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Dan the Man's Movie Reviews

All my aimless thoughts, ideas, and ramblings, all packed into one site!

Tag Archives: 2016

Hush (2016)

Don’t speak. I know just what you’re saying.

Maddie (Kate Siegel) is a deaf author who’s best-known work is some hard-boiled crime novels that garner her all sorts of fame and fortune. Some of it’s wanted, some of it isn’t. In this one case, when she’s got her friend’s house in the middle of the woods all to herself, that’s especially so when a masked-fan (John Gallagher Jr.) begins to reign down all sorts of terror on her. Maddies’ inability to fully her is one problem in this situation, of course, but she uses her smarts and her wits to, hopefully, get the better of him whenever the opportunity comes around. But yeah, being deaf in a situation like this isn’t ideal and it’s why Maddie, no matter how far she gets, she’s always got the cards stacked-up against her. All she’ll have to do is see if she can wait out the night and survive.

Hopefully.

Okay. Maybe the freeze-frames don’t do this performance the justice it deserves!

Hush was the little movie that could a year or so ago. It literally came out of nowhere, hit Netflix right away, and oh yeah, was pretty great. It doesn’t feature many big-names at all and the director, Mike Flanagan, before this, didn’t have a whole lot going for him, except for Oculus which was, at the very least, interesting. But what worked best about Hush is that it was so sweet, so simple, and so straight-forward, that it was somehow perfect for Netflix.

It’s the kind of quick, swift and entertaining-viewing that’s worth being seen, regardless of if you can handle home-invasion thrillers or not. For me, while the premise is as conventional as you can get – albeit, with a deaf-woman twist – Flanagan finds smart, small, and interesting ways of turning it on its feet and making it, well, pretty fun and exciting. Just when you think you know where the material is going to wind-up, how sick it’s going to continue to get, or what twists and turns it takes, it somehow goes a different way.

And even when it doesn’t do that, it’s still entertaining enough to the point of where it’s too hard to fully and completely care.

After all, it’s a home-invasion thriller that’s unpredictable, at the very least. It doesn’t really try to break any new ground at all, but what it does do is offer up a new fresh, exciting, and smart voice within the world of horror in Flanagan. Flanagan’s style isn’t necessarily anything ground-breaking, but what he does do that’s smart is constantly keep us experiencing this whole movie through the eyes and, uh, ears of Maddie, never letting us forget that we are just as helpless as her here and it’s going to be really rough to get through it all. Flanagan never quite makes the material as sick or as decrepit as someone like, say, Eli Roth would have, but in a way, he’s much better off for that; there’s a certain respect he feels for this character, as well as the general rules and conventions of telling a horror-thriller story like this and allowing for it to unravel the way it does.

“Delivery for, uh…yeah I’m gonna kill ya.”

It also helps that in the lead role, Kate Siegel is pretty great. Being Flanagan’s real-life girlfriend, it’s a no-brainer to see her here, but Siegel deserves this role, because so much of what she has to do here is emote and use her face to show off whatever she’s going through and it’s effective. It could have easily been over-the-top or hammy, but it never gets to be that way, as we always believe whatever she’s going through, right from the very beginning. It does also help that Flanagan gives her some interesting shades of character to make her more than just a damsel in distress, caught-up in this unfortunate situation and it proves to go a real long way.

Man. Who would have thunk it? A smart, interesting, and well-rounded female character in the lead role of a horror flick?

Also here is John Gallagher Jr. who, surprisingly, seems to be having a ball as the crazy and deranged stalker here. The only issue with this character is that he’s nothing more than just this; Flanagan’s fine and content with giving Maddie the development she deserves, but never really bothers with this creepy stalker. Maybe that’s purposeful, considering it’s not his story in the first place, but it felt like something was missing in the much larger-piece of this actually rather smart and entertaining horror-thriller.

Consensus: Surprisingly smart and unpredictable, given its simple plot, Hush effectively takes genre-scares and turns them around, while also giving us a star-marking turn from Kate Siegel.

8 / 10

That face you make when you get caught shopping for new linens. Happens to the best of us.

Photos Courtesy of: Netflix

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It’s Only the End of the World (2016)

Families rule. Or so I’m told.

After being away for so very, very long, Louis (Gaspard Ulliel) finally returns home to, hopefully, let his whole family what he’s been up to, what his future plans are, and oh yeah, that he’s probably going to die pretty soon. Of course, though, that one last piece of knowledge seems like it’s going to be a lot harder to get out – not because it’s so tragic and heart-breaking, making it all the more difficult to actually tell loved ones about, but because his whole family is so loud, so tense, and so wild, that he can’t even get a word in edgewise. For instance, there’s his older brother Antoine (Vincent Cassel) and wife Catherine (Marion Cotillard) who, for some reason, can’t think of anything to say to him; Catherine is almost too nice and sincere, whereas Antoine is just constantly angry, over just about everything. Then, there’s Louis younger-sister Suzanne (Léa Seydoux), who he still holds a very close relationship with all of these years later, despite the obvious separation. And then last, but certainly not least, there’s Marianne (Natahlie Baye), who still loves Louis no matter what, but also seems to have her hands a bit full with, well, stuff.

Crazy momma.

It’s odd how It’s Only the End of the World seemed to come and go, without anyone really making a big stink about it. Considering that writer/director Xavier Dolan has become film’s sort of “It Boy” who makes smart, understated, and incredibly pretentious dramedies about difficulty challenging people, it’s weird to see this movie not just get a mixed reception, but barely even hit theaters in the States. It played Cannes, got a weird reception, and that was about it.

But did it really deserve that? Not really.

Granted, It’s Only the End of the World is a bit of a step down from what Dolan has done in the past few years since he showed up, but it’s also another sign that, despite his age, the man’s ambitions are endless. Even with something as small and as freakishly intimate as It’s Only the End of the World, it’s hard to tell just where Dolan’s limits are reached; he seems to go above and beyond the source material’s obvious stagey-ness, and in doing so, shows that he’s adept to other styles, and not just his own. Of course, the movie’s very talky, loud, and almost abrasive, but that’s sort of the point and it fits well with what Dolan does best: Allow for his fragile, complicated characters be themselves.

And in It’s Only the End of the World‘s case, that’s actually fine. There’s no denying the fact that the characters here are all loud-mouths and a little nuts, but there’s also no denying that there’s at least some fun in watching it all play-out. Dolan’s a smart director/writer who knows when it’s best to call down his own little directorial tricks and sort of just let the cast do what they do best, and here, with this small, yet solid ensemble, he does just the ticket. Everyone here is good, with perhaps Cotillard’s more subtle, somewhat subdued performance being the best apart from all of the craziness, getting the chance to play the material up, have some fun, but also uncover a bit of a darker, more emotional side to it all, too.

Still, for some reason, angst-ridden adult.

But the issue with all of this also comes down to character-development, which honestly, can’t be found here.

Sure, this may have a little something to do with the subject-material itself not quite having everything that’s needed for a feature full-length, but it also does come down to Dolan himself, who seems like he cares too much about the performances, and less about what’s going on beyond them. In his past few movies, despite all featuring great performances, Dolan hasn’t forgotten to at least give us some small crumb of character, in whoever he chooses; the performances themselves may be big, loud and bombastic, but at the same time, there’s something going on underneath it all to work.

In It’s Only the End of the World, there doesn’t seem to be a lot of that there and it ends up hurting the movie. See, it’s one thing to have a bunch of loud, angry characters yelling all of the time and constantly fighting, but it’s also another thing to see all of that, and have no idea why any of it is happening. Dolan runs into the issue of just setting his dysfunctional characters down in the same room together, let them spar, and expect us to forget about everything else that matters; no matter how entertaining these verbal-battles get, there still seems to be something missing, like a rhyme or reason why.

And honestly, we never get that.

Just small, subtle hints about why these characters are all so pissed-off and yelling, but never anything else. And that’s an issue. It’s an issue when your whole movie revolves around a bunch of people for an-hour-and-a-half, but it’s also an issue for your movie when you decide to shoot each and everyone of these characters in extreme close-ups. Once again, there’s no denying the artistry of Dolan, but yeah, sometimes one needs to cool themselves down a bit.

Consensus: Smart, engaging performances can’t make up for the fact that It’s Only the End of the World is a little too repetitive and thinly-written to become the masterclass in storytelling that Dolan’s previous films were.

6 / 10

And oh yeah, the sort of mismatched, married-couple. So French!

Photos Courtesy of: IndieWire

Krisha (2016)

Jesus. Just stay home and have a nice TV dinner.

Thanksgiving is a time not just made for celebration, but good times, relaxation, and also getting to spend time with your loved ones. And in some ways, it’s even better to do that with family who you haven’t seen in quite some time – not to just let them know how you’re doing, but also what they’re up to and trying to figure out how to ensure that a constant dialogue is kept from there on out. However, for Krisha (Krisha Fairchild), Thanksgiving is going to be a bit of a ride, what with practically her whole family, not really liking her. See, Krisha’s got a bit of a drug-problem that has, unfortunately, turned her into a bit of a nut-ball, pushing members of her family further and further away. But most importantly, it’s the friendship with her estranged son (Trey Edward Shults) that she longs for the most and, honestly, she may not get her way. How she reacts to it will either make, or totally break the holiday spirit.

Getting there…..

The neat idea about Krisha is that it’s basically like every other movie concerning a holiday dinner, in which long, lost family-members get back together, reunite, drink, eat, yuck about, and eventually, get into sparring bouts over silly stuff that doesn’t really matter, but this time, with much more style. See, writer/director Trey Edward Shults pulls-off this neat idea where Krisha, the movie, is basically a horror movie, without any monsters, ghouls, or well, anything scary all that happening. It’s building up tension in the everyday normality of life, that it almost seems obvious, deliberate and a bit showy, but it’s also quite fun to watch – not just because it can be awfully relatable, but Shults may be something with his style.

Then again, maybe he’s not.

In fact, there’s a good portion that Krisha was just such an easy idea to shoot and make a full-length feature-flick out of, without having to spend a whole lot of money with, that it probably was done for that reason. There’s no real point made about families, the spirit of Thanksgiving, or even alcoholism; basically, we’re just watching a family-reunion and dinner that was essentially doomed from the start. Sounds conventional for sure, but what Shults does with the material is interesting, in the small, subtle, yet effective ways that he constantly frames it all like a never-ending horror-chiller, where everything is about to go all up in flames, a train is about to crash, and the world is going to end, and well, all we can do is sit back and watch.

Yup. Sounds exactly like Thanksgiving dinner to me.

Getting closer…..

Anyway, Shults gets a lot of mileage out of his cast here, most of whom are actually just his own family in the first place. Hell, even Shults himself shows up in the movie and gives probably the worst performance of the whole ensemble, which makes you wonder if he just needed someone to fill that role and couldn’t get anyone at the last minute, or is he going to be a softcore version of Tarantino, casting himself in these bit roles in his great movies, making him seem more and more like an egomaniac? I don’t know and well, it doesn’t totally matter, because behind the camera, he does a solid job; he keeps it moving, somewhat exciting, and pretty tense, even when it feels like literally nothing is going to happen.

But of course, a great deal of that praise deserves to go towards Shult’s real-life aunt, Krisha Fairchild, who I haven’t seen before and it’s a damn shame. It’s actually interesting that Shults seems to cast his whole family here, because even with the exception of him, they can mostly all act – Krisha is probably the most perfect and obvious example of that because while she’s playing a pretty loud, big and showy role at times, she still knows how to dial it down a smidge to where we do see a human being underneath all of the craziness. In a way, Fairchild reminds me a lot of Gena Rowlands here, in that she can be so over-the-top and unpredictable, you can’t keep your eyes off of her, but you also know that there’s some bridge of humanity, that it makes her even more watchable.

In this case, then yeah, casting your family is a smart idea. Just don’t turn into the Smith’s over there, Shults.

Consensus: While a bit showy and pretentious, even despite its awfully simple premise, Krisha still works by taking a different approach to familiar material, and also allowing for its lead to run rings.

6.5 / 10

Yup. Full-blown crazy.

Photos Courtesy of: Indiewire

The Measure of a Man (2016)

Globalization, am I right?

Thierry Taugourdeau (Vincent Lindon) is a 50-something Frenchman who, after many, many years, gets laid-off from his job. Now, not having many skills in the world and a family to provide for, he’s finding it harder and harder to get his foot in a door, let alone, actually get hired. After all, when you’re his age, without much of a school career, or experience in a certain type of specific field, then sorry, it doesn’t look too bright. Thankfully, many months go by and Thierry finally gets a job, but it’s as a security-guard for some supermarket. While it’s fine because it allows him to have some money in his pocket, it also puts him in some uncomfortable positions where he has to stop people from robbing the system – aka, the same system that’s been laying people off like him for the past few years or so and won’t stop. Eventually, he’s got to give up and realize that the system is crooked, right? Or should he just stand by, collect the dough, and run on home?

He’s sad, but interested.

The Measure of a Man is a smart movie in that it could have been a very preachy and agonizing movie about the slowly but surely depleting middle-class, the recession, the workforce, and most of all, how the government is constantly screwing over those who work their hardest, only to be replaced by someone younger and probably, far more inexperienced, but it’s not. Instead, it’s a very small, very short, and very slight little movie about one man trying to make a living in a world that is constantly moving and going into certain places that he doesn’t know if he can keep up with. It’s very simple stuff, of course, but co-writer and director Stephane Brize does a solid job of keeping us watching and waiting for this man’s life to unravel, because of all the tension he’s facing.

But once again, the movie’s much smarter than that – it doesn’t play by a sort of conventional formula, nor does it ever really seem to even have a plot. Mostly, we just sit around and watch as this guy gets fired, tries to get a job, go to class, get denied, get a job, and yeah, eventually, work it. But while that all may sound boring, it’s surprising how much of it isn’t; it’s like watching an all-too real and painful documentary that may help you realize that your upper-class, suburban life isn’t so bad after all.

See how these things work themselves out sometimes?

Okay, now he’s kind of pleased.

But really, it’s Vincent Lindon’s performance that remains the sole reason to see this movie and it’s the main reason why the Measure of a Man constantly stays interesting, even when it seems like it’s not going anywhere. Though he’s got plenty of say and is in every scene, it’s actually surprising how little Lindon actually speaks as Thierry. Most of his scenes either involve him staring off into space, looking sad, mad, or just thinking of something. Sure, he talks and yells, at one point, but for the most part, it’s a very quiet, subdued and subtle performance that remains interesting because there are so many different angles to this guy that it makes us want to watch him do more stuff, no matter what it is.

Sure, he’s the main character and perhaps, in a way, the only one that’s really worth remembering, but still, it’s a great performance nonetheless. The movie is definitely his for the taking, mostly because the plot is nonexistent, but that’s all fine, because Lindon knows how to make a scene of absolute silence, somewhat intense and off-putting.

Would it have been nice for the movie to get deeper and dirtier into what it really wanted to say about the business world? Of course, but when your lead actor’s this good, who cares?

Consensus: Even though there’s not much of a plot to follow, the Measure of a Man is a small, but interesting flick, anchored by a very good performance from Vincent Lindon.

7.5 / 10

And oh darn, he’s back to being sad again. Come on, Vincent!

Photos Courtesy of: Nord-Quest Productions

I Am the Pretty Thing That Lives in the House (2016)

Houses that creek way too much aren’t good places to stay. Usually.

29-year-old Lily (Ruth Wilson) is going through a little bit of a crisis in her life and is in desperate need of some peace, quiet and, oh yeah, money. She gets all of the above when she takes a job as caretaker and housekeeper of one Iris Blum (Paula Prentiss), a retired horror author who has made some of the genres biggest and best classics. However, Lily has read none of them because she scares easily and doesn’t quite have the patience for stuff like that, nor does she have the patience for some of the weird stuff that begins to happen in this tiny, two-bedroom house. For one, there’s odd noises when there shouldn’t be, but sometimes, that’s to be expected. What really has Lily freaked-out is a growing piece of mold in one part of the house that seems to be getting worse and worse as the days go by and without much of a rhyme, or reason for why it’s happening. Lily just sort of has to depend on her sanity, which also seems to be going away, too, slowly, but surely.

Pam?

Listen up, folks: If you’re going to do a haunted house flick, you really have to step up your game. It is literally one of the oldest genres in the book and it’s been done, time and time again, and only rarely are there certain exceptions where the genre feels like it’s fun, exciting and a little bit fresh.

Unfortunately, I Am the Pretty Thing that Lives in the House is not that movie.

If anything, it’s a solid reminder of why these kinds of movies don’t work as well when it seems like they’re just going through the motions and yes, show their age. And for writer/director Oz Perkins, son of Anthony, you can tell that there’s small, brief glimpses of some originality shining through, but mostly, he relies on the same old quirks and clicks that we’re so used to seeing with these typical kinds of stories.

Weird images appearing in hallways? Check. Weird creaks and sounds coming from certain places in the house? Double check. An old lady who seems to be losing her mind, while also saying weird stuff? Yup. Images that don’t quite make sense? Indeed. There’s these, and trust me, plenty more, which all come when you expect them and have about the same shock-value as a clown at a five year old’s party does – we’ve seen it before, we know what’s going to happen, we know that there’s nothing quite sinister about it all, and yet, we still watch.

Perkins does have a certain bit of style here which, I guess, is interesting, but it also feels meandering. For instance, Perkins takes the material as slow as he possibly can, focusing more on the quiet and sometimes eerie tone, as opposed to getting down to everything about the story and characters. It’s a neat take and does pay-off, what with the crazy amount of dread built-up over time, but it also feels like he’s just padding on more and more time to a movie that could have probably been at least 30 minutes shorty.

Uh, why? Doesn’t one need to see?

Or heck, maybe even 30 minutes altogether.

And it’s a shame, too, because at the center of this very small, very intimate, yet, very plodding horror flick, is a pretty good performance from Ruth Wilson who, actually, deserves a whole lot better than this. When the Affair was good and not silly, Wilson was quite a revelation, balancing a certain deal of sadness and heart for a character who, in much weaker-performer’s hands, would have come off as shrill and boring. Here, as Lily, we don’t get to know a whole lot about her, other than that she’s a bit weird and has a bit of an off-kilter performance.

To me, and probably me alone, this is the most interesting aspect of the movie that, sadly, does not get nearly as developed as it should. We see, through a phone conversation and a conversation she has with Bob Balaban’s character, that she’s got some issues to wade through, is a little off, and definitely needs something like this to help her get through this next stage in her life. So why on Earth don’t we get to see/hear/understand more of that? Why are we getting all of these spooky ghosts who appear in the hallway, or random flashbacks that don’t make any sense in the long-run?

Honestly, it’s because the movie is, when you get down to it, a haunted house flick. It’s an old, tired genre that shows its age and in Perkins case, isn’t getting any younger, hipper, or fresher.

Consensus: Even with a dark atmosphere and a solid performance from Wilson, I Am the Pretty Thing That Lives in the House also relies way too heavily on conventions and suffers from a sluggish pace.

5 / 10

Two sides to every story. Oh wait. Not the Affair. Whoops.

Photos Courtesy of: Moviepilot, The Hollywood Reporter, Indiewire

Toni Erdmann (2016)

Even if they’re a little goofy, they’re still your family.

Winfried (Peter Simonischek) is an old goof-ball, who gets by on teaching music at a local high school and generally playing pranks on all of those around him, one especially involving a pair of fake-teeth that he casually brings around in his pocket and puts on from time-to-time. Why? Well, no one really knows – they all just sort of take it as a thing that he does and they leave it at that. His estranged daughter, Ines (Sandra Hüller), returns home from wherever she’s been, and gets his hopes up for them catching up and spending some time together. All his hopes and dreams are dashed once she informs him that she has to head out for Bucharest in the morning, where her firm is currently making all sorts of moves to help better improve the work-area there. Seeing as an opportunity for them to fully hang out together, Winifried surprises Ines, but not being himself – instead, he’s playing “Toni Erdmann”, the German Ambassador, who has fake-teeth and Tommy Wiseau-like hair. Initially, this bothers the hell out of Ines because it may ruin all of the business she has to do, but eventually, she kind of gives in and sees just how far her dad can keep this joke up.

Belt it, girl. But not too loud, or else the suits may hear ya.

Belt it, girl. But not too loud, or else the suits may hear ya.

Not too long, I was talking about Blood In Blood Out and how it’s near three-hour run-time wasn’t all that justified. Sure, there was some good stuff in it that could have definitely made it into a feature-flick, but not nearly enough to pad-out a whole three-hour flick. At first, I had the same feeling with Toni Erdmann; while it is a shorter movie by about thirty-minutes, it’s still a two-and-a-half-hour long comedy about, of all things, fathers, daughters, family and yeah, globalization.

Sounds like something you’d want to spend two-and-a-half-hours watching, right?

Well, here’s the funny thing: I felt the same way. For the longest time, Toni Erdmann just felt too slow, too meandering, and too formulaic to really work; that first hour has some bright and promising ideas, but it also seemed like writer/director Maren Ade also wanted to take way too much of her time developing them, even if they don’t really go anywhere. It sort of made me think of all the mumblecore flicks of yesteryear, but instead of blabbering teenagers, here, we just got a bunch of Germans going on and on about business and not giving us any context to it all.

But then, about halfway through, it all clicks. The plot does eventually come in, the characters start to become interesting, and oh yeah, all of that business-jumble begins to make some sense and at least matter to the overall plot. See, what’s interesting about Toni Erdmann and Ade’s writing, is that there’s always a build-up. What that is, is never exactly clear, but slowly and surely, we start to get an idea of where the movie’s going, only to then have it pulled from underneath us, time and time again.

In a way, Toni Erdmann is a dark comedy about family and love and all of that sentimental junk, but the movie doesn’t really play that hand too often; it could have easily gone in deep with the father-daughter relationship and had us be a witness to a lot of shouting matches, but nope, that doesn’t happen. Ade seems much smarter than that, in that she knows that sometimes, the best way to build tension, even in the smallest breaths imaginable, is to not really try hard to build-up anything at all – it’s better to just let it simmer.

Which may sound boring, I know, but it works.

Toni Erdmann is the rare movie in which a great deal of the comedy is so subtle, you may have to check once or twice to see if you forgot anything, until at the very end, all of the big laughs come in with reckless abandon. Take, for instance, a near-20 minute sequence that starts off weird and continues to get more and more ridiculous as it goes along, staying hilarious, until the very end of it and all of a sudden, there’s something sweet and heartwarming to it all. There’s a few other scenes like this, which is surprising, because you’d think that a trick like that would only work once, but time and time again, Ade finds ways to surprise and go against convention.

Daddy may have just seen the Room.

Daddy may have just seen the Room.

Without her around, man, this remake better be good.

Speaking of that supposed-remake, as great and as talented as Jack Nicholson and Kristen Wiig are, it’s going to be a little hard to see Winifried and Ines, respectively, played differently than by Peter Simonischek and Sandra Hüller. Both are so perfectly fit for these well-drawn and three-dimensional characters, that you almost wonder if they were written for each one of them in mind. Simonischek is bright, charming and likable, even when it seems like he’s sort of making stuff up on the spot, whereas Hüller has to play it straight and narrow, but gets some opportunities to shine and show some personality and she works quite well with it.

Together, the two create a perfect chemistry that constantly keeps this movie exciting. You know that there’s something sad between them two, but rather than it being some long lost secret of heartbreak and hurt, it’s more that they just both outgrew one another; you still get a sense of the great history they spent together, which makes some of their more melancholy and quiet scenes, pretty damn sad. But Ade keeps it smart in that she gives us a father-daughter relationship that isn’t too obvious, has enough mystery going for it, and doesn’t really try to say who the worst person between the two is.

After all, they could both be horrible. Who knows?

Consensus: Even with the long run-time, Toni Erdmann sorts itself out as a solid mixture of comedy, drama, and character-stuff that makes it well worth the sit-down.

8 / 10

See it. You'll understand soon enough.

See it. You’ll understand soon enough.

Photos Courtesy of: Indiewire

A Man Called Ove (2016)

People like a grump.

59-year-old Ove (Rolf Lassgård) is his little townhouse’s sullen old guy. He is recently widowed and suicidal from the impact. One day, Parvaneh (Bahar Pars) and her family move into the house across the street. When they later knock down Ove’s mailbox with their car, this becomes the prelude to an unexpected friendship and a turnaround in the world-weary man’s life. But this new outlook on life also brings back fond, as well as sad memories, of his past in which he had to face all sorts of hardships and somehow come out on top. Now though, Ove is just looking to live another day and not let people take advantage of him, or think of him as anything less, due to this age.

We’ve all seen this story before. The old, grumpy curmudgeon yells and offends people, until after a short while, he starts to get along with a select-few and eventually, comes around. He’s not as mean, he’s not as nasty, he’s not as cruel, and he’s sure as hell not all that angry anymore – now, he’s a happy old fella, who has some unlikable tendencies and aspects, but eventually, everyone around him has learned to accept him for who he is, that it doesn’t matter.

Many years before the grumbling took over his life. Man, look how happy.

Many years before the grumbling took over his life. Man, look how happy.

In other words, yes, A Man Called Ove is predictable and conventional, to a fault, but it’s also got a humongous heart at the center which more than makes up for this being something of a cross between St. Vincent and Gran Torino. In a way, where the former failed, Ove works in that it creates this character we want to know more about and understand why he is, the way he is; to just pass this Ove guy off as a grumpy old fella because of his age, would surely be weak and not all that interesting. Eventually, we do start to see more about the life he’s lived and as time progresses, his interaction with those around him.

But the movie still remains smart.

It doesn’t paint Ove out to be this later-day saint, waiting somewhere in the shadows, hoping that someone will notice his good-deeds, but more of an old guy who can give a little more to those around him, make them feel a tad bit happier about their lives, and oh yeah, stop complaining so much. It’s a simple formula, for sure, but it works so well because we want to see Ove interact with everyone around him, and by the same token, know anything more about him, too. Sometimes, that’s all you need with a movie, regardless of how predictable your story can be.

Also, it helps that Rolf Lassgård is pretty amazing in the lead role as Ove. Lassgård may not be a household name to those in the States, but for any of us who saw After the Wedding (like me), know one thing: The man can act. And also, he’s got a voice that would scare dinosaurs away. He’s this big, rough and loud bear of a man that commands every scene he’s in, but also isn’t afraid to pull back, either. With Ove, we get to see someone who truly has a lot more going on than just snappy remarks against those surrounding him – there’s someone who is sad, lonely, and yeah, maybe even a bit regretful. Lassgård allows us to see this man for the commanding presence that he is, but also doesn’t forget that he’s working with an interesting character, too.

And yep, years go by and that's him alright.

And yep, years go by and that’s him alright.

Bahar Pars also plays Ove’s new neighbor who takes an immediate liking to him and basically doesn’t pay attention to all of the mean and nasty things he says. The two have a great little rapport going on between them because they both balance each other out in smart, interesting ways; whenever he’s grumpy and yelling, she sits back and basically tells him to, “shut up”, and whenever she’s freaking out over something, he reminds her that no obstacle is too impossible to reach, that she hasn’t already touched in the first place. It’s a very sweet little friendship that, once again, makes Ove a little smarter than what we’re used to getting with these kinds of stories.

Until, of course, the final-act, when things change and yeah, then we’ve all of a sudden got a plot to work with.

Of course, it’s hard for me to get mad at a movie for snapping itself awake and giving us a story, but with Ove, it almost feels like there doesn’t need to be one. Spending the near-two hours, just watching as Ove went around town, yelled at people, complained, tried to fix things, etc., would have been fine. But nope, we get more of something else and yeah, it doesn’t quite electrify. It’s fine to have, but meh, we could have been fine without it all, to be honest.

Consensus: Working with a familiar premise, A Man Called Ove still works as a sweet, sometimes funny look at a troubled and mad old man, perfectly played by Lassgård.

7 / 10

But hey, at least kids brighten the old codger's day.

But hey, at least kids brighten the old codger’s day.

Photos Courtesy of: Music Box Films

Christine (2016)

Hate to say it, but journalism hasn’t gotten much better.

Christine Chubbuck (Rebecca Hill) is not all that happy with her life. While she’s got a reporting job at a local news station, the stories that she seems to want to really dive into and make her name on, unfortunately, don’t seem to get much attention or done at all. The station is changing, just like the rest of the journalism world itself is, too. That’s why Christine sticks to her guns no matter what and tries to get the juiciest, meatiest stories she can find. However, there’s a lot more going on in Christine’s life than just her job; she’s also trying to find that one, special someone so that she can get married, have kids and do everything that she was brought up to do. She thinks she has that opportunity with the star reporter at the station (Michael C. Hall), but she’s so closed-off and awkward, she doesn’t know how to go about initiating anything resembling a conversation, let alone, a date. Meanwhile, her mother (J. Smith-Cameron) is now living with her, making her more and more frustrated about life, leading her to act out in some despicable, shocking ways.

Wrong channel?

Wrong channel?

The story of Christine Chubbuck is, needless to say, a very sad one. While there’s a good part of this movie that was most definitely made-up for the sake of having an actual movie, the idea that someone who just wanted to make something of a difference in this world, tell interesting stories, find love, get married, have kids and just be happy, if anything else, is relatable to life in general. And knowing the real story behind the subject, as well as director Antonio Campos’ past two flicks (Afterschool, Simon Killer), it’s hard not to expect Christine, the movie, to be an absolute dark and deep breath of depression.

But it’s actually kind of not. In ways, it can actually be pretty funny, in that it makes fun of certain characters, while also, by the same token, embraces them for who they are, especially Christine herself. But no matter how funny the movie can get, there’s always this underlining air of sadness that’s mostly always felt, even in some of the more compelling scenes; one in particular, where we hear of all of Christine’s problems in a very straightforward, manner-of-fact way, starts off one way, and ends a totally different way then you’d ever expect.

But it still works.

It’s definitely a credit to Campos and writer Craig Shilowich for coming together and figuring out how to make this forgotten figure in our pop-culture’s history, story, still relevant and heart-wrenching. Why should we care about this girl, other than the fact that she killed herself on live television? Well, the movie tells us why, not forgetting about her flaws, while at the same time, not forgetting that she was a human being who wanted just the same as you or I.

But as much as Campos and Shilowich deserve the credit here for telling Christine’s story to the best of their ability, it’s also a lot of credit to Rebecca Hall, giving it her all and then some, in a role that finds her really stretching her acting-muscles and it all coming off so perfectly. A lot of people went crazy this awards season about Natalie Portman’s portrayal of Jackie Kennedy and how she nailed down the voice, but also made us see beneath the fine dresses and speech – Hall does that with Chubbuck, but I think, almost does a better job.

Yeah, don't be on the opposite end of Letts' wrath.

Yeah, don’t be on the opposite end of Letts’ wrath.

For one, it’s definitely a little hard to get used to Chubbuck’s manner of speaking and the way she carries herself in just about every conversation she has, but Hall works with it and shows us that there’s more to her than just an awkward-presence, and instead, a person who solely wants to be seen, loved, and cared for, regardless of who said person may be. It’s actually quite heart-breaking to watch, as even though Chubbuck may think she’s the smartest person in the room, the movie still shows us that nobody’s paying attention to her and because of it, she’s driven deeper and deeper into her depression. Christine may not place itself as a sort of cautionary tale, or even a cry for help, for those who can’t cry for themselves, but at the end of the picture, it definitely seems like that.

And the rest of the cast is quite good, too, showing us how each and everyone interacts with Chubbuck, as hard as it sometimes may be. Michael C. Hall plays the one reporter she falls for and while he may seem like the typical d-bag, there’s actually more to him as the movie progresses; J. Smith-Cameron is a very good actress, but unfortunately, her role here does seem very stuffed-in, as if the character may have not been all that much of a presence in real life, but the movie felt like it needed her around; Maria Drizzia plays Christine’s co-worker who actually listens to her and, in other ways, looks up to her; and Tracy Letts plays her boss who always yells, drinks, and smokes, and he’s pretty great at it.

Like I said, no one here is a bad person, or a good one – they’re all just people.

Like Christine Chubbuck.

Consensus: Well-acted and insightful, Christine is an interesting look at one of TV’s more forgotten-figures, showing us a sad, but always compelling look into a life full of depression and some hopes.

8 / 10

Very, very lonely there in the journalism world.

Very, very lonely there in the journalism world.

Photos Courtesy of: HeyUGuys

Julieta (2016)

This can happen to moms everywhere! Just get off of our backs already! Jeez!

Julieta (Emma Suárez) lives in Madrid with her daughter Antía. They both suffer in silence over the loss of Xoan (Daniel Grao), Antía’s father and Julieta’s husband. However, there are times grief doesn’t bring people closer, it drives them apart, as is the case with these two. Julieta doesn’t quite know this just yet, until she realizes that right after she turns 18, Antia gets up and leaves her mother, without a simple explanation, rhyme, reason, or even a clue of where it is that she might have gone. Julieta, like so many other mothers in her position, is obviously distraught and tries whatever she can to find her daughter and, hopefully, bring her back home, where she rightfully belongs. But as this journey goes on and on, Julieta realizes the painful truth that maybe, just maybe, she didn’t know much about her daughter to begin with.

"I'm so sad, wanna know why?"

“I’m so sad, wanna know why?”

Julieta is an odd movie for Pedro Almodóvar to write and direct, because while watching it, it’s hard to think of it as a movie that’s coming from him. Sure, there’s chunks of melodrama, a lot of female characters, and of course, plot twists that seem to come out of nowhere, but at the same time, it still feels like an everyday, normal melodrama about a mother, a daughter and all of the other missed connections families have with one another. In other words, Julieta is a “safe” movie and probably the safest I’ve ever seen from Almodóvar, which is neither a good thing, or a bad thing.

It’s just a thing.

But unfortunately, it’s a thing that keeps Julieta from really working as well as it probably should have. Once again, it’s nice that Almodóvar is giving us a story about women, when so many other writers/directors would shriek at the idea of doing such a thing and it’s also nice that Almodóvar is able to wrangle out such good performances from this cast. Emma Suarez as the older-version of the title character is probably the best here, because she has to go through a whole bunch of emotions – most of them sad – but never seeming boring. There’s just something about her presence, as sad as it may be at times, that makes her watchable and take over this movie every chance she gets.

That said, the rest of the movie isn’t quite helping her out. For one, it seems like Almodóvar himself sort of realized that he wasn’t working with that meaty of a story; there’s a mystery here, but mostly, it’s all tucked in the back so that a bunch of people can cry, get sad, and go on and on about their emotions. In fact, these characters here talk so much about their emotions, that it makes me wonder if they ever had anything else on their mind, like I don’t know, sports, the weather, politics, or hell, just anything else about how they feel?

"Please, stop speaking about your feelings. I've stopped caring about forty minutes ago."

“Please, stop speaking about your feelings. I’ve stopped caring about forty minutes ago.”

Probably not, but hey, it’s an Almodóvar flick so of course, this is to be expected.

But what’s different about Julieta is that, when it’s not constantly jumping in-and-out of its narrative from past, to the present, it’s giving us a story that just doesn’t feel all that compelling in the first place. From what it seems, Julieta is just another mother confused and worried about her daughter – one of whom who just seems like a brat that, honestly, Julieta herself may be better off without. It’s an odd thing to say, I know, but it’s what kept going throughout my mind the whole time I was watching this and thinking of where this story was going and whether or not any of it was going to matter in the end.

And honestly, it kind of doesn’t. Julieta may show us that Almodóvar is able to restrain himself again and take a bit of a chill-pill when it comes to his story-telling (especially after the crazy and wild one-two punch of the Skin I Live In and I’m So Excited), but it also proves to be his most boring movie by a long shot. Sure, there’s certain aspects surrounding it that can be admired, like the previously mentioned characters, or the colorful look of it all, but when you get right down to the meat of it all, it just doesn’t quite hit hard. It feels like there may have been a real juicy, compelling, emotional and exciting story somewhere in here, but it doesn’t quite seem to come out.

And for Almodóvar, that’s at least, a problem.

Consensus: Not necessarily bad, as much as it’s just a bit of a bore, Julieta highlights Almodóvar’s knack for telling a laid-back story, but never quite giving it the right amount of heart, or energy it seems to need.

5 / 10

Oh, man, the 80's! What a crazy time! I mean, just look at that 'do!

Oh, man, the 80’s! What a crazy time! I mean, just look at that ‘do!

Photos Courtesy of: Indiewire

Paterson (2016)

There’s a poet in all of us.

Paterson (Adam Driver) is a hardworking bus driver in Paterson, N.J., who follows probably the same routine each and every day of his life, with the exception of a few changes here and there. He wakes up for work bright and early in the morning, eats his cereal out of a small cup, packs a lunch, goes to work, listens to the people’s conversations, observes the city around him, has lunch in front of a lovely, relatively soothing waterfall, comes home to his somewhat quirky wife Laura (Golshifteh Farahani), walks his dog Marvin (Minnie), around the town late at night, stops by the local bar, has a beer, talks to people, comes home, goes to sleep in the arms of his wife, and wakes up the next day to do it all again. However, the one thing that Paterson seems to really care most about in his life is his poetry and the hopes of one day making it big, so that the whole world can see what he’s jotting down in that notebook of his.

Paterson is perhaps the most relaxing and calming movie that I’ve ever seen. It barely follows a plot, there doesn’t seem to be much of any development found whatsoever, there’s no conflict, and there’s no real narrative driving the movie from one scene to the next. If anything, the movie just wanders around, following a familiar pattern that we get used to after the first ten minutes or so, taking its time to tell itself, and barely ever cranking up the energy a single bit. Normally, this would piss me off to high heavens, especially for an indie flick, and not to mention, one by Jim Jarmusch.

Public-transportation employees unfortunately don't all look like Adam Driver.

Public-transportation employees unfortunately don’t all look like Adam Driver.

But for some reason, I came close to kind of loving it for that reason alone.

Jarmusch’s movies, despite them not all being great, all clearly come from a very interesting mind who has a knack for telling stories the way he wants to tell them, regardless of if they actually work in the shown final product, or if they even make sense (the Limits of Control). But no matter what, it’s hard not to watch his movies and think long and hard about what must have been going on through his mind during the creative-process’ of making these movies and with Paterson, I’m probably the most interested in, because while most of his movies are slow, meandering pieces about goofy characters, this one’s a slow, meandering piece about relatively normal characters, with the pace feeling more deliberate and mannered, than just, well, boring.

And I think that’s what separates Paterson from a lot of these other slow-as-molasses indie flicks I see nowadays, especially those from Jarmusch – the feeling, the tone and the aspect that sticks inside of this town known as Paterson, is so calmed-down, that it only makes sense a movie about said town would play-out the same way. There are some brief, fleeting moments in which it seems like Jarmusch is going to step things up a bit, but nope, they go away the next second, and the movie moves on to whatever it wants to do next.

And you know what? That’s perfectly fine with me, because it worked here.

Normally, it doesn’t and can just feel like a director trying something new and it not working a bit, having them come-off as pretentious. Jarmusch has had this problem before, but here, it works in his favor, as he never really gets in the way of the characters, the story, or the mood. It’s just simple, non-stylish and show-offy storytelling that, quite frankly, needs to be done more in the world of indies. So often, film makers working in these independent frame of minds, no matter how seasoned or young they may be, often feel the need to show-off all their skills, talents and ideas into one piece, and actually get in the way of what could have been a very effective, smart story. Jarmusch, like I’ve said before, has done this before and may do it again, but he doesn’t with Paterson and that’s why it deserves to be cherished.

And the Oscar goes to..

And the Oscar goes to..

That, and because Adam Driver’s quite great in the lead role, too. Without sounding too much like Buzzfeed here, Driver is definitely having a moment in today’s pop-culture landscape, but you wouldn’t quite know it. He’s been in a lot of movies over the past few years, some big, some small, but regardless of the size of them, he’s always good in them, trying out something new and interesting, each and every time. As Paterson, Driver dials down a lot of that free-wheeling energy we so often know and sometimes adore him for like when he’s on Girls, but it works for the character and for the rest of the movie. Due to Paterson himself being an actual observer of the world around him, it makes sense that he wouldn’t take over every scene he’s in, but instead, allow others to talk, express themselves, and get us, as well as Paterson himself, a better chance to know them.

It’s sort of like a poem, right?

Anyway, as his wife, Golshifteh Farahani is an interesting choice and one that pays off, because not only is she charming as all hell, but she actually makes his scene’s better. Her character treads this very fine line between being annoyingly quirky and charming, but most of the time, it’s hard not to be charmed by her. The movie doesn’t know how to treat her, which is actually okay, because it just gives Farahani more opportunities to light the screen up and show us not just why Paterson loves her the way his eyes show, but us, the audience, as well.

It’s been awhile since my last screen crush has hit me, but I think that may be about to change.

Consensus: Incredibly slow and melodic, Paterson may drive most people away from its downtrodden pace, but will bring in those more thoughtful and attentive viewers, with an eye for clever detail and interesting storytelling, that never once feels showy.

8.5 / 10

Who isn't in need of a good spot to chow down on their bagged-lunch?

Who isn’t in need of a good spot to chow down on their bagged-lunch?

Photos Courtesy of: Indiewire

20th Century Women (2016)

Women rule. Boys don’t drool, but they don’t rule, either.

It’s 1979 and Jamie (Lucas Jade Zumann) is going through some growing pains. Now that he’s growing up more and more, he’s starting to see the world for the sort of ugly, sometimes evil place that it can be, but he’s also realizing some beautiful things about it, too. This is mostly through the women that surround him, day in and day out. His mother, Dorothea (Annette Bening), stands by him every step of the way, smothering and protecting him from the outside world; Abbie (Greta Gerwig), when she isn’t dealing with her own problems, takes him out to rad-as-hell, incredibly violent and crazy punk shows; and Julie (Elle Fanning), while admittedly a friend, also gives him that idea that they could be together, forever, but she’s also a little too busy having sex with random a-holes who don’t care about her nearly as much as Jamie. There’s also William (Billy Crudup), who tries to be something of a father-figure to Jamie, even if he’s got his own problems with growing up, too. Altogether, they create an imperfect, dysfunctional family of sorts that all love and respect one another, but also find it very hard to get by in day-to-day life.

Beach makes everyone better.

Beach makes everything and everyone a little bit better.

20th Century Women is, thankfully, Mike Mills’ least stylish movie. It also happens to be perhaps his most heartfelt, with fully-realized, smart and honest characters that aren’t hiding behind a behind a bunch of twee style-points and narrative-conceits. Due to this, it often feels like the typical indie we’d expect from one Wes Anderson, however, it doesn’t quite reach those great, emotional highs – if anything, it’s a movie that stays so put in the lows of life, that it’s actually more realistic.

And yet, there’s still a style to this that can sometimes actually get in the way of the story itself.

For instance, we never quite know where the story’s going to go, end up, or even what sort of flow it’s going to follow through with for the whole two hours or so. It’s actually somewhat refreshing to get a movie that doesn’t have any need for such silly things like formula, or convention, but like I’ve stated many times with stylish movies, clearly trying to make their mark, they also can come close to ruining any sort of emotional power that they may have otherwise built on. 20th Century Women is an odd movie in that it constantly interrupts its own flow, but in doing that, it’s constantly telling us more about these characters, their lives, their relationships with one another, and just where America was at the time.

In all honesty, it’s hard to really hold much against 20th Century Women, because even when it does come close to being downright irritating, it still gives something else to chew on, so to speak. It’s not a slow movie and it’s definitely taking its time for unknown reasons – it’s just telling a story, the way it can only be told, shedding light on each and every person we see. It not only makes us feel closer to these characters, but makes us gain a sense of emotional attachment to them, as well as their surroundings.

Because if anything, the movie’s plots a little funky and doesn’t really seem to be all that focused, but a part of me thinks that was the point of what Mike Mills was doing. In life, there’s no clear objective, no one set standard or rules, and there’s sure as hell no just one obstacle to overcome and everything in life is all okay. Life is a constant stream of series of events, happenings and moments that you can’t predict and never quite see coming, which is actually the beauty about life in and of itself.

How many decades is Greta going to conquer next?

How many decades is Greta going to conquer next?

The same kind of beauty that, in its brightest, shining moments, 20th Century Women really harps on.

But Mills is a smart director in that he doesn’t always get in front of camera and let everyone know it’s his show and that’s it – he’s got such a good cast that it would almost be sacrilege to get in their way and not allow them to do what they do best. Annette Bening turns in another great performance as a mother-figure, who may not be a total hippie, but also may not be a pushover, either. It’s an interesting narrative that she constantly plays with this character and shows us that Bening can play all sides to a character, no matter how big, or limited her role may be.

Greta Gerwig also shows up and is quite good as the rather punk-ish gal going through all sorts of issues and problems, yet, isn’t a total sap that ruins every scene she’s in; Elle Fanning continues to get better and better and shows it here as the apple of Jamie’s eyes, who may love him like he does, or may be simply just using him as a total friend and that’s about it; Billy Crudup gives one of his better performances in recent-memory as the bro-y super of the building they’re all living in and feels like he could have had his own movie, but because he’s here, he’s just another one of the great, highly interesting stories; and as Jamie, Lucas Jade Zumann, despite having a lot of talent to battle, more than holds his own and makes it very clear that he’s going to have a bright and shining future in movies.

Especially if he can hold his own in a movie filled with as many heavyweights as there are here.

Consensus: 20th Century Women may bounce around a tad too much with its style, but mostly gets by on the sheer strength and warmth of its cast and message.

8 / 10

Nothing like a slightly over-bearing mother's love.

Nothing like a slightly over-bearing mother’s love.

Photos Courtesy of: Indiewire

Live By Night (2016)

Alcohol kills. Literally.

It’s the 1920’s in Boston and Joe Coughlin (Ben Affleck) wants to make a name for himself, and get out of the shadow of his father (Brendan Gleeson), a Boston police captain. By doing that, he starts robbing banks and taking out local gangsters, getting his name more known, of course, but also putting him on a lot of people’s radars. Eventually though, once Joe does his time in the slammer and gets out, it’s the 1930’s and more people want to get drunker than ever before. What ends up happening is that Joe gets sent to Tampa, where he and his best buddy (Chris Messina), will watch over rum-business, make sure people are drinking it, buying it, and not trying to start any scuffles. However, when you’re a bootlegger, things aren’t always going to go as planned and when you’re with a lovely lady, like Graciella (Zoe Saldana), you’re going to continue to have issues – not just with racist locals, but sometimes, even with your own bosses. This is something that Joe realizes right away and has to start acting quickly, or else he, as well as everyone else that he loves, may soon be killed.

Oh, the hot and stirring possibility of chemistry!

Oh, the hot and stirring possibility of chemistry!

Live By Night isn’t nearly the disaster, or awful train-wreck, so many have been calling it. If anything, it’s just a sure sign that Ben Affleck, like many other great directors/actors/writers/artists/human beings before him, is capable of giving up, admitting defeat, and being a disappointment. Sure, say what you want about his acting resume, as a director, Affleck has rallied-up an impressive roster behind the camera; Gone Baby Gone, the Town, and Argo are all pretty great movies, highlighting that Affleck knows what it takes to make a solid, exciting and compelling piece of film. Are they all perfect? Nope, of course not, but they get a lot more right, than they don’t.

And there’s the ugly stepchild known as Live By Night, that shows Affleck’s directing skills that he continuously building on and on as the years and projects have gone by, perhaps, came back to stab him in the back a little bit. But what’s odd about Live By Night is that it’s not a bad movie because of what Affleck does, it’s more of what he doesn’t do, or better yet, include.

For instance, Denis Lehane’s book could probably be adapted into some sort of miniseries, let alone, its own show altogether.

There’s a lot of subplots, relationships, characters, ideas, and messages toggled around with here, some of which are very interesting to watch and see how they play-out, but unfortunately, they’re all packaged within a movie that’s just a little over two hours, not allowing for there to be enough time and attention devoted to ensuring that each and everyone of these points gets the eyes that they deserve. Don’t believe me? Well, take for example, halfway through the flick, our lead protagonist, Joe Coughlin, goes to prison for what seems like a pretty heavy sentence and then, in the next scene, he’s out and ready to continue on with the rest of his life.

But there’s more of that going on here. Certain characters pop in and out, who are supposed to have some sort of overall meaning to Coughlin, his life, and his work, but for some reason, they are harped on for about ten to fifteen minutes, forgotten about and never to be heard from again. It’s odd, because it seems like Affleck himself knows that he’s got a lot on his plate and seems like he has an eye for this period’s detail and style, but it never quite translates to the story. It feels too jumbled, messy and sporadic, as if it’s not ever safe to get too attached or involved with one major plot-point or character, because they next scene, it/they could all be gone.

What a preacher's daughter!

What a preacher’s daughter!

Which isn’t to get past the fact that Live By Night is an entertaining movie, it’s just sometimes too random for its own good.

It’s a shame, too, because Affleck shows that he can still direct a somewhat compelling movie, all obvious issues aside. There’s a few gun-battles that are tense and fun, there’s a car-chase sequence that’s well-staged, and yeah, there’s even some compelling moments involved with Coughlin and how exactly he runs this rum-business. But like I said, there’s probably six or seven hours worth of material, all cut-up, jumbled and put together in a two-hour piece, that also feels like it’s trying hard to get everything out there, but doesn’t know how to package it correctly.

Even the ensemble, as talented as some of these people may be, don’t always get-off quite easy. Affleck is fine as our lead, although never quite as magnetic as he should have been; Zoe Saldana and Sienna Miller are sultry and sexy, but that’s about it; Elle Fanning’s character has an interesting complex, but it ends on such a silly note that it’s easy to forget about her; a porky and relatively plump Chris Messina shows up as Coughlin’s cousin/go-to man who feels like he deserved so much more attention than he got; Brendan Gleeson shows up as Coughlin’s very Irish dad and feels like he wandered off the set of Assassin’s Creed and thought about collecting a nice paycheck; and Chris Cooper, despite trying very hard as the town’s preacher, oddly enough, gets a whole lot to do, then leave in such a manner that feels rushed and a total betrayal of the character himself.

Oh well. At least Miguel’s in it for about five minutes.

Consensus: With so much going on and to explore, Live By Night can’t help but feel like a jumbled-up mess, albeit, one with a great look and feel to it, that occasionally stirs some sort of emotion resembling excitement.

6 / 10

Walk away from it, Ben. You'll be okay.

Walk away from it, Ben. You’ll be okay.

Photos Courtesy of: GQ, Are You Screening, Metro

Tower (2016)

They have guns in Texas?

It was a bright and sunny day on Aug. 1, 1966, at the University of Texas. Plenty of students were all hanging around and about, going to class, cuttin’ class, drinking, eating, talking and just enjoying their lives. And then, people start hearing gun-shots. Then, they start to see people, bleeding and laying down on the ground. Soon, people start to realize that the shots are coming from the huge tower that literally hovers the whole campus and surrounding town. Eventually, more and more people begin to get shot and die, which leads many more people to not just save those who may be on the verge of death, but most importantly, stop the madman up in the tower from shooting/killing anymore people.

A lot like Waltz with Bashir did nearly a decade ago, Tower tells a harrowing, deeply disturbing, bloody and violent tale in the most colorful and bright way imaginable: Animation. It’s an interesting approach to such a deadly event in our nation’s history, mostly because it breaks down any sort of convention or idea that you’ve had about animation in the first place – it’s as if the animation on some of Adult Swim’s weirdest shows got a whole lot darker, forgot they were supposed to be funny, and instead, went right out to shock the hell out of you.

Just another lovely little couple on this fine day.

Just another lovely little couple on this fine day.

But I don’t mean for that to take away from Tower, a truly horrifying and compelling documentary that sets out to tell this story as vividly and as detailed as possible, with whoever was there, is still alive, and is willing to tell the story. Still though, the movie has another trick up its sleeve in that it doesn’t really show us who is talking, or better yet, even give us the idea that these people who are talking and letting us know of what’s happening, second-by-second, are even actually alive and telling us this. The movie gives us the voices of young people and the presentations of these animated characters, as they would have looked at the time and it’s an odd mystery that hits you very, very hard around the time it’s revealed to us what’s really going on.

That said, there’s still some problems with this format and this isn’t the only movie that’s bothered me with this issue.

Due to the movie’s dialogue and lines being literally read to us by a bunch of voice actors, who were hired and paid to say these lines, often times, it can sound grating and clearly rehearsed. Alex Gibney has tooled around with this mechanism a few times in his documentaries and it makes sense to do this; sometimes, you can’t have the actual person talking, have their voices heard, so you have to hire an actor to say these lines as if they were an interview subject. Tower, just like Gibney’s movies, don’t hide this fact that these are actors speaking to us, but it still does take away from the fact that a lot of what we’re hearing, is supposed to be off-the-cuff, shocking and emotional.

That’s the problem Tower seems to sometimes have with itself. A few of the voice-actors are good and clearly seem like they came ready to envision whoever they were speaking for, but other ones seem as if they literally just reading off of a piece of paper and not even attempting to make it sound realistic, as if we are literally listening to them air their feelings out to us in the most raw, gritty manner imaginable. It not just took me out of the movie, but made me sometimes laugh, where certain moments were supposed to be very emotional and just sounded, I hate to say it, a little cheesy.

"Yeah, it's a pretty messed-up situation here. Maybe someone should get involved and kill that shooter. Just a thought. Maybe."

“Yeah, it’s a pretty messed-up situation here. Maybe someone should get involved and kill that shooter. Just a thought. Maybe.”

However, I realize that this is a problem with me, but it’s a problem that perhaps director Keith Maitland could have gotten around, had he paid a little extra attention.

Then again, I get it. You can’t please everyone, especially those cynical and picky a-holes out there like me. Whatever. So be it.

Anyway, none of this is to really take away from the stories we hear because Tower tells its story, without holding back. We hear gun-shots, we see dead people, we see blood and we see people acting out how they normally would in these sorts of situations. Most movies such as this would lionize each and every person involved, because they were, after all, involved in a very traumatic situation, but the subjects themselves don’t hold back from letting us, the audience, know that yeah, they were definitely cowards.

Then again, how could they not? Tower doesn’t try so hard to really reach out to the souls within each and everyone of us, but it still connects on an emotional level. It’s sad to hear so many of these heartbreaking and rough takes on this one story and puts into consideration that while those died lost their lives, those who lived were still impacted and in ways, are still hurting. The real life events were obviously very upsetting, but listening to some of these testimonies, really drives it home. It not only makes you wish that there’d be more gun-reform so that something like this never happens, but that we, as a society, are able to handle it better than some did back in August ’66.

Not trying to point any fingers, but yeah, some things need to change. That’s all I’ve got to say about that.

Consensus: Despite some technical issues, Tower still gets by with a brutally colorful and detailed animation-presentation, to give us an even better understanding on what happened during those ugly, disgusting and downright evil 96 minutes.

7.5 / 10

Yup. Towers would continue to get a pretty terrible reputation.

Yup. Towers would continue to get a pretty terrible reputation.

Photos Courtesy of: Indiewire, PBS, Truth on Cinema 

A Monster Calls (2016)

Hug the trees. Just not too hard.

At his age of 12 years old, Conor (Lewis MacDougall) is dealing with a lot. For one, his mom (Felicity Jones) is sick with cancer and slowly, but surely, dying. His grandmother (Sigourney Weaver), while meaning well, is also a bit of a stuck-up meanie who doesn’t let Conor have any fun, when at his age, that’s all he should be caring about. His dad (Toby Kebbell) is barely in the picture, now living in the States and occasionally coming back across the pond to visit and check-up on things. And oh yeah, there’s that talking tree in his backyard (voiced by Liam Neeson). The Monster may cause a lot of imaginary destruction and chaos, but mostly what he wants to do is tell Conor stories about life, death and love, making him think longer and harder about his own life, his family, and his whole grieving process. Of course, this makes Conor dream more than he should, wondering what’s real and what isn’t.

A Monster Calls is one of those movies that’s so emotionally draining and dour, that after awhile, you start to think whether or not it’s actually a good movie. Because while it’s definitely good at making it so that every person seeing it has at least one tear in their eye during the two-hour run-time, there’s other elements it seems to be lacking in, like an actual plot development, or meaning to it all. And sure, you could say that A Monster Calls is one, long movie about the grieving process and learning that it’s okay to be sad, but still, does that make it a better movie?

"God? Or, tree?"

“God? Or, tree?”

Not really, but I will say that director J.A. Bayona is a very talented fella who knows how to make a story about a woman slowly dying from cancer, pretty compelling.

That said, it is a pretty sad movie and at times, feels like it’s doing incessantly, to the point of where it seems like it’s got no other card to play. The only moments of actual fun and spirit seem to come through the talking-tree bits, but that’s only because listening to Liam Neeson tell folk tales is like a warm cup of coffee on a cold, winters day. Bayona definitely knows how to set a mood, as he’s done with the Orphanage and the Impossible, but he doesn’t quite know how to go from the mood-setting; to just make people feel sad and depressed is one thing, but to actually do something with that sadness and depression is a whole other thing and I’m still not sure Bayona’s been able to work that out perfectly.

However, this may be Bayona’s best movie in that it does move at a solid pace, all things considered. Being a nearly two-hour movie about a woman dying, could have been a total and complete slug of a flick, but Bayona knows that in order for a story like this to work and actually matter, there has to be something driving the movie along. And sure, while he doesn’t always seem to have it going for him in the story-department, he more than makes up for it in his characters.

As Conor, Lewis MacDougall has got a whole lot to do, but he handles it all well; there are times when he seems a bit too smart for his own good, but there are others where it seems like he’s just a kid, who has no clue of what’s really going on in the world out there, and most of all, hasn’t come to terms with the fact that his mom’s about to die and his life as he’s known it, is about to go through a total and complete change. It’s a weighty role and the kind that could definitely make or break a child actor (see Thomas Horn in Extremely Loud and Incredibly Close), but MacDougall’s very good here. He plays a kid very well and when the movie really starts hitting the hard stuff, he’s even more compelling to watch.

"It's okay, son. Life goes on. Just without me in it."

“It’s okay, son. Life goes on. Just without me in it.”

Felicity Jones has impressed me before, but for some reason, she doesn’t quite work here, but it may not be her fault. Due to her character literally dying the whole entire movie, we don’t really get many shades to her and instead, only see her sick and in constant agony. It’s a one-note role and unfortunately, Jones just isn’t able to do much with it. Sigourney Weaver shows up as Conor’s strict grand-mom, who may seem like the typically evil mom-mom, but has certain shadings to her that make her probably the most compelling character in the bunch. Toby Kebbell, despite getting maybe one or two scenes, does a nice job as Conor’s estranged daddy and a longer movie would have probably focused on this relationship more.

But nope, of course, we get a talking-tree and dreams.

Not that I’m complaining, because I cried. Then again, how could you not? A Monster Calls seems to have one sole objective on its mind from the very beginning and it’s hard not to let go and just allow for the movie to rip the tears right out of you. The movie’s not perfect, but hey, at least it gets its job done.

Consensus: Pretty sad and emotional, A Monster Calls is an interesting fantasy flick that deals with grief and death, yet, is still somewhat compelling.

8 / 10

Uh oh. Look out evil-doers.

Uh oh. Look out evil-doers.

Photos Courtesy of: Indiewire

Silence (2016)

Like politics, never bring up religion at the dinner table.

It’s 17th century Japan and the government is killing citizens who identify themselves as Christians. Among those killed were a bunch of priests who came over from Portugal, to not just spread the word of Christianity, but also help out the Japanese citizens who rightfully did follow the faith. Stuck over there Father Cristóvão Ferreira (Liam Neeson), a mentor to many priests still living in Portugal and influential figure in the world of Catholicism. Two of his proteges, Jesuit priests named Sebastião Rodrigues Francisco Garupe (Andrew Garfield and Adam Driver), decide that they have to find him in Japan, discover whether or not he’s dead and see if they can change some ways in how Catholicism is accepted in Japan. However, both soon realize that, as soon as they enter Japan, the Japanese government does not at all take kindly to anyone preaching the Catholic word, especially priests from another place who came over solely to do just that.

"Trust me, my son. I used to be Spider-Man."

“Trust me, my son. I used to be Spider-Man.”

As far as passion-projects go, Silence is one of the better ones. Martin Scorsese himself has been hard at work trying to make this movie a reality for the past few decades, and while there’s been some sure signs of it possibly happening before, unfortunately, we’re just getting the movie now, many, many years after the fact. That said, whatever halted the project for so long, clearly worked and mattered in the long-run as Silence isn’t just one of the best religious epics in quite some time, but one of Scorsese’s most personal and emotional.

 

It’s a known fact to anyone who has seen more than a few of his movies, that Scorsese loves to discuss faith and how it embodies each and every person. Here, he gets to explore that idea more and more, but he’s never showy about it; the movie’s nearly three hours long and while it is definitely a slow-mover, it’s never boring. Every shot, every action, every line of dialogue, everything in general, is so perfectly specific and timed, that it seems like Scorsese himself had everything planned-out perfectly way ahead of time, so that he didn’t miss a single beat. It’s the sign of not just a true director, but an even better storyteller, finally getting the chance to tell a story that’s closest to his heart, the only way he knows how: Through film.

That said, Silence is less about Scorsese and his battle with his demons, and more about the actual battle between right and wrong, understanding one’s faith, and how it actually makes you who you are. The movie could have been incredibly preachy and come right out and said, “Without faith, you are nothing,” but it doesn’t. The movie’s much smarter in that it shows how religion can be used in many different ways; for some, it’s a healing mechanism to help get them through hard times and remind them of the better ones to come, while for others, it may be used as a weapon. The movie makes it a point to show how much these Christians are being persecuted for what they believe in to their core, and while a lot of people may come away from seeing this thinking the movie’s all about that, it’s actually much, much deeper than that.

If anything, the movie does something smart in that it actually raises a magnifying-glass to Catholicism and many other religions, without ever showing a sign of disrespect.

Without diving into it too much and having this just be one, long sermon courtesy of someone who doesn’t know how to deliver an effective one, Silence is interesting in how it shows that all religions, when you get right down to it, may act and work in different ways, but are mostly all beneficial to those who are involved with it. The movie also dives deep into this idea that those using faith and Catholicism to their advantage, may be just as bad as those persecuting the ones for following said same faith. There’s a lot of discussions about one’s identity and how one’s faith connects it all, which made this adventure all the more compelling.

Because yes, the movie is, after all, an adventure and it feels very much like that. But with Silence, we don’t get the typical flair and energy from Scorsese – this time, he’s much more mannered, subdued and surprisingly, subtle. For instance, there’s a lot of scenes involving gruesome and ugly violence, yet, rather than getting all in-your-face about it like he’s done before, Scorsese takes a step back, shows it in a different light and in a way, makes the violence being portrayed on the screen, all the more terrifying. Same can be said for the rest of the movie, where it seems like Scorsese’s following a certain path, where he sets the pace and carries us by his side.

"Please, Father. Keep me away from more Taken movies."

“Please, Father. Keep me away from more Taken movies.”

Cause if I’m going to spend nearly three hours in 17th century Japan, the only person I want to do it with is Marty Scorsese.

That said, Scorsese doesn’t take away from his ensemble, either. While it’s a bit disheartening to see the likes of Liam Neeson, Andrew Garfield and Adam Driver play Portugal priests, it’s still easy to get past once you actually see them act and realize that they’re very good at what they do. Neeson and Driver aren’t around nearly as much, which gives Garfield plenty of time to work through this material’s like no one’s business; the character is already so interesting that Garfield doesn’t have to do much, but there’s an extra layer of emotion and compassion to his performance that makes this character downright heartbreaking. If anything, this performance reminds me that Garfield is probably one of the most exciting talents we’ve got working today and makes me so damn excited to see what he’s up to next.

It’s interesting though, because you’d assume with a movie about how rather villainous and evil that these Japanese folks can get, that they’d all be despicable and one-note, but that’s very far from the truth. Sure, while they’re mostly all terrible human beings, they’re layered and have more going on underneath the hood, other than just wanting blood and guts. Some are just doing their job and sticking to it, while others are simply scared as hell and just trying to survive. In ways, God or Jesus doesn’t even factor into it – it’s just life itself.

And sometimes, that’s more important.

Consensus: Many years in the making has proven to be a smart move for Silence, Martin Scorsese’s decades-long passion project that is quite possibly his most emotionally satisfying, powerful and personal since the Last Temptation of Christ.

9 / 10

"So uh, what's up with the food?"

“So uh, what’s up with the food?”

Photos Courtesy of: Indiewire

Patriots Day (2016)

We could be heroes, just for a few solid hours.

It’s Monday, April 15, 2013 in Boston and man oh man, what a lovely day. The Boston Marathon is set to happen, with tons and tons of people all involved and excited to run for a good cause. But of course, things don’t go down this way. In the final stretch of the run, bombs start going off, injuring and killing some. This leads the Boston Police Department, as well as the FBI to get involved as best as they can. Eventually, they find out who is responsible and limit their search to two people: Brothers Tamerlan And Dzhokhar Tsarnaev (Themo Melikidze and Alex Wolff). Of course, it’s now up to everyone to get together, stand strong and find these guys before they cause even more damage to the city of Boston and put an even greater shadow over what was supposed to be a very lovely, carefree day.

The term “too soon” is normally used with a negative connotation and well, there’s good reason behind it. People, the fragile beings that we are, find it hard to connect or accept tragedy or heartbreak, that talking about it immediately or even a little time after, seems to be too much to handle; nobody can really talk about something sad, because well, that just brings on more sadness. I point this out, not to just ramble on and on for no reason, but to point out why a movie like Patriots Day, while immediate, exciting, tense, and well-done, also feels like it may have been done way too soon.

Marky Mahk thinks he hears something fizzlin'.

Marky Mahk thinks he hears something fizzlin’.

But not in the way you’d expect.

When United 93 came out over a decade ago, it was four years and a few months after the events of 9/11, and considering how emotionally jarring that movie was, it makes sense that people would get up in arms, wondering whether or not this tale needed to be told, so suddenly, so soon, and so in-our-faces. After all, we as a nation still have yet to get over 9/11, 15 years after the fact, so you could only imagine how those in the mid-aughts must have felt when they saw a documentary-like film based on one of the hijacked planes. That said, director Peter Berg approaches the Boston Marathon Bombings with the same sort of tenacity; it’s the kind of movie that takes awhile to get going, but is setting up so many pieces of the story, that just watching and seeing how they connect in the long run is really interesting.

And then the movie does get going and eventually, it becomes something along the lines of a typical action-thriller, except with very real-life circumstances. Just like he showed with Lone Survivor and Deepwater Horizon, Berg has a knack for telling these fact-based stories where we probably know the ending and certain details, but there’s still a thrill and a certain energy behind it that’s hard not to get compelled by. Even when it seems like he’s manipulating certain elements of the story a bit, there’s still a feeling that Berg is giving it all that he’s got to make us feel as if we are there, while the action is all happening, trying our own hardest to put together this sometimes convoluted and crazy pie.

But then again, there’s that issue of being “too soon” and I think that’s where Patriots Day really runs into problems.

For one, it’s been a little over three years since the attack, meaning, that a lot of old wounds still have yet to heal. Due to that, it seems like there’s not enough appropriate room, space, or time to really think about the hard, thought-provoking questions that need to be asked in order for us, a society, to gather a better understanding of what happened. Sure, Berg does a nice job of sticking straight to the facts and giving us what is, essentially, a play-by-play analysis of what’s happenin’ and shakin’, but for a movie such as this to really resonate and hit hard, it also needs to be more than just that.

At its heart, Patriots Day is definitely a tribute to those who lost their lives and those who worked day and night on that one, fateful afternoon, and there’s nothing wrong with that – these are all stories that deserve to be told and given the type of treatment that Berg is more than happy to give them. At the same time though, there’s not enough introspection that makes us think longer and harder about this event – it’s just sort of the standard, bad guys did something bad, now good guys must go and find them. It is, for lack of a better term, a procedural.

An entertaining one at that, but still, a procedural.

"I told ya, it was paked down by da riva."

“I told ya, it was paked down by da riva.”

The bits and pieces of the movie where it seems like Berg really wants to dive in further to this event, is through the portrayals of both Tamerlan And Dzhokhar Tsarnaev. Surprisingly, the movie does go the extra mile to try and develop them, show them for what they were, and most importantly, give us a better look into what the hell was going through their heads, which is admirable, on the part of Berg’s. He’s telling the whole story for what it is and considering that a good portion of what happens can only happen from their point-of-view, it makes sense that we get some time spent with them and try whatever we can to understand them for their actions. The movie doesn’t hold back on showing us their terrible actions, but it also doesn’t shy away from showing that, well, they were human beings. As troubled and as ill-conceived as they may be, they are still human beings and sometimes, it’s interesting to see their side of the story, regardless of whether or not you sympathize with them or what they did.

Which is interesting here, because while the movie boasts a big, starry and shiny cast with the likes of Mark Wahlberg, John Goodman, J.K. Simmons, Michelle Monaghan, Kevin Bacon, Rachel Brosnahan, and plenty others, really, the movie’s more concerned with Themo Melikidze and Alex Wolff’s portrayals of the brothers. It shows that Berg was at least trying to go somewhere more interesting with this material, but of course, also realized who he was doing this movie for and didn’t want to offend anyone. There’s nothing wrong with that, either, however, it does leave that feeling of wondering maybe it was too soon and maybe something else will come down the pipeline.

Like, I don’t know, say a movie starring Jake Gyllenhaal and Tatiana Malsany?

Oh, well there we go.

Consensus: Compelling, thrilling and well-paced, Patriots Day works as an exciting take on the events, as well as a nice tribute to those who lost their lives and responded quickly, even if there’s still some material left to be covered.

7.5 / 10

Marky Mak is da best cop awound dese paks.

Marky Mak is da best cop awound dese paks.

Photos Courtesy of: Indiewire

Hidden Figures (2016)

It doesn’t take a rocket scientist to be a racist.

Katherine G. Johnson (Taraji P. Henson), Dorothy Vaughan (Octavia Spencer) and Mary Jackson (Janelle Monae) are names that you probably haven’t heard of before, but you definitely should. Back in the early-60’s, when NASA was trying their absolute hardest to beat-out the Russians by getting a person on the moon, they needed all of the power and smarts that were capable of figuring this thing out. These three women ended-up becoming a part of that think-system, however, it wasn’t always a pretty one. When they weren’t facing all sorts of racial prejudices at home, or on the streets, they had to go into work, where they were supposed to be respected for their brains and free-thinking, but instead, were forced to deal with the same trials and tribulations that so many other African-American men and women were facing around the same time. Still though, all three women kept their eyes on the prize and made it their mission to complete U.S.A’s mission and that was to get a person on the moon, as soon as, and as safe as, possible.

Eh. I've seen bigger.

Eh. I’ve seen bigger.

Hidden Figures is your typical, conventional, formulaic, and run-of-the-mill story of historical prejudice and racism that we so often see around awards season, that it’s hardly the kind of movie to get all that excited about, regardless of what, or who it may be about. And the story’s of Katherine G. Johnson, Dorothy Vaughan and Mary Jackson all deserve being told and better yet, their own star-studded, somewhat Oscar-baity movie where we get to see them face all sorts of adversity for the color of their skin, constantly work their rumps off, and at the end of the day, get a slap on the back for the good job that they did, even if it’s not nearly enough to justify all of the pain and punishment they had to go through. It’s a sad and awfully way-too-relevant story which is why, above all else, Hidden Figures is a good movie to see.

Does that make it a great movie? No, not really. But it’s the kind that feels like it’s appealing to each and every person on the face of the planet, without trying to offend a single person imaginable, and yet, still tell us a little bit more about this slice of life in country’s history. Everyone knows how we go to the moon and who did it, but do we really know all of the surrounding pieces? Quite possibly, no, and that’s why a movie like Hidden Figures is nice to have around – it not only shows us that our nation still has some growing up to do, but there was such a thing as a moon-landing that made each and every citizen want to lay down their issues for a second and come together on this momentous occasion.

It’s a little tear-inducing, until you realize that the movie is also a very conventional piece that doesn’t quite set the world on fire.

However, it doesn’t seem like it needs to, either. All it really needed to do was tell these three stories, of these three, miraculous women, who not just used their brains and their math-skills to get their jobs done, but did so in some very unwelcoming areas. Like I said though, it’s a conventional movie where a lot of racism is highlighted, but also plenty of comedy and a little bit of romance – not all of it works, but a solid portion of it does and helps us see these characters a little more than just the actresses playing them.

The white man always has to get involved somehow, right?

The white man always has to get involved somehow, right?

Then again, it does help having Spencer, Henson and especially Monae in these roles, as they not only bring out a certain vibrancy about them, but continue to help us believe that these are some incredibly smart mathematicians, who are capable of figuring these problems out. So often do movies get mathematicians/nerds so terribly wrong in movies, where they are so wild and crazy that they’re practically autistic, or that they’re just a bunch of really good-looking people struggling to make it sound like they know what two plus two is. Here though, it works – not only are these three women beautiful, but they do seem as if they know their jobs, making it seem clear that the movie isn’t just about getting the best face for the poster, but the best gal for the job.

Of course though, Hidden Figures does help itself out by not displaying everyone else surrounding these three women as terrible and awful specimens, but in ways, idiotic and products of the time in which they were raised in. Kirsten Dunst’s characters is probably the most perfect example of this, as no matter how hard she tries, she can never help but come off as racist and rude, even when it does seem like she’s doing her job; the movie likes to make and poke fun at her, but this issue is still prevalent in today’s society and it makes you think of how many things have changed, or how many of them may have seemed like they did, only to go back to their old, ignorant ways.

Oh well. Time will tell.

Consensus: Even as conventional as it may be, Hidden Figures is an interesting look into a piece of America’s history that some may not all that much about and will continue to want to study for years and years to come.

6.5 / 10

You go girls! Don't forget to do your math homework, though!

You go girls! Don’t forget to do your math homework, though!

Photos Courtesy of: Indiewire

Fences (2016)

Man, dads can be a drag.

Troy Maxon (Denzel Washington) could have had it all. He was a great baseball player who could have made it in the pros, but considering he was black and this was America during the 30’s and 40’s, black people just weren’t allowed in professional sports. So of course, he didn’t get to live out his dream and is now working as a trash man in Pittsburgh, with his lovely wife Rose (Viola Davis), his talented son Cory (Jovan Adepo), his freeloading son Lyons (Russell Hornsby), and his special brother Gabe (Mykelti Williamson). For Troy, though, everything’s all good – he’s working on putting up a fence around his place and is enjoying time he spends with his wife. However, Troy’s also got a bit of a temper and a bit of a drinking problem, which means that with a combo like that, he tends to get in people’s faces about stuff that he shouldn’t be. But because Troy is very antagonistic, he chooses fights that he sometimes can’t win and due to this, he begins to push those away from him more and more, leaving him to make even worse mistakes.

In case you didn’t know, or better yet, never had to suffer through Intro to Theater, Fences is actually a play by August Wilson. If you didn’t know this and saw the movie version of Fences, you’d probably get the picture real soon and think this immediately. Why?

Uh oh. Denzel mad. Look out.

Uh oh. Denzel mad. Look out.

Because like so many other adaptations of plays before it, Fences feels very stagey.

Which okay, may not be the worst thing, but at times, can still be awfully distracting, especially when the person who is adapting it to the screen, isn’t really trying everything that they can to make it more than just a bunch of people standing in the same room for roughly a half-hour, talking about something that was said nearly ten minutes prior. And Denzel Washington, while a good director, for some reason, doesn’t feel the need to actually get out in the world, live a little, and get this material going elsewhere. Sure, you can call this adaptation “faithful”, but does that mean it was a smart move to be that way?

Probably not and that’s why a good portion of Fences, while compelling, can still feel like it’s stuck inside of itself. It’s the kind of movie where people talk a whole lot and while a lot of it can be interesting to watch and listen to, a lot of it also does feel like filler. Washington, as well as everyone else here, has actually performed this play countless of times, so it makes sense that he would feel such a love and affection for it as to not change a single thing about it, but by the same token, there are bits and pieces that need to be updated.

For instance, there’s a whole other character that we hear so much about and eventually factors into the plot quite a great deal, and yet, we never see said person. Same goes with a few other events that take place off-screen, leaving whatever happened to either never come up again, or come up in conversation in perhaps the most obvious manner imaginable. Once again, it’s understandable that Washington himself would want to be as faithful to this material as humanly possible, but there does come a point when you have to realize that you’re making a film, and because of that, you have to make sure everything works. And also, because you’re making a film, you’re able to do so much more that actually matters.

Uh oh. Viola sad.

Uh oh. Viola sad.

Washington just never seems to realize this and unfortunately, Fences does suffer because of it.

But honestly, a good portion of what I said doesn’t even matter, because what Fences truly is, despite what August Wilson may have originally intended for it to come-off as, is an actor’s workshop and man, they clean house here. Even though his directing skills aren’t quite great here, Washington, the actor, is terrific; he’s able to go big, loud and bombastic, as if he was in the theater, playing to the nosebleeds, but he can also be small, quiet and subtle and makes this challenging Troy fella, all the more complex and interesting to watch. Washington knows what he’s working with here and because of that, his performance comes off strong and it’s hard to take your eyes off of him.

But Washington isn’t stingy and doesn’t forget about everyone else here, either. Everyone here, like Mykelti Williamson, Russell Hornsby, and the always underrated Stephen Henderson are all quite good, but it’s really the one performance that makes this movie shake the most. Viola Davis, as Rose, is very good because she gets to do the same thing that Washington does – she gets to play it big and loud, but also short, sweet and subtle. She’s great at both sides and together, they create quite the couple that actually makes me want to see them do something else, where they aren’t so confined to just one room, or one backyard, or one topic of conversation the whole, entire time.

Still though, as Fences goes on, it eventually comes together and Washington begins to make more and more sense of his material.

There’s a final-act that’s downplayed and quiet, which is definitely different from the rest of the movie, yet, it still works. In fact, it actually feels like a reward to all of those who sat by, watched and listened to all of these characters hooting and hollering at one another. In a way, it’s a lot more melancholy than the rest of the movie, where it seems like everyone has chilled-out, had a few beers and realized that life is beautiful, so why fret so much? Due to this, the movie may just bring a tear to your eye and make you realize that Washington is a good director.

It’s just a shame that he felt so damn confined.

Consensus: Fences feels exactly like a play, with great performances from everyone, but also a very limited scope in which it lives in.

7 / 10

But it's okay, they're both happy. Let's hope it stays.

But it’s okay, they’re both happy. Let’s hope it stays.

Photos Courtesy of: Indiewire

La La Land (2016)

Tap dance the pain away.

Mia (Emma Stone) is an actress living in Hollywood waiting for that one big break. She constantly goes to auditions, but never seems to get the part. The closest she ever gets to achieving actual stardom is by serving celebrities coffee at the place she works at on a studio film-lot. Sebastian (Ryan Gosling) is a jazz pianist who dreams of one day owning and running his own club where everyone can listen to and play whatever jazz that they want to. However, the times have changed and unfortunately for Sebastian, who spends most of his time playing conventional tunes at a local restaurant for tips, nobody really cares for that old school version of jazz. Late one night, though, Sebastian catches the eyes and ears of Mia and the two suddenly fall for one another, dancing, singing and acting more creatively than they ever had before. But both Mia and Sebastian long and live for something bigger and brighter than what they have now, and the longer they stay together, the more and more their careers begin to go in separate directions.

Though I never got around to reviewing it (tragic, right?), writer/director Damien Chazzelle’s debut, Guy and Madeline on a Park Bench, feels like every person’s first movie. It’s scrappy, it looks cheap, it’s brimming with ideas, and yet, the execution doesn’t entirely work. It’s the kind of movie where you can tell that Chazzelle was just so damn happy that he got together just enough money to make a movie and do his musical-thing, that he didn’t care too much about certain important elements that matter to a movie, like plot, or character-development, or other things like that. It’s a movie that features a handful of lovely, dizzy song-and-dance numbers, that are more than able to get you smiling, but whenever they are over and we’re forced to actually listen to these characters talk to one another and well, just be, it starts to lose all sorts of fun and excitement.

"Is this love that I'm feeling?"

“Is this love that I’m feeling?”

That’s why La La Land is such a huge, dramatic leap forward and feels like the movie Chazzelle may have been trying to make after all.

It just feels like seven years late.

That’s all fine, though, because La La Land is one of the best movies of the year. It’s the kind of musical that has great, swirly, fun, exciting, and memorable song-and-dance numbers, but when the music stops and the people start talking, guess what? It’s still just as exciting and interesting! So often do we get musicals where it feels like all of the music was written first, and everything else came second – imagine a landscape painting where all of the shapes and sizes were finished, but not the actual colors and objects themselves.

However, La La Land gets all of that right, and then some. Chazzelle’s script is smart, though, because while he does get wrapped-up in his love and admiration for jazz, what it represents, and what it does for those sorts of people who will never let it go, he also doesn’t forget that jazz is definitely a dying form. And in its death, lies a new form of jazz that’s poppy, mass-produced and more mechanical-sounding than a Marvel fight scene, as illustrated by John Legend and his character’s band (who are believably bad). Chazzelle does see this changing form and is sad, admittedly, but he also realizes that the movie’s not just about jazz, as much as it’s about art and artists, and what the later can do when they are inspired, happy and ready to show the world what they can do.

But it’s not nearly as nauseating as I may make it sound.

Despite all of its doe-eyed wisdom and love about the arts, about L.A. and about the Hollywood business, it’s also smart and understanding that sometimes, the world doesn’t quite work out the way you want it, especially for artists. Through Mia and Sebastain, Chazzelle shows that providing art and entertainment for the world around you, sometimes, isn’t enough – what really matters most is being able to actually wake up each and every day, happy with what you do, and feeling as if you’re ready to take on the world around you. This isn’t just for artists, or people involved with the entertainment-industry – this is for anyone, with any sort of trade. What La La Land shows is that when you have the ambition and you feel inspired, you can make wonders happen – not just for those around, but for your own self.

Look out, Hollywood! Here come your starlets!

Look out, Hollywood! Here come your starlets!

Once again, I know this sounds so melodramatic and cheesy, but La La Land stays so far away from any of that, that it’s absolutely magical, even when people aren’t singing, and dancing, and emoting. In fact, the song-and-dance numbers, oddly enough, feel as if they were written second to the actual story and character-development, as opposed to it being the other way around; it doesn’t mean that the songs themselves are weak in the slightest, but it does show that more care and effort was put into giving the audience a good, emotional and relevant story, rather than just a dog-and-pony show that seems to only fulfill the needs and desires of the creators themselves.

That said, La La Land will make you feel all sorts of happy, pleasant and joy-filled thoughts and emotions, but it’s still kind of raw, sad and emotional.

How?

Well, Chazzelle does a perfect job in casting both Ryan Gosling and Emma Stone in his lead roles, because not only do they share a perfect chemistry, but they are also so beautiful to watch on the screen, that it’s actually kind of hard to take your eyes off of them. Stone’s Mia, when the camera isn’t molesting her face, is actually a very depressed character who wants to make a name for herself, but keeps on flubbing it at auditions and not getting the roles that she wants, whereas Gosling’s Sebastian wants to preserve jazz by opening-up his own club, but by doing so, he still has to be successful and possibly “sell-out”. Sure, attacking this idea of being true to yourself, while still bringing in tons of bucks, isn’t exactly anything new or ground-breaking, but La Land Land does it in such a smart, believable way, that it still feels fresh.

The movie shows us that these two don’t just come together and fall in love because they’re the two most attractive people they know (even though it’s definitely one of the reasons), it’s because they both have a love and appreciation for the arts and what it is that they do. It’s interesting, too, because Mia doesn’t even like jazz, making her and Sebastian’s connection stronger – something that so few couples in real life like to admit to keeping them together for so long. But together, they feel like the kind of tragic couple at the center of a fable like Beauty and the Beast, or Romeo & Juliet – they may be perfect for one another, but there’s still something holding them back from fully giving it their all and staying as dedicated as they can be.

Regardless of all this mumbo jumbo, yeah, La La Land is a terrific movie.

It will probably get nominated for heaps of Oscars and it might win them all. Will it be deserved wins? Does it really matter? Not really, but please, whatever you do, see it. You’ll be walking out with a smile on your face and in desperate need of wanting to sing and dance with every person you see.

And if you don’t, I’m sorry, but cheer up.

Consensus: Sweet, delicate, magical and downright beautiful, La La Land is the rare musical in which every song-and-dance number is exciting and lovely, but everything else surrounding it, works even better.

9.5 / 10

Man, why can't we just watch them have sex?

Watching them sing, dance and love one another is fine and all, but man, why can’t we just watch them bang? Talk about a true gift for the holidays.

Photos Courtesy of: Indiewire

Lion (2016)

Wow. Google really does have it all.

When he was just a little boy living in India, Saroo (Sunny Pawar) accidentally got on a train that took him nearly thousands and thousands of kilometers away from his brother and his mother. Without any idea of where he came from, how he got there, and just who to contact to get home, Saroo ends up spending a great deal of his childhood in shady orphanages, all until a rich Australian couple (Nicole Kidman and David Wenham) decide to adopt him. Now, many years later, Saroo (Dev Patel) is a chiseled, handsomely-grown man who wants to study hotel management. While there, he meets a very interesting gal (Rooney Mara), who he takes a liking to immediately. However, one night, while hanging out with friends, people begin to question Saroo about his childhood home, his family, where exactly he came from, and how he got here, leading him to think long and hard about the same things. And then he discovers Google Earth and for years, does whatever he can to not just locate where he came from, but try to get back to his birthplace.

Everything about Lion leads up to the final act. In said final act, there are so many emotions, so much heartbreak, so much joy, and so much swooping music, that it’s hard not to get wrapped-up in it all. If you don’t shed even the tiniest, bittiest tear, you, my friend, may just have a heart of stone, or no heart at all.

Aw, such a cute little boy.

Aw, such a cute little boy.

That said, the movie does feel a tad incomplete.

One reason has to do with director Garth Davis’ way of telling Saroo’s story, but leaving out certain key-elements. For instance, we spend roughly an hour with him as a little kid, when he’s nearly five or so, and it’s quite compelling. The movie sort of feels a lot like bits and pieces of Slumdog Millionaire, but it still works well because Davis knows how to create an aura of sadness just by a single shot and give us an even greater idea of the brutal, harsh realities of being a little boy, alone and without a clue in the world of where you may be. Luke Davies’ script is also smart, too, in that it takes its time in developing just how far Saroo’s story as a child goes, with certain twists and turns coming out of nowhere, yet, still feeling brutally honest and expected.

But then, more than a quarter through the flick, everything changes. We’re introduced to Saroo when he’s an older, hunkier guy, with long, flowing locks and facial-hear to die for and it just feels way too sudden. While we still get to know a little bit more about him, his family, and the struggles they are inducing, just trying to get by, it still feels like we’re missing certain pieces to the puzzle.

Like, for example, why does Saroo want to find out about his birthplace at all?

The movie tries to clarify it with a heartbreaking image of a food-item that I won’t spoil, shows him sad, distracted and obviously out-of-place, but why? Is it because he misses home? Is it because he’s starting to despise his adopted parents and the adopted brother that seems to be a little crazy? Why oh why? I’m sure the real Saroo, of whom this movie is made about, had a great reason justifying it, other than just simply being sad, but I can’t seem to find it here.

That’s why once the movie gets to the final act – of which happens quite quickly – it feels a little rushed. It’s almost as if Davis and Davies knew exactly how they wanted their first and final act to go down, but in by doing so, they forgot to think of a second one, or better yet, a more substantial second one that doesn’t just feel like filler to get to the more emotional moments. Then again, it is refreshing to get a movie that shows us its character’s journey back home in the most simplified, uneventful manner imaginable – after all, it’s the 21st century and if you want to get somewhere in the world, all you have to do is go on your phone and you’ll get where you need most definitely right away.

Wow. That escalated quickly.

Wow. That escalated quickly.

But like I’ve said before, Lion packs a powerful punch and it’s hard not to get wrapped-up in all the swirling emotions by the end. Which is interesting, because it isn’t manipulative; through Saroo’s story and his experiences, we get a sense that this homecoming is a very emotional thing and because of that, it’s hard not to shed a tear. Some of it may be overly sentimental, but hey, it’s the kind of sentimentalism that so rarely works, so I’ll give it credit where credit is due.

And the performances are quite good, too.

In what seems like his best performance since Slumdog a little over eight years ago, Dev Patel finally gets the role worthy of his enigmatic charm. While he’s most definitely grown into a handsome, rather hunky man, he’s also turned into a much better actor that doesn’t get on his boyish charms, but raw emotions where there’s a certain a pain in his eyes. It’s also worth pointing out that the younger-version of Saroo, as played by Sunny Pawar, does a great job even though, yeah a solid portion of the role may just be reaction-shots.

But still, he makes those reaction shots count, man.

David Wenham and Nicole Kidman are also pretty good as Saroo’s adoptive parents, who both seem to understand and sympathize with Saroo’s quest. Kidman’s performance is especially the best, with a few strong, emotional scenes that could have gone incredibly overboard and melodramatic, but somehow, she plays it all so perfectly, like the pro that she is. The only one who feels out of place, in a way, is Rooney Mara. She shows up about halfway through to be a sort of romantic love-interest for Saroo, meant to push him harder and harder into this life-fulfilling adventure of sorts, but she just comes off like a device, as opposed to an actual, real life character in a movie. I’m still not sure if this person exists in real life, but if so, I’d be a little ticked by how dull I was.

That’s just me, though.

Consensus: Though it’s missing a fully-developed structure (something only us annoying critics care about, I know), Lion also packs a very emotional punch, with solid performances and a heartwarming message, even if it does still come off like a Google Earth commercial.

8 / 10

And now he's got a girlfriend? What is happening? Go back to being a kid, Saroo!

And now he’s got a girlfriend? What is happening? Go back to being a kid, Saroo!

Photos Courtesy of: Indiewire