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

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

EVERYBODY WANTS SOME

Blake Jenner   Zoey Deutch   Ryan Guzman   Wyatt Russell   Glen Powell   

J. Quinton Johnson   Austin Amelio   Will Brittain   Juston Street

     Typical of a Richard Linklater film, Everybody Wants Some has surface features and meanings (the entertainment) as well as deeper truths about humans and their behavior (the substance of the film).  Using baseball in a Texas college in the ‘80s as a frame, he highlights how single-mindedly boorish the testosterone-flooded players could be, filled with bravado and self-aggrandizement (their “asshole nature”, says one character).  This foolishness is indeed entertaining.  When two freshman pitchers arrive, they will be scorned and tested.  When one intensely competitive ping-pong player wants to fudge the score and loses his temper in a rage when he loses fairly, it does make us—and other characters—amused and a little incredulous.  In the team, we see poor losers as well as empty philosophical musing with truisms presented as deep thoughts.  Girls roll their eyes and walk away from them.  Although this section of the film was off-putting for me, the young men’s obnoxiousness is softened by Linklater’s forgiving treatments; he is always one to see beneath the bravado to insecurities and a genuine wish to be liked by others, which redeems the characters in our eyes.

       The film covers one indulgently filled weekend before the team’s actual practice begins.  The film opens with Jake (Jenner), a promising player at his high school, expectantly headed to college on a baseball scholarship with “My Sherona” blaring on his car radio.  (Music selected by Linklater is vintage ‘80s rock.)  His eyes take in the campus where he sees a wealth of coed backsides to savor as he approaches.  When he arrives at the crumbling house provided to the baseball team, there are leaks in the pipes and sheetrock crumbling from the ceiling.  Moreover, he is met with hostility and disdain by just about everyone he meets.  But Jake has a strong character, and he does not jump to conclusions or get discouraged.  His gratefulness in being here at this time and his optimistic expectations fortify him.

      His journey (the crux of the story) entails knowing the value of close connections, limit setting with others, and listening to inner wisdom.  Yes, he is derided, but he does not get drawn into petty rivalries and fantasies of revenge.  He is kind, forgiving, and understanding—as well as supreme in his ability to manipulate people in a positive way.  For instance, toward the end, when he is going to a performance arts party with his new crush Beverly (Deutch) and is getting challenged by his roommates to come along, he knows just how to get them there.  And these brutish oafs getting exposed to art and fantasy by their artistic hosts, get to experience some needed softening and humanness as well. 

      I attended the screening of Everybody Wants Some at the SXSW Film Festival.  At the Q&A, Linklater acknowledged that the film was based on his own experience of going to college in Texas on a baseball scholarship in the ‘80s.  The result is the product of his script as well as modifications that came up during filming, some contributed by actors.  In casting the actors, he said it was important that they be able to demonstrate athletic ability, because there would be a sequence in which their skills in this area would be critical.  And this is seen in an extended sequence of baseball practice toward the end of the film.

      At the Q&A, Linklater commented on the solidarity of the cast and their willingness to accede to character changes in the interest of the story.  I got the impression that they not only had fun making the movie, but were sad as well that the project had come to an end.

A film about so much more than baseball.

Grade:  B             By Donna R. Copeland