SWAN SONG

 Mahershala Ali     Naomie Harris     Glenn Close     

Awkwafina     Adam Beach     Lee Shorten

            This bit of sci-fi poses some interesting moral and ethical questions about the extent to which one could/should make a valiant attempt to spare his family grief and suffering.  Cameron’s (Ali) wife Poppy (Harris)—normally a vivacious, perky kind of woman—had undergone a severe reaction when her twin brother was killed, and if he could protect her from the potential for that to happen a second time, he is seriously considering participating in a medical experiment as a solution.

            Cameron, a commercial artist given to presenting his spontaneous drawings of those he meets to them, has been experiencing the effects of a brain disorder for some time, but hasn’t had the courage to tell Poppy.  They have a young son and another child on the way, comprising a most happy family.  When his disease worsens, Cameron is presented with a most unusual option.

            Arralabs is experimenting in making molecular copies of terminally ill patients—not just their bodies and physical appearance but all their memories from the time they were born, as well as their unconscious mind—as a way of preserving family relationships and avoiding grief after a major loss.  It boggles the mind to think about, and as you see how the process works there is definitely an eeriness about it.  You see the clone being developed in the lab, and indeed he looks exactly like Cameron.  

            The process goes on for a number of weeks for a full transition to be completed, so Cameron has some time to prepare—and even back out—although after a certain point dropping out won’t be possible.  The clone’s memories of the transformation will be erased, after which, he will be Cameron.  Cameron must then bear his own fate alone, albeit on Arralabs’ extensive well-kept, scenic grounds in the Pacific northwest.  

            Dr. Scott (Close, embodying the ideal doctor—warm, direct, sympathetic, informative) has given Cameron a detailed description of what to expect and the terms of the contract.   Whenever he has doubts, she informs him of his options, and although she makes it clear all of this is his own choice, she encourages him to stick with the plan for the sake of his family.

            Swan Song, written and directed by Benjamin Cleary, skillfully and realistically portrays the kinds of dilemmas and considerations that one would encounter in considering such a proposal at this.  He depicts research hospitals and staff as caring and informative—just as one would hope to—and does—find in good research centers.  And he shows (thoughtfully enacted by Ali) the degree of ambivalence the research subject will undergo in making such a momentous decision.  The Lab has arranged for Cameron to see his clone interacting with his family at home, so he must deal with all the emotions that brings up for him.

            As a futuristic solution to the problem of loss and grief, I appreciate this slant on how things could be at some point in the future.  The world is changing at a rapid pace, so it is within the realm of possibilities that such a system could be an option.  (I’m avoiding, of course, how much it would cost and who would pay for it.)

            

This adventure into the sci-fi world of human replication offers an intriguing new idea for managing loss and grief.

 

Grade:  B                              By Donna R. Copeland

RAYA AND THE LAST DRAGON

 Voices of:  Kelly Marie Tran     Awkwafina     Isaac Wang     Daniel Dae Kim

Gemma Chan     Benedict Wong     Sandra Oh     Alan Tadyk

            This is straight Disney from the Americanized dialog to the characters dressed like Asians but bearing little resemblance to them.  If you don’t mind that—and many don’t—it’s an engaging story about a fractured people getting separated into factions and coming back together on the basis of trust.  Although the creators didn’t have it in mind, they realize now that it has resonance today in the need for trust and a pandemic characterized as “Druun” in the movie.

             It begins with Raya’s (Tran) close relationship with her father, Benja (Kim), but with differences of opinion between the two about the world.  Benja has maintained a hope that the people of Kumandra could reunite into a trusting, peaceful state once again like it was when dragons existed and before the Druun destroyed all of them.  But there is one dragon left, Sisu (Awkwafina) which has survived with the charge of destroying the Druun and reuniting all the factions of Kumandra:  Spine, Heart, Talon, Fang, and Tail.

            Adventures follow, with Raya leading a charge forging battles with the other factions.  She has enlisted Sisu, the one existent dragon, into their cause.  Sisu is not as one would expect; she is witty, good-hearted, and entirely a peace-making figure.  It will take a while for Raya to begin to understand her way of thinking. 

            Strengths of the movie include primarily female protagonists in an action movie with emphasis on friendship between women, ending the story with some ambiguity for the viewer to fill in the blanks, and a theme that is topical for our time.

            The movie is colorful with Disney-quality graphics and sure to captivate the middle age to teen age crowd.  I doubt that younger children will enjoy it beyond the color and the intriguing figures.  It does have a message about trust, but one that is rather naïve and simplistic to my way of thinking.  

 

Good female models in an action movie that is topical for today.

 

Grade:  A                              By Donna R. Copeland

THE FAREWELL

Awkwafina     Shuzhen Zhao     Diana Lin     Tzi Ma

     To tell or not to tell.  That is the question in this arguably groundbreaking film that juxtaposes American and Chinese points of view about illness and death.  It’s not weighty at all, but covers all ranges of emotions and personal quirks of the characters. I first heard the story on a 2016 This American Life podcast, and it stayed with me ever since.  My worries about the film not living up to the real story were quickly assuaged. In the hands of writer/director Lulu Wang, Farewell takes normal, everyday family life and transports it to an elegant and highly entertaining level, skillfully weaving through potential “edict-like” waters and throwing the question up to the viewers.  

     Billi (Awkwafina) is a Chinese-American who moved to the U.S. with her family when she was a toddler. She is now grown up, and wants to go back to China when the extended family is gathering for her cousin’s wedding, a major ruse concocted primarily to get everyone to gather after the beloved grandmother Nai Nai (Zhao) has been diagnosed with cancer, which everyone assumes is a death sentence.  But in China at that time, a diagnosis of cancer was hidden from the patient.  So that’s the set-up of the story:  The Chinese custom vs. the American way of discussing major illness frankly.  In this story it is only Billi who takes the American point of view, and she has been strictly forbidden by parents and other relatives to speak frankly to Nai Nai.  Even the Chinese doctor trained in the UK, whose policies are the same as Americans’, takes the Chinese approach.

     At this point, the film entertains us with cover-ups all around within the family—which are left for you to experience first-hand, because they underlie the fun of Farewell, so spoilers should be withheld.  But there is more to the film than the humorous; it poses numerous facets of “truth” and “lies” that provoke thought, and it draws on emotions that I assume people around the world will recognize and re-experience.

     The Farewell should be a testament to Lulu Wang’s creativity and ability to tell a story not easily forgotten, but as well to assemble the whole talented cast and crew to make a film that is likely to be on award nomination lists at the end of the year.  Along with Wang’s perceptive script, Alex Weston’s music elevates the action of the film, giving it even more eloquence by expressing in Eastern and Western modes universal emotions.  It is one soundtrack that is likely to be prized for its expressiveness. I attribute the priceless wedding pictures—and other good picture qualities—to cinematographer Anne Franquesa Solano.

     Awkwafina has been a hit every since Crazy Rich Asians, and she captures a starkly different role here in being a different kind of “misfit.”  Here, she must show more emotional depth, uncertainty, and diffidence, which she pulls off with expert facility.  She deserves whatever nominations she may receive. Noteworthy as well is the delightful Shuzhen Zhao as Nai Nai.  Presumably, she is not a professional actress, but she steals the show on more than one occasion, eliciting our love for her as if we’re part of the family, and providing a strong draw toward the Chinese way of thinking.  Not to be discounted are all the other major players in this drama, such as Diana Lin and Tzi Ma as Billi’s parents.

A movie everyone across the world is likely to appreciate.

Grade:  A                                    By Donna R. Copeland

OCEANS 8

Sandra Bullock     Cate Blanchett    Rihanna    Sarah Paulson    Mindy Kaling    Awkwafina

Anne Hathaway     Helena Bonham Carter     Richard Armitage     James Corden    Dakota Fanning

     This clever, fun heist movie will engage you, intrigue you, and keep you entertained. Debbie Ocean (Bullock), sister of Danny (George Clooney) in previous Oceans movies, is just being released from prison after serving five years. She bounds out in the same outfit as when she went in—dressed for the evening in a trendy black outfit—assured that she can go anywhere and do what she wants with the $45 in her pocket. And we see how she begins to do just that with her light fingers and made-up stories as she ensconces herself into a fancy hotel and gets in touch with her seven specially talented friends and accomplices, the first being Lou (Blanchett), an Australian motorcycle enthusiast and sharp observer of human behavior  

     Debbie has used her time in prison well, figuring out detailed plans for living up to her family name, exacting a delicious revenge, and getting a ticket to the high life for life.  Debbie and Lou flesh out a strategy for a major heist of jewelry at one of THE social events of the year, the Met Gala, hosted by the iconic Vogue Magazine editor and artistic director of Conde Nast publications, Anna Wintour who appears as herself in the film.  

     Debbie and Lou assemble a motley team of thieves, smugglers, fashion and jewelry designers, forgers, and computer geniuses to play their roles in an intricately choreographed dance designed to net them all a sizeable share. What are they after? Cartier’s 150-million-dollar diamond necklace.  It will involve managing to get just the right celebrity to wear it to the ball.  

     Some of the funniest scenes include the eccentric fashion designer Rose Weil (Carter) flattering the always-aspiring celebrity Daphne Kluger (Hathaway) to go along with the plan to wear the necklace.  (Not hard at all, once she sees it.)  To watch Hathaway acting out preening and self-love in brilliant red lipstick in front of the mirror as she tries on various necklaces (the real diamond one is held out as a tease) will surely make you groan and laugh at the same time.  

     Also engaging are glimpses into the current lives of the fellow co-conspirators. Tammy (Paulson) is a contented mother who buys tens of bicycles on eBay when she has only one child.  Nine Ball (or “Baller”, if you prefer) (Rihanna) is a wizard on the computer, and most of the fun here is seeing others having to catch up with her; and like any good Asian has a relative, April (Midori Francis), to come through at a crucial time.  Mindy Kaling, as Amita, the jewelry designer, is trying to find a partner on an internet match site, but she will amuse and impress you with her rather naïve pronouncements coupled with design efficiency.  Constance (Awkafina) always shows up just in time, and even though she is simply collecting and sorting things, you smile at her dedication.  

     In Oceans 8, Director Gary Ross demonstrates his sensitivity toward women’s important issues, his delight in mixing up craftiness and comedy, and his flair in infusing excitement into a rather predictable plot.  The journey there is the point, and it will serve as a good time to relax and simply enjoy.

     This Oceans’ cast impresses with its unwavering skill and art.  The major protagonists and supporting actors deliver what we hope for and expect in a film of this kind.  Bravo to all!

This is a great movie for kicking back, relaxing, and letting the irony and truthfulness amuse you.

Grade:  B                                    By Donna R. Copeland