Zimm score Movie Guide

According to a social networking site centered around film, Netflix’s Murder Mystery is one of the most popular movies being watched this week. So of course, my wife and I had to try out this mystery-comedy, starring Adam Sandler and Jennifer Aniston. And though my wife came away liking it and enjoying both comedic and mystery elements, I could only see this murder mystery as another mediocre attempt at a feature film that Netflix has become so accustomed to. 

This isn’t to say Murder Mystery is an all-around bad movie. I thought Sandler’s character as an aspiring detective still delivered his Sandler-esque humor as I remember growing up with Billy Madison or Happy Gilmore. Jennifer Aniston also gels well with Sandler and it doesn’t appear to be all too forced or cringe-worthy. She runs with the goofy material she was handed quite well, all things considered. 

It’s the other things considered that brings the movie down from being a better entry in the Netflix canon. It’s understandable that Netflix appears to be more open towards newer directors and distributing work that many of these directors and writers have less of a handle on than other seasoned filmmakers. This is reputable, but the consequences have become for some that Netflix is what you turn to for movies that “weren’t good enough” for the big screen. Though too much of a generalization when one considers, for example, the Mexican film Roma, it’s understandable, as with Murder Mystery, why some feel this way. 

Here, for example, the script is uneven. We’re forced to wait for too long before any sort of murder mystery begins. In addition, our leads are too passive and not active enough to keep us engaged. It results in characters that are too one-dimensional. When considering the recent Netflix comedy Always Be My Maybe, the leads in that movie were a bit more active and were found within a cohesive story. It’s believable. Much of what occurs in Murder Mystery (not even having to do with the murder mystery itself) occurs all too conveniently for our protagonists. 

While I can’t quite recommend Murder Mystery for anyone who has yet to try this comedy-mystery and has considered it, it still offers silly entertainment, a couple twists and a few thrills that will please or amuse many viewers. Where many of the jokes fall flat (not because of Sandler or Aniston), the mystery element once it arrives improves the movie somewhat. Murder Mystery will make for mindless entertainment this weekend if the choice is to stay in and avoid theaters this weekend… which will have Toy Story 4. 

Zimm Score: 5.5/10 

This weekend, Late Night opens with a wide release in theaters, a workplace comedy starring Emma Thompson and Mindy Kaling. Set in New York, Thompson stars as Katherine Newbury, a late night talk show host who has achieved prolific status, garnering countless Emmy Awards and a Golden Globe as well. The only problem is that her persona and her show itself is becoming archaic. Out of touch with the worldwide emergence of social media, her show is told it will be cancelled. 

Enter Mindy Kaling, who plays an ambitious but somewhat naive (and what seems to be millennial) woman named Molly Patel. Newbury realizes that her entire staff of writers are white men who went to “elite schools.” Her first motion is to agree to the hiring of Patel, not only a woman, but a woman of color. But what Patel brings to the literal table also breeds conflict that sends the story down a certain path, mostly a comedic one, but at times substantial. 

What stood out to me first in Late Night, as will be the case for others, is the level of comedic satire employed by Kaling, who also makes her debut as screenwriter for a feature film. Topics of current affairs abound throughout the movie, which include white privilege, generation gap, the white savior trope and white savior industrial complex, gender gap, and racial prejudice within the workplace. If you prefer a more escapist experience that avoids such current affairs, this very woke comedy will not be for you! 

If you adhere to progressions being made in connection to these topics or simply enjoy wrestling with some of these topics, Late Night offers you the opportunity to do, with some laughs along the way. Though satire is not my preferred comedic style (preferring sketch, surreal, improv, slapstick, and at times dark comedy), the script still had me laughing at times with what it attempts to tackle. If you prefer satire, Late Night is for you. 

Aside from the writing and comedic styles, Thompson serves up a great performance as the intense main character in talk show host Katherine Newbury. Aside from her lead, however, I was not as accepting of Kaling’s performance and some of the supporting cast that made up the White male writing staff. It feels at times that I’m watching an extended, 100-minute sitcom made for the big screen. Some of the actors didn’t seem to take on their roles all too seriously. Kaling, in my opinion, is a bit more talented as a clever and sophisticated writer than she is as an actor. With a dramatic arc that works emotionally and is executed well by Emma Thompson’s performance, Late Night is a recommendation from me that succeeds, and gives some laughs by Kaling along the way. 

Zimm Score: 7/10 

As a 13-year old, I remember Elton John playing “Candle in the Wind” on a worldwide scale as a tribute to the late Princess Diana. Having remembered that moment, it clearly left an impression with me. The horror of what happened to Diana was both haunting and energetic. What I didn’t know about Elton John was how energetic and haunting his life had been prior to that moment. With the new movie Rocketman, this musical biopic gives us a dream-like taste of such energy and affection the hall of fame musician went through. 

As will be the case for others, Rocketman repeatedly reminded me of the perhaps all-too-recent Bohemian Rhapsody. Undoubtedly, there are some similarities between these two movies that no filmmaker could avoid. Both Elton John (born Reggie Dwight) and Freddie Mercury had ostentatious personalities. Both gained stardom during the same era (born one year apart), and both struggled with addiction and their own sexuality. 

Yet where Bohemian Rhapsody came off to some as a generic musical biopic about a rock band and its lead singer, Rocketman serves its protagonist well by going deeper into the struggles that Elton John had to face than some may have felt with Freddie Mercury. Elton John is even one of the producers of the film, and it definitely shows and feels as though we’re getting to know an individual, not merely the bullet points that summarize a musician. 

This still doesn’t keep the movie from avoiding some cliches and tropes we’ve seen all too often with biographical pics. But even these beats don’t detract from what works: the all-out performance by Taron Egerton in the lead role, the costume design, Elton’s own music of course, and even complete musical sequences. This isn’t only a biopic, it’s a musical biopic. Where some movies about musicians avoid this, Rocketman and its director has a strong hold of who Elton John is and the kind of movie he wanted to direct. The fully choreographed musical sequences are excellent, and Egerton delivering his own vocals live up to an all-around fine performance. 

Rocketman gets a recommendation from me, in part for some of the filmmaking elements that were better executed here than in the recent Bohemian Rhapsody. Though on the surface, one may feel like they’re watching Bohemian Rhapsody with Elton John as the singer instead, a deeper reflection will reveal a more rounded character who embodies the real-life counterpart, something that makes Bohemian look all too two-dimensional, in retrospect. 

Zimm Score: 7.2/10

Walking away from Godzilla: King of the Monsters, I felt a sense of sympathy for Godzilla himself: sympathy that he couldn’t have been casted in a bit better of a movie. Godzilla is by my no means a terrible movie, but it doesn’t quite deliver on areas that would have made it passable with a thumbs up. 

The movie includes a stellar cast that includes Kyle Chandler, Millie Bobby Brown, Bradley Whitford, Sally Hawkins, and Ken Watanabe. And these performances deliver as believable in the roles they’ve chosen. As I watched Brown (Stranger Things), I felt that I could be catching her in what could turn out to be one of her early films in the future. Yet a script that includes too much scientific mumbo jumbo, jokes that fall flat, and dialogue that fails to arc from scene to scene ultimately limits what even these amazing actors have been able to do in the past. 

To be sure, there are bits and pieces of Godzilla that I did enjoy. Off of complaints over a lack of action that some fans wanted in Godzilla from 2014, the sequel duly took note of these complaints and does not fail to deliver some cinematic action sequences between larger-than-life monsters that are great to absorb. In that sense, if you’re one who saw the previous film in the franchise and had this critique, most likely you’ll enjoy the sequel much more. 

Godzilla: King of the Monsters will deliver enjoyable action sequences that throw us into the summer popcorn… blockbuster season. If you want to see Godzilla go toe to toe with some of the most vicious creatures that the world (and universe) has to offer, you won’t be disappointed! For a more well-rounded movie that you may be hoping for, unfortunately Godzilla bit off more than it could chew. 

Zimm Score: 5.5/10 

Disney’s live-action adaptation of Aladdin hits the big screens this weekend, as moviegoers will anticipate a more realistic look of a “whole new world.” While it’s not without its flaws, Disney’s sixth attempt in five years of adapting its original animated canon works with Aladdin. Combining both originality and familiarity, director Guy Ritchie has delivered a colorful, humorous, fun piece of art that gets a thumbs up from me. But “don’t you dare close your eyes.” (couldn’t resist) What is it that works? What doesn’t? As usual, spoiler-free.. 

Aladdin for me was a lot of fun. Specifically, it’s a lot fun when compared to most of Disney’s other live-action adaptations, which now include Cinderella, The Jungle Book, Pete’s Dragon, Beauty and the Beast, and Dumbo. Aside from the pleasant surprise with The Jungle Book, this is my second favorite, without having seen Dumbo. (I also enjoyed this more than the recent Mary Poppins Returns.) The bounce, color and lightness from the original were thankfully deemed as strengths, and are well-executed elements here as well.

The production design is easily one of its greatest successes. Visually, yes, everything looks great, as Disney seems to now pride itself on. But the set pieces for me specifically were a warm welcome with how elaborate, vibrant, and expansive they came across. (Of course, large parts of this are CGI, which didn’t distract me as much as it has for some early critics. They also appear to be more Indian than Arabian!)

Performances were also, for the most part, believable for me. Young actors Mena Massoud (Aladdin) and Naomi Scott (Princess Jasmine) will have to live up to quite the expectations, especially for Aladdin purists. And yet they execute their lead roles with charisma, believability, great choreography and good singing. Will Smith also stars as the Genie, a large role that has already been critiqued and compared with Robin Williams from the original. Yet Smith is very funny once we get him in the second act. Some may smell the improv to the script that Smith may have brought, a script that actually makes the entire second act my favorite section of the film. 

The only critique performance-wise for me comes with the character Jafar, played by Marwan Kenzari. Part of it will come down to taste, but the hammy deliverance that Kenzari gives at times doesn’t seem as permissible as when it comes from an animated movie. This isn’t to say it made the movie worse for me, but a darker, more ruthless portrayal may have improved the movie even more. 

Aladdin gets a recommendation from me as a fun, comical, colorful, and well-choreographed musical fantasy that hits theaters this weekend. The final act for me goes a bit long, and I think fails to beautifully soar in the way the second act does. Some will also critique the movie (understandably) as not living up to the original, but Guy Ritchie’s direction still delivers a successful hybrid of both old and new that I think many audiences will enjoy. 

Zimm Score: 7.2/10

John Wick: Chapter 3 – Parabellum, starring Keanu Reaves, comes as the third… chapter in the trilogy surrounding the life of… John Wick. This action trilogy was one I have missed over the last five years, and not until recently have I seen the first two in the series. Having now seen the latest gun-fu efforts from John Wick, Parabellum will continue to please those within the fanbase already established. If you haven’t seen the John Wick movies by now, I doubt as to whether you’ll find much enjoyment with the latest installment. 

Parabellum contains the bloodshed of the previous films, and then some. Director Chad Stahelski with each Wick film has doubled down on what fans have come to desire: more bloodshed and thrilling action. The choreography of fight scenes, the imagination that exhausts every nook and cranny for what could be used to delight and shock fans, and the sheer amount of time and effort it would take in real time to bring such scenes to the screen is easily the film’s success. The John Wick series in that sense is the Kill Bill of the 2010s. An inciting incident occurs to our protagonist in the first film that sets off a rampant course of revenge, with hopes of peace and solace. 

Yet where Parabellum succeeds in the choreographic department and its ingenuity, Chapter 3 struggles with its storytelling, structure, emotional involvement, and for me, believability. Much of the movie takes great pains to expand and explain the world of John Wick, a world that seems like a necessity to expose from writer Derek Kolstad so that it isn’t two plus hours of action, start to finish. Yet such world-building in the end comes off as convoluted, in addition to an asymmetrical story line that takes too long to set up for the audience. 

As far as Wick’s character, I was invested during the first film. There was a sense of real loss and emotional involvement. Two films later, I should be even more connected to this hitman who has an extreme prejudice for bloodshed. Yet I don’t. Instead, jokes are attempted that fall flat, and running jokes about dogs begin to seem too cringey and out of place at this point. Lastly, Wick borderlines superhero status with an immunity to permanent injury or harm. Because it’s not a superhero movie, I started losing believability behind what the character could and couldn’t do. 

John Wick: Chapter 3 – Parabellum hits hard in the action and “gun-fu” department. Fight scenes and choreography are some of the best we’ve seen in the 21st century. I know that’s saying a lot! For fans, this will make for an exciting summer blockbuster entry to kick off summer 2019. Yet for those who are intrigued by the positive reviews this Wickian entry is getting, if you weren’t interest in 1 or 2, you may be coping with a sense of boredom, exhaustion, or both, on attempting this third chapter in theaters. 

Zimm Score: 6.5/10 

Having lived enough of the 80s to remember all of what was great and what was weird about the 90s, I remember the hype that surrounded the media franchise Pokemon. From the opening theme song in the animated series to the playing cards, there were many kids in love with these colorful “pocket monsters.” Yet it also seemed to take hold most strongly within a certain pocket of the Millennial generation that didn’t quite hit those born in the early 80s, including myself. 

Now, Pokemon Detective Pikachu is a movie that releases today, based on the franchise and the video game Detective Pikachu. After hearing the news that his father has passed away in an auto accident and later coming into contact with a Pikachu, a small species of Pokemon, lonely Tim Goodman (played by Justice Smith) embarks on investigating just what exactly happened to his father. But as the plot thickens, Tim must learn to rely on partnership more than he’s been accustomed to. 

Pokemon Detective Pikachu primarily is a fantasy mystery movie with a splash of sci-fi thrown in. The problem arises, however, as it attempts to deliver on the mystery side of things. Pokemon suffers from problems around plot. The story is determined to keep you on your toes and deliver on many twists and turns. In doing so, however, the plot becomes complicated and chaotic. Perhaps this was the point, but on technical terms, it weakens the movie as a whole. 

A more minor issue involves its comedic value. Ryan Reynolds attempts to deliver humor as he did in Deadpool but on the PG level. Yet a weak script delivers comedy that falls flat; it will only leave you with a few chuckles here and there. Nonetheless, Reynolds, as well as Justice Smith and the other supporting actors deliver believable and fine performances with what they have to work with. 

In the end, Pokemon Detective Pikachu is a cute movie with a heartwarming ending. Though it’s difficult to comprehend what it’s target market is with cute-sounding Pokemon that young kids will enjoy, a college-aged protagonist, and a young man in his 40s voicing a furry little Pikachu, Pokemon executes in delivering a fun adventure (albeit complicated), a great musical score, and excellent visuals, with so many Pokemon coming to the big screen. If you can accept not being welcomed into this world for the uneducated, Pokemon will still put you on a wild rollercoaster all the way to the end. 

Zimm Score: 6/10

Prior to viewing The Highwaymen, the latest notable film streaming on Netflix, I knew very little of the young iconic criminals, Bonnie and Clyde. In fact, I associated the names more with the movie, Bonnie and Clyde, than the real-life counterparts. Hoping to enjoy a buddy cop crime film that’s based on the real manhunt (and woman…hunt?) for these two cold-blooded killers, The Highwaymen stay between the lines in this conventional but enjoyable true story. 

After being authorized by legal authorities and promised a financial reward to put an end to a Texan violent spree caused by a young man and woman, a retired and former Texas Ranger leaves home behind to shadow Bonnie Parker and Clyde Barrow, hoping for success. As unexpected developments delay their search, Frank Hamer (played by Kevin Costner) and ex-partner Maney Gault (played Woody Harrelson) must wrestle with the job they’ve chosen to take, and the consequences that sometimes are involved. 

Having enjoyed his direction behind movies like The Blind Side and The Founder, John Lee Hancock agreed to direct a film with The Highwaymen that involves heavier events and heavier source material. We aren’t necessarily following Sandra Bullock around on the football field or watching Michael Keaton’s observation of how hamburgers are made during the fifties. 

Yet Hancock doesn’t shy away from still bringing amazing cinematic shots, in this case Texan locations that were part of the manhunt. Nor does he shy away from landing a payoff at the end of the movie that, while entirely predictable with no ounce of twist, still entertains with a climactic and accurate conclusion.

Though the film poster makes these two Rangers out to be “legends,” the story struggles to live up to the premise. There’s no doubt that these two officers are still highly skilled and mostly able to take part in such a manhunt. But a conventional (though simple and well-structured) screenplay lacks the amount of high highs, low lows, and dramatic tension needed between these two buddy cops that would make the film better. 

In the end, I give The Highwaymen marks of approval, if for nothing but Hancock’s simple style that he’s completely comfortable in. It may not bring any Tarantino-esque alternatives, innovations or twists to what may have happened, but solid music, cinematography, and doable performances by Costner and Harrelson keep The Highwaymen smoothly running within its lane and onto an entertaining finish. 

Graphic Content: Though not having mentioned at times with previous reviews, The Highwaymen does include some graphic images and a bloody scene as well. 

Zimm Score: 7.5/10 

As low movie quality goes in the theaters oftentimes during the first few months of the year, so it has been for Netflix as well. One of the better options, however, was released today with Triple Frontier, an action-thriller with a notable cast and a great premise. Find out more in-depth of what I thought of the latest film to hit the streaming service!

After successfully persuading four Special Forces operatives to reunite with him in a South American heist, an ambitious mercenary leads the financially and emotionally strained squad to the location of an isolated but notorious drug lord, along with millions of dollars. Yet when they successfully retrieve large amounts of this fortune, Santiago “Pope” Garcia (played by Oscar Isaac) will face unintended consequences and the need to question one’s priorities before he makes it out alive. 

Triple Frontier succeeds in many areas. Always more biased towards films that suit my musical taste, the score that was done by Disasterpeace complemented the suspenseful scenes nicely, while the soundtrack fit in with what one may expect of a bad-boy mission flick. In addition to the music, many scenes display beautiful scenery that were shot on location in both Oahu and Columbia, with the story itself taking place in Peru. 

Triple Frontier also benefited from a great cast. Oscar Isaac, Ben Affleck, Pedro Pascal, Charlie Hunnam and Tron: Legacy‘s Garrett Hedlund bring solid and believable performances from beginning to end, which include multiple blowups between each other regarding ethical dilemmas and next steps to take on their mission.

Unfortunately, the movie suffers from poor direction, even if it includes exceptional producers and story writers who were behind both The Hurt Locker and Zero Dark Thirty. Structurally, you have a fairly conventional rhythm that is simple to follow. In terms of content and writing, however, some may be left with only a mediocre movie in the end. Many characters are left two-dimensional, thereby serving as mere video game characters in the secret mission, trying to succeed before the bad guys catch up to them. 

Triple Frontier is a recommend from me for those interested in an action-thriller that succeeds with its performances, music, visuals, and an interesting premise. Though many like me may not be wowed by the latest to hit Netflix, when compared to what we’ve been offered in the movie department in 2019, it’s entertaining, R-rated action. Though not good, wholesome fun for the whole family, Triple Frontier provides ethical questions and ambiguous situations for adults to discuss after the popcorn is gone. 

Zimm Score: 7.2/10 

Based on a true story and newly released to Netflix, The Boy Who Harnessed the Wind marks the directorial debut for actor Chiwetel Ejiofor. Having seen Ejiofor act in various films, including 12 Years A Slave and Dr. Strange, to name a couple, I was curious to see how his directive style would play out behind the camera. With an impressive first outing as director, though a bit dull throughout, Ejiofor’s directorial talent seems promising, not to mention outstanding performances he always seems to bring. 

After joyously being sent to school by his father, a helpless teenaged boy can only watch as a tobacco business tears down long-standing trees in a financial deal some locals have made to survive. But as a nationwide food crisis takes hold while asserting that he knows how to make a life-saving windmill, William Kamkwamba (played by young Maxwell Simba) must learn to rely on what courage he has to keep his family and his country from further division. 

The story takes place in 2001 and in the small African country of Malawi. Perhaps the greatest achievement in my view was Ejiofor’s ambition. Not only was the film shot entirely on location in Malawi, but Ejiofor’s acting as he learned the language of Chichewa and then spoke it in the film was to this American white male simply impeccable. In terms of performances, though Ejiofor for me steals the show, performances all around always maintained believability throughout. 

In terms of story, there are no big twists within, as it remains mostly predictable throughout. Based on a true story, Ejiofor clearly seems intentional to not sensationalize what took place in reality. Unfortunately, this may leave some viewers with a sense of dullness, especially for those only accustomed to the Hollywood-style action, adventure, or thriller genres.

Perhaps the one clear hindrance, however, is the film’s indecision as to who we are centrally following throughout the story. Ejiofor’s character seems to appear just as much as his son, who is the one with a genius to create a game-changing windmill. Plenty of films of course have used a multi-protagonist course. Yet this doesn’t seem to follow that course. Instead, it’s as if the film relies so heavily on Ejiofor’s acting and his character, that we don’t get enough emotion and screen time of the “boy who harnessed the wind,” the protagonist. 

In the end, this film gives positive messages of hope and our need to stick together, no matter what storms may come our way. Though it may lack the tension and faster pace that some will want, as well as some issues with the script, The Boy Who Harnessed the Wind is a solid movie with great cinematography of Malawi and great performances by everyone in this latest film to hit Netflix. Out of his directorial debut, I anticipate more films that Ejiofor will get to direct in the coming future. 

Zimm Score: 6.5/10