THE PEANUT BUTTER FALCON

Shia LeBeouf     Dakota Johnson     Zack Gottsagen

John Hawkes     Thomas Haden Church     Bruce Dern

     Tyler (LeBeouf) and Zak (Gottsagen) make a most unlikely pair—almost as implausible as peanut butter and falcon.  But all of it comes together in this charming tale of overcoming the odds and living in the moment—against the background of catchy folk music tunes.

     Local thief Tyler, holding a lot of anger and depression, is on the run when his path crosses that of Zak, an orphaned runaway from the nursing home, with Down’s Syndrome.  Zak has hidden away in Tyler’s boat, not realizing that Tyler is being chased by the men he stole from.  On Zak’s tail is his caretaker Carolyn (Johnson) from the home.  But after a touch-and-go start, Tyler and Zak have figured out a way to survive in the wild, and they’ve become bro’s with a special handshake.

     Having grown up with an older brother, now deceased, who was his mentor, Tyler is basically honorable and doesn’t have the heart to leave Zak behind. Instead, he becomes Zak’s mentor, something that Zak is sorely in need of after a life of being over-protected. His hunger for masculine influence is expressed by a burning desire to meet his idol, Salt Water Redneck (Church), and attend his wrestling school.  Tyler encourages him in this pursuit, promises to take him there, teaches him survival skills like swimming (after Zak had almost drowned), and even begins training him for wrestling by building up his strength. When Zak is indulging in peanut butter one evening, Tyler says he needs to pick out a wrestling name, an “alter ego.”  Zak thinks of a falcon, and somehow the peanut butter gets mixed in, and the name “Peanut Butter Falcon” is celebrated.

     Meanwhile, the dedicated Carolyn, who has become something of a mother figure to Zak, is canvassing the countryside with a picture of Zak and questioning whether anyone has seen him.  When she finally locates him and Tyler on the beach with their makeshift raft, she gets drawn into their adventure, and the duo becomes an even more unlikely threesome (a “family!” Zak proudly proclaims).

     Their journey to Salt Water Redneck will be filled with folksy adventures and danger in the form of Tyler’s determined pursuers.  These travels are entertaining and frequently amusing as we see them accommodate to one another, develop insights, and form a close bond.

     Peanut Butter Falcon is enjoyable as light entertainment with some soul and human truths that give it some substance, and a number of close calls that create excitement.  The cast is probably the most impressive quality it has. Applause is in order for Zack Gottsagen for his convincing portrayal of his character with a combination of pluckiness, determination, likeability, and sheer joy.  Tyler is a different role for Shia LeBeouf, one that is more intimate and emotional than his usual, and he pulls it off nicely.  John Hawkes, Thomas Hayden Church, and Bruce Dern all cinch the entertainment value of their distinctive cameos, for which they are perfectly cast.

Suspend disbelief and take in this fanciful, heartwarming film.

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

SMALL TOWN CRIME

John Hawkes     Octavia Spencer     Robert Forster     Anthony Anderson

      Mike Kendall (Hawkes) is an ex-policeman who was fired from the police force after becoming an alcoholic and using poor judgment in a traffic stop.  He leads a lonely life, once ending up in the bushes off the highway when, heading toward home, spots a body on the side of the road.  He stops, and loads the body, a young woman into his car.  He still has a friendly contact on the force, so turns the body over to him to process.  To his frustration, his friend is unable ethically to give him any information about her. 

     However, when he gets back in his car, he discovers the woman’s cell phone.  He misses police work so much, he can’t resist doing a little investigation, to the point that, despite his colleague’s warnings and advice he decides to become a private investigator.  With his experience on the force, he easily qualifies for certification.

     Now that he has the woman’s name and address, he goes to visit the woman’s parents and grandfather (Forster).  The parents prefer simply letting the police—who had already visited—handle the case.  But when Mike goes to talk to the grandfather, he gets hired because the man is critical of the parents and suspects the girl’s boyfriend, and enthusiastically joins up with Mike.

     But this girl will not be the first one to die, and Mike realizes that the young woman was mixed up in a major crime ring involving drugs and prostitution.  The story becomes complex as Mike tries to uncover the truth while needing to sidestep the police. 

     Mike was adopted as a child, and has a sister (Spencer) and her husband who have been supporting him and trying to get him to shape up.  When they are inadvertently involved in the murder mystery, the stakes become even higher for Mike to be successful.  Plots, car chases, and extreme violence ensue.

     Small Town Crime is interesting, exciting and well choreographed by the writers/directors Eshom and Ian Nelms.  Hawkes is his usual captivating character, and Spencer and Anderson add warmth and sensibility to the production.  The first part is too long in detailing Mike’s alcoholism, and makes him an unsympathetic figure, despite his heroics and efforts to reform himself.  When the crime figures enter the picture, the story heats up considerably, especially when the limits to which the criminals will go to protect their assets becomes apparent.

A thrilling crime story involving a reforming policeman, young women, and ruthless criminals.

Grade:  C+                                                            By Donna R. Copeland