Click HERE and join us in The Screening Room this week to break down Spider-Man: Homecoming, The Big Sick, The Hero, Okja and what’s new on home video!
Tag Archives: movie reviews
This Dude Abides
The Hero
by Hope Madden
Somebody finally wrote a starring role for Sam Elliott. Let’s be honest, we all love him. What’s not to love? His lived-in masculinity, mannered charm and sonorous delivery make every line a comic/dramatic/romantic dream.
His latest film, the Brett Haley directed and co-penned The Hero, feels like an attempt to give Elliott his own The Wrestler or Crazy Heart.
I’m cool with that.
Haley was responsible for the 2015 life-renewing romance I’ll See You In My Dreams, a post-middle-age adventure starring Blythe Danner, with Elliott joining as her mustachioed gentleman caller.
With Hero, Haley places Elliott firmly in the lead of another “life begins when you decide it does” kind of story.
In a role undoubtedly written specifically for the actor, Elliott plays an aging performer who’s knocked around Hollywood for decades but is best known for his deep, cowboy voice. The film opens with that memorable baritone recommending, “Lone Star barbeque sauce – the perfect pardner for your chicken.”
It’s an inspired scene, full of humorous indignity and carried beautifully by the voice-over veteran. It’s really a shame Haley can’t build on it.
Elliott’s Lee Hayden has cause to reevaluate his life when a health issue, a lifetime achievement award, a viral video and a surprising new girlfriend all collide unexpectedly. Oh, so many reasons to contemplate your own mortality.
Elliott’s quiet, moseying way remains as enigmatic and charming as it ever has been, and seeing him play a character so very close to himself is sometimes eerie. Real-life wife Katharine Ross even plays his ex.
The film scores highest marks in two scenes with Ross, and in everything with a delightful Nick Offerman, playing against type as Lee’s goofy former co-star and current weed dealer.
It derails hardest, though, when it tries to juggle a distant relationship with a daughter (Krysten Ritter) and a new romance with a hot, much younger woman (Laura Prepon).
The Hero breaks no new ground. Had Haley and co-writer Marc Basch (who also co-wrote Dreams) thrown one or two fewer contrivances at us, or found perhaps a fresher way to contend with their obvious choices, they might have had something.
Instead they ride Elliott’s charm and settle for sentimentality, which is such a shame. It’s high time Sam Elliott gets to lead his own movie, but he deserves a little more than this.
Teenage Dream
Spider-Man: Homecoming
by Hope Madden and George Wolf
With brief but wildly enjoyable screen time, the newest Spider-Man (Tom Holland) introduced himself to us in last year’s Captain America: Civil War. His presence was energetic, light-hearted and fun – childlike. Appropriate for a high school freshman.
It’s exactly that bottled exuberance that makes Spider-Man: Homecoming so enjoyable.
The events of Cap and Iron Man’s battle for control of the Avengers only months behind them, Tony Stark (Robert Downey, Jr. – like you didn’t know) takes arachnid-bitten science nerd Peter Parker under his wing.
Pete’s not ready for the big time yet, though. Mr. Stark would prefer his protégé focus on being a friendly, neighborhood Spider-Man instead of pestering for an invite to be the next Avenger.
There are several things director Jon Watts (Clown, Cop Car) and his enormous team of writers get right.
Firstly, they know we’re hip to Pete’s origin story, so the bite, Uncle Ben and all that needless angst are mercifully missing.
Next, they keep the story tight and low to the ground. It’s a training-wheels villain – somebody too big for you or me to contend with, but no intergalactic menace or god waiting to annihilate global humanity.
It also helps that said villain, the “Vulture,” is played by the reliably nutty and likeable Michael Keaton, who brings the perfect mix of psychosis and humanity to a role that could have easily been pushed over the top.
But mainly, Watts hits a bullseye with the film’s joyously entertaining tone.
As solid as the Marvel universe has been, it’s not hard to find moments (especially in Civil War) when the push for a hip chuckle undercuts the action. The humor in Homecoming hits early and often, but only to reinforce that the film’s worldview is sprung from a teenage boy. In this way, it feels more true to its comic origins than most in the entire film genre.
Holland, who just turned twenty-one, has no trouble passing for fifteen in a wonderfully wide-eyed performance. Paired with a nicely diverse group of classmates, Holland finds the perfect sweet spot to contrast the social minefields of high school with the learning curve of his new Stark Industries super suit.
Best of all, Holland re-sets the character to a place where its growth seems both unburdened and unpredictable. That’s exciting, and not just for Pete.
Same goes for the film. Watts and his writing team fill Homecoming with the thrills, wit and humanity (plus a plot twist that’s subtle genius) to give the entire superhero film genre a freshness that’s plenty welcome.
Throw in a letter-perfect final scene, and we’re already tingling about what Spidey might be up to next.
The Snack that Smiles Back
Okja
by Hope Madden
That lovely period of youth, close enough to childhood to be magical, near enough to adulthood to be tinged with longing – it’s that moment where people like Spielberg made their greatest mark.
Filmmaker Joon-ho Bong takes us there with the story of a super pig – a genetically engineered and yet utterly adorable hippo-like beastie bred to feed a lot of people cheaply – and her best friend.
If you haven’t seen the films of Joon-ho Bong, you should. All of them. Repeatedly.
This versatile Korean filmmaker is as comfortable with dystopian fantasy as he is creature features, with dark family dramas as police procedurals. Whatever he makes, he edges it curiously with humor and shadows with a bit of horror. It’s a heady mix, but in Bong’s hands, it never ceases to satisfy.
In this case, we tag along as Korean farm girl Mija (Seo-hyun Ahn) wiles away days in the rural mountains with Okja. Ten years earlier, the Mirando corporation left the tiny piglet with Mija’s farmer grandfather. It’s now time for the company to take her back.
What opens as a beautiful story of magical childhood friendship a la E.T. or some kind of live-action Miyazaki film turns, in Act 2, into something far darker. Once Tilda Swinton (glorious – and playing twins!) and Mirando Corp come calling, Okja becomes satire of the most broad and brutal sort.
Though Bong peppers the prolog with a couple F-bombs, there’s still no way to be ready for the pivot his film makes. Not every actor is prepared for the shift, either.
Swinton – so breathtakingly brilliant in Bong’s 2013 flick Snowpiercer (Be a shoe!) – is characteristically fascinating as Mirando’s mogul, and Paul Dano offers a startlingly unpredictable eco-terrorist.
The generally reliable Jake Gyllenhaal can’t seem to nail his part, kind of a Jack Hannah patterned after a crackhead version of Richard Simmons. It’s less interesting than it sounds.
Otherwise, though, the collision of styles and gut punch of a third act guarantee that the film will stick with you.
Okja is the first film in which Bong clearly states a prescribed purpose, rather than simply writing and directing a fine, if politically astute, film. That doesn’t take away from his movie’s power, and only cements his position as a filmmaker at the top of his game.
The Screening Room Podcast: Drivin’ and Beguilin’
Click HERE and join us in The Screening Room this week to break down Baby Driver, The Beguiled, Despicable Me 3, The House, The Bad Batch and what’s new on home video!
Best of 2017 So Far!
Land a’ goshen, the year’s half over already! How the F did that happen? Well, we’ve watched 161 films so far this year. Whew! Which have been the best? The new episodes of both Planet of the Apes and Spider-Man would’ve made the cut, but our judges said July releases didn’t count, so….let’s have a look at what did.
1. Get Out
You want to know the fears and anxieties at work in any modern population? Just look at their horror films.
You probably knew that. The stumper then, is what took so long for a film to manifest the fears of racial inequality as smartly as does Jordan Peele’s Get Out – an audacious first feature that never stops entertaining as it consistently pays off the bets it is unafraid to make.
2. The Survivalist
Lean, mean futuristic science fiction that feels unsettlingly like reality, The Survivalist ranks among the best dystopian films in recent memory. And as writer/director Stephen Fingleton creates an utterly plausible and devastatingly grim future, the film marks a first time filmmaker with an awful lot to say.
3. It Comes at Night
Deep in the woods, Paul (Joel Edgerton, solid as always), Sarah (Carmen Ejogo) and their teenage son Travis (Kelvin Harrison, Jr.) have established a cautious existence in the face of a worldwide plague. They have boarded their windows, secured their doors, and enacted a very strict set of rules for survival.
At the top of that list: do not go out at night.
But what are the dangers, and how much of the soul might one offer up to placate fear itself?
In asking those unsettling questions, It Comes at Night becomes a truly chilling exploration of human frailty.
4. The Beguiled
Snugly hidden near the fighting in Confederate territory, a girls’ school takes in a wounded Union soldier. Delicately shifting allegiances, power struggles, competition, longing, fear, and danger waft between the columns of Miss Farnsworth’s Seminary for Young Ladies.
Sofia Coppola develops a languid and ornate atmosphere, punctuated where necessary to create a sense of dread and urgency. Her cast is uniformly excellent, their commitment to character leading to a finale that’s as devastating as it is inevitable.
5. Logan
Bloody and bleak, tossing F-bombs and the franchise’s first flash of nudity, Logan is not like the other X-Men.
Logan relies on themes of redemption – a superhero’s favorite. Director James Mangold pulls ideas from Children of Men and Mad Max Beyond Thunderdome, but his film reminds me more of The Girl with All the Gifts. (If you haven’t seen it, you should.)
The point? The children are our future and Logan’s real battle has always been with himself. Almost literally, in this case.
6. Baby Driver
Start to finish, the soundtrack-driven heist flick Baby Driver has a bright, infectious charm – and you can dance to it.
The beats offer more than a gimmick to ensure the flick dances along – the tunes getaway driver Baby (Ansel Elgort) has buzzing through his ear buds give rhythm to his impressive high speed antics.
The game cast never drops a beat, playing characters with the right mix of goofiness and malice to be as fun or as terrifying as they need to be. For all its danceability, Wright’s film offers plenty of tension, too.
7. Hounds of Love
Driven by a fiercely invested and touchingly deranged performance from Emma Booth, Hounds of Love makes a subtle shift from horrific torture tale to psychological character study. In 108 grueling minutes, writer/director Ben Young’s feature debut marks him as a filmmaker with confident vision and exciting potential.
No doubt, events get brutal, but never without reminders that Young is a craftsman. Subtle additions, such as airplanes flying freely overhead to contrast with the theme of captivity, give Hounds of Love a steady dose of smarts, even as it’s shaking your core.
https://www.youtube.com/watch?v=UNEurXzvHqE
8. Raw
A vegetarian from a meat-free family, Justine (Garance Marillier, impressive) objects to her new university’s freshman hazing ritual of eating a piece of raw meat. But once she submits to peer pressure and tastes that taboo, her appetite is awakened and it will take more and more dangerous, self-destructive acts to indulge her blood lust.
Writer/director Julia Ducournau’s has her cagey way with the same themes that populate any coming-of-age story – pressure to conform, peer pressure generally, societal order and sexual hysteria. Here all take on a sly, macabre humor that’s both refreshing and unsettling.
9. Norman
Writer/director Joseph Cedar skillfully creates an utterly fascinating character in Norman (Richard Gere), who maneuvers through an equally intriguing web of politics, friendship and desperation. And Gere, as good as he’s ever been, makes it feel authentic.
It’s a performance that should not be forgotten come award season, and it anchors a smart, detailed film as compelling as any political thriller, yet as familiar as your last little white lie.
10. The Blackcoat’s Daughter
Winter break approaches at a Catholic New England boarding school. Snow piles up outside, the buildings empty, yet Kat (Kiernan Shipka) and Rose (Lucy Boynton) remain. One has tricked her parents for an extra day with her townie boyfriend. One remains under more mysterious circumstances.
Blackcoat’s Daughter behaves almost the way a picture book does. In a good picture book, the words tell only half the story. The illustrations don’t simply mirror the text, they tell their own story as well. If there is one particular and specific talent this film exposes in its director, it is his ability with a visual storyline.
Pay attention when you watch this one. There are loads of sinister little clues to find.
11. Split
A transfixing James McAvoy is Kevin, a deeply troubled man harboring 23 distinct personalities and some increasingly chilling behavior. When he kidnaps the teenaged Casey (The Witch‘s Anya Taylor-Joy) and her two friends (Haley Lu Richardson, Jessica Suva), the girls are faced with constantly changing identities as they desperately seek an escape from their disorienting confines.
The split personality trope has been used to eye-rolling effect in enough films to be the perfect device for writer/director M. Night Shyamalan’s clever rope-a-dope. By often splitting the frame with intentional set designs and camera angles, or by letting full face close-ups linger one extra beat, he reinforces the psychological creepiness without any excess bloodshed that would have soiled a PG-13 rating.
12. Free Fire
Imagine if the entire 93 minutes of Reservoir Dogs took place in that last act shootout among the pack.
The noteworthy fact about Free Fire is not that it has a ballsy first act, but that the entire film is a third act. With scarcely a word of context, we’re rolled into an empty warehouse just in time for a shootout to begin, and there we will stay until the film concludes.
There is a barely controlled, very funny, incredibly bloody chaos afoot here, and it is a wild and entertaining sight to behold.
13. Colossal
Colossal could also describe the height of writer/director Nacho Vigalondo’s latest concept, but despite some shaky interludes, it’s one worth the investment. Anne Hathaway and Jason Sudeikis make a compelling pair, and as secrets of the film monster’s history are revealed, Vigalondo lands some solid satirical blows about self-absorption and personal demons.
Perhaps best of all is how Colossal works out of the conceptual corner it backs into. Much like the Koreans who keep coming downtown no matter how often the monster appears, Vigalondo is committed to the end, delivering a strange but satisfying in-the-moment fable.
14. The Lovers
Credit writer/director Azazel Jacobs for turning the romantic dramedy inside out, weaving sly writing and touching performances into a thoroughly charming take on the resilience of love and the frustrating struggle to pin it down.
The Lovers is sneaky in its casual nature. Through subtle storytelling and stellar performances, it finds meaning in places rarely explored this effectively, and a gentle confidence that frayed emotions can still bond.
15. Guardians of the Galaxy 2
Is that second mixtape ever quite as awesome as the first? Rarely, and that’s the Catch-22 of the original film’s surprising blast of space zaniness. While we never saw that one coming, this new one arrives with weighty expectations.
No, Volume 2 can’t match the ruffian charm of the first, and there are some stretches of not-much-happening-here. But James Gunn’s sequel shares a lot of heart, swashbuckling visuals and more than a few solid belly laughs.
Yes, we did like these, too:
Wolf in the Hen House
The Beguiled
by Hope Madden
In a mist-laden Virginia woods, pre-adolescent Amy (Oona Laurence) mushroom picks her way to uncovering a wounded Union soldier. Sure he’s a bluebelly, but she can’t leave him there to die, can she?
Amy helps him back to Miss Farnsworth’s Seminary for Young Ladies, the isolated boarding school where she, Miss Farnsworth, one teacher and just a handful of pupils are waiting out the Civil War.
The Beguiled marks a return to critical favor for writer/director Sofia Coppola, who won best directing honor at this year’s Cannes Fest Festival for her adaptation of Thomas Cullinan’s novel.
Few frame delicate, ornate beauty quite like Coppola. She has found quite a palette with this film – the draping trees, columned porches, foggy woods, the tender grace of the school’s inhabitants.
The film is a study in restraint, and probably the most conventional film Coppola’s made. She abandons the sexual hysteria of Don Siegel’s pulpy 1971 adaptation, creating instead a chamber piece lush with decay and longing.
From his first words at the school – “Corporal John McBurney, 66th New York, grateful to be your prisoner,” – Colin Farrell’s wounded deserter is a likeable mystery. Is he earnest or manipulative? A good guy, or a wolf in the hen house?
Clint Eastwood’s performance (easily the best thing about Siegel’s version) was immediately creepy and scheming. Farrell’s slightly more of a blunt instrument. He’s less conniving, more primal –vulnerable and explosive, sometimes in the same breath.
He’s met his match, though, in Martha Farnsworth – Nicole Kidman. Coppola’s script is crisp, and no one delivers a passive aggressive barb quite as skillfully as Kidman.
Like her girls, Martha carries a lived-in weariness that weakens her to this attractive distraction from the war. But she is a survivor, an instinct she hopes to bring out in her charges as well.
The cast is uniformly wonderful – Kirstin Dunst, in particular. Coppola is fascinated by the internal power struggle as well as the morphing moral and emotional factors at work here. As patriotism battles Christian compulsions in the beginning, so competition for the Corporal’s attention evolves into fear.
The film makes a sharp turn with the inevitable explosion of impotent male dominance. As sudden as it seems, Coppola’s languid approach earlier in the film ensures that each character’s inner motivations and interpretations are clear – without the hackneyed flashback or interior monologue Siegel resorted to.
The result is a bewitching film – beautifully acted, gloriously filmed and haunting.
Baby Did a Bad, Bad Thing
Baby Driver
by Hope Madden
Start to finish, the soundtrack-driven heist flick Baby Driver has a bright, infectious charm – and you can dance to it.
It needs to be good, though. The third film in as many years about a mixtape, a rag-tag gang and a dead mom, this movie needs to bring something genuinely mesmerizing.
If there is one thing writer/director Edger Wright knows how to do, it’s propel a film’s action. That’s hardly his only talent, but few excel here quite the way he does. Scene to scene, set piece to set piece, he makes sure your eyes and your ears are aware that things are moving at a quick clip.
Never has this been more true than with Baby Driver.
Wright edits in time with his expertly curated mix tape, creating a rhythm that keeps his lead dancing, his film moving, and his audience engaged.
The beats offer more than a gimmick to ensure the flick dances along – the tunes getaway driver Baby (Ansel Elgort) has buzzing through his ear buds give rhythm to his impressive high speed antics.
Baby is the one constant in the teams Doc (Kevin Spacey) assembles to pull off his jobs. A reluctant participant making good on a debt, Baby keeps his distance from the crew – whether it’s the oily Buddy (Jon Hamm, marvelous as ever), his sketchy girlfriend Darling, (Eiza Gonzales), or the straight-up psycho, Bats (Jamie Foxx – glad to see you in something worthwhile again).
Of course, the tension comes in when Baby tries to leave the robbery biz behind, egged on by feelings for the cute waitress at his favorite diner (Lily James).
If you’ve ever seen a movie, you’ll know that getting out is never easy.
Wright’s agile camera keeps tempo with his killer playlist. Whether back-dropping romance at the laundromat with gorgeous color and tongue-in-cheek visual call-backs, or boogying through back alleys, on-ramps and highways, Baby Driver is as tasty a feast for the eyes as it is the ears.
The game cast never drops a beat, playing characters with the right mix of goofiness and malice to be as fun or as terrifying as they need to be. For all its danceability, Wright’s film offers plenty of tension, too.
Like much of the filmmaker’s work, Baby Driver boasts a contagious pop mentality, intelligent wit and sweet heart.
I Don’t Want to Go Out – Week of June 27
Oh, the bounty that is home entertainment this week! Loads of stuff – most of it mediocre – but one brand spanking new option that kicks all manner of ass.
Here’s what you can find in new home entertainment. Click the title for a complete review. And as always, please use this information for good, not evil.
The Bad Batch
The Autopsy of Jane Doe
T2: Trainspotting
Chips
Power Rangers
Stars, Stripes & Appetites
The Bad Batch
by Hope Madden
Three years ago, Ana Lily Amirpour dazzled moviegoers with her sleek and imaginative vampire fable A Girl Walks Home Alone at Night.
The film tells of a solitary female figure and the surprising impact of unlikely companionship. Amirpour called the film a “vampire western.”
If you haven’t seen the film (and you should, immediately), but you like the premise, then Amirpour’s follow up The Bad Batch might also appeal to you. It mines a similar vein, although the context is a bit more merciless.
The film’s provocative opening of mostly voiceover under credits introduces the concept of the “bad batch” – unwanteds. Drugs, immigration, petty crime – it’s never clear what this batch has been up to, but we know where they’re going. They’re headed to a quarantined expanse of arid Texas desert no longer considered part of These United States.
Once the images on screen take form, Amirpour creates an atmosphere of dystopian terror that the balance of the film never quite reaches again.
Newest resident Arlen (Suki Waterhouse – very impressive), realizes just how Mad Max this can get moments after gates are locked behind her. In a breathless and brutal piece of cinema, we are introduced to one of two communities thriving in this wasteland.
The Bridge People are hyper-bulked up, ultra-tanned cannibals represented by Miami Man (Jason Momoa). (They may not have access to steroids, but they’re certainly getting a lot of protein.)
The second community of Comfort offers a colorful, almost habitable environment led by charismatic leader The Dream (Keanu Reeves).
With these two communities, Amirpour moves very clearly into metaphorical territory, ideas she underscores nicely with strategic use of the American flag.
One version of America sees the vain, self-centered “winners” literally feeding on the weak. The second may seem more accepting, but it pushes religion, drugs and other “comforts” to encourage passivity.
It’s a clever but unwieldy storyline, and Amirpour has trouble concluding her tale.
She has a great cast, though. Joining Woodhouse, Momoa and Reeves are flashes of Jim Carrey, Giovanni Ribisi, Diego Luna and a host of the freakish and intriguing.
Amirpour has such a facility with creating mood and environment, and though the approach here is different than with her debut, she once again loads the soundtrack and screen with inspired images, sounds and idiosyncrasies.
Her opening sets such a high bar – one she fails to reach again – and her finale feels too conventional for this character and this world. They’re fairly slight criticisms, but with a filmmaker of such amazing talent, they can’t help but be a let-down.
