Archive

3 stars

Related image

This is a confounding but worthwhile picture.  It tries to be many things.   A heist caper.  A feminist tract.  A racial observance.  A cynical statement on corruption.  A twist flick.  It fails to be complete in any of these pursuits, but that doesn’t make it unenjoyable, just vexing.

Steve McQueen (Shame, Twelve Years of Slave) brings his meditative touch to Chicago, where the widows of a group of professional criminals (think the gang in Heat; in fact, the widows pick up a driver on the fly just like in that flick) must pick up where their flawed husbands have left off.  Their pursuit is intertwined with romantic, political, and familial entanglements.

There’s a lot here, but eventually, the film falters because it takes on way too much.  This is a mini-series sized saga, and given how well McQueen does with various scenes, you’re eventually frustrated at the truncated resolutions.  Still, the performances are stellar.  In particular, Viola Davis, even saddled with an ever-present and ridiculous West Highland White Terrier, is penetrating, and as villains go, Daniel Kaluuya (Get Out) is a top ten.

Advertisements

4ED58CC3-38E9-4930-9FFC-42630AA79B50

I assume this is based on a video game. If not, it has the haphazard feel of one and the banal dialogue sounds like what video characters might say. There are also times when you wish you could hit reset given its hackneyed aspects (stock Italian goomba rifleman, erudite and aristocratic Nazi officer heavy,  soldier revealing post-war plans right before . . .)

But this story of a WWII paratroop unit dropping behind enemy lines only to find that the Nazis are – can you believe it? – engaged in medical experimentation to create an uber soldier is competent with a fun B movie feel. And occasionally, it is even a little scary.  Entirely worth the $1.87 Redbox rental.

One other positive note. The lead and the tough guy sergeant are African-American, which, given that integration of the troops didn’t occur until after the war, is an anomaly. However, since race has absolutely nothing to do with this middling popcorn flick, it’s a welcome development. Sure, there are no black Nazis, but all in good time.

7C9B9607-6014-41E4-8234-36FA8FCA7AC5

A filmmaker who can communicate his vision entirely is a rare thing, even if the vision is too reliant on cruelty.  Yorgos Lamthinos’s The Lobster was as original as it gets, but also sterile, unfeeling and kind of unpleasant.

The Favourite is more traditional than the futuristic The Lobster, a period piece of court intrigue, but it shares its iciness. Rachel Weisz and Emma Stone vie for the attentions and favor of Queen Anne. Weisz wants power, Stone security. Their war has its moments, particularly, a biting sense of humor that reveals itself now and again.  They also share a weary, dim view of their male dominated world; the men are for the most part fops, suck-ups, and/or brutes, and it is amusing to watch Weisz and Stone endure them.  Yet, their single-minded pursuit of the upper hand is solely rooted in the base instincts of survival, so it’s hard to gin up any empathy. You’re detached from their fates, and the accompanying pain.  They flash as human, but they don’t really seem it.

The performances are stellar.  Olivia Coleman’s performance as the mercurial and insecure queen, for which she won the Oscar, is a masterful blend of the sympathetic and comic. She is the ultimate tormentor, but ironically, she’s the only one you feel bad for.

It’s a technically adept yet cold and un-involving picture.  Lamthinos (who reminds me of Darren Aronofsky in his penchant for brutalization) also has a morbid fascination with bodily functions, which doesn’t help.

Image result for Annihilation

I loved Ex Machina but Alex Garland’s follow-up falls short.  Given the film’s ambition, however, it is a noble failure.  Natalie Portman is an ex-military, now-professor whose Special Ops boyfriend (Oscar Isaac) goes missing after a clandestine mission.  When he returns, in very bad shape, she is drawn to the mission herself, and soon finds herself part of a five person team entering “The Shimmer”, a disorienting, disturbing, inexorably expanding mass of acreage that started when something from the sky hit the ground.  As the team enters to get to the source, they are transformed by their environment, and I’ll leave it at that.

It’s pretty damn cool.  But ultimately, Garland relies so much on the visual for his message that the picture serves as more of an aesthetic treat than a compelling story.  The ideas are boffo, but the execution is a bit dreary and drawn out, and frankly, like Arrival, this film may just be over my head.

There are other problems.  Portman’s harkening back to her transgressions in her relationship with Isaac seems silly given the gravity of her situation.  I was reminded of a stupid movie I saw years back about a group of gals who decided to have a bachelorette weekend spelunking, as most women do, and as hideous mole people chased them through caves, the fact that one of the women slept with the fiancée of another actually loomed large.  “Okay, okay.  I slept with your boyfriend.  Not cool.  Now, can we get back to the mole people?”

One last note – I’m down with 5 women on a military/scientific exercise, but one should be aware of the Ghostbusters re-make and maybe switch up the uniforms.  I half expected

Image result for Ghostbuster green ghost
to show up.

On Hulu now.

 

Image result for crazy rich asians

This rom-com starts off balky, rights itself into a traditional flow, gets deliciously weird (catty women do some frightful things to rivals in Singapore) and then, eventually, wins you over.  Not in a “what a splendid and unexpected surprise!” way, but rather, in a “I am no worse off than I was 2 hours ago and I’ve certainly spent my time in less valuable pursuits” way.  The film’s additional bonus is as a travelogue.  I would now like to visit Singapore and if I were crazy rich, I’d really like to make the trek.

Image result for Brubaker

I just finished Blood in the Water, an exhaustive history on the Attica uprising and its aftermath.  And lo and behold, Brubaker hits the cable movie rotation.  I remember it being overly preachy but engaging, but times have changed, and now, Stuart Rosenberg’s (Cool Hand Luke) film seems rather reserved and even-handed.  It isn’t but that’s how it feels today.

No matter the prevalence of a particular bent, the picture juggles its message and a gripping mystery within the prison adeptly, the feel is right, and it is never dull.

Henry Brubaker (Robert Redford) is a reform warden incarcerated incognito as an inmate in the Arkansas prison he will soon be running.  From the outset, he witnesses abuses by trustees (prisoners given the right and authority to be armed and act as corrections officers) that include brutal beatings, theft of food for resale, and extortion for basic necessities.  As for the conduct of the governmental officials of the prison, it is no better.  The doctor charges for services, the cooks charge for edible food, and the warden hires out men to local businesses for free.  Rape is rampant and problem inmates (including a young Morgan Freeman) are shut in dark, airless cells in a separate area of the prison.

Brubaker soon reveals himself, and in his attempts to change the prison, he is met with stiff resistance from the local community, the trustees, and soon, even the governor who appointed him.  His liberality is thrown in his face by the conservative elements, who see him in league with the prisoners, while the liberal faction sees only the damage done by his upending the system and his refusal to take half a loaf.

There are problems.  Redford is plagued by his good looks.  His embedding into the prison population without notice is a stretch.  He is also so self-righteous and literal, it grates, and the end is just piling on. Also, a potential sexual chemistry between Burbaker and assistant to the governor Jane Alexander is needlessly left unexplored.  And Roger Ebert, per usual, hits the nail on the head:  “The movie (refuses) to permit its characters more human dimensions. We want to know these people better, but the screenplay throws up a wall; they act according to the ideological positions assigned to them in the screenplay, and that’s that. … Half of Redford’s speeches could have come out of newspaper editorials, but we never find out much about him.”

Still, the film melds political tract and thriller pretty effortlessly, and it is extremely well-acted, featuring strong performances by David Keith and Yaphet Kotto in early roles.

Image result for the disaster artist poster

This is a competent, amusing, even mildly affecting film, but ultimately, it is no great shakes.  It presents the story of Tommy Wiseau (James Franco), a mysterious no-talent who bankrolled, directed, wrote and starred in his own film, The Room, which was so terrible it became a cult classic.  Wiseau is indeed awful in all respects, so there is a lot of cringe-worthy viewing.  His idiosyncrasy and idiocy, however, travel only so far, and when there is nothing more to plumb from this weirdo wannabe, the mind wanders.  There’s nothing to root for (Wiseau is a bit of a cretin to his cast, collaborators and friends) and the film doesn’t compensate with enough humor.  So, it’s fine, but forgettable.