In her follow-up to Nannette, Gadsby once-again defies tradition and description. It isn’t quite the power-blast of Nannette, but it is a brilliantly structured piece of comedy. She starts exactly where she needs to and drags you laughing through to the end, pulling everything together as she does.
Whether or not you liked Nannette, you should see Douglas. It has its serious comments, but it is very much a comedy special put together with deft hands and a wickedly sharp mind.
[But if you haven’t seen Nannette as well, you should. It is a different animal, but it is a brilliantly, near-perfect, piece of stage craft. It isn’t comedy, per se, but it is funny, and cathartic, and a wonder to behold]
It would be hard to find someone who isn’t aware of Phoebe Waller-Bridge (Killing Eve) these days. She is the dame of the moment, and with good reason. She is a multi-hyphenate talent with a brutal sense of humor and the acting and writing ability to bring it to life.
This National Theatre performance is what spawned the amazing Fleabag series that made her a household name. It is a tight 85 minutes that tracks to a lot of the series, but is definitely its own story. It will make you guffaw and flinch, like the series, but this is a bit darker.
And, to top it off, all the proceeds for this incredibly well-priced rental go to supporting COVID relief. Make the time and queue this up. You can’t beat it for the price ($5) nor the entertainment.
Some movies are just great rides, and this is one of them. What Sam Mendes (Spectre) has accomplished with his planning and directing is a movie miracle from a technological point of view. And, in this case, that’s enough to recommend it. The script he co-wrote with Krysty Wilson-Cairns (Penny Dreadful), however, isn’t quite on the same level; it is more than a little forced. These aspects make 1917 an interesting duality.
There is no question that that is worth seeing and, in particular, worth seeing on the big screen. It pulls off what Birdman tried to but was too coy and self-conscious to pull off: making the one-shot completely invisible as a device. From the moment it begins, 1917 makes you walk alongside the young soldiers about to traverse a special kind of hell. George MacKay (Captain Fantastic) and Dean-Charles Chapman (Blinded By the Light) are perfect choices to lead our trip…they aren’t very recognizable, allowing them to be more believable. In fact, their lack of celebrity only heightens other faces we do recognize such as Andrew Scott (Lear), Mark Strong (Shazam!), Benedict Cumberbatch (The Current War), and Richard Madden (Rocketman). It is a purposeful effect, lending power to these small parts and diminishing even more the pawns we are following.
But here’s the tricky thing… their mission and the course it takes, in order to be dramatic, feels directed or manipulated. You may not know exactly what’s going to happen all the time, but you have a good sense since we’ve been on these rides before, just on more highly edited trips. MacKay, in particular, is simply a vessel for us. He is a complete cypher until the very end of his particular journey and then, well, it just isn’t enough.
1917 is a tchnologlcal monster in the way Gravity was in its year. In addition, it has an uncomfortable resonance, particularly now as we sit (yet again) on the brink of war. But despite all that, it isn’t a great story…which makes it only a solid movie and not a great one. Still, it will wow enough voters to get a Best Picture nomination and it may even sway enough to win. Certainly the editing, cinematography, and sound are worthy of notice. Directing as well, given the Herculean effort it took to pull it all off. But the story just isn’t there for me.
Part of my sense of the emotional gap is because of They Shall Not Grow Old, which never really focused on a single soldier, but which managed to create a more emotional journey for me. Part of it was the difference in scale. MacKay and Chapman spend most of their time in No Man’s Land. This sets them in an empty landscape surrounded by the debris of war but not in the midst of it. Those moments come, but the scope of it all was lost by the narrow focus, even as the beginning and end try to bring it back in. Though I fully admit the tension of the journey (one of many soldiers like these had to make) leaves you a wet rag as the credits role; physically, if not entirely emotionally, exhausted.
See this on big screen with big sound (Dolby definitely did this film justice on that level). 1917 is late to the race this year, but it is one you’ll be hearing a lot about over the next month or so.
Some films are good by themselves and some acquire additional greatness in the context of an entire opus. Martin Scrosese’s Irishman is definitely in the latter group; a masterpiece of epic storytelling that stands alone, but is also a reflection of his entire past. It presents a huge canvas and expansive story that is, at its heart (and to its success), a very simple tale. But as a piece of his entire canon, Irishman resonates both with humor and across time. It takes the harsh and frenetic world of Goodfellas and blends it with with tense normality of Raging Bull to come up with charged banality that occasionally explodes with moments, but is simply a tale of life.
Scorsese’s shaping and moulding of Steven Zaillian’s (The Girl with the Dragon Tattoo) script is a wonder to watch. The script disappears and the story, though it crosses decades, reamains easy and interesting to follow through its 3.5 hours. There are many clever milemarkers across the years, from fashion to historic events to movie titles. And, through it all, the growth and shift of the characters.
Robert De Niro (Joker) is at the center of it all. It is his story we experience; the world through his eyes. Joe Pesci (Love Ranch) and Al Pacino (Danny Collins) create the additional focal points of the tension in the story as the three men each exert influence. There are dozens of other great smaller roles, some nearly silent such as Anna Paquin’s (Furlough) powerful turn as De Niro’s daughter.
This is definitely in contention for Scorsese’s best so far. His control of the scope, the handling of the performances, and the execution of the final edit are all lessons in brilliance. He manages to infer much more than is ever there, avoiding a lot (though not all) of the extreme violence in his previous movies about organized crime. And that is probably its greatest aspect of success. All of those issues and ideas are there, but they aren’t the focus despite the purile allure it might have exerted on lesser directors.
Irishman is also a showcase for technology, particularly de-aging, in a way that is jaw-dropping. Robert De Niro and Joe Pesci evolve through decades, though often in counter to their current realities. But, if you didn’t know that, you’d never spot the fantasy the digital work and make-up have wrought.
The Irishman, despite all the hoopla and arguments over its theatrical release versus streaming, or Scorsese’s narrow minded thinking about modern stories, such as superheroes, and despite its lack of diverstity (in large part due to the realities of the subjects and era), is a new and instant classic. Find a day to carve out the hours needed and tuck in for a great ride.
Fred Rogers was a unique man, and one that touched a huge swath of hearts over his years in his Neighborhood. The recent and wonderful documentary Won’t You Be My Neighbor was a great reminder of that. This story, which may be about him, is centered more on his legacy and effect than it is a dramatization of his life. In fact, what director Marielle Heller (Can You Ever Forgive Me?) managed to accomplish with writing duo Micah Fitzerman-Blue and Noah Harpster’s script is just short of glorious.
Now, before this becomes overhype, let me be clear. It isn’t so much an in-your-face brilliant piece of cinema. It is simply structured so perfectly for its purpose, and so delightful despite the depth of its material as to transport you back to those days as a child sitting with Rogers and his crew as they helped you navigate the world.
Tom Hanks (The Post) isn’t a perfect visual fit for his role, but he exudes compassion and honesty in a way that makes you forget he isn’t the real thing. We learn about the man, but mostly through his actions and the comments of others.
The movie is just shy of perfect due to one extended fantasy sequence that, frankly, could have been much shorter or excised. I know why it was there, and it was amusing, but I think it was unnecessary. The rest was handled, performed, designed, and acted wonderfully. Look for this to get a slew of nominations and even, possibly, suprise in a few categories. It is an unassuming film, but it manages to be as magical as the subject it wishes to expose on screen. It is a must see for everyone, especially in these stressful times.
Holy Makeover, Batman! Whatever you think this movie is, whether from trailer or your knowledge of the DC universe, you’re wrong. This is a complex tale of psychology and humanity, of society and sociology. It is dark as hell, but worth every moment you spend with it watching the world mold the iconic character into the villain we thought we knew. It isn’t a comic book movie, though it is, in all fairness, an origin story.
But Phoenix would have been nowhere without his director and the script. Admittedly, Todd Phillips is not a director I would typically run to see but, with co-writer Scott Silver (The Fighter), Joker is one of the most gripping and well-crafted films of the year so far. It gets that distinction because it isn’t really about the Joker. Even though it is his origin story, that isn’t all it’s about. In fact, in many ways they have delivered a darker and more ironic V for Vendetta. In other words, the timing couldn’t have been better for this particular story. And I haven’t even touched on the craft of how well they made NYC/Gotham in the 70s live again.
Joker joins The Farewell on my list of the top movies this year. I’m willing to put my money on the table and say it will be nominated pretty much across the board: actor, director, script, production design, costumes, editing, and possibly sound as well. It isn’t 100% perfect, and we could quibble about some of the choices, but it is so close that it doesn’t matter if there are blemishes. Make time for this; just strap in and be prepared for the darkness.
The Farewell has been quietly saying, “Hello” to cinemas around the country, expanding each week to new audiences. It’s a greeting you should answer. Lulu Wang has created a deceptively simple film that is wonderfully honest, funny, and complex while remaining delightfully entertaining. From the opening moment of the film, you know that is going to be something a little bit different.
Awkwafina (Ocean’s 8) lands a great performance of a young woman finding herself and navigating a family crisis. And Wang helps her navigate it wonderfully and shed her typically over-broad delivery. The rest of the cast is solid, including Tzi Ma, Diana Lin, and, as the beloved Nai Nai, Shuzhen Zhao. Lin and Zhao, in particular may end up in conversations come awards time along with Awkwafina and Wang. And this film should be in that conversation.
But even if I’m wrong on the awards front, and it gets forgotten or snubbed, you should make time for this unexpected treat. It certainly touches on strong emotions, but its overall impact is a positive one; its messages (however you interpret them) and moments sticking with you long after the credits have faded.
Yesterday delivers one of the best films of the summer so far. It embraces the kind of sweet magic that Mamma Mia delivered (if not its sequel), but with a more adult and wry edge. It is funny, romantic, honest, and not a little subversive in its way, offered up with care and love by two of the best story tellers out there behind the camera: director Danny Boyle (Trainspotting 2) and writer Richard Curtis (About Time).
Boyle (Trainspotting 2) is one of the most diverse directors out there, often slipping between genre without missing a step (Sunshine aside). And with Curtis (About Time) laying the trail, the two take us on a journey that is both nostalgic, current, and toe-tappingly hypnotic.
Himesh Patel, basically an unknown in the US though a constant on Eastenders for 11 years, carries this story solidly. Opposite him, Lily James (Mama Mia! Here We Go Again) is the sweet embodiment of missed chances. There are a slew of other players, too many to mention, but Joel Fry (Requiem) and Kate McKinnon (Leap!) are among them. And watch for several credited and uncredited appearances throughout the film, most notably one by Robert Carlyle (Trainspotting 2).
As a side note, I have to say that McKinnon surprised me. While talented, she usually goes way to far with her comedy, destroying reality for the laugh. Boyle kept her very restrained, making it one of her best and most believable performances…edgy and out there, but within the bounds of the story till near the end.
This is must see film for the summer for anyone who enjoys music, comedy, and romance… and it’s the cure for CGI and action-laden madness that crowds the screen through the hot months. That kind of film can certainly be fun, but Yesterday proves it isn’t the only reason to catch a film on the big screen. And, for all its silly fantasy and sweet romance, there is a point to Yesterday. It starts to crystallize near the end, with a hint in the credits if you miss it. Honestly, it turns the whole idea on its head and gives you one last smile as you leave the theater. But even if that slips by, the journey and the resolution are worth your time. Don’t miss this one.
Years and Years embraces the aphorism: The journey of 1000 miles begins with a single step. And quite the journey it is, from the smallest to the largest step along the road of choices that marks out this slippery narrative.
Russell T. Davies (A Very English Scandal, Bob & Rose) offers up a far spanning look at current politics, all lensed through the very human and personal eyes of a single family. We follow them across a decade as they deal with the fallout and shifting landscape of a world in transition. It is often difficult to watch, especially the time period closest to our own, but it is also hypnotic and gripping. As it moves forward a hundred steps, and then a thousand steps, the world is completely unrecognizable and yet utterly familiar and undeniable. It often isn’t easy seeing how people act and react, but we’ve millennia of proof that we are seeing typical responses.
Though the story is bleak at times, it also celebrates the resilience of people. Survival is key: financial, emotional, physical, and even intellectual. Because that is how it works, the world goes nuts and people do what they must to survive. It is rare that a single event is “the end of it all.” But, of course, as things move on, that is always the risk.
The cast are very much up to the task of bringing this story to life; a bevy of recognizable faces, young and old. Some of the more stand-out performances are Anne Reid (Last Tango in Halifax ), Russell Tovey (queers. ), Emma Thompson (Men in Black: International), T’Nia Miller (Marcella ), Jessica Hynes (Bridget Jones’s Baby), and Rory Kinnear (Spectre). But, honestly, it is really quite the cast all around, even Lydia West in her first major role shines nicely.
Years and Years is a visceral response by a writer to the world; when good writers get mad they get writing. When they are also artists, they give us timeless classics like The Crucible. Years and Years is likewise a reaction to today’s political insanity and, if not quite as timeless as Miller’s play, it is certainly powerful and impactful. This is a must-see piece of television that will transport you to the very last moments of the series. It won’t satisfy everyone as the ending does leave some things open, but life is rarely fully satisfying…it simply keeps on keeping on. And as long as we can do that, we survive.
Who would have thought, watching that first tag at the end of Iron Man 11 years and 22 films ago, that today we’d be here? Talk about delayed gratification.
I didn’t rewatch all the films again, but I did rewatch all of Phase 3 in prep. Still an amazing trip. Thor is certainly the odd one out in flavor and Black Panther is still not my favorite (though its resonance has changed for me again in the last year with our own political mess), but as a whole the sequence continues the huge landscape and story. It has to be said, though he left after Age of Ultron, the success and structure of this audacious and incredible ride owes a huge amount to Joss Whedon’s grand vision of architecture.
And that is where this movie shines. Christopher Markus
and Stephen McFeely, writers of the entire Captain America sequence and Infinity War, landed this saga beautifully. It is a tight three acts loaded with humor and drama, and the biggest sequences since The Hobbit or Dunkirk in terms of battles. The Russos did a great job directing it all, never losing the pacing nor the sensibility of the characters. I can’t recall the last time an audience had so much spontaneous applause and tears.
Despite being over three hours, the movie doesn’t feel long at all. Every character gets their moments and resolutions and nothing is easy. And even the forced moments work because you want them to be there. Markus and McFeely also, almost, manage to get out of it all without a paradox, gap, or gaff. Just don’t pick at it too much, there was no way to avoid some of the issues they ran into. If there is any real ding on Endgame as a film, it is that it doesn’t and can’t stand on its own. Without the lead up (forgetting even the Infinity War cliffhanger) it would be obvious something is going on, but not what. That isn’t a bad thing for a finale, it just is being honest.
Anticipation couldn’t have been much higher for this movie, which concludes the emotional and character arc of Phase 3 of the MCU for so many characters and marks a change in direction for the stories. What that change will be remains to be seen in the official end to the Phase in Spider-Man: Far From Home. It has been floated that the overarching stories aren’t going to continue, though some characters are getting series on Disney+. I have to say, I am worried that they cannot sustain the franchise with that approach and thinking. It shows a lack of comprehension of what made the last 11 years one of the grandest adventures and experiments in movies.
I did see Endgame in IMAX 3D for this first go-round. It was worth it. The story is huge and gorgeously shot. The 3D is subtle rather than cheap most of the time. Most of the f/x are seamless, though some of the Hulk’s moments are a little threadbare. But definitely the way to go with this movie, at least once. Now, get yourself out there and see it before you get the story spoiled. You’ll only get to experience it once without knowledge, enjoy the surprises. And while there are video tags during the credits, there is an audio tag that is causing much discussion and little confirmation as to the meaning.