THE WORLD TO COME

Katherine Waterston     Vanessa Kirby     Christopher Abbott     Casey Affleck 

     An admirable feat of artistic production, The World to Come takes us on an unexpected journey through two marriages in the 19^thCentury full of grief and ineptitude lit up by an uncommon love.  The two couples live on isolated farms in New York.  We first meet Abigale (Waterston) and Dyer (Affleck) who live a seemingly ideal life on a mostly prosperous farm with their young daughter.  Well, it’s not really ideal; Abigale, a writer with keen sensitivities, finds her reticent, mechanically minded husband rather dull.  She is nurturing, and he values her care and tells her as best he can, but she clearly feels something missing, especially after the loss of their daughter.

     Then one day her closest neighbor Tallie (Kirby) visits unexpectedly, and the two strike up a friendship.  Their conversations are typical of housewives of the time, and inevitably touch on their husbands.  But there’s a spark, a spark that is felt not only just between the two women, but it reverberates outward through their small group.

     The writer Jim Shepard is known for his wide-ranging research of subjects he’s interested in as well as his fascination with difficult-to-explore emotions. Most striking in The World to Come are the number of times husbands and wives cannot seem to express what they’re feeling.  For the women, it’s circling around without committing too much; for the men, its terse monosyllabic utterances.  The way out in this story are the poetic musings of the women when they talk with each other when they’re alone.  And by the excitement the women feel when they meet contrasted with the pedantry characteristic of the men’s conversations when they converse and even when they talk with their wives.  Much of this production’s success lies in Shepard’s capturing the emotional valence among the characters, leaving the viewer in suspense.

     Director Mona Fastvold’s skillful assemblage of actors and crew for the production should earn her a place among the up-and-coming filmmakers, along with her sense of pace and sustaining suspense in the plot.  Katherine Waterston, Vanessa Kirby, and Casey Affleck are by now well known for their skill and attraction as leading actors, and they with Christopher Abbott deliver the kind of performance called for by the script. A significant contribution is lent by the musician Daniel Blumberg, with his dirge-like ominous tunes alternated with Andre Chemetoff’s  beautifully rendered pastoral sequences to capture the landscape and give us some relief

     This could have been a totally depressive film, but the lyrical—sometimes elegiac—dialog and cinematic crafts elevates it to something beyond, something more like a tonal poem.  It’s certainly not tied solely to a 19^thCentury story; it speaks to our wonderings and speculations about marriage today.

 

This is a film for lovers of art and poetic expression capturing psychological truths about human nature through the ages.

 

Grade:  A                                    By Donna R. Copeland

FANTASTIC BEASTS: THE CRIMES OF GRINDELWALD

Eddie Redmayne    Katherine Waterston     Dan Fogler     Jude Law     Johnny Depp

Zoe Kravitz     Allison Sudol          Ezra Miller     Credence Baregone     Carmen Ejogo

     The second installment of the Fantastic Beasts series tells about the renewed threat from the dark wizard Grindelwald, who has escaped from the custody of the MACUSA (Magical Congress of the United States of America) and has a devious plan to create a new world wherein non-magical beings will be subservient to the wizards who have pledged loyalty to him.  In this framework, one is either for or against him, and he demands a declaration of loyalty.

     The alarm goes out in the wizard world about this new threat, and Dumbledore (Law) charges Newt Scamander (Redmayne) with joining forces to stop him.  Newt is handicapped a bit by MACUSA’s forbidding him to travel internationally, but he is managing to get around that in his and friend Jacob’s (Fogler) journey searching for their loves, sisters Tina (Waterston) and Queenie (Sudol)

     One of the drawbacks of the film is in the script with its multiple plot lines involving so many people it’s hard to keep track of everyone and all the sub-plots involved.  There are the relationships between Jacob and Queenie, Newt and Tina, and Credence and Leta; there is the historical relationship between Dumbledore and Grindelwald; there is the relationship between Newt and his beloved beasts (quote:  “Newt has never met a beast he didn’t love”); there is the question of the true identity of Credence (Miller); and, finally, there is a question of who among all these characters will take up with Grindlewald and help him in his master plan.

     Director David Yates has collaborated with J. K. Rowling (author of the books on which all the Harry Potter and Fantastic Beasts films are based) on the last six productions, and she has written the screenplays for the two Fantastic Beasts films.  This partnership, along with other consistent members of the team (Cinematographer Philippe Rousselot, Production Designer Stuart Craig), returning actors Redmayne, Waterston, Fogler, Sudol, Miller, and Depp, and the visual and special effects artists contribute a kind of consistency in quality that make the series popular with general audiences.  However, many viewers—possibly more discerning—are picking up on the repetitiousness and “tent-pole” characteristics of these creations.

     Eddie Redmayne’s talented acting is a plus in the Fantastic Beasts series, although whether it can endure the number of upcoming productions remains to be seen.  It’s been agreed that he will remain in his role.  In this film, he, Waterston, Fogler, Law, Kravitz, and Sudol pull off their roles admirably.  

This latest offshoot of the Harry Potter series is attempting to hold onto its popularity with the general public.

Grade:  C+                                    By Donna R. Copeland

MID90s

Sunny Suljic     Lucas Hedges     Katherine Waterston     Na-Kel Smith

Gio Galicia     Olan Prenatt     Ryder McLaughlin

     Stevie (aptly played by Suljic) is a kid you immediately feel sorry for, and that’s often how the other characters in the film relate to him.  And he really needs it in order to escape a bully brother at home and to fit in with a rough group of street kids.  This quality gives him entry into the group in the beginning, but ultimately it’s his fearlessness that wins him respect.  He’s smaller than the other kids and desperately practices to ride a skateboard, the tie that holds the group together.  

     It’s a colorful group, most with nicknames, and it’s Ruben (Galicia) who first helps Stevie into the circle with unhelpful (wrong) advice and an order for Stevie to bring him $40 for a skateboard he wants to sell.  We soon meet the one calling himself Fuckshit (Prenatt)—or he got that name from saying the word repeatedly, followed by “That’s dope.”   There’s the one the group regards as rather dim, so he gets the nickname Fourth Grade (McLaughlin), but he does hope to make a film one day, so his camera is a steady companion.  The standout—and the only one with good sense and aspirations—is African-American Ray (Smith), who is working hard at becoming a pro skateboarder.  He can break up fights, show empathy and understanding, and serve as a role model, which largely passes over the others, but is a kind of salvation for Stevie.  

     Jonah Hill, the writer/director, wants to depict life in the 90’s in L.A. when he was growing up.  He captures this seemingly very well (it wasn’t my world, so I can’t really judge), and perhaps wrote the Stevie character from his own experience of making efforts to fit in with a group.  (I’m inferring this from his bio in which he contrasts himself with Brad Pitt.)  The composers Trent Reznor and Atticus Ross augment the 90’s feel with their music drawn from or based on that period, although I found it to be too heavy-handed at times, particularly when other sound effects were combined with the music.

     For me, Mid90s has an unfinished quality; the strains of each character are incompletely told.  We hear a bit about their home life and who they are, but not enough to get a firm picture.  For instance, we’re told about Ruben’s parents abusing him and his sister, and similar “one-shot” descriptions for others, but are told essentially nothing about Ray who, with Stevie, was the most potentially interesting.  The characters played by Lucas Hedges and Katherine Waterston are sadly lacking in description and in action.  Their roles should have been greatly expanded for us to understand their behaviors.  Both actors are greatly underutilized, which is a shame, considering their talent.

     I don’t know if Jonah Hill intended to paint such a bleak picture of kids in the ‘90s in L.A., but    I found this depiction very sad, with kids trying to make their way with little guidance from family or school.  When Stevie’s mother says, “We used to talk!”, wanting to know more about Stevie’s new-found friends, I could empathize completely. There is little here to inspire; what’s missing is any kind of moral or insight to bring the story home and give it meaning.

A boy without much of a family makes one with skateboarders on the street.

Grade:  C                                    By Donna R. Copeland

ALIEN: COVENANT

Michael Fassbender     Katherine Waterston     Billy Crudup     Danny McBride

       This version of Ridley Scott’s Alien series is to serve as an origin story, explaining how the alien came to be, and following up on his Prometheus production (2012), in which the origins of humankind were considered.  Alien:  Covenant elaborates on that theme and lets us know what happened to two of the characters that were in Prometheus and are now missing.

     It helps to have seen the previous renditions of Scott’s Alien films before viewing Covenant because it explains the origin of the alien in the first Alien movie and some of the characters are referenced here, although it’s not entirely necessary.  This could stand alone as a sci-fi thriller in its own right, showing the dynamics of a group of people on a space ship for long periods of time, their encounters with another planet and the beings inhabiting it, and the fascinating subject of human-like robots in human society.  

     Captain Oram, taking over from the previous captain’s sudden death is an unsympathetic character who appears far too weak to lead such an important mission.  This character takes the prize for being the most annoying.  He has significant disagreements with Daniels (Waterston), the wife of the former captain and someone who is much more forceful in personality.  That she seems more artificial has less to do with her acting than with the script and direction.  The most effective and intriguing are the two robots both played by Michael Fassbender, on whom the whole story turns.  Fassbender is incredibly good at playing both, who are similar, but with subtle differences and very discrepant aims.

     Exploring new worlds—especially in space—takes courage, and in Ridley Scott films moral grounding as well, because ethical choices crop up repeatedly.  One instance of that occurs when newly installed Captain Oram (Crudup) finds that the spaceship Covenant is near a planet showing life and the possibility of its being closer than the one they’re headed to, to start a settlement, prompts him to want to explore it.  Disagreeing, Daniels reasons that that would put too many of their crew and settlers at risk.  The dilemma is one of exploration with possibilities versus caution.  Another instance of critical choices occurs when Mother, the space ship’s computer, warns of dangers in getting too close to a planet where some of Covenant’s crew is already exploring, the pilots disagree about whether to go ahead or not.  But the spouse of one of the pilots is down there, and he insists on forging on down to save her.  Director Scott regards these dilemmas partly as a means to excite the viewer, but to elicit a certain amount of agony of conscience as well.

     Fans of the previous Alien movies, will relish the appearance of the alien creatures in this film, their appearances heralded by an ominous bug entering the human’s ear or nose, then bursting forth in a bloody birth.  This takes place on the planet Oram insisted on exploring, and they are accounted for by the appearance of a familiar figure.  These encounters are the most exciting and frightening scenes in the film, culminating in a furious battle on the return ship toward home.

A very interesting account of the origin of the aliens in earlier pictures.

Grade:  B                                    By Donna R. Copeland

FANTASTIC BEASTS and WHERE TO FIND THEM

Eddie Redmayne   Katherine Waterston   Colin Farrell   Dan Fogler   Allison Sudol   Samantha Morton  

Ezra Miller   Ron Perlman   Jon Voight   Carmen Ejogo   Johnny Depp

          This spinoff of J.K. Rowling’s Harry Potter series contains all the excitement and fascination we would hope would follow the previous series.  Exceptionally directed by David Yates (who directed four of the eight Harry Potter series), it is Rowling’s first screenplay and verifies once again her talent as a writer.  It stars the chameleon actor Eddie Redmayne as a “magizoologist” who has written a text used by the Hogwarts School and whose interest is in protecting exotic beasts that the rest of the world seems to fear and want to wipe out.  He regards them as endangered species, and carries a handy little briefcase to tuck them into when the need arises.  From there, they are magically transported to a sanctuary he has built for them.

         Newt Scamander (Redmayne) has come to the U.S. to relocate a beast he has rescued into the Arizona desert.  What he encounters upon arriving in New York, though, is something like a terrorist threat.  The city is under attack from something—nobody seems to know what, and we get only vague descriptions of it, but it is wrecking everything in its path.  In addition, there seems to be tension among factions—those who want to stamp out magic, saying the practitioners are witches, those who want to preserve it (Magical Congress of the United States of America—MANCUSA), and No-Maj people (with no magical powers).  Everyone seems to want to protect these poor souls.

         Typical of Rowling, we see parallel stories develop with characters we care about, others with evil intent, and still others caught in the middle of these two forces.  We see Tina (Waterston) and her sister Queenie (Sudol) trying to use their magic in a positive way despite self-serving superiors like Percival Graves (Farrell) and possibly Seraphina (Ejogo), president of MACUSA, whose sentiments are not always discernible.  We see Mary Lou Barebone (Morton) who takes in orphans like Credence (Miller) and preaches against magic. And we see Percival Graves (Farrell) wielding his power over Credence to manipulate him into searching for someone Graves wants.  The intermixing of all these strains adds complexity and enhances our fascination with the tale.

        Cinematography (Phillippe Rousselot), production design (Stuart Craig and James Hambridge), and visual/special effects essentially carry this film, right along with the story and the characters portrayed by captivating actors.  It’s so rewarding to see Redmayne play a modest hero magically out to do good—but then, he is an expert at that, presumably because it taps into his own personal qualities.  Supporting actors Katherine Waterston, Allison Sudol, Samantha Morton, and Ron Perlman (always creepy) give notable performances that further the elevation of this film’s quality. 

J.K. Rowling:  You got it!

Grade:  A                                    By Donna R. Copeland