The Father

March 28, 2021 at 5:24 pm | Posted in 2020 | Leave a comment
Tags: , , , ,

◊ ◊ ◊ ◊ ½

There certainly has been no shortage of movies that deal with Alzheimer’s, like 2015’s fantastic “Still Alice.” But they all tend to tell the story in the same way: the audience experiences the disease through the eyes of the family members; we are outsiders looking in on the patient with sympathy. Here, though, director/writer Florian Heller has cleverly flipped the script. We find ourselves actually experiencing dementia through the eyes of the patient, and the experience is disconcerting. I think the less said about the conceit, the better. I will simply say that it resulted in a film that I found a bit terrifying. I cannot imagine what it would be like to lose oneself to dementia, and this film brought me as close as any film has done to imagining that experience. The film focuses primarily on the relationship between father and daughter, played by Anthony Hopkins and Olivia Coleman. Coleman is nominated for an Oscar for best actress for her second year in a row. She is, without a doubt, a stunning acting and deserving of many an Oscar; I’m just not sure it should be this one. She is really strong here, displaying her vulnerability, pain, forced cheerfulness very believably. But, the real star of this film is Hopkins, who was inexplicably not nominated. His portrayal of this proud man’s descent into dependency is heartbreaking. It really is a stunning performance and his best in years. I thought this film was wonderfully clever and innovating and also deeply touching. It will stay with me for a long time.

Another Round

March 21, 2021 at 5:07 pm | Posted in 2020 | Leave a comment
Tags: , , , , , , , ,

◊ ◊ ◊ ½

The Danish name for this film is “Druk,” which (according to Google translate) means “binge drinking.” That would be a slightly more apt title as it gets to the heart of what this film is about. Four school teachers, who are all to varying degrees past middle age, decide to test a theory that human beings are at our best with .05% alcohol in our bodies. As the Danish name implies, that limit gets pushed and pushed, and these men become varying levels of more or less functional. Tonally, the film starts out as a comedy; nor a rip-roaring, over-the-top American comedy, but a comedy none-the-less. It ends as something different. With a final tone that is part winsome, part hopeful, part tragic, still a bit comedic, and a whole host of other things, it’s hard for me to know exactly what to call this film. And, I must admit, my perception is very much shaped by my American upbringing and my American view of alcohol, which I suspect most Danes might see as puritanical. This films seems to be mostly a glorification of constant drunkenness. It appears to suggest that alcohol is the solution to everything. Middle-life crisis? Try alcohol! Lost your passion for work? Try alcohol! Lack confidence? Try alcohol! Have test anxiety? Try alcohol! Your marriage falling apart? Try alcohol! You want to meet women? Try alcohol! I could go on and on. Though there is a cautionary note struck about the potential dangers of alcohol abuse, it is so outweighed by the rest of the film. And the exuberant final scene seems to tell us constant alcohol use is worth the price you pay. That isn’t to say the film is without its charms. Mads Mikkelsen (“Doctor Strange,” “Casino Royale”) is one of the best actors out there, and he doesn’t nearly get the attention he deserves; just watch his brilliant turn as Hannibal Lecter in the tv show “Hannibal” (one could argue that he is better than… gasp… Anthony Hopkins). I support any film that raises his profile, and he is fantastic here. He somehow manages to look perpetually drunk, down to the glassy bloodshot eyes. So, either he was drunk on set (in which case, brilliant for remembers his lines) or he is a genius for playing drunk so well. Also, the film is fairly fun and light for most of its 1:57 run time, entering a dark period in it’s second half, but returning to the lightness at the end. I would love to know how Danes react to this movie. Is it pure fun? A dark comedy? Absurdism? Or is it poignant, and asking difficult questions? For me, it was just a bid strange, because I felt at odds with what the message seemed to be. But, watch the film, and judge for yourself. If nothing, I think it would spark interesting conversation within a group of friends. Over a few drinks…

In & Of Itself

March 18, 2021 at 2:51 pm | Posted in 2020 | Leave a comment
Tags: , , , , , , , , , , , , , ,

◊ ◊ ◊ ◊ ◊

I realize that, outside of the strangely blurred lines of 2020 entertainment, this Hulu show may not be considered a film. Would it have shown in theaters? I have no idea. But, I just felt like I had to say something about it. I really have no idea what to call it or even how to describe it, exactly. I will say this, though: see it. Whoever you are, see this film. I have never experienced anything quite like it. I really want to share as little as possible, because part of the joy is in the surprise (so, please don’t watch the trailer if you are going to see the show). Created by Derek DelGaudio, this performance (I think that’s the best thing to call it) takes the audience on a frankly astonishing journey. DelGaudio, who would probably best be called a performance artist (though some would say “magician”), simply talks to a small New York audience for 90-minutes. That may seem like it will be boring. And, for the first little bit, you might wonder why you are bothering. Stick with it. Because, when it gets going, you will wonder what’s happening. And, see it with someone, because, when it’s over, you’ll want to ask each other “what was that?” There’s something deeply moving and compassionate about DelGaudio and the story he is telling (or is it a story? what’s the right word?). I want to talk through what I thought his message was. I want to know what you think his message was. This looks like a one-man show, but really the audience are all part of the show. And DelGaudio wants us, on the other sides of our TVs, to also feel like we’re performers in this show as well. And that what we are all performing is something much larger than what is happening on that stage on that one night. Parts of this film had me dumbstruck, and parts had me weeping at the incredible, tender human connectedness DelGaudio was trying to create. See this film. Oh, and when you do, stay through the credits. It feels strangely like something close to real magic.

 

Collective

March 18, 2021 at 2:23 pm | Posted in 2020 | Leave a comment
Tags: , , , , , ,

◊ ◊ ◊ ◊ ½

“Collective” is the type of film that can keep you up at night. This dark documentary covers the slow, seeping revelations that come out about the Romanian health care system following a tragedy. On October 30, 2015, a horrible fire broke out at the Bucharest nightclub Colectiv. Twenty-six people were killed on site, and almost 200 were taken to hospitals with burns. Over the next few weeks, another thirty-eight died, some who had had fairly minor burns. This story might have gone nowhere if not for Catalin Tolontan, a journalist for (of all things) a sports magazine. Tolontan and his co-workers intrepidly follow the slowly unraveling string to some truly disturbing places. Remarkably, they had a camera along the whole time, so we aren’t subjected to post-hoc interviews and cheesy reenactments; we see these folks wrestling with what they are finding in real time. The story focuses primarily on two protagonists, Tolontan and Vlad Voiculescu (the newly appointed minister), against a mostly faceless bureaucracy. But that is one of the powers of bureaucracy; the way it can leave nobody feeling responsible. As problematic as the American health care system is, it seems utopian in comparison to Romania’s. But, while we may be light-years from them in terms of our health care system, in many ways, “Collective’s” strident plea for the role of journalists against government corruption is just as vital a message for the American people. We aren’t Romania, but if we lost a strong press and a people willing to hear the truth, how long do you think it would take to get there?

Wolfwalkers

March 18, 2021 at 1:56 pm | Posted in 2020 | Leave a comment
Tags: , , , , , , , , , ,

◊ ◊ ◊ ½

In the world of animation, it must be hard these days to not be Pixar. They just seem to own and dominate everyone in the animation space. And, they are like fast food of movies; they just keep putting them out there. They released two movies this past year (“Onward” and “Soul”), both of which are nominated for Oscars. How does a studio take that on? Well, Cartoon Salon is sure trying. This lovely little film from the Irish studio is also up for an Oscar this year. It won’t win, but I’d be glad if it did, just to shake things up a bit. While, it lacks the emotional complexity and superb visuals of a film like “Inside/Out” or “Coco,” it still has a lot of charm and character. The story of a wolfwalker and the human friend she recruits to help her save her mother, is very typical animated fare. Not too scary that a young child can’t watch, but mature enough to entertain most tweens and many adults (teens, as you know, are impossible). The rough, sketchy animation is part of the film’s charm, and it seems to augment the sense of the magical occurring. Not much too surprising happens here, but it’s a nice, tight package that’s easily entertaining enough for any young kid or animation buff.

 

The Mauritanian

March 14, 2021 at 2:41 pm | Posted in 2020 | Leave a comment
Tags: , , , , , , ,

◊ ◊ ◊ ◊ ½

This film starts with a bold statement, “this film is true.” Not, “based on a true story,” or “inspired by real events,” or any of the other equivale statements Hollywood makes to say, “yeah, there’s a kernel of truth here, but we also exaggerated a whole hell of a lot.” What this film actually is, is a faithful rendition of Mohamedou Ould Slahi’s memoir  “Guantánamo Diary.” How true are the truths contained in it? As disturbing as they are, they are also, by all accounts, completely true. This film is a hard look at what the American people have casually allowed in our name in order to buy the illusion of increased security. Jodie Foster plays Nancy Hollander, a defense attorney at a high powered firm, who takes on the case of Mohamedou Ould Slahi, who was being held (like so many others) at Guantánamo Bay without any trial, without due process, and without even being charged with anything. He was kidnapped by the American government; there is really no other word for what they did. Our government behaved no better than the couple who kidnapped Elizabeth Smart, or those who took and attempted to brainwash countless other children. That’s an ugly thing to say; but this is an ugly truth we must face. As a nation, we cannot claim the high moral ground while staring up out of a pit of our own making. This film asks us to confront that ugly truth. That Foster won the Golden Globe speaks for the quality of her performance, but I was even more taken by Tahar Rahim, who played Slahi. He brought an energy to his portrayal of Slahi as a man, beaten down though he was, who had a light and a spark of playfulness. When he see the real Slahi in the closing credits, we can see the truth in Rahim’s performance. This is a film worth more than just seeing. It’s a film worth talking about.

Judas and the Black Messiah

March 13, 2021 at 5:32 pm | Posted in 2020 | Leave a comment
Tags: , , , , , , , , , ,

◊ ◊ ◊ ◊

Taking place in the shadow of the Martin Luther King and Malcom X assassinations, this film tells the story of Fred Hampton, chairman of the Chicago chapter of the Black Panthers, and Bill O’Neal, the FBI informant tasked with bringing him down. After getting picked up on charges of car-jacking, O’Neal had to choose between years in prison or infiltrating the Black Panthers. O’Neal is played by one of the great young actors in Hollywood today, LaKeith Stanfield (“Sorry to Bother You,” “Get Out,” “Knives Out”). Stanfield effectively captures the constant anxiety and ambivalence that O’Neal must have felt, along with the moments of bravado, humor, and perhaps even conviction that helped create this character. He was playing against Daniel Kaluuya, another powerhouse of that generation of actors, whose work in “Get Out” and “Queen & Slim” is nothing short of breathtaking. Kaluuya played Hampton with a fury that helps the audience see why he was so successful at uniting groups, and why Hoover was so threatened by him. While they are essentially the films two antagonists, all of their best work is done when they are not interacting. The film builds towards the final confrontation, without the characters ever confronting each other. These were two fine actors, giving powerful performances, alongside an excellent supporting cast. In a year of such great films, it’s hard for this one to stand out. But, it’s well-made, well-acted and commendable, none-the-less.

David Byrne’s American Utopia

March 11, 2021 at 6:30 pm | Posted in 2020 | Leave a comment
Tags: , , , , ,

◊ ◊ ◊ ◊ ◊

I have never reviewed a concert film before, nor have I ever considered doing so. But this one is something special. Though it is very unlikely it will get an Oscar nod, one for best cinematography would be well deserved. I never managed to see “Stop Making Sense,” the Talking Heads documentary shot by Jonathan Demme in 1984. I have always heard it was brilliant, and after seeing this one, I have no doubt, though I cannot imagine it’s better than this. The film covers one of the nights from Byrne’s 2019 Broadway show. It’s directed brilliantly by Spike Lee, and the result is really visually stunning. From the very first scene, you know you’re in for a treat. I just marveled over and over again at what I was seeing on screen. My recommendation: see it in a dark room on a big HDTV. But this is more than just a visual (or musical) feast. Byrne also has a serious message here about the interconnectedness of human beings that builds throughout the film and ends on a powerful crescendo. The film had me singing along, even to the songs I did not know. It made me cry and shake my head in wonder. It had me on the edge of my seat and, by the end, dancing around the room. I felt more energized after this movie was over than I have with any film I have seen this past year. I was texting all the friends I could think off, as soon as it was over. It was an absolute joy from its first image through to the very last credits.

Minari

March 7, 2021 at 6:20 pm | Posted in 2020 | Leave a comment
Tags: , , , , , , , , ,

◊ ◊ ◊ ◊

I find it very strange that this film won the Golden Globe for “Best Foreign Language Film.” Yes, it is spoken mostly in Korean, but it takes place in Arkansas and it was written and directed by American filmmaker Lee Isaac Chung. I would have thought the category was reserved for films not made in the U.S. However, that said, I am glad for all the attention this little film can get. Anything that increases its number of viewers will be a good thing. Chung grew up in small town Arkansas with his sister and parents, and this film is loosely based on his own experiences. His grandmother also came to live with them and his reaction was the same as David’s in the film. And that relationship between grandmother and grandson was the real heart and the joy of this film. Yuh-jung Youn, who plays the grandmother, is absolutely the best part of this film. Her performance was at times sweet, funny, or heartbreaking. She deserves an Oscar nomination for Best Supporting Actress. This is a cast of very strong actors, including the small boy, but Youn is in a class of her own. I was actually surprised by how funny this film could be (in a very snarky way), and she was almost always at the center of that humor. But, be aware, this isn’t a comedy. Nor necessarily is it just a drama. It tells the story of a period of time in the life of a Korean family in the early 1980s in a way that feels more true to life than any one genre might contain. The story doesn’t always go where you think it will, much like real life. And, when it ends, you know that the story itself is nowhere near over. This was a touching, sweet story that felt like a deeply personal one for Chung. I’m glad to see we have space for voices like his, and I am glad for whatever happens that helps more people to be exposed to voices like his.

 

Blog at WordPress.com.
Entries and comments feeds.