infoalwaysacritic

Top Gun Maverick showed us what can happen when technology meets cinematographers hell-bent on making stunning and real cinema. The line between effects and reality blur in a quality just not seen prior and F1 is a worthy cinematic successor.

F1 is a pretty simple movie, and one layered with loves and traditional values. It's cool to love your kids, it's cool to love racing, it's cool to love your job and it's even cool to get into a fight with a lifelong friend and find your way through it. That's the heart of this movie, and why it can connect with racing fans and amateurs alike. Don't get it wrong though, there is plenty of diversity in the film, and handled with purpose. Every character is given something, even if brief, to make them relevant. There are surprisingly few cardboard cut-outs in the film, and they're purposely part of the scenery.

While the story is serviceable and at times hammy, the reason this film will endure is because of its intense marriage between dynamic, sit-in-the-driver's-seat action and brilliant sound engineering that dominates the 9 races that make up the film.

Brad Pitt is okay, not his best, but then his character is not the most likeable in the film, nor is his wardrobe. Plunging, open necklines, an unhealthy obsession with meaningless and random tattoos and a couple of terry cloth shirts that should never have seen the light of day may have been a part of his persona, or just poor taste. But Brad isn't the anchor of the film, his relationship with his former teammate and troubled owner of AXP racing is, and the supporting roles perform brilliantly. Did they know what they were getting when they cast Kerry Condon? Who knows, but she delivers, and so well that she dominated the trailer.

Jerry Bruckheimer, Hans Zimmer and Joseph Kosinski are a great combination. Looking at the lengthy list of producers on this film (24), one wonders what it took to make this film. Hollywood has long been struggling with studios folding or abandoning established directors. Compare with Moana, (3) or Thunderbolts with 8, which is already well above average.

Those desiring a reason to be in the theatre, F1 delivers in a way seldom justifying the expense. The cast, writers, production crew, producers and sound engineers all deserve praise for creating a masterclass in cinematic action.

Who would have guessed that the director behind Snatch and Lock Stock and 2 Smoking Barrels would be the one making a fun adventure movie? In this world of hyper-critical movie reviews, I have to say that there aren't enough people hearing about clean fun movies like Fountain of Youth.

The premise is a mix between Indiana Jones and National Treasure, mixing Guy Ritchie's love for quick banter and stylish action. Restraining himself and his signature style to some extent resulted in this movie being more conservative when it comes to blood, grit and language, but there is still plenty of action adventure, with no sexual content (beyond some old paintings) and only one instance of the "B" word that comes to mind. Also absent is Ritchie's signature split screens and over the top stylish editing, but what remains is simply good fun. Where the movie sacrifices plausibility, they insert entertaining action and witty conversation and a sprinkling of real history to setup the over-the-top settings.

The story here is that a billionaire is funding an expedition for the fountain of youth to save his life from a terminal illness. The twist is that those he has hired have had to go rogue in order to obtain the necessary clues while being pursued by shadowy secret societies, criminals and smartly dressed, fashion-conscious, interpol. The end result has a heart warming moral conclusion about the journey and the destination, and where your love lies, and some stylish action scenes decorate the simple but serviceable plot.

The acting is pretty solid, Jon Krazinski is perfect for his part; Natalie Portman can't keep up with him in some parts, she is still capable in most of her scenes.

A couple of frightening scenes happen when a character dreams of losing his loved ones, and one scene near the end of the film includes a closeup of someone aging very quickly into a corpse.

In this age of streaming, almost everything is rated 18+, and adventure, treasure seeking films are not trying to be profound philosophical epics. The Fountain of Youth tells a good story, entertains with humour, action and an overall likeable cast, stitched together by one of the best directors out there who can shoot for edit. It's fun, entertaining, has great locations and a decent moral, even if there are few consequences for the misbehavior along the way.

Will Ferrell and Ryan Reynolds team up for a Christmas musical that blends slapstick humour, grandiose musical and satire for what promises to be another Christmas hit for the holidays. It has big leading men, notorious for their 4th wall breaking humour, but can it deliver a holiday gem?

With an ominous setting, the movie begins with an unsettling scene that sets the tone of the movie. The grim reaper buries someone alive in their own grave, only to be interrupted by a voiceover that reminds you this isn't a horror story, but the aforementioned victim of the haunt is actually just dreaming in their bed; the whole nightmare is actually a production put on by spirits for the purpose of change. This opening is built on with a few conversations that setup the main character for a predictable journey of affirmation and plot development, and Will Ferrell, for his part, plays his part pretty well. Soon after, the audience is introduced to the target of the next production, played by Ryan Reynolds - a fast-talking, soulless marketer who believes people never change.

For their part, the leading men hold their own, and deliver what they are known for, though the script leaves them with little to work with at times, they are funny and animated. The music is well choreographed, and suitably impresses, even if the songs fail to catch on since the lyrics attempt too much exposition or are just plain dull. You won't find yourself humming or singing the tunes of any but one song in the movie - Good Afternoon - a song about corrupting a character and revealing their evil, while providing no consequences or resolution. And this is the pattern of the middle act for this film - undeveloped villainy comes across as excusable or a misunderstanding and the "Scrooge" character in this Christmas carol is never really seen as wrong until the latter third of the movie. By this point, the work done to setup the main plot becomes muddled in the middle, and only really comes together again in the final minutes of the film. In between, the plot is frequently derailed and confused by a jarring series of jumps from one plot to the next. If you can make it through, the final act manages to make some sense and even deliver on some powerful moments.

Unlikeable supporting characters, poor plot development and mediocre songs (and singing) are forgivable if there are enough strong points, and there are some bright points to the film. Octavia Spencer shines with a heart-tugging performance. Her relationship with the lead is given little screen time to explain where it goes, but she works well as a catalyst and counterbalance to the off-the-wall intensity of the double leading men. She is enough to redeem most of the film.

If you enjoy the style of humour - 4th wall breaks and over-the-top expressions, then there is lots here to enjoy. The ghostly elements are most intense at the start of the film, but are enough to say this film is not intended for children, and some of the humour is of a sexual nature. With regards to the choice of language, they manage to keep swearing to a minimum, and the overall message of the film is sound - change is a choice, and self-less sacrifice is virtuous. As far as Christmas movies go, there are a lot of better options available for family entertainment, and for that reason, this may be a once-only viewing for most, leaving itself far short of being a classic.