KNIVES OUT

Ana de Armas     Jamie Lee Curtis     Toni Collette     Chris Evans     Don Johnson    Katherine Langford

Daniel Craig     Michael Shannon     LaKeith Stanfield     Jayden Martell    Christopher Plummer     Frank Oz

     This elegant pastiche fulfills its intention of laying out an ingenious plot with all the usual motifs of detective stories, tossing in blocks of humor and human foibles to keep you thoroughly entertained.  Writer/director/producer Rion Johnson (known for awarded works like Star Wars VIII:  the Last Jedi, Looper, and Brick) outdoes himself here, not only in his own efforts, but in assembling a formidable cast as well, most notable being Daniel Craig as private detective Benoit Blanc with a Texas twang.

     The set-up is Marta Cabrera (Armas) working as a nurse for aging Harlan Thrombey (Plummer) a wealthy book publisher.  Thrombey has numerous family members he is supporting, some of whom live in his mansion.  Tragically, one night after his 80-something birthday celebration, he is dead the next morning, apparently from a suicide.

     Enter Lieutenant Ellliott (Stanfield) and his trooper, along with a mysterious figure who sits to the side, Benoit Blanc.  As they question family members (paying homage to all the detective stories you’ve ever seen), we become acquainted with the motley group. Eldest daughter Linda (Curtis) is married to Richard Drysdale (Johnson) and they have a son Jacob (Martell). Son Walt (Shannon) thinks he is next in line to manage his father’s company, and is given something else to manage in the meantime.  Then there is the youngest son Ransom (Evans) who has a reputation for not working and hasn’t even appeared for the funeral.  Finally, there is daughter-in-law Joni (Collette), who is still part of the family in widowhood, and her daughter Meg (Langford), who is attending college, paid for by Harlan.  All of these actors shine in portraying their eccentric characters.

     Marta, the nurse who will be at the center of the drama, has a mother and sister from another country (humorously, family members always forget exactly which country), and much is made of their origins, and these facts are even used in threatening ways at times.         The crux of the story involves medications Marta administers to Harlan, his penchant for developing published fictions, and a major investigation, with everyone suspect.  Armas is a delight in her wide-eyed innocence and showing in her face her struggles to be a good person in a context of potential exploitation.

     Knives Out is likely to appeal to everyone who likes a good detective story.  This one delivers while still spoofing all those that have come before.  

Knives Out is a smart, entertaining look at deviousness, innocence, and human nature that can go either way.

Grade:  A                                    By Donna R. Copeland

ALL THE MONEY IN THE WORLD

Christopher Plummer     Michelle Williams     Mark Wahlberg     Charlie Plummer     Timothy Hutton

   OPENING CHRISTMAS DAY!

    The film begins on the streets of Rome in the evening, and Paul (Charlie Plummer) is outside strolling among the women who are inviting, but when they see his age, they tell him to go home.  Even though he is a sixteen, he looks even younger, with bright blue eyes and an innocent expression.  Still, “I can take care of myself”, he replies with quiet confidence.  And as immediate disproof of that claim, he is grabbed and whisked into a blue Volkswagen van, which speeds off.  The statement becomes even more ironically prescient when it becomes clear that he has been kidnapped and held for ransom—17 million dollars.

  Thus begins a stellar struggle between his mother Gail Getty (Williams) and his grandfather, J. Paul Getty (Christopher Plummer), the richest man in the world, who stubbornly refuses to pay the ransom, despite his wealth, retorting that with his 14 grandchildren if he paid for one’s ransom, he would have to pay for 13 more of them.  He is a notorious modern-day Scrooge, who periodically delivers mantras about money (e.g., “There is very little in life worth paying full price for”) and is known for his merciless haggling over even low sums.  He is eccentric in his tastes, as well as in his complete preoccupation with himself.

     But one of the most entertaining aspects of this film is seeing Gail, his daughter-in-law, resembling him more than does his own son, her husband.  She is a fair match in making deals with him that ultimately win, despite his vast resources and personal cunning.  It’s a delight to see her negotiate with him during her divorce, but even more, later, during the kidnapping-ransom process.

     All the Money in the World recounts the well-publicized event when J. Paul Getty’s grandson was kidnapped in 1973.  Getty’s recalcitrance in paying the ransom was covered by the news media, and tidbits about his chintziness, such as having pay telephones in his mansion for guests, was in the newspapers.  (This is noted in the film in a light-hearted moment for the viewers, but exasperating in reality to Gail.)  Ridley Scott and the writer David Scarpa (based on a book by John Pearson) have made it an exciting romp with lots of tension and suspense, as well as demonstrating for us the realities of a kidnapping situation [perhaps prompting discussions about the current U.S. policy of refusing to negotiate with political kidnappers].  It diverges from the real story to some extent in the interest of dramatization and thrill, and it cuts back and forth between the past and the present and different parts of the globe, creating some disorientation for the viewer.

     Michelle Williams is a wonder as a character who is sharp and ever creative in managing an eccentric billionaire’s sometimes bizarre machinations and paradoxes.  One example is his distaste for children except as possessions and as an extension of himself, and fighting with Gail for custody of his grandchildren.  Inserted into the film as a last-minute replacement for Kevin Spacey, Christopher Plummer demonstrates his acumen by showing full embodiment of the Getty character. 

This is a thriller, highlighting a wealthy man’s eccentricities.

Grade:  B+                                    By Donna R. Copeland

THE MAN WHO INVENTED CHRISTMAS

Dan Stevens     Christopher Plummer     Jonathan Pryce     Miriam Margolyes     

Simon Callow     Bill Paterson     Donald Sumpter

     This film is related to the Goodbye, Christopher Robin story in its reflection of real events and troublesome experiences in the authors’ lives that produced the two works of art that have been beloved by the public for generations:  Winnie the Pooh and A Christmas Carol.  The Man Who Invented Christmas, Charles Dickens, drew on his own childhood memories, dreams (nightmares), and elements in his adult life to weave into a tale about a miserly old man who is visited by ghosts of his past, who make comments about his character and predictions about his future.  According to this account, Dickens identified with Scrooge enough to motivate him to make some changes in his own life as a result.

     The small book seemed to have a similar effect on the readers when it came out just before Christmas in 1843; and according to the historian who wrote the book on which this film is based (Les Standiford), it transformed the Christmas holiday from a Puritanical and Industrial Revolution attitude into one now considered as a time of giving and good cheer. Charitable giving in the country went up noticeably the year of its publication.

     We get a good look at Dickens’ life during the time he was writing A Christmas Carol, when he was reeling from three commercial failures, was ridden with debt, had a large family to support, and had the burden of caring for his parents.  There were constant interruptions to his writing, which made him lose his temper and make rash judgments, only to try to reverse them later.  The film shows his visions of Scrooge and other characters visiting him, inspiring him to rush to his desk to include them in his story.  An interesting aspect of the film is its depiction of Dickens incorporating not only his own memories and fantasies into his writing, but other observations he makes in his everyday life.  For instance, he has a nephew who is very ill and has to use a crutch (a model for Tiny Tim, perhaps?).

     Director Bharat Nalluri and screenwriter Susan Coyne present us with a story that cleverly weaves together Dickens’ everyday life with his fantasies, dreams, and the story he is writing, based on the book by Les Standiford.  Production design by Paki Smith shows the house in Victorian London where Dickens lived and worked, its transportation, factories, stores, and clubs in rich detail.  Music by Mychael Danna and cinematography by Ben Smithard evoke the period and, all together, the filmmakers give us a beautifully rendered period piece that is likely to appeal to the viewing audience at Christmas-time, although the general viewing audience may find it tedious to go through Dickens’ fits and starts in the writing process.

     Dan Stevens as Charles Dickens beautifully portrays the harassed young writer, who, although often displaying a quixotic manner, is constantly pressured by others (and himself) to distinguish himself from his father by being a practical businessman.  Christopher Plummer possesses all the qualities of a Scrooge who continually feeds the author valuable information and feedback.  Another standout is Jonathan Pryce as the feckless parent who is gifted in coming up with excuses on the spot for his failings.  Justin Edwards as Dickens’ loyal friend and agent and Morfydd Clark as wife Kate provide good support.  The cameo by Donald Sumpter as Jacob Marley is priceless.

 

The Man Who Invented Christmas is a worthy addition to holiday viewing.

Grade:  B+                                         By Donna R. Copeland

REMEMBER

Christopher Plummer     Martin Landau     Dean Norris     Henry Czerny     Jurgen Prochnow

            The star of Remember is Zev (Plummer), an elderly man with dementia.  He is in a nursing home, and has trouble remembering that his wife recently died.  He has made friends with another resident, Max (Landau), who has secretly sent him in search of a Nazi who was a block commander at Auschwitz, someone they both knew during WWII and feel is responsible for killing Max’s and Zev’s families.  The man named is supposed to have stolen a Jew’s identity after the war in order to leave Germany and settle in the U.S. as ‘Rudy Kurlander.’  Max has tracked down four people with the name ‘Kurlander’, given Zev detailed instructions on how to get to each one, and when he recognizes the man they are looking for, Zev is to kill him. 

            The film has a number of problems, the most salient being that the character as written, Zev, is not convincing as someone with dementia.  He remembers a number of things, such as who his son is, and somehow manages to travel by train, bus, and taxi to four different cities—even one in Canada where he must navigate the border.  I think that even those in the beginning stages of dementia would have major difficulties in managing such a trip, all the while keeping track of Max’s letter and cash and following his instructions.  Contradictions like these abound; at times, he cannot even remember who Max is, and has to have someone read the letter to him.

            The cast is good—particularly Plummer, who is the whole reason for seeing Remember.  He is captivating, even with the faulty script and editing.  The film does a good job in “leading the audience on” in such a way that you’re intrigued as to exactly what Zev’s mission is, and including scenes with drama and even playfulness when Zev is talking to children.  Landau is also very good in conveying critical importance to the mission he sends Zev on and reminding him to honor his promise.

            Atom Egoyan is known for his earlier work (The Sweet Hereafter, Exotica), for which he received awards, but his films since then have not been acclaimed.  His collaboration here with writer Benjamin August is not much help, and is more of a step away from quality filmmaking.  The plot simply does not hold together. 

            The surprising turn of events at the end of Remember make for a climactic conclusion, but it’s a little rushed and is not related enough to the rest of the story to make it logically grounded.

Plummer as someone with dementia is a testament to his acting skills, but weak screenplay and editing detract from the film Remember.

Grade:  C                                    By Donna R. Copeland

DANNY COLLINS

Al Pacino     Annette Bening     Bobby Cannavale     Jennifer Garner     Christopher Plummer     Giselle Eisenberg

The script for Danny Collins written by Director Dan Fogelman is so smart and true to life it’s scary at times (such as the accurate portrayal of ADHD), and the fine actors make it shine even more.  Loosely based on a true story about a British folk singer, Steve Tilston—whom the movie calls “Danny Collins”—who discovered years later that John Lennon had written a letter to him that was delivered to someone else.  The film uses the letter to tell its story about a rock star who, by this time, is aging and performing the same material he has for 30 years.  Then his agent (Plummer) surprises him with the letter, and it has an immediate impact on him in a positive sense of straightening up his boozy, drug-filled life and starting to write music again.

           Danny remembers the son (Cannavale) he never met, who is now grown and living in New Jersey with a wife (Garner) and child (Eisenberg).  The son, Tom Donnelly, has made it clear that he wants nothing to do with his father and wants him to stay away from Samantha, his wife, and their daughter Hope.  But Danny is committed to his self-styled rehabilitation, and makes offers Tom can hardly refuse.  They go back and forth, with Tom trying desperately to hold onto his anger, and Danny never giving up on his plan.  Their interchanges—which include wife and daughter—are both funny and agonizing at the same time.  In the midst of it all spunky Hope takes in everything that is being said and voices her opinions in a way that an indulgent father has to listen to.

            Danny has rented a room at the local Hilton, where he’s had a grand piano shipped in, clearly intending to work; but he’s not above trying to have a little fun with the all-business hotel manager, Mary (Bening).  They get into verbal jousting, and when she finally relents and has some tequila, they actually get close and start sharing their troubles.

The story has many developments on all fronts as Danny progresses and slips backward, and money starts to become an issue.  All of this has to be worked out, and Fogelman’s script never lets the viewer down. 

           Pacino is a master at portraying complex characters with precision and fullness, and Bening is well placed in being his counter force.   The performance of Cannavale is at its usual level of excellence, and Garner, who has a less well fleshed out role, still has to convincingly be the go-between in father-son struggles—which she does.  Plummer, like Pacino, has a long history of fine performances, and his presence in this film is true to form.  The child Giselle Eisenberg steals the scene every time she is on, and I SO appreciated her lines being authentically child-like and not obviously written by an adult.  They are so true to life, I wondered if Fogelman was getting that part of the script from his experience with a real child.  Giselle clearly has a future in acting if she maintains an interest in it.

         I hadn’t expected much from Danny Collins the movie, and was thrilled when it became clear that it was going to be so good.  It is fresh, believable in terms of character development, and it maintains suspense throughout.  Of course, much of what happens could only occur if at least one character had access to big bucks, but still, it is a fine work of art nevertheless.

An insightful, entertaining look at a modern family’s dilemmas.

Grade:  A                                    By Donna R. Copeland