WHERE'D YOU GO, BERNADETTE?

Cate Blanchett     Billy Crudup      Trojan Bellisaro     Kristen Wiig     Laurence Fishburne     James Urbaniak

     For a fun and rewarding experience, Bernadette fulfills the promise that most Richard Linklater films do. It’s about marriage, parenting, and family, but branches out further into “kookiness”, self-actualization, neighbor relations, and adventure, and with some scenes shown against the breath-taking seascapes for which Antarctica is famous.  Along with the seascapes, there are wonderful Escher-like shots that are meant to disorient the viewer, compliments of cinematographer Shane F. Kelly (A Scanner Darkly, Boyhood). 

     The first half of the story is a bit unnerving, with Bernadette (Blanchett) at her most manic, alternating between being a comedian and a complete nut job. Her husband Elgie (Crudup), a Microsoft techie, adored her initially when she had just won a “genius” award for architecture, but now seems incomprehensible of her frantic leaps in everyday living.  They have a daughter Becky (Bellisaro), who is very mature and astute at the young age of 12, and it’s clear that she has a closer relationship with her mother than her father.

     After visits with a psychiatrist (Greer) and an FBI agent (Urbaniak), Elgie tries to make things right, but he is not fast enough:  Bernadette has disappeared.  And this will not be the first and only time. Intrigued?  You should be.

     Linklater has a knack for bringing in the viewer as if he/she is a part of the family.  We identify with Bernadette and her need for privacy and alone time, with Elgie’s befuddlement/attraction to her, and the child Becky’s better understanding of the adults than they do of themselves.  All this brings the story alive for us, and we become invested in the outcome. 

     Cate Blanchett is a wonder to behold as an actress who can mesmerize while bringing home the truths of her characters.  In this case, she plays to Billy Crudup’s strengths as an actor who lives in his character to best advantage.  Kristen Wiig is perfect as a locally admired mother who, like Elgie, is mystified by women going against type.  Wiig has a way of bringing authenticity to her characters in a way that makes us laugh and cry at the same time.  This must be Trojan Bellisaro’s break-away moment playing an astute teenager who is thoughtful, loving, and perceptive to its best advantage.  I’m sure we’ll be hearing more about her in the years to come.

An award-worthy picture of contemporary personal/family drama that propels us forward.

Grade:  A                                    By Donna R. Copeland

JOHN WICK: CHAPTER 3 - PARABELLUM

Keanu Reeves     Halle Berry     Ian McShane     Laurence Fishburne

Mark Dacascos     Asia Kate Dillon     Lane Reddick     Anjelica Huston

     ‘Parabellum’ apparently means “call to war”, which is the theme of John Wick:  Chapter 3.  Repeatedly, we see groups aligning up against one or more persons, and agents being sent out to “be of service” (“I have served…years; I will be of service.” is the ritualistic response to a challenge)—which usually means taking someone out.  But the central character to go to war with is John Wick (Keanu Reeves, in his third appearance as Wick).

     By the third John Wick film, most of the drama and character development have been expended in the first two, and in this third we get what looks like a stunt man’s dream:  endless scenes of choreographed fights that used to be fascinating, but by now have become repetitive and tedious.  As with many action films, the fight scenes go on for 30 minutes or more.  This is understandable in view of the director Chad Stehelski’s background as a stuntman, but when that is essentially all that’s in a movie, it can’t hold the interest of those of us wanting a story.

     John Wick 3 is marked by extremely violent fight scenes that sometimes are accentuated by humorous images, which did indeed bring laughs from the viewers.  As in cartoons like “Bugs Bunny”, stunts are punctuated with humor, usually from one character clobbering another in rapid sequences with bodies flying into each other or into things like glass cases and careening every which way.  Many are cleverly done and get chuckles and guffaws from the audience.  There are swords that go completely through a man, with the point appearing on his backside and swords or guns being shoved into a man’s head then pounded to drive it in further.  One has to see it as a cartoon; otherwise, it’s just sick.

     In this version of John Wick (Reeves) has a bounty on his head to the tune of $14 million for killing someone in the Continental Hotel where the rule is that no blood can be shed there.       This rule comes down from the “High Table”, a mysterious group with inviolable rules overseeing underground criminal operations in the city. Wick tries various strategies (and wins out in a formidable number of hostile encounters) to redeem himself, eventually ending up in Morocco where the highest of highs gives him instructions for expiation, but only after he does extreme penance.  Then even more battles occur on a set reminiscent of Wick 2, which had mirrors.  This one has see-through glass everywhere in many configurations and on multiple levels.  (It’s a stunning set design.)

     Moreso than in the previous Wick films, this one involves shifting loyalties and very little drama in terms of personal interactions or character development.  For instance, Wick’s relationship with Sofia (Berry) is not explained, other than that they had a history that left her so resentful she leaves him on the desert sands, making a big show of depriving him of water in a gruesome way.  

     Keanu Reeves owns the character of John Wick admirably, as he has done for the previous renditions, but the constant “mano-a-mano” encounters show him to be as weary as we are of the endless struggles.  A fresh new exotic face is Asia Kate Dillon, as the Continental’s chief, who conveys a mixture of threat and decisiveness.  She is good, but I would have liked to see more mercilessness, a fault that I attribute to the writers or director rather than to the actress.  Ian McShane and Laurence Fishburne are marvelous in their continuing roles as underground criminal elements.  Halle Barry did well with what she had; her storyline did not add much, and her character needed to be much more developed to make it interesting.

John Wick is on the run (i.e., in a string of stunts and cartoon-like maneuvers) with a $14 mil bounty on his head after breaking an almost inviolable rule in a consecrated place.

Grade:  C+                                    By Donna R. Copeland

LAST FLAG FLYING

Bryan Cranston     Laurence Fishburne     Steve Carell     Deanne Reed Foster     Cicely Tyson

     As is typical for Richard Linklater films, this one is packed full of a mix of humor, discussions/arguments about the government/war/military service, religion, personal responsibility, conflict resolution, expiation of guilt, and experiences of nostalgia and loss.  Three buddies in the armed services during the Viet Nam war meet up unexpectedly when the son of one of them is killed in Iraq during his service.  Larry “Doc” (Carell) is distraught and appeals to his friends to accompany him to bury his son in Arlington.  The three haven’t seen/heard from each other for years, and when Larry enters Sal’s (Cranston) bar, he has to remind Sal to look closely to recognize him. 

    The next day, they go to round up the third buddy who—to Sal’s horror—is now a minister.  Richard (Fishburne) has become as circumspect (sober, married, and reverent) as Sal is somewhat depraved (boozing, single, irreverent and atheistic).  Larry stands somewhere in between, and often serves as peacemaker between the other two.  Sal instantly agrees to go on the journey; whereas Larry has to be convinced.  His wife Ruth (Foster) is effective in appealing to his sense of responsibility and guilt.    This journey will be a meandering one for various reasons, and he and Sal will be at odds much of the time, which provides both entertainment and thought-provoking discussions.

     All three actors are proficient in their very different roles, with Carell having perhaps the most challenging task.  His character is understandably and clearly depressed, but he has to show occasional spunk and wit and still play the grieving father, along with a mix of orderliness and bumbling.  Sal plays the executive role in making decisions, making things happen, but also has a mix of restlessness, blurting out whatever comes into his head, and asking impertinent questions, which actually becomes tiresome after awhile.  Fishburne’s character is someone who was as much a rabble-rouser in his younger days as Sal, but has sobered up and has developed strong Christian moral beliefs.  Cicely Tyson’s cameo role is golden in its poignancy.

     Linklater is gifted in successfully blending so much meaningful content into a story (this one based on co-writer Darryl Ponicsan’s novel), while still maintaining a sense of humor and acceptance of human frailties. Cinematography by Shane F. Kelly, editing by Sandra Adair, and music by M. Graham Reynolds help make the story flow with a natural rhythm and pique interest in the material.  There are some scenes that seem irrelevant and bog down the picture, such as the cell phone store (although this was a time to poke fun at the geezers’ age gap) and Sunday dinner at the Minister’s house. 

     The film is timely in its treatment of the death of servicemen during war, the government’s ineptness at times in acknowledging and being truthful about the deaths and expressing gratitude to families for the loved one’s service.

A Linklater-style road trip for three retired U.S. Marines.

Grade:  B+                                    By Donna R. Copeland

JOHN WICK: CHAPTER TWO

Keanu Reeves     Ruby Rose     Bridget Moynahan     Ian McShane     Laurence Fishburne    

John Leguizamo     Common     Ricardo Scarmacio     Lance Reddick

     It’s rather amusing that a group that thwarts society’s rules at every turn has a strict set of rules they must follow.  This is the world of crime syndicates, which John Wick (Reeves) became involved in, but is trying to leave it behind.  But Wick owes a debt marked with blood to Santino (Scarmacio), part of a crime syndicate, and Santino wants to extract payment.  No small thing; it’s to kill his sister, Gianni.  Santino wants her seat at the Table of 12, rulers of the syndicate.  But Wick is “out of the business” and refuses to do the job.  Pressure is brought to bear (as in fire-bombing his house), and Wick has no choice but to go to Rome and carry out the assignment.  Because the syndicate is rich and international—once again, with strict rules—Wick is given all kinds of luxurious accommodations (transport, hotel, grooming, and guns) to carry out his task. 

     He goes to Rome, is taken by surprise by Gianni, and Santino’s actions then make the story much more complicated.  The strict rules of the syndicate are broken, Santino is foolish in not listening to Winston’s (McShane) counsel, and so all hell breaks loose.

     The film maintains the momentum of the first film, and keeps us intrigued.  Writer Derek Kolstad made the script intelligent and gripping, throwing in line after line of quotable quotes:  “Death’s very emissary” (Gianni to Wick), “Consider this a personal courtesy” (spoken a number of times), and “What have you done?...Finished it.”  Dan Laustsen’s cinematography is breathtaking to look at on its own, the pièce de résistance, being the last shoot-out in a museum’s hall of mirrors (ironically called Search for the Soul).  And since the director, Chad Stahelski, is a former stuntman, he and his crew have highlighted the fights with masterful choreography.  (There are so many, that without the artful rendition, they would end up being boring.)

     Reeves continues in his ability to portray a powerful action figure with soulful inclinations and heartbreak while still being able to fight off however many adversaries come after him.  Supporting figures offering gravitas (McShane), intrigue (Rose), sleaziness (Scarmacio), depth (Common, Fishburne), and humor (Leguizamo), strengthening the movie’s quality.

     All in all, if the viewer takes to action films—with their obligatory car chases, loud gunfire, and choreographed hand-to-hand combat—John Wick:  Chapter Two will satisfy and please.  For others, it is a well-conceived and engaging story if your ears can take it.

Hold your hats for a crime story ride.

Grade:  B+                                    By Donna R. Copeland

PASSENGERS

Jennifer Lawrence     Chris Pratt     Michael Sheen     Laurence Fishburne     Andy Garcia

          The movie opens with the majestic golden space ship Avalon gliding through space with a canopy of stars all around and asteroids flying by.  We don’t know it yet, but it will be 90 years before its arrival on Homestead II, the planet waiting to be populated by the 5,000 passengers aboard who are seeking a new beginning in life.  They are all asleep in glass cocoons, “in hibernation”, until four months before the planned arrival.  But if this film makes one eminent point clear, it is how challenging it is to imagine and plan for all possible eventualities in a complex organization.

          It seems like every circumstance has been anticipated and planned for.  The ship is equipped with all replaceable parts, and computers solve just about every problem that arises.  There’s also a library with manuals seemingly covering every operation.  Ah, but something mysterious is about to take place:  One passenger is awakened 90 years too soon.

          Try to imagine waking up in a sleek, ultra-modern ship with absolutely no one around.  Voices of robots speak to you, but are obviously not programmed to answer the all-important question of “Why am I awake?”  Your memory is fine, and you well remember signing up for the journey, but gradually it dawns on you that you are way too early.  Fortunately, Jim Preston (Pratt) is a mechanical engineer who has the skills to explore the ship and figure out how to push the buttons that will provide food and other necessities.  But he has no idea why he is awake.

         Time goes by, and Jim’s one social salvation is the android bartender Arthur (Sheen)—always cheerful, chatty, and attentive—but still robotic, unlike the AI Ava in Ex Machina, who has the ability to reason.   So Jim gets very lonely, even desperate.  He gets curious about the other passengers and starts reading up on one, Aurora Lane (Lawrence).

        Norwegian director Morton Tyldum knows how to portray intrigue, as in his previous films, Headhunters and The Imitation Game.  Both are nuanced and pace the story well for thrillers, as he does in Passengers.  He, and in this case with writer Jon Spaihts, illustrates so well human reactions in confronting these kinds of dilemmas.  When Jim wakes up, we are there with him in his disorientation; when one character experiences extreme betrayal, we feel it; when there are progressive malfunctions on the ship, we’re mystified and on edge.

        All this is supported and enhanced by the noteworthy performance of the two lead actors, Chris Pratt and Jennifer Lawrence.  He evinces befuddlement, abhorrent reaction, left-brain problem solving, boyishness, and tenderness in just the right degrees.  And Lawrence is a consummately skilled actress bringing wide dimension to every character she portrays.  She can be flirty, puzzled, or assertive in taking charge, and just as well show the thrusting pangs and anguish of having been betrayed or of deep emotional involvement. 

        It’s too bad that reviewers are giving away much of the plot that makes Passengers exciting.  I liked that we didn’t know the reason for Jim’s waking up early until two-thirds of the way through the story or how it came about that Aurora was awake.  Isn’t it ironic that studios confiscate phones before a screening to guard against divulging the plot, and then critics come out with key points on opening day or before? 

          This is a harrowing journey that puts us in a strange milieu where we wonder what we would do in similar circumstances.

A thrilling space adventure that shows humans forced to cope with unanticipated events.

Grade:  B                                    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