Screening Room: Argylle, The Promised Land, Scrambled, Greatest Night in Pop & More
Tag Archives: George Wolf
King’s Ransom
The Promised Land
by George Wolf
Just going by its trailer, you might not expect The Promised Land to have much in common with Saltburn, but the similar themes are there. So while there’s no shocking bathwater here – or much bathing at all – there is a sweeping historical epic of one man’s quest for social climbing.
The man is Ludvig von Kahlen (Mads Mikkelsen), a longtime captain in the German army who returns home to Denmark in 1755. Desiring both wealth and honor, he visits the court of King Frederik V with a promise to bring the King what no one else has managed to deliver: settlements on the Danish heath.
Ludvig promises to tame the barren land in exchange for a noble title, a manor and some servants. And to seal the deal, Ludvig will finance the farming project with his own military pension.
Battling the elements and the roaming outlaws will be tough enough, but Ludvig also must face the wrath of sadistic county judge De Schinkel (Simon Beenebjerg), who wants to claim the land as his own and make good on his promise to Ludvig that “life is chaos.”
Director and co-writer Nikolaj Arcel adapts Ida Jessen’s historical novel as a harrowing tale that consistently reveals new layers throughout its two compelling hours.
Mikkelsen – teaming again with Arcel after 2020’s terrific Riders of Justice – is perfection as the battle-tested soldier with steely-eyed dreams of nobility. Ludvig’s arc plays out patiently, but as the Captain takes in two runaway peasant farmers (Amanda Collin, Morten Hee Anderson), a well-meaning pastor (Gustav Lindh) and an unwanted child (Melina Hagberg), Mikkelsen ensures the awakened humanity feels well-earned and real.
And Arcel keeps the stakes rising to thrilling effect. Cinematographer Rasmus Videbæk’s majestic frames serve and volley with the twists of the screenplay to mine drama that can be as subtle as a framed patch of dirt or as overt as the triangle that springs from Schinkel’s intended fiancée Edel (Kristine Kujath Thorp) eyeing Ludvig as the man who can save her.
What price ambition? It remains an intriguing question, whether you’re surrounding it with delicious ultra-modern pulp or re-imagining true events from hundreds of years past. The Promised Land takes the road less adorned, forging a rousing tale of savagery, revenge and fulfillment that will not be denied.
Freeze Frame
Scrambled
by George Wolf
There’s an old adage about comedians making up jokes to hide real pain. It’s clear that for writer/director/star Leah McKendrick, there’s a very real struggle at the heart of Scrambled, and her film is better for not letting us forget that.
McKendrick plays Nellie, a 34 year-old perennial bridesmaid who clings to the “single bitches 4 life!” mantra, even as more members of her crew (including SNL’s Ego Nwodim and the always welcome June Diane Raphael) start settling down and getting pregnant.
Nellie has to face up to some harsh biological facts. Her mind and body can remain ready to mingle – but her fertility has a shelf life and the clock is ticking. So while she auditions a string of suitors from “The Nice Guy” to “The Prom King” to simply “Nope,” Nellie consults a amusingly deadpan doctor (Feodor Chin) about freezing her eggs.
Or, as Nellie’s Dad (a priceless Clancy Brown) calls it, “millennial feminist voodoo.”
McKendrick scores some big laughs with the family’s reaction to Nellie’s family planning, but this is an an issue that is very real for the first time feature director, and plenty of women like her. And beneath the jokes about Nellie’s dating habits and her parents’ longing for the return of her ex, McKendrick makes sure we see Nellie in fully formed terms.
She’s a grown ass woman choosing when and how she may want to have children. And in doing so, Nellie’s forced to navigate the social, physical, and financial barriers that can leave her feeling punished for embracing her own journey.
But Nellie moves forward – with both smiles and middle fingers. McKendrick’s recipe for Scrambled finds a nice balance of flavors, and we get a full-flavored dish of empowering humor.
Fright Club: Best Evening Gowns in Horror
We are thrilled to welcome Melissa LaMartina – actress, producer, director, and alter ego to Aurora Gorealis, macabre mistress of ceremonies for Shocktail Hour! Fashion icon that she is, Melissa recommended the topic Evening Gowns in Horror Movies.
We run through the best dressed, most fashionable to murder or be murdered in horror films. Listen in, won’t you?
5. Jesse (Elle Fanning) – blue dress in The Neon Demon (2016)
Nicolas Winding Refn’s first full-blown horror movie looks glorious from frame one. Elle Fanning and her co-stars carry off dozens of amazing gowns throughout the film, but it’s that shiny blue number Refn pairs with almost giallo-red blood and those lovely gemstones that left us breathless.
4. Elizabeth Medina (Barbara Steele) – red gown in The Pit and the Pendulum (1961)
Roger Corman may have skimped on a lot of things, but his costuming was top notch. And when doesn’t Barbara Steele pull off a look? Her character in The Pit and the Pendulum has something to hide, and the wardrobe changes with her mood. Our favorite mood is this red swashbuckling number, as it to announce that she was done pretending.
3. Edith Cushing (Mia Wasikowska) – white gown in Crimson Peak (2015)
Guillermo del Toro’s ghost story is his most fashionable film to date. Jessica Chastain’s Lucille Sharpe is defined by the stiffly dated frocks – gorgeous though they are–while Edith (Mia Wasikowska) is a vision of the future in this buttery satin gown.
2. Countess Bathory (Delphine Seyrig) – silver gown in Daughters of Darkness (1971)
Every garment in this film is a stunner, and each gown worn by the divine Delphine Seyrig deserves its own spot on this list. But the silver number is truly to die for. The way the candle light bounces off the sequins gives Seyrig an otherworldly look that matches her magnificent performance.
1. Juliana (Hazel Court) – the red gown in The Masque of the Red Death (1964)
Another Corman classic, The Masque of the Red Death swims in decadence, something captured magnificently by the wardrobe. Everyone looks stunning, but Hazel Court commands attention in two different ensembles. And though the green gown deserves its own spot, it’s the red dress – and how she wears it – that tops our list.
SCREENING ROOM PODCAST
Forget Me Not
Anselm
by George Wolf
Give a few minutes to Wim Wenders’s Anselm, and you may be inspired to make up some new words to describe the experience.
Like awesommersive. Or historiography.
The film wows you from the outset, as Wenders (Pina, Wings of Desire, Paris Texas) follows German artist Anselm Kiefer around his studio. The use of 3-D (and 6k resolution!) isn’t there to hurl objects from the screen to your eyeholes, but instead to surround you with artistic vision that is often as massive in scale as it is in meaning.
While Wenders does present some layers of biography, it’s clear that the overarching purpose here is to document Kiefer’s work and the mission that continues to drive his “protest against forgetting.” For decades, Kiefer has stood as a provocateur intent on exposing the “open wound of German history,” and Wenders has crafted a mesmerizing ode that delivers an appropriately mixed media aesthetic.
Archival footage permits the older and younger Anselm to become one. We hear his declarations of seeing through the world through a different lens, and then witness the creative process that convinces us it is undoubtedly so.
And even if you don’t know Kiefer from Sutherland, Anselm is a big screen experience that is not to be missed. As much about the art as it is about the artist, Anselm is an unforgettable journey into what makes both so necessary and vital.
Nom Nom Nom 2024
by Hope Madden and George Wolf
2023 was a great year for great movies, great screenplays, great performances, and great craftsmanship. Many of this year’s categories are stacked with deserving nominees., and overall, it was not a bad job by the Academy.
But we do have a few nits to pick.
Best picture
- “American Fiction”
- “Anatomy of a Fall”
- “Barbie”
- “The Holdovers”
- “Killers of the Flower Moon”
- “Maestro”
- “Oppenheimer”
- “Past Lives”
- “Poor Things”
- “The Zone of Interest”
Solid, but we would put “Godzilla Minus One” and “The Color Purple” in for “Past Lives” and “The Zone of Interest.”
Best actor
- Bradley Cooper, “Maestro”
- Colman Domingo, “Rustin”
- Paul Giamatti, “The Holdovers”
- Cillian Murphy, “Oppenheimer”
- Jeffrey Wright, “American Fiction”
All great choices.
Best actress
- Annette Bening, “Nyad”
- Lily Gladstone, “Killers of the Flower Moon”
- Sandra Hüller, “Anatomy of a Fall”
- Carey Mulligan, “Maestro”
- Emma Stone, “Poor Things”
These are strong, but we would have loved to see Fantasia’s performance in “The Color Purple ” in Bening’s spot.
Best supporting actor
- Sterling K. Brown, “American Fiction”
- Robert De Niro, “Killers of the Flower Moon”
- Robert Downey Jr., “Oppenheimer”
- Ryan Gosling, “Barbie”
- Mark Ruffalo, “Poor Things”
All good here.
Best supporting actress
- Emily Blunt, “Oppenheimer”
- Danielle Brooks, “The Color Purple”
- America Ferrera, “Barbie”
- Jodie Foster, “Nyad”
- Da’Vine Joy Randolph, “The Holdovers”
Very strong list.
Best director
- Jonathan Glazer, “The Zone of Interest”
- Yorgos Lanthimos, “Poor Things”
- Christopher Nolan, “Oppenheimer”
- Martin Scorsese, “Killers of the Flower Moon”
- Justine Triet, “Anatomy of a Fall”
No Bradley Cooper? No Greta Gerwig.? We take umbrage, and would put them in over Glazer and Triet.
International feature film
- “Io Capitano,” Italy
- “Perfect Days,” Japan
- “Society of the Snow,” Spain
- “The Teachers’ Lounge,” Germany
- “The Zone of Interest,” United Kingdom
Very nice.
Animated feature film
- “The Boy and the Heron”
- “Elemental”
- “Nimona”
- “Robot Dreams”
- “Spider-Man: Across the Spider-Verse”
Not a great year for animation, but these are worthy.
Adapted screenplay
- “American Fiction”
- “Barbie”
- “Oppenheimer”
- “Poor Things”
- “The Zone of Interest”
We’d put “Barbie” in Original Screenplay and add “The Color Purple,” but okay.
Original screenplay
- “Anatomy of a Fall”
- “The Holdovers”
- “Maestro”
- “May December”
- “Past Lives”
Good choices.
Visual effects
- “The Creator”
- “Godzilla Minus One”
- “Guardians of the Galaxy Vol. 3”
- “Mission: Impossible – Dead Reckoning Part One”
- “Napoleon”
Nice to see the relatively low budget “The Creator” included here.
Original score
- “American Fiction”
- “Indiana Jones and the Dial of Destiny”
- “Killers of the Flower Moon”
- “Oppenheimer”
- “Poor Things”
All strong, but where’s “Godzilla Minus One”? Criminal.
Original song
- “It Never Went Away” from “American Symphony”
- “I’m Just Ken” from “Barbie”
- “What Was I Made For?” from “Barbie”
- “The Fire Inside” from “Flamin’ Hot”
- “Wahzhazhe (A Song For My People)” from “Killers of the Flower Moon”
We would have loved to see Road to Freedom from “Rustin” included in this category.
Documentary feature film
- “20 Days in Mariupol”
- “Bobi Wine: The People’s President”
- “The Eternal Memory”
- “Four Daughters”
- “To Kill a Tiger”
“Anselm” should be here, and maybe “Still: A Michael J. Fox Story.”
Cinematography
- “El Conde”
- “Killers of the Flower Moon”
- “Maestro”
- “Oppenheimer”
- “Poor Things”
So great to see “El Conde” on this stellar list. It was beautiful, and hopefully this nomination will cause people to seek it out. But, to be honest, we’d have given its spot to “Barbie.“
Costume design
- “Barbie”
- “Killers of the Flower Moon”
- “Napoleon”
- “Oppenheimer”
- “Poor Things”
Animated short film
- “Letter to a Pig”
- “Ninety-Five Senses”
- “Our Uniform”
- “Pachyderme”
- “War Is Over! Inspired by the Music of John & Yoko”
Live action short film
- “The After”
- “Invincible”
- “Knight of Fortune”
- “Red, White and Blue”
- “The Wonderful Story of Henry Sugar”
Documentary short film
- “The ABCs of Book Banning”
- “The Barber of Little Rock”
- “Island in Between”
- “The Last Repair Shop”
- “Nǎi Nai & Wài Pó”
Film editing
- “Anatomy of a Fall”
- “The Holdovers”
- “Killers of the Flower Moon”
- “Oppenheimer”
- “Poor Things”
We’d probably go with “Barbie” over “The Holdovers” here.
Sound
- “The Creator”
- “Maestro”
- “Mission: Impossible – Dead Reckoning Part One”
- “Oppenheimer”
- “The Zone of Interest”
Production design
- “Barbie”
- “Killers of the Flower Moon”
- “Napoleon”
- “Oppenheimer”
- “Poor Things”
Makeup and hairstyling
- “Golda”
- “Maestro”
- “Oppenheimer”
- “Poor Things”
- “Society of the Snow”
The 96th Academy Awards, hosted by Jimmy Kimmel, will air on ABC on Sunday, March 10, live from the Dolby Theatre at Ovation Hollywood.
Driven
Trunk
by George Wolf
You get the sense early on that the German thriller Trunk may have some pleasant surprises in store.
Malina (Sina Martens, terrific in a physically demanding role) wakes up to find herself badly injured and confined to the trunk of a car. The trunk is ajar, and before the driver returns to shut her inside, Malina is able to retrieve her cell phone.
And lemme guess, the phone’s almost dead, right?
FULL POWER.
Okay, then, here we go! Dialing a series of well-chosen contacts, Malina has to 1) stay alive, and 2) piece together what’s happening while she looks for an escape route.
Writer/director Marc Schießer proves a solid triple threat here, also handling the editing duties with a deft hand and solid instincts for pacing and tension.
The cinematography is on point, as well. And while this particular trunk seems unusually roomy, Scheiber consistently lands precisely the type of claustrophobic camera angles and POV shots that Liam Nesson’s recent car-centric thriller Retribution tried in vain to achieve.
You may end up sniffing out some the mystery at play, but even so, Schießer’s finale will be no less satisfying. Trunk is a tense, crowd-pleasing thriller, one that adds enough detours to a well-traveled road until it’s fun again.
So climb in, and enjoy the ride.
Screening Room: I.S.S., Origin, All of Us Strangers, Founders Day, Cult Killer, Sunrise, Freud’s Last Session, Project Dorothy
Hiding in Plain Sight
Origin
by George Wolf
Origin is so loaded with theories, facts and history, you may wonder why writer/director Ava DuVernay didn’t just make the film a documentary. After all, 2016’s 13th showed DuVernay can certainly command the genre.
I’m guessing she gives us the answer with a telling line of dialog: “Real people, real things.”
The main character, Isabel Wilkerson, is a real, extraordinary person, and author of the source book, “Caste: The Origins of Our Discontent.” And the film works as well as it does because of how well DuVernay unveils both the results of Wilkerson’s work and the personal journey that made it possible.
Aunjanue Ellis-Taylor’s tremendous turn as Wilkerson doesn’t hurt, either.
We first meet Wilkerson shortly after the news of Trayvon Martin’s murder first breaks. The Pulitzer Prize-winning journalist is looking to take some time off to care for her elderly mother, but her colleagues (Blair Underwood, Vera Farmiga) are hoping she can address the issue in print.
Even Wilkerson’s husband Brett (a wonderful Jon Bernthal) thinks she’s happier working, but Isabel is hesitant.
“I don’t write questions, I write answers,” she explains. And Isabel finds many lingering questions in the Martin murder, the Charlottesville tragedy, and the increasing drumbeat of fascism in America. Her mind is restless, because while racism is a symptom, using it as “a primary language to understand everything isn’t sufficient.”
But as Isabel suffers heartache and loss in her personal life, she researches history in Germany, India, and America’s Deep South to find the connective tissue she sought – caste systems perpetuated through unending violence until they’re accepted as the natural order.
DuVernay utilizes Wilkerson’s classroom presentations, conversations with her cousin Marion (Niecy Nash, terrific) and fact-finding interviews as sufficiently organic vehicles for flashback. The history lessons are rife with discovery and heartbreak, and compelling enough to keep a firm grip on your attention.
There are flashbacks to Isabel’s personal history as well, including a look at her relationship with Brett that is tender, funny and poignant, buoyed by the sweet chemistry between Ellis-Taylor and Bernthal.
And though the third act can get especially lecture heavy, the material works as a narrative whole because DuVernay finds her own layer of tissue that connects us to both the real people and the real things.
The cycle of trauma -be it personal or systemic – can only be broken by confronting it. Origin confronts it with questions and answers, humanity and inhumanity, in ways compelling enough to change the very way we look at the world around us.
