WONDER WHEEL

Jim Belushi     Kate Winslet     Juno Temple     Justin Timberlake

     Wonder Wheel is classic Woody Allen, even to one of the characters taking on his persona (a common motif in his films).  It’s his typical family drama in which relationships are tested and sometimes remain intact and sometimes not.  Humpty (intended reference to Humpy Dumpty?), played by Jim Belushi is somewhat down and out, but is managing to squeek by as a mechanic at the Coney Island Amusement Park.  He’s married to one of the waitresses at a clam shack, Ginny (Winslet), a chronically disappointed (with everyone and everything) woman who often appears to be doing her best, but consistently freaks out and has migraines.  One big problem is her son from her first marriage, a budding arsonist—which doesn’t bode at all well for his future.

     Ginny feels trapped in her marriage to Humpty, whom she has managed to wean off alcohol, but is bored with, and has become involved with the lifeguard Mickey (Timberlake).  But everyone has to go into emergency mode when Humpty’s enchanting daughter Caroline (Temple) appears at the door one day.  Her father disowned her after she married a mobster against his advice, but now she is desperate with no place to go (her mother died), begging her father to take her in.  She appears to be very sincere in recognizing her mistakes of the past, and genuinely tries to make positive changes, helping Ginny in the restaurant (making some mistakes along the way) and taking classes.  Her father is overjoyed that she has seen the error of her ways and wants to help her continue with her education.  But tension stays high, as we learn that her ex-husband’s cronies are looking for her because she “knows where the bodies are buried.”  So her life is in danger.

     Then fate seems to do its work, along with coincidences and human weaknesses.  Conflict heightens when no one seems to “get” Ginny; her husband, Mickey, and Caroline all misunderstand her in very different ways—none of them seeming to know what to do as they gain insight into her past and present experience.  It becomes a chaotic Woody Allen scenario. 

     The four main characters fit their roles hand-in-glove.  Belushi knows very well how to play the underdog man who has had to fight for everything he has, but isn’t the brightest bulb in the room.  Winslet is extraordinary in portraying a woman deeply disturbed who somehow manages to cope outwardly with everyday practical issues.  It’s just in the emotional areas she shows bewilderment and even hysteria, and her judgment falters.  Timberlake manages to pull off the man you both admire and become impatient with, depending on the situation.  He shows the character’s great efforts in being open and honest and still being oblivious to its consequences.  Juno Temple as the blonde, sexy, young Caroline, balances out her appearance with thoughtful consideration of those around her, and has clearly learned from her mistakes.  She is the most interesting character, showing adaptability to change and the only one not blaming others for her mistakes.

     The production is weakened by 1) appearing too “stagey” at times (you could swear you’re watching a play); 2) including the part about Ginny’s son withD psychological problems (which doesn’t seem to fit in the story and is left completely unresolved); and 3) by replaying standard Allen themes.  I though it ironic when Ginny, starting to feel suspicious, grills Caroline about whether Mickey took her hand, touched her, or kissed her. She is obviously over-reacting, but in view of the current news stories about powerful men preying on younger women, it’s an odd thing to include in a current film.  Because of Allen’s own family situation, one wonders upon whom he is basing the Ginny character.

     On a more positive note, the music—which I assume are jazzman Woody’s selections—captures so well the mood of each scene, especially the views of the amusement park and the merry-go-round.  The music merges with the story and lifts the movement of each scene.  Cinematographer Vittorio Stararo’s camera and palette elevate the production artistically.

A classic Woody Allen production.

Grade:  B-                                    By Donna R. Copeland

TROLLS

Voices of:  Anna Kendrick   Justin Timberlake   Christopher Mintz-Plasse   Zooey Deschanel  

Christine Baranski   Russell Brand   John Cleese   James Corden   Jeffrey Tambor

       I think kids will really take to this animation with simple messages that will be meaningful to them, delivered in eye-catching, colorful visual effects.  The message is basically pitting “look on the bright side of life” against “look out; they’re out to get you.”  And further, that true happiness is inside all of us; it’s up to us to find it.  The film also demonstrates that making friends of enemies is ultimately life-saving.

       The story is that the Trolls are too exuberant with their singing, dancing, and hugs which are put forth by King Peppy (Tambor) and his daughter Poppy (Kendrick).  For good reason, which we find out why later, Poppy’s friend Branch (Timberlake) turns away from what he sees is nonsense and further endangers the Trolls because their loud parties inform the Bergens of their whereabouts.  Bergens are dour beings who are huge grouches, convinced that eating Trolls is the only way they can be happy.

         Despite Branch’s warnings, the Bergen king’s chef (Baransky) who has been banished because she hasn’t served Trolls for 20 years sees and hears the partygoers and manages to grab a half dozen of them to take back to King Gristle (Mintz-Plasse), thereby getting back into his good graces.  King Gristle is too young to have ever tasted Troll happiness and was told by his father (Cleese) that he never would.  Her bounty certainly does get her forgiven, and she is gleeful with her newly regained power.

     Meanwhile, Poppy feels guilty about not listening to Branch’s warning, and feels responsible for the Trolls that got into the Chef’s hands.  The Troll mantra, “No Troll left behind”, prompts her to go to the land of the Bergens and rescue her friends.  At first, Branch refuses to go with her, but does show up on the trail, knowing that Poppy will need his help.  Most of the rest of the film is about their ruses and adventures in rescuing the prisoners, which involves making friends with the scullery maid Bridget (Deschanel) and doing a little matchmaking.

       The soundtrack has a number of original songs, the most important being “Can’t Stop the Feeling” by Justin Timberlake (who served as music producer), which won Best Song from the Hollywood Film Awards.  The singers include Timberlake, Anna Kendrick, Zooey Deshanel, Gwen Stefani, and James Cordon along with others.  Paul Simon’s “The Sound of Silence” is inserted during a key moment, drawing chuckles from the audience.  The original score is by Christophe Beck. 

       Cinematographer Young Duk Jhun, who has had experience with visual effects (The Croods, Monsters vs. Aliens, and Over the Hedge) is joined by the Production, Art, Visual Effects, and Animation artists to create a beautifully rendered show, brought together by Co-directors Mike Mitchell and Walt Dohm (with previous contributions to Shrek and SpongeBob SquarePants films).  The ways in which the Trolls use their hair is definitely clever sometimes humorous, and part of the fascination in Trolls.

Although not a groundbreaker, the music, visual and special effects, and heartwarming messages, gives Trolls high entertainment value, particularly for young children.

Grade:  B                                    By Donna R. Copeland

INSIDE LLEWYN DAVIS

Oscar Isaac     Carey Mulligan     Justin Timberlake     Adam Driver     John Goodman

     Inside Llewyn Davis reminds me a bit of Burn after Reading, also by the Coen brothers, in which there is little about the main characters to sympathize with.  In the earlier film, there is more humor, which softens the impact, but there is little humor in the former.  Rather than humor, Davis’ music is the softening agent to his abrasive personality.  Davis’ lack of social graces or even a smidgen of empathy for others is self-destructive, and thwarts his drive to become an employed, popular artist.  The Coens created this character to tell a story about “real songs by made-up people”, according to Oscar Isaac, who plays the title role, and T-Bone Burnet, the music producer and composer, in a Q&A session after the screening of the film at the Austin Film Festival.

     Llewyn Davis is a struggling folk singer in Greenwich Village in New York in the early sixties.  He has become homeless, and must borrow sofas for the night among his few friends—who are remarkable in their forgiveness of his obnoxious behavior in their homes.  One is a former lover (Carey Mulligan) who lives with her husband (Justin Timberlake) and is furious with him for good reason (a very different role for Mulligan, which she aces).  Another is a music professor and his wife with a lovely cat, which, in Coen playfulness, holds its own as a star at times.  Davis has no apprehension in the least about asking friends he has just met at these friends’ homes to sleep on their couch from time to time.

     A relief from these trying moments comes when Davis picks up his guitar.  The music is the complete opposite of his personality—soulful, creative, vibrant—which is a curious juxtaposition.  Nor surprisingly, the imminently prolific, award-winning T-Bone Barnet is responsible for the success of the music, many of which are classics based on Dave van Ronk’s renditions, such as “Hang Me, Oh Hang Me”, and “Dink’s Song – Fare Thee Well”, and one of which he composed (“Please Mr. Kennedy”).   Apparently, the whole film is loosely—very loosely—based on Van Ronk’s memoir.

     Another significant part of the success of the music is Oscar Isaac’s performances.  Because the Coen brothers wanted the film to be similar to a documentary, Isaac spent long hours before filming, perfecting his sound to be as close to Van Ronk’s as possible.  He was required to perform each song during a single take to give it the documentary quality.  In addition, his portrayal of the character during the entire film is remarkably good.

The music is really what saves this film from complete despair.  There are moments intended to be funny, such as the John Goodman role, or a countrywoman singer with a dulcimer, or Davis’ interactions with the cat, but I found them more pathetic than humorous.  Others may find them genuinely funny, however.

I am a huge Coen brothers fan, and although Inside Llewyn Davis is not quite to my taste, the music and acting are most impressive.

                                               

A story about real songs by made-up people.

Grade:  B                                    By Donna R. Copeland