Thursday, November 15, 2018

FANTASTIC BEASTS: THE CRIMES OF GRINDELWALD

Eddie Redmayne    Katherine Waterston     Dan Fogler     Jude Law     Johnny Depp
Zoe Kravitz     Allison Sudol          Ezra Miller     Credence Baregone     Carmen Ejogo


     The second installment of the Fantastic Beasts series tells about the renewed threat from the dark wizard Grindelwald, who has escaped from the custody of the MACUSA (Magical Congress of the United States of America) and has a devious plan to create a new world wherein non-magical beings will be subservient to the wizards who have pledged loyalty to him.  In this framework, one is either for or against him, and he demands a declaration of loyalty.
     The alarm goes out in the wizard world about this new threat, and Dumbledore (Law) charges Newt Scamander (Redmayne) with joining forces to stop him.  Newt is handicapped a bit by MACUSA’s forbidding him to travel internationally, but he is managing to get around that in his and friend Jacob’s (Fogler) journey searching for their loves, sisters Tina (Waterston) and Queenie (Sudol)
     One of the drawbacks of the film is in the script with its multiple plot lines involving so many people it’s hard to keep track of everyone and all the sub-plots involved.  There are the relationships between Jacob and Queenie, Newt and Tina, and Credence and Leta; there is the historical relationship between Dumbledore and Grindelwald; there is the relationship between Newt and his beloved beasts (quote:  “Newt has never met a beast he didn’t love”); there is the question of the true identity of Credence (Miller); and, finally, there is a question of who among all these characters will take up with Grindlewald and help him in his master plan.
     Director David Yates has collaborated with J. K. Rowling (author of the books on which all the Harry Potter and Fantastic Beasts films are based) on the last six productions, and she has written the screenplays for the two Fantastic Beasts films.  This partnership, along with other consistent members of the team (Cinematographer Philippe Rousselot, Production Designer Stuart Craig), returning actors Redmayne, Waterston, Fogler, Sudol, Miller, and Depp, and the visual and special effects artists contribute a kind of consistency in quality that make the series popular with general audiences.  However, many viewers—possibly more discerning—are picking up on the repetitiousness and “tent-pole” characteristics of these creations.
     Eddie Redmayne’s talented acting is a plus in the Fantastic Beasts series, although whether it can endure the number of upcoming productions remains to be seen.  It’s been agreed that he will remain in his role.  In this film, he, Waterston, Fogler, Law, Kravitz, and Sudol pull off their roles admirably.  

This latest offshoot of the Harry Potter series is attempting to hold onto its popularity with the general public.

Grade:  C+                                    By Donna R. Copeland

WILDLIFE

Jake Gyllenhaal     Carey Mulligan     Ed Oxenbould     Bill Camp


     After demonstrating his acting abilities in acclaimed movies (e.g., There will be Blood, Little Miss Sunshine, Love & Mercy), Paul Dano decided to try his hand at directing a movie based on a book written by Richard Ford, which brings us to Wildlife.  The book spoke to Dano, reminding him of his own experience of his parents’ separation, in which, as an only child, he was inclined less to rebel and act out, and more to try to hold everything together.  He was the responsible one, the “parent child” in psychological parlance.
     In the film, we see the family first as having just moved from Lewiston, Idaho, to Great Falls, Montana.  Joe (Oxenbould), a teenager who has felt uprooted with the move, is trying to satisfy his father’s wish for him to become a football star.  His father Jerry (Gyllenhaal) has aspirations to become a force in golf at the local club where he works.  However, he gets fired—in his own words—because he is so good with the customers.  When the club has second thoughts and wants to re-hire him, the narcissistic wound of rejection prevents him from accepting.  Instead, for some reason (visions of greatness?), he decides instead to fight forest fires raging in the nearby forests, which will take him away from the family for several months.
     Incensed, Jerry’s wife Jeanette (Mulligan), rails at him for the stupidity of his plan.  In the meantime, she has decided to ignore Jerry’s wish that she remain a housewife and has taken a job as a swimming coach.  This will introduce her to a different world from that she has been trained for and is used to, and brings her in contact with people in the town; one of her students is a wealthy widower, played by Bill Camp.
     The story is about what happens in this interim when the parents are separated, and Joe, feeling the tension between them, tries his best not to take sides and accommodate to an altered world.  But in fact, in Dano’s description, he is a “kid being kicked out into the wild [and told], “This is the real world.”  In other words, get used to it.  
     The rest of the story is about Joe’s experience of being with his mother, completely cut off from his father, and having to somehow make sense of it all.  In the role of this character, Oxenbould, a young Australian actor, perfectly captures the basic dilemma and the multiple awkward positions his mother places him in during the course of the movie.
     Problems with the film could be with the way the parents communicate with Joe. It seems to me they relate to him in ways that are unrealistic, asking his advice at strange moments (“Joe, what do you think I should do?”; “Joe, how do I look?” [for an interview or for a date], and always turning to him in moments of crisis.  I haven’t observed any parents being this blatant, but given that Dano is basing this partly on his own experience, maybe it happens.
     This is probably the “meatiest” role in Carey Mulligan’s career, and she takes to it with all she has.  She is brilliant.  Her character’s common sense arguments/putdowns of her husband’s decisions are careful not to attack him directly and personally, but clearly she conveys she is her own person and not willing to subject herself to anyone for any reason.  
     I never have enough words of praise for Jake Gyllenhaal; he inhabits all different kinds of characters in ways that are always believable.  I had a hard time at first seeing him as a passive/aggressive figure who is fiercely independent, assuming his family would be waiting for him with open arms when he returns, but of course he does just that with all the authenticity the role requires.  
     Paul Dano should be very proud of his new direction (and a script in collaboration with Zoe Kazan); he has all the makings of a good director who has an eye for the overall picture and knows characterization well enough to cast fine actors for the roles.  I congratulate him and his collaborators for a film in which a kid succeeds despite his parents’ utter disregard for him.  Let’s all hail the promise of the human spirit over adversity.

An example of how a teenager can master the challenges his family—and life—can throw at him.

Grade:  B+                                    By Donna R. Copeland 

WIDOWS

Viola Davis     Liam Neeson     Robert Duvall     Colin Farrell     Michelle Rodriguez
Elizabeth Debieki     Cynthia Erivo     Brian Tyree Henry     Daniel Kaluuya


     Hold onto your seat; despite the leading title, this movie will keep you on edge—and on your toes—throughout the two-hours-plus time.  Rapid cuts between love scenes and major crime in the beginning shake you and disorient you, and then you must figure out who are all the characters thrown at you in the first few minutes.  
     Basically, if you’ve seen the previews, you know that the widow of a slain criminal contacts the other widows of her husband’s accomplices with a plan to secure their future after she finds the notebook he made sure she would get. As happens a lot in this film with men and women, he has underestimated her feminine wiles and will.
     In a role made for her, Viola Davis as Veronica uses her head after she is threatened by a rival gang, the Manning brothers (Henry and Kaluuya), who demand money from her that her husband Harry Rawlings (Neeson) stole.  Jamal Manning is determined to join the wealthy of the world, using his brother Jatemme as a fearsome hit man with no limits as to what he will do.  
     Corruption in city government is intertwined with criminal elements, assuring that interconnections among the characters will inevitably occur.  For example, Tom Mulligan (Duvall) and his son Jack (Farrell) are corrupt city officials who mete out city contracts to their friends.  Jack is currently running for city comptroller against Jamal Manning. All of them were well acquainted with Harry Rawlings when he was alive.  
     The main characters in this well-conceived plot are after the money that is now missing (burned up?) from the Rawlings caper that went down.  You will know who, if any, will end up with it only after many thrills and chills along the way.  The women occupy the stage most of the time, and actually, the men don’t come across well at all.  We see honor and care among the women who are following in their husband’s footsteps, but not in the same way.  The male characters are shown to be duplicitous, violent, and reactionary. 
     Writer-director Steve McQueen (12 Years a Slave, Shame) and screenwriter Gillian Flynn (Gone Girl) based the movie on the popular British television series written by Lynda La Plante of Prime Suspect fame.  With this much talent, it’s not surprising that their production is of such high quality.  No cheap thrills here, every inch of it is solid and has internal consistency and believability.  Hans Zimmer’s score and Sean Bobbitt’s cinematography provide an additional degree of excellence.
     Quotable quotes:  “You reap what you sow”; the reply:  “I hope so” and “If something goes wrong, I want my kids to know that I didn’t just sit there.” 

For an exciting, invigorating, suspense-filled evening go see Widows.

Grade:  A                                                  By Donna R. Copeland

GREEN BOOK

Viggo Mortensen     Mahershala Ali     Linda Cardellini     Don Stark     Sebastian Maniscalco


     It’s fascinating to see how filmmakers are able to turn stereotypes on their heads so shrewdly and wittily, which can be funny, heartbreaking, or insidious.  Here, the director (Peter Farrelly) and writers (Nick Vallelonga, Brian Hayes Currie, and Farrelly) have woven a tale based on a true story showing how a slightly condescending African-American who is wealthy, mannerly, and educated can somehow bond with a white working class man, a bouncer at the Copacabana in New York, with clear hostilities toward minorities.  In their concert tour, they confront southerners with major prejudices, field workers gawking at a black man in a suit being driven by a white man who has to fix the car, and self-contradicting southern traditionalists who invite a black artist to perform for them, but will not allow him to use their bathroom or eat in their dining room.
     Part of the delight of Green Book (referring to a guidebook used by blacks designating restaurants and motels/hotels in the south that would accept them as patrons) is observing how, with the right provocative experiences many can change, even though some will be impervious. And that is the lofty goal of Dr. Don Shirley (Ali), to change the world and make it a better place.  He succeeds beautifully and heartwarmingly with his driver Tony (Mortensen)—as he himself is transformed in the process. And we hope that he leaves change in his wake as he protests with dignity the injustices he encounters on the road.  
     Another delight is seeing the different perspectives of the two men crashing into one another, usually in the car on the road.  They have pointed conflicts that are only settled by Don being Tony’s boss.  Yet, Tony gets his jabs in from time to time.  Tony is proud of his life-long designation of “Tony Lip”, which came from his reputation at an early age of being a good bullsh*ter. When Don labels it as simply lying, Tony is offended.  He sees it as getting people to do what he wants them to.  And both learn from the conversation as Tony ponders what Don has said and Don along the way sees how Tony’s bulls*ting gets them out of jams.  It expresses in an exquisite way the truth in both their views.
     Another beauty of this film is to see the two actors, Mortensen and Ali, at work. They are masters at conveying subtle signs of all kinds of thoughts and emotions.  They have perfect chemistry with one another and will always praise the other’s skills.  They’re not just being polite; both approach their roles in a perfectionist way, wanting most of all to convey accuracy and authenticity.  Ali’s piano playing is a wonder to see, and I was curious to know if he could actually play that well.  It turns out that he had a coach and sometimes double, but the rendition on the screen looks like it is all Ali.
     This is a very different Farrelly film from his past collaborations with his brother Bobby (e.g., There’s Something about Mary, Dumb and Dumber, Shallow Hal) in its being more than a comedy, something of a character study, and taking a political point of view with regard to race and class.  He should be proud of the venture in its depth of commentary and essential substance, along with the comedy.  At its most eloquent, Don agonizes, “I’m not black enough, not white enough, not enough of a man—so who am I?”  Stereotypes limit us; diversity frees us.  That’s the message of this film, which won the audience award at the Toronto International Film Festival.
     Despite the two-hour run time, I didn’t want the story to end; I wanted to stay with these people.

A wonderful film that moves you, prompts you to ponder, and makes you laugh.

Grade:  A                                    By Donna R. Copeland

Friday, November 9, 2018

A PRIVATE WAR

Rosamund Pike     Jamie Dornan     Tom Hollander     Stanley Tucci


     I don’t know if other people will have the same experience in watching this film as I did, but to me it was like listening to television news stories from Sri Lanka, Iraq, Aphganistan, Libya, and Syria one after the other, highlighting mangled, bloodied bodies and cries of misery.  Our heroine, Marie Colvin—a journalist and real person—(played eloquently by Rosamund Pike) seems to be drawn to war zones, even as she hates them.  She says at one point, “In covering war, can we really make a difference?”  In her own mind, that is what she is about, trying to get the world to care.  And she is successful, at least in her editor’s mind, when he compliments her:  “You have the God-given talent to make people stop and care.”  I wish the story had moved me to a greater extent, but it didn’t, which I will address below.
     We first get a bit of background on Marie, at home in London with her husband David, a professor/novelist, when she is early in her career.  He makes a comment about her being away from home so much, and clearly doesn’t appreciate the passion she has for her work.  When she gets seriously injured in Sri Lanka and begins showing signs of PTSD, he tries to get her to change directions.  But after a stint in a mental hospital, in a couple of years she is headed to Iraq.
     That is where she will meet the photographer Paul Conroy (Dornan), who is awed by her and eventually becomes a devoted partner in covering war stories.  He sticks with her throughout, being a kind of protector (which she allows it) and pal.  They end up in Libya during the Arab Spring, and meet with Gaddafi—whom she has met before—and she asks him hard questions, which he responds to with heart and humor.  
     By this time, Marie is showing signs of serious alcohol problems and issues with Sean, her editor (Hollander).  She has met someone who—if anyone could—inspire her to rest on her laurels, but at this point, Sean tries to reel her in to continue.  She comes back with the argument that what she does protects him (and her readers).  “I see it so you don’t have to”, she says; whereupon Sean comes back with, “But if you lose your convictions, what hope do the rest of us have?”  That kind of guilt trip will always get to Marie, and she travels on to Syria and Assad’s bombing of civilians there.  
     I was taken with director Matthew Heineman’s previous films, which were documentaries: Cartel Land, City of Ghosts.  Here, he attempts to dramatize Marie Colvin’s life (based on Marie Brenner’s article in “Vanity Fair” magazine, with a screenplay by Arash Amel) as a gutsy, committed journalist whose life-long wish was to appeal to populations of the world to help those in desperate need.  But, surprisingly, the film doesn’t leave the viewer with a clear understanding of Marie herself.  Why did she keep chasing war stories to the point that it was almost—if not in fact—suicidal?  Did her editor, Sean Ryan (Hollander), try to keep her out of harm’s way—until the sensational story became more important?  Nor does the film pull us in emotionally so that we’re cheering at the end.  No, it’s missing the heart and soul that his documentaries captured so well.
     That being said, Pike’s performance is flawless and moving throughout.  She clearly understood and appreciated the character of Marie Colvin, in ways that I could not in seeing this film.

This is about recent wars and intended as an anti-war film.

Grade:  C+                                     By Donna R. Copeland

ROMA

Yalitza Aparicio     Nancy Garcia Garcia     Marina de Tavira     Diego Cortina Autrey    Marco Graf


     Roma can be seen as a tribute to Alfonso Cuaron’s nanny/housekeeper when he was growing up.  He has said it is partly autobiographical, and the character Cleo (Aparicio) is truly someone to admire in her faithfulness, caring concern, diligence, and honesty.  Cleo works for a middle class family in a household with four children and a grandmother in a district of Mexico City called Roma in the 1970’s.  The father is a physician always on the run, showing little love or even attention to his wife or his children. Family members are used to having someone waiting on them, so Cleo’s time—all the time—is picking up after them, doing the laundry, bringing them treats, and helping Adela (Garcia), the cook.  The children clearly love her and show their appreciation for what she does.  The mother also seems to consider her part of the family—most of the time—seeing she gets medical care and bringing her along on vacations.
     Cuaron presents us with a cross-sectional picture of the family and the context in which they live for a year when the Mexican government is in conflict with student protestors and guerillas.  Although these events are going on around the family (military bands marching down their street, police/student fighting in the streets outside the hospital), they are mostly untouched, partly because they are going through their own dramas at home, like fire, earthquake, marital conflict, pregnancy outside marriage, car accidents, and near drowning.  The family is seen to be rolling with the punches and coping with whatever life throws at them.
     And I suppose that is the point of the story, that common ordinary people face traumatic events and manage to get through them despite the odds.  In the end, perhaps it poses the question as to whether governments do as well as their citizens. 
     Yalitza Aparicio has become a sensation since the film first debuted.  It was difficult for Cuaron to find the right actress after talking extensively with his childhood nanny, Libo, and searching all over Mexico, finally in small towns.  When Aparicio first appeared for an interview, her family was suspicious that it might be human trafficking.  But they allowed Yalitza, a schoolteacher, to proceed, and she has been a sensation ever since the film first previewed.  
     Cuaron can be proud of his own career, winning awards for Gravity, Children of Men, and Y Tu Mama Tambien, but Roma is his baby, both in its autobiographical aspects and because he has so many roles in producing the film:  writer, director, producer, cinematographer, and editor.  The skillful craft employed in making it is another of its distinctions.  It is flawless in many aspects and shows what dilemmas and paradoxes “maids”/”nannies” encountered at the time, but other films have also featured this, such as La Nana(Sebastian Silva, 2009), which shows the unique bond that can form between the employer's family and the maid/nanny.  

A heartwarming drama about a family in Mexico City in the 1970’s related eloquently within a black and white frame.

Grade:  B                                                By Donna R. Copeland

RALPH BREAKS THE INTERNET

Voices of:  John C. Reilly     Sarah Silverman     Gal Gadot     Jack McBrayer
Jane Lynch     Alan Tudyk     Tariji P. Henson     Alfred Molina


     If you love animation and you don’t mind the shameless plugging of Disney, you are likely to enjoy this film.  Ralph (Reilly) and Vanellope (Silverman) remain fast friends, and have discussions about their attitudes toward their lives, such as that Ralph is completely happy and Vanellope finds day-to-day a little boring.  Racing is easy peasy (she has only three tracks now), although she still enjoys it.  After a bit of thought, Ralph is sure he can make her life more exciting by building a new track for her.  He does, and although it’s a bit dangerous, Vanellope is thrilled.  
     When they go into the Litwik Arcade, they discover that a player of Sugar Crush has broken the steering wheel trying to keep up with Vanellope’s rough ride. Now there’s a crisis, because a) a new one costs more than the game earns in a year; and b) the company has gone out of business so there’s no way to order a new part.  But wait!  Someone has heard of eBay (a name Ralph has trouble remembering, wanting to call it “eBoy”), and has found a new steering wheel for sale.   Neither of them is familiar with the internet, which has just gotten connected in the arcade, so the two sneak past the yellow ribbons barring entry and come upon the wondrous site of the internet.
     This is even glorious for the viewer to behold.  Disney has created a physical representation of the internet that captures the color and endless activities it contains, even including pop-up ads, pop-up blockers, and spam (owned by the Spamley family). (All of which is especially appreciated by adult viewers.)  Ralph and Vanellope find eBay without much trouble, and see the coveted steering wheel on auction.  Since they’ve never attended an auction, though, the two will learn a hard lesson from their mistakes here.  And learning that lesson will take them into adventures and eventually a test of their close friendship.
     In their efforts to earn enough money to buy the steering wheel, Vanellope is introduced to Shank (Gadot) and her thrilling Slaughter Race.  Ralph is introduced to internet social media a la Instagram, BuzzFeed, Tumblr, and Twitter, and becomes a hit guided by Yesss (Henson) of BuzzFeed.  By posting entertaining videos of himself doing all kinds of bizarre things (the more bizarre the better), he starts earning hearts that can be cashed in.  
     As he begins earning enough money to get the steering wheel, Vanellope has gotten involved in Slaughter Race, and making friends with Shank.  In agonizing scenes thereafter, Ralph and Vanellope will learn about internet viruses that spread from “insecurities” (double entendre here) and shut down games.
     A lot more will happen before they can join each other and even talk about their friendship.  This conversation has the most substance of any sequence in the film.

An entertaining film about the internet with a clever representation, spiked with prominent Disney product placement. 

Grade:  B                                    By Donna R. Copeland

Thursday, November 8, 2018

AGAVE: THE SPIRIT OF A NATION


     This is a documentary about the production of a spirit that captures the soul of a nation and inspires so many far beyond the borders of Mexico.  Directed by Nick Kovacic and Matthew Riggieri, it traces the distillation of the agave plant back 6,000 years in Mexico, predating the Spanish invasion. The Aztecs regarded it as sacred, and a means of communication with the gods.  In the film, spokespersons from three families involved in the production of tequila and mezcal express their passion for distilling the spirits, demonstrate some of the processes involved, and show how these are small family operations that continue to flourish.  This is despite issues such as the length of time it takes for an agave to mature and the fact that it’s difficult to interest younger people in the backbreaking work it requires.
     Distillers from Jalisco (Carlos Camarena) and Oaxaca (Graciela Angeles Carreno and Aguilino Garcia Lopez) show their operations and talk eloquently about the importance of protecting the land against overuse and lack of biodiversity, climate change, and people involved remaining loyal to their roots and traditions.  Camarena hopes that they don’t make the same mistake of full-scale industrialization that tequila producers have made; he sees a need to maintain a proper balance between heritage and industrialization.  In that vein, he brought back home two of his sons who had gone to the U.S. to work, convincing them they’d have a better life working in the family’s mezcal business.  They heeded his advice, and now everyone in the family works together, even the youngest son, still school aged.
     Agave:  The Spirit of a Nation would be an excellent way for someone unfamiliar with fine tequilas and mezcals to hear about its fascinating story and whet their taste buds to try some.  For those already convinced of their tantalizing flavors it will be fascinating to hear about their production techniques, and of their endless variety of tastes.

An engaging and informative account of what makes agave spirits special.

Grade:  A                                                By Donna R. Copeland

THE GRINCH

Voices of:  Benedict Cumberbatch     Cameron Seely     Rashida Jones     Tristan O’Hare
Angela Lansbury     Kenan Thompson     Pharrell Williams


     This production of the well-known story pleased the audience I was with, and there were lots of audible reactions from the kids, with applause at the end.  I think it might be a hit at Christmas-time.  The colorful animations, sets, and CGI effects; the Christmas messages that put presents and material things into perspective; and liberal doses of humor and good cheer make it the kind of film that appeals to children and their parents. Noteworthy for our times is its message about forgiveness of those who do wrong.  Although I never saw it, there was a 1967 version of the story (How the Grinch Stole Christmas) that was a huge success, which makes me question once again why remakes are made of already successful movies.   Has the technology progressed so much since 1967 that a new version is called for?
     At any rate, the expressive voices of the actors contribute to the overall quality of this version of The Grinch.  Although I had difficulty “placing” Cumberbatch’s Grinch, he did very well as usual, covering a range of emotions from a grouchy “Bah, Humbug!” to the lost, lonely boy of young Grinch, to his grudgingly being brought to heel about the whole Christmas thing.  This version of The Grinch accounts for his attitude based on his history.  Cameron Seely’s Cindy Lou Who is a stand out performance that makes us love and appreciate her spunkiness, caring, and leadership.  Bringing his comedic talent to bear, Kenan Thompson perfectly captures Bricklebaum, who sees/hears/speaks no evil, always putting a positive spin even on Grinch at his worst.  Finally, Pharrel Williams’ narration comes in at just the right times, with a clear voice to move the story along.
     Congratulations to screenwriters Michael LeSieur and Tommy Swerdlow for preserving the wholesome messages of the Seuss book, and my own special appreciation for their refraining from the usually obligatory fart and poop jokes in most movies for children.  It could be I missed something, but I think they avoided references to such things completely.  The music of Danny Elfman and the art direction of Colin Stimson further embellish the qualities above.  Directors Yarrow Cheney and Scott Mosier can be proud of the team they assembled and their leadership in making the movie sing (actually and metaphorically).  
     I don’t know whether kids will pick up on this or not, but it seems like they might ask where the real Santa was all this time. The Whos wake up on Christmas morning to find their holiday decorations trashed and their gifts missing. Where was the real Santa? Of course, the film is for those old enough to know that it’s the parents who bring the gifts to the house. Maybe small children who still believe in Santa shouldn’t see the film.  Parents, be warned.

Can the Grinch steal Christmas from Whoville?

Grade:  B                                    By Donna R. Copeland

Wednesday, November 7, 2018

BOY ERASED

Lucas Hedges     Nicole Kidman     Russell Crowe     Joel Edgerton


     Joel Edgerton is someone in the film world to pay attention to.  The Australian is well known to Americans for his acting in LovingThe Great Gatsby, and Black Mass, and as well for his writing/directing/producing talent in The Gift.  Now, he comes out with an award-worthy production informing us about conversion therapy, based on a memoir by Garrard Conley about his real-life experience.  Edgerton impresses us with his talent for telling a story with elements of experience and perspective from multiple points of view.  By the end of this movie, we have a real sense of the individual, family, religious community, and programmatic aims and aspirations of the participants.
     Lucas Hedges as Jared Eamons lives up to his promise as an actor who can play complex characters with subtlety and poignancy.  Here, he is a budding college student who is curious about the world, is compassionate and sincere, loves his parents, and wants to please them.  You see him naively trying to follow the script written for him in love, marriage, and career, primarily by his father, a pastor, and secondarily by his mother who goes along with her husband most of the time.  The beauty of the film is in its focus on Jared’s discoveries and transitions he must make on his own journey.  
     Boy Erased does just as well in depicting what a program in conversion therapy involves, which, to me, is essentially a brainwashing process.  Participants are coerced into revealing their innermost secrets and actions, which are labeled as sins, and then they are shamed and manipulated to behave in ways their “trainers” envision is “right.”  
     Nicole Kidman and Russell Crowe as Jared’s parents exquisitely capture the essence of shock and anguish so many sincere, loving families undergo when they’re not prepared for the news and have been taught that homosexuality is vile and a sin.  These parents, like so many others, are not prepared for the paradox they must face: the child they know and love does not sync with their fundamental beliefs of what is good and honorable.
     Of course, Edgerton nails Victor Sykes, the head of the conversion program—part suave salesman, part corporate chief, and part pseudo-therapist—primarily interested in his investment.  He gives out clues about himself that are born out over time, another example of Edgerton’s skill.
     Music by the team Danny Bansi and Saunder Jurriaans plays a significant role in enhancing the dramatic ups and downs of this important film that is difficult to watch at times.  But sticking with it pays off.

A look at conversion therapy and a family’s experience of it.

Grade:  A                                              By Donna R. Copeland


Thursday, November 1, 2018

THE NUTCRACKER AND THE FOUR REALMS

Keira Knightley    Mackenzie Foy    Morgan Freeman    Helen Mirren
Misty Copeland     Matthew MacFadyen     Jayden Fowora-Knight


     The Nutcracker and the Four Realms is just as enchanting as it should be, and involves a twist.  In this case, the traditional hero’s journey is undertaken by a girl named Clara, the girl in Tchaikovsky’s popular “Nutcracker” ballet.  The script is based on E. T. A. Hoffman’s 1816 story (“The Nutcracker and the Mouse King”), in which the young girl Clara has a very special Christmas.
     The film opens with the Stahlbaum family preparing to go to the grandfather’s for their annual Christmas party.  The mother, Maria, has died, but has left presents for each of the three children.  Mr. Stahlbaum (MacFadyen) is clearly grieving, but is trying to make the best of it.  Louise and Fritz are thrilled with their gifts, but Clara (Foy) is puzzled by hers.  It’s some kind of egg, and as pretty as it is, Clara, a very smart inventive girl like her mother, sees that it requires a key, which she doesn’t have.  Enigmatically, there is a note from her mother, noting, “Everything you need is inside.”  Then Clara brightens; her grandfather very likely made it and gave it to her mother.  He should have the key.  Now, the socially shy girl is excited about going to the party.
     It’s after that the adventures start.  First, when Clara runs to her grandfather (Freeman) looking for the key, she solves a problem for him and presents him with hers.  He lets her know that she must search, saying, “Some locks are harder to pick than others.”  That will be an understatement!  As she is wont to do, Clara begins wandering around, and comes upon a whole new world, snowy and beautiful, and a certain tree that is lit up like no other.  She spies a key, but then…pesky mouse!
     As she continues her journey through this strange world, she comes upon Phillip (Fowora-Knight), a guard who warns her about going to the fourth world, which is very dangerous.  She’s still curious, and wants to forge on, and the guard is skeptical, but goes with her, more willingly when he discerns that she is a princess.  She knows nothing about that, but along the way, they meet the heads of the three realms:  Lands of Snowflakes, Flowers, and Sweets, and are entertained with a ballet that explains the realms, the fourth being one that belongs to Mother Ginger (Mirren) who has mice attending her and a reputation for being fearsome.
     A ballet is performed to tell the story of the four realms, with New York City American Ballet Theater's Misty Copeland making her debut in a movie as the lead dancer.  She was able to bring in the ABT choreographer, Liam Scarlett, and Director Lasse Hallstrom welcomed their input into which dances from the traditional Tchaikovsky Nutcracker Ballet to include and supplement them with more contemporary choreography.
     The bulk of the story is told by the Sugarplum Fairy (Knightley), from the Land of Sweets.  Whereupon, Clara—who is feeling more and more like a princess and even a queen—decides it is her duty to solve a mystery and do what she can to unite the four realms.  It’s exciting to see Clara come into her own, figuring out what is going on in the four realms, showing bravery in overcoming obstacles and betrayals, and achieving her goal and reuniting with her family as a changed person.
     Disney is often criticized for its shallowness in productions, but I think their story here should inspire young girls while it entertains with enough intrigue, captivating graphics and special effects to please its audience.

An inspiring story with a superb model for young girls.

Grade:  A                                        By Donna R. Copeland

CAN YOU EVER FORGIVE ME?

Melissa McCarthy     Richard E. Grant     Ben Falcone     Jane Curtin     Anna Devere Smith


     Nicole Holofcener (Enough Said, Please Give, Friends with Money) is one of my favorite screenwriters, and I think if the trajectory of this production had remained with her as director and Julianne Moore as the lead actress, I probably would have liked it better.  My problem with this production is in what has become Melissa McCarthy’s characteristic stamp on whatever character she plays.  She is a fine actress, and I keep hoping she will choose a role as a sharp woman with humor but without the zaniness like she was portrayed in Bridesmaids (that character lives on in all her subsequent performances), Identity Thief, and Tammy.  
     In this rendition, the additional writer Jeff Whitty and director Marielle Heller infuse Lee Israel’s character with much of the McCarthy trademark—a poorly adjusted miscreant whose mouth gets her into trouble, and someone who acts like a bumbling fool, but can clean up her act under pressure at the last minute. Therefore, the first part of the film was difficult to watch, as I saw the same figure McCarthy has played in her other movies.
     The movie is based on a memoir written by Lee Israel.  McCarthy’s character is Lee Israel, a writer who had published biographies of Tallulah Bankhead (actress) and Dorothy Kilgallen (game show panel member), which had been well received.  When she wrote the third one about Estee Lauder, it did not turn out so well for various reasons, and she turned to forgery and pilfering personal letters of famous people as a way of making a living.  It’s reported that she had a “difficult personality” and was an alcoholic, and these characteristics are inserted into this film.
     We see Lee get fired soon after the film begins for going against the rules (drinking on the job) and using foul language to a supervisor.  She lives alone with her beloved cat, apparently has no friends, is behind on her rent, and is essentially down and out.  When she realizes she has a personal letter from Katherine Hepburn, she sells it, and thereby gets the idea that selling letters from famous people could be lucrative.  It turns out, she is a good writer on old typewriters, and collectors buy up her work, often without question.
     Unfortunately, Lee takes up with a drinking buddy, Jack (Grant), who has a British silver tongue, and they become partners in crime.  But it eventually becomes disastrous for Lee in many respects, and she is thrown back upon herself once again.
     Melissa McCarthy’s talent as an actress is clearly visible in her expressions, demeanor, and her ability to inhabit a character—albeit with her own stamps clearly visible.  One never forgets she is watching McCarthy; unlike, say, Meryl Streep playing Julia Child. After a while, you only see Julia. 
     Supporting actor performances are strong:  Richard E. Grant as the sleazy, greasy Jack; Jane Curtin as Lee’s exasperated agent Marjorie; Dolly Wells as Anna, a buyer who reaches out to Lee for friendship; and Anna Deavere Smith as Lee’s erstwhile lover who gave up on her. The contributions of these actors are considerable.
     Can You Ever Forgive Me? becomes much more interesting in its last third, when true emotions are more evident in Lee, she becomes more sympathetic as her history is revealed, we get glimpses of some degree of remorse and a perspective outside herself, and she seems to be turning a corner.  (We’ll ignore for the moment the fact that this is undone by some of the very last scenes when she is once again sipping a scotch.) 

A film for Melissa McCarthy fans with her signature character.

Grade:  C                                    By Donna R. Copeland

BOHEMIAN RHAPSODY

Rami Malek     Lucy Boynton     Joseph Mazello     Ben Hardy    Gwilym Lee    
John Deacon     Mike Myers     Aiden Gillen     Tom Hollander     Allen Leech


   Bohemian Rhapsody does everything a good music biopic should:  It gives multidimensional pictures of the main characters; includes large doses of the music; uses creative lighting, camera work, production design, and special effects to glamorize the action; and is engrossingly entertaining.  Freddie Mercury as a subject (expertly rendered by Malek) makes such tasks easier with his flamboyance, creativity, wit, and soulfulness. The filmmakers did an excellent job in showing his charm, complexities and idiosyncrasies in an endearing manner, just as I imagine the man actually appeared.
       It is also fascinating to get a look behind the scenes of deal making and intrigues that are part of the rock star world.  A scene that will be indelible is rejecting producer Meyers' face as he listens to Queen’s performance at the Live Aid Concert.  Priceless.  Just as with the main characters, the business people and aides to the band are presented as real humans with hopes, dreams, and failings in ways that makes them real to us.  Two of Freddie’s abrupt firings will be lasting impressions.  
     Malek is certainly a star who can play a star with ease and flair.  Hopefully, he will be remembered at award time, because this role is far and away different from, but just as good as, his highly successful “Mr. Robot” role.  The other actors playing members of the band (Mazello, Hardy, and Lee) are dynamic and have uncanny resemblances to the real people.  (Good casting!)  Freddie was unusual in his sincerity mixed with disdain.  Yet, most interestingly, the latter did not appear in his regard and concern for the love of his life, Mary (Boynton).  It is fascinating to see the real story in that they remained friends throughout their lives, with her having an understanding of his makeup and he realizing that he could not expect her to devote her life to him.  Seldom do we see such a relationship portrayed on screen, and Boynton captured the incandescence of Mary.
     Newton Thomas Sigel’s cinematography made the concerts and ongoing dramas come alive in color and action, and John Ottman overseeing the music gave us many treats, especially the extended concert at the end during the real Live Action Concert.  Queen fans will be very gratified by this indulgence.

If one is remotely interested in rock stars and their psychology, this is a highly rewarding portrait.

Grade:  A                                                            By Donna R. Copeland

SUSPIRIA

Dakota Johnson     Tilda Swinton     Chloe Grace Moretz
Angela Winkler     Elena Fokina     Mia Goth     Jessica Harper



     Cumulative symbolism throughout this film overshadows the potentially interesting narrative.  Early on, we get scenes from 1977 Berlin when the Baader-Meinhof group is clashing with police in robberies, kidnapping, and assassinations; and Lufthansa flight 181 is highjacked to secure the release of Red Army Faction prisoners.  
     Soon after, we observe a young woman desperate to see her therapist banging on his door and incoherently reporting on strange events she has observed at her ballet academy.  He regards her as delusional, but later learns that she has been found missing, which is troubling to him, a man grieving for his wife, who has also disappeared during the political conflict.
     The connection between these events and the subsequent story about a coven of witches within the ballet academy will be puzzling to most viewers, although in broad terms, they all seem to relate to the film’s title, Suspiria, a Latin term meaning “sighs from the depths.”  Perhaps it all has to do with the suffering that occurs among lower figures in a hierarchy as a function of the struggles for power among leaders, something that can occur at state levels on down to performance academies. Importantly, sacrifice always seems to be involved.
     Within the ballet academy, the primary setting for the drama, lead dancers are getting freaked out by suspicious events occurring behind the rooms that are open to the dancers.  It’s surprising when a newcomer arrives for her audition and so impresses the academy staff, she is immediately awarded a lead role.  This is Susie (Johnson) who, despite being warned about dangers, maintains an air of self-assurance and aplomb.  The horror aspect of the film is gradually ramped up as it becomes more and more evident that the occult with violent manifestations is involved.
      The numerous dance scenes in general are very exciting (beautifully choreographed by Damien Jalet), the most artistic and dramatically successfully being when a soloist’s percussive, aggressive movements are cross-cut with scenes of another dancer being mutilated and killed by actions and movements that mirror the soloist’s.  On the other hand, as good as the final dance performance is, it is extended far too long in an agonizing way.
     Luca Guadagnino’s transition from last year’s romantic Call Me By Your Name to the political horror story of Suspiria is taking many by surprise.  It’s receiving mixed reviews and reactions, partly because of its artsy, intellectual nature, I think.  It would perhaps have been much better if Guadagnino had omitted the political references in the beginning, and focused only on the intrigues at the ballet academy.  That would also trim the film down from its lengthy 2½ hours. It’s much too long, especially as the final dance scene seems to go on forever.  
     This is probably Dakota Johnson’s best performance and biggest role in her career.  She is especially to be praised for executing all her dance scenes, using a double only about 10 percent of the time.  But beyond this, she captures the complex personality of Susie, a Mennonite from Ohio whose confidence in herself is up to that of a seasoned ballet student from New York, and yet she’s able to earn the goodwill and respect of her fellow dancers and teachers.  
     Tilda Swinton inevitably stuns with her ability to become any character in a drama, whether male or female, young or old.  Here, she is well suited for the role of the high-minded artistic director of the academy, the compassionate older male psychiatrist, and the hideously formed leader of the coven, Helena Markos.  
        Filmed by Guadagnino’s cinematographer for Call Me By Your Name, Suspiria is likewise a cinematic work of art.  

Heavy symbolism overshadows the plot about strange happenings in a ballet company.

Grade:  B-                               By Donna R. Copeland