Tag Archives: Romance

Carnival Row

[3 stars]

If Ripper Street and Copper had a magical baby, this is pretty much what you’d get. For me, however, the poor child took on the worse qualities of both parents. A shame as it had the potential to tackle the current issues of immigration and xenophobia sweeping a good part of the globe.

In the end, Carnival Row is a marginally thought-through bit of genre, full of strife and demons (personal as well as real). It is a by-the-numbers fantasy with few surprises and cliche characters; the pacing commensurate with its genre, which is to say: slow.

The show isn’t helped by its female lead in Cara Delevingne (Tulip Fever), who has the look of a Fae, but the emotional credibility of cardboard. Despite Orlando Bloom’s (S.M.A.R.T. Chase) backing her, and with some interesting tension between them, she just never became real for me. Even the host of solid supporting actors are generally forced into tiny boxes of behavior, by script and directing, that does little to show off their talents.

Ultimately, I’m still not sure if I enjoyed this first season or not. It is clear that the it was built around the first episode and final moments in the last…with a whole bunch of stretched out filler in-between. It is, in fact, more of a prologue or setup for a story to come. You may find it more engaging than I did, but despite the grand production values, I found myself frustrated far too often to settle into the tale and become a fan.

The Aftermath

[3 stars]

Most war stories focus on the lead up to conflict or the battles themselves. Very few look at what comes immediately after and how it affects people. Mind you, the “aftermath” in this film is a layered statement rather than simply the months after VE day in bombed-out Hamburg.

The story revolves around three survivors of the conflict, each damaged in different, but overlapping, ways. Keira Knightley (Nutcracker and the Four Realms), Alexander Skarsgård (Little Drummer Girl), and Jason Clarke (Serenity) keep the story taut and interesting, even when the events are a little forced at times and obvious at others. Both issues are more due to the adaptation rather than the acting. In compressing the story to fit into a movie, some important moments of change are rushed.

Director James Kent (Inside Men) keeps the story moving and helps the main cast navigate their paths. He also recreated the era and Hamburg with incredible and effective detail. From the opening moments he gives you a sense of the era, the horror, and the desperation. Most of the side characters, however, are a little cliche; there for convenience but without a lot of flesh. Martin Compston (Line of Duty), in particular, is hurt by this, though his screen-wife, Kate Phillips (The Little Stranger), manages to provide depth within the limited script she’s provided.

Even with the few weaknesses in execution, there is enough in the main performances and story to make this worth your time. Watching them attempt to heal their wounds is an affecting and honest tale.

The Souvenir

[2.5 stars]

I so wanted to like this more. I kept trying. There is sense of something buried deeply in its recursive, meta, Sophomoric view of life. Unfortunately, I never quite found it…and the final denouement “Part 2 coming soon” after the credits made me shrink in horror rather than anticipation.

Despite that reaction, I was drawn through the story, though I think that was mostly on a misinformed idea that there would be a pay off. That said, it has Tilda Swinton (Suspiria) in, literally, a matronly role to her real-life and screen daughter Honor Swinton Byrne. The two work well together but Byrne’s character life is hampered by the telling of the story. We don’t really see her changes, we must mostly infer them. But we also never really understand her attraction to Tom Burke (Strike), who does a likewise solid job with what he has to work with. While we don’t have to agree with a character’s choice, we do have to understand it.

Writer/director Joanna Hogg  certainly has a track record, as does this movie, with awards or nominations for every one of her feature projects. But I don’t understand the enthusiasm around this offering. It may have been created with skill, but that didn’t translate into a good movie. At least it didn’t for me.

Medicine for Melancholy

[3 stars]

How do (or did) you navigate the morning after a one night stand? And what happened next? In this first feature by Barry Jenkins (If Beale Street Could Talk), we get to follow Wyatt Cenac and Tracey Heggins for the day that follows their hook-up. We slowly get to know them as they learn about each other. The performances are nicely understated and unsure as they slowly reveal who they are and what they’re looking for.

Within the often forced dialog and awkward moments, you can see the roots of Jenkins’ films to follow. It is most evident in his focus on character and the sometimes painful discussions of inner beliefs we all experience with those we expose ourselves to. You can also see him reaching to find his voice, even as he plays with imitating influences like Spike Lee. If it weren’t for Jenkins’ subsequent films, this would simply be a notable, but not particularly great, indie. But as part of his opus, it is a curio worth checking out if you want to see his roots as a filmmaker or some of the early work of the story’s stars.

Yesterday

[5 stars]

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.

Happy Death Day 2U

[3 stars]

Happy Death Day was one of the better surprises of last year’s horror offerings. It was full of humor and scares and tackled the Groundhog Day trope with verve. Did we need a follow-up? Probably not, but this one actually managed to build on the original and keep up the entertainment. And, while they force an explanation onto all the craziness of both the first and current film, Christopher Landon managed just enough hand-waving goodness in his writing and directing to let you accept it and move on.

From a character point of view, even more than the first film, this is Jessica Rothe’s (Please Stand By) movie. She doesn’t start the story this time, but she completely takes it over and drowns out all other characters. So much so that the others really don’t matter in the end. This is her journey and resolution. And while they’ve left the door open for a third through a mid-credits tag, my hope is that it was a final joke rather than a heralding of a third film. This vein, fun as it is, is tapped.

Basically, if you liked the first set of loops, you’ll like this set. They are substantially the same stories, but each with a different focus and driver to keep them separate and fresh. And they are both loaded with silly fun tempered with just enough reality to make it work. Definitely a popcorn evening to share with someone of like humor.

Always Be My Maybe

[3.5 stars]

It may not have the polish and flow of Crazy Rich Asians, but it has the sentiment and a wonderful sense of reality amid the hijinx. Randall Park (Ant-Man and the Wasp) and Ali Wong (Ralph Breaks the Internet) paired up on the script and on the screen with a slightly outlandish, but sweet tale of destined love.

At the helm, director Nahnatchka Khan makes the jump to the large-ish screen well. But, despite the range of years and geography, it still feels more like a TV movie than big-screen fare. That doesn’t make it bad, it’s just a reaction to the sense of it. For that reason, Netflix was a perfect release vehicle. It is entertaining and flows well, but would have probably had a very limited release in theaters, and likely a small audience. Netflix gave it a wider audience who may never have found it otherwise, and it did so out of the gate.

This is definitely worth your time, especially for an evening to cuddle up with someone you care about. Everyone will find something in there they’ll recognize in their relationships and actions.

Farinelli

[3 stars]

Stardom has been with humanity since its earliest days. What excites the masses shifts, but there is always something that captures imagination. In the 18th century, for a time, it was castrati; singers sans balls who’s life altering choices were made for them as young boys. Farinelli was one of the biggest. Singers, that is.

Though made in 1994, the movie resonates with current tastes and reflections. From the camp to the glitz, you can’t watch this without thinking of Freddie Mercury’s story as told in Bohemian Rhapsody, the docu Studio 54, or even reflect on the careers of Bowie and Elton John. This is Glam Rock in its infancy.

The story, however, is more of an opera: overblown and extreme. But the film struggles a little on bringing us into it all. In large part that is because it is more than halfway through before you start to understand the character’s motivations. In fact, it wasn’t until after the final moments and thinking about it more that it came into full clarity. That either makes director and co-writer Gérard Corbiau’s result very clever art or a poorly constructed film. It isn’t an easy call to make on that point.

Stefano Dionisi’s Farinelli is everything you’d expect. His brother, taken on by Enrico Lo Verso is more cryptic. The two play off each other well…but it is a curious and fraught relationship that is as much confusing and it is sibling battles. Arrayed against them is the better known actor (stateside), Jeroen Krabbé, who tackles a much-conflicted Handel. Some of the film smacks of Amadeus because of this conflict, but the stories, while philosophically often sharing ideas, are very different.

This would be a really fascinating movie to remake today. Given the sexual politics that have dominated so much of the news, not to mention the tensions mounting around the world, there is fertile ground for both spectacle and commentary. For now, however, we’ll have to settle for this incarnation of it, which hits on many historical accuracies, even if that isn’t its real intent or focus.

The Scarlet Hour

[4 stars]

Remember when films were ephemeral events…before it was all stored and streamable from the cloud? How exciting is it that we’re still in an era where movies can be rediscovered after vanishing from screens for decades. Thanks to The Palm Springs Noir Fesitival one of these, The Scarlet Hour, was presented with a pristine new print supplied by Paramount. And what a treat.

Noir is definitely a matter of taste. The style is delightfully (or painfully) arch and the character types are amusing or insulting, depending on your point of view. But when lines like, “If I were dead, you couldn’t take me to the morgue,” get bandied about, I lean more toward the amused entertainment side of interpretation.

But this isn’t just about femme fatales, malleable good guys, and mustache twirling bad guys, not to mention just simply bad choices, it is about moral indignation and escapism. And, when done well or with the right cast, a rewatchable classic.

OK, Scarlet Hour, despite its pedigree director Michael Curtiz (Casablanca, White Christmas) isn’t quite a classic. But it has a number of aspects going for it, thanks to Curtiz’s ability to discover new talent. Scarlet Hour boasts several new, or relatively unknown, actors at the time including Carol Ohmart, Tom Tryon, and Jody Lawrance.

But it is Elaine Stritch (Just Shoot Me), in her film debut, that steals this movie utterly. She is the most believable and displays the trademark wit and timing that would distinguish her career for the next 60 years.

In addition, a number of recognizable faces of the time were around. Among them, James Gregory, E.G. Marshall, Edward Binns, David Lewis, and Richard Deacon. Each elicited applause or sighs of appreciation upon their appearance from the audience.

The movie knows what it is…even going so far as to have a copy of White Christmas in a bargain box at a record store in one scene. It doesn’t apologize for the heightened emotions and choices. It gobbles down the genre while still providing some nice variations and unexpected moments. It probably helped that Frank Tashlin adapted his own novel for the script, with the help of John Meredyth Lucas and Alford Van Ronkel. The final moments are all very much in question as the story unspools. It isn’t entirely satisfying, but it is certainly genre-acceptable.

There are many reasons to see this flick if you get the chance. The actors, the director, the silly fun of it all. But it is also a piece of history and a lens into time and style. And Curtiz distills a lot of it nicely and with a bit of a knowing wink.

The Scarlet Hour Poster

Never Look Away (Werk ohne Autor)

[4 stars]

Few movies can sustain 3+ hours of narrative. Fewer still can do so absent some amount of action. Avengers: Endgame had story, but also a fair amount of pure adrenaline moments to keep it all going. Never Look Away has only story and still manages to remain riveting through to the end. It does employ, like other longer films, a somewhat episodic approach to revive the story every so often. In this case, it has three distinct chapters that cover the childhood and young adult life of Tom Schilling’s (Woman in Gold) Kurt.

Schilling, along with Sebastian Koch (Bel Canto), dominate the story that starts in 1937 Germany (outside Dresden, no less) and tracks through the early 1960s. I had no idea how writer/director Florian Henckel von Donnersmarck’s (The Tourist) was going to keep me interested for so long and through so many frustrating situations, but the script is nicely segmented and filled with enough genuine emotion and moments to keep you going.

Supporting roles by Oliver Masucc (Dark), Saskia Rosendahl, and Paula Beer were also a help. It is easy to see why this was an Oscar contender, not to mention other awards. It packs a punch without, usually, using a hammer to do so. It is an honest story of the war, but it is mostly about the meaning and communication of art. Where springs the impetus? What is an artist trying to communicate? Should they be trying to communicate? Is it just a craft or something more? All highly philosophical stuff, but they are discussions that are happening around the romance and dangers of Schilling’s life, which remains the focus.

This is also just a simple story of deep, abiding love of all kinds: familial, romantic, erotic, ideological, political. The world created by von Donnersmarck is seductively drawn and subtly appointed. And its central message in the title is not so much a challenge as an invitation and reminder that life is happening. Even with its somewhat ironic penultimate scene, its point is made. Though I will say that while I had anticipated and awaited the final moments of the film, it didn’t quite reach the pinnacle my emotions wanted, even if it did logically. That small gap was more my desire for complete closure on one of the threads, which was left to the imagination rather than on-screen resolution. Missing that, however, my anticipation made me trip over the last moment and caused cracks in the nearly perfectly constructed journey for me. And yet, I’d still highly recommend the film; it will surprise you.

One slight warning…some of the subtitles seemed to just blink on for a split second before vanishing. Honestly, I was able to fill in the gaps very easily, but it was frustrating. This is the second film I’ve run into this and I’m not sure why (it doesn’t appear to be a setting I can control, like the positioning on the screen). This seems an easy thing to avoid and quality control should be picking this kind of gaff up. It certainly knocked me out of the story more than once. Had this been a lesser movie, it probably would have lost my faith completely.