enough, basking in outdoor settings instead of a Church like in Heaven is for Real. The two films share producers T.D. Lakes, Joe Roth and Derrick Williams.

I think this was more effectively handled having the miraculous happening a bit after the halfway mark instead of Colton Burpo in Heaven is For Real having his near-death experience at the beginning. That film’s main conflict was the skepticism of it – but this has a more natural conflict of a longer lasting disease. The skepticism is touched on really just once in Miracles from Heaven and then is forgotten with one of the film’s most moving moments.

I did like the aspect of the film that suggested miracles aren’t always huge, but can sometimes be found in simple kindnesses. The film has a good soundtrack and the Beam family is an inspiration. It’s feel-good throughout, particularly so in the last 25 minutes, which was the film’s strongest area. The journey there takes long, but the pay-off is great.

Score: 70/100

 

 

 

 

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