Nicole Kidman (Aquaman) delivers a devastatingly broken-but-not-down detective, evoking more Charlize Theron than the characters we’ve come to expect from her. She is ugly, both mentally and physically; an anti-hero extraordinaire. Intense and gripping, but with the smallest bit of sympathy to keep us on her side.
Kidman navigates the world, past and present, with the help of a great supporting cast. Toby Kebbell (The Female Brain), Sebastian Stan (I, Tonya, Avengers), and Bradley Whitford (The Darkest Minds) chief among them. And then there was the otherwise unrecognizable Tatiana Maslany (Orphan Black). If it weren’t for the credits, I wouldn’t even have spotted her, and it wasn’t for lack of screen time.
Better known for her television work, director Karyn Kusama (Girlfight) is no stranger to female driven tales. In this case, however, she tries just a little too hard to maintain the atmosphere. The music is heavy-handed and the pacing just a tad strained at moments. But she does manage to create a dark, dark tale… a daylight noir in the harsh LA sun that drives forward relentlessly as flashbacks fill in the history. Oft-time writing collaborators Phil Hay and Matt Manfredi (R.I.P.D.) gave Kusuma a well constructed script to work with, but it is Kidman’s and Kusuma’s molding and delivery of that tale that makes it work.
Make time for this one when you’re in a mood for a bit of violence and mystery. The performances make it worth it alone, but the story is, itself, a good ride.
Louis Malle’s (Vanya on 42nd Street) second film, dating from 1958, is an entertaining look at noir. From its opening moments to its close the story spins out of control in unexpected ways, headed toward a conclusion that has many possibilities; none of them likely good. Hey, it’s noir. But it isn’t quite the noir you know and expect. This story owes much to Dassin’s Rififi, particularly its treatment of silence and its quiet building of character.
The story is primarily guided through the inner dialogue of an emotive Jeanne Moreau in her breakout roll. Moreau is a light amid the beautifully filmed, dark night of the story. It also boasts a score and performance by Miles Davis, which deepens the sense of emotion and thickens the Parisian night into something almost palpable.
Though over 60 years old, the movie manages to hold up in many ways, though it’s style feels a little forced and dated. But it is a taut 90 minutes and, though aspects feel like bad writing, much more of it comes together than you’d expect. And it is an early look at one of the huge influencers of cinema.
A deep and disturbing look at growing up and how much children pick up from their parents. But this story never quite goes where you expect it to, keeping what could have been an overwhelming drudge something darkly magical.
The three leads, Evan Rosado, Josiah Gabriel, and Isaiah Kristian work beautifully together as free-range sibs. Only Gabriel had any previous credits, but they all come across as natural and with a sense of craft. The story is primarily from Rosado’s point of view, but without his onscreen brothers, the story wouldn’t have worked.
In a supporting, but brutal role, Sheila Vand (A Girl Walks Home Alone at Night) gives us a mother surviving and loving while stumbling through life. Likewise, as their father, Raúl Castillo (Atypical) delivers an honest, destructive, and somehow still loving role model. Neither parent is going to win awards, but neither is so devoid of love and compassion as to be utterly evil in our eyes. That complexity is part of what sets this story apart.
In his first feature, Jeremiah Zagar drew on his documentarian roots in directing and co-writing this adaptation. He creates an atmosphere that is part Florida Project, part Kings of Summer, and maybe a dash of the atmosphere of Moonlight. It is deliberate and nearly poetic as it follows the three brothers through their days and lives over the period of about a year. It also managed to stack up a number of awards.
Honestly, this isn’t an easy film to watch. It is emotionally challenging and it flows at a low energy, allowing everything to feel very natural (which can border on naturally boring). But it pulls you along inexorably to the final moments. While it isn’t an entirely dark and depressing story, do save it for a night of catharsis or when you’re already feeling well centered. But see it for Zagar’s efforts and the performances, all of which will have an impact.
At the core of The Missing was the calming and obsessive Detective Baptiste, played by Tchéky Karyo. He was never the focus, but was the uniting factor of the series, and in many ways one of the more interesting characters. Well, now he has his own series. With the story solely on him, it is a bit lower energy but just as dark. Tom Hollander (A Private War) adds an interesting counterpoint, and a very complex character to the mix. And Alec Secareanu (God’s Own Country) provides a suitably evil opponent for both. There are some strong women in this series, and some damaged ones [Jessica Raine (An Adventure in Space and Time), Anastasia Hille (Tulip Fever), Barbara Sarafian, Talisa Garcia] but it is driven by the male characters.
There is a nice mix of mystery and suspense, though Karyo’s Baptiste seems to get to move with near impunity through the legal system of more than one country. But the show also continues the threads of his home life and past, which expands on what we know in interesting ways. Whether this show can be sustained over more than this limited story, I’m not sure. Karyo isn’t young and the character himself is winding down in his abilities as part of the plot. And the end of this clever and twisty six-parter was a bit rushed and, in some ways, forced. To their credit, it is satisfying and allows it to feel complete without closing the door to further stories.
Shakespeare and Hathaway (series 2)
The first series of this silly series was amusing…even more so if you know the plays of the Bard…but the mysteries were never brilliant. This second round is still fun, but the writing is much more hit and miss. In fact, the first half is painful at times, but they finally find their footing about episode 5. The main issue is more around police procedural and willfully stupid choices by characters. But this isn’t necessarily a show you want to over-analyze anyway. If you liked the first series, the second will happily distract you. If they can get more consistent writing, it has a chance for a long and amusing life.
Trapped (series 2)
The second series of Trapped takes on immigration and hate crimes on top of the delicate politics of country and family that the first series tackled. It picks up some time later from the first go-round, with some significant changes and some continuing tropes and battles. The mystery gets off to an immediate start and spins out from there intriguingly playing in the overlap between the far right and environmentalism. While the first series traps its characters literally, this series a more psychological reading of that title. Many first series characters recur and their storylines and tensions continue. The story itself unfolds very slowly, constantly going in new directions until the full tale is revealed and resolved.
Endeavour (series 6)
The latest 4 installments of Endeavour are coming back around to establishing the quirks and mannerisms of Shaun Evans’ (The Scandalous Lady W) titular detective. The last couple sequences laid some groundwork, but it was all inferred rather than direct. One of the things that made the first two series so great was watching Morse being born. This sequence really sets the stage for the relationship with Sean Rigby’s DS Strange and James Bradshaw’s Dr. DeBryn, as well as tackling some challenges with Roger Allam’s (The Hippopotamus) DI Thursday and Anton Lesser’s CSI Bright.
There are still a few years to go before the series hits the wall it cannot pass (overlap with the original series and the elevation of Morse to DCI in the 80s). With the next series, they launch into the 70s… but they could continue there for years at a paltry four episodes a go, which either means great news for lovers of the show or danger of spinning wheels and driving it into a hopeless rut. Given how carefully Russell Lewis has tended to Colin Dexter’s characters and has conspired to give us this early slice of Morse, I’m hopeful he can sustain the effort.
Shetland (series 5)
Shetland continues its travels with its characters and its dark mysteries across harsh landscapes. And, if its been a while since your last visit it may take a bit to get your footing with the characters and their relationships. Douglas Henshall’s (Collision) dark but seethingly emotional detective remains at the center of the mismatched family on the tiny and battered island. Mark Bonnar (Line of Duty), Steven Robertson (Luther), and Alison O’Donnell remain core to the story with him and to each other. In many ways, this is one of their best crafted seasons; it has a complex mystery with many switchbacks and character growth in parallel over the six episodes. Not that previous series weren’t equally complex, but this one felt the most evenly put together. Interestingly, series 5 is also journeying along similar ground as Baptiste and Trapped, taking on human trafficking as a core issue.
While known for his acting, writer/director Brady Corbet comes at this movie with only one other feature under his belt. He attempts to employ some interesting story-telling techinques, with Willem DaFoe (At Eternity’s Gate) as the narrator to a faux documentary, but the story never really gels. Corbet, frankly, tackles too much, trying to create something like an updated Breaking Glass crossed with Rudderless. We do get a lot of realistic behind-the-scenes look at music, which helps set this sort of fantasy and commentary apart.
Ultimately, the only thing that saves this movie is the performances and a bit of the production value. Natalie Portman (Annihilation) as a hard-living, nasty-talking star is a magnetic trainwreck thanks to the underlying emotions with which she infuses her character. Raffey Cassidy (The Killing of a Sacred Deer) in two roles (which was an odd and un-utilized choice) holds her own nicely alongside Stacy Martin’s (Nymphomaniac) older sister/aunt. And Jude Law (Captain Marvel) as the sort of genuine, slightly corrupt producer is interesting, but without much depth.
Ultimately, there just isn’t a story here. It is more of an imagining about what is behind big production pop tours, both in the current time and what led to it. But the layering of the narration attempts to push it into something else, something grander, and on that level it simply fails, leaving you hanging at the end with no understanding of why you invested your time to watch it. At least in my opinion.
Yeah, I’m a bit late on this one. I started to watch it early and, frankly, while it had caught me, I wasn’t driven to get back to it too quickly. I am, however, glad I went back.
With Emma Stone (The Favourite) and Jonah Hill (True Story) driving the tale, and Justin Theroux (On the Basis of Sex), Sally Field (Hello, My Name is Doris), and Sonoya Mizuno (Crazy Rich Asians) supporting it, there is some serious talent brought to bear. That talent saves the series, selling the odd and weird with commitment and nuance. Because despite all the clever aspects to the story and presentation, it really is a tortured and overly drawn-out metaphor, however entertaining.
Ultimately Maniac is an intriguing look at love, life, and schizophrenia, helping to make it one of the oddest love stories ever devised. Cary Joji Fukunaga (Beasts of No Nation) and Patrick Somerville delivered a series that is, at turns, intriguing and amusing…and ultimately affecting.
About the only thing I can say good about this film is that the main leads have talent. The story never really comes together and the message, if any, is somewhat empty with nothing new to say.
Helena Howard, in her first role, really manages to own the screen and show range. And Molly Parker (Lost in Space) is a model of a mess along with Miranda July, both of whom serve as mother figures to Howard.
I will grant that Josephine Decker direction manages to pull you along an impossibly obtuse plot that seems to keep verging on meaning, but just as quickly falls apart. It is most certainly not meant to be taken as reality or at face value, but there are nuggets of “truth” in there that help build a world and the characters. Sadly, in the end, it is allowed to simply fall apart. I am all for non-traditional story-telling, but it has to get to a satisfying point to have made it worthwhile. In this case, it just didn’t get there.
This is either an ignominious end, or a brave new platform from which, to relaunch what has been one of the most shocking and strong suspense/mystery series to come out of the BBC. Brutal, dark, and fun as always, this fifth series of Luther really got back on its feet, at least for the first three-quarters and a bit of it.
Idris Elba (The Mountain Between Us) and Ruth Wilson (Mrs. Wilson) continue to drive most of the action, along with Patrick Malahide (Mortal Engines). But Wumi Mosaku (The End of the F***ing World), coming in as a wet-behind-the-ears detective under Luther’s wing, really gets to show her range as well. Mosaku has been typically cast as the jaded copper of late, but this fresh persona has lost none of her sharp intelligence or strength, providing an immediate and interesting focus in the story. And, of course, Dermot Crowley (Hard Sun), is still there to helm the ship in his odd and MI-6 sort of way.
The wonderful counterpoint of Hermoine Norris (Outcasts) and Enzo Cilenti (Jonathan Strange & Mr. Norell), both with each other and Luther’s cadre, is great fun to watch. The two are a dark dance of fun with many currents running below the surface.
As I implied, up till the final half hour, this is a great series. It isn’t at all clear where the story is going to go or how it will all go down, though you’ll have strong suspicions. The question, at the very end , is whether writer/creator Neil Cross wimped out or if it was simply easy set of choices to bring it all to a close. As of a few days ago, there are rumors it will continue into a series six, but in a very new direction. However, nothing has been confirmed.
If you like Luther, this is a must-see continuation of his and his department’s tale. If you haven’t discovered the series yet, start at the top and see if you can handle the oppressive weight of Luther’s world. This is not a light series, but it is wonderfully acted and, often, intriguingly written.
The movie is written by and stars Daveed Diggs (Wonder) and Rafael Casal. They’ve crafted a script that is both naturalistic and lyrical, bordering on Shakespearian at times. Diggs and Casal are also a great acting team that dominates the film with their energy and emotions. Janina Gavankar (Sleepy Hollow) and Jasmine Cephas Jones (Mistress America) have impact and each provide important sounding boards for the men and their journeys, but remain in the background.
Blindspotting isn’t the most fun ride, though it does have humor, but it is a well crafted ride with some truly unforgettable moments and a very strong message. Definitely worth your time when you’re up for their approach, which pulls no punches but which also very much loves its characters.
Hilarious. Nauseating. Angering. Unreal. Adam McKay’s (The Big Short) depiction and investigation into the life of Dick Cheney is full of energy and, from the outset, honest about where he stands on the subject.
Christian Bale (Out of the Furnace) delivers an astounding performance as Cheney. To say he disappears into the role is an understatement. It is creepy, it is so believable. By his side, Amy Adams (Nocturnal Animals) does an equally chilling turn as his wife, Lynne. Even while humanizing them, they are unabashedly power hungry, walking evil. Not that I or McKay have an opinion on the matter.
There are some rather good bit performances as well. Sam Rockwell’s (Woman Walks Ahead) George W. Bush grew on me as he played it out. LisaGay Hamilton (Take Shelter) as Condoleezza Rice was quietly magnetic and Shea Whigham (First Man) was decidedly vile. I do have to say that I didn’t find Steve Carrell’s (Welcome to Marwen) Rumsfeld very solid, which was disappointing. It eventually got there, but there was something off in his presence and I couldn’t ever quite see the real man.
One performance being utterly missed, because it is so invisible in many ways, is Jesse Plemons (Game Night). His role is somewhat thankless, but he is the engine that keeps it all humming along. It is a solid definition of supporting actor and worth mentioning.
There is no question this movie has an agenda, as I’ve mentioned. It is as accurate as possible (and it becomes clear why that is only “as possible”), but the overall tone is clear. And do stick through the first two sections of credits, and look carefully, to get McKay’s final points.
I’m not sure if this is an empowering film or simply a warning. Frankly, I had difficultly making it through as it isn’t what one could call hopeful. However, it is a strong reminder of why we have to stay involved in the process and think for ourselves. Democracy, like marriage, is work. Stop putting in the effort, stop asking questions, and stop holding people accountable and you only have yourself to blame for the results.
But, as a film, it is entertaining. Just go in with a deep breath and stay calm or you’ll find yourself tied in knots by the end.
Art, writing, life explained… or at least commented upon…