Tag Archives: grrrls

iBoy

Every story is allowed one really big lie. I’ve said it before, but it is really necessary to restate for this movie because it has one really big leap you have to make in order for it all to happen. Happily, once it does, it is actually a reasonable tale of teenage heroics and recognition that the world, very often, just sucks.

Director Adam Randall’s sophomore outing of writer, Joe Barton’s (Humans) adaptation is definitely aimed at a younger audience, but is willing to (lightly) tackle some tougher subjects.

Bill Milner (Broken) carries the film well. We watch him come into his own as a young man, though not quite adult. His story, as a physical metaphor for adolescence, is actually pretty good. Silly at times, but good. In the other young lead, Maisie Williams (Doctor Who)  continues to broaden her cv away from Game of Thrones. Her performance here is compelling, but is certainly held back by the material from exploring all aspects and reactions to her situation. But, again, this is for a younger audience, so I gave her a pass on that.

Thrown into this mix of young folks surviving the projects are two main adults: Miranda Richardson and Rory Kinnear (Man Up). Without them, the story would have ended up feeling  like a comic book. They add just enough from the real world to make the story feel almost possible.

For a fun distraction with action, humor, and a some fanciful leaps of faith, it really is a good distraction by some solid talent.

Miranda Richardson in iBOY

The Discovery & 13 Reasons Why

Both The Discovery and 13 Reasons Why ask the same two questions: What is life? Why stick around for it? They come to roughly the same answers, though by very different routes.

The Discovery does this through the lens of science fiction. It asks: What if we knew there was something after death? And then it goes on to explore the impact, but tries to remained focused on the smaller stories. It is a rumination on “what if,” bordering on Eternal Sunshine of the Spotless Mind in feel.

13 Reasons Why does this from the 7th circle of Hell, otherwise known to most people as: High School. 13 Reasons tries to expose the realities of teenage perspective by offering up multiple stories and, potentially, the different variations of truth to them as we learn more. Ultimately, this is more a tale in the vein of Veronica Mars than it is a deep psychological expose, more structured as entertainment than open discourse, but it manages to make its points.

Their overlapping discussions of suicide make them a natural and topical pairing.

In The Discovery, suicide becomes a real, and less scary option for many people. Frankly, I think probably on a much bigger scale than the show posits. The script doesn’t try to simplify the risks or answer questions unequivocally, but it does nicely, if narrowly, follow enough characters to explore the idea.

Robert Redford (Pete’s Dragon), Jason Segel (The Muppets), and Rooney Mara (Lion) topline this intellectual thought experiment. With such a great cast, and a neat premise, it could have been so much more. But it is still engaging and thought provoking. And the ending is anything but passive for the viewer.

13 Reasons Why has a number of strong performances, but the primary standouts are Kate Walsh, Katherine Langford, and Dylan Minnette (Goosebumps). Walsh delivers a solidly heart-breaking performance of a mother dealing with loss and guilt. Langford lays out a progression of decisions and emotional fractures that help you follow her path, if not totally agree with the results–all the more impressive as it is her lead acting debut. And Minnette is a perfect “every kid” lost in the political tides of adolescence and inside his own head.

It is the confluence of these presentations that makes them so interesting to me. Either alone would have been something to notice. But two major releases, and even other shows like Transparent jumping onto the suicide depiction train (and there are many, many more, like Collateral Beauty), speaks to a subject in the air that needs dealing with in some way. Perhaps the documented rise of clinical depression over the last six months, particularly in women, is part of the explanation.

Regardless of the deeper zeitgeist, both of these streams deserve your time for their performances and their ideas. As to the bigger picture…time will tell.

The Discovery 13 Reasons Why

Cardinal

Apparently, the new Norwegian substitute is Northern Canada. In this case, north of Toronto. Like Bellevue, Cardinal is a serial murder procedural in the thinly populated, icy north of Canada. Billy Campbell (Helix) and Karine Vanasse (Revenge) deliver nicely conflicted detectives in the introductory series (based on Forty Words for Sorrow) to what could be a good run of stories to come.

It is a dark tale, and a tad graphic, but all in service to understanding the characters. A good part of that darkness, and its effectiveness, is down to Brendan Fletcher (The Revenant), who has a ridiculously long cv for his career. Along with Allie MacDonald (Stories We Tell), the two are a twisted pair who we can’t help but want to watch, even if we don’t root for them.

Originally aired on CBC, it appears to be difficult to find, so the best I can say is watch for it when it airs elsewhere (and it will).

Cardinal Poster

ARQ

I do love me a good time travel tale, and really hate bad ones. ARQ falls into the good camp. Every time (no pun intended) you think it is going to get boring or obvious, it shifts just enough to keep you interested. The world keeps expanding and the stakes keep rising.

Robbie Amell (Nine Lives) and Rachel Taylor (Jessica Jones) are suitably earnest if not entirely perfectly matched as a couple. They are both believable, though some of the driving motivations take time to reveal.

Though an established writer, Elliott (Orphan Black), this was Elliott’s first time directing a feature-length film. He kept it all taut and focused, managing to get the complex aspects of the story across well. He definitely should get more directorial work based on this result.

I do have to warn you that it doesn’t provide a great ending, unfortunately. Ultimately, it feels more like a pilot, or perhaps the plot became intractable, and so the story was wrapped up in an obvious way. But up to that last moment, it really is pretty clever and worth the time. And even with the flawed ending, it is a good ride.

ARQ

Sleepless

Unlikable people doing unlikable things in stupid ways doesn’t add up to a good movie. We don’t even get an anti-hero to latch onto. Jamie Foxx (The Amazing Spider-Man 2) and Michelle Monaghan (Pixels) are simply just bad at their jobs, whether or not they are also bad/dirty cops.

To balance that, as inept bad guys we get Dermot Mulroney (August: Osage County) and Scoot McNairy (Batman v Superman: Dawn of Justice), neither of which seems to deserve the empires they lead.  The only truly likable character in the entire film is Gabrielle Union, but she also pulls some stupid moves. Octavius J. Johnson (Ray Donovan), is mostly just a hot potato used to drive the action; his portrayal of the son has little depth and generates little sympathy.

To be fair, all these choices and lacks are the fault of writer Andrea Berloff (Straight Outta Compton) and director Baran bo Odar (Who Am I). The script is ill-conceived and poorly researched while the acting is relentlessly dark with few positive hooks for us to want to hold onto. Even an anti-hero needs to pull our sympathies in some way if we are to commit to them.

The cast was unable to rise above a bad foundation of this film. The idea that it could have a sequel (and boy do they set it up) was simply the bitter icing on the unpalatable cake at the very end. Basically, skip this one.

Sleepless

3 Generations

This is best thought of as a film about family rather than a story about a young trans man played by Elle Fanning (20th Century Women). It is primarily a tale about how this unique family inter-relates. And, in the end, this movie is really more Naomi Watts (Sea of Trees) story than it is Fanning’s.

But, truth be told, it is Susan Sarandon (The Meddler) and Linda Emond (The Family Fang) who steal this movie. Their characters and interactions are beautifully understated and comfortable. They throw away their lines like the old, partnered couple they are supposed to be but also manage to stay in the background. They take focus because of their quality, not because they are scene stealing.

There was so much controversy over this film as it came to screens. The MPAA tried to saddle it with an R rating due to its subject matter (learn more about the MPAA) and because Fanning was playing the role rather than a trans actor. Fanning (20th Century Women) does try to do her best, but I honestly never really bought her in the role both because the on-screen and script choices didn’t really fully jibe with my own experiences with people in transition.

The movie is simply, fundamentally flawed. Director and co-writer Gaby Dellal worked with Nikole Beckwith, but didn’t quite nail the story either in balance or action. Added to that, there is a forced layer of auteur visuals in the videos created by Fanning’s character that don’t feel at all on point or by him. And there is also a more metaphorical aspect of resampling and recreating music into something by that character. In neither case does the film pursue the threads, leaving them dangling, unfulfilled, and even distracting in some ways. And the men in this film, Tate Donovan (Argo) and Sam Trammell (The Fault in Our Stars), are somewhat pointless, but that is by design, though an odd message given the core focus.

Ultimately, there is entertainment and warm fuzzies to be had here, and a couple of the performances really are worth seeing. But as a movie it is middling in its success.

3 Generations

This Film is Not Yet Rated

Even I’m appalled that it has taken me 11  years to finally see this documentary about an industry that I’ve been part of most of my life. Especially so as I’ve always felt the ratings system was bogus (at best). Despite its early, stated intentions to end the censorship era, the advent of the MPAA and the rating system simply shifted and made shadier the efforts to control content by a minority band of self-appointed moralists. If that statement left you in the dust, then you definitely need to see this movie.

The sad truth, however, is that even after 11 years nothing has really changed since this Kirby Dick (The Hunting Ground) documentary hit screens. The MPAA hasn’t changed tactics or efforts at all. They are still beholden to the same masters (studios) and are secretive and capricious (and even bigoted) in their decisions. (See 3 Generations for a recent example. )

On the up side, the lay of the land around the industry, in particular with the rise of Netflix and Amazon Prime, has provided distribution avenues that didn’t exist at the time this docu was made. Also, the rise of “Director’s” and Unrated editions of films, only just coming to prominence when this docu was made, allows for the intended vision of films to find their audience. All of this doesn’t nullify the very real concerns or issues raised, but it points to potential ways around the gatekeepers from an artistic point of view. It would be a great follow-up to see how the financial landscape and decisions may be changing (though even Netflix is starting to scale back after years of risk).

Not Yet Rated exhibits Dick’s devotion to the truth as well as his sense of humor and commitment to his subject. It is a set of qualities that has garnered him several awards and nominations. This particular documentary struggles with its narrative, but not its entertainment nor its ability to inform. Which is to say that while it all comes together and there is a lot of information and revelation, the focus is a little soft. However, if you’ve ever wondered where the heck those letters come from on your entertainment, how they are selected, and how we compare to the rest of the world, you need to see this film.

This Film Is Not Yet Rated

xXx: Return of Xander Cage

Objectively, this film had a lot going for it in its conception. It had global scale and an established global cast. Unfortunately it also had a pedestrian script and a weak director.

Admittedly, I was never a huge fan of the first xXx (and no one liked the second). This was definitely the best of the three, with a more complex plot, but sadly also with about as much depth. It is neither James Bond serious, Suicide Squad bizarre, nor Kingsman comic-bookish but has aspects of all those approaches. It can’t quite focus on whether its humor is ridiculously arch, as Toni Collette (Miss You Already) does it, or whether it is deadly serious. Director Caruso’s (I Am Number Four) pacing is all over the place keeping the various aspects from coming together seamlessly.

More frustratingly, while the action is wonderfully conceived, the filming, by design, never really caught a lot of the action (literally, they wanted it to feel like the camera just couldn’t keep up with it). And isn’t that the reason we go to films like these?

The cast is an extraordinary collection of talent. In fact, outside of the Expendables series, probably the densest collection of stars put together for an action film. Vin Diesel (Billy Lynn’s Long Halftime Walk) of course heads the gang of adrenaline junkies, but he has added two of the top martial artists in the world, Donnie Yen and Tony Jaa (The Protector 2).

Into that mix he sprinkles in Ruby Rose (John Wick: Chapter 2), Deepika Padukone, Nina Dobrev (The Final Girls), Game of Thrones’ Hound, Rory McCann, and Chinese sensation Kris Wu, not to mention UFC’s Michael Bisping and real-life footballer Neymar. And (yes, more “and’s”) let’s not forget Samuel L. Jackson (Kong: Skull Island). Seriously, there is someone for everyone in this punch, drive, shoot, explosion, free-fall fest.

In watching the extras, you get a real sense of what it was they thought and hoped they were creating. In many ways Vin was trying to evolve the xXx series as the Fast & Furious had, but with a bit more actual story. But it lost its way despite some excellent schematics to get it there. International audiences were kinder to the film (on the order of 7x the domestic box take), probably due to recognizable faces for them in the cast and a general emphasis on action over dialogue. Vin may be able to pull this out yet…he had the right idea, he just needs a better director and script.

xXx: Return of Xander Cage

Girlboss

Silly, crude, empowering, oddly romantic, and not a little embarrassing, this is a fun series. And, yes, here we go again with Brit Robertson (A Dog’s Purpose). Seriously unintentional… just a matter of timing.

With this series, Robertson hard turns from young, sure teen to the kind of trainwreck most suitors can’t resist and yet should probably run away from. She cuts loose as the driven, and not a little scary, Sophia, who is trying to figure out her life while simultaneously blowing it up (including dating a drummer).

Her anchors, Jonathan James Simmons (The To Do List) and relative new-comer Ellie Reed, provide both encouragement and guidance, though not always the right kind. But all work well together and balance nicely. And, as her father, Dean Norris (Men, Women, Children) adds a solid sense of familial love and strife.  To add to the fun, there area host of recurring guest appearances by folks such as Melanie Lynskey (The Perks of Being a Wallflower), Jim Rash, Louise Fletcher and the infamous and fabulous RuPaul.

The show is full of humor and reality… and quite a bit of reality stretching, but that is admitted to right up front. Created and written by Kay Cannon (Pitch Perfect 2), she brings the same kind of humor and heightened reality she loves playing in. The series is a fun distraction, with some reasonable life lessons, and a moment to mark for Robertson, as she has definitely left her child-actor years behind her.

Girlboss

The Last Word

Shirley MacLaine (Bernie) dominates this film with a quiet surety and great craft. Much like Tomlin’s turn in Grandma, MacLaine slowly peels back layers of Harriet such that we eventually understand and embrace all of her. Amanda Seyfried (The Big Wedding) keeps up with MacLaine nicely, though it takes some time for her character to settle in on screen. It should also be noted that in her first film, AnnJewel Lee Dixon delivers a firecracker of a performance that bodes well for her career.

As a movie, Word is entertaining, if a bit manipulated. Given that this was also a first feature movie for both director Pellington and writer Fink, it is actually rather impressive. The weaknesses likely stem from Pellington’s TV background, where he stole overused tropes as shorthand to get to moments. But that is a small disparagement for the amusement and emotional tale that is Last Word.

This is a story of life lessons and mottoes with a bit of humor and and a few truly winning moments. It is also a great reminder of where women have come from in the last 70 years and what they had to do in order to pave the way; timely given current society and the recent release of Wonder Woman.

The Last Word