THE SECRET: DARE TO DREAM

Katie Holmes     Josh Lucas

     Sweet, syrupy, pure fantasy—I loved this movie!  The joke’s on me, because it’s not the kind of film that I usually take to at all—in fact, I’m often averse to this kind of thing.  Yet, there was something about it that moved me and sustained my interest the whole time.  It’s basically a tension between ultra-realism and pragmatics vs. determinism—everything happens for a reason and beyond one’s control. (So just relax, and everything will work out.)  I think it is the subtlety with which these ideas are presented that makes this film “excusable” to me.  

     The story is set up right away showing a life that seems hopeless.  Miranda (Holmes) is a struggling widow with three kids.  Her house is falling apart, she is forgetful, and her kids are so keenly aware that they can’t afford the kinds of things kids want, it continually reminds her of the loss of their dad.  On the positive side, she has a secure job where the owner of the restaurant, Tucker (O’Connell), is attracted to her and a mother-in-law who—though bossy—is someone she can depend upon and truly cares about her and her children.

     One day, when Miranda is arguing with her daughter in the car coming home from school, crash! she rear-ends someone in a pick-up truck.  But the driver is one of those individuals who is intuitively sympathetic and empathic—so much so, he offers to repair her bumper, the only thing damaged.  (Note:  This is a continuation of the tension between optimism and pessimism.)  Brad (Lucas) stays on the scene, helping her and her kids both emotionally and in practical things, like repairing the roof after a storm…all set up to continue the parable of self-determinism and fate.

     The film is very well directed by Andy Tennant from a finely written script, and the actors led by Katie Holmes and Josh Lucas make the story zing.  Yes, you’ll have little surprises along the way, although some of you will chafe at the predictability.  But there are little tweaks that take it beyond the ordinary.  For example, the mother-in-law (expertly executed by Celia Weston) is shown in stereotypical ways (i.e., obnoxious), but also with genuine caring and concern for her daughter-in-law.  She represents the “good sense”, “practical” side of the story’s argument, along with her favorite, Tucker, who faithfully pursues someone he cherishes.

     But Brad represents the figure who, after a traumatic event, alters his life toward one of acceptance and hope, taking in stride whatever happens and making the best of it for others as well as for oneself.  This attitude is shown to be inspiring to kids as well as adults, and is the central message of the film.

The Secret turns out to be a nice surprise, and one that could stimulate more serious discussion later.

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

YOUTH IN OREGON

Frank Langella   Mary Kay Place   Billy Crudup   Christina Applegate   Josh Lucas   Alex Shaffer   Nicola Peltz

          Ray Engersol (Langella) has received bad news from his doctor and as a retired physician and friend of his pals who have passed on, he knows what is ahead, and decides on his own to make the trip to Oregon where medical aid in dying is legal.  One of the film’s primary assets is the portrayal of family members’ reactions to his announcement, and how the crisis interplays with other disturbing life events going on at the time.  Ray’s daughter Kate (Applegate) is the one experiencing the strongest negative reaction, and she is hysterical in arguing against her father’s decision.  Ray’s wife Estelle (Place) reflects the weariness of a long-term caregiver (Ray has a history of heart disease) who has spent most of her life deferring to her husband.  Kate’s husband Brian (Crudup) is often caught in the middle between his wife and others in a conflict, and he does make the sensible decision to drive Ray from New York to Oregon for an appointment he has made.  Kate is at first bound and determined to do it herself, but her daughter has precipitated a crisis, so it’s best for her to stay home.

          It’s a relief for the viewer when en route to Oregon, Ray, Brian, and Estelle decide to stop and see the Engersols’ estranged son Danny (Lucas) and Brian’s college-age son Nick (Shaffer).  Both sons are loathe to see their family, but when they learn all the facts about the reason for the trip, they help mitigate conflicts and join the caravan.  A big mistake of Ray is his withholding medical information from his family that would help them understand and empathize with his position.  When he finally confides in Danny, it makes a huge difference in his attitude.  I hope families viewing Youth in Oregon will take note in case they’re ever in this situation.  Knowing about the seriousness of illness is essential to being able to accept such a momentous decision.

          This is Joel David Moore’s first time directing a feature-length film on his own, and the script is Andrew Eisen’s first screenplay, so the quality of the filmmaking is impressive, including Joel P. West’s mood-capturing music and Ross Riege’s inventive and beautifully colored cinematography.  The story and depiction of the characters are realistically presented with the complexities often found in modern-day families.   When I worked at a cancer center, I was often struck by the number of instances in which families have additional crises in their lives that they have to deal with—cancer is only one of other crises, such as alcoholism, drug dependency, house fires, and acting-out children.  The filmmakers here seem to know that well enough to include it.

          Frank Langella’s astute portrayal of an older man who has always been in control of his life and his dogged pursuit of his goals steers the movement of the story and keeps its focus in the face of tremendous emotional resistance.  Billy Crudup reflects well the miseries of his character torn by various pressures and trying to accommodate his wife’s frequent instruction to “Do something!”  Christina Applegate is adept in modulating her performance across different roles—nurturing, supportive mother and horrified, scolding mother; loving wife and goading wife and daughter.  Josh Lucas’ subtle portrait of an estranged son with long-standing conflicts with his father instantly moving to an understanding, supportive stance toward him is very well done.  The young actors Nicola Peltz and Alex Shaffer depict the essence of normal teenage efforts to separate from their parents.  Mary Kay Place’s character is one that seems beaten down and turning to crutches to help her along, and Place accomplishes that to a tee.

      The title of the film puzzled me, but I read that “Youth” is a play on the word ‘euthanasia’—rather lame, if that is true, especially since a knowledgeable friend of mine (Cindy Merrill, Co-founder of Texas Death with Dignity and local advocate for the Death with Dignity National Center) pointed out that euthanasia is illegal in every state.  Oregon and five other states allow what is termed 'medical aid dying' and 'physician assisted dying'.

       Youth in Oregon is especially helpful in demonstrating the steps in physician-assisted dying in a neutral setting with characters we haven’t become emotionally attached to—presumably to help us be more objective in confronting such a sensitive topic.  The filmmakers keep the viewer guessing as to exactly how the story will conclude until the very end. 

Youth in Oregon is a sensitive exploration of the controversial topic of physician-assisted suicide and one family’s variable reactions when confronted with it.

Grade:  B                           By Donna R. Copeland