Tag: Musical Drama

REVIEW: Energized ‘Wicked’ sequel largely enthralls

Broadway buzz is back on the big screen with a second round of “Wicked,” and the experience in the sequel surpasses that of the first.

“For Good” picks up a short while after the events of “Wicked.” Elphaba (Cynthia Erivo) is working to disrupt the actions of Oz (Jeff Goldblum), who she’s found out has no magic at his disposal. In response, He and his associate, Madame Morrible (Michelle Yeoh) are slamming her with propaganda, labeling her the Wicked Witch of the West.

Glinda (Ariana Grande), meanwhile, has been put forward as Glinda the Good, with Oz presenting her as a positive witch to rally around against Elphaba’s efforts. While the two are pitted against each other, though, their friendship remains. Yet its strained as the situation in the realm grow more dire under the leadership of Oz and Morrible.

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REVIEW: Much of ‘Wicked’ soars thanks to musical sequences

The stage is out and the screen is in with another adaptation of a Broadway musical hitting the screen. This time around, it’s the Wicked Witch’s turn.

As the title implies, this film is about the Wicked Witch of the West, though the audience gets to see her before she earned that title. In the movie, she is known by her name Elphaba (Cynthia Erivo), a young woman shunned by much of society because of her green skin, which has only made her closed off.

Because of her apparent magical abilities, though, she’s invited to the same mystical university her sister Nessarose (Marissa Bode) is attending. There she meets the popular but ditzy Galinda (Arian Grande-Butera). After a poor first meeting, the two aren’t fans of each other, but end up becoming roommates.

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REVIEW: ‘Bob Marley: One Love’ is a lackluster biopic

Bob Marley was a cultural icon with a great influence on music, and he deserves a much better biopic.

“One Love” is set during the mid-to-late 70s during a time of upheaval in Jamaica as the 1976 election approaches. With tensions high in the nation, musician Bob Marley (Kingsley Ben-Adir) plans a concert to promote peace in the country. However, before he can do so, an assassination attempt is made on his life.

The film then follows Marley as he and his band relocate to England to record new albums, including the hit record “Exodus.” As he continues to create music, Marley is also eager to get his message out and desires to return to Jamaica for another concert attempt.

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REVIEW: ‘The Color Purple’ powered by cast, weakened by script

“The Color Purple” makes sense as a title, because the hardships the main character goes through will have someone feeling blue and seeing red.

Based on the stage musical, which itself was an adaptation of a 1982 novel, “Color Purple” is a film centered around the character Celie Harris-Johnson (Fantasia Barrino). As a teenager, Celine is raped by her father and gives birth to two children, who are taken from her and given to the church for adoption.

The cruelty doesn’t stop there, as he then arranges Celie to be married to an abusive farmer named Albert (Colman Domingo). During this time, she’s also separated from her sister, Nettie (Halle Bailey). Celie goes through many hardships, but finds some kindness and encouragement from other women, including Sofia (Danielle Brooks) and a singer named Shug (Taraji P. Henson).

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REVIEW: ‘Elvis’ is an exuberant, exhausting experience

Elvis Presley has been portrayed on the large and small screen many times before. However, none of them featured the flair of filmmaker Baz Luhrmann, until now.

The story of Elvis (Austin Butler) in this biopic is told from the perspective of the performer’s infamous manager, Col. Tom Parker (Tom Hanks). The movie begins with Parker on his deathbed and from there, the former manager recounts the events of his time with the singer, from when he discovered him to the performers final days in Las Vegas.

The movie showcases how Elvis’ popularity surged, his inspiration from African American musicians, his controversial stage movements and his attempt at a comeback after some down years. It also features the decline of his health during his time doing several shows in Vegas.

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REVIEW: ‘Cyrano’ is a sensational musical

Peter Dinklage should’ve been an Oscar contender.

Based on a 2018 stage musical, which itself was based on the 1897 play “Cyrano de Bergerac,” the film “Cyrano” tells the story of the titular character portrayed by Dinklage. Cyrano is a writer, poet, performer and even a cunning swordsman. Despite his talents, though, he can’t bring himself to confess his love for his friend from childhood, Roxanne (Haley Bennett). This is because of his own self doubt related to his appearance.

His complicated romantic situation is only compounded when Roxanne, who’s expected to marry the duke De Guiche (Ben Mendelsohn), announces her love for a soldier named Christian (Kelvin Harrison Jr.). Wanting to make his love happy, Cyrano decides to help Christian write letters to Roxanne, as the solider is also in love with her.

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REVIEW: Spielberg’s ‘West Side Story’ doesn’t sizzle like its 60s counterpart

Tonight… Tonight… I’m rather disappointed tonight.

Because I didn’t enjoy this “West Side Story” adaptation as much as I hoped I would.

Directed by Steven Spielberg, this marks the second time the 1957 musical was adapted for the screen, the first released in 1961. In the film, there are two gangs in New York City the film revolves around, the Jets and the Sharks, the latter made up of Puerto Rican immigrants. Tensions have already been high between the two, but their battles appear ready to reach an even higher level of violence.

Before that takes place, though, both gangs end up at a dance. There, a former member of the Jets, Tony (Ansel Elgort), meets Maria (Rachel Zegler), the younger sister of the Sharks leader. While the two fall in love, their relationship only complicates the situation between the two groups.

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REVIEW: ‘Tick, Tick… Boom’ is an enjoyable, touching tribute

The legacy of late composer Jonathan Larson is honored in this new Netflix feature, based on his own autobiographical musical, “Tick, Tick… Boom.”

Andrew Garfield stars as Larson in the movie, directed by Lin-Manuel Miranda. The film has a framing device of Larson of performing “Tick, Tick… Boom” as a one man show, where he tells the story of himself in 1990, struggling to get a new production off the ground.

That production is “Superbia,” and the story Larson tells includes details about how he worked at a small diner, his strained relationships because of his focus on his work and how he grieved for friends he lost to the AIDS epidemic.

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