I FEEL PRETTY

Michelle Williams     Amy Schumer     Emily Ratajkowski     Aidy Bryant     Busy Phillips     

Rory Scovel     Lauren Hutton     Naomi Campbell     Tom Hopper

     Self-confidence becomes the primary thrust of the story, illustrating how it can over-ride reality in both a positive and negative sense.  Amy Schumer as Renee, plays her usual role of being a buxom young woman, convinced that she is disadvantaged because of her looks, and taking a jaded view of men who seem to her to favor pretty women.  She imagines that someone as beautiful and well proportioned as Mallory (Ratajkowski) has the world at her feet and can’t possibly be disappointed or hurt.  

     Writers/directors Abby Kohn and Marc Silverstein use a literal bump on the head to show how a change in attitude can do wonders for a girl’s self-esteem. Magically, Renee gets up from the floor after a fall at her spinning class bursting with a self-confidence that defies reality; and, interestingly, people seem to overlook physical appearances and go along with her delusion.  She charms people, and utilizes traits of thoughtfulness, creativity, and leadership to gain their respect and make a better life for herself.

     Of course, everything will not go smoothly all the way, and Renee will learn some lessons about friendship and genuineness that will give her a better hold on life, herself, and those she cares about.  

     The premise as acted out in I Feel Pretty,in its emphasis on attitude and outlook influencing life events, is rather simplistic and concrete.  Although it’s billed as a comedy, the story is straightforward, and lacks creativity in making a true-to-life story be funny and profound at the same time.  It’s much too earnest and lacks subtlety to accomplish that. Better films in which to see the transformation of women as a result of changes in perception and experience, for instance, include Maudie, Megan Leavey,andPatti Cake$.

     Amy Schumer is gifted in portraying the loveable, spastic, good-hearted character she plays here, but I think she is capable of more than that, and would like to see her in more substantive roles.  I fear she will be like Melissa McCarthy, who continues along in the same role that made her famous, despite her talent.  Refreshingly, Michelle Williams has taken on a completely different, comedic role here.  Who would’ve thought?  This paragon of depth in character pulls off the role of a beautifully masked intelligent, powerful woman with a high-pitched “girly” voice.  She is the only really interesting, novel character, and I wish she had been given more screen time.

     Actors in the roles of Renee’s friends, Scovel (Ethan), Bryant (Vivian), and Jane (Phillips), give vibrant color to the film, and convey the genuineness that Renee needs to keep her grounded.  I especially appreciated Scovel’s character, who goes against male stereotypes.

Look beyond Amy Schumer’s role (not new—although very well done) to identify those that exemplify openness to the novel, tolerance for differences, and go against stereotype.

Grade:  C+                                                By Donna R. Copeland

ALL THE MONEY IN THE WORLD

Christopher Plummer     Michelle Williams     Mark Wahlberg     Charlie Plummer     Timothy Hutton

   OPENING CHRISTMAS DAY!

    The film begins on the streets of Rome in the evening, and Paul (Charlie Plummer) is outside strolling among the women who are inviting, but when they see his age, they tell him to go home.  Even though he is a sixteen, he looks even younger, with bright blue eyes and an innocent expression.  Still, “I can take care of myself”, he replies with quiet confidence.  And as immediate disproof of that claim, he is grabbed and whisked into a blue Volkswagen van, which speeds off.  The statement becomes even more ironically prescient when it becomes clear that he has been kidnapped and held for ransom—17 million dollars.

  Thus begins a stellar struggle between his mother Gail Getty (Williams) and his grandfather, J. Paul Getty (Christopher Plummer), the richest man in the world, who stubbornly refuses to pay the ransom, despite his wealth, retorting that with his 14 grandchildren if he paid for one’s ransom, he would have to pay for 13 more of them.  He is a notorious modern-day Scrooge, who periodically delivers mantras about money (e.g., “There is very little in life worth paying full price for”) and is known for his merciless haggling over even low sums.  He is eccentric in his tastes, as well as in his complete preoccupation with himself.

     But one of the most entertaining aspects of this film is seeing Gail, his daughter-in-law, resembling him more than does his own son, her husband.  She is a fair match in making deals with him that ultimately win, despite his vast resources and personal cunning.  It’s a delight to see her negotiate with him during her divorce, but even more, later, during the kidnapping-ransom process.

     All the Money in the World recounts the well-publicized event when J. Paul Getty’s grandson was kidnapped in 1973.  Getty’s recalcitrance in paying the ransom was covered by the news media, and tidbits about his chintziness, such as having pay telephones in his mansion for guests, was in the newspapers.  (This is noted in the film in a light-hearted moment for the viewers, but exasperating in reality to Gail.)  Ridley Scott and the writer David Scarpa (based on a book by John Pearson) have made it an exciting romp with lots of tension and suspense, as well as demonstrating for us the realities of a kidnapping situation [perhaps prompting discussions about the current U.S. policy of refusing to negotiate with political kidnappers].  It diverges from the real story to some extent in the interest of dramatization and thrill, and it cuts back and forth between the past and the present and different parts of the globe, creating some disorientation for the viewer.

     Michelle Williams is a wonder as a character who is sharp and ever creative in managing an eccentric billionaire’s sometimes bizarre machinations and paradoxes.  One example is his distaste for children except as possessions and as an extension of himself, and fighting with Gail for custody of his grandchildren.  Inserted into the film as a last-minute replacement for Kevin Spacey, Christopher Plummer demonstrates his acumen by showing full embodiment of the Getty character. 

This is a thriller, highlighting a wealthy man’s eccentricities.

Grade:  B+                                    By Donna R. Copeland

THE GREATEST SHOWMAN

Hugh Jackman     Michelle Williams     Zac Efron     Rebecca Ferguson     Paul Sparks     Zendaya

    This is about P.T. Barnum’s early years in the beginnings of his productions.  It shows him as a young underprivileged boy needing to scramble even to feed himself, but with such an optimistic outlook, you know that in the glory days of 19^th Century America, he is likely to succeed.  He’s even able to win the heart of Charity Hallett (Williams), to the horror of her wealthy parents. 

    As an entrepaneur, Barnum (Jackman) starts with purchasing a wax museum of historical figures, but moves on to real people who are distinguished by their unusual appearance (height, weight, etc.) or identity (gender race), then adds live performances, and eventually renames his production a circus.  Barnum is an open-minded, accepting person and is shocked when the circus elicits strong criticism and outright demonstrations from the public, some objecting on the basis of exploitation of the performers, and some because of frank prejudice against them. 

     But with the help of his production manager Phillip Carlyle (Efron), Barnum perseveres, and even engages the legendary Jenny Lind (Rebecca Ferguson), known for having “the voice of a nightingale” for a contracted number of appearances.  The production becomes a huge success, and by this time, he lives with his wife and two daughters in a mansion.  Trouble begins to appear when he makes plans to go on tour, but he doesn’t anticipate the furor in mainstream America against what they would call “freaks”, the downturn in the economy, and disagreements with Lind.  Soon, Barnum is in the deepest trouble he has ever been in.

     This is a musical with lyric tunes and choreographed dancing.  The stars Jackman, Williams, Efron and Ferguson have beautiful voices, and the music is lyrical with catchy tunes by John Debney, Benj Pasek, Justin Paul, and Joseph Trapanese, two of whom (Pasek and Paul) composed the lyrics for La La Land.  Hugh Jackman and Michelle Williams are accomplished actors who manage their roles very well, as do Zac Efron and Rebecca Ferguson.

     The production has been criticized for giving a rather white-washed view of Barnum.  I gather from a cursory reading on the internet that he was a very complex person with both an admirable and questionable history.  He was a talented, convincing salesman—as depicted in the film—but sometimes went beyond strict truthfulness.  Business and making money seemed of paramount importance, and he was successful in this; but he was also an author, publisher, and philanthropist, giving large donations to Tufts University, property for a city park, and while mayor of Bridgeport, CT, he helped to improve the water supply and install gas lights in the streets.  In defense of his heavy-handed marketing, he said, “I don’t believe in duping the public, but I believe in first attracting then pleasing them.”  Although he did use black-faced minstrels in his shows—not uncommon for the time—while he was in the Connecticut legislature, he defended the 13^th Amendment to the Constitution and advocated politically against slavery. 

     I think critics should keep in mind that The Greatest Showman is not intended to be a comprehensive look at P. T. Barnum’s life, but to offer an uplifting musical that highlights his positive attitude and showmanship, and his exemplification of the American spirit and ingenuity.

A musical account of the birth of showmanship in the form of P. T. Barnum.

Grade:  B                                    By Donna R. Copeland

MANCHESTER BY THE SEA

Casey Affleck     Kyle Chandler     Michelle Williams     Lucas Hedges     Gretchen Mol

          Kenneth Lonergan (You Can Count on Me) is a master of film, as so brilliantly displayed here by script and direction, acting (Affleck, Hedges, Williams), cinematography (Jody Lee Lipes), editing (Jennifer Lame), and a soundtrack perfectly apt for every scene (Lesley Barber).  The movie unfolds organically, tracing the history of the acutely sensitive but emotionally closed off Lee Chandler (Affleck).  It’s not clear in the beginning, but when we get the full story of this man’s adult life, we feel like we know him—not so much by what he says and doesn’t say as what we learn of what he has gone through and the reactions to  

him of those around him.

           The man is already carrying around a huge burden, and although the family has been warned, his brother’s death is naturally shocking.  More shocking to Lee is that he is to be his nephew’s guardian, a role for which he is completely unprepared emotionally, but there is another issue.  He left Manchester under a cloud and doesn’t want to return; but his nephew Patrick (Hedges) is still in high school and understandably doesn’t want to move away to Lee’s town.  How this dilemma is resolved attests to Lonergan’s skill in honing in on real people and how they react to and solve problems; this is not a fairy tale.

        The film is an exquisite portrayal of a traumatized man trying to connect with other people, whether they are strangers, current associates, or from his past.  The boisterous, demonstrative scenes of him with his wife and children before the trauma are in stark contrast to his current way of relating, e.g., it took days and days before he could give his nephew a hug.  We see the absolutely torturous condition of someone not being able to confide in anyone else.  Lonergan gives us a picture of a man not only traumatized, but filled with guilt.  Once we get this full picture, the way in which he resolves his dilemma is completely understandable.  Without this understanding, we might judge him differently.

        Casey Affleck is clearly in the news about his performance here, and it is well deserved.  He must inhabit a character who shows little or no emotion, but conveys so much nonverbally to show us the deep rivers of emotion rushing through him.  Lee has erected defenses so strong, that certain provocations will bring a torrent of action, yet others who are more gentle will leave him unmoved outwardly with a sea of turmoil beneath.  Lucas Hedges and Michelle Williams give fine supporting performances opposite Affleck, both reacting explosively to him but in different ways.  I was struck by Hedges’ portrayal of a teenager who in some ways is more mature than the adult in charge of him.

            Barber and Lipes provide music and cinematography that pair together inspiringly to convey the mood and temper of every scene.  The opening views of a serene, picturesque seaside in the beginning contrasts with what we will see later in the, sometimes ugly, events that will ensue.  Barber’s music will enhance whatever the scene is. 

Understanding can be both a ravishing and a melancholy experience.

Grade:  A                                                By Donna R. Copeland

CERTAIN WOMEN

Laura Dern   James Le Gros   Jared Harris   Kristen Stewart   Rene Auberjonois   Michelle Williams   Sally Rodier   Lily Gladstone

          Imagine an airport in which everyone is missing their connecting flights; there are some who think they have gotten on one, only to be denied, something that seems like an accidental connection that doesn’t hold.  They’ve invested in hope and are heartbroken by the outcome. This is the picture I get from Kelly Reichardt’s Certain Women.  It gives us snippets of the characters’ lives without much explanation about how they got where they are or why they do what they do.  No one is particularly happy or successful, and it looks like their lives are filled only with the routines of existence.  We don’t see much passion in their lukewarm relationships, and the breakdown of one is responded to with a “Meh…” 

          The film is similar in structure and tone to Reichardt’s previous films, Wendy and Lucy and Meek’s Cutoff.  The plot moves slowly with sensory information striking (e.g., beautiful landscapes and the crunching of horse hooves on the snow) but character development less so.  Relationships are weak and restrained.  Many like this leisurely, cool approach, but I get impatient.

          Based on Maile Meloy’s short stories, Certain Women gives vignettes from the lives of three women.  Laura (Dern) is plagued by a client who won’t take no for an answer, and keeps popping up unannounced at her office.  He eventually gets so desperate he takes a hostage and has a standoff with the police.  Even after he is in prison, he is begging her to write him, “just anything.”

       Gina (Williams) is married to Ryan (Le Gros), and they have a moody teenage daughter.  Ryan has just ended an affair, but is not about to leave his wife, because he “doesn’t do very well without her.”  Gina desperately wants a new house with her own specifications, including sandstone, but one wonders whether the marriage will survive such a project.

          The strangest tale is about Beth (Stewart), a lawyer from a lower middle class family who has made good, and has a job.  But for some reason, she agrees to teach a class two nights a week on a subject of which she knows little, and has to drive four hours each way to get to the classroom and back home to show up for work the next day.  Lily (Gladstone), a ranch hand, follows students into her classroom the first night, stays out of curiosity (and perhaps a crush on the teacher), and tries to establish a friendship between them. 

          I think in some ways, this film could be entitled “Looking for [a] Mommie” because the stories have characters who seem desperate and look to a female for attention and nurturance.  The sadness is that each is disappointed—even broken-hearted—by the lack of response from the other.  Certain Women is meant to be by women, about women, and for women, but it gives a distorted view of our lives.  Surely, most women do not have such soulless lives as these characters.  Few of the women I know or have known are as disconsolate and impassive as the three women in this film.

         The performances of Dern, Stewart, Williams and Gladstone are reason enough to see this film; they evoke our sympathy and we wonder how things will turn out for them; unfortunately, we never do find out. 

A film about lonely, lonely women who seem to get no satisfaction.

Grade:  C-                           By Donna R. Copeland