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Digger Review


There is that full-throttle mode that everyone expects from Tom Cruise. The tycoon characteristics, the buffoonery, and all the money in the world. Those elements are all present in Digger, but this time his character is not jumping out of airplanes and buildings like he does in the Mission Impossible franchise. He is still frantic with power, only now he is oblivious to his disasters. Of course, in true Cruise style, there are party-going ways and political views in his characterization. Digger delves into political mode in a mixed way.

From the director of Amores Perros, Babel, and The Revenant, this is Digger, another project in which Alejandro G. Inarritu goes deep with his characters. The film is very focused and chock full of disasters. At times the approach seems like Babel, but in this film audiences can laugh at particular moments whereas Babel was a surreal rollercoaster ride of vivid sadness.

Inarritu always does well with one-point perception because of the way he hones in on the kings or the enemies with his camera angles. I appreciated this in both Babel and The Revenant. This element is utilized at times in Digger, though there are more crazy transitions between various actions. Much of the film is dominated by the repeated wild takes of Cruise and his ego modality. I find it surprising that Inarritu and Cruise were able to work together on Digger.

Before going into the plot, it is important to outline the key characters in the film. Tom Cruise plays Digger Rockwell, a wealthy oil tycoon. Riz Ahmed plays Ganish, a scientist and an assistant to the U.S. President. John Goodman plays President Compson, the dictatorial President of the United States. Sandra Huller plays Emma Rockwell, Digger’s half-sister and business partner. Michael Stuhlbarg plays the Vice President. Finally, Jesse Plemmons plays Kenny. Each of the characters play a vital role in fueling the dynamics with  Digger. Even though the film is uneven in the way it evolves, audiences can expect to have their minds twisted by the array of  surprises in Digger.

Digger controls oil fields throughout the world, and he is given news that a disaster has sparked attention. Apparently, there is a pending disaster where an iceberg could hit Europe and put many lives at risk. Digger is free-spirited and believes his ways are always how it goes. Ganish is the one with the scientific facts. President Compson and Digger have some commonalities—both are hierarchical and confident that they have the answers. While Tom Cruise looks old and gray in this film, he still rules like a hungry emperor. His character puts jobs on the line. No matter the consequences, shifts caused by global warming are at the epicenter of the film.

Even though the film is creative and has mind-boggling characterization, there is a twist to it. The film breaks the fourth wall in a dimension that is unexpected. Still, it was not enough to make this a spectacular movie. Yes, there are a lot of interesting issues related to science, politics, and egos. The twist, however, comes from a hidden element beneath the surface. In the end, I rate Digger two out of four stars.

Practical Magic 2 Review


A sequel twenty-eight years later in which the magic goes up a couple of notches. There is more meaning and seriousness related to the powers and curses. Also, the lives of witches expand. Normalcy enters their lives, but there is still a curse. Directed By Susanne Bier, Practical Magic 2 is here. Sandra Bullock and Nicole Kidman are back as Sally and Gillian Owens. Dianne Wiest and Stockard Channing are back as Jet and Franny. The lives of the witches do not change much. There are still morals, ethics, and respectful matters. However, it does not stop karma from happening and the exhilarating level of honor lingers in Practical Magic 2.

The twist in Practical Magic 2 is that now Sally is a mom. Her daughters are Kylie and Antonia (Joey King and Maisie Williams). Sally tries to protect her daughters from magical spells.  However, Kylie is in love with a boy named Gideon, played by Xolo Mariduena. Gideon suffers an injury that could impact his life. This is Kylie’s first love and she realizes she is cursed like her mother and aunt were. Someone she loves is facing death and she is under an inevitable spell. Therefore, Kylie goes to London to solve the mystery of the spells. 

It is not long before Sally and Gillian open their doors to the witch world again. They follow Kylie to London and hope their powers can help make a difference. They find the assistance of another mentor of magic named Ian Wright, played by Lee Pace. Soon more magic comes along, and there may be a chance for Kylie to save the man she loves. However, given all the  disagreements related to the sisterhood dynamic—the shield keeps appearing and the performances of Bullock and Kidman take over the central conflict. While this works, it sometimes felt like it dominated the writing. The film still has scenes where there are enchanting themes but then there are times where the themes cross into sad territory.

The film has momentary flaws, again involving magic. Despite the nonsense, it is still an enjoyable sequel that is slightly better than the first film. More modern subject matter was woven into Practical Magic 2. Not too much, but enough to be worthy including spells cast in many different directions. Bullock, Kidman, and King are the witches representing three modes of awesomeness. They spice everything up and play up the sisterhood vibe until it boils with magic seeking good. The curse may come and go, but that does not stop elements of positivity from shining in  Practical Magic 2. The film has a faithful context of wonder yet the writing could have been improved. In the end, there are layers of happiness to be found in Practical Magic 2. Two-and-a-half out of four stars.

The End of Oak Street Review


Written and directed by David Robert Mitchell, returning with a new project. One where it is IT Follows meets Jurassic Park. A portrayal of a world hitting its breaking point and evolving into uncharted territory.  There are dinosaurs and prehistoric forests growing, yet the year is 1982. There is a clever setup of nostalgia with a family trying to be happy, but with too many flaws in the dynamics. All normalcy goes downhill in an adventurous way. The End of Oak Street has some entertaining moments for many audiences.

 

With an apocalyptic setting that comes from the ground, the creativity is vibrant. The film focuses on a family. The mother and father are Denise and Greg (Anne Hathaway and Ewan McGregor). The daughter and son are Audrey and Brian (Maisy Stella and Christian Convery). Many family struggles abound asGreg struggles to hold down a job, and Denise tries to write a book. Brian has issues with friends and experiments with cigarettes. Audrey is seen as just a normal and social human. They have their issues, however, and the dynamic of how a family sticks together holds lots of faith. This is tested here, because outside of their home, there are dinosaurs. The new apocalypse rises in The End of Oak Street. 

 

Mitchell’s directing has stepped up. He knows how to add comedic value in The End of Oak Street with dinosaurs hopping out in one moment and new worlds colliding in another. There is deep sense of satisfaction in watching all of this–I was sold with The End of Oak Street. The survival modes had me especially roped in.  Many films surrounding the “fighting to live” scenariohave predictable flaws, putting limitations on the action. That is not the case with The End of Oak Street.

 

As the family tries to survive in the neighborhood, Denise and Greg hit a bad patch, and Hathaway and McGregor show that they are one-of-a-kind when it comes to these things. With being used to seeing McGregor as Obi-Wan from Star Wars, it is like watching a former jedi trying to survive on a Jurassic Worldplanet. Also, with being used to viewing Hathaway as the nerd employee from The Devil Wears Prada, I found when watchingher play a woman dealing with pure disaster her outbursts are astounding.

 

The End of Oak Street feels like a Steven Spielberg flick, but it is one where Mitchell definitely has his own vision. I applaud the fun he incorporates. It is quirky and not so perfect. However, the characterizations and the era of the film speak true, making for an unusual gem here. This is one that will be fun for teens and up. Even though it is rated PG-13, some graphics go a bit over the top for the rating itself, especially surrounding some of the violence and nature moments. There are also some odd innuendos. The offbeat direction of Mitchell is what makes The End of Oak Street a classic. Three out of four stars.