WRATH OF MAN

Jason Statham     Josh Hartnett     Scott Eastwood     Andy Garcia     Eddie Marsan

Holt McCallany     Rocci Williams     Jeffrey Donovan

            The film’s section titles give you some idea of what’s ahead: “A Dark Spirit” (introduction of “H”, a new employee in the security company Fortico that transfers millions of dollars a day for companies; “Scorched Earth”; “Bad Animals Bad”; and “Liver Lungs Spleen Heart.”  This is a Guy Ritchie film, so you’re already prepared.

            We meet our hero named “H” (for Hill) (Statham) by his new supervisor “Bullet” McCallany), who sees him as someone he needs to mentor.  H quickly gains the reputation of “a dark spirit”, as named by the segment title both by his peraonality and his first job.  He proves himself a hero right away in taking out a gang trying to steal Fortico cash.  Although…one supervisor observes that “I’m startin’ to think he’s a psychopath.” 

            In reality, H had worked for another security company that had gone bankrupt, so he was not naïve to the business.  Part of the thrill of Wrath of Man is finding out who this character is, what has brought him into the company, and what, basically, drives him.

            The film is based on a previous French action drama, Le Convoyeur (Cash Truck) directed by Nicolas Boukhrief, and writer-director Guy Ritchie has attempted to convert it to a more Americanized version, bringing in one of his favorite leading men, Jason Statham.  

            Statham is quintessential as the inscrutable player who can mold himself into any environment—but always with an ultimate goal.  He makes this exploration into a detailed plan with contingencies exciting and suspenseful.  It also weaves in some pain and grief, making the plot more understandable.  We see both sides of the ultimate encounter at work, but we cannot tell how it will all turn out.

            There are some “hmmm” moments when what goes on onscreen seem improbable, but for the most part, the story keeps you engaged.  It’s not anything new really or earth-shaking, but it’s an entertaining ride for those ready for such an adventure.

 

Loyalty and truth are the primary themes in this action thriller spotlighting Jason Stathem.

 

Grade:  C                              By Donna R. Copeland

WORDS ON BATHROOM WALLS

Charles Plummer     Molly Parker     Walter Goggins     Taylor Russell

Andy Garcia     Anna Sophia Robb     Devon Bostick     Lobo Sebastian

     This is an unusual treatment of a story about a teenager with schizophrenia.  Based on a novel by Julia Walton, Nick Naveda adapted it to a screenplay that focuses on the inner experience of someone with a major disorder.  It has many strong points, and a few aspects that I have questions about. 

     Adam (Plummer) and his mother (Parker) are grieving the absence of his father, but are adjusting reasonably well.  He shows his interest in and a flair for cooking, which compensates well for the emotional upset troubling both of them.  The immediate challenge, though, is in trying to find a way to treat his illness—an old story for those seeking an effective medicine for severe psychological problems.  His behavior has necessitated a change in schools, and this is about the same time a new drug has appeared on the market.  

His new school is Catholic, which shakes Adam up a bit (his family is not particularly religious), but his mother brushes that fact away; so, after making a mess and being bullied at his previous school, Adam is willing to give it a go. At the new school, a coincidental meeting in the boys room introduces Adam to Maya (Russell).  (I won’t go into it; this is one of the really fine scenes in the movie.)  

     Maya is the smartest girl in school and has supreme confidence to go with it. How does she have anything in common with Adam, and how could they possibly form a friendship?  That’s an underlying theme of the drama. Beyond Maya’s intelligence, she has a heart, and agrees to take on Adam at a reduced rate for tutorial lessons. 

     What follows is a commentary about the illness, its effects on other people close to the patient, and in turn the reverberating effect back on him.  

     Charlie Plummer’s performance as a troubled youth is entirely convincing, and his relationship with Molly Parker as his mother is likewise realistic.  Their interactions—as well as those with the rest of the cast, namely Taylor Russell as the tutor, Walter Goggins as the stepfather, Andy Garcia as Father Patrick, and the three hallucinated figures (Anna Sophia Robb, Devon Bastick, Lobo Sebastian) reflect the quality of Thor Freudenthal’s talent and work as the director.  Background music by Andrew Hollander is consistently entertaining and in sync with the plot.

     One of the film’s biggest strengths is in its central theme of addressing important life issues that people generally feel like they have to hide.  Another is the way special effects are used to project Adam’s hallucinations.  They give the viewer a good sense of why they’re so frightening and disruptive to him.

     My criticisms of the film stem from my background as a psychologist, and are related to treatment of schizophrenia.  Perhaps intentionally, screenwriter Nick Naveda de-emphasizes psychotherapy, which I believe is essential to successful treatment of major disorders.  What happens in the film may be a reflection of Julia Walton’s descriptions in her novel on which the script was based.  Curiously, Adam’s psychiatrist is never shown; instead, the story seems to imply that Adam’s few sessions with the priest were actually more influential in his adjustment than anything else.  Because of results from research studies, it is now generally accepted within the mental health field that a combination of psychotherapy and medicine is the most effective approach in helping those with severe illness.

     This point is related to my general contention that filmmakers should be sensitive to the ways in which they are portraying life situations and the need to consult with experts in the field so as not to misinform the audience.  

     I can recommend Words on Bathroom Walls as a fine work that would be helpful in demonstrating to the public challenges faced by those families in which severe mental problems are an issue.

Words on Bathroom Walls has an intriguing mix of seriousness and humor to get across its message about the importance of facing mental illness head-on.

Grade:  B                                    By Donna R. Copeland

MAMMA MIA! HERE WE GO AGAIN

Lily James     Amanda Seyfried     Meryl Streep     Dominic Cooper     Pierce Brosnan     Stellan Skarsgard

Christine Baranski     Colin Firth     Cher     Julie Walters     Jeremy Irvine     Andy Garcia

     I think the best things about this film are ABBA’s songs from the first Mamma Mia and Meryl Streep’s reprise at the end.  Oh, well, and yes, the local woman telling a young man where to get off after he “did a woman wrong” and then wanted to return to her arms. She is a lovable, wise character who makes you chuckle at her and cheer her on at the same time.  Although Benny Andersson, a member of ABBA, and two colleagues, Anne Dudley and Bjorn Ulvaeus (also involved in the first production), supply most of the music here, it doesn’t have the draw the earlier rendition had.  Part of the responsibility may lie with the director and co-writer, Ol Parker.

     The filmmakers have valiantly tried to recapture the moods, atmosphere, and humor of the first Mamma Mia! (2008) and even 2016's La La Land, but never quite achieve the lyrical magic of those productions.  Instead, I found it to be jarring in its disjointed cuts from one scene to the next without natural transitions; the songs appear to be inserted haphazardly, even though they’re clearly intended to wedge the viewer into an emotion of the moment.  The dialog is unnatural and even vacuous at times, such as, “Nothing is that simple.” “Everything is, when you break it down.”  Everything: really?  People fall in love instantaneously, and sometimes when they break up, the songs reflect a much deeper relationship than could possibly have occurred. 

     The story is a continuation of the first Mamma Mia!  Donna (Streep) has died, and her daughter Sophie (James, Seyfried) wants to refurbish Donna’s villa and stage a party that will honor her mother. She is still grieving her mother’s passing, and invites her three fathers (Brosnan, Skarsgard, Firth) and Donna’s closest friends (Baranski, Walters) to come to the villa on a Greek island for the special occasion.  Sophie is engaged to Sky (Cooper), whose business has stationed him in New York, leading them to the decision to suspend their engagement.  The party is all set up, but in the interim, there will be a storm that damages the villa and other distractions, namely, Sophie’s becoming involved with various suitors ([her engagement to Sky (Cooper) has been suspended.]  Somehow, even though Sophie goes on boat rides and long walks, she still manages to keep the villa intact, perhaps because of the efforts of one of her fathers, Sam (Brosnan).

     At any rate, the party does take place, old acquaintances/loves are renewed, and a surprise guest (Cher) suddenly appears, with a touching rapprochement between her and Fernando (Garcia).  In the end, Donna is duly honored, and everyone present feels gratified.  

This is a musical without the exquisite blending of fantasy, reality, and art that some of its predecessors (e.g., La La Land) have achieved.

Grade:  D+                                    By Donna R. Copeland

BOOK CLUB

Diane Keaton     Jane Fonda     Candice Bergen     Mary Steenburgen

Andy Garcia     Craig T. Nelson     Don Johnson     Richard Dreyfuss

     This bit of froth proceeds just about as expected, given the cast and the topic. Older women do daring things and after ups and downs, (almost) everything turns out groovy in the end. The characters are rather stereotypical, except maybe for Vivian (Fonda), who chose career over marriage and has become a wealthy woman.  Sharon (Bergen) is a Federal judge who’s been divorced for 18 years.  Diane (Keaton) lost her husband a year ago, and has two daughters who are rushing her into the grave and overly parenting her, or trying to.  Carol (Steenburgen) is happily married to Bruce (Nelson), but he has shut down since his retirement.  Their relationship needs a shot or something in the you-know-where.  

     The four women have been friends for years, their connection currently centering on their book club.  Vivian decides to spice things up, and when it’s her turn to choose the book, she passes around E. L. James’ Fifty Shades of Grey.  Her friends are horrified, but each one (guiltily) charges through it, and it seems to have a unique effect on each one, egged along by more frank discussions about how the women really see each other.  Basically they all need to get out more, out of their particular rut.  Sharon is prompted to go to an online dating site; Diane piques a fellow traveler’s interest by reading her book on the plane, after she has literally fallen into his lap getting into her seat; and Carol tries sexual come-ons in the book to arouse Bruce’s interest.  Vivian doesn’t “try” anything; she is convinced she has found the key to happiness.  Then an old school chum, Arthur (Johnson), surfaces and begins provoking her.

     Bill Holderman (director and co-writer with Erin Simms) has created a crowd pleaser (going by the reactions of the audience in the screening I attended) that contains sit-com humor, predictable complications, and a fanciful ending. Another idealistic treatment is reflected in the highly attractive appearances of most of the characters—certainly the women, and arguably for the men, as there was audible panting when Andy Garcia appeared.  

     There is little of substance in the story; the best dialog comes toward the end when the friends become more open and realin their conversations.  But for the most part, the story is more pie-in-the- sky than anything based on reality.  The best part of the movie is seeing the abundantly talented well-cast actresses doing what they do best—acing their roles as written for them.  If only the writers had opted to portray a more realistic picture of this stage in a woman’s life; I assure you, it would contain many more shadings and nuances, and likely be a much more interesting film.

A rather skewed, fanciful view of the lives of women past a certain age.

Grade:  C                                                By Donna R. Copeland