MARRIAGE STORY

Scarlett Johansson     Adam Driver     Laura Dern     Ray Liotta     Alan Alda

 Azhy Robertson     Julie Hagerty     Merritt Wever

      A heartbreaking story—but not so much that a couple’s paths in life take them in different directions—but that their whole separation becomes contaminated by external factors.  Geographical separation is commonplace in families nowadays, and is one of the factors in couples’ not being easily able to maintain an intimate relationship, especially when husband-wife careers’ pull them in different directions.  Nevertheless, upsets could be worked out amicably between the two parties, but so often third parties intervene in ways that are damaging.

     For example, Nicole (Johansson) and Charlie (Driver) are enjoying their marriage and professional collaboration in New York when she gets an offer for and accepts a starring role in a television pilot in Los Angeles.  That is where she is from and where her family is, and so she has always wanted to return.  Charlie gives lip service to her desires, but his career is taking off in New York, so he figures that she will go “do her thing” for a while, then return with their son Henry (Robertson), who has gone with her.  She kind of thinks this too; however, while she is there she begins to think about her marriage, and comes to feel that Charlie dominates her life too much.

     She then takes a fateful step in engaging canny lawyer, sharpshooter Nora (Dern) who is expert in pulling Nicole into her web, reinforcing her reservations about Charlie and working hard to exploit the case to the fullest extent (of her bill, of course).  This will set the ball rolling so that it will no longer be Nicole and Charlie working out their own solutions, but a legal battle between Fanshaw and Charlie’s attorneys, first Bert Spitz (Alda) and later when the going gets rough, Jay (Liotta).

     Writer-director Noah Baumbach knows very well of what he speaks.  The story is loosely based on his own separation from Jennifer Jason Leigh, his first wife, who apparently approves of this production.  (Baumbach is now with Greta Gerwig, director of Lady Bird and Little Women).  He is to be praised for a valiant attempt to present both sides of the contentious splintering in a fairly objective way. As presented, though, I had more sympathy for Charlie than for Nicole; but that may be partly because Nicole’s position and actions are not as well articulated, such that we don’t feel for her as much as we do for Charlie.  Except in the last court scene, she is not “rained on” by the lawyers as much as Charlie is.

     The two leads, Scarlett Johansson and Adam Driver, are fundamental in telling this story.  They give such seamless, authentic representations of their characters the film looks almost like a documentary.  Laura Dern as a lawyer is brilliant in capturing the persona of someone who knows how to beguile while delivering cutthroat blows.  Alan Alda, but more especially Ray Liotta, as Charlie’s lawyers are very good, but do have lines that match the lethality of Fanshaw.  Julie Hagerty and Merritt Weaver as Scarlett’s mother and sister provide some great hilarity to offset the heavy drama. 

Painful, hard truths and emotional ups and downs in this film will move you deeply, and for those who have gone through a divorce it will bring sharp remembrances.

Grade:  A                                                By Donna R. Copeland

JOJO RABBIT

Roman Griffin Davis    Taika Waititi    Thomasin McKenzie          Scarlett Johansson     Sam Rockwell     

Rebel Wilson     Archie Yates     Stephen Merchant     Alfie Allen

     What an ingenious anti-war film!  Taika Waititi has invested all of his creative energies into putting viewers into the mind of a child to take the journey from hope and hero worship on to despair and disillusionment, then full circle to hope, in a most unusual coming-of-age story set in Germany during the end of WWII.

     It begins (significantly, with a Beatles song “I want to Hold Your Hand” in German) with Jojo (incredibly portrayed by Davis in his first film), a gung-ho young German attending a youth camp for Nazi training.  He’s so into it, he has his [imaginary] friend Adolph Hitler (Waititi) by his side, bolstering him up when he’s discouraged and urging him on to a promising future as the bravest of Nazis.  There are signs, however, that Jojo might be too tenderhearted, and that’s how he gets his nickname, Jojo Rabbit.  (Jeers on all sides from his trainers and fellow recruits—except for one Captain “K” (Rockwell) who, uncharacteristically among Nazi soldiers, seems to have some empathy for him.)

     Jojo’s kooky-on-the-outside mother (Johansson) has a way of supporting her son while at the same time glossing over his stated fears.  In a way, she entertains him out of these concerns, but always with an underlying steadfastness that proves her worth.  She’s a mysterious character who appears to have important things going on, but Jojo doesn’t really know where she is when she’s gone from home.

     Which, because he is alone, is how he discovers an extra person in the house, “Elsa” (McKenzie) named, for purposes of subterfuge, after his dead sister, a young Jewish girl Jojo’s mother is hiding.  Jojo’s and Elsa’s interactions provide a context for Jojo to spout out all that he has heard of Jews (having never met one) and a framework for Waititi to illustrate how stereotypes vanish when actual people meet actual people, the distance shrinking as they become friends.

     Seldom have anti-war movies covered the scope of Jojo Rabbit.  It portrays the internal experiences of a young Nazi in training ushering us on through his figuring out “Jews”, his encountering primal fears of home searches, his observing people he trusts of glossing over facts for humanitarian concerns, and his discovery of who important people in his life really are, including his mother and his ever loyal friend, Yoki (Yates).  But beyond all of that, it has its comedic moments, e.g., reverse psychology is rephrased as “backwards mind power”, and the name of Jojo’s “book” about Jews he is writing is entitled, “Yoo-hoo, Jews”).

     I thoroughly enjoyed Jojo Rabbit, and hope that viewers will grasp all the underlying messages in it about children and about war.  It’s a satirical spoof, a heart-warming drama, a comedy, and horrifying picture of the costs of war.

Jojo Rabbit is not to be taken lightly, although it is a comedy, along with being a satirical spoof and heart-warming drama.

Grade:  A                                    By Donna R. Copeland

AVENGERS: ENDGAME

Robert Downey, Jr.    Chris Evans    Chris Hemsworth    Paul Rudd    Jeremy Renner

Scarlett Johansson     Mark Ruffalo     Brie Larson   Bradley Cooper    Tilda Swinton    

Don Cheadle     Karen Gillan     Zoe Saldana     Tilda Swinton     Gyneth Paltrow

Chadwick Boseman     Danai Gurira     Letitia Wright     Elizabeth Olsen

     Endgame is quite the finale to Marvel Comics’ Avengers series.  The creators (Anthony and Joe Russo, directors) manage to reprise almost all the roles in previous films, and there are reunions as touching and significant as the beginning of this last season of HBO’s “Game of Thrones.” The film starts with an eerie reminder of Thanos’ (Brolin) intentions in Infinity Wars (to destroy half the people on earth to deal with over-population) by showing Hawkeye (Renner) training a young woman in shooting arrows while his wife calls on family members for a picnic lunch.  Suddenly, everyone but Hawkeye disappears.

     Five years later, some of the Avengers are congregating to come up with a solution. But part of the problem is that some have become content; for instance, Tony Stark (Downey) is basking in family life with Pepper Potts (Paltrow) and their young daughter Morgan.  When some of the others—specifically Banner/Hulk (Ruffalo)—think they have the solution:  A time machine that will take them back to the time before Thanos stole the stones, retrieve them, and use them to get back the people destroyed and create a different world.

     They have a difficult time rousing Stark/Iron Man from his contentment and risk losing those he holds most dear; but, of course, the whiff of a challenge and an adventure reels him in.  From then on, a full contingent of the Avengers [Iron Man, Hulk, Captain America (Evans), Thor (Hemsworth), Black Widow (Johansson), Ant-Man (Rudd), and Hawkeye] test and use their knowledge of time travel to reverse Thanos’ delusional plan.  

     They are indeed able to travel back in time, but it won’t be as simple as they expect. There will be many reunions, but the Avengers will encounter some of the same challenges they thought were over. The special effects for time travel will be a highlight of this story.  The viewer experiences just exactly what we imagine it would be like if we were so privileged.  

     Then, when you get to what looks like the last big battle (and it goes go on and on), don’t settle back in your chair or get ready to leave; much more is coming to create a satisfying conclusion in terms of closure—not necessarily satisfaction with what does occur.

     As with most Marvel Comics movies, this one is overly long, bloated by the obligatory fight scene toward the end, and of course a fistfight scene is required as always.  But in its favor, the story is exciting and suspenseful; the special effects outstanding; and the humor almost always really  funny.  Also, women have stronger roles than in the past.

Endgame is a worthy conclusion to the Avengers series.

Grade:  B                                    By Donna R. Copeland

SING

Voices of:  Matthew McConaughey   Reese Witherspoon   Seth MacFarlane   Scarlett Johansson   John C. Reilly  

Nick Kroll   Nick Offerman   Leslie Jones   Jennifer Saunders   Rhea Perlman   

Jennifer Hudson   Tori Kelly   Taron Egerton   Garth Jennings   

       The show must go on.  Clever animation and a wealth of songs tell the story of Showman Buster Moon (McConaughey), a koala who has inherited a famous theater from his father, and he is desperately trying to keep it going.  But he has had a number of failed projects and is about to lose it to the bank when he has a great idea for a singing contest. 

          The screwball comedy in the efforts to make it happen include such things as Buster’s secretary Miss Crawley (Jennings) constantly losing her glass eye, which bounces around, landing on the computer keyboard, and making $1,000 into $100,000.  Buster doesn’t find out about this until much later, because as Miss Crawley was carrying a stack of the flyers announcing the contest to show Buster, the whole stack gets blown out the window and scattered by the wind.  Hundreds of flyers all get picked up by aspiring vocalists all around the city in need of cash.

        Sing is animated and all the characters are animals.  There are pigs, elephants, sheep, baboons, giraffes, and an alligator among others, but these are only the main players.  Rosita (Witherspoon) is a housewife pig with 25 kids and an absent-minded husband who takes her for granted.  She is tech-savvy, and creates an automated assembly line at home so she can get out of the house to compete.  Mike (MacFarlane) is a mouse with a Frank Sinatra voice who has a gambling problem, and hence has big brown bears chasing after him for cheating.  Ash (Johansson), a porcupine is part of a duo, but Buster only wants her to sing, wounding her narcissistic partner deeply.  When she gets really into her songs, quills have a tendency to fly out and get stuck in the audience.  Meena (Kelly) is an elephant with a voice, but she is so shy she clams up during a performance, which enrages her “stage-mother” father.  Included is Johnny (Egerton), a gorilla who has great talent for jazz piano, the only problem being that his gangster father wants him to continue to pull off jobs with him.

       When one disaster follows another, and it looks like all is lost, Buster engages the help of his friend Eddie (Reilly) the sheep, who comes from a wealthy family and has a nanna, Nana Noodleman (Hudson and Saunders) who used to perform in operas at Moon’s concert hall.  Buster wants her to sponsor the contest, so invites her to a rehearsal.  Disasters happen, involving all the contestants and those chasing after them, so that it’s doubtful Buster and his hall will survive.

       The primary theme of the film is that everyone involved must pull together to make the show go on, and that fundraising is always something to be dealt with.  Sometimes it also takes boosting the self-confidence of the performer, holding back parents pushing their children inappropriately, and then convincing other parents that their child has talent and needs to be encouraged.

       The film is a bit of a mish-mash in the beginning, and I wonder how many children can appreciate the plot, because it has a lot to do with the “business” of running a theater.  But when the contest and parent involvement begin to happen, the story gets more interesting and engaging.  Writer-director Garth Jennings has conceived of a picture that is ultimately engaging and has good information for children.  The production design by Eric Guillon and animation pull the audience in visually, and Toby Talbot’s music is a running delight throughout.

This is a fanciful animation about what is actually involved in show business.

Grade:  B                                    By Donna R. Copeland

CAPTAIN AMERICA: CIVIL WAR

Chris Evans   Robert Downey, Jr.   Scarlett Johansson   Sebastian Stan   Anthony Mackie   Don Cheadle   Jeremy Renner   

Chadwick Boseman  Paul Bettany   Elizabeth Olsen   Paul Rudd   Tom Holland   Daniel Bruhl   William Hurt   Emily VanCamp

          Keep your eye firmly on the screen because this Captain America travels at lightning speed across the continents, through the story line and the 90+ characters, over 20 of which are central to the action. Despite this complexity, more than in many action films, screenwriters Christopher Markus and Stephen McFeely present a coherent plot, fairly easy to follow for non-diehard Marvel Comics fans.  Industrial Light & Magic’s visual effects are stunning.

      It seems that after numerous deadly encounters through the years between the superheroes and the bad guys, much collateral damage has been incurred, making citizens fearful and governments thinking the Avengers need to be reined in.  It’s proposed that a United Nations panel be appointed to supervise them and set limits on what they will be allowed to do.  Tony Stark, aka Ironman (Downey), specifically is confronted by the mother of a promising son who was involved in charity work when he was killed in Sokovia, incidental to the Avengers’ defeat of the super villain Ultron.  The nation of Sokovia was decimated in that battle.

          Out of some guilt and reasoning, Stark is in favor of going along with the UN proposal called the “Sokovia Accords” when Secretary of State Ross (Hurt) presents it to him.  Tony brings it up to a few other super heroes for consideration, including Captain America (Evans), Black Widow (Johansson), the Falcon (Mackie), and Scarlet Witch (Olsen).  Vision (Bettany) and the War Machine (Cheadle) are already on board with the Secretary.  The film laudably presents logical arguments for and against the proposal, which have to do with individual freedom versus community interest and true heroism versus vigilantism.  Those on Tony’s side—Black Widow, War Machine, and Vision—regard community concerns as paramount; whereas those taking the other side—Captain America, Scarlet Witch, and Falcon—trust their own moral judgments over a committee’s and foresee that their individual assessments in emergency situations will be more effective than judgments by a committee.  This mistrust on the Cap’s part continues the theme from the 2014 Captain America film; namely his experience of being betrayed by authorities.

          So the lines are drawn between Stark and Captain America representing both sides of the argument, both of whom bring in recruits:  Spiderman (Holland) by Stark and Hawkeye (Renner) and Ant-Man (Rudd) by Captain America.  Fierce battles will be waged until an evil plot of divide-and-conquer is uncovered.  The Winter Soldier (Stan), Black Panther (Boseman) and Zemo (Bruhl) will play pivotal roles.

         Directors Anthony and Joe Russo (Captain America:  Winter Soldier) with their writers create an adventure-filled fantasy while clearly and intelligently addressing important moral issues related to security, privacy, individualism, and the role of governments in our world.  Grief over major losses and testing friendships add social/emotional components to make the action more meaningful.

      The cast is phenomenal, with most of the experienced, well-known superheroes skillfully reprising their roles.  Tom Holland as Spiderman is a welcome newcomer, acing his role with competency and humor.  Chadwick Boseman as Black Panther with cat claws is likewise effective in his introductory appearance.

A visual effects extravaganza with exciting and still meaningful content.

Grade:  A                                    By Donna R. Copeland

THE JUNGLE BOOK

Neel Sethi and voices of:  Bill Murray   Ben Kingsley   Idris Elba   Lupita Nyong’o  

Scarlett Johansson, Christopher Walken   Giancarlo Esposito

                  

“Now this is the Law of the Jungle -- as old and as true as the sky;

And the Wolf that shall keep it may prosper, but the Wolf that shall break it must die.

As the creeper that girdles the tree-trunk the Law runneth forward and back --

For the strength of the Pack is the Wolf, and the strength of the Wolf is the Pack.”

                                                          The Jungle Book by Rudyard Kipling

          This is a beautiful production for children that adults will enjoy just as much.  The Jungle Book is based on Rudyard Kipling’s book of the same title (screenplay by Justin Marks.)  It is truly a work of art in its portrayal of sound principles and its visual manifestation in production design (Christopher Glass, Abhijeet Mazumder) and cinematography (Bill Pope); in music (John Debney); and in the phenomenal acting by young Neel Sethi as Mogli supported by a stunning cast of voices.  After starting out as an actor, Jon Favreau seems to have come into his own in directing (previous features include Chef, Cowboys and Aliens, and two Iron Man films), as here he is spot-on.

          There have been numerous productions through the years of the Kipling Jungle Book stories (including other Disney films and books), but this is probably the most successful by virtue of the talented filmmakers and new technology.  Mowgli sprinting through the jungle on his bare feet, shimmying up tall trees, and hanging precariously from brittle limbs and sheer cliffs should impress everyone.

       One of the most important contributions of the film is the crux of the story, which demonstrates over and over again the necessity for cooperation among all living things.  Humans are shown to be destructive in our many uses of fire, but we’re at the top of the chain in our creativity and resourcefulness.  Nevertheless, when we ignore the essentialness and value of the other components of our universe (e.g., animals, plants, air, water), we risk our own destruction.  Mowgli serves as a model for us to follow; he makes friends everywhere he goes (except for one glaring example who refused to cooperate), primarily through his contributions to others and the common good and promoting cooperation in general. 

        There is one feature about Jungle Book that warrants explanation.  Part of Mowgli’s success with others is his use of tools to help him solve problems.  While this shows human creativity that separates us from animals, it’s hard to imagine how Mowgli could have learned these, having been brought up by wolves.

       Some of the conflicts in this film are fierce and bloody, and I wondered if smaller children would get too frightened.  However, I heard no cries from any of the young children in the screening I attended, but parents with children who are sensitive to violence (even in the jungle) may want to wait until they are older to show them this film.

To everyone else, I say, “GO”, for a thrilling, fun, quality time in the theater.

Disney scores a hit with The Jungle Book.

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

AVENGERS: AGE OF ULTRON

Robert Downey, Jr.   Chris Hemsworth   Mark Ruffalo   Chris Evans   Scarlett Johansson   James Spader (voice)   
 Jeremy Renner   Samuel L. Jackson   Don Cheadle   Aaron Taylor-Johnson   Elizabeth Olsen   Paul Bettany   Andy Serkis

This version of the Avengers features a dizzying number of battles with characters flying at each other through the air at lightning speed.  The story opens with the Avengers in an eastern European country, Sokovia, raiding a Hydra outpost led by evil scientist Strucker who has used Loki’s scepter to create the superhuman Maximoff twins out of humans, one of whom, Pietro (Taylor-Johnson), can run at superhuman speed and the other, Wanda (Olsen), can read and manipulate minds and throw scarlet energy blasts. 

But the Avengers overcome Strucker, and when Stark (Downey) and Banner (Ruffalo) take over his lab, they discover artificial intelligence in the scepter’s gem, which Stark wants to use for his “Ultron” peacekeeping defense program.  Unbeknownst to them and to their chagrin, however, when he appears, Ultron is sentient and hatching a plan to “save” the earth from mankind because they’ve done such a bad job.  While the Avengers are celebrating their victory over Hydra and Strucker, Ultron begins to take action by eliminating Stark’s A.I., J.A.R.V.I.S., and stealing the scepter, which he plans to use to upgrade his body and construct an army of fighter drones.  In addition, he talks the Maximoff twins into joining him in his efforts.  He is persuasive, because he talks only of peace, but fails to mention his grandiose plan of extinguishing humans and populating the earth with metal creations in his own image. 

When this is discovered, another battle ensues, and Wanda is able to make chaos among the Avengers by hypnotizing them into stupors and transmitting hallucinations that relate to their personal underlying fears, resulting in undermining any sense of team spirit they had.  Now they realize they need a break for rest and teambuilding, so they head for Hawkeye’s (Renner) farmhouse to rest up.  But their recuperation is interrupted by the arrival of Nick Fury (Jackson), informing them that Ultron has forced Banner’s scientific colleague Dr. Helen Cho (Claudia Kim), to use her synthetic tissue technology to perfect his body, so they head for South Korea to foil his efforts.

In the process, allegiances shift among different characters, Stark is able to resurrect J.A.R.V.I.S., which Thor activates with lightning, resulting in a new robot called Vision (Bettany).  The ultimate battle ensues in Sokovia, where Ultron has major plans to use the city in his efforts for global extinction of humans.

Director Joss Whedon, who is also one of the writers, is known for inserting emotional elements into his action films to make them more than simply action scenes with special effects.  This is usually successful, but not so much in Avengers:  Age of Ultron.  The side stories of Romanoff and Banner, Hawkeye and Wanda, and War Machine’s repeated corny jokes, for instance, seem patched in rather than seamlessly integrated into the overall story.  He is successful, however, in making the action interesting and exciting, and by now, after so many iterations, most of the characters have depth and distinct personalities.  As an added bonus to me, Whedon is a master at inserting classical music and literature into the sci-fi action genre—e.g., operatic aria playing in a laboratory that is creating A.I.’s.

The film’s impressive cast, music (Danny Elfman and Brian Tyler), cinematography (Ben Davis), and special effects make this a movie well worth seeing for those who are fans of the superhero genre.

Can the Avengers save the planet?

GRADE:  B                      BY DONNA R. COPELAND