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Nattrikken (2020)
using her wits during a misadventure
Greetings again from the darkness. With a string of short films to his credit, Norwegian writer-director Eirik Tveiten had to wait patiently during the pandemic for the release of his latest. That patience was rewarded with an Oscar nomination for Best Live Action Short Film.
Ebba (Sigrid Kandal Husjord) is waiting for the tram on a frigid, snowy evening. When the tram arrives at her stop, the driver hops off for his break, but tells Ebba that she is not allowed to wait for him on the tram. Rather than risk frostbite, Ebba sneaks onto the tram. The trouble begins when she starts pushing buttons in an attempt to get the door closed. As you probably guess, she inadvertently starts the engine, and soon, Ebba is driving the tram and making its scheduled stops.
This opening is actually a clever misdirection. It serves up the vibe of a pending comedy-of-errors, however, the tone shifts pretty quickly ... as must happen on a short film. In fact, things turn pretty dark and Ebba is faced with a tough decision in regards to one of the passengers. Although the film is only a few minutes long, we sense Ebba's frustration and her personal history plays a distinct role in her reaction to how things play out. A terrific performance from Sigrid Kandal Husjord highlights this thought-provoking short film from director Eirik Tveiten. The Oscar nom is well-earned.
Living (2022)
Nighy perfection
Greetings again from the darkness. That uneasy feeling will likely never fade for me ... the anxiety when one of the classic movies of yesteryear gets a remake from a contemporary filmmaker with their own vision. Sometimes the new version is a respected tribute to the original, while other times, the director believes they can improve on the classic. In this case, director Oliver Hermanus and screenwriter Kazuo Ishiguro (THE REMAINS OF THE DAY, 1993) clearly have love for Akira Kurosawa's IKIRU (1952), one of the true classics of cinema. Moving the setting from Japan to 1953 England proves an easy transition thanks to a remarkable lead performance.
After the nostalgic, retro-styled opening credits, we learn about Williams (the always fascinating Bill Nighy), a manager in the Public Works Department. He's a stoic man of discipline - the kind his staff can set their watches by. In fact, it the department and staff seem to be a perfect example of perfected bureaucratic logjam. Some of our early insight into Williams comes from Peter Wakeling (Alex Sharp), the new hire just learning the ropes. By the time Williams heads to his doctor's appointment, we have a good feel for what a repressed creature of habit he is. This allows us to fully appreciate Nighy's performance after Williams is diagnosed with a terminal illness.
As we have seen in many 'cancer dramas', upon receiving the bleak news, Williams decides to cut loose with a rare (maybe first ever) wild night on the town. He befriends Sutherland (Tom Burke, THE SOUVENIR: PART 1), a writer who acts as a guide through the pubs and becomes the first person to whom Williams discloses his state ... a disclosure he chooses not to make to his own self-centered son. Next, Williams begins his first ever search for life ... a way to actually live, rather than merely exist. This leads him to strike up an awkward friendship with Margaret Harris (Aimee Lee Wood, THE ELECTRICAL LIFE OF LOUIS WAIN, 2021), a former Public Works staffer who left the stifling work environment.
Ms. Harris is very forthcoming with Williams and even admits to giving him a most telling and uncomplimentary nickname. The gentleman is fascinated by Ms. Harris' spirit and seems to come more alive just being around her. Of course, this raises eyebrows amongst the judgmental masses. Williams is inspired by her and his improved outlook, and this makes a difference at work where he approves a local project that had been previously ignored. A playground in the poorer section of town offers a chance for Williams to leave his mark, while also setting the future tone of the department.
It's unusual for a film to kill off the main character so soon during the story, but this allows the third act to provide commentary on legacy and the aftermath of one's death. Sometimes the little things we do matter, and they make up the legacy we leave. Nighy's Oscar nominated performance is the epitome of nuance. His understated mannerisms display the opposite of living life on the edge. He also tamps down his usual cheekiness to capture the essence of Williams. The sweeping score from Emilie Levienaise-Farrouch perfectly captures the tone, and the film reminds us that the meaning of our life is whatever we make it.
Aftersun (2022)
daughter viewing father-daughter
Greetings again from the darkness. There are two reasons I was excited to see Paul Mescal nominated for a Best Actor Oscar for his performance in this film. First, he deserved it. Secondly, it offers hope that more people will seek out this terrific, albeit heartbreaking, debut feature film from writer-director Charlotte Wells.
Calum (Paul Mescal, THE LOST DAUGHTER, 2021) takes his 11-year-old daughter Sophie (Frankie Corio) on a vacation to a resort in Turkey, where they swim and frolic in the sun. Even though she lives with her mother, Sophie and her dad have a close bond. She's a very observant and perceptive girl, which is crucial given that Calum is a loving and caring dad, but he's also displaying some disturbing signs of depression. What's terrific here is that Sophie is smart, but not over-the-top; while Calum is a good dad, but not flawless. In other words, these are two normal people spending time together.
There is a sadness to Calum, even though he is patient and charming. He thinks he hides more from Sophie than he actually does. His calm demeanor on the outside is clearly hiding burning emotions that his tai chi can't cover. While Calum is teetering in life, Sophie is teetering between independence and being daddy's girl. She recognizes his anxiety but doesn't yet possess the savvy or experience to know what it means - although she states this gem, "It's nice that we share the same sky." What a lovely sentiment.
The vacation is set in the 1990's, however the twist served by filmmaker Wells is that adult Sophie (played in glimpses by Celia Rowlson-Hall) is reminiscing some twenty years in the future by re-watching the camcorder tapes from that vacation. She's looking back with a different filter on what she experienced with her dad ... searching for additional insight to the man she so adored. Sophie has visions of watching her dad on the dance floor as "Under Pressure" blasts under the strobe lights. This prevents her (or us) from interpreting these as memories of bliss. Rather it's her search for meaning. Charlotte Wells drew inspiration for this story from her own childhood vacation with her dad. This is the first screen appearance for young Frankie Corio, but she perfectly captures the close relationship with dad. As movie lovers, we can only hope this is the start of a special story-telling career for Charlotte Wells, but even if this is her peak, it's a gem few ever match.
Life Upside Down (2023)
yet another COVID movie
Greetings again from the darkness. When watching and reviewing films, I strive to be objective and observant, while putting some thought into what the creator(s) hoped to achieve with the project. However, this is my upfront disclosure that it's January 2023 and I seem to have had my fill of 'Pandemic movies.'
That statement is not meant as an affront to writer-director Cecilia Miniucchi or the cast in this film - some of whom are extremely talented. Instead, it's my personal confession that, over the past couple of years, I've seen enough movies where creative photography was used to highlight the misery we all faced during the recent pandemic lockdowns. This particular movie does make an effort to comment more specifically on how differently the upper-middle class dealt with the challenges.
It opens in a Los Angeles art gallery in October 2019, as art dealer Jonathan (Bob Odenkirk, "Better Call Saul") sneaks in a wham-bam with his mistress Clarissa (Radha Mitchell), just as his wife Sue (Jeanie Lim) shows up. After re-adjusting her wardrobe, Clarissa tries to encourage her well-off friend Paul (Danny Huston) to purchase one of the paintings on display in Jonathan's gallery. This sequence is relatively short, but we learn much about the key players and their personalities.
We then flash forward a few months to March 2020 when the lockdowns kick in, and COVID makes masks and isolation a part of life. Since Clarissa is a professor, we get a taste of online teaching through Zoom. We are told that FaceTime is our virtual self being interpreted by Wi-Fi, although these technological features provided the only form of socialization and connection for so many people over months. "Stay safe and sane" became our standard and recognized send-off rather than "have a nice day."
As a single woman, Clarissa is always available for FaceTime and texts from Jonathan, who contrastingly, tries to steal a moment or two from his ever-present wife while taking out the trash or some other menial task that might provide some space. And it's that space and time apart that slowly changes the dynamics of a hot relationship built on the physical aspect. As the calendar pushes forward, Jonathan becomes stressed over pending financial disaster, and the possibility of losing his identity tied to the gallery. This worries him more than Clarissa's loneliness (or birthday).
Paul, a smug, quasi-intellectual writer, is working on his next book and his inability to connect with his younger wife Rita (Rosie Fellner) exacerbates their own intimacy issues, sending his possible art purchase from Jonathan to the back burner. It's during this time where Clarissa takes notice of Darius (Cyrus Pahlavi), her unusual tenant who also is a bit lonely (and recognizes an opportunity).
These characters and filmmaker Miniucchi teach us that "there is no perfect love", and mostly seem to reinforce two things: human connection is vital to our emotional well-being, and the entitled among us are not immune to the effects of isolation, even if they are in a better position to handle it. We've seen it all before, however, "be that as it may ..."
Opens on January 27, 2023.
Close (2022)
boyhood
Greetings again from the darkness. Coming of age stories are immensely popular in literature and cinema. And why not? We all go through the stages (some more effectively than others). Writer-director Lukas Dhont is no stranger to backlash and criticism after his 2018 feature film debut, GIRL, and the approach he took on transgender issues. This time the topic is different, yet his approach still opens him up to additional criticism. However, if the viewer isn't on a quest for controversy, this story from Dhont and co-writer Angelo Tissens is quite touching.
Leo (Eden Dambine) and Remi (Gustav De Waele) are 13-year-old best friends. The thing we notice immediately is that their bond is unusually close, even for adolescent buddies. They each seem complete only when in the presence of the other. Remi is a very sensitive young man who excels at playing oboe on the school stage as he's cheered on by Leo.
Of course we all know that 13-year-old classmates are not known for tact and diplomacy, and soon the biting comments find flesh (so to speak). Remi mostly pays no mind to the cracks, but Leo starts to question the friendship. He seeks out other connections, and even finds a way to appear more macho, despite his androgynous appearance and mannerisms.
Remarkably, both of these young men are first time actors. Mr. Dambine has an especially appealing screen presence. Also effective are Emilie Dequenne and Lea Drucker as the boys' mothers, yet mostly the focus her is on the boys and how pure their emotions are until corrupted by others. Also at the forefront is a theme of learning to deal with loss and guilt, even at a young age. It can easy to dismiss such films as manipulative, yet sometimes the writing and acting are such that the story strikes the right note. That's what filmmaker Lukas Dhont has done here, and he's rewarded Belgium with an Oscar nomination for Best Foreign Language film.
Opening in limited theaters on January 27, 2023.
The Son (2022)
son of a son
Greetings again from the darkness. Writer-director Florian Zeller floored me a couple of years ago with his film, THE FATHER (2021). Adapted from Zeller's own play by screenwriter Christopher Hampton (DANGEROUS LIAISONS, 1988), the film starred Anthony Hopkins who gave a searing performance that provided painful insight into what living with dementia must be like - both for the sufferer and for loved ones. Zeller, Hampton, and Hopkins all won Oscars for that film, and they return for this follow-up ... a film that doesn't hold a candle to its predecessor, despite begging us to think otherwise.
Hugh Jackman stars as Peter, an incredibly busy and important Manhattan lawyer who wears fancy suits, works in a corner office with a view, and attends vital meetings with high-profile clients. Peter has a beautiful wife Beth (Vanessa Kirby) and newborn son, and is on the verge of entering high stakes politics as a consultant when his ex-wife Kate (Oscar winner Laura Dern, MARRIAGE STORY, 2019) knocks on the door of Peter's and Beth's charming (and high rent) apartment. Kate informs him that their 17-year-old son Nicholas (Zen McGrath) has skipped school every day for the past month, and now wants to come live with his dad. Convinced he's a better father than his own, Peter believes he must allow Nicholas to move in, and Beth is so committed to Peter and exhausted from caring for the baby, that she offers no resistance.
Peter is a professional problem solver and somehow this brilliant lawyer believes a couple of lectures and pep talks will cure Nicholas of his teenage blues and get him on the right track towards success. He's convinced his efforts are working and that Nicholas is improving ... right up until the point where it's obvious, he's not. How all these folks take so long to recognize mental illness and depression is beyond comprehension. Sure, Nicholas is manipulative; he knows what these adults want to hear, and he tells them. The ridiculous part is they believe him.
The film's best scene is the one where Peter faces his own father. Two-time Oscar winner Anthony Hopkins is a powerful force as the one who scoffs at Peter's viewpoint of parenthood, both past and present. This scene could have made a terrific short film and is so insightful that it's at odds with the balance of the film. Unfortunately, much of the rest plays like a made-for-TV movie with its slick stylings on poor parenting and teenage issues. There are a few moments early on that give off a horror film vibe, but that's not what this is. Instead, it's an attempt to reflect modern day parenting and the helpless feelings of guilt we feel when our kids are suffering. Hopefully most parents are a bit more attuned to their teens, and we also hope that most schools don't wait a full month before alerting parents that their kid has dropped out.
Opens in theaters on January 20, 2022.
After Love (2020)
viewing yourself through others
Greetings again from the darkness. There are multiple ways one can interpret the first feature film from writer-director Aleem Khan; however for me, this worked best as a study of identity - how we define ourselves and our life. It's an unusual start to a story. A woman is going about her normal kitchen duties, preparing tea for her husband who is relaxing in the other room after an event. Before the opening credits roll, the man suddenly and unexpectedly passes away. This sends the wife into grief and shock ... although an even bigger shock awaits her.
Joanna Scanlan plays Mary, the wife. She's an Englishwoman and converted Muslim. While organizing her late husband's wallet, phone, and texts, she comes across information that spurs her curiosity and sends her on a journey via train, ferry, and taxi, 21 miles across the English Channel to Calais. There are three 'natural' reactions to finding out your spouse has a secret family. First, confront them about it ... not possible in this case. Second, shrug it off and move on with your life. Third, confront the 'other' family. Somehow, Mary finds a way to botch her confrontation. She ends up being mistaken for the cleaning woman by Genevieve (Nathalie Richard), and Mary finds herself inside the home where a family picture - quite similar to the one Mary carries - sits on display. Also surprising is the presence of a teenage boy named Solomon (Talid Ariss).
The next few days are quite awkward for Mary and us viewers. She's helping pack up Genevieve's belongings for an upcoming move, and Mary's husband's shirts are included in these items. A striking contrast of physicality exists between the two women, and Mary quietly entrenches herself into the lives of Genevieve and Solomon, who struggle with a strained mother-son relationship. We can't help but wonder how this quandary will resolve, and the longer it goes on, the more challenging it becomes for Mary to come clean.
Director Khan includes numerous variations on cracks, splits, fissures, and breaks ... some more subtle than others. Each represents the collapse of the façade Mary previously understood as her life. She even catches herself making two cups of tea out of habit, and repeatedly listening to the final saved voicemail from her husband ... desperately searching for assurances of his love or clues that she might have missed. Frequent movie watchers will recognize the lead actors here, as Ms. Scanlan (NOTES ON A SCANDAL, 2004) and Ms. Richard (CACHE', 2005) work frequently. Composer Chris Roe's string score blends nicely with the on screen stress as the pulling back the curtain on one man's life exposes the fractured world of others. Love, grief, and identity, are all on trial here as we are reminded to find our own identity.
Opens in theaters on January 20, 2023.
Deep in the Heart: A Texas Wildlife Story (2022)
beautiful
Greetings again from the darkness. It's easy to see why this film was selected for opening night at the 2022 EARTHX Film Festival. Ben Masters' feature length documentary is filled with historical information, geographic differentiations, a timeline of human impact, and some of the most stunning wildlife photography we have ever seen ... and that includes any productions from Disney Nature and National Geographic. And if that weren't enough, the film leaves us with a lesson on the importance of wildlife and nature conservation.
Academy Award winner Matthew McConaughey narrates the film, and as a native Texan, his drawl and pacing are in perfect sync with what we see as filmmaker Masters guides us through the various areas of Texas. The opening segment from the high plains of the Panhandle focuses on the history of bison, and how hunting had dwindled the once massive numbers to the point where only five (5, not 500 or 5000) remained. Remarkable conservation efforts have resulted in bison now once again roaming the plains in packs. It's a majestic sight.
Time is spent on White Tail Deer, and it's a trip to the south Texas brush country that provides one of the most fascinating segments. Sightings of the "near mythical" Ocelots are rare, but here we follow a mother and cub. These gorgeous creatures are photographed up close and in their natural habitat. Despite only a few remaining in the species, we get to see them hunt and prowl. It's quite a treat. Texas wildlife is the focus here, but when the film shifts to the Hill Country, it's water that takes center stage. The state rivers, creeks, and aquifers are highlighted and how, just like many other states, severe drought has had a direct impact on wildlife in Texas.
After glimpsing the awe-inspiring views of the Bracken Cave bats, the film takes us to Big Bend country where the top predator roams - the Mountain Lion. By this point, we've learned about the Guadalupe Bass (the Texas state fish) and the piney woods and wetlands of east Texas, so we head to the Gulf and witness an array of colorful birds, and learn of the wildlife swimming the depths of the ocean around and through the coral reefs not far offshore.
The visuals here are truly stunning thanks to the innovative work of Director of Photography, Skip Hobbie and a large team of cinematographers. Some of the shots of Ocelots and Mountain Lions leave us gasping, 'how'd they do that?' As beautiful as the film is to look at, it never strays far from the message that humans have the ability to destroy, conserve, and recover wildlife. Examples of each are provided, and that's what sets the film apart from so many nature docs that simply preach. Ben Masters takes a different approach - he shows us the bad that has occurred, the good that helped, and how conserving is a never-ending project, but one that is well worth the effort.
Opens in Texas theaters on Friday, June 3, 2022.
Women Talking (2022)
finding a voice
Greetings again from the darkness. Do nothing. Stay and fight. Leave. Those are the three options a group of women debate in the loft of a barn on the edge of their religious commune. The true story that inspired Miriam Toews to write her 2018 novel is horrific. Between 2005 and 2009, there were more than 150 cases of females being drugged (with livestock tranquilizers) and violently raped. They ranged in age from three to sixty-five, and this occurred in a deeply religious Mennonite community in Bolivia. The great writer-director Sarah Polley has adapted Ms. Toews' novel for her first feature since STORIES WE TELL (2012), and we welcome her back as a voice always deserving of a platform.
When two girls spot a rapist running away one evening, an emotional fire is lit. The man is charged, and this leads the women to organize their own meeting to discuss the three options noted above. Rooney Mara plays Ona, the good-hearted optimist. Claire Foy plays her sister Salome who spends much time in rage mode. Jessie Buckley is Mariche, the often brutally abused woman who has her own strong ideas. If you are a movie lover, you immediately recognize that these three are among the best young actresses working today. What a pleasure to watch them do what they do ... despite the material often being extremely uncomfortable and stress-inducing. This new generation of community women are joined in debate by the elders: Agata (Judith Ivey) and Greta (Sheila McCarthy), who both carry the burden of shame having raised their daughters in this environment. Scarface Janz (Oscar winner Frances McDormand, also a producer on the film) only has a couple of scenes, as she is stays strong in her "do nothing" stance.
As the dialogue continues in the loft, we learn much about what these women, as well as the generations before them, have endured. Over the years, whenever victims have spoken up about the horrible abuses, their accusations have been dismissed as "wild female imagination." The religious patriarchy has led to many years of submission and resignation to a lesser life - one that includes manual labor and a lack of education. These women cannot read or write, so they have asked August (an excellent Ben Whishaw) to take notes and list the pros and cons of the options. August is a gentle soul and the local schoolteacher who has an eye towards Ona.
Revenge, forgiveness, protecting one's self and their children is all part of the discussion, as is the difference between fleeing and leaving. These women are finding their voice through the strength of each other. Cinematographer Luc Montpellier uses mostly black and white with some subtle color gradation for effect, as well as a contrast between interior (barn loft) shots and those of the outdoor vistas and fields (representing the outside world). The score from Hildur Guonadottier is heavy on strings and works perfectly for the story, and the inclusion of "Daydream Believer" from The Monkees is a welcome inclusion.
We don't normally think of cinema as watching people sit around and talk. One of the best ever movies showing debate among adults is 12 ANGRY MEN, and this film takes a similar approach and is not far off from the level of that all-time classic. The courage of those real women from Bolivia was staggering, and Sarah Polley offers up this intellectual and thought-provoking approach to these women taking stock of their situation. It's a gut punch, yet somehow inspiring.
Opens in theaters on January 13, 2023.
Come Find Me (2021)
two for one with mother-daughter
Greetings again from the darkness. Writer-director Daniel Poliner delivers two movies in one. And while that may be a real value when shopping, it can be a bit counterproductive in moviemaking. We begin with the story of Christina (Victoria Cartagena, "Gotham"), a Latina senior associate on the Partner path at her law firm, despite the unrealistic expectations from her boss. Christina is stressed-out and beaten down. She's worried about a pro bono client who can't seem to shake her abusive boyfriend. Christina is also trying to help her mother straighten out her finances, and if all that isn't enough, she just found out she's pregnant ... the father is another lawyer in the firm.
This first section of the film draws us in to Christina's saga. She clearly cares about her career, while understanding that a step off the fast-moving treadmill would probably do her good. Her mother Gloria (Sol Miranda, "Unbreakable Kimmy Schmidt") is frustrated that Christina doesn't visit her more often and the two seem to have an unsettled relationship. Once this story has us hooked, filmmaker Poliner abruptly shifts gears, and this becomes Gloria's story two years later. She's a career teacher-principal at an inner-city school and is nearing retirement ... and it's the week of Christina's wedding, which means events with the soon-to-be Jewish in-laws. We quickly realize Gloria is out of place at the rehearsal dinner.
The groom's mother is played by the always interesting Tovah Feldshuh, but even that's not enough to keep us on track. Director Poliner makes some interesting creative choices by showing a few sequences playing out slightly differently each time. These visions seem to represent the way memories work by displaying the variances in what we recall, how we wish a moment played out, and what actually happened. It's like the internal dialogue come to life, while mixing past and present. Both Christina and Gloria have their internal light flashing - literally, at times. Gloria's story, though it could have been every bit as interesting as Christina's part one, ends up a bit confusing. Supporting work comes courtesy of Ryan Woodle, Andrew Polk, and Adam LeFevre, and while a creative approach is always welcome, we viewers do hope to make sense of what we see on screen.
Opening in theaters and On Demand on January 13, 2023.
A Man Called Otto (2022)
people do change
Greetings again from the darkness. Grumpy people are everywhere these days. In fact, two-time Oscar winner and all-around likable guy Tom Hanks (FORREST GUMP, PHILADELPHIA) may be the only one who catches us off-guard when he's grumpy. Here, Hanks plays Otto, the neighborhood curmudgeon who patrols the community daily drenched in full-fledged annoyance over topics like pets, recycling, traffic, and parking. In fact, Otto is annoyed by most people and just about everything they do (and these days, who amongst us isn't).
The film is an American remake of the Oscar nominated Swedish film, A MAN CALLED OVE (2015), which featured a terrific titular performance from Rolf Lassgard. Both films have been adapted from Fredrik Backman's novel, "A Man Called Ove", with writer-director Hannes Holm behind the 2015 version, and screenwriter David Magee (LIFE OF PI, 2012) and director Marc Forster driving this one. Mr. Forster has previously directed some interesting and diverse movies including, MONSTER'S BALL (2001), FINDING NEVERLAND (2004), STRANGER THAN FICTION (2006), THE KITE RUNNER (2007), QUANTUM OF SOLACE (2008), WORLD WAR Z (2013), and CHRISTOPHER ROBIN (2018).
We join Otto on his morning rounds, and that's when we witness his constant annoyance on display, while also meeting some of his neighbors like Jimmy the friendly power walker (played by Cameron Britton), as well as the ultra-friendly new neighbors, very pregnant Marisol (Mariana Trevino), her husband Tommy (Manuel Garcia-Rulfo), and their herd of young kids. There is also Otto's estranged friend Reuben (Peter Lawson Jones), who is now very sick, his wife Anita (Juanita Jennings), and Malcolm (Mack Bayda) a local boy whose parents kicked him out because he's transgender. Malcolm has a connection to Otto's late wife, and it's her passing that has not only caused Otto's personality to shift into grump mode, but also pushed him to explore ways to join her 'in a better place', although he can't quite manage the next step.
Marisol is really the major force in the story, as her unrelenting friendliness and persistence in connecting with Otto, slowly breaks down his defense as he finds a reason to live. Director Forster uses flashbacks to help us understand Otto's background. Hanks' own son Truman Hanks plays him as a young Otto, while Rachel Keller portrays young Sonya, the girl that wins his heart. A devastating personal tragedy can certainly impact a person to the point where their personality and outlook changes; however, we also see how a positive influence ... here with Marisol ... can help pull someone out of a dark emotional hole.
Tom Hanks (coming off his roles as Colonel Tom Parker in ELVIS and Geppetto in PINOCCHIO) is so familiar to movie goers that it's comical to see him go full grump, although it should be noted that he's more Walter Matthau in BAD NEWS BEARS (1976) or GRUMPY OLD MEN (1993) than he is Clint Eastwood growling "Get off my lawn" in GRAN TORINO (2008). In other words, despite some similarities to ABOUT SCHMIDT (2002), the film is never quite as dark as it portends, even with Otto's congenital heart issue and the redevelopment threats from the perfectly named Dye & Merica Real Estate Company. This is designed and presented as a sentimental mainstream film that is easily relatable, and it will undoubtedly have that appeal.
Opens in theaters on January 6, 2023.
M3GAN (2022)
AI gone wrong
Greetings again from the darkness. Dolls are the new Clowns in horror. Okay, that's not actually true since there is a long history of creepy dolls coming alive. Do you remember "The Twilight Zone" 1963 episode "Living Doll" featuring Talking Tina (voiced by the late, great June Foray, known for Rocket J "Rocky" Squirrel, Cindy Lou Who, Granny in the Warner Bros cartoons)? More recently we have experienced Chucky in CHILD'S PLAY (1988) and ANNABELLE (2014), and in a much less frightening style, the many dolls and playthings in TOY STORY (1995). This new generation is brought to us by director Gerard Johnstone (HOUSEBOUND, 2014) and the writing team behind MALIGNANT (2021), Akela Cooper and James Wan. Of course, new generation means high-tech, so this one injects the Artificial Intelligence from Alex Garland's EX MACHINA (2014).
The tone is set from the beginning as we open on a "Saturday Night Live" type parody of TV advertising for a product PurRpetual Pet, furry critters that talk and poop while being controlled from an app (like everything else these days), and are guaranteed to outlive their owner, thereby eliminating grief. The manufacturer is Funki Toy Company, where Gemma (Allison Williams, GET OUT, 2017, and the daughter of national news anchor Brian Williams) is the head of the robotics department. Gemma's workaholic lifestyle and commitment to career is rocked when she must take guardianship of her eight-year-old orphaned niece, Cady (Violet McGraw, "The Haunting of Hill House"). Having no clue how to parent or even relate to a child, Gemma fires up her advanced prototype, M3GAN (Model 3 Generation Android), a lifelike synthetic, learn-on-the go robot meant to bond with one person ... and in this case, parent Cady in a way that allows Gemma to stay focused on work. And yes, things don't go according to plan.
As a caution, the first half hour (after the fake TV ad) is a bit dull; however, the pacing and entertainment value jump significantly once M3GAN comes home with Gemma and Cady. Sure, it's kinda campy, and even funny at times, but M3GAN's look and mannerisms are sufficiently creepy, even if her subtle eye movements and facial gestures are much more fun than her over-the-top protection of Cady. Amie Donald and Jenna Davis combine to deliver M3GAN's physical movements and vocals, respectively. Even with it's too-obvious jabs at corporate greed and parenting via tech, the film is likely to be a hit with teenagers, especially once it hits streaming platforms. Grown-ups aren't likely to find it as appealing, although most every movie lover will admit this one trumps the annual tradition of lousy horror releases in January.
Opens in theaters on January 6, 2023.
It's Nice in Here (2022)
animated tragedy
Greetings again from the darkness. The best short films all excel at one thing ... connecting quickly with the audience. Writer-director Robert-Jonathan Koeyers accomplishes this first with the voice of a girl being interviewed, and then with animated visuals and a story that feels all too relevant.
Imani (voiced by Anka Ferris) is answering questions posed by an interviewer whom we never see. As things unfold, we realize the questions are focused on an event involving her friend Crimson ... so named because of the hoodie he wears that once belonged to his dad. We learn Imani and Crimson are long-time friends, but it's not until a police officer named David (Henry Brinkerhoff) starts answering questions about his role that we fully understand the situation, although our first clue was Imani talking about neighborhood "fireworks that were never fireworks."
The film is from The Netherlands, and though it's subdued in tone, the message and story are quite dramatic. Director Koeyers uses flashes of memories ... the moments that become etched in our brain during traumatic events. We see how these tragic moments affect those involved, creating a lasting impact. Pledging to do right is a respectable approach, though it's no guarantee of protection.
This has been shortlisted for an Oscar in the animated shorts category.
Turn Every Page - The Adventures of Robert Caro and Robert Gottlieb (2022)
two smart men working together for decades
Greetings again from the darkness. Writing well is difficult. Very few are really good at, even though many of us try. Editing well is difficult. Very few of us put much effort into it and it shows. Documentarian Lizzy Gottlieb uses her inside track to provide a fascinating look at the relationship between writing and editing at the highest level. Her father, Robert Gottlieb, is one of the most renowned literary editors of the past 50 years, and his relationship with Pulitzer Prize winning investigative journalist-turned-biographer/author, Robert Caro, goes under the microscope. The result is an insightful peek behind the curtain of their process.
Ms. Gottlieb spent five years on the film, and the two subjects set the ground rules ... they refused to be interviewed together in the same room. Because of this, the film begins with each man providing their own personal profile, dating back to their childhood and how they began honing their particular set of skills. Mr. Caro speaks to his newspaper background and how he transitioned into the years long process writing his 1974 classic, "The Power Broker", a massive biography of Robert Moses and the development of New York City. Ms. Gottlieb provides a contemporary point by noting the book's COVID resurgence, as it's frequently seen on the bookshelves of folks during Zoom interviews.
Mr. Gottlieb recalls his first interview and job at Simon and Schuster, and how he worked his way up to Editor-in-Chief at the publishing house, prior to holding the same position at Knopf Publishing, and The New Yorker. Estimating that he has edited between 600 and 700 books, it's fascinating to hear his recollections on coming up with the '22' for Joseph Heller's classic, "Catch-22". Gottlieb also edited such fine writers as Michael Crichton and Toni Morrison, while also fine-tuning a most unusual personal collection unrelated to books.
Most importantly, we get the sense of Mr. Caro's incredible dedication to deep research in the segment about his multi-volume biographical series, "The Years of Lyndon Johnson." It's a bit stunning to witness Caro show his process of utilizing actual carbon paper for copies of all the work he types out on his Smith-Corona. He makes no apologies for being old school in his approach to work.
Ms. Gottlieb's goal was to document the two men finishing up Caro's final volume of the LBJ series. Both men are in the 80's and have worked together on 5 books spanning 50 years ... and though the film does end, the final book remains a work in progress. Caro's literary agent Lynn Nesbit admits the two men's relationship has been contentious at times, and they've been known to have some colorful battles over punctuation ... especially semicolons.
This is not a true bio of either man, but rather an expose' of their working relationship and the painstaking process of completing a book. Their shared commitment to the highest level of work speaks to the pride, ego, and intelligence of each. One of my favorite lines comes from Mr. Gottlieb when he states, "He does the work. I do the cleanup." The director does finally succeed in getting the two men on camera in the same room for editing ... with one big catch. And that comes, of course, after a frantic hunt for a number 2 pencil.
The film opens on December 30, 2022.
Corsage (2022)
Krieps is a star
Greetings again from the darkness. Royals are having a moment. Well, actually, the Royals have had a few hundred years of moments ... but now, they are having their moment in the entertainment world. It seems almost everyone watched "Downton Abbey" and now "The Crown", and last year we saw Kristen Stewart's Oscar nominated performance as Lady Di in SPENCER. Of course, there have been countless other films focused on Kings and Queens and other royal types, and now writer-director Marie Krutzer (THE GROUND BENEATH MY FEET, 2019) serves up a (mostly) fictional account of Empress Elisabeth of Austria from the 19th century.
Vicky Krieps (PHANTOM THREAD, 2017) delivers a wonderful performance as Empress Elisabeth, also known as Sissi. It's late 1877 and we follow her through one year of life ... the year she turns 40. Now that's an age that generates consternation amongst many, but for an Empress obsessed with age and beauty, and one considered a fashion icon of the era, it's nearly traumatizing for her. She struggles with her weight and though she's not often seen in public, she constantly worries about the people's perception of her physical appearance. This leads to the torturous tightening of her corset (referenced in the film's title).
Filmmaker Krutzer presents Sissi as the epitome of a life of entitlement, and one who has little purpose or happiness. Her young daughter and older son are mere afterthoughts to her, and instead she pursues hobbies such as horseback riding and fencing. Her marriage to Emperor Franz Joseph (Florian Teichtmeister) seems mostly absent of love (although history tells us otherwise), and his affairs feed her insecurities surrounding her age.
On screen captions walk us through the timeline and numerous locations so that we always know where the Empress is and how long she stays. There is a particular sequence that historians should appreciate, as the Empress meets Louis Le Prince (Finnegan Oldfield), the inventor of an early motion picture camera. He chooses the Empress as a subject for his camera, and we witness the results. The historical relevance is with Le Prince and not the action shots of the Empress, as those (and their meeting) are quite fictional.
An unusual mix of music includes a version of Kris Kristofferson's "Help Me Make it Through the Night" and an especially enjoyable version of "As Tears Go By" (written by Mick Jagger and Keith Richards), as well as terrific music from Camille Dalmais. In many ways, this is Marie Krutzer's love letter to a long ago royal, however it's clearly a fictional depiction since the manner of death is so dramatically changed in type and timing. Ms. Krieps allows us to feel the frustrations of time felt by the Empress, and we understand the body double approach (replete with matching anchor tattoos). Subtle humor is injected periodically, and maybe the best is the doctor explaining how "harmless" the new drug heroin is. There is plenty here for those attracted to "royal" stories.
Opens in theaters on December 23, 2022.
Babylon (2022)
Margot is all in!
Greetings again from the darkness. It's 1926 and a movie mogul is planning yet another massive debauchery-filled industry party at his palace of a home in still-developing Bel-Air, California. Lest we have any doubt that this party is over-the-top, we are forced to witness the handlers of the main attraction - a circus elephant - get sprayed from the wrong end as they push the colossal beast up the hill. Once the party starts, things get even crazier. Orgies, drugs, nudity, wild dancing, and a golden shower and drug overdose in the room of a Fatty Arbuckle type ... yes, this opening party sequence lasts 20-30 minutes, and occurs before the opening credits. The only touch of class is the old school Paramount logo.
Writer-director Damien Chazelle (Oscar winner, LA LA LAND, 2016) sets the stage for his wild and frenzied epic meant (I think) as a tribute to early Hollywood and the uneasy transition from silent films to talkies. Of course, that topic has been handled in other prestige films - recently with THE ARTIST (2011), as well as the classic SINGIN' IN THE RAIN (1952). It's the latter which serves as a template or guidepost for Chazelle, to such an extent that he shows clips from it, quotes it, and even has a couple of his characters share similarities with Lina Lamont and Don Lockwood.
From the moment she crashes onto the party scene, this becomes Margot Robbie's movie. Fully engaged doesn't begin to describe how she embodies the Nellie LaRoy character. Nellie is a displaced Jersey girl desperate to break into showbiz, and she pursues stardom with everything she has to offer. Nellie is a risk-taker and literal gambler, and the character is supposedly inspired by the infamous Clara Bow. It's at that first wild party where she meets both Jack Conrad (Oscar winner Brad Pitt) and Manny Torres (Diego Calva). Conrad is a huge silent movie star, and also a boozing womanizer with the accompanying swagger (supposedly based on actor John Gilbert). Manny, though a much quieter soul, is much like Nellie in that his ambition is to work in the movie business. The two discuss their dreams while tearing into mounds of cocaine.
Nellie's fearlessness in front of the camera (much like Ms. Robbie's) pays off as the offers roll in and she makes her name. She and Manny periodically cross paths as he climbs the ladder towards studio executive. We also keep up with Jack Conrad and his stream of wives, and how things begin to change with THE JAZZ SINGER and the advent of talking motion pictures. While all this is happening, the film also (sorta) follows the career of jazz trumpeter Sidney Powell (Jovan Adepo) as he builds a career as a black performer on screen. One of the more interesting characters who we wish had more screen time is Lady Fay (played by Li Jun Li). We are rarely treated to a Chinese lesbian chanteuse, and she makes each of her scenes quite fascinating.
Others in the cast include Olivia Wilde as one of Jack Conrad's many wives, Lukas Haas as an industry guy, Eric Roberts as Nellie's hustler dad, Pat Skipper as William Randolph Hearst, and Max Minghella as the legendary Irving Thalberg. They are each fine, but none as memorable as Tobey Maguire (also a producer on the film), who has a funny/creepy cameo as a fictional giggling gangster named James McKay. However, it's Jean Smart as Elinor St John, a gossip columnist in the mold of Hedda Hopper and Louella Parsons, who has the film's best scene when she deals the hard truth to Jack Conrad. Ms. Smart seems to excel in every role she takes these days, and this may be one of her best, albeit with limited screen time.
The issues with the film have nothing to do with its entertainment value and outrageous moments or with the performances. Each of those things keep us watching. It's only when we stop and think about it when the problems come into focus. Most blatant is the love story between Manny and Nellie. They actually spend very little time together after their cocaine feast. Certainly not enough to fall in love. There is a 'blackface' scene unlike anything you've seen before, and in 3 hours and 8 minutes director Chazelle follows up the projectile elephant poop with vomit from a drug overdose, vomit from something other than a drug overdose, a urine stream, and rattlesnake venom. At times it seems like he wanted to see just how much he could get away with.
Chazelle collaborators from LA LA LAND include cinematographer Linus Sandgren composer Justin Hurwitz, and Film Editor Tom Cross, all three are Oscar winners from that film, and all provide superb work here. The technical aspects of the film are terrific, it's as a story (or stories) where things unravel. It's simply bloated and overly ambitious, while having some of the frenetic pacing of Baz Luhrman's MOULIN ROUGE! Or THE GREAT GATSBY. It appears filmmaker Chazelle is attempting to reinforce cinema is art as a spectacle, when most of us don't require more proof. The movie montage at the end is fun to watch, but strikes this viewer as a bit indulgent after a long movie. Buckle up for a wild ride and enjoy to good stuff.
Opens in theaters on December 23, 2022.
The Pale Blue Eye (2022)
Cadet E.A. Poe
Greetings again from the darkness. This is Scott Cooper's sixth film to write and direct, and I have found each of them interesting. He has a style that leans towards atmospheric with meticulous pacing, and this latest fits the mold. Cooper's films include CRAZY HEART (2009) and this will make his third collaboration with Oscar winner Christian Bale (HOSTILES, 2017, and OUT OF THE FURNACE, 2013).
Cooper adapted this screenplay from Louis Bayard's 2003 novel, and it's set in 1830 in the early stages of the West Point Academy in Hudson Valley, New York. It's a fictional murder mystery with a couple of intriguing characters. When a cadet is found hanging from a tree with his heart removed, Colonel Thayer (Timothy Spall sporting full Spall scowl) and Captain Hitchcock (Simon McBurney) summon retired constable/detective Augustus Landor (Bale) to quietly and discreetly solve the case to prevent unwanted attention on the Academy. Landor is renowned for solving tough cases, but as a widower, he's also weary and has an affinity for the bottle.
It may seem odd for a West Point film to open with the Edgar Allan Poe quote, "The boundaries which divide life from death are at best shadowy and vague." However, it doesn't take long for this to make sense, as shortly after Landor arrives, he asks the inquisitive Cadet E. A. Poe (Harry Melling, Dudley in the Harry Potter movies) to assist with the investigation. That's right, the infamous dark poet who wrote such classics as "The Raven", "The Murders in the Rue Morgue", "The Pit and the Pendulum", and most fittingly, "The Tell-Tale Heart", actually spent some time at West Point prior to focusing on his short stories and poetry. Cadet jumps at the chance to work with super sleuth Landor, and as you would expect, things get messy and complicated rather quickly.
Soon, Landor is consulting with occult specialist Jean Pepe (Oscar winner Robert Duvall), who fills him in on Henri LeClerc and the instruction guide to gaining immortality. By this time, Landor has interviewed Dr. Daniel Marquis (Toby Jones) who performed the autopsy, and Cadet Poe has romantic leanings towards the doctor's daughter Lea (Lucy Boynton, SING STREET, 2016), despite her cadet brother Artemis (Harry Lawtey) bullying him. Also in the picture is Julia Marquis (Gillian Anderson), the doctor's quite bizarre wife who relishes her interaction with Poe and Landor.
Charlotte Gainsbourg has a small role as a barkeep at the local pub, but the first two acts of the film belong to Bale and Melling. That first hour and a half hooked me with the murder mystery and the strange characters, but I wasn't prepared (or happy) for the sharp turn and the twist in the final act. Many of Cooper's patented vista wide shots are included and cinematographer (and frequent Cooper collaborator) Masanobu Takayanagi excels with the eerie atmosphere aided by dark interiors lit by flickering candles. Though there are numerous references to Poe's writings - the most obvious being a screeching crow and Landor's name (Poe's short story, "Landor's Cottage"), but it's the eerie atmosphere that is the film's best asset. I did find it unusual for a film based on a U. S. military academy to feature so many Europeans in the cast, even if they are fine performers.
Opens in theaters on December 23, 2022 and on Netflix beginning January 6, 2023.
Bones and All (2022)
a bite sized love story
Greetings again from the darkness. Given the onslaught of Zombie movies over this past decade, the release of a film about first love between two fine young cannibals barely raises an eyebrow in regards to subject matter. However, when the film is directed by Luca Guadagnino, the man behind such films as CALL ME BY YOUR NAME (2017) and I AM LOVE (2007), well the interest level is quickly piqued, as we know the approach will be one that's unique. David Kajganich, who collaborated with Guadagnino on SUSPIRIA (2018) and A BiGGER SPLASH (2015), adapted this screenplay from the 2016 novel by Camille DeAngelis.
Maren (a terrific Taylor Russell, WAVES, 2019) lives in a Virginia trailer park with her father (Andre Holland). He's extremely protective of her and even locks her in the bedroom at night. The one time she sneaks out to meet some friends at a sleepover, her gruesome actions clue us in to the reason dad worries so much. Soon after, dad deserts Maren, leaving only some cash, her birth certificate, and a cassette tape he recorded detailing all he knows about her past and her rare disorder (a need to feed on human flesh). We get to listen to the cassette right along with Maren, which gives us the background we need to follow along.
This quickly turns into an 'on the road' movie as she begins the search for her birth mother. Traveling by bus, and shooting through her funds pretty quickly, Maren heads through Maryland and on to Ohio. Along the way, she crosses paths with two who prove crucial to the story. Sully (played by Oscar winner Mark Rylance, BRIDGE OF SPIES, 2015) is an eccentric oddity of a man with a soft-spoken manner who excels at twisting a phrase. Sully explains what it means to be an "eater" ... how their heightened sense of smell allows them to identify others, and his own rule of "never eat an eater", a rule Maren later discovers isn't a true industry standard. The first Sully sequence is difficult to watch, yet Guadagnino finds a way to film this that minimizes the visible gore without losing any impact on viewers ... or Maren. Sully also shares that he carries trophies of his victims, yet another creepy aspect of this full-scale creepy dude.
Maren's next key 'meet' is Lee (Timothee Chalamet, a Guadagnino returnee from CALL ME BY YOUR NAME). Chalamet plays right into his strength as a low-key performer. This character just happens to kill people and eat them. It should be noted that this is a biological need for these characters ... in fact, they have a conversation about being "nice." Lee and Maren fall for each other much the same as any other young lovers fall for each other. It's just that their dates often involve ingesting human flesh and blood. Lee's only real personality seems to be his obsession with 1980's rock, and he gets to cut loose on KISS's "Lick it Up".
The impressive supporting cast includes Chloe Sevigny, Michael Stuhlbarg, David Gordon Green, Sean Bridgers, and Jessica Harper. The road trip continues through Kentucky (where we see a Chia Pet at Lee's sister's house), Iowa, Minnesota (Maren's roots), and Nebraska. A trip to the sanitarium brings unfortunate closer for one of the characters, and it should be stressed that these are teen cannibals, not zombies. These two lovebirds do not possess the giant egos of Mickey and Mallory in NATURAL BORN KILLERS (1994). Director Guadagnino has remarkably produced a love story that springs from these most disgusting traits and urges, and he has done so with the unorthodox screen presence of his three lead actors.
Heojil kyolshim (2022)
a fun one from director Park Chan-wook
Greetings again from the darkness. For the first half hour, we can't help but think, "we've seen this all before." A straight-as-an-arrow police detective falls hard for a suspect in a murder case. Sure, the familiar story line is often fun to watch, but we are initially a bit disappointed since this is the work of writer-director Park Chan-wook, the filmmaker behind OLD BOY (2003) and THE HANDMAIDEN (2016). Of course, we worried needlessly. The masterful director then begins twisting and turning characters and events in this homage to Hitchcock's VERTIGO.
A crime thriller built upon fatalistic romanticism is the foundation of the best film noirs in history, and that is exactly how Park and co-writer Jeong Seo-Kyeong construct this story. Park Hae-il stars as Hae Jun, a married Busan police detective who suffers from insomnia and withdrawals from the cigarettes his wife (Jung Yi-seo) prohibits him to smoke. As with many detectives, Hae Jun obsesses over his unsolved cases, but things change quickly when the mangled body of a married man is found at the foot of a mountain. Did he fall? Did he jump? Was he pushed? The victim's wife Seo-rae (a phenomenal Tang Wei) is suspected, but Hae Jun defends her as not capable.
The best love stories involve obsession, and Hae Jun becomes obsessed with Seo-rae, or is it she who becomes obsessed with him? The number of twists and turns director Park throws at us are nearly impossible to track ... and we aren't sure which are pertinent and which are distractions. The tiresome cell phone trope comes into play, only this time it plays a vital role and is not just used as a tech cop out. At times we are led to believe Seo-rae, despite being a beloved caregiver for the elderly, is the devil in disguise. Other times we aren't sure if she is the clever one, or whether that's Hae Jun. His "daydreams" of being in the same room and spending time with her are well played.
The script is well-written and the score works perfectly. Some of the dialogue is sharp and serious, while some carries subtle humor. My three favorites were the best ever use of "shattered", a man introducing himself as "the next husband", and this line: "Killing is like smoking. Only the first time is hard." For those who enjoy noir crime thrillers with a dark romantic undertone, you're very likely to appreciate this film from director Park Chan-wook and the mesmerizing performance by Tang Wei.
***NOTE: this is South Korea's official submission for Best Foreign Language Oscar.
All That Breathes (2022)
for the birds
Greetings again from the darkness. The expert photography and artistic approach taken by Shaunak Sen in his documentary is quite something to behold, even as the message may be a bit heavy-handed. His opening shot perfectly captures all of this, as a sea of rats scrounges for food through the trash while the headlights of an approaching car drive home the point that it's the humans who have thrown things out of balance.
Most of the film is focused on two brothers, Nadeem and Saud, who have dedicated much of their lives to wildlife rescue ... especially as it relates to Kite Birds. Now you may consider yourself a nature lover and even an environmentalist, but these two have reportedly treated over 20,000 birds. That's what I mean by dedication!
Documentarian Sen has crafted a film that is simultaneously neither and both a nature and climate change film. New Delhi is one of the world's most overpopulated and polluted cities. The film is meant to remind us that all creatures must breathe the same air, and when that air is so bad that birds drop from the sky, it can be assumed that the other beings of the area - people, rats, dogs, cows, pigs, mosquitoes - are also being negatively impacted.
These brothers believe that their efforts may have a spiritual or religious payoff, but mostly they believe one should make the difference they are able to make, even if that difference is to the Kite birds flying above. We also understand that it's humans who have corrupted the air and land, and are the force behind wars being fought. Despite all, it's nature that persists, even if society may not. Sen's film may be a bit long, but he ensures all viewers understand.
The Woman King (2022)
the real lead is Mbedu
Greetings again from the darkness. I'm a little late on this one as I try to catch up with viewings for year-end lists and voting. From the opening scene, director Gina Prince-Bythewood (LOVE AND BASKETBALL, 2000) establishes the skill and intimidation of the Agojie, an elite force of female soldiers in the Dahomey Kingdom of West Africa. The year is 1823 and the warriors are led by their General, Nanisca (Oscar winner Viola Davis, FENCES, 2016), a fierce leader who also has the ear (figuratively speaking) of Ghezo (John Boyega), the new king.
The film is based on historical facts, but also takes a great deal of dramatic license in its story telling. Actress Maria Bello developed the story, and the screenplay was written by Dana Stevens (FOR LOVE OF THE GAME, 1999). Dahomey's riches come from its slave trade, and its way of life is being threatened by it's enemy, the Oyo Empire ... for whom Nanisca holds a personal hatred. Nanisca recommends transitioning to the sale of palm oil, while Shante (Jayme Lawson, TILL, 2022), the power-hungry wife of the King, promotes further expanding their successful slave trade.
Nanisca loses many soldiers in that initial battle and must quickly train a new group of recruits. One of these is Nawi (Thuso Mbedu, "The Underground Railroad"), an obstinate young girl who rebels against her father's wishes and finds herself 'gifted' to the kingdom. Izogie (an excellent Lashana Lynch, NO TIME TO DIE, 2021) takes on the role of training and mentoring Nawi, and the two form a strong bond. The trading of slaves plays a part in this version of the story, yet somehow it feels minimized in the interest of playing to the mainstream and ensuring Ms. Davis's character appears heroic and appealing throughout ... even with the twist, that won't really surprise anyone.
What I find most interesting is that Viola Davis is garnering much attention for another Best Actress Oscar nomination, yet it's Thuso Mbedu whom I would claim is the lead in the film, and certainly a more interesting character. The King's Guard (the Agojie) are remarkably fit and the battle scenes are well orchestrated ... and Nanisca has one of the best fight/attack yells of all time. The film is large in scale and likely owes a bit of gratitude to the success of the Black Panther movies for the enhanced budget. In the end, we can certainly appreciate Ms. Davis's strong General, though it's Ms. Mbedu who looks to be the one to watch in the coming years.
The Whale (2022)
greatness from Fraser
Greetings again from the darkness. Brendan Fraser deserves an Oscar nomination. There's a sentence I never even imagined writing. If you recall (and you are excused if you don't), Mr. Fraser's early acting career is noted for such 'prestige' films as ENCINO MAN (1992), GEORGE OF THE JUNGLE (1997), DUDLEY DO-RIGHT (1999), and BEDAZZLED (2000). And yes, I'm being a bit unfair in the films I chose to name, as he has also had some solid performances along the way. However, nothing on his resume could have prepared us for what he delivers on screen in this latest from director Darren Aronofsky (BLACK SWAN, 2010).
Award-winning playwright Samuel D Hunter adapted his own play for the big screen, and it's one that will surely drag you down and pound your emotions, even as it mesmerizes you. We first hear Charlie's (Fraser) soothing voice as he addresses the online college writing class he teaches. We see the students' faces on his laptop, but Charlie's square is blacked out. He explains the camera on his laptop is still "broken". Class ends and Charlie's friend Liz (a terrific Hong Chau, "Watchmen") shows up to read his blood pressure at 238/134. Charlie is a massive human being, barely mobile, and nearing death.
Liz is also a nurse and tends to Charlie in a sense of loyalty and caring through their friendship ... the origin of which we learn later in the story. Thomas (Ty Simpkins, JURASSIC WORLD, 2015), who says he's a missionary from New Life Ministries, knocks on the door as Charlie is in medical distress. Liz treats Thomas as an intruder and demands he leave, while Charlie remains civil to him. Given his ticking clock, Charlie reaches out to his teenage daughter Ellie (Sadie Sink, "Stranger Things"). The two haven't seen each other in the years since Charlie left for a new lover. To say that Ellie has pent-up rage and anger directed at her long-lost dad would be understating the situation. She blows into his apartment like a tornado, spewing venom towards Charlie. They do come to an arrangement that entices her to return to visit while he agrees to assist with her delinquent school assignments.
Almost the entirety of the story takes place in about 300 square feet of the upstairs apartment Charlie is confined to. The tight space adds tension to every interaction between the four characters, including Charlie's ex-wife Mary (Samantha Morton, IN AMERICA, one of my favorite forgotten gems from 20 years ago). Brendan Fraser uses his eyes to convey so many thoughts, even as we turn in disgust at his eating habits. An excellent score from Rob Simonsen and expert camera work from cinematographer Matthew Libatique complement the stunning performance from Fraser, and the numerous moments of intense tension and emotional turmoil. There are only a few times throughout where the live stage source material sticks out, and the ending is handled beautifully, allowing us a respite from the emotional rollercoaster of the past two hours.
Now showing in theaters.
Guillermo del Toro's Pinocchio (2022)
wishing upon a dark star
Greetings again from the darkness. Looking for someone to create the opposite of a whimsical childhood fairy tale? The obvious answer is filmmaker Guillermo del Toro (an Oscar winner). He has built his career on delivering dark thrillers that dig into the recesses of our nightmares (PAN'S LABRYNTH, THE SHAPE OF WATER). In fact, he's a master of this, which makes his vision of Carlo Callodi's 1883 book a must see. GDT shares a director credit with animation expert Mark Gustafson (FANTASTIC MR FOX, 2009) and screenwriting credit with Patrick McHale. Matthew Robbins has a 'screen story' credit, and of course it all links back to Callodi's source material.
From scene one we immediately sense the different approach than both the light-hearted Disney animated classic from 1940 and Robert Zemeckis' sentimental live-action version starring Tom Hanks released just a few months ago. It's darker and gloomier with a unique stop-action look saturated in browns. We also recognize that GDT has chosen a different timeline, as the effects of one of the last WWI bombs takes the life of Geppetto's beloved young son, Carlo, and Mussolini and fascism are referenced throughout the story.
Everyone knows the story, and the core remains intact - though GDT adds his special touches and twists. One night, a drunken grieving woodcrafter carves a wooden puppet. As Geppetto sleeps it off, the Wood Sprite brings the puppet to life, and just like that, Pinocchio is born and Geppetto has his new son. Another unexpected twist is how much of the film is musical with song lyrics and music by del Toro and the film's composer, two-time Oscar winner Alexandre Desplat. But don't mistake songs for an upbeat movie. It's still dark and bleak, and of course, GDT nails the sea beast whose belly houses Geppetto and Mr. Cricket in the most thrilling segment.
Young Gregory Mann voices Pinocchio and Carlo, Ewan McGregor voices Sebastian J Cricket, and David Bradley is Geppetto. Beyond that, the all-star voice cast features Ron Perlman, John Turturro, Finn Wolfhard, Cate Blanchett, Tim Blake Nelson, Christoph Waltz, Tilda Swinton, and Burn Gorman. No one does fantasy-horror better than Guillermo del Toro, and even with his first foray into animation, delivers a unique look and spin on a familiar story. He even makes it easy to pick up on the Frankenstein (the Mary Shelley novel) influence, so I'll say it again ... don't mistake this for the family-friendly Disney fare you grew up on.
Opens in theaters on December 9, 2022.
Empire of Light (2022)
movie magic and Olivia C
Greetings again from the darkness. Writer-director Sam Mendes won an Oscar for AMERICAN BEAUTY (1999), and has directed other popular movies, including ROAD TO PERDITION (2002) and a couple of James Bond films: SPECTRE (2015) and SKYFALL (2012). This is his first movie since the 3-Oscar winning war film 1917 (2019), and it's a project that seems designed for Mendes to proclaim his love of movies and belief in movie magic. However, a funny thing happened on the way to movie magic ... a movie about mental health, racism, and the Margaret Thatcher era broke out.
By now we've all realized that a movie starring Olivia Colman (Oscar winner for THE FAVOURITE, 2018) features at least one outstanding performance. Here, she delivers as Hilary, a theater manager who doesn't watch movies, and is in therapy for some type of breakdown that occurred over the past year. Her smile for the customers isn't always able to hide her depression and mood swings - and neither are the 'quickie' meetings the married theater owner, Mr. Ellis (Oscar winner Colin Firth, THE KING'S SPEECH, 2010), calls when the urge strikes. Her vulnerability and solitude are on full display.
The closeness of the theater staff is evident by the time new employee, Stephen (Michael Ward), shows up. He brings a spark, along with an ambition for advanced education, and he and Hilary hit it off immediately. Romance blossoms between the odd couple, and we soon learn Stephen has grown accustomed to facing racism, while Hilary seems oblivious to such things happening in the world. Empire Cinema is located on the seaside boardwalk, and the plush lobby is coated in heavy red velvet and adorned with sparkling brass fixtures. The timeframe is evident from the theater's movie posters: BLUES BROTHERS, ALL THAT JAZZ, STIR CRAZY, etc.
The closed off screens 3 and 4 and the upper-level abandoned ballroom act as the rendezvous spot for Hilary and Stephen, while fireworks and a New Year's rooftop kiss bring joy and excitement into Hilary's life. The always interesting Toby Jones plays old school projectionist Norman, and he helps explain the second meaning of the film's title when he describes the beam of light that flashes through the 24 frames/second of film. He terms that beam of light an "escape", which is how so many view the movies.
Hilary's history of schizophrenia and depression and lithium treatment mean that smooth sailing will not last for her. A street riot spills over into the theater and the scene shifts to the local hospital, where another character is introduced - one that might have added quite a bit to the story if expanded. Mendes chooses an odd approach to paying tribute to cinema, even when Hilary does finally realize the magic in a scene that recalls CINEMA PARADISO (although Hal Ashby's gem BEING THERE is what she watches). Cinematographer extraordinaire and two-time Oscar winner Roger Deakins proves yet again how his work can elevate a film, as does the score from Trent Reznor and Atticus Ross (the Oscar winning composers).
Mendes chooses a restrained presentation, and though many of us believe in that feeling of elation associated with movies, no one believes movie magic is a cure for anything as serious as mental illness or racism. There are some terrific individual scenes that work better than the movie as a whole, but it's unclear whether the film needed to be shorter, longer, or just better constructed.
Opens in theaters on December 9, 2022.
Emancipation (2022)
freedom in Baton Rouge
Greetings again from the darkness. Persistence. It's the word used to describe "runners" by the man known for tracking the slaves who try to escape the abusive treatment and back-breaking work of plantations. However, the word can also be used to describe how the movie industry 'persists' in bringing us stories about how white slave owners created a brutal environment for black slaves. We really do get it. The history is awful and the treatment is inexcusable. It's just difficult to understand how more movies are going to make any difference in what happened 150 years ago.
Steve McQueen's 12 YEARS A SLAVE was released in 2013 and won the Oscar for Best Picture. In that film, Solomon Northrup was a free man dragged into slavery. In this film, Peter (Oscar winner Will Smith, KING RICHARD) has never known freedom, but fights for it. Both are based on true stories, and the biggest difference is in the scripts. The first was a terrific script that established many characters and told a remarkable tale. This latest film focuses too much on action pieces (a specialty of director Antoine Fuqua, TRAINING DAY,2001), and really boils down to two distinct segments: a chase scene and a battlefield. While thrilling to watch, neither segment delivers anything near the emotional heft of McQueen's movie.
Will Smith spent decades carefully cultivating an image of a nice guy playing characters that were easy to root for. All of that recently changed in the blink of a slap. This first role since that stunning on stage event seems designed to get his career and reputation back in line. Peter is a man-of-faith, a beloved family man, and a lifelong slave from Haiti. When he is separated from his wife Dodienne (Charmaine Bingwa) and kids in order to go build a railroad for the confederate army, he vows to return to them. Not long after, he overhears that President Lincoln has freed the slaves, and so he plans his escape. As a "runner", he is tracked by Jim Fassell, played with the cold, steely eyes of Ben Foster. Foster is mostly relegated to riding a horse and following his dogs, but he does get one campfire scene to explain the racism he was born into.
The cat and mouse game of life and death between pursuer and runaway takes up more than half of the film's run time, and most of it sloshes through the swamps of Louisiana. Snakes, gators, injuries, and the challenges of water all present obstacles for Peter to complete his journey to Baton Rouge, without being killed. The story (written by Bill Collage) has been drawn from the infamous "Whipped Peter" photo that was used to bring the atrocities of slavery to the masses, and has since appeared in many history books. It's recreated here in a short scene, one that probably deserved a bit more screen time. As for the Civil War battlefield, it continues the fantastic work of cinematographer Robert Richardson, a three-time Oscar winner. In fact, the entire film is a work of visual art, filmed in what has the look of black and white, with only splashes of muted color for effect. For those seeking another film on slavery, you'd be hard pressed to find a better looking one than this. Just don't expect it to dig deep for meaning.
The film will have a limited theatrical run and opens on AppleTV+ on December 9, 2022.