FRENCH EXIT

Michelle Pfeiffer     Lucas Hedges     Valerie Mahaffey     Imogen Poots

Susan Coyne     Isaach De Bankole     and the voice of Tracy Letts

     Could there be a more unlikely group to be together in Paris?  The movie takes a while in getting you/them there. It starts out with Frances Price (Pfeiffer) learning—although not for the first time of being told—that she is out of money.  Obviously, from her home, to the way she is dressed, and the places she frequents, she is used to high style living.  She takes her financial manager’s advice and sells her valuables, giving her a tidy sum of money, which would last a lifetime for a frugal person. That, Frances is not.  

     When her best friend Joan (Coyne) learns of her plight, she offers her apartment in Paris, which she rarely uses.  This creates a new problem for Frances' devoted son Malcolm (Hedges), who has just become engaged but hasn’t told her.  It quickly becomes apparent that Malcolm is completely dependent on his mother for money, so he has to tell his fiancé Susan (Poots) goodbye the next day—but of course he wants her to wait for him, even though he has no idea when he will return.

     What is sure to be a capricious journey with this mother-son duo constitutes the plot, involving very odd and unpredictable people pulled into their story as they proceed across the sea on a ship and arrive in Paris, smuggled cat in tow. But the most unpredictable of all is seductive Frances.  She (artfully played by Pfeiffer) tops them all in eccentricity.

     The movie is a farce that one can enjoy (Oh, for the theater popcorn in these Covid-19 times!) by not taking it too seriously and if you can vicariously enjoy living a carefree life with stacks of Euro notes resting on the shelf in your closet.

     Not entirely without some degree of redeeming value, the movie shows honesty among the homeless, waiters, and other average citizens, who try to give back absurd amounts of cash liberally distributed by our heroine.  Emotional health, forgiveness, and honesty come from the effusive Mme. Reynaud (Mahaffey), the type of woman Frances has in the past spurned with a flip of her sarcastic tongue.  

   Interestingly—and perhaps quite intentionally—references to death become a theme throughout this bizarre movie in its appearance in Frances’ overall plan, another dead husband, and séances with Frances’ own dead husband and his association with her black cat.  Perhaps the black cat is a warning about choosing a compromised lifestyle over a more comfortable one.

 A light confection, French Exit will amuse those who are at least a bit philosophical about life.

 

Grade:  C+                                    By Donna R. Copeland

LITTLE WOMEN

Saoirse Ronan     Emma Watson     Florence Pugh     Eliza Scanlon     Laura Dern

Timothee Chalamet     Tracy Letts     Bob Odenkirk     Chris Cooper     James Norton     Meryl Streep

     Greta Gerwig updates this traditional story based on Louisa May Alcott’s book for girls by emphasizing the March girls’ ambitions, particularly those that depart from the standard get-married-have children tale.  Most notable are the lines inspired by Gerwig’s conversation with Meryl Streep, who plays Aunt March in the film, during first conceptualizations of the film.  The lines are spoken by Amy March (Pugh), the youngest sister, complaining about women not having rights—they can’t own anything; if they leave a marriage, even property they had before marriage, even their children, would belong to the husband.

     Much of the film, however, adheres to Alcott’s novels.  Four sisters are being brought up by their mother while their father is serving as a chaplain during the Civil War.  Marmee (Hurd) is a strong female model for them, managing—with the help of the two older daughters Jo (Ronan) and Meg (Watson)—financially, and beyond that, instilling strong values (helping the sick and the poor, with a strong commitment to forgiveness) in her daughters.  

     The family reflects the temper of the times, particularly where women are concerned. What makes the story most interesting are the differences in personality and temperament among the four sisters, and how these play out with family and friends.  Jo departs most from the norm by pursuing independence at almost any cost, Meg by marrying for love over “prospects”, Beth (Scanlon) by her musical ability, and artistic Amy at first by her self-entitlement and later by her practicality. 

     A bonus in this rendition of Little Women comes at the end when Jo is clearly taking charge of her career by cannily negotiating with the editor Mr. Dashwood (Letts) on a cash advancement, copyright, and share of the profits.  (Although she does have to make one major compromise so that the story ending will sell.)

     Yorick Le Saux’s cinematography with its warm, bright palette and vividness of interior and outside scenes contributes majorly to the production, helping to give it soul, along with the pleasant, era-capturing score of Alexandre Desplat. Saoirse Ronan’s performance is exemplary, attaining the promise of her work in Hanna, Brooklyn, and Atonement, and being a major force in capturing our attention.  She is well supported by Emma Watson, Florence Pugh, Eliza Scanlen, and Laura Dern as sisters and mother.  As love interest to more than one sister, Timothee Chalamet glitters as an honorable heartthrob not just for the sisters, but for some audience members as well.  It is a treat to see Tracy Letts playing the discerning publisher with a soft heart, following on his bombastic performance as Ford in Ford v Ferrari. Likewise, seeing Chris Cooper as a benevolent, wealthy Mr. Laurence after the revolting father he played in A Beautiful Day in the Neighborhood is refreshing.  Finally, Meryl Streep proves her value once again in playing a rich dowager who is bound to the past.

     Perhaps because I personally was never an impassioned devotee of Little Women, I’m not enthralled with Greta Gerwig’s remake of the classical tale.  Interesting and entertaining as it is, it makes me question remakes in general. That is, this tale has been told on stage, on television, and in film almost continuously since 1933.  This version, although set in the 19^thcentury, is meant to capture the sentiments of today.  And it does, with flair to a great extent.  I just have a problem with telling a story already well told.

19^thCentury women being little women—already a tale well told.

Grade:  B                        By Donna R. Copeland

FORD v FERRARI

Christian Bale     Matt Damon     Caitriona Balfe     Jon Bernthal

Tracy Letts     Josh Lucas     JJ Field     Noah Jupe

     Yes, this film is about car racing, but it’s also about corporate culture and how it wields its power, showing how one major player can influence major events; and it’s about the friendship between two men, both of whom fit the emotional reticence of “macho” men, yet remain extremely close to one another. Thankfully, the wife and son of one of them provide balance to a testosterone-filled drama.

     Carroll Shelby (Damon) has a significant reputation as a racecar driver, but when his health forces him to stop, he becomes a designer of racecars, pulling in his good friend and driver, Ken Miles (Bale).  Shelby has a successful business designing and assembling sports cars, partly by virtue of his salesmanship and negotiating talent. Ken, on the other hand, is prickly, often offending others, and his car repair business is failing.

     When Lee Iacocca (Bernthal) of the Ford Motor Company begins to have aspirations of competing with Ferrari, current winner of multiple Le Mans races, he approaches Shelby, who has been the only American to have ever won the race.  He wants Shelby to partner with Ford to make a car that will give Ferrari competition.  

     What follows is the conflict between the creativity of Shelby and Miles with the Ford Corporation’s executive layers and its insistence on employees toeing whatever line it sets.  In addition, we see the struggle between middle-class “good ‘ole boy” war heroes and the upper crust of society.  We also get a glimpse of treachery that is sometimes characteristic of overly ambitious sorts and the self-entitlement of those born into wealth.

     The film tells an exciting, gripping story (more-so for those who are fascinated by cars and racing), written by Jez and John-Henry Butterworth and Jason Keller, based on Anthony Pritchard’s book (2011) about the Le Mans 1966 competition, pitting Ford versus Ferrari.  It’s well directed by James Mangold, but the jerky editing—especially in the beginning—detracts from its success.  The roar of sports cars around town accompanied by a soft “Chica Chica Boom Boom” rendition is fun, but when the races are full on, on the track, it is hard on the ears and head for those of us less enamored by the sport.

     Along with the excitement provided by a story about racing and personal conflicts, Christian Bale and Matt Damon are the hallmarks of the film.  They are the big draw, and lend their well-deserved stardom to boost the appeal.  Bale shows his range in all the different roles he has played (as a fighter in The Fighter, to an action figure in The Dark Knight films, to the Vice President of the United States in Vice, to name a few), and here as a cantankerous but brilliant race driver who keeps a cool head and is willing to take risks.  Damon’s Texas accent and persona come across as authentic, and it looks like he thoroughly enjoys savoring it the whole time. This role resembles his award-winning performance in The Martian, in its ingenuity and being able to think on his feet.  

     Lovely Caitriona Balfe as the wife of irascible Ken Miles, adds dimension to the story, and her pluckiness and daring is also one of the high points of the film. Most endearing, of course, is Noah Jupe as Peter Miles, Ken’s son.  Jupe mixes childhood reverence and joy showing keen perception on what Peter is learning, which, like the Molly Miles character, provides some levity to the male competitiveness.

Ford v Ferrari will be appealing primarily to car racing enthusiasts who will be fascinated by what went into the 1966 Le Mans race.

Grade:  B                                    By Donna R. Copeland

LADY BIRD

Saoirse Ronan     Laurie Metcalf     Odeya Rush     Beanie Feldstein     
Lucas Hedges     Timothee Chalamet     Tracy Letts

     There is always a challenge for comedies to have substance as well as humor, and writer/director Greta Gerwig has achieved just such a balance in Lady Bird.  Comedy runs throughout, but underlying it are observations about mother-daughter relationships, adolescence, male-female relationships, friendships, truthfulness, religion, and economic hardship, all presented naturalistically and with precise timing.  The characters speak as real people expressing themselves, as opposed to a series of comedy routines.

     Young Christine (Ronan), who has adopted the name of “Lady Bird”, is in the throes of first loves, struggling to make good grades in high school so that she can go to a “good” college and get out of Sacramento, and slogging through multiple applications to college.  Interestingly, she has more faith in herself than does anyone around her.  And true, she has committed some infractions and does not always have the self-discipline she needs, but she is reasonably smart and knows what she wants—to break out of living on the wrong side of the tracks and all that implies.  She is not unsympathetic to her parents’ economic problems, it’s just that she is optimistic about being able to do better.

     Her mother Jenna (Rush) has no such high hopes; she is a practical, organized woman who is appalled about things like a messy room and disrespectful behavior, but is sorely lacking in emotional responsiveness and psychological insight, although she does appear to be some kind of counselor in her job.  She doesn’t have enough empathy to see how similar she and her daughter are.  Fortunately for both mother and daughter, the father (Letts) acts in a positive way as mediator.  And fortunately for both, they always manage to maintain some degree of understanding and love for each other.

     Then there is Lady Bird’s life with her friends at school, where there’s a bit of a caste system between those who live on right and wrong sides of the track.  She and her very best friend (super bright but overweight and perhaps not as creative as Christine) Julie (Feldstein), are tight and have great fun together until Lady Bird begins to branch out and think she can be on the “right side of the tracks” if she manipulates situations.  She is attracted to a fellow Thespian, Danny (Hedges), and when that doesn’t turn out, she goes for Kyle (Chalamet), and it’s interesting to observe her exploring different ways of being in her romantic relationships and in different social classes. 

     This well written story has a beginning, middle, and very satisfying end.  The acting is superb, starting with Saoirse Ronan in a different role from her usual that highlights her considerable talent.  Odeya Rush and Trace Letts as Christine’s parents are skilled actors whose strengths are readily  evident in their very different relationships with their daughter.  I found Beanie Feldstein’s performance as Christine’s best friend right on, and I appreciated its truth about very bright, chubby girls not getting the recognition from society that they deserve.  The two young men, Lucas Hedges and Timothee Chalamet, who play Christine’s boyfriends, live up to their promising reputations for achieving their potential as actors.

     In addition to the quality of writing, directing, and acting, Jori Brion’s music aptly evokes the period in which the movie takes place, the 1990’s (e.g., The Monkees, The Doors), in expressing the mood of each scene.

An award-worthy production that marks the accomplishment of its writer-director, Greta Gerwig.

Grade:  A                                    By Donna R. Copeland

IMPERIUM

Daniel Radcliffe   Toni Collette   Tracy Letts   Nestor Caronell   Sam Trammell   Pawel Szajda   Seth Numrich

          Daniel Radcliffe plays an uncover FBI agent, Nate Foster, whose charge is to mingle with neo-Nazis and gain their trust.  His supervisor Angela (Collette) is certain that they are planning a major event that will risk the lives of many people.  She thinks the Harvard educated, ex-Marine, and personable new person in the department would make an excellent choice for the job.  Her boss, Tom Hernandez, who doubts her judgment in this case, frequently makes disparaging remarks about her, and thinks Nate is not ready for such a job, so he initially nixes the operation.  But with pressure, Angela gets her way and Nate embarks on a dangerous mission.

        The men comprising the Skinheads make a motley crew, with different shadings to their beliefs and prejudices.  Some are fundamental Christians, some are simply angry at the world, and some have more of an intellectual reason for joining the movement.  One is a hothead who Nate thinks it’s only a matter of time before he is arrested.  They’re all united in their belief, however, that “diversity” equals white genocide and that the white race deserves supremacy.  (They’re obviously unaware that race cannot be biologically defined.)  I found it enlightening to get a picture of what these people are like and the differing motives they have for joining the group.

       It’s also interesting to see how the FBI creates an uncover sting in and what the experience of being such an agent is like.  He has to be convincing in feigning beliefs he doesn’t hold, possess special knowledge so he appears as smart as or smarter than the others, be likeable to most of them, and be quick to change the script in a flash if something is about to go wrong.  Radcliffe achieves this persona, and the script is snappy enough to maintain the action.  Writer/director Daniel Ragussis has successfully adapted the true story on which the film is based to the screen.  That story with the same title was written by Michael German.

      Toni Collette, Tracy Letts, Sam Trammell, and Pawel Szajda provide excellent supporting roles in helping to make Imperium an interesting, exciting, and sometimes disturbing thriller.  It will be in limited release as well as VOD August 19, 2016.

Go to Imperium to be thrilled and chilled.

Grade:  B                                    By Donna R. Copeland

INDIGNATION

Logan Lerman     Tracy Letts     Sarah Gadon     Linda Emond     Danny Burstein

          The noun ‘indignation’ captures well the most intense conflict in Philip Roth’s same entitled novel, adapted to the screen by writer/director James Schamus.  It refers to the bitter interchanges between the main character, Marcus (Lerman), and the Dean of Men, Caudwell (Letts), at his college in Ohio.  Marcus is of Jewish background and the college is predominantly Christian, with requirements for students to attend chapel services in order to graduate.  Marcus is indignant about that (he’s an atheist) and about the Dean’s intrusive questioning about his personal life.  Caudwell is indignant about an upstart young man who, although gifted, rebels against college rules and refuses to take the dean’s advice about working through his problems with people instead of simply walking away.  His lectures to Marcus are not effective because they go against the basic tenets of counseling.  Well-trained counselors know that one is unlikely to be convincing when advocating for changes in behavior in such a well-defended person who has had years and family influences to shape his behavior.  Thus, Marcus continues his rebellion with dire consequences to follow.

        The movie Indignation is very well presented by the lead actors.  Lerman is pitch perfect in portraying a naïve, young Jewish man who is brilliant at school, but has been over-protected by his pessimistic, nervous father.  Marcus has learned to excel in presenting his arguments in debate class, but that mode does not usually fit well in social interactions.  He comes across more as an attorney in his arguments than in gentle persuasion.  Letts is an accomplished actor whose Dean Caudwell serves as a good counterpoint to Lerman’s Marcus.  He renders the combination of an authoritarian stance mixed with difficulties in socialization smoothly and accurately (e.g., praising Marcus on the one hand and then on the other, lecturing him intrusively).  Romantic interludes are provided by Marcus and his one-date girlfriend Olivia (Gadon), who ensnares his reluctant, ambivalent wavering on that occasion and on subsequent visits.  Scenes with Marcus’ parents played by well-known stage actors Emond and Burstein add color and interest to the story.

        Writer-director Schamus adheres closely to the Roth novel, including some mystification in the narration in the beginning, and an explanation/surprise toward the end.  The time frame is in the ‘50’s during the Korean War, and Marcus is at college partly to avoid the draft.  Costume (Amy Roth) and production (Inbal Weinberg and Philippa Culpepper) designs are authentic for the period and beautiful to look at.  A nice touch is the theme of roses associated with the beautiful Olivia on three occasions.

          The main problem with Indignation is that the war scenes toward the beginning and end are so dark, the action is not visible.  I don’t know what the director and cinematographer (Christopher Blauvelt) had in mind, but these are crucial scenes for the viewer to see to understand the context of the film.  Even the other scenes that are supposed to be well lit are often a bit blurred and cloudy, not sharp at all.  Also, to open the film in a nursing home, with a character we’ve not met is disorienting, unless one has perhaps read the book.  In all fairness, however, my viewing of the film may have been a function of watching it on an internet link on my laptop.  Most likely audiences in theaters will be able to see the darker scenes with more clarity.

Cinematic rendition of Philip Roth’s novel about coming of age in the ‘50’s.

Grade:  B-                        By Donna R. Copeland

WIENER-DOG

Keaton Nigel Cooke   Tracy Letts   Julie Delpy   Greta Gerwig   Kieran Culkin   Danny DeVito   Ellen Burstyn

      It’s a dog’s life—at least Wiener-Dog’s life, which goes through five owners.  Throughout, the dog appears to be serene and offers great comfort and satisfaction to others, most of whose lives are miserable.  Remi (Cooke) treasures Wiener-Dog, and gives her that name.  Unfortunately, his parents (Letts and Delpy) are poor dog (or child) caretakers, don’t train their son in the basics of caring for an animal, and take it to the vet to be put down. 

          The vet’s assistant manages to rescue the anesthetized dog when the vet answers the phone, takes it home with her, and nurses it back to health.  Writer-director Todd Solondz slips bizarre bits of humor in his films, and here, he has included two characters from a previous movie, Welcome to the Dollhouse.  The nurse, played by Greta Gerwig, is named Dawn Wiener, the character in Dollhouse who was teased and called “Wiener Dog” at school.  Now she is grown up and chances to meet a fellow classmate from grade school, Brandon McCarthy (McCulkin), who calls out to her, “Wiener Dog!”  After chatting a bit, he asks if she wants to go to Ohio with him.  He doesn’t seem to care that much for her, but he likes the dog.

          In Ohio, they stay with his brother and his wife (both of whom seem to have Down’s Syndrome).  Dawn is so good-hearted, when the couple really takes to the dog, which she has named Doody, she leaves her with them in their stable suburban neighborhood.

          Somehow, though, the dog manages to get out and go exploring for many miles, and is picked up by Dave (DeVito), a severely depressed, angry screenwriter and teacher at a film school, where he is about to be fired because of his negative attitude.  He comes up with a plan that I won’t divulge, and the dog ends up going to another owner.

         Nana (Burstyn) is very old and mostly blind, so has a caretaker, but the dog sits by her constantly and seems to be about the only joy she has in life.  But the story doesn’t end there…

         Continuing his recurring themes about troubled people and families, death, and cruelty Solondz dishes those up again in this film, and although it’s labeled a “comedy” it is not likely to draw out much laughter.  I did find Danny DeVito funny at times, such as after giving a synopsis of his sordid screenplay, he moans, “I wanted it to be funny.”  I also chuckled when he puts a frilly dress on Wiener-Dog and takes her out walking, and when he continually instructs him film students that every screenplay starts with “What if…”. 

      The cast of actors is really fine, and James Lavino’s music and Edward Lachman’s cinematography all brighten up the screen in its telling some very dark tales.  The exception, of course, is the interminably long shot of dog diarrhea.

You’ll say, “Awwwww” to Wiener-Dog herself, but "Noooo" to the dark tale.

Grade:  D+                        By Donna R. Copeland

ELVIS & NIXON

Michael Shannon   Kevin Spacey   Alex Pettyfer   Colin Hanks   Tracy Letts 

             This well conceived parody about the art of pandering to celebrities and politicians and the self-entitlement that is inherent in both groups is subtly clever and funny.  Apparently this is the second film of the rather bizarre but real encounter between President Nixon and Elvis Presley, and just as interesting is the fact that the picture taken of the two on that occasion is the photograph most often requested from the National Archives.  (The previous film, called a “mockumentary” and entitled Elvis Meets Nixon, was directed by Allan Arkush and released in 1997.  I didn’t see that film, but it looks like maybe both are similar in their capturing the essence of the encounter.  For some reason I do not know of, the current film is said to be the first account of the meeting, disregarding the previous film.)

            The current Elvis & Nixon captures the American idolization of celebrities, giving it a ‘70’s flare with screeching young females ready to throw themselves at Elvis’ feet at the mere mention of his name.  But they’re not the only ones—a President’s aide can be just as enthralled, and come up with “politically reasonable”, convincing arguments as to why the President should meet with him.  The President is skeptical, and initially refuses; but when he learns that he can impress his daughter Julie, he relents. 

            Other arguments for the meeting (made principally by Elvis) appeal to Nixon’s sense that the Communists are behind the protest movements against the Viet Nam War and drug use among the “Lefties.”  It is with a sense of purpose that Elvis wants to “infiltrate” their organizations and be the one to catch them in illegal acts.  His arguments for this include the fact that as an actor he is an expert in costume and disguise(!).

            In his appeal to Nixon’s suspicious nature and his pandering to his vanity, Elvis pulls off something few would deem probable.  Badges mean a lot to Elvis (and he collects them, showing his Memphis Sheriff’s badge for his identification at airports, etc.), and he wants one from the Bureau of Narcotics and Dangerous Drugs.  Illustrating/lampooning how that administration found it so easy to break the rule of law, Elvis was indeed given the badge.  (Not a spoiler; it’s in the National Archives.)

            The writers (Joey Sagal, Hanala Sagal, Cary Elwes) and director (Leza Johnson) should be credited with making an informed, entertaining film that is not just a parody of the main characters, but as well a look at American culture, politics and government, some of which still holds true today.  Just like back then, we get the impression that the American populace and some politicians can be drawn in with facile arguments that single out group(s) to be the “enemy”… and that the rule of law is not necessarily something to be taken seriously in all circumstances.

            Without the two main actors (Spacey as Nixon and Shannon as Presley), who are chameleon in their abilities, this film probably could not have been so successful.  It’s uncanny to watch each of them portray their characters’ gestures, voices, and manners—exactly as those of us from the ‘70’s recall seeing on television.  Supporting actors Alex Pettyfer, Colin Hanks, and Tracy Letts also deserve their due in making this a strange but believable film.

A film not so distant from current cultural and political realities.

Grade:  B+                                    By Donna R. Copeland

AUGUST: OSAGE COUNTY

Meryl Streep     Julia Roberts     Chris Cooper     Margo Martindale     Ewan McGregor     Sam Shepard 

Julianne Nicholson     Benedict Cumberbatch     Juliette Lewis     Abigail Breslin

       August:  Osage County is a rip roarin’ study of a family in Oklahoma that is perpetually on a tinderbox.  The slightest disagreement can erupt into a major battle, and the only way they see to keep the lid on is to hide all their secrets.  Of course, this is a strategy that always fails, but like the good neurotics they are, they keep using it, thinking it will work.  As the story proceeds, we learn that the cruel parenting we witness stems from troubled childhoods, and we see it spread like an infection from parent to child across generations.  As each secret is uncovered, it has an explosive effect on all involved.

     On a more elegant note, the ensemble cast is a study in streamlined acting that continually hums along as if they had worked together for years and filled out every detail.  At the center of the story—and the cast—is the consummate award-winning actress Meryl Streep, who plays the damaged matriarch in a family with three grown daughters who have come home to “comfort” their mother after a crisis.  Her sister is present as well, with her husband and son in tow.  Present as well is the recently hired cook/housekeeper who is a beacon of sanity in the dysfunctional, turbulent group.

     The screenwriter Tracy Letts (Killer Joe) has based the script on his play with the same title, which premiered on Broadway in 2008.  The transition from stage to screen is not always smooth, but Letts has achieved it without a hitch.  Most of the action takes place in the family home, a beautifully landscaped colonial mansion in the countryside near a lake, or in the cars of the arriving family members.  Clues about the underlying conflicts are seen from the beginning in the interactions between Violet (Streep) and her husband Beverly (Sam Shepard), followed by the arriving sister Mattie (Margo Martindale) and husband Charles (Chris Cooper) and each of the daughters’ families.  In the process of the unfolding drama, the viewer experiences the trapped feeling that each of the characters suffers from; at one point, a character says to another who is running away, “Where are you going?  There is no place to go!”  And we feel trapped as well because the action is so powerful.  Also because, in a larger sense, we identify with the fact that we are always a part of the family to which we belong; there is not ever, really, any escape. 

     John Wells, the director, has performed his function of creating a work of art from all the components of the film, with the actors and other crew, such as the cinematographer Adriano Goldman and musician Gustavo Santaolalla, whose work illuminates the ongoing drama. 

Clearly August:  Osage Country will be prominent in the upcoming award circuit soon to take place.

Grade:  A                                   By Donna R. Copeland