A surreal romp about finding hope in hopelessness. At least that’s what I took away from it this viewing. Pedro Rivero and
Alberto Vázquez (with additional help from Stephanie Sheh [Your Name.] and Joe Deasy) give us a landscape that borders on Bakshi’s Wizards: post-apocalyptic, mutated, venal, self-absorbed, and still focused on the value of the past rather than providing life for the future.
The main characters are children; children who are trying to survive and find purpose in a broken world. Somehow that part of the story feels very contemporary in terms of the feelings and challenges if not the specific events and issues. The overall plot echos the global trend toward migration, economic disparity, and the ecological disaster that is picking up steam with every year. But this is less warning than it is the (merest) suggestion that there is a solution if we can just hold on to what makes life worthwhile and control the darkest parts of our own selves. It makes for a pretty packed 76 minutes.
For the animation alone, this film is worth it. It isn’t grand, highly CGI’d animation, rather it is a reflection of its graphic novel roots. It is simple, but effective. The result is fascinating, inventive, and gripping at times. It refuses to blink from horror, but also often twists it to something of beauty or potential beauty. If you like the craft and enjoy challenging animation, this is worth your time.
Joachim Trier (Louder Than Bombs) brought his award-winning ability directing and co-writing (with constant collaborator Eskil Vogt) this intense and suspenseful tale. It isn’t an easily defined story, but Eili Harboe (The Wave) owns the title role with wonderful subtlety and angst.
The result, as close as I can come, is a coming-of-age horror(ish) tale. You know from the opening scene that something isn’t quite right but it is a paced story that builds the situation from Thelma’s point of view. Henrik Rafaelsen and Ellen Dorrit Petersen support Harboe as Thelma’s parents in echos of many other similar stories, but without becoming histrionic.
In fact, that is one of the biggest differences in this riff on a plot you’ll recognize quickly, it is told simply and naturalistically rather than with big moments and effects. It is, above all, a story about Thelma and her becoming an independent adult. It is also doesn’t explain everything or provide simple answers to some of the actions, though it certainly raises questions. The story is as much metaphor as truth.
This isn’t a fast film, but it is gripping and interesting, performed and constructed with real ability. It was nominated for and won many awards deservedly, but it is more on the art-house end of the spectrum than, say, A Quiet Place, that subverts the genre in a different way. When you want something familiar, but that feels new, check this out.
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.
While Ready Player One is a fun romp while you watch it, it isn’t a great movie; it missed being the brilliant classic it should have been.
Like many of the gamers in the Oasis, it hovers at the edges of greatness, but never manages to cross the finish line. There are certainly casting and script reasons for this, but primarily the fault lies with Spielberg’s (The Post) direction. What he delivered feels something like The Wizard of Oz meets Tron (with a bit of Zardoz thrown in) for High Schoolers. But let’s start with the good.
Production-wise, the creative team really got it. Even forgetting the lack of tech advancement they envisioned at points, they created wonderful interfaces and a good sense of an immersive game world. The VR sequences are imaginative and absorbing. See it on a big screen to really get the full effect and appreciate the richness and complexity of the view.
Another great part of the fun in this popcorn flick is that Spielberg manages to make more bald references to other movies than any other film I can remember (barring satires like Scary Movie that do it to make fun of the source). There were constant groans and laughs of joy at recognizing the references. I won’t spoil any here as, honestly, they are about the best part of the film. Now, whether those references were appropriate for a story that takes place in 2045 is a different question.
Despite these pluses, action, and visual candy, the movie just ends up sitting there on screen.
Tye Sheridan (X-Men: Apocalypse) is a large part of the reason for that lack of life. He just isn’t up to the task of carrying a major motion picture, though Olivia Cooke (The Limehouse Golem) does her level-best to help him through it and support him. She sparkles on screen. But you just can’t connect to the characters or story. Sure, we want the crazy kids to recognize their totally obvious and middle-America attraction to one another as two healthy, white, young folk (talk about unbrave choices given the possibilities that are even discussed at several points). There are also some great one liners and moments by T.J. Miller (Deadpool) and Lena Waithe (Master of None) but neither gets a plotline or payoff. Ultimately, we don’t really care all that much who lives or dies or who gets together or not. Heck, even Sheridan doesn’t seem to care who lives or dies; he doesn’t carry the weight of any action that occurs to or around him in the tale as it progresses.
Even the bad guys, Ben Mendelsohn (Una) and Hannah John-Kamen (The Tunnel), don’t raise a burning need in the audience to wipe them out. Why? First, because we’re always sure who will win, but second because there is no gray. Our bad guys are just bad and their storylines are just absurd. C’mon, John-Kamen’s character is named F’Nale. Seriously? Only Cameron’s unobtanium was sillier. If you’re going to go for that kind of tongue-in-cheek, then you have to do it across the board, not just in spots.
The truth is that most of these gaps in acting are really more how they were directed. In trying to make a 4-quadrant film, Spielberg blew it, however sacrilegious that may be to say. The result was something that aimed broadly intellectually, but was emotionally targeted squarely at the 12-17 year old bracket. The real-world sequences are as distant and unbelievable as the VR sequences are wonderfully fantastic. It is an issue Spielberg often has (A.I. comes to mind as a comparable tale in scope and maturity). Spielberg, when aiming at a younger audience, never quite lets you in to connect with anyone. He likes to keep it all “safe.” And the ending sequences in the real world of Ready Player One just fall apart, being both unbelievable, too easy, and just plain, well, stupid.
Part of the problem was the script by Penn (Alphas) and source book author Cline. It shortcuts a lot of the plot and forces relationships and situations in very unnuanced ways. That approach played into Spielberg’s hands and weaknesses. He loves evoking that sense of the 50s in modern garb, trying for a storybook feel that offends no one but, at this point, also illuminates nothing. We’re past the days of E.T. and Close Encounters feeling real; show us less than truth and reality and our bullshit meters goes off. Life is messier and we know that. We may crave simplicity, but it needs to be a believable simplicity.
Spielberg, even misdirected the brilliant Mark Rylance (The BFG) and Simon Pegg (Ice Age: Collision Course), allowing them to be put in makeup and costumes that made them look ridiculous. The intent was to bring out the nerd in the nostalgia, but they just never came across a bit as believable or natural. They felt like clowns, neither smart enough nor adept enough to have built the empire that included the Oasis.
Ready Player One is a reasonable distraction. There have been many adaptations of video games to screen, most of which have been middling at best. The recent Tomb Raider was only the latest in a long line. We’ve also been assaulted by adaptations of books since the beginning of film to varying degrees of success; for me, that was most recently Love, Simon. This is, however, one of the few times I can remember an adaptation of a book about a fictitious video game. Talk about going completely meta. Only Jumanji (which was a way better movie) comes to mind, but that was a picture book, not an adult novel.
Ready Player One is certainly a big screen film, so if you do want to see it, you really do have to see it at the theater. But, as a story, it will not stand the test of time. For many, I suspect it will not stand the test of its 2.5 hours as anything other than as a short-lived amusement. You can see the possibilities in the result and you’ll enjoy the cultural insider jokes that glue it all together, but you’ll leave it empty and unfulfilled, or perhaps filling in the missing aspects mentally for yourself to prop it up. The more I thought about the film as I walked away, the more disappointed I became with it. That was not the experience I had hoped for, nor the experience I had expected from such a master filmmaker. At one point, all I could think was that I wished Spielberg’s good friend Kubrik had still been alive to take this one on. He would have the balls to keep it real and dark while still entertaining. As it is, Ready Player One needs some Extra Life of its own to succeed.
A few short write-ups on some new mystery series coming our way.
Bancroftis one of the darker origin tales to come out of the BBC. A four-part tale following the exposure of a 27 year old cold case, and the damage it can still imbue. Staring Sarah Parish (Atlantis) and Faye Marsay (Game of Thrones), both women climbing in the British police force and playing an increasingly dangerous game of politics. It is a very British series and will not be to the taste of everyone, but it is also a good setup for the next sequence. If you need a touchstone, think Line of Duty meets Prime Suspect.
The Miniaturist is faithful to the book, which is both its strength and weakness. A conundrum to be sure. The story is a compelling historical drama and romance in 17th Century Holland, well-led by Anya Joy-Taylor (Split). But the central conceit of the story and title are incidental to the plot itself. You could rip out the entire aspect of the miniaturist herself and nothing in the story would have to change. The book is the same way. It reads like it was originally a different story, but that the author got caught up with other aspects, but never removed the original concept. Either way, it is worth the time to see and/or read.
Shakespeare & Hathaway is of a very different cloth than the previous two. It is mostly a light comedy detective series in Stratford-upon-Avon. But while it has a great deal of fun with Shakespeare’s plays (which isn’t necessary to understand, but lots of fun if you listen carefully) it ranges into some rather dark mysteries and motives. To give you a sense of their whimsy amid the blood, Amber Aga (Abstentia) plays DI Christine Marlowe. To borrow a phrase from the Bard’s time, it is neither fish nor flesh nor fowl but something a bit wonderfully weird and entertaining. The stories are led by veterans Mark Benton and Jo Joyner along with capable and relative newcomer Patrick Walshe McBride. When you are looking for something that is somewhere between Father Brown and Midsomer Murders or The Coroner this will really fit the bill with some laughs and even some surprises.
This is definitely an unconventional narrative that plays out in intriguing, and unexpected ways. As a first script and directing delivery by Peer Pedersen, it is both what you expect and not what you anticipate. So, basically, a well-executed indie with a solid cast.
Catherine Keener (November Criminals) is the relatively patient matriarch of one heck of a messed up family. She provides a shifting center to the story as all threads come back to pass through her, though she isn’t the primary point of view.
Her four children are all damaged in different ways, and all dealing with their issues in worlds of their own devising. Kaitlyn Dever (Short Term 12), Riley Keough (Logan Lucky), Annie Starke (Albert Nobbs), and Anton Yelchin (Jack) work well together as sibs without losing their individual aspects. And it is Dever’s point of view that walks us through the story, though the approach is inconsistent and less than edifying, particularly near the end.
Maya Rudolph (Maggie’s Plan) and Cary Elwes (Shadow of the Vampire) bring another set of layers to the tale. Each is nicely compartmentalized and human despite their own particular struggles. It is only Molly Shannon (The Little Hours) in the cast who comes off completely wrong, though there may be reasons for that…just none I felt supported her and her choices.
You can’t watch this movie without considering the loss of Yelchin. Bizarrely, I watched this the same day Yelchin’s family settled the suit for his tragic death. Since his passing, his last films have been trickling out into the wild. With this film dropping direct-to-disc and Thoroughbreds finally out in theaters, we’ve actually (and sadly) reached the end of his recorded efforts. This movie contains a powerful performance, but all the more bittersweet given the plot and knowing it is one of his very last.
We Don’t Belong Here is a quiet film, but Pedersen kept it full of tension and intellectual challenge. He did a great job laying out his plots and editing to the final moments. It isn’t for a wide audience, but if you enjoy a true indie spirit and approach, you’ll find this one worth your time.
They say you should never look in the kitchen of your favorite restaurant…and in some ways that applies to your favorite stories as well. There is practically no child that hasn’t grown up knowing Winnie the Pooh. There is a magic to that silly old bear. But, having grown up, you do need to ask yourself if you want to know what the truth, real story, and inspiration were behind the wondrous Hundred Acre Wood. As several of the biographies of the last decade or so highlight, the life of the Milnes wasn’t storybook by any stretch.
But writers Frank Cottrell Boyce (Revengers Tragedy) and first-timer Simon Vaughan did a good job of distilling Robin’s story even while telling it primarily from his father’s point of view. That approach allowed them to navigate all aspects of the family, though the intent of the focus is on Robin’s experience. The tale is very layered and complex, often in subtle ways. It tackles class, war, parenthood, child rearing, love, show business in various forms, art, and the creative process, not just the specific genesis of Pooh and his friends. Probably not the story you imagine.
Will Tilston, in his first major role as Christopher Robin, was a brilliant bit of casting. While his acting may not be quite as polished as the rest of the cast, director Simon Curtis (Woman in Gold) elicited a great performance that struck just the right tone for his challenged childhood. Alex Lawther (The End of the F**ing World) then takes that setup as the older Robin and pays it off rather well.
But while the story is about Christopher, it is primarily told from the adult point of view. Domhnall Gleeson (mother!) delivers a powerful and sympathetic performance as A.A. Milne. Like many men (for instance Tolkien) returning from WWI, he struggled in near silence to recover. How that affected his writing is a critical part of the history. As his mother, Margot Robbie (I, Tonya) walks a very odd path of love and motherhood that is particular to that era and at that strata. There is love there, but of a particular kind. It is Kelly Macdonald (T2: Trainspotting) that Robin recognizes as the main source of intimacy in his life, and Macdonald provides a good target for it. It isn’t a new type of performance for her, but rather a comfortable and recognizable character delivered with expertise.
A side-effect of the scope of the story is that the movie is a little challenging to follow emotionally. The focus is split between the generations. That isn’t ultimately a bad thing, but it dilutes the result through much of the film, even as it pays it all off by the end. Also, it wasn’t helped by the aging make-up toward the end of the movie which really fails and broke the reality of the moments for me.
I started this write-up with a warning, which I’ll reiterate. If you want to keep the pure magic of the stories you know, you don’t want to see this film. The film has its own magic and, certainly, respects the phenomena that is the stories that are quickly approaching their first century in print. But it also exposes the reality of a difficult childhood and fumbled parenting. On a pure movie level, the acting and directing are solid, however, so I certainly recommend it if you aren’t worried about seeing how the meal was made.
I was originally going to just let this show slide by uncommented upon. It was the Canadian answer to Miss Fisher Murder Mysteries, but without the writing and acting. In other words, diverting enough to watch, but nothing to recommend or run from. Well, I almost ran from it…the hour-long comedy/drama was a lot of time for little return. But then something interesting happened. About halfway through the inaugural season they went on a typical hiatus, and when they returned the writing had massively improved. The mysteries got better, the characters started to add depth, and the acting got beyond surfacey silliness.
In the title role, Lauren Lee Smith (Ascension) began this series rather ham-handedly. She had no sense of what it was to be a flapper and the costumers and writing did her no favors. She came across as weak copy of Fisher. As Frankie’s partner, Chantel Riley (Race) had real potential, but no storylines to really explore any of it. But around episode 6 they found their footing and refocused the show. Riley gets a family and some real plot opportunities. Smith becomes more of a person and less of a cartoon cipher with an excuse to play 1920s dress-up.
Not all characters got to grow as much. Rebecca Liddiard (Houdini & Doyle, Alias Grace) remained primarily comic relief. However, her abilities were expanded upon. I’m looking forward to seeing how they flesh her out in the next season. On the other hand, Sharron Matthews as the coroner starts off strong in the series and only gets better as it goes along. The show also manages some fun guest stars through their freshman series.
You may have noticed I’ve only called out women. One thing I can say about Frankie Drake is that it really is only about the women. There are male colleagues, victims, and criminals, but it is driven by the four women.
I don’t know if Frankie can sustain its return from the edge of extreme mediocrity, but I’d like to believe they discovered their issues and are now on track. OK, it does stumble a little in the last couple episodes, but one is a wrap up to discard a character that needed to be flushed, and the finale is a little over-edited, but provides some solid history to grow from (again from the Fisher playbook, but done well). Give it a shot when it arrives on air or streaming. Stick it out for the first five or six episodes to watch it turn the corner. It isn’t bad for the first five, but knowing it improves makes it worth the wait. Whether it can survive to renewal remains to be seen.
YAR (yet another remake). Which isn’t to say it is bad, it isn’t. In fact they took their charge seriously and tried to make a relatively good movie that hewed to the original material, sort of. To separate it from the previous films, Alicia Vikander (Tulip Fever) gives us a younger, more vulnerable Lara Croft. She is a woman who has to come into her own during the story rather than the fully established inheritor of her father’s wealth and lifestyle from the start. And Vikander is impressively up to the task both physically and with emotional chops. They make sure you understand and believe that from the top.
As her father, Dominic West (The Square) also does a credible job, though with a slightly more exaggerated sensibility. Similarly for Walton Goggins (Maze Runner: The Death Cure), who has to walk the line of mustache twirler, father, and slightly bonkers villain. Neither is completely realistic, but by the point in the story they show up, Lara’s deep into the fantastical world she will inhabit the rest of her life.
Director Roar Uthaug (The Wave), and his rather untried script writers Robertson-Dowert and Siddons, took their time to build a story and world for Croft to inhabit and to give her artifact-hunting motivations beyond some internal sense of guilt or nobelesse oblige. Uthaug mostly kept it all realistic in effort and response. Lara gets hurt. A lot. In fact she grunts more than Steffi Graff during a finals match. However, in the quest for reality, the script also leaves out some of the more interesting aspects of Croft’s world. I appreciated how they grounded the plot, but I like a bit more fantasy with my pony-tailed heroine.
There is a ton of action to keep this all going. There is even some humor and just enough emotion to tie it together. Personally, I prefer the more established Lara over this rite-of-passage version that will lead to her. It really depends on whether you want to see a super hero kind of film or something more grounded. This film skirts the edge of both. You’ll have fun, but since it isn’t likely to spawn a franchise, it feels a bit less satisfying as a stand-alone. Also, I’d recommend not seeing the larger format screens. There is a good deal of shakey-cam (used for purpose) that I always find annoying and difficult to watch on that size screen.
I don’t mean to damn with feint praise, but I did want a bit more than I got even as I was surprised by how well it was all done. I will admit, it may have been more my expectations than what was delivered, but this is a well-established character, so I can’t be the only one with assumptions. Should a miracle occur and they continue the franchise, this is a solid world and character start, if not an Iron Man-style blowout.
Writer David Hare (Denial, The Worricker Trilogy) has delivered another complex and tight suspense/thriller. It is a beautiful study of chaos born from a simple, small event. The 4-part tale is one, primarily, of three women in very different places in life, but all intersecting through a seemingly random crime in London.
Carey Mulligan (Mudbound) makes a nice switch to the staid DI Glaspie from her previous strong, but often gender-bounded parts. Glaspie is a tough woman, straight talker, and flawed in ways the keep you interested as she tackles her first big case.
Special ops Jeany Spark (Wallander) brings some interesting flavor to the story. Her struggles, both internal and within the military are often horrific, but she rises above that in her own way. Admittedly, her choices are less than mainstream, but you understand her better than you’d like to admit.
Nicola Walker (River), on the other hand, gives us yet another of her strong but shattered women, a trademark character she manages to make feel fresh and real no matter the story she brings it to. It is hard to recall she started in comedy way back when before she found her meal ticket in film and TV.
Then, of course, are a panoply of others from John Simm (Doctor Who), to Billie Piper (Penny Dreadful), to Hayley Squires (Miniaturist), Nathaniel Martello-White (Moonwalkers), Ahd Kamel (Wadjda), July Namir, and Ben Miles (The Crown). There isn’t a weak casting choice in the lot and S.J. Clarkson directed them and the overall sequence well. Despite the potential for soapy histrionics, Clarkson kept it all very real, contained, and pressurized.
The four installments pull you along as it drops clues that slowly build to a complete picture. It isn’t quite as complex or solidly interlinked as Worricker, but it is full of great moments, dialogue, and performances. Definitely worth a bit of binge when you want a slightly more challenging distraction.
Art, writing, life explained… or at least commented upon…