World War II American Army Medic Desmond T. Doss, who served during the Battle of Okinawa, refuses to kill people, and becomes the first man in American history to receive the Medal of Honor without firing a shot.
A seasoned FBI agent pursues Frank Abagnale Jr. who, before his 19th birthday, successfully forged millions of dollars' worth of checks while posing as a Pan Am pilot, a doctor, and a legal prosecutor.
Mathilda, a 12-year-old girl, is reluctantly taken in by Léon, a professional assassin, after her family is murdered. An unusual relationship forms as she becomes his protégée and learns the assassin's trade.
In 1962, Tony "Tony Lip" Vallelonga, a tough bouncer, is looking for work when his nightclub is closed for renovations. The most promising offer turns out to be the driver for the African-American classical pianist Don Shirley for a concert tour into the Deep South states. Although hardly enthused at working for a black man, Tony accepts the job and they begin their trek armed with The Negro Motorist Green Book, a travel guide for safe travel through America's racial segregation. Together, the snobbishly erudite pianist and the crudely practical bouncer can barely get along with their clashing attitudes to life and ideals. However, as the disparate pair witness and endure America's appalling injustices on the road, they find a newfound respect for each other's talents and start to face them together. In doing so, they would nurture a friendship and understanding that would change both their lives.Written by
Kenneth Chisholm (firstname.lastname@example.org)
Viggo Mortensen revealed that Louis Venere, one of Nick Vallelonga's real-life relatives, caused continuity problems in the family dinner scenes. He kept eating the food after the director had yelled cut, saying, "what props? This is good fish, c'mon!" See more »
When Tony throws out paper cup from the car, the background is an open farm land and white enclosure goes on forever. In the next scene when Tony pulls back the car to pick it up by the order of Dr. Shirley, the left side is green forest. See more »
You know, when you first hired me, my wife went out and bought one of your records. The one about the orphans?
Dr. Don Shirley:
Yeah. Cover had a bunch of kids sittin' around a campfire?
Dr. Don Shirley:
Dr. Don Shirley:
Orpheus in the Underworld. It's based on a French opera. And those weren't children on the cover, those were demons in the bowels of Hell.
No shit! They must've been naughty kids!
See more »
Real-life photos of Dr. Donald Shirley and Frank "Tony Lip" Vallelonga, and a few insights into their life after the events in the movie, are shown before the credits roll. See more »
Goodbye, My Lover, Goodbye
Written by Lamar Simington, Lerot Swearingen and Robert Mosley
Performed by Robert Mosely
Courtesy of Capitol Records
Under license from Universal Music Enterprises See more »
Critic-proof festival hit should be big holiday winner
Some of my movie friends were stunned when I mentioned in a thread that this was my "People's Choice Award" vote for TIFF 2018 (it won, btw). I generally go for weightier fare, so my being won over by a PG-13 road film with the familiar "they-couldn't-have-been-more-different" premise directed by the auteur co-responsible for such recent classics as "Dumb and Dumber To" and "The Three Stooges" elicited a virtual double-take.
But I couldn't help it ... it really WAS the best film I saw (out of 17), and far and away the most entertaining. I think this is largely because it's based on a real-life story about the beginning of a lifelong friendship - a story that has writing participation by the son of one of the real-life characters. There's definitely an air of authenticity to the events as they unfold that could never occur with a purely contrived plot. Consider: A college-educated concert pianist of Jamaican descent hires a temporarily-unemployed Italian-American nightclub bouncer who's streetwise but academically dim to drive him to venues in the Deep South back in 1962. That's not a setup that a Hollywood script written from scratch would ever have come up with.
The two lead actors really click. Mahershala Ali makes a nice Oscar follow-up playing the aloof pianist passenger to Viggo Mortensen's "b.s. artist" driver. Ali is certain to get another nomination; Mortensen's performance may be a little too broad to garner one, but he delivers exactly what's called for. And he makes a believable Italian-American, which is impressive considering that he's Danish.
I'm allergic to preaching and heavy-handedness in movies no matter what the message, and with the exception of one borderline scene, I'd say that the movie nicely sidesteps these proclivities that surface so often in socially-conscious films.
The music and FX are excellent. When an actor plays a piano player, there's always the challenge of making the playing look believable. It doesn't get any better than it gets here - Ali's piano playing is every bit as convincing as Margot Robbie's ice skating in I, TONYA. You never see a disconnect between hands and body as he's filmed against a variety of backgrounds. And if I could bet on an Oscar win right now, it would be Kris Bowers for Best Original Score. (He also supplies Ali's hands, which should clinch it.)
Top everything off with a Capra-esque Christmas Eve finale and a closing line that sends everyone home smiling, and it all adds up to a monster hit. Its commercial payoff could be huge - the movie practically begs for a TV series spinoff, and the real-life characters remained friends until they both died in 2013.
So congratulations to Peter Farrelly on his graduation from co-directing lowbrow fare to solo-directing middlebrow (i.e. mass-appeal) fare. You can't deny the talent and craftsmanship it takes to make a mainstream movie that works as well as this one does.
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