NO OTHER CHOICE and Its Lethal Conscience

Director/co-writer Park Chan-wook (Oldboy) has made a fascinating thriller/drama that combines various genres with devastating results in No Other Choice, a convoluted exercise in auteur cinema.

Yoo Man-su (Lee Byung-hun) is a manager at a paper plant leading an idyllic life with a loving wife and two children. When he is laid off after a corporate merger and must scramble to pay his bills and mortgage, he is faced with the possibility of an uncertain future. Desperate and at his wits’ end, Yoo centers on a possible job opening at another paper plant, but with  other candidates vying for his precious job, he decides to eliminate his competition.  With each targeted executive, the situation gets more precarious and outrageous, and when the police begin questioning and his wife suspects something is wrong, what will he do?

The film asks, “What lengths will a man go to ensure his family’s well-being?”  There are Hitchcockian influences in Chan-wook’s ability to make his audience complicit in a crime with a morbid sense of humor.  The film borders on dark satire with Yoo’s bumbling attempts to commit murder which alternate from suspense to perverse comedy.  And yet the audience follows and even watches with a guilty fascination at his horrible plans, on the one hand hoping he can be successful and still feeling a sense of revulsion before, during and after a murder.  Byung-hun is triumphant in a challenging role, displaying a distressed husband and father who will stop at nothing to protect his family despite his ineptitude.

Shot with stunning imagery, those who are new to Chan-wook will find a master filmmaker spinning a tale about questionable morals that entertains and questions at the same time.  (The film works even in Korean with English subtitles.)

****1/2 of ***** stars

 

The Edge of Sanity in 28 YEARS LATER: THE BONE TEMPLE

The apocalyptic series (beginning with 28 Days Later) has another installment, 28 Years Later: The Bone Temple, which takes the franchise in a new direction with a horrifying yet intriguing premise.

Spike (Alfie Williams), from the previous film has been pressed into a gang of young survivors led by the fanatical Jimmy (Jack O’Connell), preying on other survivors of the plague.  Spike is desperate to escape from the murderous thugs when they come upon Dr. Kelson (Ralph Fiennes repeats his fine work) who is working to make contact with an alpha male who is infected with the rage virus.  Is it possible to get through to his subject, dubbed Sampson, and what will happen when the doctor and the gang cross paths?

With minimal zombies this time, the film, well directed by Nia DaCosta (Candyman) from a script by long time writer Alex Garland links directly with 28 Years Later and focuses on two subplots, the marauding gang and the doctor’s self-sufficient existence.  The gang members conduct ritualistic, one-on-one battles to the death and show no mercy to their victims.  Spike is our surrogate protagonist caught up in this vicious circle and horrified by the vicious, merciless acts.  Meanwhile the good doctor’s efforts to find a way to communicate with Sampson prove fascinating and offers a glimpse at possibly dealing with the infection.  It offers hope for an uncertain future especially with its revealing, touching ending.  There is also a nice callback that sets the stage for the next film.

Beautifully shot with memorable vignettes and tone of the Mad Max films, this is a better film than its predecessor and looks to steer the series to a more promising story arc.    

 **** of ***** stars (for purists)

 

Chalamet Supreme in MARTY SUPREME

Loosely based on a true story, Timothée Chalamet soars as a ruthless competitor in Marty Supreme, a high strung drama that reaches lofty heights before coming down to earth.

In New York, 1952, Marty Mauser is a frustrated table tennis star in the making who wants to be world champion. Selling women’s shoes and hustling all the time, he struggles to get resources to fly overseas for championship competition. Traversing the globe, he advances from semifinals to finals as he battles top players.  When the next championship is hosted in Japan, Marty is desperate to attend.  Resisting calls to commercialize or ‘sell out’, he begins to understand that the realities of his sport sometimes mean humbling himself and swallowing his pride.  Just as he realizes what is truly important in his life, can he find redemption and prove his worth?

Directed and co-written with gusto and frenetic energy by Josh Safdie (Uncut Gems), the film never slows down in its 2 ½ hour runtime. The sharp screenplay is intelligent and full of memorable moments.  Imaginative, fluid camerawork with handheld shots heighten the immediacy and excitement.  The music score and use of period songs are in perfect synch with the story’s accurate, period setting.

Bold and brash, Marty has big dreams and is portrayed as a loyal, at times reckless person constantly living on the edge. He’s a complicated guy, at times a walking contradiction and not always likable.  There are numerous scenes where he barely gets out of tough jams only to end up in another crisis. 

Supported by an excellent cast led by Gwyneth Paltrow and Odessa A’zion, this is Chalamet’s film all the way, and he gives it his all in a powerhouse role destined for Oscar glory.

****1/2 of ***** stars (a must for Chalamet fans)

 

Art Imitates Life in SENTIMENTAL VALUE

Sensitively told and boasting excellent performances, Sentimental Value is a very personal film about a fractured family coming together as it experiences love and pain from the past. 

In Oslo, an old house serves as the setting for a family specifically the childhood home for two sisters. Nora (Renate Reinsve), a local stage actress, and Agnes (Inga Ibsdotter Lilleaas), a wife and mother, are reconciling life without their deceased mother, and soon they are visited by their estranged father, Gustav (Stellan Skarsgård), a famous film director, who has a special script for his next film that he has offered to American star, Rachel Kemp (Elle Fanning).  With casting taking shape, through a series of flashbacks and remembrances, it becomes apparent that it tells a story that is very personal even autobiographical. As he tries to make his film, he and Nora are inexorably linked by his script which serves as a metaphor and catalyst moving forward.  

The film deals with familial bonds, suicide, reconciliation, end of life, and the choices we make in life.  It also serves as a multigenerational mystery going as far back as World War II that slowly explores pieces of lives torn apart and rearranged. Reinsve is excellent as she embodies a complex character who suffers from stage fright, has an affair, and is still struggling with the past especially her animosity toward her father whose absence has hardened her.  Veteran Skarsgård has his best role in years, while Fanning makes a strong impression in her limited screen time.

A Norwegian film partly in English, this deliberately paced film is always searching for the truth and emotion of the moment.  It’s a tale that transcends language barriers and speaks universally of the relationship between father and daughter.

**** of ***** 

 

Spectacular Redux in AVATAR: FIRE AND ASH

 

James Cameron continues the spectacular world of Pandora with his third film, Avatar: Fire and Ash, a technically brilliant film that leans into previous, major plotlines. 

Picking up plot threads, humans are planning to yet again encroach on the Na’vi land while a rival Ash tribe led by the ruthless Varang threatens the Na’vi’s peaceful existence.  Colonel Quaritch (Stephen Lang) returns to conquer the Na’vi and find his son Spider who has been raised by Jake (Sam Worthington) and Neytiri (Zoe Saldana).  With Quaritch and Varang closing in, the humans are marshalling overwhelming forces that will be an inflection point for the Na’vi.  Will they be able to withstand the attack, and can they get help from an unlikely source?

The story about sacrifice and loss is still engaging, but it does feel familiar as it continues a narrative which ultimately does get resolved.  There is a fascinating duality with Spider’s two fathers, Quaritch, his bloodline, and Jake, his adoptive father, which forms a significant source of contrast and conflict throughout the film.  The concept of family and its deep, emotional bonds looms big along with a sense of community among the tribes.  There are also themes involving race, militarization, genocide and the environment with Pandora’s animal life proving a key factor. The ending scenes are memorable especially (for longtime fans) with callbacks to the first film.

Cameron’s vision is fully realized and never skimps on the concept of family.  Continuing his compelling role, Lang gets all the best lines.  With awesome visuals and sparing no expense, this is an event film (3 hours and 17 minutes) especially in the climactic, grand battle that demands to be seen in IMAX and 3D (shot in true 3D). 

**** of ***** stars (add ½* for Avatar fans)

International Sex Icon

 

French actress Brigitte Bardot has passed at 91. This world famous star came into popularity after her film And God Created Woman in 1956. She made dozens of films and was top star in France and beyond. Perhaps her best, Jean-Luc Godard's Contempt, is a classic film on cinema. One of her most entertaining films paired her with Jeanne Moreau in Viva Maria by Louis Malle. Her career encompassed singing, modeling, and animal rights activism. She lives on as a pop culture icon of the sexual revolution.

Two rarely seen Christmas shows are my gift to you.

I give you the sixties' animated Mr. Magoo's A Christmas Carol which had Magoo play Scrooge complete with musical score and songs. It is a rarely seen gem and a fond remembrance from my childhood. 

If you are a fan of The Twilight Zone, hopefully you were pleasantly surprised and captivated (as I was) by the episode, Night of the Meek featuring Art Carney as a department store Santa. It's a beautiful story from Rod Serling.

I wish all my family and friends a Merry Christmas and Happy Holidays.

The Pleasures of STRANGER THINGS

 

I have to confess not ever watching Stranger Things on Netflix. My bad. But since it is winding down its last season (a final episode has sold very well in theatrical release) and one of its stars (Finn Wolfhard) is hosting SNL in January, I figure now is a good time to begin watching. Just finished the first season. Wow. With its Spielberg/Abrams/King vibes, it is simply a very well executed series with a great cast. Thank you Duffer Brothers. I am already into season two!

Devious Thrills of THE HOUSEMAID

Based on the bestseller by Freida McFadden, The Housemaid is a highly effective, psychological thriller that should satisfy fans of the genre especially with its twists and turns.

Millie (Sydney Sweeney) is hired by Nina (Amanda Seyfried) as a live-in housemaid for her well-to-do family which includes her wealthy, handsome husband, Andrew, and their daughter, Cece. All seems blissful until she notices erratic and troubling behavior from Nina which escalates alarmingly and threatens to not only expose Millie’s hidden past but endanger her well-being and sanity. However, this is just the beginning of a horrible truth that pushes Millie to her absolute breaking point.  

The story begins with a standard setup but leads to unfamiliar territory. Besides a sense of dysfunction in Nina’s family, there is an amusing contrast between Millie and the wealthy, female neighbors who take turns gossiping about Nina’s past.  There are clues hinting that something is amiss and a slow build to something ominous and foreboding. The film makes use of expectations and cleverly misdirects the audience with some surprises (Hitchcock would approve) that cleverly utilize familiar cinematic tropes especially near the end.  To say more would spoil a smart, harrowing tale with a well-constructed narrative that morphs into a stunning reveal.  There are aspects to the plot that center on female empowerment and echo Promising Young Woman for good reason. (A couple scenes are graphic and push towards the fringe of horror.)

With strong performances from both Sweeney (who excels here) and Seyfried, and assured direction from director Paul Feig (Bridesmaids, Arrested Development) who demonstrates his versatility outside the comedy genre, this is a film that delivers the goods with shocking turns and a satisfying ending that ties up loose ends.  A welcome, satisfying diversion. 

**** of ***** stars

 

The Finale of WELCOME TO DERRY

Welcome to Derry concluded its 8 episode run on HBO with a grand finale that ties plot threads and links with future sequels and the films It and It Chapter Two. Though not perfect, this ambitious bookend set in 1962 shows the power of Pennywise on Derry and beyond with devastating results. The young kids stick together for their friend and with the adults, try to stop the murderous monster. Though the military subplot doesnt quite work, the focus on the classmates does. There is a surprise appearance during a crucial moment and a nice link to the films at the very end. This isn't everyone's cup of tea to be sure, and there are graphic moments, but for fans, it was a pretty good, fascinating expansion of the Pennywise mythology and the Stephen King Universe. (Just the first episode alone does not follow expectations, and you will never ever think of The Music Man the same way again.) With the enormous success of this series, expect two more prequels that go back to 1935 and 1908.

Life and Death as HAMNET

 

Director Chloé Zhao proves that Nomadland was no fluke with Hamnet, a moving historical-based drama, impeccably acted and one of the best films of the year.

During the English Renaissance, Will (Paul Mescal) and Agnes (Jesse Buckley) fall in love and marry.  As they raise a family, Will is endeavoring to be a playwright instead of tutoring and spends his evenings slaving over his writings amid self-doubt. When the plague ravages the countryside, it strikes at the heart of their family and changes their lives forever.  As Will struggles to find meaning and remembrance through his work, Agnes must find her way through grief and loss. When Will’s play Hamlet is performed in public for the first time, how will the masses react, and more importantly, how will Agnes respond? Both Will and Agnes look to his latest work for solace and inspiration.    

Although not necessarily an actual history of William Shakespeare’s personal life, this fictional story surmises his early years with his wife, and it postulates how Hamlet, one of the greatest works of literature was borne out of tragedy.  Once you get past the British accents, the story comes to life with the family relationships convincingly established early on which lends empathy to their subsequent pain and suffering.    

Zhao not only directed with conviction and feeling, but co-edited and co-wrote the screenplay from its novel.  The cinematography is impressive from its panoramic tracking shots to more intimate hand held views that convey emotion.  This is an inhabited, totally believable world of old England as depicted through period sets and costumes. 

Undoubtedly, this intimate film belongs to Buckley’s outstanding acting, and she is strongly supported by Mescal.  (This would make a great double bill with the similarly themed Shakespeare in Love.)  Expect Oscar nominations all around.

***** of ***** stars

Son of a Legend Was Himself a Legend

 

Actor/Writer/Director Rob Reiner has passed at 78. Son of legendary actor/writer/director Carl Reiner, he carved a brilliant career as actor in the classic, groundbreaking TV series All in the Family for which he won two Emmy Awards.  As a writer and director, he began an astonishing run in the 1980s and 1990s with such popular and critically acclaimed films as This Is Spinal Tap, The Sure Thing, Stand by Me, The Princess Bride, When Harry Met Sally, Misery, A Few Good Men, and The American President. He continued to act in TV and films as recently as The Bear.