Star Wars: Episode IX – The Rise of Skywalker

January 2, 2020 at 4:49 pm | Posted in 2019 | Leave a comment
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Here we are at what has been promised to be the last film in the 9-movie arc George Lucas started in 1977.  What a gargantuan task this is, ending what is arguably the most popular series of all time in a way that makes everyone (anyone?) happy. Not surprisingly, many have not been happy.  On Metacritic, almost 1/3 of critics gave it a perfectly middling score of 50, and fans also break almost exactly down the middle whether they liked it or not (1608 to 1654). Even Lucas has repeatedly griped about this new series. The original “Star Wars” series has become such a sacred cow that apparently nobody (including Lucas) can do it justice. Well, all of those caveats said, I really liked this film. Not as a stand alone film, but as the final in a venerated series. I saw it with someone who has not watched most of the other films. He was lost right from the first scene and felt like the film just jumped from one action scene to the next. He isn’t wrong. The film starts with a fast-moving set of scenes involving Kylo Ren that feel like a manic montage; they are meaningless without context. In fact, the first third of the film was where it was weakest for me. However, things got better as the story progressed. As with many of the films, the plot sometimes felt unnecessarily convoluted, but as the story focused toward a core story line, it also got more engaging. There was some terrific CGI on display. The battle on the ocean planet was particularly engaging. I was also amazed by the CGI around Leia. Had I not known she had passed away prior to filming, I would have thought Carrie Fischer had been in the film. I would love to know how they used archival footage to give Leia as large a part as she had. Writer/director JJ Abrams is a highly sentimental director. You can see this footprint in many of his films (including “The Force Awakens“). Where Rian Johnson (whose work I love) was more interested in breaking sacred idols in “The Last Jedi,” Abrams wants to revere them. And that is exactly the right approach here. Now is not the time to reinvent the series; now is the time for closure. Closure is closely married to sentiment, and Abrams has loaded this film with sentiment. He brings back every critical character from the first three films (even those who are dead or should be). The audience either sees or hears from Luke, Han, Darth Vader, Anakin, Yoda, Obi Wan (young & old), Mace Windu, Qui-Gon Jinn, and Snoke, along with those who are more central to the plot. Abrams also takes us back to classic locations and gives us glimpses, however brief, of classic alien races. This may feel manipulative or cloying to some, but it felt exactly right to me. I was especially pleased (and, dare I say, even moved) by the final moments of the film. It ends where it all started 42 years earlier in a scene that was as close to perfect as any Star Wars scene has ever been. I hope we continue to see other films and tv shows taking place in this universe, but I hope I never see another Skywalker film again. This one brought closure to an incredible journey.

Can You Ever Forgive Me?

February 4, 2019 at 2:54 pm | Posted in 2018 | Leave a comment
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So, this is it; the last 2018 film. It was released months ago but had returned to theaters after getting several Oscar nominations. I might describe this film as a biographical, comical drama. Lee Israel had been a moderately successful author of famous biographies before she fell on hard times after her biography of Estée Lauder flopped in 1985. After trying various (sometimes dubious) things to pay rent, she found a very lucrative living forging letters by famous authors. With the help of her friend, Jack Hock, she sold hundreds of letters between 1992 and 1993. She eventually wrote a book about it. The story itself is interesting as a general curiosity; a peek into, another world. It is fairly light fare, never too dramatic, and gently humorous at times. The real joy of the film is in the dysfunctional relationship between Israel and Hock. Both are played beautifully by Melissa McCarthy and Richard E. Grant. McCarthy is so widely known for her broad, crass physical comedies, that this understated performance was a real pleasure. I’m glad to see she was nominated for an Oscar. She does not deserve to win against such fantastic competition, but she deserves to be recognized as a more versatile and skilled actor than many people might realize. It is not easy to make an essentially unlikable person likable, while staying true to their character. Israel was angry, dour, misanthropic, foul-mouthed, and she had a stunted moral development. The same could be said for Hock. Yet, the audience cannot help but like these two, miserable people, despite how deeply self-involved they both are. I think that takes a deft hand as an actor. McCarthy’s Israel, in particular, had a haunted pain behind her eyes that made her someone people could relate to and empathize with. This is not a terribly important film, nor will it be one that likely stays with me. But, if it opens up opportunities for McCarthy to take more serious roles, then it was well worth the new round of attention it has gotten.

Logan

March 6, 2017 at 7:00 pm | Posted in 2017 | Leave a comment
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I said in my last review that “Get Out” was actually a comedy/parody disguised as a horror film. Well, “Logan” is a horror film disguised as a superhero movie. In particular, it belongs among the goriest of slasher flicks. This dark tale must be based on a story from the comics, though it is not one I was familiar with. That was probably best. I have only been disappointed by the truly terrible adaptations that have been made of classic X-Men stories (“Days of Future Past” and the brilliant Wolverine miniseries, just to name two). In general, the entire X-Men series of films has been one boring misstep after another. This was the first one to have any depth of character, any real sense of peril and that required any actual acting. Hugh Jackman and Patrick Stewart were terrific as the two aged and broken heroes. Their banter, bickering and pain were such a nice relief from the typical superhero fare. This is 2029 and its a grim world where both men have lost faith in themselves, each other and everything else. Grittier and far far more violent than any other X-Men film, I found myself drawn into the story, even while I was occasionally distracted by the violence. Somber from start to finish, this was unlike anything I might have expected and I was delighted. I hope we see more filmmakers willing to take this genre into the world of adult emotions and complexity. There are so many heroes that I think could flourish under that treatment.

Jackie

January 1, 2017 at 7:31 pm | Posted in 2016 | Leave a comment
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This slightly odd and deeply moody film is the work of Chilean director, Pablo Larraín. I have not seen any of his other work, so I don’t know how to evaluate this one within a context. Covering the first few days after JFK’s assassination, the story follows Jackie Kennedy as she deals with the shock, plans the funeral, deals with various people in the White House and gives an interview. The interview serves as the framework for her reflections on those first few days. Outside of that loose structure, the film felt somewhat wandering and tangential, moving through various discreet scenes without creating a clear plot. That said, story does not appear to be Larraín’s main intention here. Rather, he seems to want to create mood and, to that end, every scene is imbued with a deep sense of sadness, longing, bitterness and rage. This version of Jackie, played beautifully by Natalie Portman, is very very angry at just about everyone. I have no idea how true that was but she makes for a compelling character. In fact, it was hard to not be taken in by Portman’s Jackie. This role is likely to earn her an Oscar nomination and maybe even the win. She is so vulnerable and strong at the same time. You get a sense that Jackie was always seething just below the surface of her polished exterior but that, in the days after her husband’s death, she couldn’t help but let some of the anger leak out through the cracks. Portman does an uncanny job of becoming Jackie, which is a good thing given that she is the entire focus of the film. Other talented actors like Peter Skarsgaard, Greta Gerwig, Billy Crudup and John Carroll Lynch are scarcely used. Even JFK is a minor character in this story, though I will say that they found the most remarkable look alike to play him in Danish actor Caspar Phillipson. This is Jackie’s film and, as such, it rests largely on Portman’s performance. Given how strong it was, that should have been enough but the disjointed story left her performance adrift. In the end, we had an hour and a half of Jackie emoting. As compelling as it was to watch in many ways, it never felt very impactful.

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