MEMORIA

 Tilda Swinton     Jeanne Balibar     Elkin Diaz     Juan Pablo Urrego     Daniel Gimenez Cacho

            The biography of writer/director of Memoria, Apichatpong Weerasethakul, gives clues as to what his films will be about.  Born in Thailand (and still residing there) as the son of two doctors, he studied at the School of Art Institute of Chicago, worked as an architect and multimedia artist, and is now known as a creator of experimental and independent films.  He is a favorite of the Cannes crowd, having won the Palm d’Or for Uncle Boonmee Who Can Recall His Past Lives (2010) and receiving nominations or wins at Cannes for five other films since 2002. 

            Reflective of his Thai background, he believes ghosts and spirits are all around us and communicate with us if we stop and listen.  In an interview by Hannah Ellis-Petersen of the Guardian, Weerasethakul says, “Even though I approach the world scientifically, I cannot shake off the feeling of having spirits around…I feel that when I’m with the green landscape I can always communicate with the trees, with the memory of the jungle and also with myself” [https://www.theguardian.com/film/2018/oct/24/the-man-with-the-exploding-head-the-director-inspired-by-his-medical-condition] Elements like these are inserted into the Memoria script in which main character Jessica (winningly played by Swinton), a Scotswoman living in Colombia with a flower business, encounters strange events when she goes to visit her sister Agnes (Balibar), an anthropologist living nearby.  

            First, Jessica is awakened by a loud boom in the middle of the night just before she goes to visit Agnes who is in the hospital.  This has such a profound effect on her, she seeks out a specialist in sound effects, Hernan (Urrego), and works with him to reproduce the sound in her memory.  

            This seems to create something of a dream-like state in her as she wanders through the city with long periods of looking at architecture, listening to sounds, and periodically hearing the same loud boom she heard earlier.  One does get the impression it is trying to communicate with her, and she may find the answer in the countryside when she is beside a babbling brook striking an odd pose when someone says, “Are you all right?”  This is an older Hernan (Diaz) who lives happily isolated from others and has the kind of wisdom Jessica is seeking.   

            Their encounter is laden with meaning and the intertwining of their memories of childhood.  This Hernan is so different from the younger Hernan excited by new things, playing in a punk rock band, and being an expert in sound effects.  Older Hernan is steadfast in his commitment to ancient ways of thinking, firmly believes he can hear stories from the rocks and other natural elements around him.  He and Jessica reminisce

about their childhood and infancy and find that their memories mesh together in mysterious ways.

            The viewer needs to be prepared for long takes when Weerasethakul and his protagonists contemplate architecture, landscape, physical wellbeing, and memories.  Some may find it entirely too slow, but those interested in philosophy and mystery and their fascinations will find this a beautiful, atmospheric film.

            It seems to me that Jessica’s visits with Agnes in the hospital and her interactions with her and her husband Juan (Cacho) are extraneous and only props for Jessica’s story to play out.  I can understand the director’s wanting to prolong takes of architecture and hospitals because of his background and interest; however, I think these could easily be shortened in the interest of a more cohesive film.

 

Journey into the realm of the surreal when memories of two entirely different people from different backgrounds intertwine.

 

Grade:  B                              By Donna R. Copeland

THE FRENCH DISPATCH

 Benecio del Toro     Adrien Brody     Tilda Swinton     Lea Seydoux     Frances McDormand     Timothee Chalamet

Jeffrey Wright     Bill Murray     Owen Wilson     Bob Balaban     Henry Winkler

            Wes Anderson’s stamp (wry humor, meaningful free association, characters in caricature, intrigue/mystery, curiosity, folksy drama, to name a few) is all over The French Dispatch, a group of stories about a Frenchified newspaper in Lawrence Kansas with that name owned by Arthur Howitzer, Jr., after his father, the founder of the publication died.  The first scenes of what look like a painting of a French village are captivating for both their artistry and the action figures that move within them.  The pictures represent the town of Ennui (pun intended), which has endured all kinds of crises during its existence.  We get to hear about some of those in this fanciful production.

            Another Anderson stamp is his continuing to engage actors and crew from his previous movies.  It gets to be another fun part of watching one of his films—identifying all the scores of actors who have appeared in his previous works.  Anderson puts them in completely different roles from what you would expect.  For instance, Tilda Swinton as an art curator is made up to look strikingly like Sofia Loren.  Well-known artists like cinematographer Robert D. Young and musician Alexandre Desplat are likewise regulars, playing essential roles in conveying the experiences Anderson wants you to have when viewing his films.

            The French Dispatch will not be to everyone’s taste, even for those who are fans.  Unlike his previous films, there seems to be no overarching point to this one.  It’s more like one where you just sit back and enjoy hundreds of moments in time with interesting people and situations that will somehow be recognizable to everyone.  The dialog is so sharp and fast-moving, I wished I had had a script in front of me or already read one where I could stop and savor the import of every scene.  It all goes by very fast.

            It’s curious at times to observe the dominance of women in this production.  Lea Seydoux does an exquisite rendition of a model/guard/dominatrix of an artist named Moses Rosenthal (Benecio del Toro), who is in prison for murder.  (Think of all the associations it took to come up with that image.)  Moreover, older women like Upshur ‘Maw’ Champette (Lois Smith) appear in decision-making scenes, and Lucinda Krementa (McDormand), a middle-aged writer for the Dispatch is shown in bed with young student activist Zeffirelli (Chalamet).  These encounters—like all others—are presented as droll pictures of a normal world.

            When Anderson seems to be spoofing or even criticizing things is not always clear.  For instance, he often shows characters smoking.  Now, Anderson does not smoke and thinks it’s bad for people, but he says, “It looks good on film.”  That is frequently seen in this movie, and, true, it often looks good; but there are also instances where he seems to be making some kind of point, say, about student protests or government agencies.  Maybe he’s leaving it up to the viewer to make up his/her own mind.

            As much as I love Wed Anderson films, I doubt this one will be a blockbuster.  I certainly enjoyed it and would like to see it again—maybe even read the script—but it is likely not to appeal to all Anderson fans, and certainly not to the general public.  

 

A quirky Wes Anderson film with a collection of stories that will only be savored by some.

 

Grade:  B                              By Donna R. Copeland

THE PERSONAL HISTORY OF DAVID COPPERFIELD

Dev Patel     Hugh Laurie     Tilda Swinton     Darren Boyd     Gwendoline Christie     Ben Wishaw

     The clue in knowing what this film will be about is all the names ascribed to David Copperfield—Daisy, Trotwood, Doady, and so on.  It’s a Monty Python-like take on the long-revered novel by Charles Dickens, David Copperfield, which offers an account of his early life, albeit with a sense of humor, just as Armando Iannucci’s film, written by Simon Blackwell is—a spoof.  

     Disturbing scenes are shown of David’s birth, his mother’s remarriage to a tyrant after his father died, and all the various neer-do-wells that he encountered during his life—many of whom he thought could save him from ruin or at least whom he felt sympathetic toward and wanted to help.  In that journey, he encounters a man trying to escape his creditors, a pal at school, an aunt who had dismissed him at birth because he wasn’t a girl, a money manager of his aunt’s who has a lovely daughter but also has a problem with alcohol, and numerous people who immediately see him as the savior of the world.

     Dev Patel does an admirable job of depicting the lost soul that David is supposed to be and his honorable intentions—as naïve as they may be.  A continuing theme of good heartedness throughout is shown by his nursemaid, Peggoty (Daisy May Cooper).  Adding color are Tilda Swinton as Aunt Betsey and Hugh Laurie as Mr. Dick.  Uriah Heep (Wishaw) is shown to be at first an unctuous character, then something less than that. 

     You may remember writer/director Armando Iannucci’s The Death of Stalin (2017) and In the Loop (2009), both political satires that were well received, along with his television work on Veep.  With his co-writer Simon Blackwell, they make the Copperfield tale more contemporary, with incisive commentary about social issues.

     The film loosely reflects author Charles Dickens’ autobiographical novel, highlighting the characters surrounding David in caricature.  Peggoty, Uriah Heep, Mr. Dick, and Aunt Betsey are all cleverly portrayed, and bring lots of chuckles; whereas stepfather Murdstone (Boyd) and his sister (Christie) successfully embody meanness and self-interest.  Another departure from the novel, making it more contemporary is the cast, which is a diverse group drawn from various cultures.

     Personal History offers a fascinating couple of hours as a top-notch cast and updated script take us on a journey in which David Copperfield’s true grit and humor keep the story fast-moving and entertaining.   

Rather than an exact rendition of Charles Dickens’ famous novel, Iannucci’s film is spiced up with humor and social commentary that will keep you engaged.

Grade:  B                                    By Donna R. Copeland

THE DEAD DON'T DIE

Bill Murray     Adam Driver     Steve Buscemi     Danny Glover     Selena Gomez

Rosie Perez     Iggy Pop     Chloe Sevigny     Tilda Swinton     Tom Waits     Carol Kane

     Normally, I love Jim Jarmusch films (Only Lovers Left Alive, Paterson, Coffee and Cigarettes, e.g.), but although The Dead Don’t Die starts out rather interesting—primarily because of the characters introduced and the wry humor—but when the zombies arrive…and stay on and on…the script becomes repetitive and surprisingly boring, even though the low-key humor is still sprinkled liberally throughout.

     The most entertaining part of the movie is the group of small-town Centerville characters that include Chief of Police Robertson (Murray), his deputy Ronnie Peterson (Driver), hermit Bob (Waits), farmer Miller (Buscemi), and hardware store owner Hank (Glover); but the standout is Zelda Winston (Swinton), the Samurai sword wielding funeral director of the Ever After Funeral Home and computer expert.  

     All is quiet and the usual peaceful in Centerville until strange things start happening.  It stays light more than usual, electronics don’t work like they’re supposed to, the same song keeps playing on the radio…and then zombies start appearing and proliferating, doing their thing. 

     It seems to be a well-known fact of zombie lore that to rid yourself of a zombie, you must “kill the head.”  Zelda has nothing to fear when she goes outside because of her unfailing aim. Ronnie is the only other one to have had some training in the past, but he can also wield a sword effectively. Robertson is good at blasting heads with a shotgun.  So how will it all turn out when zombies—even those recently departed—start appearing everywhere?  To quote Ronnie, “This is all gonna end badly”, but is he right?  Will everything turn out OK?  With some prompting, Robertson reassures dispatcher Mindy Morrison (Sevigny) of just that.

     Writer/director Jarmusch’s intention may be to highlight the narrator, who happens to be the hermit Bob.  From his comments on what he observes through his binoculars, we get the impression that Bob is fully informed about what is going on in the world—including in nature—and comes to certain conclusions.  He makes pronouncements from time to time that could be seen as a commentary about contemporary society, with its penchant for material acquisitions at the expense of environmental and humane values.  

     Which prompts us to ask,  “Are we the people the zombies of today who have the potential to kill off whole species—including our own—because of misplaced desires?  If so, does Jarmusch mean that “the head” must be dealt with for us to save ourselves?

     This is a film that doesn’t seem to amount to much on the surface, but thoughtful reflection may turn up seeds of wisdom.

Not your usual zombie move, but one that provides food for thought.

Grade:  C+                                    By Donna R. Copeland

THE SOUVENIR

Tilda Swinton     Honor Swinton Byrne    Tom Burke

Jack McMullan     Richard Ayoade     Tosin Cole

     I don’t recall ever wanting so badly for a movie to be over.  Right from the beginning, it’s obvious how the story is going to go, with the star having no capacity to make decisions or assert herself, or even stand up for herself when she is being taken advantage of. She doesn’t bill a roomer who should be paying a share of housing, and tolerates a sponger who contributes little to nothing in the relationship or anywhere else.  And when there are clear warning signs glaring at her, she remains passive, and asks for forgiveness for being so “mean.” She seems like an anachronism in today’s world, in which women are tuned in and wanting to establish themselves in their personal and professional pursuits.  The film is set in 1980’s London, but I see no purpose in harking back to those mores.

     Julie (Byrne) attends film school with aspirations for being a filmmaker. We see only snatches of her work, but it appears she is both writing and directing her first feature.  She is still dependent on her mother (Swinton), and although they appear to be close at times, Julie never seems to confide in her, even when she is in crisis.  We don’t see any conflict between them; we only see her asking for money from her mother.

     Anthony (Burke) appears on the scene, and although he isn’t romantic in any way—in fact, he’s rather cynical and critical—Julie falls for him. Anthony purportedly has some kind of job in the government (the Foreign Office, he says), but it’s not clear exactly what he does.  He tells Julie stories about it, but then says, “Oh, I’m just kidding.” He conveys very clearly that she is not to ask him questions about his life, past or present.  If she does, he responds with, “You’re inviting me to torture you.”  His presence in her life distracts her from her studies, and as things go from bad to worse as she catches him in lie after lie, she doesn’t seem to know what to do.  What?!?

     Although written and directed by a woman, Joanna Hoff, and being something of a memoir, Souvenir (named for a painting of the same title by Jean-Honore Fragonard that Julie and Anthony bonded with during a trip to the museum) is surprising in its foreshortening characters to little more than stick figures, limiting conversations to little more than trivia so that we learn very little about who the characters really are, and in its lacking any semblance of intimacy in any of the relationships depicted.  A case in point is when the couple looks at the painting, has slightly different interpretations of it, but neither is given a chance to expand on his/her point of view. This was apparently an intimate, meaningful moment between Julie and Anthony, but it’s not made explicit for the viewer.

     Editing (Helle le Fevre) doesn’t help much; scenes pop up in which the viewer has to figure out who the people shown are and what they are about.  Prime example is a scene in a parking lot with a van waiting for people to board—the last person being Julie.  Finally, when we see her we know that this is her film crew getting ready to travel somewhere.  There are only snatches of Julie’s filmmaking, so the people boarding the bus are not immediately recognizable.

     Acting by the three stars, Honor Swinton Byrne, Tilda Swinton, and Tom Burke, saves this film from being a complete washout.  Although the film has initially been well received, to me, its point of view is one of detachment, with little introspection and psychological exploration or explication of the characters.  Scenes are more often than not cut short before we can see the players’ emotional reactions to what has just happened.  Primarily because of these characteristics, I lost interest in the story early on.

A naïve young woman, aspiring to be a filmmaker and getting involved with an older man is a story with potential, but curiously lacks much passion in the telling or in the enactment.

Grade:  D                                    By Donna R. Copeland

SUSPIRIA

Dakota Johnson     Tilda Swinton     Chloe Grace Moretz

Angela Winkler     Elena Fokina     Mia Goth     Jessica Harper

     Cumulative symbolism throughout this film overshadows the potentially interesting narrative.  Early on, we get scenes from 1977 Berlin when the Baader-Meinhof group is clashing with police in robberies, kidnapping, and assassinations; and Lufthansa flight 181 is highjacked to secure the release of Red Army Faction prisoners.  

     Soon after, we observe a young woman desperate to see her therapist banging on his door and incoherently reporting on strange events she has observed at her ballet academy.  He regards her as delusional, but later learns that she has been found missing, which is troubling to him, a man grieving for his wife, who has also disappeared during the political conflict.

     The connection between these events and the subsequent story about a coven of witches within the ballet academy will be puzzling to most viewers, although in broad terms, they all seem to relate to the film’s title, Suspiria, a Latin term meaning “sighs from the depths.”  Perhaps it all has to do with the suffering that occurs among lower figures in a hierarchy as a function of the struggles for power among leaders, something that can occur at state levels on down to performance academies. Importantly, sacrifice always seems to be involved.

     Within the ballet academy, the primary setting for the drama, lead dancers are getting freaked out by suspicious events occurring behind the rooms that are open to the dancers.  It’s surprising when a newcomer arrives for her audition and so impresses the academy staff, she is immediately awarded a lead role.  This is Susie (Johnson) who, despite being warned about dangers, maintains an air of self-assurance and aplomb.  The horror aspect of the film is gradually ramped up as it becomes more and more evident that the occult with violent manifestations is involved.

      The numerous dance scenes in general are very exciting (beautifully choreographed by Damien Jalet), the most artistic and dramatically successfully being when a soloist’s percussive, aggressive movements are cross-cut with scenes of another dancer being mutilated and killed by actions and movements that mirror the soloist’s.  On the other hand, as good as the final dance performance is, it is extended far too long in an agonizing way.

     Luca Guadagnino’s transition from last year’s romantic Call Me By Your Name to the political horror story of Suspiria is taking many by surprise.  It’s receiving mixed reviews and reactions, partly because of its artsy, intellectual nature, I think.  It would perhaps have been much better if Guadagnino had omitted the political references in the beginning, and focused only on the intrigues at the ballet academy.  That would also trim the film down from its lengthy 2½ hours. It’s much too long, especially as the final dance scene seems to go on forever.  

     This is probably Dakota Johnson’s best performance and biggest role in her career.  She is especially to be praised for executing all her dance scenes, using a double only about 10 percent of the time.  But beyond this, she captures the complex personality of Susie, a Mennonite from Ohio whose confidence in herself is up to that of a seasoned ballet student from New York, and yet she’s able to earn the goodwill and respect of her fellow dancers and teachers.  

     Tilda Swinton inevitably stuns with her ability to become any character in a drama, whether male or female, young or old.  Here, she is well suited for the role of the high-minded artistic director of the academy, the compassionate older male psychiatrist, and the hideously formed leader of the coven, Helena Markos.  

        Filmed by Guadagnino’s cinematographer for Call Me By Your Name, Suspiria is likewise a cinematic work of art.  

Heavy symbolism overshadows the plot about strange happenings in a ballet company.

Grade:  B-                               By Donna R. Copeland

ISLE OF DOGS

Voices of:  Bryan Cranston   Koyu Rankin   Kunishi Nomura   Edward Norton   
Bob Balaban   Bill Murray  Jeff Goldblum   Greta Gerwig   Frances McDormand   
Scarlett Johansson   Harvey Keitel   Akira Ito  F. Murray Abraham   Tilda Swinton  
 Liev Schreiber   Yoko Ono   Courtney B. Vance   Akira Takayama

     In the hands of Wes Anderson, a stop-motion animated film with mostly dogs as characters and an allegorical theme will captivate children and adults without pandering to either.  Probably by coincidence, writer-director Anderson, with the help of Roman Coppola, Jason Schwartzman, and Kunichi Nomura, employ themes of topical relevance today:  government corruption, foreign influences on government, student protests, and issues related to animal research.  Additional weight comes from a case of repentance of justified charges for crime, followed by atonement.  Oh, yes, and murder and cannibalism are covered as well.

     Now, you might think from reading the above paragraph, that Isle of Dogs is entirely too serious and doesn’t sound entertaining at all.  But hold on—the action in the film is fascinating, rife with chuckling humor and imaginative sets, all accompanied by Alexandre Desplat’s wondrous score that enriches every scene.   Cinematography by Tristan Oliver and all the production and set design are remarkably artistic and enjoyable.

     The story takes place in feudal Japan, where Mayor Kobayashi (Nomura) and his cat-adoring people have decided that dogs are bad (as evidenced by dog flu, snout fever, and other symptoms) and a threat to humans, so must be banished to Trash Island (think of the environment in Wall-E); this is despite a noble scientist (Ito) announcing that a cure is imminent. 

     It turns out the mayor has a nephew who has become his ward after the child’s parents died.  Atari (Rankin) has a beloved dog named Spots (Schreiber), and even Spots has been banished.  This is too much for Atari, and in his grief and desperation (and smarts) he commandeers a small plane on his uncle’s estate and flies to Trash Island to find Spots.       That’s where many of the adventures and entertaining encounters take place.  Every dog has a personality and personal issues to deal with.  Anderson is able to insert drama in just about anything.

     Suspense is high in making us wonder whether Atari will find his dog (and there is an additional twist there), what will happen to all the dogs we’ve come to know on the island, and what will happen politically in Megasaki City.

     There is so much to process in Isle of Dogs that you are likely to want to see it again.  Noteworthy is the way the filmmakers bring home messages about justice, right, fairness, and joie de vivre without being condescending.  It’s all there for you in the experiencing of the film.

     Anderson has his favorite actors, and they are here, along with a host of others for us to admire.  I have heard that actors vie to be in an Anderson film, and it’s easy to see why.

Quintessential Wes Anderson in presentation, message(s), thoughtfulness, beauty, and fun. 

Grade:  A                                                   By Donna R. Copeland

LETTERS FROM BAGHDAD

Tilda Swinton, voice of Gertrude Bell    

     It’s hard to imagine a woman in the early 1900’s forging ahead in a man’s world like Gertrude Bell did.  Born in 1868 into a family of means, Gertrude Bell early on set her sights on places far from her native England.  She was always cheeky, and when she graduated from Oxford, she was sent to relatives in Tehran with the hope that a more conservative culture could rein her in.  Little did her parents know that she would fall in love with the Middle East and spend most of the rest of her life there in an activism they couldn’t imagine.

Bell was an adventurer who was attracted to daring and risky adventures.  She quickly became interested in the native peoples in the Middle East, fearlessly traveling for years in a camel caravan on her own with a guide, mapping the terrain, and collecting a store of information about the tribes, their leaders, and their lives on the desert.  She was particularly skillful in winning the trust of sheiks, even after one had kept her prisoner for 11 days.  But after that, he sent her off with a bag of gold. 

     There seemed to be two sides to Bell; she was very intelligent and well educated and got along well with people who accepted her.  She also got along well with the native Arabs, many of whom were desperately poor.  Her biggest antagonists were men in the British government who could not accept a woman being in her position with influence, and one in particular tried to block her in every way he could.  Despite his obstructions, she managed to retain the respect and admiration from the Arabs and high officials in the British government.

     Bell was a conscientious scholar and researcher.  The maps she made, the information she collected from desert tribes and sheiks, and the photographs she took were instantly valued and used by the British military and intelligence services.  World War I was raging at the time, and Middle Eastern oil became a commodity wrestled for by other countries, particularly Great Britain and the U.S.  Bell’s biggest disappointment after the war was over occurred when Britain did not honor its promises to the Arab states that they could be self-governing after the war.  They continued their occupation, putting Arabs in advisory roles, rather than the other way around.  The man most responsible for this was Sir Arnold ‘A.T.’ Wilson, the British civil commissioner in Baghdad, who had tried to thwart Bell’s efforts for years and looked down on the Arabic people.  Nevertheless, she did play an important role in the establishment of the Iraqi state.

     This film is based on letters between Bell and her correspondents, her diaries, and secret communiqués, and contains a wealth of information about her life and loves, the history of Iraq and desert tribes, and the politics of the time for that part of the world.  She was an excellent writer of political communiqués and books, and her letters home to her father and stepmother were warm and complimentary.  She frequently talked about missing being at home with them, yet even when her health was failing and her father begged her to return to England, she declined, saying she had to finish her work as Director of Antiquities, which was equipping a museum with Middle Eastern artifacts.  The museum became the National Museum of Iraq, with one wing named after her.

     But during this time after the war, she was out of the political arena, which had been so gratifying to her, and in the following eight years she experienced disillusionment and became seriously depressed.  She died in Iraq on July 12, 1926, from a drug overdose, where she had chosen to be buried.

     In excerpting material verbatim from Katherine Bell’s correspondence and photographs, Directors Sabine Krayenbühl and Zeva Oelbaum have achieved a dynamic production with dramatic flair.  By their utilization of vintage screen footage and fine actors voicing the lines of the characters, the film seems less like a documentary and more like a historical drama.  The gifted Tilda Swinton delivers as the voice of Bell.

A Middle Eastern history lesson illustrating the critical role played by an astute and talented British woman.

Grade:  A                                    By Donna R. Copeland

OKJA

Tilda Swinton   Paul Dano   An Seo Hyun   Lily Collins   Shirley Henderson   Jake Gyllenhaal   Giancarlo Esposito

     A live pig sold for a golden replica serves as the metaphor for this film about a young girl in South Korea and her soul mate, a huge pig she’s named Okja.  Mija (Hyun) is devoted to her pet and is unaware of the contractural agreement her grandfather signed 10 years earlier.  Thinking he is doing the right thing, the grandfather is ready to return Okja to the American company who gave it to him for 10 years, in exchange for the gold piece.   But he is mistaken in thinking Mija is going to value the gold more than the pig.  His bargain illustrates how capitalist schemes can appear so appealing to naïve peoples.  When Grandfather proudly gives Mija the golden relic and she realizes what he has done, she races after the truck carrying Okja away.  In this, the film likewise illustrates the betrayal of the younger generation by the older.

     The background story is about a wealthy American family with a multi-national food tech corporation that is unmindful of its responsibility to humankind and is single-minded in its profit motive, as lived out by the Mirando twin sisters (Swinton).  Lucy, who has always seemed to be in a one-down position, has dreamed up a contest that she is sure will win over her sister and bring her respect and love from the general public.  This is done by giving poor people around the world a genetically altered pig to raise for 10 years, with the ultimate aim of having a contest as to which one could feed the most people in the world (example of genetic experimentation and conflict of interest perhaps?).  Mija’s grandfather was one of those given an animal.  In the meantime, Okja is Mija’s only companion, and has even saved her life once.

     What follows is a rather fantastical madcap story involving international travel, daring car/truck races on the highways, the involvement of animal rights advocates (Dano, et al.), the pig competition, and, ultimately, the slaughterhouse; but Mija has her head about her and extraordinary smarts, and is out to bring Okja home.

     Writer/director Bong Joon Ho (Snowpiercer, Mother) is a master at depicting dramas that pose ethical and socio-political situations for the audience to ponder, and here he makes it clear that we all have some responsibility for the state of affairs, either knowingly or by default.  That is, the grandfather is myopic as to his granddaughter’s wishes and ultimate welfare, the animal rights advocates are well intentioned but rather narrow-minded and inept, and the Mirando corporation has dual purposes topped off with petty rivalry among the owners. 

     Swinton is virtually unsurpassed in her ability to portray any character she’s presented with, and has a particular knack for odd, quirky personalities who have just enough plausibility to intrigue us.  Playing her character here and her chiding twin is entertaining in itself.  Young An Seo Hyun is captivating as a purposeful, devoted adherent to her principles.  Dano is gifted in his portrayal of appealing, sincere proponents of a cause, and he comes through here.  I was disappointed to see one of my idols, Jake Gyllenhaal, play such a buffoon role that seemed to have no purpose in this drama.  He executed it well, but I can’t see the reason for having such a character, who is shown as a self-inflated blowhard.

The purpose of this well executed film seems to be in having us contemplate where our food comes from, something we usually don’t want to do.

Grade:  A-                                    By Donna R. Copeland

DOCTOR STRANGE

Benedict Cumberbatch   Chiwetel Ejiofor   Rachel McAdams   Benedict Wong   Mads Mikkelsen   Tilda Swinton   Benjamin Bratt

     Spectacular special effects makes this comic book story come alive in a special way, perhaps because it captures a child’s imagination and puts it on the screen.  We see it as a child with a vivid imagination may in reading a comic book.  Its exciting and mystically fascinating tale conjures up mythology and the spirit world with heroes and villains, and throws out paradoxes for us to consider.  (Must we sometimes commune with the dark side in order to achieve good?  Must we have death in order to have life?) 

     The film has numerous comical lines and jokes (e.g., a mystical reference that is actually a wi-fi password), but perhaps the biggest one is its riff on doctors who have a reputation for their arrogance, ambition, and stubbornness.  The star, Dr. Stephen Strange (Cumberbatch), is certainly supposed to shed this in his pursuit of shamanic knowledge, but part of the spoof is its tenacity on the heroic doctor. 

     Dr. Strange is at the height of his career as an esteemed neurosurgeon in New York; he can choose his patients (accepting only those that will pad his reputation), be dismissive and over-rule the staff, and is essentially the king of his realm.  His residence is fashionable with a stunning view of the city, and his car the most expensive and sportiest.  But lo, he roars out one evening to attend a lecture honoring him, when…Don’t text and drive folks! 

     Yes, he is pulled out of a ravine, but has lost the use of his golden hands, which throws him into an existential crisis and angry depression, for he is empty inside without his career.  He brushes off his one friend Christine (McAdams), a colleague trying to help him, and in desperation heads for Kamar-Taj, a healing place in Kathmandu, Nepal, where he hopes for a miracle.  His physical therapist had told him about a “hopeless” patient who had regained his physical abilities after its help.  “It will be costly”, the healed man (Bratt) informs him, but of course this was not a monetary reference. 

     Once he finds the place, Strange blusters in, completely unaware of a different universe and way of being.  While there, he will make discoveries he had never imagined in his empirically anchored life, and it will change him forever in no way that he ever anticipated.  He certainly becomes a nicer person, but that is only part of it.  He will strive to become a real hero with dimensions far beyond his previous accomplishments.

     Scott Derrickson, writer (with others) and director and his filmmaking team (Ben Davis, cinematography; Michael Giacchino, music; Charles Wood, production design; Ray Chan, art; and all the special effects group) have crafted an entertaining film with visual, musical, and literary qualities that should appeal to children and adults alike, one that contains rich material for thought and discussion after viewing. 

   Casting is perfect, with Cumberbatch as one who is equally skilled in portraying narcissism, extraordinary intelligence, and charity all in the same character.  Mikkelsen seems equally talented in portraying all different types of characters, with the one here being the epitome of evil.  A real coup with this film is casting Tilda Swinton as the “Ancient One”—we’re as surprised as Strange is that “he” is a “she.”  Swinton can play any exotic character a writer can come up with, elevating it with her own imagination.

      I was a little sorry at the end of this film to see that it was extended for 15-20 minutes too long, and that there was the now popular teaser for a sequel.  If only the filmmakers/investors could learn from their main characters!

This is a finely crafted action film with artistic merit.

Grade:  A-                                By Donna R. Copeland

HAIL, CAESAR!

Josh Brolin   George Clooney   Alden Ehrenreich   Ralph Fiennes   Tilda Swinton   Frances McDormand   Scarlett Johansson   Channing Tatum

           When the Coen Brothers are having fun, we’re having fun.  And I can just imagine how the whole crew of Hail Caesar! had loads of good times making this film.  As a matter of fact, Roger Deakins, the DP, mentioned that in an interview.  The Coens let their imaginations run wild here, and managed to successfully throw in all kinds of references to movies (mostly), philosophy, politics, history, and American culture, spoofing all.

          The central figure is the beleaguered “fixer” at Capitol Pictures in Hollywood, Eddie Mannix (Brolin), whose long days are spent putting out fires on the multiple sets of films like Hail Caesar!, On Wings as Eagles, Merrily We Dance, and Lazy Ole Moon (Coens came up with the titles, of course).  In addition, Mannix tries hard to pay attention to his family, consider a lucrative offer, and go to Catholic confession frequently. 

           One of his dilemmas now is that his most famous star, Baird Whitlock (Clooney), has gone missing.  A little sleuthing and a phone call reveals that Baird has been kidnapped and the culprits are asking for $100K ransom money.  This is not much of a problem—demonstrating how cash was like play money in Hollywood in the ‘50s—but who is responsible is a testament to the Coens’ wit and fancy in even dreaming it up, but also in its touching a bit on reality.  It’s a motley crew of disgruntled writers and left-leaning professors in a “study group” (I won’t say more).  When the actor comes to after being drugged and learns of the plot, he asks to have a share of the spoils, but the professors quickly say that that would be unethical; ransom money is not for the victim! 

         I thought Brolin and Clooney would be stand-outs, and Brolin is a perfect fit for his part; however, as good an actor as Clooney is, it was difficult to see his character without seeing the Clooney persona, despite his always being in ancient Roman garb.  A surprising standout is the aw-shucks Southern cowboy played by Alden Ehrenreich as Hobie Doyle.  Hobie can stand on his head while riding a galloping horse, do lasso tricks, and sing.  He has a little trouble with the verbal part of acting, but with a little coaching, his timing in saying, “It’s…complicated” is perfect.  And it turns out that he is much smarter than he sounds, but always sincere and honest.

         The film is more like a revue with little vignettes, always light and entertaining and lovely to look at.  Shining in their parts are Scarlett Johansson, Frances McDormand, Tilda Swinton, Channing Tatum, Ralph Fiennes, and Jonah Hill.

         With the Coens, Cinematographer Roger Deakins and Composer Composer Carter Burwell round out this supremely talented filmmaking team

Sit back, chuckle, wonder, and be entertained in Hail, Caesar!

Grade:  A                                                  By Donna R. Copeland