Robert Jury’s first feature is a quiet bit of unique Americana. It starts commonly enough: a factory shuts down, putting a good part of a community out of work. At this point you expect something in the vein of Made in Dagenham, but that isn’t this tale. In fact, it isn’t really where the story starts, but that’s all part of the charm and emotional hook of this tale.
Familiar character actor Peter Gerety (Sneaky Pete) takes the reins of this story in an inexorable way. Billy Brown (How to Get Away With Murder) and Talia Shire (Grace and Frankie) back Gerety up and drive the film forward. And drive forward it does to a slow burn and sweet, joyous finale.
Working Man isn’t big and flashy, but its focus on characters and life challenges pulls you in quickly and hangs onto you till the end. For a first feature, it’s incredibly impressive. But even absent that qualifier, it’s an engaging, often funny, always interesting collection of people and issues.
Titles are important. They can illuminate, entertain, or confuse. It’s important that, in this case, you go in knowing that Sputnik doesn’t refer to the infamous satellite, but to its translation: travelling companion. It’s especially important as the story is set in 1983, suggesting an historical context, and because it starts in space, further confusing things. So dump all that baggage and go with the movie as it is, which is really quite good.
The cast is quite small and is dominated by just a few performances. It’s primarily driven by Oksana Akinshina, who packs multiple layers underneath an adamantine exterior. Her performance bounces off the solid deliveries and reflections of Fedor Bondarchuk and Pyotr Fyodorov to create a movie that rises above its genre.
At its core, this is really just another space creature feature. But it is adorned with more than the typical human elements and clever consideration of the science. It isn’t perfect, but this one is definitely a step above similar tales. If you like suspense/horror/scifi offerings at all, make the time for this one. It will surprise you and is even worthy of rewatch.
Keep an eye on what comes next from the creative team. They work well together and clearly put the effort into their films to make them something special.
The stories we tell don’t change over time, but how we tell them does. And to that point, David Freyne (The Cured) has delivered not so much new ground in this coming-of-age tale, as a new approach. And that makes all the difference.
Fionn O’Shea (Normal People) and Lola Petticrew (A Bump Along the Way) take us through their last year of secondary school which includes personal revelations, experiments, and, eventually, acceptances. Unexpectedly, while told primarily through the scared and challenged O’Shea, Petticrew tends to dominate the screen when she is there. Part of that is the characters, but she also fairly glows with charisma and energy in a way that O’Shea just can’t touch despite his acting chops.
While the two teens dominate the film, there are several smaller performances with depth and impact. Sharon Horgan (Military Wives) has a subtle job as O’Shea’s mother navigating her stressed marriage to Barry Ward (The Fall) and her struggling children. Simone Kirby (Jimmy’s Hall) has a similar challenge as Petticrew’s mother. And, as a bit of running comic relief, Ian O’Reilly (Moone Boy) has some wonderful moments and solid timing.
While set in 1995, this story still applies today because teens have always struggled with accepting themselves and being accepted for who they are. Petticrew and O’Shea tackle their stories with heart and honesty while avoiding most of the ugly that it sometimes causes. But the movie is intended to be on the lighter side, with plenty of warm and funny moments and with an inexorable drive toward joy, however bumpy the road.
You’re probably thinking you don’t need another coming-of-age story, but make time for it. You won’t be disappointed in the film and watching Freyne develop his cinema voice is an extra benefit.
[If you’re looking for some insights after seeing the film, check out these short interviews with Freyne, and this with O’Shea.]
These are the tenants that drive the indigenous peoples in this story to reclaim the past and create a future for the Lakota and Apache and other remaining nations across the country.
Sanjay Rawal’s (Food Chain) documentary follows three people as they nurse back to strength aspects of native life for themselves and those around them. These include three very different areas, but all with the same concerns and approach: crops, salmon, and buffalo.
The documentary puts into harsh relief the histories that have nearly destroyed indigenous Americans; highlighting how food was weaponized by settlers and the government.
Rawal’s sure hand makes the story as hopeful as it is angering and disturbing. He manages to keep a neutral and honest eye, despite a clear point of view. And he provides some calls to action if you want to get involved.
But whether you want to explore current politics and issues the stories raise, it is a coverage of history you probably weren’t ever told. And it’s a story, particularly in our current times and discussions around reparations and the strains between people across the country, that needs to be heard.
Alan Ball (True Blood, Six Feet Under) tackles the-truth-in-the-quirky like Aaron Sorkin tackles the-poetic-in-the-mundane. His string of shows and movies all focus on characters, and the beauty and tragedy of life. This outing, literally and figuratively, he tackles the late 1960s life in NYC and rural South Carolina. Two venues that couldn’t be more different then, or today.
But, as always with Ball, part of what makes his stories work is the incredible talent he gets to inhabit those characters. While the story is about Frank, the title clues you into the point of view, which is led by Sophia Lillis (I Am Not Okay With This) as Frank’s niece. Lillis, again, proves she is not only up to the task of a lead, but is capable of wonderful and subtle emotional range. Her family, including Frank played by Paul Bettany (Avengers: Endgame), all orbit around her axis.
Which isn’t to say they are minor or side characters, it is simply that she is the spine around which the whole tale depends. It is her story into which they feed. And it’s a story many will relate to, directly or indirectly. The family is filled out by the likes of Steve Zahn (War for the Planet of the Apes), Margot Martindale (The Hollars), Stephen Root (On the Basis of Sex), and Judy Greer (Halloween).
Completing the cast, in what is one of the most complicated and challenging roles, is Peter Macdissi (Towelhead). Bettany and Macdissi have an easy give and take amid the sturm and drang of their lives. But with little explanation, their history feels obvious and real. And their love for one another is equally palpable.
While this is a story of secrets, they aren’t secrets for the audience, generally. The big things are all obvious. It’s how Lillis’s Beth becomes awakened by them, how she grows and changes because of them, and how she learns to see and appreciate things for what they are rather than how she elevated them. In other words, it’s a tale of growing into adulthood and learning to accept yourself and those around you for who they are. It may be a bitter-sweet journey, but this isn’t a tragedy; it’s a heart-warming tale of struggle and triumph. And one I do highly recommend.
Sofia Coppola (The Beguiled) may be the the best Bill Murray (The Dead Don’t Die) whisperer out there. She consistently pulls controlled, but emotional performances from the man without diluting his comedy. In this performance, he also comes across as an incredibly capable person, believably highly successful in the world, but with deep rifts of personal issues swimming beneath the surface. And yet, for all the emotional churn, he and the story are funny.
Playing opposite Murray, Rashida Jones (Klaus) is the true heart of the film. A daughter lost in the world she’s created for herself and doubting her own abilities, not to mention her marriage to Marlon Wayans. In what amounts to a sort of dark, farcical comedy she finds her way back to herself and the life she deserves.
Rounding out the cast, and filling in the world are some other wonderful actors. Jessica Henwick (Underwater), Jenny Slate (Hotel Artemis), and a small but fun appearance by Barbara Bain stood out for me.
Coppola’s script is playful, honest, and entertaining. You feel for Jones and her situation, but recognize her issues as well. But Coppola also keeps you wondering till near the end as to what the truth of her situation is. It’s a wonderful balancing act that helps drive the story forward. That said, the venue for her tale is the upper reaches of society again…a world Coppola knows well, but which is out of reach for most of us. It didn’t feel wrong, but it does add a little distance to the situation.
But whatever you think this movie is, you’re probably wrong. It’s sweet, funny, and entertaining while tackling some real aspects of marriage and life. Jones and Murray turn in wonderful performances and Coppola continues to show her strengths and growth as a director and writer. At 90 minutes, it’s definitely worth your time.
OK, yeah, this is very much in the framework of Norma Rae, and full of the same kinds of evolution and moments. But not only is this depiction of female empowerment in 1968 Dagenham true, it brought about real and permanent change to both England and most of the industrialized world (other than the US who still doesn’t have an equal pay law over 50 years later). Not that Rae’s inspiration, Crystal Lee Sutton, didn’t have impact, but it was nothing like this.
Sally Hawkins (Godzilla: King of Monsters) leads the story as an unassuming wife who finds her voice and stands up for, as she puts it, basic rights. The cast is chock full of talent, but it all centers on Hawkins and Daniel Mays’ (The Limehouse Golem) family.
Dagenham is exactly what you want it to be, with a bit of British grit thrown in. Much like Military Wives or its similar tale in Pride, it allows some real-life to intrude into the retelling. But the bones of the story are true. The timing of my viewing is also actually quite relevant, with the election just days away.
Because it is formulaic, for good and ill, I can’t rate the movie higher as a movie. But director Nigel Cole (Doc Martin, Calendar Girls) gave us a reminder of not only what is possible but also what is still so very wrong; with the US in particular though I’m sure that wasn’t his intention. But it is an uplifting movie, all the more for its honesty and resolution. And it’s a flick you’ll finish with a feeling of empowerment and joy.
I don’t know a parent who hasn’t sweated the two really big conversations with their kids: sex and death. Over the moon takes on the latter in a very accessible and relatively honest way without losing the magic of the tale. The story, by the late Audrey Wells (The Hate U Give), doesn’t shy away from many of the issues and feelings while also not making it overly depressing; she was targeting tweens and younger. The result of this latest Netflix drop is definitely a movie for kids, but with a delightfully odd mix of story and craft that kept me interested.
On the craft side, it is an odd mix of high-end CGI and flat animation. And, generally, the flat animation is used for the fantasy side of the world rather than the Fei Fei, our intrepid and driven heroine’s world. It makes for an odd experience, but it somehow works.
The story, however, is probably the more interesting of the choices. It brings in science as a way to focus the action, but then leaps into fantasy without apology. It also tackles some real life challenges.
The voice talent is adequate, but nothing that really stands out, despite some recognizable names. And the music is good, but never quite finds a song that will stick in your head…it’s close, but just misses. I will, however, give them props for some of the lyrics and script being at least a bit honest about how complicated families and life can be.
Over the Moon is fun once for adults, if you like anime and particularly if you like seeing other myths than we’re used to catching in English. Kids will likely enjoy this more, and perhaps even more than once, though I’m not a great predictor when it comes to that. But it is certainly a solid achievement and a funny and poignant tale.
For a good part of this story, I was willingly transported on an elegiac fantasy about love and art. Two people meet, by accident, make a connection and then, well, weirdness and the unexpected occur. It is very much a Chinese myth and story, right through to the end. But, this is a modern framing for myths you may know, and some that are made up. It isn’t full-on magic and weirdness, but stays focused on the characters and their relationships, with just enough oddness to keep it all unique.
Dante Lam directs with an open heart and love for the characters and with an artist’s mind. The result turns Kin Chung Chan’s script into something quite beautiful and, often, funny. Nicholas Tse and Kar Yan Lam work well together keeping the story light, but intense. Their side-kicks, Candy Lo and Eason Chan, help kick it along as well, though Chan is more than a little over the top.
For something a little different, with a solidly recognizable thread, this was fun. Though I will admit that it sort of falls apart at the end. I would have laid out the last few moments differently, both for consistency and to carry through the themes, but it still works emotionally. For a light-ish romantic tale with some classic overtones, check it out sometime.
In his relatively short life, Alexander McQueen was a force in fashion that could not be ignored. Love him or hate him, he was a master of design and presentation, not to mention a conscious provocateur.
This docu traces his rise and impact through interviews and tons of archival footage. It is a highly personal view of events, with very little in the way of objective exploration. McQueen would probably agree with that approach, but it makes the film, for all its beauty and inventiveness in presentation, less informative and more a reflection on the man.
And McQueen is a fascinating and tragic character; a driven artist and a damaged man. More than anything, you are left with the impression that perhaps the inevitable tragedy was avoidable if anyone had challenged McQueen’s ability to control the room and provided intervention.
Ultimately, there isn’t much to glean about the man in the fashion world, other than his c.v. and footage of his shows, as there is about the man behind the curtain. If you are a fan or curious it is certainly worth it for that. The new footage is a visual feast, nicely balancing a lot of the lower-fi archival footage. But, frustratingly, it does lose its sense of time. Being more commentary than academic, it provides few year markers to help you place the action (unless, of course, you know his career so well you can place the year by the collection).
For a peek behind the curtain of both the industry and to see the unguarded moments of the man, this is a wonderful excursion. If you want to know more about McQueen’s explicit impacts and efforts, I’m afraid you’re on your own.