Tim Wardle’s matryoshka-like tale of three brothers separated at birth is fascinating. Even if you remember the story from when it happened, you don’t know the whole of it. Wardle’s control, revealing it in layers, takes you down a rabbit hole; it creates an experience as close to how the brothers themselves experienced it as you could hope for. The structure is a wonderful example of form and function, and yes, showmanship.
There is much to take away from this documentary. Some of it is wonderful and some of it less so. To discuss any of it would be to diminish the experience for you, so I won’t. Suffice to say, make time for this. Support it. And keep an eye on Wardle. He may have lucked out with subject matter on this one, but he still had to have the eye to find it and the skill to present it as powerfully as he did, while still being utterly fair to the facts.
Morgan Neville (20 Feet from Stardom) has put together a lo-fi cure for hopelessness in these dark and desperate times. This is not a flashy film. It is full of old, grainy footage, talking heads, and simple conversations, much like Fred Roger’s shows. And yet it is profoundly powerful, like watching old, previously lost films from the attic of your childhood or of your family (or the family you wish you had).
If you grew up on Roger’s shows, it is easy to miss how subversive they were. This is especially true if you watched them from the beginning in the late 60’s. His willingness to discuss hard subjects with children, his inherent belief that children were people capable of understanding and, more importantly, were wells of potential goodness in the world was unlike anyone else in the media. Both he and his show embodied that in the tone, the pace, and the simplicity of its presentation. Reflecting on those shows, the events surrounding them, and his philosophy is to acknowledge something we’ve lost.
Not that it really matters, but given it has been 15 years since Roger’s passing, I did wonder about the impetus for this documentary. Part way through the movie, I think I got my answer when Yo-Yo Ma made an appearance; Yo-Yo Ma and Rogers were long-time friends. My guess is that Neville was inspired during the creation of The Music of Strangers to look at Rogers as a subject. The timing of the release may well be happenstance, but I expect it is, in part, in recognition of how far society in this country has drifted from Roger’s simple ministry of ideals and hopes.
Personally, I went into this film despondent over the last week in the news. Shattered, actually. Won’t You Be My Neighbor gave me back a sense of hope, but not in a blind way. Roger’s moment fighting for PBS in Congress subtly sums up so much of what has gone wrong in this country and shows that it could be something else…because it once was. It is a perfect film for a troubled time as a reminder of what we are capable of and how we should approach people and the world and, yes, even politics.
[If you want to see just how low I had gotten prior to this film, you can read When Hyberbole Meets Axis (password: politicalplace)]
50 years before The Martian, this piece of survival adventure was brought to screen by director and special effects great Byron Haskin (War of the Worlds). But where The Martian was all about sciencing the hell of out of stuff, Robinson Crusoe is more like Cast Away, surviving on luck, happenstance, and a serious dose of colonial mentality. OK, not all of that is Cast Away, I was referring mostly to the surviving parts.
While Crusoe won’t win any science, or even acting awards, there is something compelling in its portrayal, especially given when it was made. Paul Mantee must solve challenge after challenge to survive on Mars after being stranded. You’d be forgiven thinking the lead for this tale was going to be Adam West as he is much more recognizable in the current times thanks to Batman and Family Guy. In addition to being a familiar face, for some reason he also dominates the opening of the film which is weird structurally.
Given the title, it should be no surprise that Friday shows up in the guise of Victor Lundin. He, along with the surviving monkey who, for some reason got to take a trip to Mars with Mantee and West for experiments, fight the elements and unseen enemies to make it to a rather abrupt and unlikely conclusion. Friday’s role is subtle, pushing back against some of the colonialism in Mantee and the audience in quiet ways, but never really rising above the noble savage in the script.
So why spend time with this you ask? Well first, the Criterion restoration is pretty incredible; the visuals are crisp and clean, though, admittedly, some of the sound levels are a bit loud. The story itself is universal, in terms of survival against the elements and the unknown. And, perhaps because of the highly clinical response to the dangers, the result is less melodramatic and more a fascinating puzzle. Certainly to modern audiences aspects of the discoveries and solutions are laughable, but this film was made after we’d barely gotten into orbit and not long after the Cuban Missile Crisis. We really didn’t know much about Mars at the time, though more than the script might suggest, and we were deep into the Cold War. While it is admittedly more a curio than a great film, the experience is a fascinating look back to a time not all that long ago and, honestly, not a bad evening for popcorn.
It’s easy to dismiss this as a story that depicts the basic truism “criminals are stupid” because, well, they certainly were in this case. However, that would be selling this quasi-documentary short. Bart Layton wrote and directed something that wasn’t so much unique as it is impressively seamless as it bounces between the real subjects of this story and the actors and situations depicting their tale from 13 years previous. It is a wonderful melding, raising re-enactment to an impressive level that maintains truth and also becomes a movie on its own.
Part of that success is how well Layton cast the younger criminals. Evan Peters (Elvis & Nixon), Blake Jenner (The Edge of Seventeen), and Jared Abrahamson (Travelers) each manage to embody their real-life counterparts and deliver nicely layered characters. Most importantly, you can see them growing into these men. But while Barry Keoghan (The Killing of a Sacred Deer) delivers a performance that, under other circumstances, would have been great, I had great difficulty seeing him grow up to be the real Spencer Reinhard. This isn’t just a matter of knowing the story and people involved, Reinhard and his cohorts deliver interviews and color commentary throughout the film…we see them and get to know them, which makes the younger portrayals all that more important. Around them are a solid ensemble making it all work. There are also some specific supporting bits from Udo Kier (Downsizing) and Ann Dowd (Collateral Beauty) that stood out.
But ultimately, as engaging and suspenseful as the story is, the real question is what is this movie about? Certainly it chronicles the events and, to a degree, the lives of those involved. It raises some interesting questions about motive and growing up as a Millennial. It encourages us to wonder what we would do in these situations. But what it doesn’t do is provide satisfactory answers or a sense of conclusion. There is no indication that those involved even had answers to those questions or ideas. And that, perhaps, is part of Layton’s point in making American Animals, but I’m not sure that’s enough to justify having made the film, however well crafted it is.
Still, for the ride and to experience the beautiful craft that Layton employs, this movie was worth my time. I wanted more, but I can also acknowledge the filmmaker’s vision.
Legal icon. Trailblazer. Intellectual champion. Übermensch. Octogenarian superstar. Notorious RBG has earned her moniker and the respect of multiple generations. Quietly and steadily, this unassuming 5′ 4″, soft-spoken woman reset the course of law in this country in support of equal rights for all. It is story that will give you hope in these divisive and regressive times…and really make you wonder how we went from people of her caliber to nominations like the decidedly unqualified and poorly spoken Gorsuch, or 45 (not that I have an opinion there).
As a documentary, this is a fairly straight-forward recounting of Ginsburg’s life and career and the steps that have led her to be such a loud voice on the U.S. Supreme Court. Some you probably know, a lot you probably don’t. There is little subtlety to the film, but there is great respect and a surprising range of voices in her corner. The film-makers go out of their way to avoid too much controversy, which is a bit of a shame. Given that the Red Scare is the reason Ginsburg is a judge, and particularly a judge focused on civil liberties, they had an opportunity to create something a bit more pointed for the present day. As it is, there are hints and nods, but it is generally very matter-of-fact with some delightful peeks at her family life and out-of-court persona.
RBG is worth seeing just to get a sense of history and change that has occurred over the last 50 years; a lot of it very good. It is important to remember there has been movement…and just as important to remember you must always defend the gains lest people take them away. With stalwarts like RBG still on the bench, at least we have her voice when things go in the wrong direction. Sometimes that voice alone is enough to move mountains…just ask Lilly Ledbetter. And that is comforting.
Many things can define a culture or a group. It can be music, food, fashion…or in this case: art. You may not know his nome de pencil, Tom of Finland, but you can’t have escaped the images that Touko Valio Laaksonen produced. He defined a great deal of gay culture starting in the 40s up through the 80s, evolving his art from providing a voice to the fantasies of forbidden desire to, ultimately, celebrations of life in the face of illness. Whether or not you were part of the leather culture, his images captured raw sexuality in a heightened way that was an equal response to, and a statement about, how repressed culture was pretty much everywhere.
Beyond his art, Laaksonen himself, had a fascinating life that we pick up during WWII. Yes, he struggled with a repressive culture and horrifying laws and bias, but he also struggled with simply being a veteran of war. His wish to avoid confrontation, to not have to fight anymore, is something universal to soldiers returned from the front. Seeing that play out in his life was an unexpected aspect of the history.
Director Dome Karukoski also told the story in an interesting way, without explanation flipping around the chronologies at times, but always with a purpose that would pay off. He maintains a respectable distance from his subjects, but allows us to invest in them and hope for them. There is an odd clinical feeling to many of the exchanges that is reflective of Finland and Germany, but it never leaves you feeling closed out. In some ways the lack of warmth heightens the brief moments of connection for Touko and contrasts nicely with his later life.
This movie works equally well as a story and as a documentary/biopic. Primarily in Finnish, it also has plenty of German and English dialogue and nothing is so rapid fire as to cause subtitle strain. In fact, a lot of the film is without dialogue, allowing the story to play out with looks and action alone. It is well done and, ultimately, educating. It will also provide you a new appreciation for Tom of Finland, his work and his purpose, not to mention his place in history.
Annette Bening (20th Century Women) does a wonderful job of recreating Gloria Grahame with a sort of Marilyn Monroe at the Grand Hotel vibe. Grahame had a tragically fascinating life, full of huge successes and personal regrets. But the film never feels like a biopic. Writer Matt Greenhalgh (Nowhere Boy, The Look of Love) didn’t fall prey to assuming we already knew Grahame and were invested in her. He brings us to her just as Jamie Bell (Fantastic Four) and his family, Dame Julie Walters (Brooklyn) and Kenneth Cranham (Bancroft), come to and become attached to her.
Director Paul McGuigan (Victor Frankenstein) also navigated the complicated plot and characters with confidence. He doesn’t make excuses for the characters, but allows them to be honest as he unpacks the truths over the course of the story.
I didn’t know about Grahame going in. In fact, I didn’t even realize the film was biographical till the end. It is simply an interesting story told and acted well. Benning, in particular, brings her A game to a very layered, and at times desperate, woman. This film would also make a great double-feature with Bombshell: The Hedy Lamarr Story.
Bombshell is well named and well punned by first time writer/director Alexandra Dean. She brings us a wonderful examination of one of the best known faces of the 20th Century: Hedy Lamarr. It is all the more poignant is that this arrives in an atmosphere of the #metoo movement and the rising concerns of the potentially eroding position women hold in society.
What Dean makes immediately clear is that while Lamarr’s face was known, and maybe some of her life, who she really was remained ignored till recently. Through interviews with family, friends, and industry colleagues, as well as extensive recorded interviews and footage, we get a sense of the astonishing person behind the tabloid history that dominated her legacy. Which isn’t to say her life wasn’t tumultuous, but it was also full of invention…literally.
Take 90 minutes to learn about Lamarr and how she has shaped your life in ways you have never known. And, while you’re at it, gain an appreciation for both the horror of the studio system and the implicit bias that still pervades the world.
So what do you get when you have an unchecked leader running a country with only sycophants at his side? No, not that, I’m speaking of Russia in 1953. Though the parallels are utterly intended and the implications somewhat overwhelm the humor at times. But when Armando Iannucci, the co-writer and director of In the Loop and Veep, decided to tackle the Russian oligarchy for his second film, you rightly expect dry, wry. and bleakest black humor. If you didn’t, you probably have gone to the wrong movie.
Here’s the thing, this is not my favorite kind of humor. I enjoyed this movie to a degree, but I found it painful at times, and quite silly at others. It has a Monty Python-esque meets Chekov quality, and not just because Michael Palin (Remember Me, Absolutely Anything) is in it as Molokov (yes, that Molokov). That it also manages to cleave close to historical fact at the same time is a credit to Iannucci and his gang. But the movie doesn’t flow in a way that feels entirely right for my tastes. He does, however, know how to cast for his needs.
Iannucci has given us a cautionary comedy; a well-done satire. For the right audience it will entertain completely. For others it will cause an uncomfortable frisson. And for yet others, it will simply stoke the frustration and anger they are currently feeling with the world. So go in knowing what kind of film you might be seeing and decide if it is for you.
Picture it: 1971 Switzerland. Rolling farmland. Mountains. And women still without the right to vote. Yes, seriously. This film chronicles the weeks leading up to the 1971 referendum that reversed that absurdity (though it would be another 10 years before it was added to the constitution).
What is weirder is watching the story and seeing the world that so many in power today pine for. It is a village locked in the 40s and 50s in look and 1800s in mentality. For all that, it is full of humor and entertainment. It isn’t a belly laugh kind of film, well not often, but it balances the darker side of the reality with the lighter side. There is a particularly wonderful scene with Sofia Helin (The Bridge) on that front.
Unlike other “rights” movies, like the wonderful Pride, there is never a huge moment of triumph, despite the wins. Writer/director Petra Volpe instead gives us a series of small victories and a sense that the efforts have to always be going on to maintain and protect those rights. Sound familiar?
Definitely a timely and interesting film to see against the backdrop of today. It is well acted and emotionally satisfying, capturing the culture and the history in unexpected ways. Oh, and it was well recognized on the festival circuit as well. Make time for this movie for both inspiration and entertainment.
Art, writing, life explained… or at least commented upon…