HOUSE OF GUCCI

 Salma Hayek     Jared Leto     Adam Driver     Lady Gaga

Al Pacino     Madalina Ghenea     Jeremy Irona     Jack Huston

            This is a colorful film with a complex plot that begins light-heartedly romantic and interesting.  Mauricio Gucci (Driver) is a reserved young man without much of a social life and still living in his family home with his father Rodolfo Gucci (Irons).  Patrizia (Lady Gaga) is an ambitious, sexy woman who, when he tells her his name at a party, flirtaciously picks him up, in a way, and he is instantly attracted to her.  They seem to mesh well together; she draws him out and he offers her stability and dependability.

            After a short time, when Mauricio introduces Patrizia to his father, although the older man is charmed by her, he is suspicious as well and warns his son not to get involved.  This creates such harsh disagreement, Mauricio moves out of the home and shows up at Patrizia’s, where he is taken in and begins working at her father’s trucking company (which Patrizia affectedly refers to as “land transportation”).  

            Mauricio is modest, belying his wealthy background, and thoroughly enjoys the physical labor.  Their love continues to grow, resulting in marriage and a child.  Many events transpire after that, with the couple remaining very much in love.

            Although skirmishes had always been a part of the family’s existence, major trouble begins to brew around running the business and financial disagreements brought on partly by the introduction of Rodolfo’s brother Aldo (Pacino) in New York City, to Patrizia and her not being able—or willing—to resist getting involved in the business and pressuring her husband to take certain actions.

            What transpires is heightened intrigue and shifting loyalties and how far people in families will go when bonds weaken and their circumstances begin to change.  

             Ridley Scott directed the film based on a book by Sara Gay Forden, with screenplay by Becky Johnston and Roberto Bentivegna.  The pace goes along nicely, giving the viewer time to absorb who all the players are and mete out the twists and turns as in a good crime story.  Scott is better known for his scripts than for his direction.  And it is probably the case in this film that his reputation is borne out.  For those who are not familiar with the story, there are major surprises as all the different elements unfold, a positive of the script.  Direction, however, may be lacking in the cohesiveness of the cast in the story.  

            That being said, along with the script, the cast is one of the film’s strongest points, beginning with the two leads, Adam Driver and Lady Gaga.  Driver is on a roll this year, with three of his movies on wide-ranging subjects being released.  Here, he is his most laid back, slow to burn character until he is pushed too far.  Lady Gaga is good at playing an ambitious woman who uses her sexiness to her advantage.  Her performance may be a bit “over the top”, but I enjoyed her young enthusiasm and craftiness in the beginning.  Later on, as the plot thickens, she is showing more of her naivete, and she relies more and more on her fortune teller (Hayak—who doesn’t quite fit the role), one’s sympathy for the character (and perhaps for the house of Gucci and The House of Gucci the movie) wanes.  

            In the mix is the uncanny performance of Jared Leto as Paolo Gucci, the “idiot son, but he’s my son” son of Aldo.  Leto shows the man as one with questionable talent who is a bit of a changeling, trying to adapt himself to whatever he thinks is expected.  

            Some may think this film is more about the fashion industry, but it is actually a chronicle of an international company whose direction failed in the face of conflicts within its leadership, a family.

 

Go and see this as a film about a family business rather than about fashion.

 

Grade:  B                              By Donna R. Copeland

RED SPARROW

Jennifer Lawrence     Joel Edgerton     Matthias Schoenaerts     Charlotte Rampling

Mary-Louise Parker     Jeremy Irons

      A spy story can be a perfect thriller, especially when double-dealing is a part of it.  Red Sparrow refers to a Russian intelligence operation that trained young recruits how to extract information from targets by engaging them, giving them what they want, and gradually building trust. 

     The problem here is that young Dominika (Lawrence) a Bolshoi ballet dancer, has her career abruptly curtailed when her leg is injured permanently.  Dominika is desperate now, because the Boishoi pays for her rent and her mother’s medical care.  Forthwith, her Uncle Vanya (Schoenaerts) offers her a role in the Russian state security, where he has a high position.  “There are no accidents”, he declares ominously, making you wonder how Dominika’s leg injury came about.  He is frank about the kind of commitment it will take on her part, and reminds her that she doesn’t really have other prospects for taking care of herself and her mother.

     Vanya initially gives her a cryptic assignment, where she does very well; however, there is another agenda of which she is unaware.  She is very successful until…  Now, she has witnessed something that makes her dangerous, which gives Vanya additional leverage, which he uses by having her enroll in a special training program on the psychological manipulation of others.  Here, she is advised on principles such as to “forget sentimental morality”, given instruction about guns and shooting, and picking locks.  “Innure yourself to what you find repellant.”  “Learn to love on command.” Basically, the ends justify whatever means they need to use. 

     This is a time when the Cold War between the U.S. and Russia is still continuing.  On the American side, one of its CIA agents makes an error in judgment, and is sent home from Moscow.  Nash (Edgerton) is a dedicated operative who has spent years cultivating a source.  His burning desire to get back in the field is to hold onto this source, who won’t talk to anyone else. 

     One of the delightful intrigues in this film is to see how each side has more than an inkling as to what the other side is doing.  This means, of course, that Dominika and Nash will cross paths.  But I won’t give any spoilers as to how and how many times this comes about, but it is one of the most entertaining aspects of the film.

     Francis Lawrence has directed the Red Sparrow in an optimal way for this type of film, in which the viewer is challenged to figure out what is going on at every step, even to the ending of the story.  I think the standout actor is Schoenaerts, who has an uncanny resemblance to Vladimir Putin, which is enhanced by the actor’s skill in portraying Putin’s mannerisms and persuasive ways of reasoning.  He can be truly intimidating and terrifying.  Jennifer Lawrence and Joel Edgerton are skilled actors who always bring their characters to life, but in this instance, charisma between the two was slightly amiss.  Of course, Charlotte Rampling as the “Matron” is intimidating and precise in her dispassionate “teach by the book” approach to training in unorthodox(?) techniques.  Additional supporting actors who enhance the quality of the film include Jeremy Irons and Ciarán Hinds as Russian security agents, Joely Richardson as Dominika’s mother, and Mary-Louise Parker as an informer.

     This is a spy story that will not disappoint.  I have an objection to the level of violence and torture portrayed (from which everyone seems to recover miraculously), and wish that filmmakers would see that it is not really necessary.

A spy’s creed:  “Everyone is a puzzle of need.  Give him what he wants, and he will be yours.”

Grade:  B+                                    By Donna R. Copeland

JUSTICE LEAGUE

Gal Gadot   Robin Wright   Jason Momoa   Amy Adams   Ben Affleck   Ezra Miller   Henry Cavill

Joe Morton   Diane Lane   Billy Crudup   J. K. Simmons   Ciaran Hinds   Jeremy Irons   Jesse Eisenberg   Ray Fisher

     Oh, my, my!  Superman is dead, and the planet is threatened by a terrible force, Steppenwolf (Hinds), who only needs to get three “Mother Boxes” to communicate with one another and the world is his.  (There are more references to ‘mother’ in this action film than all the rest put together.  Hmmm…).  Steppenwolf has started by sidelining the Amazons and Atlantis, and now he is after Planet Earth.

     There is the possibility of bringing Superman back from the dead with scientific and super-hero means, and Batman (Affleck) and Wonder Woman (Gadot) have a little argument about the merits of attempting such a feat.  She sees it as risky, but he convinces her that it may be the only option.  He also knows that it will take teamwork, so has been recruiting a team to counteract the threat.  Along with Wonder Woman, he manages to get The Flash (Ezra Miller), Aquaman (Momoa), and a Cyborg (Fisher) created by Dr. Silas Stone (Morton), with Alfred Pennyworth (Irons) at central control.  All finally agree to attempt the resurrection of Superman, who is clearly essential for success.

     What follows is the usual formula of an action hero film:  Fight, fight, dialog, fight, fight—always ending up with a fist fight, of course, despite all the fancy gadgets and powers of the players.  The special effects are impressive, as is often the case in these films (production design is by Patrick Tatopoulos (Godzilla, Stargate, Dark City), but the dialog is not of the same caliber.  There are few/no surprising twists and turns, so its primary value is in entertainment, and that’s if you like action hero films.

     A star-studded cast makes this film more interesting, particularly with a larger role given to Gal Gadot as Wonder Woman, who is grooming herself to be a leader.  Bruce Wayne (Batman) appears to be flagging a bit and is feeling a bit guilty about his role in Superman’s demise, so maybe the new pairing could be Superman and Wonder Woman.  Along with Henry Cavill and Gal Gadot, Ben Affleck, Ezra Miller, Ciaran Hinds, and Ray Fisher give their characters depth and watchability.

     Director Zach Snyder and his writers (including Chris Terrio and Joss Whedon) have delivered a mildly entertaining, watchable film, but one that is indistinguishable from most of the genre.

Wonder Woman proves her worth among her fellow heroes.

Grade:  C                                    By Donna R. Copeland

THEIR FINEST

Gemma Arterton   Sam Claflin   Bill Nighy   Jack Huston   Richard E. Grant   Jeremy Irons   Eddie Marsan

     How do stories get made?  I like to think that the process shown in Their Finest is art imitating life—that after a bit of brainstorming, the writers sit down and flesh out the script.  In this instance, the story has many layers—comedy, romance, and drama—all while the Germans are bombing London in WWII.  The comedy comes from the actors doing very human things, having touchy egos and eccentricities.  The romance(s) involve the main character, Catrin (Arterton), her artist husband, and another character.  The drama shows us what it is like to live in a city being bombed—the hits and destruction, the near misses, parts of ceilings and whole buildings falling all around.  In the midst of this the British people carry on as if they’re programmed to do so.

     Catrin is elated when she lands a job as a writer for the British Ministry of Propaganda, which is to make a film to boost morale in the country, but eventually, it wants to wow American audiences with it and possibly convince the U.S. to join in the war effort.  Mentoring Catrin is Tom Buckley (Claflin) who seems more egalitarian toward women than other men of that time, and when Catrin attempts to move the film they are making toward a more female slant, he is one of the few who get it.  But they have their disagreements and conflicts too.

     Some of the humor derives from the way men treat women, which seems quaint today, but was actually typical in the early 40’s.  So baldly stated:  “You’ll be paid—of course we can’t give you what a man would make—so, two pounds a week.”  “OK”, she agrees, and feels so proud to be earning anything.  Male egos, actor egos, administrative “spies”, crusty forward women—they’re all put through the comedic mill. 

     Dramatic pull is considerable as we see Catrin struggle with her life and Tom taking an interest in her and boosting her self-esteem.  The actor Ambrose Hilliard (Nighy in one of his spotlight performances) is vain and touchy at first, but gradually relaxes and allows his real talents to emerge.  One of the most rewarding aspects of the film is to see a number of characters make positive changes, often as the result of feedback from those around them.  Award winning actress Gemma Arterton (The Girl with all the Gifts, Tess of the D’Urbervilles) is perfection in portraying a woman of the time—outwardly compliant, charming, and helpful—but thoughtful and with strong opinions inside, and above all willing to take risks.  Her face hardly moves, and you know what she’s thinking, or wonder what she is thinking. 

     Lone Scherfig’s direction of this film-within-a-film shows considerable talent in revealing her understanding of and sensitivity toward women in this film, as in An Education.  She can manage complex, layered dramas that tell multiple stories at the same time, while getting across moral, ethical, and humanitarian principles along with pure entertainment.  Composer Rachel Portman travels on the same wavelength with an impressive, award-winning filmography (Emma, Bessie, Never Let Me Go, Chocolat). 

A film-within-a-film incorporating comedy, drama, and romance.

Grade:  A-                        By Donna R. Copeland

ASSASSIN'S CREED

Michael Fassbender     Marion Cottiard     Jeremy Irons   

 Brendan Gleeson     Charlotte Rampling     Michael K. Williams     Ariane Labed   Michelle Lin 

         The original idea of the film came from the video game of the same name, but Director Justin Kurzel wanted writers to come up with a new story that would be less “game-ish” and more suited to cinema.  For this, he engaged writers Michael Lesslie, Adam Cooper, and Bill Collage.  To see that action and game fans would not be disappointed in the visuals and special effects, he secured the help of Production Designer Andy Nicholson, Cinematographer Adam Arkapaw, Musician Jed Kurzel, and a talented cast, as shown above.  In my view, he certainly succeeded in the visual and special effects and in the cast.

         The drawback of the production is a rather confusing story that jerks us around in time and space with a host of characters difficult to keep track of.  The first scenes are in 1492 in Andalucia, Spain, in which Aguilar de Nerha (Fassbender) is taking the oath of the Assassin’s Creed to protect an apple even unto death against the Templars, who had taken over Spain.  Switch to 1986 in Baja, California, where a young boy Cal is told by his father (Gleeson) to run and “keep in the shadows”, hiding from assassins out to kill him like they did his mother.  Thirty years later, we see the grown-up Cal (Fassbender) in prison for murder, being visited by a priest, and subsequently being executed and declared dead—when suddenly he is in Spain at Abstergo Industries associated with the Knights Templar Order. 

       He awakens to Dr. Sofia Rikkin (Cottiard) telling him that he will be participating in research with the aim of getting rid of his DNA associated with violence that passes through generations.  Yes, he is a descendant of Aguilar.  His charge is to go into “Animus” with virtual reality equipment designed to take him back in time (15^th Century) and space (Spain) to wrest the apple from the Templars, who now possess it.  The apple’s seeds will then be used to rid the world of violence.  We watch this happen, and it is truly amazing to see Cal/Aguilar with his partner Maria (Labed) miraculously fighting off hordes of people standing in their way.  (I understand Fassbender and Labed did 95% of the fights themselves).  And Cal takes more than one trip into Animus trying to retrieve the apple.

         Of course, dark forces are at work.  It seems that Sofia’s father Alan, CEO of Abstergo has his own plans, and we see him talking with Templar Ellen Kaye (Rampling).  The plot thickens as the differences in aims between father and daughter become more apparent.  This adds an unnecessary layer to the drama that I think would have been better off omitting. 

        The strength of this film is actually the video game aspects (and I’m not a video game fan), and less so with the story that becomes weighed down with too many layers and complications.  And I’m not even mentioning the layer of current prisoners at the Abstergo Company who play a role in insurrection.

        Fassbender, Cottiard, Irons, Gleeson, and Rampling give the film a haunting, mythical quality that keeps the viewer engaged.  It’s too bad the story becomes so convoluted they are hung out to dry.

Action and intrigue, but with substance minimized.

Grade:  C+                        By Donna R. Copeland

BATMAN V SUPERMAN: DAWN OF JUSTICE

Ben Affleck   Henry Cavill   Amy Adams   Jesse Eisenberg   Diane Lane  

Laurence Fishburne   Jeremy Irons   Holly Hunter   Gal Gadot

          It’s a common human failing to mistake proximity for causality, and that is how the action in Batman v Superman begins.  Superman (Cavill) has been present in or associated with tragic events in Metropolis, so he is being regarded by some as a pariah, taking the law too much into his own hands and needing some oversight.  Senator Finch (Hunter) feels so strongly about it, she heads up a committee to investigate Superman.

          Bruce Wayne (Affleck) is also convinced Superman is a danger to society and feels honor bound to set things right.  Thus develops a fierce rivalry between the two. Wayne’s trusted technician/adviser Alfred (Irons) tries to dissuade him from taking on such a battle, but Wayne seems to be a tormented soul who frequently feels he hasn’t done enough to protect humankind. 

           Another figure on this complicated chessboard is Lex Luthor, a megalomaniac, who is seeking to extend his power in the world by absconding with precious metals and engaging in other nefarious activities.  Wayne senses he is up to no good and does some investigating at his company. 

       Shadowing in the background for much of the story until the very end when she suddenly appears as a fighter for the good is Wonder Woman (Gadot).  What brings her out is a Kryptonite monster seemingly capable of destroying anything, including Superman. 

         One should go to this film expecting that it is mostly about the CGI accompanied by deafening sound effects with repeated urban devastation, fierce battles that seem to go on forever (Batman v Superman, and both of them with Wonder Woman v the monster), and near death experiences for Lois Lane (Adams) and Martha Kent (Lane).   It is filled with a jumbling hodge-podge of scenes that make it hard to follow the storyline. 

       Remarkable to me in this rendition is the number of self doubts voiced by its two heroes, Batman and Superman, which made me wonder if perhaps their differences with one another would have been lessened if each were more confident.  But that is me in fantasy; I think Director Zack Snyder and the other filmmakers purposefully set up this struggle because they thought it would make a better story for those who favor action movies.

A CGI spectacle with hand-to-hand combat scenes going on for 40 minutes or so nonstop.

Grade:  C-                        By Donna R. Copeland