THE GOOD LIAR

Helen Mirren     Ian McKellen     Jim Carter     Russell Tovay     Lily Dodsworth-Evans

    There are lies and damn lies (we’ll leave out “and statistics”, which is part of the popularized quote about three kinds of lies), which this clever film has aplenty.  Best not to sort them out in a review, because lying is one of the most entertaining aspects of The Good Liar.  It’s based on the same entitled thriller novel by Nicholas Searle, with screenplay by Jeffrey Hatcher, and it’s very cleverly written.  Director Bill Condon has exploited its strong points by leading the audience where he wants us to go with good pacing and information doled out in strategic bits.

     Of course, the two main actors (Mirren and McKellen) are a major part of the show, bringing all their impressive experience to bear in portraying characters who are themselves acting, although not apparently so.  They meet on an online dating site with assumed names, but soon reveal themselves to be Betty and Roy, who have lost spouses fairly recently.  

     She is taken by his charms, much to the chagrin of her grandson Steven (Tovay), whom she regards as overly protective.  She makes it clear that even though she is a simple widow, she is in charge of her life. So when Roy makes her feel so special, she is ready to make life plans with him, disregarding her grandson’s warnings.  

     How will this turn out?  It’s clear that she is a wealthy woman who appears a bit naïve, and he has some kind of past that keeps bubbling up, but they seem to have worked out an arrangement.

     But this is only part of the story.  The last 45 minutes of the film delves into material you probably wouldn’t have surmised.  The denouement brings in a history not imagined, although the viewer might be suspecting certain outcomes.  

     At any rate, The Good Liar is a deliciously conceived thriller that entertains throughout.  Music by Carter Burwell heightens the mood of the time and the action on the screen, transporting us into a thriller we can invest in.

An entertaining, intriguing story lit up by charismatic actors in a delightful ruse.

Grade:  B                                    By Donna R. Copeland

THREE BILLBOARDS OUTSIDE EBBING, MISSOURI

Frances McDormand     Woody Harrelson     Sam Rockwell     Lucas Hedges     Peter Dinklage     John Hawkes

     The wistful opening song (“The Last Rose of Summer”) previews the emotional tone underpinning this story, even though comedy and drama emerge time and again throughout.  Seven months before, Mildred’s (McDormand) teenage daughter was raped and killed, and as time goes on and no arrests are made, Mildred—never one to shrink from conflict—starts to agitate for more action from the police, specifically Sheriff Willoughby (Harrelson).  He responds to her respectfully, explaining why, and he sounds reasonable; but Mildred is not to be mollified.  To make her case a public issue, she buys space on three billboards outside of town to post this message:  “Raped while dying.  And still no arrests.  How come, Chief Willoughby?” 

     With this action, writer/director Martin McDonagh (In Bruges, Seven Psychopaths) gives us a window into Smalltown, USA, and how politics often work there.  And this is one where the Chief of Police is really conscientious, a mensch.  Not so much one of his officers, Jason Dixon (Rockwell), who has a huge chip on his shoulder, is unapologetic about his racist views, and has no trouble bending the law to suit himself.  Sheriff Willoughby has a challenge in mentoring him in his wish to become a detective. 

     When Mildred singles Willoughby out for her rage, she riles up most of the town folk who are already feeling sympathy for him because word has gotten out that he has cancer.  Some of the truths McDormand is illustrating is that the general public’s memory is short (seven months has made them “forget” the murder); few understand the depth of grief following the loss of a child (the very worst thing to happen to people and something that keeps going on across time), particularly when guilt is involved; and still the genuine caring and protectiveness seen when some in the community understand the issues and act accordingly.  McDonagh shows all these complexities with sensitivity and an even hand. 

     How does an Irishman get to know this?  McDonagh talks about taking bus rides around the U.S., visiting small towns, and acquainting himself with the people who lived there (Interview on Charlie Rose, 11/9/17 on PBS).  He saw a billboard in one place that first stimulated his thoughts about making this film.  In addition, McDonagh brings his own sensibilities to his dramas; in this case, showing characters in such depth, we see their strengths and weaknesses in equal measure.  And he goes further in showing redemptive experiences, where his characters actually acquire some insight and valiantly try to make positive changes. 

     McDonagh chose his cast carefully and well.  From the beginning, he knew he wanted McDormand, Harrelson, and Rockwell; and do they all shine.  McDormand is a shoo-in for award nominations for her performance here (previous wins have been an Oscar for Fargo, a Golden Globe for Olive Kitteridge, and Independent Spirit Awards for Friends with Money and Fargo), and her work has been consistently top-notch.  Rockwell deserves supporting role awards for his Dixon, whom he manages to make you hate in the beginning, and then have some sympathy for when he at least partially redeems himself.  Harrelson may not be considered for an award this year for this film, but he lends his expert rendition of a character with good judgment for whom we have great sympathy.  He, McDormand, and     Rockwell are all good for the high comedic moments as well as the drama in this film.

     McDonagh’s collaborators in music (Carter Burwell) and cinematography (Ben Davis) help make this film the artistic triumph it is.

A film likely to be on the award circuit when the time comes.

Grade:  A                                    By Donna R. Copeland

WONDERSTRUCK

Julianne Moore     Oakes Fegley     Millicent Simmonds     Jaden Michael

Cory Michael Smith     Tom Noonan     Michelle Williams

       Unless you’ve read Brian Selznick’s work on which Todd Haynes based this film, plan to spend a fair amount of time trying to make sense of the plot and learning who the characters are.  Screenwriter Selznick actually does capture the model in his book in telling two different stories, one about a girl in 1927 and one about a boy in 1977.  I might say from the beginning that I’m not a fan of this model of storytelling; it takes more work than simply listening and seeing the story unfold.  Nevertheless, the book’s reviews are very positive, and most readers do find the exposition charming.

     The film opens when Ben (Fegley) is having one of his nightmares, and his mother (Williams) comes in to comfort him.  The next thing we learn about Ben is that he has intense curiosity about his father, but his mother insists on withholding that information “until the right time.”  When she is never able to give it, Ben takes it upon himself to follow some clues he has about the father’s whereabouts, and proceeds to go find him.  Keep in mind that he is going to be traveling from Minnesota to New York City, and just recently became deaf, so he doesn’t know sign language or lip reading.

     Ben’s story and that of Rose’s (Simmonds) are interwoven, hers in wordless black and white pictures from the 20’s, and the other in full color taking place in the ‘70’s.   There are numerous coincidental experiences each has, but the mystery of their connection is revealed only in the very last part of the film.  Rose is growing up in Hoboken, N.J., the child of divorced parents.  Her mother is a famous stage actress (Moore) in New York, but Rose lives with her father, a very stern, unemotional doctor who scolds her frequently.  She runs away to try to find her mother, despite the fact that she, like Ben, is deaf, and is mute as well.  The absence of sound in her story reflects not only the silent movies of the time, but as well her being born deaf and, consequently, mute.

     The two young actors ably carry the bulk of the film, along with some fine help from Jaden Michael, who plays a friend Ben makes at the Museum of Natural History.  Fegley, proving his skills first in Pete’s Dragon and some other minor roles, is captivating here in his earnestness and persistence.  Millicent Simmonds is a worthy counterpart with her luminous, expressive face and eyes, playing a role about which she has had direct experience in her own deafness.  In Julianne Moore’s two roles, she expresses a sample of the range of her abilities.

     Although I do regard Todd Haynes as a highly skilled director, I found some drawbacks in this production.  In addition to the fractured story-telling, it was difficult to follow sometimes simply because the notes that characters were writing to one another were presented to the audience so rapidly one didn’t have time to read them, and/or the they were dark or obscured by another object.  To me, it was an omission not to have shown Rose’s parents or Ben’s family trying to find out where they were. 

     Wonderstruck requires a certain amount of patience to sit through it, but if the viewer is impressed with Haynes earlier pictures such as Far From Heaven and I’m Not There; and Brian Selznick’s books (Hugo and Wonderstruck), this film is likely to be entertaining. 

Two stories from the ‘20s and the ‘70s interweave to tell a story of remarkable coincidences.

Grade:  C                                    By Donna R. Copeland

GOODBYE CHRISTOPHER ROBIN

Domhnall Gleeson     Margot Robbie     Kelly Macdonald     Will Tilston     Alex Lawther     Geraldine Somerville

     This film is enchanting in the depiction of a father and son suddenly left on their own forging a bond through imaginative play.  This is the best part of the story that would eventually become the beloved Winnie-the-Pooh stories for children.  But the film covers more troubling times, such as A. A. Milne’s military service in WWI, which left him with what sounds like our current understanding of PTSD, his beautiful wife Daphne who bore a son “who almost killed me” out of a sense of duty and was drawn toward London society, and their son, Christopher “Billy” Moon, whose imagination helped his father with his mental turmoil and provided inspiration for the Winnie-the-Pooh stories, but became a publicity-fueled nightmare.

     We’re introduced to Alan Milne (Gleeson) and his wife Daphne (Robbie) at a ball where he is obviously uncomfortable (having just returned from military service), but is easily cheered/charmed by his lovely wife.  When she gets pregnant soon after and gives birth to a boy (much to her disappointment, since she figures he will go to war eventually), a nanny (Macdonald) is engaged to take care of him.  She is essential, since the Milnes are away from home frequently in the evening and traveling.  Christopher (Tilston) comes to love “Nu” as much as his parents, but when she must leave for a time to attend to her ailing mother and Daphne feels compelled to leave their country home for London city life, the awkward father and precocious son are left to their own devices.

     It turns out that Christopher is just what the frustrated, war-scarred writer needs to get past his writing block (he is writing a book against war) and become productive.  The child seems to understand intuitively what is bothering his father, and talks about it in a way that will help Milne redefine his hallucinations into something nonthreatening.  Milne does eventually write and publish the book Peace with Honour, but before that, he turns the fantasies that he and his son weave together on their walks in the woods into a children’s book that goes all over the world.

     The rest of the story illustrates the all-too-frequent perils of publicity on children and families.  When the book becomes famous, the Milnes are naïve in setting no limits on campaigns and interviews involving Christopher, even when the knowledgeable nanny tries to enlighten them.  They will only “get it” when their son becomes so resentful and alienated from them, he enlists in the armed services, and they fear they have lost him forever.

     The writers Frank Cottrell Boyce and Simon Vaughan and director Simon Curtis have produced what I think is a story for our current times.  We have witnessed countless young people who have been compromised by the adulation of the public, which can literally swallow up an unprotected, unsuspecting celebrity.  Some survive to go on, but some don’t. 

     But as valuable as this segment is, it is only a small portion of the film; the first part is entirely enchanting, with the three main actors being a joy to watch.  Gleeson is top-notch in every role he plays (my personal favorite is in Ex Machina), and it’s only a matter of time before he receives major awards.  Here, he is the sensitive artist who has some difficulty navigating the real world, but is a wizard in creative endeavors.  Margot Robbie was perfect casting for a woman who is beautiful and engaging, but more suited to promotional endeavors than motherhood.  (The evidence of her versatility is in her role as Ann Burden in Z is for Zachariah.)  Young Christopher Robin is played by Will Tilston, who is captivating with his dimples, but shows considerable acting talent when he is required to be fanciful, loving, desperate, and demanding.  The switch in actors to Alex Lawther is unfortunate in its lack of continuity; he looks and acts completely different from the earlier character.

     Carter Burwell’s music entertains and supports the story in its different periods of time, and David Roger’s production design carries the viewer right into early 20^th Century homes and cities. 

For an enchanting, nostalgic evening with contemporary issues to ponder, this film will serve you well.

Grade:  B+                                    By Donna R. Copeland

HAIL, CAESAR!

Josh Brolin   George Clooney   Alden Ehrenreich   Ralph Fiennes   Tilda Swinton   Frances McDormand   Scarlett Johansson   Channing Tatum

           When the Coen Brothers are having fun, we’re having fun.  And I can just imagine how the whole crew of Hail Caesar! had loads of good times making this film.  As a matter of fact, Roger Deakins, the DP, mentioned that in an interview.  The Coens let their imaginations run wild here, and managed to successfully throw in all kinds of references to movies (mostly), philosophy, politics, history, and American culture, spoofing all.

          The central figure is the beleaguered “fixer” at Capitol Pictures in Hollywood, Eddie Mannix (Brolin), whose long days are spent putting out fires on the multiple sets of films like Hail Caesar!, On Wings as Eagles, Merrily We Dance, and Lazy Ole Moon (Coens came up with the titles, of course).  In addition, Mannix tries hard to pay attention to his family, consider a lucrative offer, and go to Catholic confession frequently. 

           One of his dilemmas now is that his most famous star, Baird Whitlock (Clooney), has gone missing.  A little sleuthing and a phone call reveals that Baird has been kidnapped and the culprits are asking for $100K ransom money.  This is not much of a problem—demonstrating how cash was like play money in Hollywood in the ‘50s—but who is responsible is a testament to the Coens’ wit and fancy in even dreaming it up, but also in its touching a bit on reality.  It’s a motley crew of disgruntled writers and left-leaning professors in a “study group” (I won’t say more).  When the actor comes to after being drugged and learns of the plot, he asks to have a share of the spoils, but the professors quickly say that that would be unethical; ransom money is not for the victim! 

         I thought Brolin and Clooney would be stand-outs, and Brolin is a perfect fit for his part; however, as good an actor as Clooney is, it was difficult to see his character without seeing the Clooney persona, despite his always being in ancient Roman garb.  A surprising standout is the aw-shucks Southern cowboy played by Alden Ehrenreich as Hobie Doyle.  Hobie can stand on his head while riding a galloping horse, do lasso tricks, and sing.  He has a little trouble with the verbal part of acting, but with a little coaching, his timing in saying, “It’s…complicated” is perfect.  And it turns out that he is much smarter than he sounds, but always sincere and honest.

         The film is more like a revue with little vignettes, always light and entertaining and lovely to look at.  Shining in their parts are Scarlett Johansson, Frances McDormand, Tilda Swinton, Channing Tatum, Ralph Fiennes, and Jonah Hill.

         With the Coens, Cinematographer Roger Deakins and Composer Composer Carter Burwell round out this supremely talented filmmaking team

Sit back, chuckle, wonder, and be entertained in Hail, Caesar!

Grade:  A                                                  By Donna R. Copeland

THE FINEST HOURS

Chris Pine     Casey Affleck     Ben Foster     Eric Bana

          The rescue boat for a sinking ocean liner ends up without a compass during the mission, and most of the audience could use a similar guide in order to understand what is going on in The Finest Hours.  Perhaps those with a Boston/New England accent will comprehend more, but unless they are familiar with nautical terms and have sharp ears for dialog over the cacophony of special effects sounds, I think they too will be mystified at least part of the time. 

         We get acquainted right away with Bernie Webber (Pine) and his friend Richard Livesay (Foster) as members of the Coast Guard in Massachusetts.  They’re easygoing and likeable, and Bernie has a reputation for going by the book.  He finds it easy to be polite and respectful of his elders and his superior, Captain Daniel Cluff (Bana), a man not well respected by the Coast Guard crew, who doubt his judgment.

           This is exemplified by his order for Webber to put together at great risk a rescue team on a 36-foot boat when a brutal nor’easter strikes and oilers at sea are sinking, one in particular being the Pendleton.  Chief Engineer Ray Sybert (Affleck) is on that ship, and since all the commanding officers were on the part of the ship broken off by hurricane strength winds and stormy seas, his knowledge of sailing makes him the effective leader.

          The Finest Hours is based on a true story written down by Michael Tougias and Casey Sherman in a book with the same title.  Even a small sample of their clearly written prose pulls the reader in immediately and sustains his/her attention.  The movie, The Finest Hours suffers from the screenwriters (Scott Silver, Paul Tamasy, and Eric Johnson) and Director Craig Gillespie not realizing that a naïve audience is not going to understand the technical terms that are indistinctly shouted out, even if they could hear them over the din of the rushing sea, howling winds, clanking of huge chains, and motor sounds.  We do get some of the heroics of the Webber and Sybert characters—remarkable with the Doubting Thomases surrounding them—but not to the extent that makes it clear what is happening in a scene.  Inserting some explanations along the way—perhaps voiced by other characters—would have been helpful.

          Instead, the script calls for the insertion of a rather silly love story with the female character clearly being drawn from male concepts of what a “strong” woman would do (e.g., propose to a man, think that she could cheekily appeal to a captain on an emotional basis, and then flounce off in a huff, leaving her coat and gloves behind during a winter storm!).  Of course, this character (unfortunately for the actress, Holliday Grainger) ends up being rather unlikeable. 

          The Finest Hours is in 3D, but I couldn’t see that it made that much of a difference.  Carter Burwell’s music and Javier Aguirresarobe’s cinematography do elevate the presentation of this film.

A film primarily for northeastern sea lovers; for the rest of us, it’s mainly continuous howling winds and stormy seas.

Grade:  D+                                    By Donna R. Copeland

CAROL

Rooney Mara     Cate Blanchett     Sarah Paulson     Kyle Chandler

           Much has been made of the Lesbian relationship in Carol, but this award-winning film at Cannes (Best actress for Mara and Queer Palm for director Todd Haynes) contains much more in-depth exploration of women in the l950’s, and the trials and consequences in particular of these two women, Carol (Blanchett) and Therese (Mara), who simply don’t fit the mold.  They are independent thinkers, despite Therese’s complaint that “I say ‘yes’ to everything.” The two men (Chandler as Harge and Lacy as Richard) who claim they’re in love with Carol and Therese are completely taken aback and bewildered by the women’s resistance to being appendages.  The rejection is not only mystifying; it’s a painful narcissistic wound for them.

      Therese is a shop girl at a department store and when Carol comes in to buy a Christmas present in the Toy Department, they seem to have an instant awareness and attraction to one another.  Immediately, Therese shows that she’s not a typical 50’s girl when she says she didn’t care much for dolls as a child; she loved trains.  And Carol is then easily convinced to buy her daughter a train when she finds that the doll she was looking for is not in stock.

         This could have been the end of it, except Carol (unconsciously?) leaves her gloves on the counter and when Therese finds them and mails them to her along with the train set, Carol must thank her by offering to take her to lunch.

      The difference in class between the two women is noteworthy; Carol wears an expensive fur and goes to high-end restaurants.  When she orders a martini and quiche for lunch, Therese says she’ll have the same, although in her words, “I barely even know what to order for lunch.”  This difference in background becomes a significant issue throughout the drama that will take place.  The wealthier, older, more experienced Carol could be seen as “toying” with Therese for her own amusement; although this is not born out in the end when Carol shows moral/ethical strengths that are not obvious initially.

          The highly respected and admired Blanchett performs at her usual level of excellence with fine nuances and subtleties.  But Mara is equally good here in playing a younger woman unsure of herself and still in the process of finding out who she is and what she wants in life.  Director Haynes clearly understands women, and with screenwriter Phyllis Nagy has adapted Patricia Highsmith's novel for the screen with knowing grace, utilizing—along with the actors—the talents of musician Carter Burwell and cinematographer Edward Lachman.  Lachman uses light and screen shots to interesting effect, as does Burwell with music anticipating scenes and capturing mood.  The movie takes place at Christmastime, and the carol “Silver Bells” is perfectly apt as the two women embark on a hopeful journey together.

        Carol proceeds slowly and gently as the women’s relationship develops, although there are some jolting surprises that make the viewer sit up straight.  The ending is remarkable when Carol pleads her case in a custody battle with her husband at a meeting in the presence of lawyers, imploring them to keep the interests of their child foremost and arguing reasonably about hers and Harge’s joint responsibilities.  She warns that “a court battle could get ugly, and we’re not ugly people.”

Carol reminds women that even though we have a ways to go, contemporary women can be grateful for the progress that has brought us this far.

Grade:  A-                                               By Donna R. Copeland