Tag Archives: ShouldSee

Incredibles 2

[3 stars]

The largest part of what made The Incredibles so successful and ripe for a sequel was Brad Bird (Tomorrowland).  Up till now he never treated any of his animations as cartoons, he approached them like drawn movies. Few animators (and their studios) took that approach before him, though it is more common now. It isn’t just in the subject matter, it is in the composition of the frames and the choices of the edits. Watching a Bird animation you could sometimes forget these aren’t real people on screen, unlike, say the Despicable Me series.

But while this sequel picks up seconds (and 14 years) after the original ended, some of the Bird magic seems to be missing for me. For starters, the whole point of the first movie was the family learning to accept who they were and to work together. This second throws that out and starts again, admittedly for different reasons, but it still feels a bit like a loop rather than a progression. The action, probably thanks a lot to Jack Jack, is broader and more cartoon-y. And the mystery…just isn’t in this one. Or at least it wasn’t to me.

This is certainly enjoyable family fare…and with more going for it than most family movies. There are nods and comments for adults throughout that were noticed and enjoyed by the crowd. But I expect a bit more from Bird instead of a, basically, a solid Pixar action flick that took very little time to build characters. There weren’t even any voice performances worth calling out as anything special, though Catherine Keener (Nostalgia) and Bob Odenkirk (The Post) come close. Keener’s exchanges with Holly Hunter (The Big Sick) also verge on something unique, but never quite get there. Overall it felt like Bird was afraid to let the action lull too long and so quickly left any quiet moment. To be fair, it certainly seemed to work to keep the kids all engaged through the 2+ hours (including the uneven, if ultimately surprising, short, Bao).

Certainly, make time for this rollicking and entertaining distraction. But it isn’t quite everything I had hoped for, though it was great to spend time with these Supers again after so long; they deserved a new adventure. Perhaps we’ll get that next time.

Incredibles 2

Saturday Church

[3 stars]

Like many, when I first saw Paris is Burning back in 1990 I was floored by the stories and the window into a world I only knew from the fringes. It is easy to think the world has moved on since then, but Saturday Church makes it clear the progress has been minimal in many ways, even though it is fiction rather than documentary.

In the lead is Luka Kain who, despite being intensely quiet, manages to hold the story and film together. He is surrounded by capable actors and singers, though most are unknown. Of that collective, it is Kate Bornstein who stands out as the matron of the titular refuge. She is understanding but strong, and incredibly charismatic.

This is a positive leaning, if open-eyed, look at the challenges and all-too-common tales of what it is to grow up gay or trans in a repressive household. As a movie it is passable, but its heart is solid and the original music surprisingly good. It is also a good bet for you if you find documentaries like Paris is Burning or Pageant intriguing.

Should the story move you at all, you can learn more about its real life inspiration (St. Luke’s in the Fields) and support it.

Saturday Church

In the Fade (Aus dem Nichts)

[3.5 stars]

In the Fade packs a lot of story into its shy two hours. And while I’m not a Diane Kruger (The Host) fan, often finding her stiff and unemotional, she is powerful and painfully exposed in this film; she carries it utterly. In fact, the only other actor that leaves a real impression is Johannes Krisch, who’s super creepy and foul lawyer will twist your guts as he does his work.

Director/co-writer Fatih Akin tackles what is becoming an all-to-common story in the last ten years. However, he focuses the story very personally and small, expertly guiding Kruger and the cast, keeping it paced and under control. The story, however charged, stays ensconced in the painfully mundane, which is part of how it earned the many awards it was was nominated for and/or won last year.

Admittedly, In the Fade is not a light film for a night of simple distraction, but it is a well-done film that should be seen at some point. Because it focuses on the individual rather than the broader societal threads, it is oddly more palatable. We connect with Kruger and invest in her need for meaning, even when her actions are far from anything we may personally identify with…and even more so when they are.

In the Fade

Tully

[4 stars]

In their first pairing since Juno, director Jason Reitman (Men, Women, Children) and writer Diablo Cody (Ricki and the Flash) yet again bring their A-game to the screen. Tully is a glaringly honest look at being a parent with a newborn. It is also a story of trying to survive seemingly insurmountable odds in life.

Charlize Theron (Atomic Blonde) last worked with Cody on a story about a different kind of broken woman in Young Adult. Theron, as always, gives herself over to this new character, allowing herself to be as unquaffed and unclean and unpleasant as the story needed at times. It is a great and sympathetic performance that anyone who has felt crushed by life’s events will understand. As her husband, Ron Livingston (The Odd Life of Timothy Green) gets his own interesting path to navigate through this story as well.

Though the two make a solid couple, it is Mackenzie Davis (Blade Runner 2049) in the title role that pulls it all together. She brings a sort of wonderfully twisted Mary Poppins energy to her night nanny.  She sweeps in and sweeps Theron’s family off their feet, working to put them back on track with a focus on Theron’s needs. It is a challenging role, and one she executes with style and craft.

This isn’t an easy film to classify. It is very much a slice-of-life film, but with a broader impact and with more going on that is very obvious at first. It is also a great piece of film-making that should get a lot more attention as word of mouth spreads (or it certainly deserves to). Be on the watch for this one come awards season, particularly for Theron, Reitman, and Cody.

Tully

Bombshell: The Hedy Lamarr Story

[4 stars]

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.

Bombshell: The Hedy Lamarr Story

Gloria (2013)

[4 stars]

Even when a movie like this one earns your attention and trust you aren’t always sure it’s working until the final moments. By the end, however, it most definitely pays off; in fact, the final moments are transcendent for the character and the audience.

The success of the final scene is worth the entire movie to get to…and wouldn’t work without what comes before. Paulina García’s (Narcos) subtle performance holds you and endears you to her over time. And, it must be said, she is certainly helped along in the finale by the 80s hit that shares the same title. (As a side-note, there is a fascinating history to the song and its lyrics and why you may not recognize the translation.) Without question, this is García’s film. While Sergio Hernández certainly gives her something to work off of, she controls the story and screen from start to finish.

Gloria is a quiet film of discovery and life for its main character. The tale is interesting, but not provocative. Like Finding Your Feet, it allows the information to seep out and inform over time. We travel with Gloria through a critical period of her life, starting 12 years after her divorce. It is clear that, up till now, she had drifted through life’s events, shifting directions as they sent her. We aren’t really sure where she’ll end up nor whether anything is going to change as we see her wake up to that reality; the tension of that question and the accessibility of her character pull you along to the end.

Director and co-writer Sebastián Lelio’s (A Fantastic Woman) love of the character and his trust in the material and in the audience is wonderful. He is expert at showing us what we need, and nothing more, while helping us celebrate his characters, flaws and all. You would be excused for not seeing how well its working till the end; but the final scene makes it clear how undeniably good his craft is and why, even with a small opus, he has so many awards nominations and wins. Make time to celebrate Gloria at some point, and keep an eye on Lelio. He is clearly a talent to watch with many more tales to tell.

Gloria

Avengers: Infinity War

[4 stars]

Just: Holy S*%#!

If you were ever worried that Marvel was over taking risks or didn’t have a game plan, this should settle it for you. But avoid all information before you go, if you can. The chance for spoilers is just too high.

We’ve seen all these folks before (me, very recently having rewatched it all)  so I’m not going to take up 1000s of pixels to list the actors and characters.

However, Josh Brolin’s (No Country for Old Men) Thanos does deserve to be mentioned. He, with the help of Makus and McFeely’s script, created a complex villain who, believably, doesn’t think of himself that way. He’s still totally nuts, but what a nice surprise in a world where things are too often black and white to help make it easy on audiences.

I have no idea if this is the film that was planned 10 years ago, but it certainly brings it all together. And in the first five minutes you’ll know you’re into something different. I also have to admit, some of the CG is really subpar (at least on IMAX), which was surprising.

What comes next as Phase Three heads to its final conclusion? Well, I have my guesses…and I’m sure you will too. Thankfully it is only year off till we find out if we’re right (and with a couple films to fill that gap in between).

Avengers: Infinity War

Finding Your Feet

[3.5 stars]

Yes, another tale of late-life discovery and rebirth. But it does it well, with humor, and with a hell of a cast.

The story is led by the incomparable Imelda Staunton (Pride) and Celia Imrie (The Second Best Exotic Marigold Hotel) as a pair of estranged sisters reconnecting after more than a decade. The two work brilliantly together both emotionally and with their timing. Imrie’s world is full of other characters that spur Staunton’s rediscovery of herself and life. Chief among these are Joanna Lumley (Me Before You) and David Hayman (Macbeth) as the core of her group along with the most unlikely of the cast: Timothy Spall (Denial). Spall has often carried stories, but rarely, as in this case, as the romantic male lead. Not your typical choice, and yet he manages a sweet magnetism and vulnerability that makes it all work.

The script for this life and aging adventure was from a pair of writers: first-timer Meg Leonard and the more-heeled Nick Moorcroft (Burke & Hare). But as fun as the film is, it falls prey to taking a couple simple “outs” with the plot rather than working toward their goal in a more challenging way. Honestly, it was a bit of a shame as the scope of the story across age, love, and loss was pretty sweeping; perhaps a little too sweeping given how they solved the problems. But, they still manage to land the moments and the point, even if a few of the paths were far too generic and obvious from the get-go.

Regardless of any weaknesses or clichè in the script, Richard Loncraine (Richard III) directed the story with a sure and powerful hand, controlling the leaps in time and emotional evolution well. The story borders on broad comedy, but has just enough of a tinge of bitterness and embarrassment to feel real during the most challenging moments. It is also unafraid to quietly feel pain at its rawest.

As a tale and reminder that life doesn’t end until it does, this is a great couple of hours. It is for the romantic, at whatever age, and the time invested is worth it just to get to the final frame.

Finding Your Feet

Isle of Dogs

[4 stars]

It’s hard to believe, but it has been four years since Wes Anderson brought us the near-perfect Grand Budapest Hotel.  Since then he has been working on this piece of stop-action magic, his second effort in the art after The Fantastic Mr. Fox.

Isle of Dogs, by luck or incredible insight on the part of Anderson and his various co-writers, is a mirror of today’s politics and growing xenophobia, but in a fun way. It is, to say the least, quirky, but full of heart and humor. One thing it isn’t, it isn’t for kids. These characters lead rough lives and live in a corrupted and selfish world, but they remain driven and hopeful throughout. You could say they’re dogged, but that might get you slapped.

If you’ve seen the trailers, you may have noticed that the voice talent for this movie is extraordinary. In fact, it is far too long to even try and list. But Bryan Cranston (Why Him?) leads the story with Ed Norton (Collateral Beauty), Jeff Goldblum (Thor: Ragnarok), Bill Murray (The Jungle Book), and Bob Balaban (The Monuments Men) poking him from the sidelines. All, in Anderson’s style, just let the story unfold and show itself. Scarlett Johansson (Ghost in the Shell), Greta Gerwig (Maggie’s Plan), and Frances McDormand (Three Billboards Outside Ebbing, Missouri) balance them all out with quiet performances of their own. However, this is very much a male dominated story.

There is something magic about this movie. Like Budapest used music, Dogs uses Japanese stage-craft to pull you into its world and set up the approach. And it also plays with keeping you in the dog’s perspective. For instance, one of the main characters speaks only untranslated Japanese, but yet you understand him.

It is hard to explain why this film works, but it does. If you like Anderson’s work at all, this is a must-see. If you enjoy stop-action animation, it is also worth seeing, though it isn’t up to the standards of Laika studios (e.g., Kubo and the Two Strings). But it is delightful, adult, and emotionally satisfying which still providing a good story and a point. As it expands its number of screens, find a theater and go see it. If nothing else, it will be one of the  most unique films you see this year.

Isle of Dogs

Wonder Wheel

[3.5 stars]

Wonder Wheel starts off like many Woody Allen (Cafe Society) films: A hapless narrator explaining the romance/farce/tragedy that is about to unfold. In this case, it is a bit of all of that, but it also quickly shifts into a new mode for Allen. With the immense help of Jim Belushi (Twin Peaks) and Kate Winslet (Collateral Beauty), we are suddenly transported into a Eugene O’Neill play with moments of Tennessee Williams, complete with claustrophobic set, heavy use of alcohol, violence, and disastrous romantic longings. Not to detract from Winslet’s more subtle performance, but Belushi is the real powerhouse behind these scenes; he is an unexpected gut punch in what you expect to be a light, period romance.

Those truly phenomenal scenes are broken up with more typical Allen moments, but without the forced, halting aspects that tend to distract in his movies. All of the scenes flow nicely, though the tenor of the dialog becomes lighter and a tad stilted. Justin Timberlake (Trolls) tends to herald these moments. To a degree, I understand the choice and it is explained at the very top of the film, but the scenes cut into a more powerful story and I think it could have been smoothed through a bit better.

Running between the two worlds along with Winslet is Juno Temple (Black Mass). She brings most of the Tennessee Williams sensibility: fragile, naive, tough, intelligent, lost, and desperate to be loved. She is a breath of Southern Gothic dropped into the Northeast Tragedy.

In many ways, while not necessarily the best Woody Allen film, it is one of his most impressive. The use of language and setting is powerful. The story is relateable and yet utterly designed. The tragedy inevitable and yet totally avoidable. If not for the recent events in the industry, Wonder Wheel would have garnered a lot more attention and nominations. That it didn’t is a complicated conversation every person will have to answer for themselves. But, from a purely artistic point of view, I can recommend the film for the performances, writing, and direction and it may suggest an entirely new direction for Allen’s oeuvre.

Wonder Wheel