DON'T LOOK UP

 Leonardo DiCaprio     Jennifer Lawrence     Rob Morgan     Jonah Hill     Mark Rylance

Tyler Perry     Timothee Chalamet     Cate Blanchett     Meryl Streep     Ron Perlman

            In the beginning when astronomer Dr. Randall Mindy (DiCaprio) and his graduate student Kate (Lawrence) first discover a “planet destroying comet” headed for Earth they attempt to inform the proper authorities and American people that the country has only six months to get ready for it.  They’re wanting everyone to look up and see the moving light with a tail and understand it is coming our way.  The movie gets its title from those not wanting to accept that a comet is on its way and very dangerous; when it appears to the naked eye in the sky some advise others, “Don’t look up.”

         Well, the movie is a very funny parody about our political times, shining its light on climate change deniers, right-wingers, Fox News, the media’s exploitation of trivialities and current pop interests over serious news, and prominent Republicans who have their own ethics and their own interests at heart.  Topping the list is the President (Streep) with long blonde hair and a primary interest in getting re-elected [her empty-headed son Jason (Hill) serves as her Chief of Staff].  As expected, the President and her “scientific” appointees want to keep the news quiet and just “sit on it” for a while (i.e., until after the mid-terms).  DiCaprio has observed that “Adam [McKay] has woven an incredibly timely message about society, how we communicate, our current priorities, and the climate crisis into an absurdly funny yet important movie."  https://www.elle.com/culture/movies-tv/a37512771/dont-look-up-news-cast-spoilers-date/

       Upon hearing the news, the administration’s reaction and its influence spreads and influences those who similarly want to ignore science and scientists, ridicule them, and even become very nasty toward them on social media. The two scientists’ media advisors tell them to “keep it simple—no math”, to which Dr. Mindy replies, “But it is math!” Clearly, because he is a male and speaks a language many can’t/won’t understand, Dr. Mindy is made a darling; whereas Kate—younger, more articulate in plain language and more in touch with her emotions—becomes a pariah.  And gets arrested by the FBI more than once.

            Even the sexual boundary issues are brought into play, with a sensuous “Daily Rip” TV show host, Brie (Blanchett) seducing Randall and promoting him so long as he does her bidding.  (Her show with co-host, Jack Bremmer (Perry) is clearly a reference to “Fox and Friends” on Fox News.)   In Kate’s circle, the men are aware of the Me Too movement, such as one asking politely if he may touch Kate’s hair in a “nonsexual manner.”  These are anti-war anti-violence protesters who are gentle and respectful of women.  (The currently adored Chalamet plays one of them.)  

            The cast is huge and full of some of our best actors who are at the top of their game.  DiCaprio is almost unrecognizable in his slightly befuddled scientist mode.  It’s good to see Jennifer Lawrence back in action after a brief hiatus, and she plays the fiery young scientist most convincingly.  It’s too bad the writers had both scientists becoming uncharacteristically (for scientists) hysterical and verbally combative at times.  It undermined their believability in a significant way.

            A scene-stealer is Mark Rylance in his most surprising role:  that of an owner of a tech (phone) company who sees himself as a scientist because his company uses algorithms.  He comes across as an odd kind of person, but is a large donor to President Orlean’s campaign, so has her ear.  He convinces her of his alternative plan to deal with the comet, and we see how that works out.

            Entertaining is Ariana Grande’s performance as a pop star whose love life steals away the public’s attention from the impending danger to the outcome of her current romance.  It’s still another comment about the current attention span and the public’s and media’s focus on their idols.  Other actors who should be acknowledged are Rob Morgan as a Black scientist and Ron Perlman as the Administration’s willing sacrificial lamb (who didn’t have to serve when the mission he was on was aborted) but who nevertheless saw himself as a fighter and a hero.

            Adam McKay has had a significant role in movie productions including The Big Short and Vice, and the current TV series “Succession”, but Don’t Look Up seems to be a major shift into satirical parody.  He clearly has his finger on the times, and doesn’t mind at all skewering others when apt.  This is a “feel good” movie for those of us more politically liberal and concerned about the future of our democracy.  It describes so well the world we live in with all its puzzlements and outrageous people and behaviors.

            Don’t Look Up refers to the time when the deniers are the most desperate in wanting people to deny reality.

 

Don’t Look Up:  A must-see for everyone now living in a most perplexing age as far as people are concerned, but where science is concerned everything is quite clear.

 

Grade:  A-                             By Donna R. Copeland

HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD

Voices of:  Jay Baruchel   America Ferrera   F. Murray Abraham   Cate Blanchett   Gerard Butler

Jonah Hill   Kristen Wiig   Kit Harrington   Craig Ferguson

     The opening of this film set me up for disappointment with an extended battle in dim light in which the characters are not recognizable.  Suddenly, there looms a glorious, colorful view of the island of Berk, and things began to look up.  What follows, however, is the least interesting story of the three Dragon movies.  

     Here, the challenge for Hiccup (Baruchel) and Toothless, his dragon, is to meet the threat posed by Grimmel the Grisly (Abraham), a dragon-hunting warlord who has a nefarious plan to capture Toothless and make him the leader (alpha) of all the dragons he has captured.      He will send out his captive white Fury to beguile Toothless and bring him to Grimmel.

     In the meantime, since Berk is becoming overpopulated with dragons, Hiccup is trying to find the utopia for dragons that his father had told him about, the Hidden World.  If he could move the population there, they could live happily ever after in safety from the dragon hunters.

     Unexpected events happen in both Hiccup’s and Grimmel’s plans, the most profound being that Toothless and the white Fury stumble upon each other and it is love at first sight.  

     Writer/director Dean DeBlois has chosen different themes for this version of Dragons.  It’s partly about how true love involves dealing with loss and letting go of a loved one at the proper time.  Loyalty and heroism get woven in as guiding principles in love.  Hiccup retains his original concerns for the social good and acts upon them.  

     I did not find the story as compelling as in DeBlois’ previous two Dragon productions, but Gil Zimmerman’s cinematography and John Powell’s music are as impressive as they were in their earlier work.  

Dragon training and the search for utopia is interrupted by love.

Grade:  C+                                    By Donna R. Copeland

DON'T WORRY, HE WON'T GET FAR ON FOOT

Joaquin Phoenix     Jonah Hill     Rooney Mara     Jack Black     Beth Ditto

      I have never given a high grade to a film that was so hard to watch.  Don’t Worry is hard to watch for its realism in depicting addiction and flogging one’s way through it to some kind of resolution.  I have to admit, I had to take breaks while seeing the screener sent to me at home.  For a long while, the viewer has little sympathy for its protagonist John Callahan, beautifully and perfectly rendered by Joaquin Phoenix.  He’s an alcoholic, self-centered, entitled, and dismissive of all rules.  He will get his comeuppance, though, from a car accident after a night of heavy drinking, after which his driver Dexter (played by the inimitable Jack Black in a chameleon role) walks away unscathed, and he becomes a quadriplegic.  

     The film is about what happens after that, which is a long, steep climb.  John is still bucking against society’s rules every step of the way when somehow he stumbles into an Alcoholics Anonymous meeting.  He’s a little taken aback, but the leader that day, Donnie (Hill), captures his attention. What follows is the expected journey of an alcoholic through all the steps of that organization, to forgiveness—of course, the hardest step of all.

     Adopted at birth, John is poignant remembering three things he had learned about his mother:  She was Irish American, red-haired, a schoolteacher—and then the fourth thing:  “She didn’t want me.”  That made such an impression on him, he used it as an excuse to himself and to others for his behavior for years.  “I am an orphan”, he whines.  When he gets to AA, his claim is challenged, partly from questions he can’t answer and partly from stories that are obviously more tragic than his.

   The film is a marvel—and unique—in its depiction of how groups like Alcoholics Anonymous work, in their tedious exploration of each person’s story, confrontation by peers, and wise observations of the leaders.  I was impressed by how so much of it rang true and how helpful  the feedback is from group participants and leaders, a rarity in Hollywood movies.  It shows not only the emotional journey, but as well, problems in dealing with administrative obstacles, including beneficiaries’ trying to exploit the system and myopia of those in charge, e.g., if one is earning money from cartoons, he/she should no longer be deserving of benefits.  

     Gus Van Sant has a reputation for making good movies that reflect social order, populist opinion, and dealing with political issues (Milk, Promised Land, Elephant).  He is good at getting down to the nitty-gritty and showing the fundamental premises.  Here, he shows sensitivity again in his understanding of the psychological underpinnings of addiction and what it takes to overcome its hold.  

      Phoenix is a natural for this kind of role (quirky and resistant, but thoughtful in the end), balanced well by Jonah Hill, slimmed down and in an unusual role for him of a guru-type of figure.  I did not buy the Rooney Mara figure of a stunningly beautiful woman who gives her all to someone like John Callahan. First of all, she is portrayed (although it is not clear) as some kind of therapist, who is so attracted to a man in a wheelchair she goes all in.  If that happened for real, I’m glad in a way, but if it is “added in” to the storyline as a come-on, I’m turned off.

A mostly inspiring story about an obnoxious man who was rehabilitated by life events.

Grade:  B+                                                By Donna R. Copeland