In all the decades of their careers, it is unimaginable to realize that Helen Mirren (Anna) and Ian McKellen (Lear, All is True) have never appeared together in a film. It is long past time, but I wish it had been with a better vehicle.
The problem with The Good Liar isn’t its acting, its directing, or its production values. The problem is that you know way too much going in. As Hitchcockian as this story is (and that is already too much to know), it struggles to surprise in part because of the caliber of the cast. A cast that, I will happily say, included Russell Tovey (Years and Years), who is starting to get some dues.
Bill Condon (The Greatest Showman) managed the story well from the director’s chair. I wish, however, that writer Jeffrey Hatcher (Mr. Holmes) had had the guts to rework the story more completely from its source. He should have accepted the reality of today’s audience and how the film would have been marketed and realized we needed the story from more than just McKellen’s perspective. The mysteries and classic vibe could have remained, but the cat-and-mouse game would have been ever so much more delicious if we were included more all around.
You should still see this film. It is classically put together and impeccably performed. Just know it is also exactly what you expect, and don’t expect it to be more.
Not to be confused with the 2013 dark social comedy The Kitchen, this is a hard, if fanciful, look at mob protection with some nice twists. Andrea Berloff’s (Straight Outta Compton) adaptation of the same-named comics takes place in the late 70’s in NYC. At that time Times Square was still Times Square, Studio 54 was at its peak, and Hell’s Kitchen was the dangerous place Daredevil stalked trying to keep it safe. And, more germane to this movie, women were still completely sidelined by society and institutions despite Gloria Steinem and the feminism movement.
Sitting in her first director’s chair, Andrea Berloff tackles that dark and interesting world through three women trying to rise above their circumstances. Berloff’s script is bald and honest. But beyond her sensibilities, it was her cast who sold this emancipation story.
In the case of Melissa McCarthy (Can You Ever Forgive Me?), she continues to plumb her dramatic depths well, but doesn’t add much new to her opus. On the other hand Tiffany Haddish (The Secret Life of Pets 2) gives us a hard-as-nails character who is ambitious and in control, and without a single broad-comedy bone in her body. But it is Elisabeth Moss (The Seagull) who runs away with the movie in this trinity. Her journey is painful and fascinating as she extricates herself from an abusive marriage and finds her inner strength and power with brilliant assistance from Domhnall Gleeson (The Little Stranger). And, it should be noted, that Margo Martindale (Instant Family) has a fun, smaller role to add to the dark view and comedy of the story.
This is not a light movie. Worth your time? Yes. But not a night for relaxing or unwinding. It is intense, violent, even while being oddly compelling. For Moss and Haddish’s performances alone it is worth seeing. And Gleeson’s is an extra little gift amidst it all.
How do you create a sequel to a classic? It was never going to be an easy task for The Shining. Forgetting the fact that it is a terrifying bit of modern horror, Sanley Kubrik really muddied the waters with his 1980 “interpretation” of Stephen King’s book. King’s recent book sequel is less terrifying than its Shining origins, but it is also more emotionally complex and satisfying…and it rightfully ignores Kubrik’s reimagining.
Enter Mike Flanagan (Ouija: Origin of Evil) who tackled the project. As with his previous movies, he wore multiple hats: writer, director, and editor. He succeeded at differing levels at all of these.
To be honest, it is an interesting adaptation, taking much from the book but also finding a way to marry it to the Kubrik outcome…without insulting either side. However, what he decided to keep and what to dump was a bit of a confusion. Unlike It, which navigated a long timeline and complex story while remaining tense and tight, Doctor Sleep takes a while to get rev’ing. There is a lot of setup and then a good deal of compaction in the tale as it races to the end.
The cast is certainly solid. Ewan McGregor (Christopher Robin) as the grown Redrum boy himself does a great job of being broken while searching for peace and a path forward. Rebecca Ferguson (Men in Black: International) is wonderfully creepy and hard while remaining seductive, as she must for this character. I wasn’t really happy with her casting originally, but she won me over with her performance. And Kyliegh Curran as the young lead did a great job as well.
Of the smaller roles, frankly only Zahn McClarnon stuck out as worth noticing, though Jacob Tremblay’s (Predator) brief turn as the young victim that sets it all in motion was very effective and bravely nasty.
But is Doctor Sleep worth seeing? Yes and no. It really needed to be higher tension or more tightly edited. Though Flannagan did a good job collapsing many of the threads that spanned years in the book, he left in other aspects that left characters and ideas hanging. And while I was glad it had room to breathe at 2.5 hours long, I also wanted it to move a bit faster and feel scarier. The final quarter of the film, which diverges widely from the book, is the best structured and most tense. It was certainly beautifully filmed and well acted. It is a nice character study for McGregor and Ferguson, but as a horror film it won’t deliver for many people. It is more an emotional movie of recovery than a tense drama of psychological horror.
Your going to have to make your own decision as to when and how you’d like to catch this sequel to a seminal classic. However, if you read the original book, I do recommend the book sequel regardless. King found a path for Danny Torrance that feels both real and heartbreaking, even if Rose the Hat and her gang are less terrifying than the denizens of the Overlook Hotel.
Are you craving a classic noir with a patina of modern times to it? Then you’re in luck, this is very much a noir, tempered with contemporary sensibilities and commentary. For his sophomore directorial outing and writing debut, Edward Norton (Collateral Beauty) tackled a monster. It may have taken 20 years to drag Johathan Lethem’s book to screen, but it found its time, especially in theme.
To make the result more impressive, Norton also stars in the film as a physically and emotionally complicated, aspiring detective on a mission. The film is also told almost entirely through his perspective, making his directorial accomplishments even more impressive…there is almost no scene he isn’t in.
But Norton also loaded the cast with talent. Top among those is Gugu Mbatha-Raw (Fast Color). She is wicked smart, but also the damsel in distress with which his life gets entangled.
Several smaller roles bring the story and world to life as well. Michael Kenneth Williams (Assassin’s Creed) brings entertainment in character and music. Willem Dafoe (Vox Lux) and Cherry Jones (The Beaver) create poles around which information and plot flows. And, of course, Bruce Willis (Glass) gets it all moving along with a hardboiled kick.
Only Bobby Cannavale (I, Tonya, Ant-Man) and Alec Baldwin (BlacKkKlansman) felt wrong to me. Cannavale was just too obvious…possibly the fault of script and directing more than the actor, but it diminished his work. And Baldwin was probably the only complete miscast in the film. He does fine, but his very presence (and probably on purpose) evokes his SNL persona of the last few years. When they began production, Norton probably had no sense of how popular that satire would become, but it worked against him here. While appropriate for the tale and the point, it pulled me out of the film multiple times.
Overall, this is both a period detective movie and a modern commentary. It makes the plot somewhat predictble and obvious, but not in a destructive way, just a familiar one. And the more you know of New York City history and politics (I’m talking about you, Robert Moses), the more you can pull from the story which is only a thinly veiled retelling of the past…way closer to reality than you might expect. I’m not entirely sure why it was all veiled given how close it is to the truth, but there you go.
The film does take its pacing queues from the past, but it manages to keep the tension high and the mystery intriguing which makes the 2.5 hours move along as you stumble with Norton through the dark and glorious sets that recreate the NYC of old. If you like old movies and want to see something different from the majority fare currently in theaters, this is a solid choice.
Quirky love stories are catnip to me. Watching two unlikely humans find one another and navigate the terror and joy that is a true connection is affirming, funny, frustrating, and ultimately joyous. John Lithgow (Pet Sematary) and Blythe Danner (What They Had) definitely run through all those emotions, creating two very differently broken people stumbling through life until they careen into one another.
The odd pair are surrounded by a few, solid supporting characters as well. Derek Cecil (House of Cards) and Eve Harlow (Heroes Reborn), in particular, provide sounding boards and act as proxy for the real world outside Lithgow and Danner’s orbit.
Nobel Jones directed and wrote his first feature with a steady and sure hand. The absurdity of his character’s lives never vaulted into the ridiculous. Their quirks and issues, when exposed, simply brought out their humanity and a deep empathy from the audience. It’s a solid story about people and love, with a wonderful and entertaining arc that leaves you with an unexpected smile.
It isn’t so much the story that makes this powerful as much as Idris Elba’s (Fast & Furious Presents: Hobbs & Shaw) performance. The story itself is fairly straight-forward and obvious, but his journey through the story is not. And the ending will leave you with more questions than answers (in a good way).
Director, writer (and even editor) Thomas Ikimi crafts this primarily psychological suspense with a sharp eye. He backs Elba’s efforts with careful visual construction. He only distrusts his audience once or twice in the 90ish minutes, and never in a way that is insulting. The ultimate point and message of the story is slowly eeked out before hammering it home. One interesting bit of trivia about this movie is that it introduced Lara Pulver (The City & The City) to screen in a supporting role.
Even 10 years after its release, this movie is still topical and insightful, but this isn’t a laid-back or relaxed story for a fun evening; be prepared for the dark.
Though it has a bit of a rocky start, this comedy eventually finds its tone and legs for a good dash to the end. And leading the running pack are Emma Thompson (Years and Years) and Mindy Kaling (Ocean’s 8), who are this film. Sure there are other characters…even good performances, but this is their film. Even John Lithgow (Beatriz at Dinner) falls into the background, despite providing a lot of punch for very little screen time.
However, it is also probably worth calling out a few supporting roles: Hugh Dancy (Hannibal) for his lovable rake, Reid Scott (Venom) for his petulant-but-open-minded writer, and Denis O’Hare (Lizzie) for his role as exhausted handler. All of whom Thompson and Kaling bulldoze on screen with charisma and action.
Director Nisha Ganatra’s heavy TV background shows in this movie. The pacing, presentation, and choices all feel a bit more small screen than large. Kaling’s script, likewise, picks up the story’s venue in its exchanges and scope, or at least feels like it does. And given that it is an Amazon film, with small screen as it’s ultimate venue (if not the screen on your phone) perhaps it was also the right choice. But whether for small or large screen, this is an entertaining romp, with just enough bite to provide a light meal.
Richard Linklater’s (Everybody Wants Some) latest film is imperfect in its details, but complete in its emotional journey. That is thanks to Cate Blanchett (The House with the Clock in the Walls) more than anything else. She takes us on Bernadette’s wild, and very personal ride, allowing us to both appreciate and find fault with her. And, frankly, knitting together a scattered story and script.
Part of that tale is her family. Billy Crudup (Alien: Covenant), and newcomer Emma Nelson throw down with Blanchett to create a family in loving turmoil, fighting to make it through the storm. It is a surprisingly believable one, even though Crudup’s character feels very cliche for a good chunk of the film.
But many of the characters around Bernadette feel that way. Kristen Wiig (Ghostbusters) is similarly hollow, if recognizable and allowed to grow. Laurence Fishburne (John Wick 3: Parabellum) is a convenience. Only Zoe Chao (The OA) got entirely cheated by never being allowed to have impact or grow beyond the cheap comedy she was forced into. But each of these are bumpers for Bernadette to bounce off of and not much more. Important bumpers, each in their way, but not full characters.
The script adaptation appears to be most at fault for these gaps and slightly scattered story. It feels like too much was shoe-horned into the two hours, keeping the story from remaining focused. There were too many side-trips and events and not quite enough was sacrificed from the original book. This isn’t unusual in Linklater’s films, but editing is one of his weaknesses. What he sees as being naturalistic is often just indulgent or boring.
Most of this movie’s weaknesses are quickly forgiven, from factual errors to misrepresentations, but they are there. What is frustrating is that they needn’t be, they were all clear director/writer choices. Fortunately, Blanchett can pull the entire load in her wake. For her performance, and the emotional release of the tale, this is definitely a movie worth seeing.
Before the opening scene begins to roll, even writer/director Terry Gilliam (The Zero Theorem) admits this was a long time coming. As one of the most cursed productions ever undertaken, expectations for the final result were probably wildly out of balance, even given its pedigree.
The movie that was finally delivered is a modern fantasy that never quite anchors itself in reality, all in service to the inspiring, original Cervantes material. It is absurd and entertaining, confusing and frustrating, but ultimately bittersweet and triumphant. It has a large cast, but the story is really held together by Adam Driver (BlacKkKlansman), Jonathan Pryce (The Wife), and Olga Kurylenko (The Death of Stalin). The three form the Quixote, Sancho, Dulcinea trinity.
This is one of Gilliam’s most grounded films, slipping between reality and fantasy without ever showing you the line. It can be disorienting and, at times, angering, but it is all appropriate. It is also beautifully filmed for the big screen–which I didn’t get to experience, sadly, but you should if you can still find it in theaters. Don Quixote is one of those movies that you will keep thinking about it long after its heroes have trotted off into the sunset. It implies a lot but says very little directly. It is wildly inventive but emotionally very simple, keeping it focused and relatable moment to moment even when the whole hasn’t revealed itself.
This may or may not be the story you had been waiting for after 25 years. It isn’t perfect, but it is the tale we eventually got. I admit I am a Gilliam fan, so there was unlikely any chance I’d have disliked whatever result I was offered. However, worth the wait or not, it is a movie with enough layers to bring me back at least a couple more times. It will need that to fully absorb it and put it in both its own context and the context of its production journey.
It is fair to say that if anyone currently had the right to take on Shakespeare, the man, in his later years, it is Kenneth Branagh (Murder on the Orient Express). From his early launch into the public eye with Henry V and his unedited Hamlet, not to mention all his other adaptations on stage and film, he owns the Bard. Even Julie Taymor (Tempest), who has assailed his works as well, isn’t as immersed on all sides of the process like Branagh, who has adapted, directed, and played the roles. That isn’t to say there aren’t others (the Donmar Warehouse comes to mind) as well, but in scope and depth, again Branagh has earned the right and has the deep, personal affinity to do it.
And Branagh brings all that experience, love, and ability to bear on this fictionalized look at Shakespeare’s last years. But, that said, he isn’t the best actor of the movie, despite tackling the title role. That actually goes to Judy Dench (Victoria & Abdul) as Shakespeare’s wife and his screen daughters Lydia Wilson (Requiem) and Kathryn Wilder who all have very complicated and fraught relationships with the men around them.
Ben Elton’s script is a brilliant bit of detective and fictional effort to explain everything from Shakespeare’s will to his final years sans quill. It is clever and entertaining, but also unwilling to let anything go. A point in fact, Ian McKellan (X-Men: Days of Future Past) has possibly one of the most beautiful and most unnecessary scenes in the movie. It would have been a shame to cut it, but cut it Branagh should have. It did nothing to advance the main, or even secondary, plots and was just a possible explanation of one of the most enigmatic collections of Shakespeare’s writing. Interesting? Sure. But not part of the movie that made it to screen.
How great figures exit this world has long fascinated people. The truth is that most just fade out of public scrutiny until they simply disappear. This film provides a sympathetic framework to understand one of the most celebrated and long-lasting writers in human history. It is sumptuously filmed and honestly delivered. It isn’t perfect, but it is a delight…especially so if you know his works and the various hypotheses that have followed him through the centuries. It is most definitely worth your time and worth it on the big screen if you can see it there. I barely caught it myself during its brief expansion. But, even on the small screen, make time for it if you have any interest in the Bard at all… or just to see some truly remarkably subtle performances.
Art, writing, life explained… or at least commented upon…