Tag Archives: Actor

The Leisure Seeker

[4.5 stars]

Forgive me, I’m going to kvell a little. It just isn’t all that often that a movie grabs me so completely. Director and co-writer Paolo Virzì (Like Crazy) delivers a heartbreakingly beautiful tale of love and life that will suck you in and wring you dry;  a wonderful, emotional canon which I highly recommend for any movie lover or romantic. It is both obvious and subtle, tackling aspects of age and marriage in wonderfully real ways. But it is relationship that takes the fore, with the ailments that ultimately drive the story very much in the background rather than the front and center focus of other films, like Still Alice or, for that matter, Marjorie Prime or The Memory of a Killer.

Virzì gifts us with a set of performances and story that quietly grips you from the moment it begins and refuses to let you go until the last, triumphant moment. It is both a tragedy and a comedy, a love story and a tale of glory (in its way). It is inevitable and unavoidable, but the path and the revelations are constantly surprising. The resulting film and performances are already up for awards this year, but will likely be forgotten for the majors since it released so early though I hope it won’t be.

Though Helen Mirren (Winchester) dominates the screen throughout, it is Donald Sutherland’s (The Calling) quiet performance and moments of shift that make this a devastating and emotional film. In a wonderful bit of direction, Janel Moloney (American Crime), as their daughter, delivers a performance that mirrors Sutherland’s in many ways.

I will admit, it isn’t quite a perfect movie, though it is close. It chooses to nail itself down in time to the summer of 2016 irrevocably for reasons I never quite puzzled out. And Christian McKay’s (Florence Foster Jenkins) turn as Mirren and Sutherland’s son is just slightly off, never quite fitting into the movie as a whole. Neither choice ruins the movie, but it knocks it down just a notch in my rating and recommendation.

But this is a must-see film for film lovers and anyone with either elderly family members or those in or above middle-age. It is a reminder of why we struggle and why we love. It is, above all, an homage to marriage and relationships, with all their warts and shine. You will laugh a lot, cry a lot, and ultimately smile as you leave the theater.

The Leisure Seeker

A Quiet Place

[3.5 stars]

A tight, post-apocalyptic family drama, told with real skill. From the beginning, you are made aware that while the story is familiar, the rules you know may not apply. It is also a beautifully appointed tale of deaf child coming into her own in a world of imposed silence, which makes for some great, if never spoken, contrasts.

The danger of this film was really with writer, director, and one of the three main actors, John Krasinski (The Hollars). That is a lot of hats to wear and not screw something up. As you might have guessed, he didn’t. He builds a level of tension through scenes that few other directors have pulled off without cheap tricks. This is very important as some of the key moments you’ll see coming, but the editing and performances will keep you gripping your armrest. And, sure, you’ll recognize some of the moments and where he learned them from, but this world is very much his own. I was so involved with the story on screen that it was only afterwards that the echos came to the surface for me.

The story is entirely about Krasinski’s small family trying to survive together in a near-impossible situation. With Emily Blunt (The Girl on the Train) as his wife, she again proves her mettle on screen. It may not be her kick-ass warrior from Edge of Tomorrow, but she brings the energy and determination. Millicent Simmonds (Wonderstruck), on the other hand, brings the tragedy and strength that you would have normally expected one of the adult actors to take on. It is a complicated role that succeeds enough for its purpose. It will be interesting to see how her career progresses. The last main cast member I expected a bit more subtlety from given his turn in Wonder, but Noah Jupe’s tackling of the family’s son was a bit ham-handed for me at times. Honestly, that was Krasinski’s mistake more than Jupe’s, but it stood out for me amidst the other more contained performances.

All that said, this taut, 90 minute science-fictionesque/family/horror/drama is really fun and worth your time to see with an audience. When the whole room gets tense and groans and jumps with you, the experience is heightened even more. And while there are certainly brief moments of contained gore, it is really more all about the tension and release.

Victoria & Abdul

[3 stars]

From the very beginning you know the tone of this tale is not going to be the dry historical you probably expected. Victoria & Abdul is, for a large part of the movie, a light film filled with comedy and joy, though it certainly takes on important issues while it both celebrates and lambastes the pomp of royalty and the untenable position of a monarch. Judi Dench (Tulip Fever) tackles the leader of the British empire 20 years after her previous turn in the position in Mrs. Brown. In fact, this movie picks up that persona well into her years, long past Albert, and years after Victoria was again on her own. The two would make a great double feature as you can see the foundation of what leads to Victoria’s choices and household.

In the other title role, Ali Fazal (3 Idiots) brings an interesting energy to his character that feels almost false or forced, but somehow real. He is the perfect optimist opposite Adeel Akhtar’s (The Big Sick) whingeing and political ire in opposition to the court around him. Of note in that group are Eddie Izzard (Absolutely Anything), Olivia Williams (Man Up), and Paul Higgins (Utopia), among a host of others.

What starts as silly, progresses roughly as you’d expect as jealousies and prejudice begin to assert themselves. But Victoria was a tough old cookie, even till the end;  nothing was ever going to be simple.

Having already tackled Queen Elizabeth II, it shouldn’t be surprising to see director Stephen Frears (Florence Foster Jenkins) take on Victoria. He is well at home in the upper crustiest of crusts, and happy to show all the cracks as well. He coaxed a wonderfully balanced set of performances out of the entire cast and filmed it with care and love for his central characters.

And though the tale is oversimplified, Lee Hall’s (War Horse) script provides enough meat to keep it all feeling complete. The dialogue is also often delightfully unexpected.

This isn’t a brilliant film, but it is entertaining and worth the investment of an evening to learn about a newly discovered bit of history. Seeing Dench take on the mantle of the monarchy again to complete the story she started back in 1997 is also a gift.

Victoria & Abdul

Red Sparrow

[3.5 stars]

Red Sparrow is a surprisingly taut, female-lead spy drama that is Atomic Blonde by way of A Most Wanted Man.  Definitely Jennifer Lawrence’s (mother!) best turn in a long while, to my mind. Her character is fiercely intelligent, capable, and emotionally strong while being able to remain human. She finds a nugget of herself to hold onto until the bitter end.

As the men both caught in, and weaving Lawrence’s web, Joel Edgerton (Bright) and Matthias Schoenaerts (Far From the Madding Crowd) are both solid. The joy of this film is that everyone thinks they know what the others are doing, including the audience. But even when you are sure of what is to come, there is enough of a thread of doubt to keep the tension high and your curiosity peaked.

In two smaller roles, Joely Richardson (Emerald City) and Jeremy Irons (Assassin’s Creed) do some nice work. More so Richardson, to be honest, who’s existence is the MacGuffin for Lawrence’s entire set of actions. She doesn’t overplay it, nor does she disappear.

The weakest performance, frankly, was a surprise. Charlotte Rampling (Assassin’s Creed) just did’t fit in this production. Her accent was so wrong that even though her energy and demeanor were great it threw me straight out of the movie.

Director Francis Lawrence (The Hunger Games) embraced the dark of writer Haythe’s (A Cure for Wellness) script and didn’t try to apologize for it. It isn’t overly brutal, but it implies a great deal of human darkness and pain. In fact, he makes it feel like there is much more on screen than there actually is, which is another nod back to the old days of movies; he allowed our imaginations to work for him.

This may not have been a film on your list for any number of reasons, but if you enjoy solid spy dramas, this will fit the bill nicely.

Red Sparrow

Maggie’s Plan

[3 stars]

The story of Maggie’s Plan is an odd, modern look at romance and love which somehow manages a sense of the romantic and a jaundiced eye at the same time. It feels wholly unreal and utterly believable given the characters involved.

And it is the characters that make this very NY love story work, not to mention the cast that brought them to life. Ethan Hawke (Maudie) and Julianne Moore (Kingsman: The Golden Circle) are a cantankerous couple who are as much in love with one another as they are frustrated as they pursue careers and raise children. Similarly, Bill Hader (Power Rangers) and Maya Rudolph (Idiocracy) navigate those waters, with a different approach and somehow better results.

But is Greta Gerwig (Lady Bird, 20th Century Women) who pulls this all together and makes it work. There is something wholly engaging and magnetic about her as an actor, and this performance is no exception. She comes across like real person that has wandered onto the film set and somehow became part of the story.

Maggie’s plan is romantic at its heart, but not in the typical sense. But you can’t leave it without feeling like love is both real and possible. Whether you survive it or not is the bigger question.

Maggie

The Limehouse Golem

[4 stars]

Limehouse is a tense and complicated period mystery; a wonderful, precise, dark gem of a movie.

Olivia Cooke (Me and Earl and the Dying Girl) leads this twisting tale with character-appropriate confidence and acting ability. By her side, Bill Nighy (Their Finest) pulls at the threads of his open case and imagines the possibilities in an effort to solve the murders and save the girl in 1880 London. Sprinkled within the fictional are real-life characters who were in the Limehouse at this time in history, which adds some sense of reality to the tapestry of the film world.

Central to the story in tale and geography is a music hall dominated by Douglas Booth (Jupiter Ascending). His character, even from the wings (as it were), is an overshadowing presence that has him driving the film in his own right, even getting the opening and closing frames. Additionally, Sam Reid (2:22), and María Valverde (Exodus: Gods and Kings) play integral, if slightly less layered roles.

Two smaller characters are given quiet life by Daniel Mays (Against the Law) and Eddie Marsan (Atomic Blonde). These two actors are always great at making the most of small moments and minimal dialogue, and this movie is no exception.

One of the best parts of this film is the script, which has a strong female lead and an unconventional narrative. Jane Goldman (Miss Peregrine’s School for Peculiar Children) was on task to adapt this script from Peter Ackroyd’s book; the title of which is variously The Limehouse Golem, Dan Leno and the Limehouse Golem (a reference to Booth’s character), and The Trial of Elizabeth Cree (a reference to Cooke’s character). That it has existed with so many different titles gives you a sense of how much she had her work cut out for her. With Goldman’s history of delivering some of the most delightfully odd films of the last 20 years, she was a perfect choice to tackle this project. And director Juan Carlos Medina showed himself well with this Sophomore feature as it bounced between different themes, plots, and timelines.

Make time for this mystery. It will keep your brain going and engage you from the moment it begins. And while the surface story is wonderful, it is only one of the layers of this film, and only one of the ways to approach your understanding of the movie which is dense in meaning and language, making it eminently rewatchable.

The Limehouse Golem

The Cloverfield Paradox

[3 stars]

At the end of last year, Netflix stepped afield from original and purchased series programming and entered the big-budget feature game with Bright. It wasn’t an instant classic, but it was a shot across the bow of the current film distribution system and raised the bar in some ways for its pure streaming competitors.

This latest feature had a surprising trajectory that may remake the release landscape yet again. Bright was bought early in its inception  band guided by Netflix. In the case of Cloverfield, what was supposed to be a big theatrical release this April got picked up and near-instantly released by Netflix. Mind you, there are reasons it was available for such a purchase, but it speaks both to the power of the streaming giant and the new thinking of studios who are scared of losing money.

The movie itself, even with its flaws, is certainly on par with a lot of what hits the big screen; a low bar, I know. It parallels the Cloverfield universe, offering up (perhaps) some answers to where we left it off in 10 Cloverfield Lane.  And it tackles the story with the expected bad science fiction the series has embraced, and a great cast.

And the cast is probably one of the more surprising aspects of the story. Gugu Mbatha-Raw (Miss Sloane) drives this tale with incredible and complex (and occasionally questionable) emotional and intellectual strength. David Oyelowo (Queen of Katwe), as well, brings a command and depth to his performance. Daniel Brühl (Burnt) is a bit forced, but commits to his part of the story. The same is true for Ziyi Zhang (The Grandmaster), Elizabeth Debicki (Guardians of the Galaxy Vol. 2), as well as the relatively unknown (in the US) Roger Davies. Chris O’Dowd (Miss Peregrine’s School for Peculiar Children) is the odd man out in the cast personality-wise. He works, but mostly as delightfully understated comic relief. He isn’t a particularly credible crew member, but then again, none of them are. The most abused by the bad aspects of the script was Aksel Hennie (The Martian), whose taciturn Russian was way too cookie-cutter.

As his second feature, director Julius Onah shows some solid promise controlling big stories. He built a good path in terms of energy and flow and elicited some real emotion in the middle of what is arguably just a horror film on the order of Event Horizon. The real weakness was Oren Uziel’s (Shimmer Lake) script, which had unrealistic characters as well as forced and unexplained plot trajectories and moments. Fun? Sure…and O’Dowd got to take the most advantage of that…but completely inconsistent in ways that just left too many questions rather than a sense of something happening. For all its absurdity, Life at least had their astronauts behave like astronauts and their creature obey some set of definable rules.

Netflix still doesn’t quite know how to produce a solid feature-length film, but they’re learning and getting to use some impressive name dropping to keep it going until they do. I’ve seen way (way) worse on the big screen over the last year, and this is a perfectly fun and distracting entertainment with a couple really good performances.

Ultimately, and not unsurprisingly, there are more Cloverfield stories to come. Overlord is due in October this year to continue the universe (or so it’s rumored). What dropping a critical installment of this sequence of films straight to streaming will do to the franchise will be an interesting story to follow.

The Book of Henry

[4 stars]

Henry was a rather divisive tale during its release, but I honestly don’t understand why. It is dark, yes, but on a clear trajectory from its outset and with an emotional intelligence that is rare in films, and even rarer in films driven by children.

Jaeden Lieberher (Midnight Special), in the title role, is controlled but never forgets he is a child in a co-dependent relationship. Alongside him is the incredibly capable Jacob Tremblay (Wonder), who consciously takes a back seat in this film to his screen brother, but delivers a great performance nonetheless. In the third child role, Maddie Ziegler(Leap!) rides a very subtle line without ever overplaying her cards. Having three capable young actors driving a movie was a great surprise.

But this isn’t just a tale of the children. The adults around them have equally interesting paths to walk. Prime among them is Naomi Watts (The Glass Castle), who continues to be a conundrum for me. She is a very natural actor who never quite seems natural because she has such charisma and power on screen. This film manages to contain her relatively well, but it wavers at moments. Sarah Silverman (A Million Ways to Die in the West) is surprising as Watts’ best friend; funny, but in a dark and subtle way with a sad, but very real character. Finally, there are Dean Norris (Girlboss) and Lee Pace (The Hobbit: The Battle of the Five Armies) in critical, smaller roles. Both performances are quiet and full of implied layers which fill them out despite minimal screen time.

Colin Trevorrow has had an odd trajectory as director, going from the utterly delightful Safety Not Guaranteed to the overblown and absurd Jurassic Park and now a return to his more indie roots with Book of Henry. While Jurassic has made him a mint, it is clear that, left to his own devices, he can craft and control deeply emotional and complex tales. His execution of Gregg Hurwitz’s first feature script was done with real skill. It is oddly structured in ways that will keep surprising you as it subverts traditional plots.

I know this movie will not interest everyone; it somehow manages to credibly combine the sensibilities of The Young and Prodigious T.S. Spivet and Florida Project and Gifted without a nod or a wink. It captures small-town life and the quiet corruption that can lie beneath, but it isn’t so jaded as to go sour. The performances are near flawless and the story is both timely and effective. In other words, for the right and receptive audience, it is a solid choice.

Side note: I don’t often do this, but I’d waited months to read the Esquire review of this film and feel compelled to link to it. Not because I agree with it all, but there are aspects that are interesting. There are also aspects that make it clear the reviewer wasn’t paying attention, so I have to discount the whole given how intricate the plot is; missing anything is to make it all shaky. Regardless, the reaction is typical of what I was seeing. Do be warned, he retells a lot of the plot, so I’d wait before you read it as I did.

The Book of Henry

Phantom Thread

[3.5 stars]

If you approach Phantom Thread at face value, as depicting simple reality, it is a somewhat diverting tale of artistic drive and obsession with beautiful production values. Frankly not that exciting and, at times, just bewildering in the relationships. However, if taken more as metaphor (think of it with the subtitle: The Story of a Muse and Her Boy ), it is a discussion of art and the artist and who owns who in that relationship.

Given the title, Phantom Thread, I have to think writer/director Paul Thomas Anderson (Inherent Vice) was going for something less prosaic than just sex and inspiration. In fact, there is no onscreen sex, though there is some implied. But all moments of intimacy lead to creation in this film. Much like The Post, the focus of shots is often not the people but rather the objects they are in service to. In this case that is the clothes. And, my oh my are there clothes! In the end, the drive to create, and the process involved, is powerfully driven home by the final scenes and revelations.

Daniel Day Lewis (Nine, Lincoln) gives another memorable performance as the couturier, Reynolds. A man recognizable as the head of any house of fashion but uniquely his own. Opposite him, Vicky Krieps (A Most Wanted Man) holds her own and often dominates the screen quietly and with subtle expressions. Their relationship never fully jumps off the screen, but it doesn’t have to. It isn’t about romance, it is about their give and take with one another; the battle for supremacy. It is all very Greek.

Around the two main characters are two wonderful supporting performances. Lesley Manville (River) as Reynold’s sister is a master of understated humor and control. And Harriet Sansom Harris, in a critical, but small role, is sadly hysterical; you both feel for this lost woman and laugh at her.

Phantom Thread isn’t going to resonate with a wide audience. It is a highly personal view of the creative impulse at the far edge of genius, something that most people just don’t think about. Making it manifest has been done before (in The Muse, for example, or Ruby Sparks), though never quite like this.

Perhaps I am being an apologist for a flawed romance story, but I don’t think so. If you are looking for something a bit more straightforward, you’ll likely be disappointed. If, however, you’re a fan of haute couture or Anderson himself or are fascinated by the root of creativity, you will enjoy this half-fantastical journey, not to mention a chance to see Lewis’s farewell performance (maybe) on screen.

Phantom Thread

The Post

[3 stars]

As I prepped for the Women’s March, and only a day after the current president launched The Fakies, making time for The Post seemed both a necessity and a wonderful warm-up for the cause. The Post is a phenomenally important movie and message. I’ll get to the rating later.

This is Meryl Streep’s (Florence Foster Jenkins) story, without question. It is that extra layer of her coming into her own that really makes the film. But, surprisingly, while Tom Hanks (Inferno) , may share the marquis with her, it is really her relationship with Tracy Letts (Lady Bird) that is the flash point for her evolution; and his character enjoys that moment immensely.

There are a slew of other solid performances as well. Bob Odenkirk (Hell and Back) and Bruce Greenwood (Kingsman: The Golden Circle), for instance. But it is Bradley Whitford (Get Out) that stood out for me. His weasley Arthur Parsons was a study, mostly, in subtlety and restraint as an actor. And, though the performance isn’t particularly noteworthy, Michael Stuhlbarg (Call Me By Your Name) makes his fourth appearance in a top film this year; we should all have such a good agent working on our behalf!

While Streep’s character rules the story, it is the papers and message that rule the plot. This is clear in the way the Speilberg (The BFG) directs the shots and provides focus, often following the papers rather than the people. His message and warnings are clear about where we are today and what we cannot ever allow to happen. And the final moments slam that home with almost embarrassing abandon.  But I have to tell you, we were all clapping come the final credits and when is the last time that happened in a movie for you? It wasn’t quite the hopeful rush that V for Vendetta brought to me during the W years, but, then again, this wasn’t a movie of hope, it was a call to arms.

All the import aside, it is only, really, a middling movie on its own. Much like Bridge of Spies, it feels somewhat sanitized. There is no grit and grime like, say, Roman J. Israel, Esq. had. It sometimes felt more like the memory of an era rather than the time itself. The beats, even if you don’t know the history, are all pretty predictable. The moments that stand out are the moments that show us Streep’s world and reality (and a couple will take the air out of your sails). But her transitions aren’t very crisp…you see them and know they happen, but I never saw the “moment” it clicked over only the moment before and after. Perhaps more of the blame belongs to fairly fresh writers Hannah and Singer, but it was still Spielberg’s to bring to life.

So yes, see it. You must. If not for the performances, for the reminder and for the energy to act. It is most certainly not a waste of your time even if it isn’t the instant classic of The Paper Chase (which would make a great double feature).

See you at the March, I hope…

The Post