HOW TO TALK TO GIRLS AT PARTIES

Elle Fanning     Nicole Kidman     Alex Sharp     Ruth Wilson

Abraham Lewis     Ethan Lawrence     Allison Saxton     Tom Brooke

     Don’t let the title mislead you; this is not a “how-to” (except maybe as irony) lesson, but one of the weirdest movies you are likely to see.  It starts out with three punks careening on a single bike on the streets of London circa 1977, then it goes to a loud punk-rock concert and eventually evolves into an alien cult doing what looks like performance art, but is much more than that.  The three punkers take pride in their weirdness, and groove away at the concert.  When they aren’t invited to the after-party, they seek it out to crash it.  Mistaking it for the after-party, they come upon a truly weird group doing what looks like a performance art thing.  But the first clue is that they all belong to certain colonies that are fundamental to their society.

     The three punks are adept at crashing concerts and parties, and when a sexy woman answers the door, one of the punks, Victor (Lewis), uses his flirty charms to get her to escort them in.  They go their separate ways, seeking to score, and Victor begins following through with his line at the door to his greeter; his reaction to what happens after that is just one of the comedic elements of the film.  

     John (Lawrence) finds his place singing and dancing, but Enn (Sharp) connects with Zan (Fanning), who is extremely alluring and interesting.  He tells her about his band, “Virus” (attempting to infect everyone to fight fascism and conformity), and she is fascinated. Before he knows it, she has invited herself to his “punk colony”, using an odd phrase (“How do I further assess the punk?”), and saying something about having 48 hours to learn more.  By this time, nightlife has closed down, and Enn must take her home, where she meets his mother the next morning and visits his “tree temple” (tree house).  As time goes on, it becomes obvious that Zan is very different from Enn and his British mother, although they get along beautifully. (Enn’s mother thinks she is from California!)

     At first, I wasn’t sure I could sit through this film, but after it began to appear to have some meaning behind it, I got interested and was greatly entertained by the action, sets, costumes, and story.  But it has a message as well—about the importance of staying connected with one’s roots (family) and discussing parent-child relationships (Are you going to “eat” them, or allow them to go when they’re ready?).

     I think this movie is intriguing as well in the way it presents us with something shocking, then seduces us into appreciating and valuing differentness in culture and ways of being.  Nothing is static:  “Adapt or die” is its message, and shows that in the process of adapting, seemingly miraculous things can transpire.

     Elle Fanning is superb as some kind of being that is seeking out new experiences and answers to life’s questions, and Alex Sharp is a worthy co-star who shows his character being awed, but still willing to go with the flow.  I haven’t mentioned Nicole Kidman (Queen Boadicea), queen mother of the punk Dyschords, but she measures up to her Eyes Wide Shut performance, extended several octaves. 

     The ending of the film seems alien (pun intended) to the story we’ve just heard—that is, it’s pretty standard Hollywood-ish compared to the rather bizarre scenes that go before.  It is effective in bringing us back to reality after an out-of-this world surreal experience.

A taste of punk as it is being introduced in London in the 1970s.

Grade:  B                                    By Donna R. Copeland

ADRIFT

Shailene Woodley     Sam Claflin

     Imagine yourself on a sailboat on stormy seas for over a month, when it’s often touch-and-go as to whether you’ll make your destination.  It will take all your skill and ingenuity to survive (if you do).  If these kinds of movies are thrilling and wondrous to you, you should go to Adrift.  

     I, on the other hand, get exhausted and feel inadequate as I watch the characters perform all kinds of brilliant jerryrigging with whatever they have to make do.  But actually, that is just one of the strong points of this film (setting aside my own hang-ups), particularly well executed by Shailene Woodley.  The actress is a wonder in being onscreen almost the entire time, and needing to show a huge range of all different kinds of emotions and physical feats.  She has clearly proven her mettle as an actress here, even as much or more as in her award-winning roles in The Descendants, The Spectacular Now, and Divergent.  

     Another issue I have with the film is a favored technique of directors nowadays—jumping back and forth in time—although by the end of the story I could see why it might have been useful in this particular case.  The opening scenes are jarring in that we don’t know what has happened—but clearly it’s something major.  Then we’re tossed back and forth through past and present events that are intended to tell the story of these two people, Tami (Woodley) and Richard (Claflin), falling in love.  Interspersing the love story into the unmitigated, harrowing boat scenes may be necessary for balance and to keep the audience engaged throughout.

     These two people are portrayed in a very appealing light—another plus in the film—both adventurous and slightly devil-may-care, gentle, respectful and admiring of each other, and just naturally drawn together.  It’s an easy coming together of two contemporary young adults who can goof around, but have good sense and substance when need be.

     In basing his film on the true story about a couple getting caught in a hurricane and stranded in the Pacific Ocean without communication or navigation tools, director Baltasar Kormakur (Everest, Reykjavik) and his crew including cinematographer Robert Richardson (JFK, The Aviator, Hugo, Django Unchained), composer Volker Bertelmann (Lion, “Patrick Melrose”), and production designer Heimir Sverrisson (The Oath, The Secret Life of Walter Mitty) have created a beautifully rendered, stunning account of an unanticipated adventure.  

Bottom Line:  A thriller on the open seas, with the boat’s creaking sounds remaining with you long after.

Grade:  B                                    By Donna R. Copeland

ON CHESIL BEACH

Saoirse Ronan     Billy Howle     Emily Watson     Samuel West     Anne-Marie Duff     Adrian Scarborough

     It’s the 1960’s in England, and Florence (Ronan) and Edward (Howle) have just met in a love-at-first-sight moment.  They joke with each other, have fun, and talk about things that are important to them.  She’s a classical musician and he is a history expert, but has a wealth of knowledge about the world around him.  They seem to have a lot in common despite their different backgrounds—hers upper class, his working class.  His father is headmaster at a school and his mother an artist, so they are educated, but she had a brain injury that has resulted in odd behavior.  Florence’s family is rather snobbish, so it takes a while before they can accept Edward.  But things are coming along; Florence loves Ed’s family and they love her. 

     The day comes for them to be married.  This is a very long day, but director Dominic Cooke breaks it up by interspersing scenes from their childhood and the early days of their courtship, which helps to make sense of what happens on their wedding day.  Their honeymoon is in a fine hotel on Chesil Beach, known for its distinctive rocks, which serves as a metaphor for the rocky time their relationship will have.

     The book on which the film is based is by the acclaimed novelist, Ian McEwan, who wrote the script as well.  Many of his novels have been adapted to film, including Atonement, which won an Oscar.  His characters are well conceived, with psychological depth and a kind of realness that reminds us of people we know or can imagine.  That’s the strength of this film, along with the actors who play the main characters, Ronan and Howle.

     Although the director has done well in many respects, the film sags in its lingering on Florence’s obsessiveness and need to be in control and to be controlled in her every move (thanks to an overly critical father), making the audience squirm and look at their watches.  Another drawback is the loud rock and roll/rhythm and blues blasts that occur during opening scenes and periodically throughout.  It frequently drowns out the dialog, and makes it stand out in a bad way.

     But another strength of the film is its brilliant illustration of how important sex education is.  Although not unusual for the 60’s, these young people have not been taught the basics—either formally or informally—and your heart will go out to them in their pain and inability to express themselves or get any guidance.  A minister and a father offer their help, but the young people have been taught to suppress emotions and concerns, so can't discuss the issue.  

     Cinematographer Sean Bobbitt deserves praise for his camerawork, which captures the landscape contrasted with the emotional turmoil and shots that express so well the agitation and angst of the characters.  There has probably never been a wedding night scene quite like this one in film—although I have no doubt it has occurred too many times in real life.

     Saoirse Ronan is a consummate actress skilled in playing young, cheeky characters; and here she demonstrates her skill in portraying a woman truly afraid. Billy Howle is newer to film, but shows up extremely well here in a complex character who is trying to integrate his aggression, tenderness, and competitive feelings, and develop patience.  He made the picture of humiliation and regret come alive on the screen.

Even today, this film might be relevant for couples considering marriage.

Grade:  B+                                    By Donna R. Copeland

THE SEAGULL

Annette Bening     Saoirse Ronan     Billy Howle     Corey Stoll     Elisabeth Moss

Brian Dennehy     Mare Winningham     Jon Tenney     Glenn Fleshler

     Unrequited love and artistic aspirations take center stage in this production based on Anton Chekhov’s play written at the end of the 19^thCentury and performed onstage in the U.S. numerous times—a demonstration of its popularity. Director Michael Mayer indicated in an interview that he wanted to do a film version of the play, because it would allow audiences to get into the “soul” of the characters more than they could when it is performed onstage.

     And what a mix of characters!  Annette Bening plays the role of Irina, a successful and still adored actress, who has come to rely on her success and popularity to the extent that she finds it difficult to empathize with troubles of those around her, even those of her son Konstantin (Howle).  He is an aspiring writer/producer of plays, struggling to make it in the world his mother has mastered.  To add insult to injury, she has bonded with Boris (Stoll), a successful writer who seems oblivious to what Konstantin is trying to achieve.  Konstantin finds himself consumed in jealousy, not knowing whether he can ever become as accomplished as either of them. 

     The action takes place at the summer home in the country owned by Irina’s brother (Dennehy), so the majority of the characters are local to that area. One of the locals is the daughter of a wealthy neighbor named Nina (Ronan), whom Konstantin adores.  But the daughter of the manager of his estate, Masha (Moss) is hopelessly in love with Konstantin. (She contributes much of the comedy in the film, snorting coke and gulping vodka while making statements like, [the reason I only wear black is that] “I’m in mourning for my life.”  [Actually, that may be another theme of the film:  mourning for one’s life as it has turned out.]  The one longing after Masha is a schoolteacher (Fleshler), who isn’t very smart, “but is a good man.”  When they meet at this vulnerable time, Nina becomes star-struck and smitten with Boris, Irina’s mate.

     You can see, this is all set up to be a farce of shifting romantic liaisons; but it has more depth than that in its examination of art (idols are not necessarily to be worshipped and the issue of how much one is supposed to sacrifice human relationships for art); the challenge of continuing to pursue dreams and cope after rejection; and how much to “settle for” to have an intimate relationship.

     The actors are the strength of The Seagull, with Bening securing her place as a star performer. Impressive as well is Saoirse Ronan, always right on, and especially in her delivery as an ingénue in the film’s play by Konstantin (If I didn’t know better, I would swear she had never acted before!).  Billy Howle plays the young tortured artist with skill and pathos.

     The weakness lies in the film’s not being able to wrest itself from a staged performance.  It’s usually difficult to make this transition, and, unfortunately, this—along with other movies before it—does not succeed.  Why does this matter?  I’ve thought about it many times, and have concluded that seeing real actors onstage is very different from seeing actors in a film.             The former is more realistic because the actors are “real” people; whereas in a film, the reality shifts to a much broader field, all of which must be incorporated into the “realness.”  Plus, it also seems that actors deliver their lines very differently in a play vs. in a movie. 

This is a film primarily for those who love classical theatre and plays.  

Romantic charades in a beautiful country home setting.

Grade:  C+                                    By Donna R Copeland

SOLO: A STAR WARS STORY

Alden Ehrenreich    Joonas Suotamo    Woody Harrelson    Emilia Clarke    Donald Glover

Thandie Newton     Paul Bettany     Jon Favreau     Linda Hunt

     The origin story of Han Solo of Star Wars fame zips along at a fast pace, with special effects galore, which becomes tiresome even though they are very striking.  But they dominate the picture so much they look like an advertisement for the companies producing them (i.e., Lucas Films, Walt Disney Pictures, and eight special effects makers).  At the same time, the screen is so dark—especially during dramatic scenes when special effects are minimal—it’s difficult to follow the story closely, the darkness perhaps the fault of he theater rather than the film itself.  Dramatic scenes are few anyway, and next to special effects, incessant gun battles and space chases dominate the story in a video-game-like manner.  

     There is a story, mostly of Han (Ehrenreich) trying to escape where he is and getting into trouble doing it—more than once. But he is a fast talker, and manages to argue his way into places, convincing the person in charge to allow him to do a job.  In the beginning, he is with his love Qi’ra (Clarke), but they get separated early on, and years go by before they will be reunited.  By then, much has changed, at least for her.  She is now a lieutenant for Dryden Vos (Bettany), a crime lord.  The two run into each other after Captain Beckett (Harrelson) becomes Han’s ambivalent mentor following after Han is kicked out of the military for insubordination.  Beckett and Vos are engaged in a major caper to steal a valuable mineral, and Beckett allows Han to be a part of it.  

     What follows is like a “Who’s on First” (Abbot and Costello) routine.  That is, who’s in charge and who has the cards shifts, including a surprise group of natives who charge white people with stealing their natural resource.  At times, it seems like Han is on top, but then, maybe it’s Vos, oh, but there’s Beckett, and then, maybe Lando Calrissian (Glover), and Qi’ra surfaces from time to time.  These change-offs provide some tension and thrill to the story, but since it’s basically predictable, you find that there are few surprises.  Most basic, of course, is that Han Solo will survive and journey on.

     If you are a hard-core Star Wars fan, this film might be thrilling for you.  For those somewhat removed, it is not likely to impress.  It would have been a much more powerful film if it had a deeper message and heightened dramatic power.

Special effects upon special effects, but with a thin story.

Grade:  C                                     By Donna R. Copeland

BEAST

Jessie Buckley     Johnny Flynn     Geraldine James     Charley Palmer Rothwell     Trystan Graville

     Beast is a nifty thriller that sneaks up on you, leading you to think it’s about a maladjusted young adult woman who is rebellious because of how her family treats her.  Moll (Buckley) is clearly a misfit at home as she was earlier at school.  At school because of a murky incident in her past, at home because she has been labeled as “all bad” and her sister as “all good.”  Her sister is beautiful and living what seems to be a charmed life, which makes it easy for her to be charming.  On the other hand, Moll has more depth, is difficult to understand, and always looks as if she is hiding something—all of which combined makes her an easy target for others’ projections.

     For Moll’s birthday, her mother (James) has organized a big party, which Moll is enjoying, until her sister preempts it with the announcement that she and her husband are expecting twins.  The spotlight pivots in that direction (apparently something that has happened all too often in the family history), and Moll shrinks away.  She leaves the party, walks on the beach, and goes dancing at a bar until morning.  When she is walking toward home, she is waylaid by a man she was dancing with earlier, who pressures her to continue partying.  She is having trouble getting away from him when suddenly another man with a gun appears and chases him away.

     This is Pascal (Flynn), who immediately gives her the kind of attention she has craved all her life.  He seems to understand her without knowing much about her, boosts her self-esteem, and is funny and charming.  The problem is, he’s not in the same social class as Moll, and when he meets her family, her mother is disdainful.  But Moll and Pascal seem to have a special empathic connection with one another, perhaps because he is a current suspect in local murders, and Moll was once charged with threatening a fellow student.

     The beauty of this picture, written and directed by Michael Pearce, is the way in which this empathy between the two plays out over time.  The filmmakers keep the viewer in suspense until the very, very end of the story.  Buckley gives an artful performance in portraying a resentful, troubled woman, and Flynn is the embodiment of a male protector with the ability to sense whatever is needed and provide it with charm and sincerity, in an oily kind of way.  

Beast offers an entertaining, suspenseful ride that will keep you engaged while it touches on deeper psychological yearnings that make a person vulnerable to influences which may lead down a garden path…or may prompt surprising, decisive action.

Beast is a thriller with intelligence and creativity behind it.

Grade:  A-                                    By Donna R. Copeland

BOOK CLUB

Diane Keaton     Jane Fonda     Candice Bergen     Mary Steenburgen

Andy Garcia     Craig T. Nelson     Don Johnson     Richard Dreyfuss

     This bit of froth proceeds just about as expected, given the cast and the topic. Older women do daring things and after ups and downs, (almost) everything turns out groovy in the end. The characters are rather stereotypical, except maybe for Vivian (Fonda), who chose career over marriage and has become a wealthy woman.  Sharon (Bergen) is a Federal judge who’s been divorced for 18 years.  Diane (Keaton) lost her husband a year ago, and has two daughters who are rushing her into the grave and overly parenting her, or trying to.  Carol (Steenburgen) is happily married to Bruce (Nelson), but he has shut down since his retirement.  Their relationship needs a shot or something in the you-know-where.  

     The four women have been friends for years, their connection currently centering on their book club.  Vivian decides to spice things up, and when it’s her turn to choose the book, she passes around E. L. James’ Fifty Shades of Grey.  Her friends are horrified, but each one (guiltily) charges through it, and it seems to have a unique effect on each one, egged along by more frank discussions about how the women really see each other.  Basically they all need to get out more, out of their particular rut.  Sharon is prompted to go to an online dating site; Diane piques a fellow traveler’s interest by reading her book on the plane, after she has literally fallen into his lap getting into her seat; and Carol tries sexual come-ons in the book to arouse Bruce’s interest.  Vivian doesn’t “try” anything; she is convinced she has found the key to happiness.  Then an old school chum, Arthur (Johnson), surfaces and begins provoking her.

     Bill Holderman (director and co-writer with Erin Simms) has created a crowd pleaser (going by the reactions of the audience in the screening I attended) that contains sit-com humor, predictable complications, and a fanciful ending. Another idealistic treatment is reflected in the highly attractive appearances of most of the characters—certainly the women, and arguably for the men, as there was audible panting when Andy Garcia appeared.  

     There is little of substance in the story; the best dialog comes toward the end when the friends become more open and realin their conversations.  But for the most part, the story is more pie-in-the- sky than anything based on reality.  The best part of the movie is seeing the abundantly talented well-cast actresses doing what they do best—acing their roles as written for them.  If only the writers had opted to portray a more realistic picture of this stage in a woman’s life; I assure you, it would contain many more shadings and nuances, and likely be a much more interesting film.

A rather skewed, fanciful view of the lives of women past a certain age.

Grade:  C                                                By Donna R. Copeland