Tag Archives: Writer

Roadkill

[3 stars]

There is a structure and a rhythm to a David Hare (Collateral) story. They are dark labyrinths of human failure and misunderstanding leading to outrageous, if inevitable and believable, outcomes.  And not all of the events in his tales are explained or even have direct motive…some things just happen…though they are often attributed to someone’s motivation. In other words, his stories tend to be dark, fun, and more reflective of real life than some may find comfortable.

His latest, Roadkill, is another political thriller that has only two possible outcomes for its four-part series. Either remains possible till close to the end. And by keeping it to only four episodes, it doesn’t feel overly oppressive or drawn out. His director, Michael Keillor (Strike: Cuckoo’s Calling), drives the tension and tale with a confident hand.

Through it all, and at the center, Hugh Laurie (Avenue 5) proves again what a magnetic and smarmy bastard he can be as a character. Laurie’s character is assuredly a stand-in for some current world leaders, though with considerably more intelligence and ability. It makes him even more plausible and scarier than the truth. He’s supported by a solid cast. Iain De Caestecker (Overlord), as his right-hand, Helen McCrory (Loving Vincent) as the PM, with Sidse Babett Knudsen (Inferno) and Saskia Reeves (The Child in Time) on his homefronts are some of the standouts. But these are far from the only good performances. Hare attracts good people and his scripts provide deep characters to play with.

For a short dive into murky waters, Roadkill provides a fascinating escape and set of insights. It isn’t so long as to get suffocating, but it is long enough to allow the story to breathe. If you’re able to handle a dark political bit of suspense and mystery with a thick human element, give it a shot.

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Dating Amber

[3.5 stars]

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.]

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On the Rocks

[3.5 stars]

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.

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Over the Moon

[3 stars]

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.

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Compassionate Sex (Sexo por compasión)

[4 stars]

A beautiful fable and mediation on love, life, and relationships…with a nod to religion and spirituality. Oh, yes, and it’s funny.

First-time feature director and writer Laura Mañá delivered this multiple award winning film, with unexpected wit and, as you might expect, compassion. It should fly off the rails more than once, and yet she keeps it all within the grasp  of sympathy and understanding. But the main reason for the success is the powerful and vulnerable performance of Elisabeth Margoni at the center of the film and village. Her subtle shifts of expression and emotion will melt your heart and convince you of her genuine intents.

When you’re looking for something a little different, a bit funny, and yet with a message that will surprise you in its delivery, queue this one up. There is a lot of talent to appreciate, and a warm and gooey center to help make your night feel full of possibilities.

Enola Holmes

[4.5 stars]

Was there ever any doubt that Millie Bobby Brown (Godzilla: King of Monsters) had the chops to carry a movie? And what a wonderful vehicle she has found. Not only does she own the screen with her charisma and chops, but her character drives the tale, pushing her brothers Mycroft and Sherlock to the periphery, making it a decidedly female-driven story.

Sam Claflin (Charlie’s Angels) is a perfectly uptight Mycroft, while Henry Cavill (Witcher) is the thoroughly self-absorbed, but surprisingly available Sherlock. Throw in Helena Bonham Carter (Ocean’s 8) as their rather unique mum, and you’ve a family to be reckoned with…and likely a good salary for a mental health professional. But all their performances are tightly controlled under Fleabag  director Harry Bradbeer’s entirely capable hands.

Despite these lofty names in her family, the story really focuses more on her adventures with the young Louis Partridge; Enola’s master-in-distress. The story manages to both lean into and avoid the young love tropes without making it insulting to either of them. And with Burn Gorman (Pacific Rim: Uprising) constantly at their heels to push along the danger, there are adventures to be had.

The cast is also chock full of other great talents to help buoy the film. Adeel Akhtar (Murder Mystery), Susan Wokoma (Crazyhead), Fiona Shaw (Killing Eve), and Frances de la Tour (The Lady in the Van) help fill out the film with known and unknown characters from the Holmesian universe.

But it isn’t just all fun and games (afoot). Enola Holmes is a timely flick, in more than one way…and the fun is watching all that play out. The adaptation from Nancy Springer’s series by Jack Thorne (Radioactive) is wonderfully on point for current needs. And the result is also an example of what Netflix can find when it really tries, though it’s a shame this never saw the big screen. I think this film could have found an audience. Certainly the cinematography was with the larger format in mind, though it plays perfectly well on a home setup.

Make time for this one, whether you’ve a young woman at home with you or not. It’s fun, wry, sly, and full of adventure; perfect for a light escape that won’t insult your intelligence. And to see Brown beginning to come into her own just adds to the icing on this slightly savory confection.

Time Freak

[4 stars]

Romance, comedy, and time travel, especially when wrapped in honesty and told with some intelligence, is a triumverate always guaranteed to grab my attention. Unlike the recent Palm Springs, the character intent here is deliberate, but they both deliver the story in a similar way that let’s you connect with it immediately and get on board for the ride.

The story, despite its scope, is really driven by just three characters. Asa Butterfield (Slaughterhouse Rulez) and Sophie Turner (X-Men: Dark Phoenix) are the romantic crux of the story. And while that may sound like an odd combo, it’s supposed to be. And yet the two have a believable chemistry between them. More surprisingly, it comes mostly from Turner’s performance, which is the best I’ve seen her do. I actually believed her completely, something all of her previous performances have lacked for me. Butterfield is playing into his strengths in this film, but does so with heartfelt earnestness that wins you over.

While the main couple certainly carries the story forward and keeps it focused, Skyler Gisondo (Santa Clarita Diet) adds the final element that makes it all work: comic relief and, often, common sense. This is especially amusing as he’s a complete screw-up. This isn’t the basis for comedy I usually enjoy, but it works here due to its restraint and evolution. Even Will Peltz’s (In Time) side character, as extreme as he takes it, manages to find ground often enough to add to the depth of the tale rather than distract from it.

Writer/director Andrew Bowler expanded his Oscar nominated short into this truly delightful and funny exploration of life, love, and relationships. The cleverly written script spends the first third in familiar territory. And, honestly, even if it hadn’t expanded on that, I would have enjoyed the movie thanks to his control of the performances and pace. But it is Bowler’s willingness to try to explore the characters and plot more deeply that makes this particular run at the sub-genre something worth seeing.

When you need something enjoyable and not entirely devoid of logic and intelligence, queue this one up. You won’t be sorry.

Freaks: You’re One of Us (Freaks: Du Bist Eine Von Uns)

[3 stars]

I love that we are looking more and more at the dark side of superhero-dom. Mind you, we’re in danger of getting as swamped with those kinds of movies as we are the more earnest versions. But it’s nice to have some balance.

And Freaks is a bit more than just an anti-superhero tale. It’s a bare philosophical metaphor for mental illness and otherness in general. The argument can be made that almost all superhero stories are about otherness, but they often bury it or ignore it entirely in their stories, leaving it to critics to make the case. Freaks makes it front and center.

Though it is played for honesty, particularly by Cornelia Gröschel in the lead as a struggling, young parent, it drifts into a rather arch confrontation and events. Her counterpart, Tim Oliver Schultz, in particular, spirals pretty far afield from the grounded beginning. The result ends up being more like a TV pilot than a movie. That doesn’t make it bad. It’s very entertaining and relatively well thought-through. The approach does, however, make it less than it could have been.

The TV feel to the overall shape is partially due to director Felix Binder, who’s spent most of his career in the smaller venue and pushing shows. He made a lot of choices that were reflections of that experience. On the other hand, some of the success to the result also goes to writer Marc O. Seng, who wrote several of the episodes for Dark.

Basically, Freaks is a fun distraction for an evening. It trods well-known ground, but finds a way to keep it feeling fresh and provides characters to keep us interested.

The Burnt Orange Heresy

[4 stars]

Unreliable narrators can be brilliant or frustrating. Having one is risky enough, but when you’ve four of them driving a movie, you’re really pressing your luck. But Scott B. Smith’s (Siberia) script adaptation is smart, crisp, and a delight in its story-telling.

Claes Bang (Dracula) is the main focus of the story, and from near the top we know there’s something off with him. He’s charismatic, smarmy, and quite full of himself, while being obviously desperate and damaged. Elizabeth Debicki (Widows) provides a wonderful foil and secondary locus as she dives into his orbit. The two are slowly revealed and challenged by Donald Sutherland  (Ad Astra) and Mick Jagger while the story takes shape.

And that is one of the wonderful aspects that sets this film apart: it is more than a third in before you’re even sure what the story is. For his first feature, director Giuseppe Capotondi took on some serious challenges, but he knocked it out of the park.

Burnt Orange Heresy is a deeply engrossing film that has as much to say about art and the artist as it does about human frailty and desire. To get a sense of the delivery of that message, imagine a Mamet play, without the cursing (think House of Games) or even Hitchcock with an elevated sense of philosophy.

If you enjoy intense, clever, and verbally dexterous tales, make time for this one. It isn’t a talk-fest, but practically all of the dialogue is a sparring match between the characters involved. It’s a dark joy of a movie.

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Never Rarely Sometimes Always

[4.5 stars]

Simple, calm, honest, and heartbreaking. Writer/director Eliza Hittman follows up her breakout Beach Rats by tackling a young woman’s challenge, making it an interesting companion piece even if they aren’t at all related.

Newcomers Sidney Flanigan and Talia Ryder take us on a journey that suggests more than it explains their lives. It is like the worst and best kind of voyeuristic observation. We never feel we’re intruding, but we also get to follow these young women where we shouldn’t.

This isn’t an easy film to describe. Basically, you should see it. It is a window into a world many will not have experienced, and an exposé of reality that far too many others have. That is done as art only heightens the effect and allows for some moments that will impact you unexpectedly…not because they are horrific in themselves, but because they are honest and imply ever so much more.

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