Destroyer

January 14, 2019 at 4:54 pm | Posted in 2018 | Leave a comment
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We are getting close to the end of the 2018 films. After this, I have one or two more I want to see. Then, I will be doing my end of the year review. When I do, where will this one go? Not in my top 10, unfortunately. But, not at the bottom, either. This was a good film, really decent, worth seeing, in fact. I just didn’t love it, and I don’t know exactly why. This is the story of a haunted woman, stripped raw by regret, and the journey of revenge she goes on in her attempt to find peace. But, this isn’t revenge-porn; if you are expecting “John Wick” or “Oldboy” or anything with Liam Neeson, you are just going to be disappointed. Director Karyn Kusama is doing something deeper here. Her lead character, Erin, is not ruthless. She wants to be ruthless, but she is more real than that. She stumbles through this story, leaking vulnerability and pain the entire time. Erin is played beautifully by Nicole Kidman, sporting a prosthetic nose that is far less distracting than the one she wore in “The Hours.” Kidman, who almost disappeared into this character, did so much work with her eyes. She looked haunted and worn out the entire time. The rest of the cast included Toby Kebbell (“Kong,” “War for the Planet of the Apes”), Tatiana Maslany (“Orphan Black”), Sebastian Stan (all the various “Captain America” and “Avengers” movies), Scoot McNairy (“Halt and Catch Fire”), and Bradley Whitford. They all did a good job in their various roles, although Maslany deserves extra credit in her role as Petra. But, the film was Kidman’s film and she was the center of every scene. The story was also shot very effectively. It was not until the very end of the film that I realized how Kusama had stitched scenes together. That misdirection was intentional on her part and it made for an effective a-ha moment, where the audience is reinterpreting scenes they saw earlier. She seems to be a very deliberate and planned filmmaker. I will give you another example but this comes with a spoiler alert. If you have not seen the movie you may want to stop reading now. Early in the film, we are told that there was an incident “a long time ago” for which Erin wants revenge. A little later we meet her 16 year old daughter in a bar with an older guy. A bit later, we then here that this incident was about “two decades ago.” This is where it sits until later in the film, when we learn that the incident was exactly 17 years ago. We are then almost immediately reminded that her daughter is 16, and then we get the reveal that Erin got pregnant by her partner. Kusama very deliberately kept things vague, until she wanted the audience to put the clues together just in time for the reveal. That is very methodical and deliberate filmmaking. So, why didn’t I like it more? I am been struggling to try and explain, but I just think it was a bit heavy handed at times. The best example of this is in the final moments of the film, when we are given the scene of Erin and her daughter in the snow. I cannot image how much work it was to light that scene so that all the snow was glowing and had this magical feel. But why? I just felt like that scene was hammering a point home that had been made effectively enough already. There were just a few small moments like that. Trimmed of that and this film would have been tighter, more effective. It really is a small thing in a film that I really did like, but just didn’t love.

Aquaman

December 29, 2018 at 11:33 am | Posted in 2018 | Leave a comment
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I think the thing I find most frustrating about DC movies is the wasted potential. Where Marvel seems capable of making anything work, DC has had few real successes (particularly when you consider that the “Dark Knight” trilogy was created independantly of the DCEU); there really is only “Wonder Woman.” Now, admittedly, Aquaman is a difficult proposition from the get-go. He is a goofy, goody-goody character whose major powers all occur underwater, which would be extremely difficult to capture. And, yet, those are all the things that DC got right. Re-inventing Aquaman as a tough, sullen Jason Momoa was a stroke of brilliance. And his character really shone in “Justice League.” Also, director James Wan (known primarily for directing/producing horror films like “the Conjuring, “Saw,” and “Insidious” serieses) somehow found a way to capture all of that underwater action beautifully. In fact, his special effects were by far the best part of this film. All of the ocean scenes were gorgeous. I loved the look of Atlantis and how all the people genuinely looked like they were underwater. The battles scenes were, for the most part, fun as well. The film was almost non-stop action from beginning to the bitter end, a tiring 142 minutes later. By the time we entered our last battle scene, I was a bit fatigued by the constant battles/blur of CGI action. But, honestly, I was impressed. All of the really tough stuff that could have doomed this film really worked. Where it fell flat was on all the stuff that should have been easy. Continuing to follow an oft-tried, and failed, story technique (think “Batman v. Superman”), this script was all over the place. It tried to take on too many things. The entire sub-plot of the Black Manta could have been saved for a different film. It added probably a good 30 minutes to the film and just distracted from the main plot. Additionally, all of the time spent on the complicated mechinations of the various Atlantian tribes and getting them to align for war, felt entirely unnecessary. The heart of the film was brothers at war with each other, if the story had been more tightly focused, we might have gotten deeper character development and trimmed the film to around 90 minutes. Instead, we had a rambling and exhausting mess. But, worse even than the plot was the dreadful dialogue. Virtually every line sounded like a bad cliche. I groaned over and over again at dialogue that sounded like it had been written by a middle school student. And it was never worse than when those awful lines were coming out of Momoa’s mouth. The dialogue turned Aquaman into the wise-ass, dumb jock who nobody liked in high school. His funny lines weren’t funny, and his dramatic lines were. That’s a problem. At one point, Aquaman actually asks, “what could be better than a king?” Really? You live in the 21-Century and you’re incapable of coming up with an alternative form of government? Under Wan’s directing, Momoa’s Aquaman came across as brutish, stupid, self-involved, and more than a bit condescending. It was not a flattering performance. And, perhaps, Momoa isn’t capable of more than that. He may do best when he is saying as little as possible. Here, his mugging for the camera and line delivery came across as a Dwayne Johnson wanna-be. Early in the film, tidal waves destroy cities around the world, yet no other superhero seems to take notice. Apparently, Superman, Wonder Woman, et al all have more important things to do. If they had showed up, perhaps Momoa could have shut up, and we might have had a better film. Again, such wasted potential. It felt like they were on the verge of a really good film but just couldn’t quite get there. What a shame. Visually, this film was worth every penny, but everything else was absolutely worth skipping.

Boy Erased

November 11, 2018 at 5:11 pm | Posted in 2018 | 1 Comment
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First, a confession. I grew up a gay boy who spent many years in a conservative religion. I confessed my sins, got “counseling,” and, to a much lesser degree than in this film, I participated in change therapy. All of which is to say that I am hardly an unbiased lens. And I did find myself wondering several times, who is the film for? And how do you access this film if not through the medium of personal experience? I was moved several times by the way the story struck deep cords in me; small details rung very true. Yet, without that emotional connection to carry you through the story, I am just not sure how one experiences this movie. As a story arc, it does not have much energy. The film is remarkably still, moving along slowly, almost placidly, toward a climax that we could all see coming and that lacked the drama and emotional release that I think the audience was expecting. In it’s place, what we got was something that felt a lot more like the truth. Lucas Hedges has had an impressive couple of years. Since 2016’s “Manchester by the Sea,” he has been in “Lady Bird” and “Three Billboards outside Ebbing, Missouri.” In fact, he’s in three films that will be out and the same time (and is the lead in two of them): this one, “Mid90s,” and “Ben is Back” (which will be released in 3 weeks). He might be trying to give Timothée Chalamet a run for his money. While not as expressive an actor as Chalamet, Hedges does a solid job in the role. He is most effective when his “Jared” is struggling with shame. His anger is somewhat less convincing to me. Joel Edgerton (“Animal Kingdom,” “Warrior,” “Loving,” “It Comes at Night“) is one of the most underappreciated actors in Hollywood today. Watch the four films I just listed to see how versatile he is. He directed this film and wrote the screen play, based on the biography by Garrard Conley. He also plays “Victor,” the director of the conversion therapy program Jared is placed into. Edgerton is fantastic as Victor and brings much of the energy that propels the mid-section of the film. That said, I think the best performances belong to Jared’s parents, played by Nicole Kidman and Russell Crowe. They both played those characters with such heart. Crowe, in particular, should get a nomination for Best Supporting Actor. His was a difficult character that could have easily become a stereotype. Instead, Crowe plays him with such deep compassion, that you can’t help but relate to this man. Especially in his final scene, Crowe gave some of the best acting of his career. His was the performance that will likely stay with me the longest. This was a solid, well-crafted film and one that took me on a personal journey. I hope that others, who have no connection to this material, can take that same journey and can be as moved by the final scene as I was.

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