Category Archives: Emily Blunt

2023 Films, Alex Wolff, Benny Safdie, Best Picture Oscar Winners, Biography, Casey Affleck, Christopher Nolan, Cillian Murphy, Drama, Emily Blunt, Epic, Florence Pugh, Gary Oldman, Jason Clarke, Josh Hartnett, Kenneth Branagh, Matt Damon, Matthew Modine, Rami Malek, Robert Downey Jr.

Oppenheimer-2023

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Oppenheimer-2023

Director Christopher Nolan

Starring Cillian Murphy, Robert Downey Jr., Emily Blunt

Scott’s Review #1,384

Reviewed August 1, 2023

Grade: A

Knowing the films of Christopher Nolan who directed works like The Dark Knight Trilogy (2005-2012), Inception (2010), and Dunkirk (2017) I expected what I would be served with by his new film Oppenheimer (2023).

This would include a big booming soundtrack and an arguably more ‘guys’ genre film, but with intelligence, than other contemporary hits like Barbie (2023).

Dark and looming with complexities are usual for Nolan so I settled in for a three-hour epic journey centered on the atomic bomb and physics that has unexpectedly become a blockbuster.

Speaking of the pink phenomenon its simultaneous release with Oppenheimer led to the “Barbenheimer” phenomenon on social media, which encouraged audiences to see both films as a double feature.

This forever links the two vastly different films that were responsible for filling movie theaters once again.

I expected to enjoy Oppenheimer but was jarred (in a good way) by the sheer brilliance of its construction. Prepared for more mainstream fare that typically follows a biography or historical piece I was instead overly fascinated by the experimental elements enshrouding a more conventional film.

During World War II, Lieutenant Colonel Leslie Groves Jr. (Matt Damon) appoints physicist J. Robert Oppenheimer (Cillian Murphy) to work on the top-secret Manhattan Project.

Oppenheimer and a team of scientists spend years developing and designing the atomic bomb. Their work came to fruition on July 16, 1945, as they witnessed the world’s first nuclear explosion, forever changing the course of history.

The film is constructed marvelously in every way and is authentic to the eye. The first notice is that it feels like it’s the 1940s 1920s or 1960s or anywhere in between depending on where the film goes.

The art design, costumes, and makeup feel natural rather than stagey which helps its audience escape into the scientific world.

Speaking of, Nolan constructs the film in a series of pockets and goes back and forth between periods. We see Oppenheimer many times as an aspiring upstart with visions, a confident, established physicist, and in 1963 when President Lyndon B. Johnson presented him with the Enrico Fermi Award as a gesture of political rehabilitation.

His personal life is also explored.

Many, many scenes shift back and forth involving different characters at different ages. Most of the scenes in the 1940s take place in the desert at Los Alamos, New Mexico while the later years are set in a stuffy conference room where Oppenheimer is grilled for his left-leaning and suspected Communist politics.

The cinematography led by Hoyte van Hoytema provides some edgy moments especially when Oppenheimer descends into frightening and psychedelic hallucinations of those suffering the aftereffects of the atomic bomb. Images of peeling and melting faces are terrifying.

Cillian Murphy successfully makes Oppenheimer sympathetic especially after he creates the bomb and is left forgotten by his government.

Various moments in the film showcase Murphy at his best. After relinquishing his deadly bomb after a test the government callously tells Oppenheimer that ‘they’ll take it from here’. The look of dread, regret, and sadness in Murphy’s crystal blue eyes speaks volumes.

Another great scene occurs when President Harry S. Truman (Gary Oldman) a left-leaning democrat calls Oppenheimer ‘a crybaby’ when he expresses interest in returning land to the American Indians.

The supporting cast is a bevy of riches with several top-caliber actors appearing in cameos. My standouts in larger roles are Robert Downey Jr. shredding his Iron Man superhero persona as a slighted and venomous Lewis Strauss, intent on revoking Oppenheimer’s security clearance, and Emily Blunt as the boozy biologist and former communist wife of Oppenheimer.

My biggest takeaway from Oppenheimer (2023) though is a powerful one. The difference between the United States of America during and post World War II and in present times, 2023.

Then, a patriotic infrequently questioned nation brimming with pride and glory, where nationalism was rampant and expected and those with foreign respect were cast aside as traitorous.

Now, a divided country half of whom support an ideology based on hate, racism, and cultlike dedication to a corrupt ex-president, and the other focused on diversity inclusion, and equality for all.

This film resonated so powerfully well and in so many different ways.

Oscar Nominations: 7 wins-Best Picture (won), Best Director-Christopher Nolan (won), Best Actor-Cillian Murphy (won), Best Supporting Actor-Robert Downey Jr. (won), Best Supporting Actress-Emily Blunt, Best Adapted Screenplay, Best Film Editing (won), Best Cinematography (won), Best Costume Design, Best Production Design, Best Original Score (won), Best Sound, Best Makeup and Hairstyling

2021 Films, Djimon Hounsou, Emily Blunt, Horror, John Krasinski, Scoot McNairy

A Quiet Place Part II-2021

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A Quiet Place Part II-2021

Director-John Krasinski

Starring-Emily Blunt, John Krasinski

Scott’s Review #1,170

Reviewed August 12, 2021

Grade: B+

A Quiet Place Part II (2021) makes excellent use of sound, almost a character in itself, by featuring a deaf character and aliens who are blind and use only their acute sense of hearing to stalk and annihilate their prey.

The big sounds and the deafening silences keep the film fresh, capitalizing on its novel approach.

The film is both a sequel and a prequel that presumably allows director, writer, and actor John Krasinski the chance to reprise his ill-fated character offering a neat timeline to the events of the first film, A Quiet Place (2018).

Since that film was an enormous success a sequel was green-lit by the studio almost immediately. It offered Krasinski a great deal of freedom which he runs within this offering.

I can’t say the plot exactly comes together as tidy as I hoped and there is no explanation for the alien’s actions or motivations- what is it they want and where do they come from? The lack of explanation gnawed at me. After all, they must have been created from somewhere. The lack of motivation of a horror character like Michael Meyers is understandable but aliens?

The film is raised quite a bit above average thanks to a thrilling and fascinating opening sequence. This lengthy scene was astonishing with differing character points of view, meticulous filmmaking, and frights galore. Plus the appearance of Lee (Krasinski) killed in the first film immediately drowns us in intrigue.

I wish the rest of the film had remained as breathtaking but it’s not bad either. As a northeasterner, I was treated to some of the action taking place on a dilapidated metro-north railway train. Any commuter will appreciate this nod.

And who doesn’t enjoy numerous shots of Emily Blunt playing bad-ass with a loaded shotgun? The talented actress and wife of Krasinski add credibility to the horror genre.

I know someone who saw A Quiet Place Part II without seeing A Quiet Place and enjoyed it nonetheless but I think it’s helpful to know the material to appreciate the first scene.

We begin on Day one and the Abbott family-husband, wife, and three children, enjoy a little league game on a summer afternoon. When suddenly a cloud-like object plummets to Earth, all hell breaks loose and the town is in a terrified flee as aliens destroy all in their paths.

This plot point is interesting since viewers will know that two of the family members will not survive very long.

A year later the Abbott family-Evelyn (Blunt), Regan (Millicent Simmonds), Marcus (Noah Jupe), and a newborn must leave their farm with a calculated plan to reach safety. They realize through a never-ending song played on the radio that there is a sanctuary on a nearby island.

Clever Regan, who is deaf, can combine a microphone with her cochlear implant to kill the aliens.

Young actress Simmonds is quite a find and along with Jupe emerges as the star of the film. The teenagers spent much time on the run and battling the aliens. Setting events up for another sequel Kransinki and Blunt may want less to do with follow-ups.

Deaf in real life she is the standout and supports a female empowerment slant especially while possessing a disability. She is a unique character because she is unconventional-looking and authentic, lacking the typical characteristics that attempt to get moviegoers into theaters. She is my favorite character.

Geography is an issue here. Presumed to be upstate New York and shot in western New York, possibly the Utica area, the sanctuary is in Long Island Sound off the coast of Stamford, Connecticut. This would require the Abbots to travel hundreds of miles but the film makes it seem that both areas are neighboring. This mistake may not be noticed by most but since I live in the area it’s apparent.

A Quiet Place Part II feels reminiscent of the television series The Walking Dead. The additions of the family traversing the countryside, a sanctuary, and ravaging humans all support this comparison.

There are some predictable plot points to endure that prevent it from straying too far from the fray but A Quiet Place Part II (2021) also offers a film about the senses that still feels unique. By part III this may become redundant but John Krasinski proves he can make a compelling sequence with enough suspense to keep his viewers engaged.

2011 Films, British, Comedy, Drama, Emily Blunt, Ewan McGregor, Kristin Scott Thomas, Lasse Hallström, Romantic Comedy, Romantic Drama

Salmon Fishing in the Yemen-2011

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Salmon Fishing in the Yemen-2011

Director Lasse Hallstrom

Starring Ewing McGregor, Emily Blunt

Scott’s Review #1,152

Reviewed June 15, 2021

Grade: B-

Despite exceptional chemistry between leads Ewing McGregor and Emily Blunt, who were also bankable stars in 2011, the romantic comedy Salmon Fishing in The Yemen (2011) is predictable, dull, and lacks a good identity.

It is the feel-good film of the year and that is not meant as a compliment.

Don’t get me wrong, it’s above par as compared to the usual drivel emerging from one of my least favorite genres, the rom-com, but it should offer more than the by-the-numbers plot it churns out.

Someone either felt lazy or was instructed to create a banal film.

With good actors and fabulous locales, I expected more edge from Swedish director, Lass Hallstrom. But, alas, we get something merely adequate.

Doctor Alfred Jones (McGregor) is a fisheries scientist who one day receives an unusual request from a strong businesswoman named Harriet Chetwode-Talbot (Blunt). She wants his help in fulfilling a request from a wealthy sheik played by Amr Waked who wants to bring sport fishing to Yemen.

Jones declines at first, but when the British prime minister’s spokeswoman (Kristin Scott Thomas) latches on to the project as a way to improve Middle East relations, he joins in.

Romance blooms as Jones and Harriet work to make the sheik’s dream come true.

If this brief synopsis sounds like it’s taken from a novel that’s because it is and it is as straightforward as you can imagine. The film is based on a 2007 novel which must have been better than the film.

Let’s be fair and clear. McGregor and Blunt are as good as they can be with the material they are given and they succeed in bringing some life to the big screen. The trouble is there isn’t very far to go with their characters. Harriet is a businesswoman with a task at hand. Alfred is a handsome doctor with something she needs. Did I mention he’s a doctor?

Harriet’s romantic interest is hardly a surprise and Hallstrom puts nary any real obstacles in their path towards getting together.

The fact that early in the film Harriet is dating British Special Forces Captain Robert Meyers played by Tom Mison and Alfred is married to a woman named Mary (Rachael Stirling) is laughable after Robert is quickly killed off and Mary is sent away to Geneva for a conference.

Predictably, Alfred and Mary realize their marriage is over.

But wait, there’s more! Robert resurfaces from the dead alive and well. Harriet struggles with her emotions and quickly realizes that her feelings for him have changed leaving her to be with Alfred.

The setup for Harriet and Alfred is as predictable as what peanut butter and jelly sandwiches will taste like.

Poor Kristin Scott Thomas, a fantastic actor is reduced to playing the cliched role of Public Relations Patricia Maxwell. She straightforwardly plays her as aggressive, impatient, and bitchy. The performance doesn’t work well.

Second, to the sweetness of McGregor and Blunt, the locales are thankfully plentiful. Visits to London, Scotland, and Morocco are blessed treats.

A silly subplot of the salmon being removed from British rivers and something about farming goes nowhere and is not worth the effort to go into. Suffice it to say it does little for the film or as a companion to the main plot. The only thing viewers should focus on is Harriet and Alfred’s romantic involvement.

I only recommend Salmon Fishing in The Yemen (2011) for those fans of either McGregor or Blunt or who yearn to escape to a fantasy world with a happily ever after ending.

If one enjoys fishing or fly-fishing (is there a difference?) that may be enough cause to give the film a twirl too.

Otherwise, the film offers nothing that hasn’t been seen countless times before. By the conclusion of the film, I felt weary and bored for so much unchartered potential left on the cutting room floor….or somewhere else.

2018 Films, Ben Whishaw, Children, Colin Firth, Disney, Emily Blunt, Julie Walters, Meryl Streep, Musical

Mary Poppins Returns-2018

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Mary Poppins Returns-2018

Director-Rob Marshall

Starring-Emily Blunt, Lin-Manuel Miranda

Scott’s Review #848

Reviewed December 29, 2018

Grade: A-

Mary Poppins Returns is a charming mixture of reboots and sequels to the immeasurably glorious original, Mary Poppins (1964).

Impossible to live up to the magic of that film, the 2018 version comes quite close with a delightful turn by Emily Blunt, numerous Hollywood stalwarts in small roles, and gleeful musical numbers sure to leave audiences humming upon their exit from theaters.

Events begin to percolate twenty-five years following the original story and the setting is 1935 London amid the Great Depression. His wife recently deceased, Michael Banks (Ben Wishaw) lives in the house he grew up in with his three children and housekeeper (Julie Walters) in tow. His sister Jane lives and works nearby as a labor organizer.

Faced with the dreary reality that the historic Banks house may be foreclosed, Mary Poppins (Blunt) arrives elegantly on her umbrella to resume order and save the day.

Though her character does not overtake the film, Emily Blunt is dynamic in the title role. Her prim and proper good British charm and sensibilities crackle with wit and poise. It is tough to imagine anyone but Blunt in the role as she does so well with putting her stamp on it.

With a smirk and a quick matter-of-fact tone, the character is both no-nonsense and utterly kind. The casting of Blunt is spot-on as she becomes Mary Poppins.

The London setting is both adorable and fraught with good culture and sophisticated manners. The inclusion of the storied Big Ben is meaningful to the tale in a major way and a teachable moment for children unfamiliar with London at all.

Furthermore, the inclusion of an important period in history-the inclusion of the Great Depression is immeasurably positive.

The supporting characters are rapturous and a treat for elders familiar with the original Mary Poppins film. Meryl Streep plays Topsy, Mary Poppins’s eccentric eastern European cousin to the hilt, but never teeters over the top.

Colin Firth adds snarky charm as the villainous bank president, and Angela Lansbury gives grandmotherly zest as The Balloon Lady, an ode to the original novel.

Finally, Dick Van Dyke is a delight as the heroic Mr. Dawes Jr. who comes to the rescue at the last hour.

The real winners though are the enchanting musical numbers. With the lovely London landscape in full view, Mary Poppins Returns gets off to a spectacular groove with “(Underneath The) Lovely London Sky”.

Performed by the charming Lin-Manuel Miranda in the role of Jack the Lamplighter, Mary Poppin’s sidekick, the star has what it takes to keep up with Blunt. This is evident as the duo mesmerize and entertains with a colorful number, “A Cover is Not the Book”, alongside an animated music hall.

Finally, fans will revel in the naughty and clever “Turning Turtle”, performed by Streep.

The costumes and lighting are both big hits. As Jack lights and defuses the street lights, we get to see the luminous dawn and the sunsets which give the film a nice luminous touch.

During the film’s conclusion and subsequent race against the stroke of midnight the moonlight is featured giving the film a warm glow.

The period piece costumes are lush, but not garish, adding flavor and capturing the period perfectly.

With not quite enough oomph to rival the original Mary Poppins (but really who expected that?) Mary Poppins Returns (2018) nonetheless is enchanting and inspiring in every way that a remake or sequel should be.

The film is polite, polished, and filled with an authentic zest given the mixing of humans and animations. A fine creation and splendid entertainment.

Oscar Nominations: Best Original Score, Best Original Song-“The Place Where Lost Things Go”, Best Production Design, Best Costume Design

2018 Films, Emily Blunt, Horror, John Krasinski

A Quiet Place-2018

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A Quiet Place-2018

Director John Krasinski

Starring Emily Blunt, John Krasinski

Scott’s Review #751

Reviewed May 1, 2018

Grade: B+

A clever modern horror film, A Quiet Place (2018) offers a unique premise and novel use of sound to elicit a compelling, edge of your seat story.

With a science fiction slant and a “quiet” sensibility, the film is a good offering with ample jumps and frights that fit with the story rather than being added unnecessarily.

Actor turned director, John Krasinski shines in this film to say nothing of the raw talents of Emily Blunt and the two child actors involved. Only the four principles exist in the story which is a benefit.

In the year 2020, most of the human population has been decimated by vicious creatures called “Death Angels”, who have a hypersensitive hearing- they cannot see but pounce on their prey at every sound made. Thus the survivors must either whisper or communicate non-verbally.

An intelligent couple, Lee (Krasinski) and Evelyn Abbott (Blunt), an engineer and a doctor have managed to survive with their two children, Regan and Marcus, their youngest son Beau having been killed after his toy rocket accidentally goes off. The family exists on a farm in upstate New York having created intricate ways to ward off the creatures but live in constant fear of impending doom.

As Evelyn is now pregnant and due to give birth any day, in addition to Regan’s deafness, Lee attempt to create a mock ear to enable her to hear. One evening he decides to take Marcus out to hunt while Regan visits Beau’s grave.  When Evelyn goes into labor she steps on a sharp nail, dropping a picture that alerts a nearby creature.

The remainder of the film (only ninety minutes in length) is spent with Evelyn alone in peril as the rest of the family makes efforts to save her with some eventual dire results, both before and after the baby is born.

A Quiet Place immediately stands out as a unique film- especially for horror- by using sign language and sub-titles to show not only the characters communicating with each other but also to the audience. This tactic is successful at immediately getting the viewer absorbed in Abbott’s world and the hurdles they face.

This unconventional approach gives the film more depth than a standard horror film would normally have and is tremendously effective.

Such marvels are Blunt and Krasinski as the protective and clever parents that I fell in love with both characters almost immediately and bought them as a palpable couple. This is no stretch considering the two stars are dating in real life, but alas their chemistry works well in the film and they make a believable team.

Both Lee and Evelyn will do whatever it takes to protect their brood, and after a lovely day of foraging for supplies in an abandoned grocery store, we feel heartbreak when their youngest is annihilated by the savage creature.

Lee, and Krasinski looking perfectly hunky in his beard and muscles, falls into the hero/Dad role nicely while Blunt gives an emotional bravado performance worthy almost of an Oscar nomination if this were a different genre.

Not to be usurped by more seasoned actors, both child actors are wonderfully cast and hold their own. Millicent Simmonds, an unknown, flawlessly portrays Regan as the young actress who is herself deaf which translated well onto the large screen. And Noah Jupe plays sensitive yet brave to the hilt. Both assuredly have bright acting futures ahead of them.

The “creature” is a strong element of the film but suffers some misses as well.  Careful not to be too amateurish looking or too obviously heavy on the CGI effects, the fastness and ferocious nature are effective.

However, no apparent motivation is ever given nor an explanation of how they came to exist is mentioned. Perhaps a sequel will give more depth? Regardless, I wanted to know more about the backstory of the creature. And how did Abbott’s hold out so long when no others did?

A Quiet Place succeeds as a frightful film with depth and intelligence. Perhaps working better as an independent film  (it could have been edgier) with more grit and less polish from the creature, the film was released by Paramount Pictures.

Nonetheless, Krasinski is off to a great start as a director and leading man with an impressive horror effort containing nice scares and little gore.

Oscar Nominations: Best Film Editing

2016 Films, Allison Janney, Drama, Édgar Ramírez, Emily Blunt, Haley Bennett, Justin Theroux, Lisa Kudrow, Luke Evans, Rebecca Ferguson, Tate Taylor, Thriller

The Girl on the Train-2016

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The Girl on the Train-2016

Director Tate Taylor

Starring Emily Blunt, Justin Theroux

Scott’s Review #493

80105068

Reviewed October 12, 2016

Grade: B+

The blockbuster was the apparent must-see film of the fall of 2016. Almost everyone flocked to see it, and I happily saw it shortly after its release.

While containing some flaws, The Girl on a Train (2016) is an excellent thriller and companion to Gone Girl (2014). It is similar in style, tone, and, in a way, story.

A whodunit with psychological, almost Hitchcockian elements, it navigates twists and turns to an unfortunate, disappointing finale.

Still, it is a more than adequate offering that does not bore.

Based on the hit novel of the same name, which I understand is superior to the film.

First and foremost, how gorgeous was the scenic eye candy of suburban New York City, where the train chugs along the Hudson River in breathtaking beauty?

The film’s point is that affluent houses are nestled along the river banks, hidden with secrets. Beautiful neighborhoods are often riddled with affairs, drama, and backstabbing.

The train’s setting and element—peering through windows to witness smoldering events—were perfect.

The film’s standout is Emily Blunt, who gives a compelling, sometimes heartbreaking turn as a boozy, jobless, young woman fraught with heartbreak after heartbreak.

She finds solace on the Metro-North train as she peers into a particular well-to-do house, making up stories about a young woman she re-names daily, usually inebriated.

Though The Girl on the Train is not the typical “Oscar-type film,” I’d argue that a potential nomination is warranted for Blunt, who is brilliant on her emotional roller coaster.

Rachel fantasizes about being the stranger’s friend, revealing her desperation. We quickly learn about her life circumstances and feel empathy.

I anticipated an experience like Hitchcock’s classic Rear Window (1954), in which Rachel notices a crime and somehow becomes involved. This is partly true, but it is also different.

I was, however, treated to a film that never lags or waivers, and the action is plenty, not in bombs or car-chase way, but instead a circulating array of plot twists and emotions.

How wonderful to see Allison Janney, Lisa Kudrow, and Justin Theroux in a big-budget, mainstream film rather than independent small films for a change.

All three knock the material they are given out of the park, and kudos to the writers for making Kudrow, in little more than a cameo, a significant part of the grand reveal.

Arguably, Janney’s character of Detective Riley is the weakest written and seems to change motivations depending on the story shift. This is perplexing and too plot-driven.

In a way, the same might be said for Theroux’s character of Tom Watson, but, alas, it is a thriller, which sometimes happens in this genre.

Without giving much away, the conclusion to the film is unsatisfactory. We are given an ending wrapped in a neat, tidy bow, which contradicts the rest of the film.

The film is confusing, dream-like, and muddled—in a good way. Rachel’s thoughts disturb us, and we wonder what reality is. The climax is too clear, and instead of leaving much to the imagination, we are fed a linear, straightforward story ending, almost geared toward a Hallmark television movie (gag).

Wise would have been to write Rachel as still vague about her surroundings, but this does not occur.

The Girl on the Train (2016) will not redefine cinema or go down in history as fine art, but it is not intended to be the type of film designed to keep you on the edge of your seat and does so.

The story is above average and slick, but Blunt is worth heaps of praise and is head and shoulders above the rest of the film and the cast, which is no small feat considering the talent involved.

Great acting job, but the writing could have been slightly better.

2011 Films, Emily Blunt, Independent, Independent Romantic Comedy, Lynn Shelton, Mark Duplass, Romantic Comedy, Rosemarie DeWitt

Your Sister’s Sister-2011

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Your Sister’s Sister-2011

Director Lynn Shelton

Starring Emily Blunt, Rosemarie DeWitt

Scott’s Review #448

70211043

Reviewed July 9, 2016

Grade: C+

Your Sister’s Sister is a small, 2011 independent film, with a central cast of only three characters- the two sisters mentioned in the title and a young man (Mark Duplass), who is a rival for their affections.

The story tells of a love triangle, of sorts, between two sisters and one man. I admire the improvisational method that is used in the dialogue, ala Robert Altman style, where the characters merely have conversations and discuss issues rather than a structured dialogue.

This works well in the film.

The standout is Rosemarie DeWitt (“Mad Men”). I also enjoy the remote, cabin setting, which makes for a claustrophobic experience.

Emily Blunt’s performance, though, seems bland to me and I did not find her character rather relatable.

The ending of the film leaves everything up in the air and no clear conclusions are drawn, something I could see coming from miles away.

I admired the style of Your Sister’s Sister (2011) but was unsatisfied with the outcome.

Independent Spirit Award Nominations: Best Supporting Female-Rosemarie DeWitt

2014 Films, Anna Kendrick, Billy Magnussen, Chris Pine, Christine Baranski, Disney, Emily Blunt, Fantasy, James Corden, Jon Bernthal, Meryl Streep, Musical, Rob Marshall, Tracey Ullman

Into the Woods-2014

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Into the Woods-2014

Director Rob Marshall

Starring Emily Blunt, Meryl Streep

Scott’s Review #241

70305948

Reviewed May 8, 2015

Grade: B

Based on the stage production of the same name, Into the Woods (2014) is a feature-length Disney film that incorporates several different fairy tales into the main story.

The film is a fantasy musical with numerous songs performed by the cast, featuring a large ensemble of seasoned actors.

The classic fairy tales are modern versions of Little Red Riding Hood, Rapunzel, Jack and the Beanstalk, and Cinderella.

The action mainly revolves around a baker and his wife (James Cordon and Emily Blunt) who are sad and lonely because they cannot conceive a child due to a long-ago curse put upon the baker’s family by a witch- played by Meryl Streep.

Circumstances surrounding the baker’s father caused the once beautiful witch to be turned ugly. The witch offers a bargain to the baker and his wife- if they bring her four items (a white cow, a red cape, yellow hair, and a gold slipper) for a special potion, she will lift the curse, enabling them to conceive a child and live happily ever after.

This prompts the couple into the dark forest to obtain the requested items. From this point, the couple intersects with other characters from the fairy tales as they all question various aspects of their lives.

There are subsequent stories- the witch is Rapunzel’s adoptive mother and keeps her locked in a tower to prevent her from being hurt by the world.

Cinderella (Anna Kendrick) escapes her taunting stepsisters and attends a ball only to flee when noticed by the handsome prince (Chris Pine).

Jack attempts to sell beans to provide food for his mother- and Little Red Riding Hood brings sweets to her Grandmother but is confronted by the Big, Bad, Wolf (Johnny Depp), a strange Woman Giant is stomping through the forest searching for Jack.

All these stories revolve around the baker and his wife’s efforts to retrieve the witch’s requests.

The production and art direction in the film is great. I love the dark, gloomy forest, which translates so well on the screen and gives the magical effect of a mysterious, secret forest.

I enjoyed the songs quite a bit- especially the catchy “Into the Woods”. However, some of the songs are quite one-dimensional and bland and not discernible from each other, let alone memorable.

The duet of the Prince’s, “Agony” is silly and useless to the plot, with gyrations, and dance moves.

Meryl Streep- dynamic in anything she appears in again steals the show as the vile witch turns beautiful at the end. She has a fantastic solo number mid-story, entitled “Stay with Me”.

One drawback I found with the film is, at times it drags a bit and I was not sold on the casting of Anna Kendrick as Cinderella.  Something about her performance was lacking, perhaps she was not as sympathetic or convincing as another actress might have been.

Also, I would have enjoyed seeing Johnny Depp as the Wolf be more prominently featured and a larger role for the Woman Giant. As integral as she is to the plot, it was tough to get a clear glimpse of her face let alone anything more substantial.

An entertaining feast of fairy tales immersed in one film, Into the Woods (2014) has some compelling moments but lost opportunities that bring it far from the reaches of a masterpiece level.

A solid film, but not a great film.

Oscar Nominations: Best Supporting Actress-Meryl Streep, Best Production Design, Best Costume Design