A Tale of Two Catherines

The Midwife

by Matt Weiner

There is a scene early on in The Midwife that consists almost entirely of a conversation between Beatrice (Catherine Deneuve) and her doctor, in which Beatrice says barely a word and yet the camera doesn’t move from her face the entire time.

Director and writer Martin Provost allows moments like these to unfold again and again throughout the film, relying on superb performances and an unsentimental treatment of the material to present an arresting and spare meditation on love and the passage of time.

Claire (Catherine Frot) is an uptight midwife in Paris whose grim adherence to routine seems on the verge of upheaval, both professionally and personally. This coincides with the free-spirited Beatrice, the mistress of Claire’s dead father, reappearing out of nowhere.

It’s a familiar setup: Claire and Beatrice are natural foils, and they both have some unexorcised emotions to work out over the man they both loved, in their own ways. But that relationship between Claire and Beatrice is the main attraction, and the two actresses work off one another in a way that keeps things poignant, never melodramatic.

Deneuve, in particular, is equal parts devastating and disarming as Beatrice. It’s fitting that at this point in her career, she’s now deconstructing the haughty mystery that she become indelibly associated with over the last 50 years.

What happens when life finally strips away all the defensive layers and artifice that a woman like Beatrice has worked so hard to maintain? What remains when you’re all alone save a body that’s slowly betraying you?

The film doesn’t answer all these questions. And, beguilingly, neither does Deneuve. As circumstances force Beatrice to part with all her glamorous trappings, she holds onto her defiance. And some of her reticence.

In The Midwife, it’s not death that the characters are afraid of—it’s all the indignity that time heaps on us in between being born and dying. Babies “spring out from nothing,” Claire observes. Controlling as she is, Claire can only do so much for those she has brought into the world.

What anyone chooses to make of their time afterward, the film suggests, is all part of the mystery, joy and frustration of being alive.

Verdict-4-0-Stars

Language of the Unheard

Whose Streets?

by George Wolf

Moving like a living, breathing monument to revolution, Whose Streets? captures a flashpoint in history with gripping vibrancy, as it bursts with an outrage both righteous and palpable.

Activists Sabaah Folayan and Damon Davis share directing duties on their film debut, bringing precise, insightful storytelling instincts to the birth of the Black Lives Matter movement. Together, they provide a new and sharp focus to the events surrounding the 2014 killing of 18-year-old Michael Brown by Ferguson, Missouri police officer Darren Wilson.

But what’s even more striking in this debut is how little these new directors care if they’re following anyone’s filmmaking 101 checklist. This is an extremely raw, incendiary story with a fitting perspective to match. To Folayan and Davis, buoyed by a stellar assist from film editor Christopher McNabb, these events demand nothing less, and they are correct.

Inevitable finger-pointing about a one-sided perspective is dealt swift, preemptive justice. As we’re quickly reminded of how the mainstream media framed their reporting on the Ferguson riots, urgent new footage bearing a citizen journalist zeal drives home the filmmakers’ point.

What most people have been shown has been “one sided for a reason.” This is the other side, and the unforgettable sights begin to mount.

A Ferguson resident displays the various military-grade ammo casings strewn about the local streets. An African-American police officer tries to remain stoic when her priorities are questioned. A white officer wears a “support Darren Wilson” bracelet while on duty in Ferguson.

As deeply as it cuts on a blunt, visceral level, Whose Streets? also benefits from a powerfully subtle context. It takes the pulse of communities that have railed against unequal policing for decades, only to find even more frustration when added video evidence failed to result in social justice.

To Dr.Martin Luther King, Jr., riots were “the language of the unheard.” Whose Streets? lays bare the rise of a movement powered by the voiceless going quietly no longer.

Verdict-4-5-Stars

 

 

Hiroshima Story

In This Corner of the World

by Matt Weiner

The animated film In This Corner of the World contrasts one of the single most destructive acts of war—the United States dropping the atomic bomb on Hiroshima—alongside a decade of daily life for the inhabitants of Hiroshima and the neighboring port city of Kure.

Suzu (Rena Nounen) is a free-spirited young girl with a talent for art that gets reflected in the film’s beautifully drawn seascapes and pre-war countryside. Suzu’s recollections, emotions and eventual tragedies are inextricably tied to the fantastical watercolors that make up the animated film’s palette.

The effect is beautiful—and unsettling. Writer-director Sunao Katabuchi centers a war movie around non-combatants. Loved ones die and faceless air raids bombard Kure. But Katabuchi grounds the Japan’s participation in World War II around Suzu’s family and other townspeople, blending uneventful tedium, Suzu’s vibrant drawings and matter-of-fact catastrophe to convey a routinization of horror that’s far more emotionally devastating than most war movies.

So when Suzu moves from Hiroshima to live with her new husband Shusaku (Yoshimasa Hosoya) and his family, it’s disarmingly easy to keep the effects of war on the periphery—as Suzu herself does. The film allows the escalating seriousness to insert itself into Suzu’s colorful idylls more and more as the date of the fateful bombing nears. But even then, these moments are deftly handled as impressionistic memories from a quiet domestic life: a rationing here, a death there—just more brushstrokes, some thicker than others.

When Suzu’s way of life is permanently shattered, she seems to be one of the last to realize that the life she thought she’d be growing into died long ago at the start of the war. It’s fitting that deeply personal violence is the emotional climax for Suzu. The bombing of Hiroshima and all its horrors are an almost perverse falling action, but Katabuchi’s focus on Suzu keeps things poignant and utterly free of sentimentality.

At times, the film’s languorous advance feels a little too at odds with everything going on outside their corner of the world. When coupled with the loose plot, some stretches veer closer to deadweight than emotional weight. But the editing mostly works, with the war on domestic bliss feeling as meaningful as any battle.

This is war under the influence of Ozu—a quiet but singularly focused attention to the ordinary in extraordinary times.

Verdict-3-5-Stars

 

 

I Don’t Want to Go Out – Week of August 21

Not a ton to choose from this week. Basically, you can yell I Am Groot with Guardians of the Galaxy: Volume 2. Or – and we’re not TV people, so if we’re excited about this, it’s really a big deal – Ash Versus Evil Dead, Season 2 is now available. Groovy!

Click the title for a full review. And as always, please use this information for good, not evil.

Guardians of the Galaxy, Volume 2

Verdict-3-5-Stars

Adventure Day

“Christie, why are we doing this?” my companion asked.

I wiggled in my restraints a bit until I could see him in my peripheral vision. “I dunno. What’s that German word that means love-of-death?”

Then we plunged 140 feet down and attempts at conversation were superseded by screaming.

The next day, I woke up, slung my feet over the edge of the bed, toes grazing the floor for a second. I stood and just managed to avoid pitching myself out through the screen of my bedroom window as lightning bolts of pain exploded from my toes, up through my legs, and into my back.

Turns out that wearing heels, even sensible wedge sandal heels, around Kings Island all day is murder on a body that’s knocking on middle age.

As is, potentially, the fast lane pass—which allowed us to conceive a quest: to ride all 12 roller coasters in the front seat in one day.

Much had changed since the first time the companion and I had visited the park over 20 years ago. This time, mom didn’t drop me off and a pager wasn’t clipped to my waistband.

Also, the Hanna Barbera characters I remember have been replaced by the Peanuts gang. The Paramount movie-themed rides (Top Gun, Italian Job, Face/Off) have been rechristened. I can legally drink now. (Hell, my ability to drive can legally drink now.) And, somewhat crushingly, there is a 90s-themed gift shop directly on your right once you step through the turnstile.

But there is also the ability to purchase a wristband that lets you line jump. Legally.

Every. Single. Ride.

A fiendishly good idea pioneered by Disney, the “fast pass”creates a class system where spendy people can hand over a wad of cash and avoid broiling in the sun. The park gets more money and you get an opportunity to spend former line time sitting in the shade, drinking ten-dollar beers and avoiding making accidental and awkward eye contact with the teenagers groping each other in line.

Which is good, because my companion for the day was my first-ever boyfriend, with whom I once spent time in line engaging in more PDA than I can remember without going red in the face.

We started with the Vortex, the new coaster when we first got enough height on us to ride the real rides. Then the Racer, which instead of racing a backward car against a frontward car, now races a fast lane car against a regular lane car (both facing forward) and makes the economic divide a little too apparent.

At this point, my companion regressed and proceeded to taunt the teenagers riding in the second-class train.

They won. They wanted it more.

And around the park we went, pointing out the absence of beloved old attractions (RIP Screaming Eagles), lamenting the loss of the former movie soundtrack playlist, and psyching each other up for the newer, scarier rides. Mystic Timbers (16 hills and an ambitious shed experience), Diamondback (215-foot drop, flying over hills at 80 miles an hour) and Firehawk.

Firehawk required more ten-dollar beer. This thing starts you off on your back and drags you up the hill facing the clouds, before—at the apex—turning you over so all your weight is on the harness and you fly around on your belly like Superman.

This thing made me tense all my muscles in an attempt to burrow physically into the seat behind me.

“Trust the harness!” my companion screamed at me over the wind.

And I let go, soaring through the air. Maybe I’m wasn’t outstretched in languorous flight. My arms might have twisted into a shape more reminiscent of an anxious t-rex then the man of steel, but it was fun.

By the time we hit the last ride of the day, the tragically renamed Invertigo, we’d been at Kings Island for longer than the average workday. Feet were screaming. Brains had been repeatedly banged against the hard cases of our skulls. The ten-dollar beers had shaken up in my guts to the point where I was continually nauseous. We’d stopped talking and leaned against the metal bars of the first seat line, vacantly staring at the teenagers playing grab ass.

Still, when I wordlessly did the face waterfall from Face/Off at my companion, he smiled.

After the closing fireworks, mission complete, all roller coasters bested, I drove back up 71 to Columbus to my husband and daughter—a road on which every single skunk seemed to have committed suicide by car, where they were refreshing the blacktop in stretches with something that smelled suspiciously like pee, and where the sewage treatment plant on the south side was very much actively working. I sipped water, trying not to vomit, and eyed the dinner plate-sized-and- growing bruise on my right thigh under the intermittent flash of the streetlamps.

Totally worth it though, to hang out with someone whose early memories are much the same as yours. To point out the absence of something and have them fill in what was there. To have a shorthand conversation with a gesture. Feels like flying.

If we do this again, though, I’ll pre-game with a preemptive strike of Advil.

And prioritize getting matching airbrushed T-shirts.

Vanishing America

Wind River

by Hope Madden

In many beautiful and horrific ways, the scripts of Taylor Sheridan (Sicario, Hell or High Water) felt like a reemergence of Cormac McCarthy.

His lean and often quite mean stories have been blessed with two of the more capable visionaries of modern film (David Mackenzie and Denis Villeneuve) – filmmakers whose camerawork, pacing and sense of urgency hauntingly animated the damaged Americana Sheridan’s stories announced.

With his latest, Wind River, Sheridan takes the helm, borrowing inspiration from both directors.

Another tale of violence, bureaucratic vagueries and the vanishing of American heritage, Wind River certainly feels like a Taylor Sheridan film.

Jeremy Renner plays Cory Lambert, sharp shooter for Wyoming’s department of fish and wildlife. He protects livestock from predators – like the three wolves surrounding a flock of sheep in the scene that immediately follows that of a young girl bleeding and dying alone in a frozen wasteland.

Behind the camera, Sheridan is a bit less subtle with symbolism than he might want to be. In fact, though Wind River spins a compelling murder mystery, it’s far more of a blunt instrument than the filmmaker’s last two – admittedly magnificent – efforts as writer.

Perhaps Sicario and Hell or High Water represent too high a bar for a director with only one feature, the 2011 horror flick Vile, under his belt.

Performances are wonderful. Renner’s stoic cowboy unveils genuine tenderness, Gil Birmingham’s brief screen time is a blistering blessing of tumultuous emotion, and Elizabeth Olsen breathes life into a surprisingly one-note role.

Sheridan doesn’t have quite the touch of Villeneuve or Mackenzie, and without it, his material feels a touch too preachy, a whisper too self-righteous, and most troublingly, too white.

Set on a Native American reservation, Lambert is enlisted to help Olsen’s fledgling FBI agent Jane Banner and an understaffed tribal police department solve the crime behind the girl’s death.

And though Renner brings his grieving hunter to the screen with an aching, restrained performance, it’s hard to understand why the character needed to be white. That piece of casting gives the film a “white savior” tenor that only exacerbates that nagging feeling of misplaced self-righteousness.

Wind River is a fine, if flawed, police procedural. Unfortunately, that makes it a bit of a disappointment coming from Sheridan.

Verdict-3-0-Stars

https://www.youtube.com/watch?v=zN9PDOoLAfg

Hillbilly Heist

Logan Lucky

by George Wolf

You’re not long into director Steven Soderbergh’s latest before you expect to see Brad Pitt standing around eating something.

Why?

Because Logan Lucky is essentially Soderbergh’s Ocean’s 11 with hillbillies, which had to intrigue Soderbergh when he first read the script from Rebecca Blunt. If that is her real name.

No, seriously, Blunt is rumored to be a pseudonym for the actual writer, who should just ‘fess up and take credit for this hoot of a heist homage.

Jimmy Logan (Channing Tatum) gets laid off from his job fixing sinkholes underneath Charlotte Motor Speedway, so he puts together a 10-point plan for his next career move. Two of those points are labeled “shit happens.”

The rest is simple.

Jimmy, his one-armed brother Clyde (Adam Driver) and their sister Mellie (Riley Keough), will bust redneck robber Joe Bang (Daniel Craig) out of jail to help them rob the speedway during the biggest NASCAR race of the year, and then have Joe back in the slam before anyone is the wiser.

Soderbergh structures everything to parallel his Ocean‘s films so closely that when he finally addresses that elephant outright, the only surprise is how often the rubes draw a better hand than the Vegas pretty boys.

Logan serves up indelible characters, fun suspense, finely tuned plotting and solid humor, including a hilarious bit with a prison warden (Dwight Yoakam) explaining to some rioting inmates why the next Games of Thrones novel isn’t available yet.

As Bang, Craig is a flat out riot, doing fine justice to the best character name since Chest Rockwell, and standing out in an ensemble (also including Katie Holmes, Seth MacFarlane, Katherine Waterston, Hilary Swank and Sebastian Stan) that shines from top to toe.

Assembled as precisely as a letter-perfect grift, Logan Lucky has smarts, charm and some downright weirdness. It’s a late August blast with more than enough fun to beat our summertime blues.

Verdict-4-0-Stars

 

Going the Distance

The Farthest

by Rachel Willis

Forty years ago, the first of two vessels was launched into space to begin the unmanned Voyager mission. To commemorate NASA’s monumental achievement, Emer Reynolds explores the operation from its beginnings in 1972 to present day in the documentary, The Farthest.

A lot of effort goes into the creation and execution of a space odyssey, and Reynolds brings the story to life through interviews with NASA scientists and engineers. There’s a lot of ground to cover, from the meeting with Nixon to approve the budget, to the technology on board the Voyager vessels, to the inclusion of the famous Golden Record, and Reynolds seeks to examine all of it during the documentary’s two-hour run time.

Because there are forty years of history to explore, oftentimes The Farthest feels like an overview. Rather than focusing on one aspect of Voyager, be it the rudimentary technology aboard the vessels or the first images of the planets farthest from the sun, the film instead follows the Voyager timeline.

By doing this, there is a lot of information glossed over, but Reynolds still manages to inject a touching poignancy into the documentary. The men and women who worked on Voyager are full of passion and wonder, and they convey this to the audience.

Arguably the most interesting aspect of the film, the most interesting aspect of Voyager, is the inclusion of the Golden Record.

As Voyager 1 and 2 were designed to go beyond our solar system into interstellar space, a decision was made to include a record of life on Earth. The records (one in each space craft) include images of Earth, music, and mathematical equations in an attempt to encapsulate what it means to be an earthling. The Farthest spends more time with the Record than any other aspect of Voyager, but in light of how far Voyager 1 and 2 have traveled, and how far they may still go, the idea that the Golden Record may end up in the possession of alien life is a wondrous prospect.

As Voyager 1 and 2 continue their journies, The Farthest celebrates the men and women who built them and sent them into the farthest corners of our galaxy and beyond.

Verdict-4-0-Stars

Arts and Crafts

Dave Made a Maze

by Hope Madden

Maybe you’re not up for 80 minutes of existential dread, of traversing the subconscious of a stunted artist – a man who cannot complete a project because you don’t have to fail if you never finish anything.

But do you feel like wandering through a cardboard maze? Because, dude, it is so cool in here!

Dave Made a Maze takes its millennial angst seriously enough to construct a remarkably thorough metaphor through the creation of this remarkable cardboard labyrinth.

Frustrated artist Dave (Nick Thune) has countless great ideas, no follow-through. All he really wanted to do while his girlfriend Annie (Meera Rohit Kumbhani) was out of town was fix the doorknob.

Ooo! Origami!

Hey! Woodwork!

No, wait…that doorknob…look! An ant farm!

Inspired by the ant farm, Dave builds the world’s most elaborate and amazing labyrinth inside cardboard boxes taking up the bulk of his apartment. To Annie’s dismay, he won’t – or can’t – come out once she arrives home.

Plus, there’s a minotaur in there!

As Annie and Dave’s friends attempt a rescue, a charming, nerdy horror comedy of sorts emerges as a mash note to self-loathing and the creative process.

Adam Busch, playing Dave’s bearded bestie Gordon, is a delight, while the gang’s documentarian buddy Harry (James Urbaniak) and his crew (Scott Narver and Frank Caeti) are a self-referential hoot.

First time director Bill Watterson, working from a screenplay he co-wrote with Steven Sears, serves up a charmingly spot-on metaphorical intervention, with an amazing assist from production designers Trisha Gum and John Sumner with art director Jeff White.

Their cardboard world of Dave’s subconscious is endlessly fascinating, adorably dangerous and fun. Existential dread has never been so charming.

Verdict-3-5-Stars