STAR WARS: THE RISE OF SKYWALKER and Fan Service

Director J. J. Abrams was given the momentous task of ending the nine picture Star Wars saga culminating in Star Wars: The Rise of Skywalker, and the result is an emotional sendoff and a bittersweet farewell to some beloved characters.

Kylo Ren (Adam Driver) thirsts for power with the First Order to crush the Resistance led by Rey (Daisy Ridley), Finn (John Boyega), and Poe (Oscar Isaac).  He also desires to tempt Rey, a kindred wielder of The Force and who continues to train in the ways of the Jedi. As Princess Leia fears for her heroes, she intercedes as Rey and Kylo faceoff with huge ramifications leading to a grand showdown with an all-consuming, supreme evil.  As the outnumbered Resistance fighters face a last stand, will anyone respond to their pleas for help?

It is the relationship and conflict between Rey and Kylo that form the emotional crux of the film, and there is the question of Rey’s lineage and her confronting the Dark Side even as The Force coalesces and manifests itself in powerful ways.

The chemistry among the three leads is such that one wishes for more adventures.  References to the past include plenty of surprise cameos, sounds, and even props. The late Carrie Fisher’s unused footage is well integrated in key moments. Visual effects are impressive with composer John Williams interweaving all his principal Star Wars themes.

Drawing from three trilogies, the film brings everything full circle with a satisfying conclusion and new beginning. Despite a slower start, it’s a real crowd pleaser with heart.  Sure there are inconsistencies and corny moments, but there are tears to be shed and powerful, rousing scenes of redemption and last minute heroics that true fans should love. 

***1/2 of **** stars (add ½* for fans)

The Culture Shock of BOMBSHELL

Real life events form the backdrop of Fox News head Roger Ailes whose sexual harassment of female employees led to landmark changes. As directed (Jay Roach) and written (Charles Randolph), it is a fascinating examination of corporate culture run amuck and the ensuing disarray when victims of harassment begin to fight back. It’s also a display of acting royalty in key roles.

Starting in 2015 with Fox News, a major player in news broadcasting headed by Roger Ailes, a powerful media boss whose belief in ‘sex sells’ and his sexual harassment of a number of female employees is a hidden, dirty secret that threatens careers and reputations including rising Fox star, Megyn Kelly (Charlize Theron).  A new intern (Margot Robbie) personally experiences humiliation first hand during an interview with Ailes. In the thick of Presidential election coverage and faced with intimidation by Fox management and the firing of another major star, Gretchen Carlson (Nicole Kidman), for her sexual harassment claims against Ailes, Kelly must make a momentous decision with enormous consequences.

The pervasive sexist climate is convincingly portrayed at Fox News as sexy reporters draw big ratings and viewership. Ailes is shown as a man who can make or break careers in exchange for loyalty.  The film makes note how Fox News and Donald Trump had a symbiotic relation during his Presidential campaign with each needing the other as this scandal developed.

Theron eerily nails Kelly in her voice, appearance, and mannerisms amongst the stellar cast with John Lithgow having a field day as Ailes. Both portrayals are immensely aided by great, (Oscar winning) makeup effects.

Although it could easily have been a cable/streaming event film, this dramatization is an intriguing look at how brave women risked everything to make a difference.

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

MARRIAGE STORY Is a Love Story with Pain

Perhaps the most earnest film on divorce since Kramer vs Kramer, Marriage Story is a heartfelt drama impeccably written (and directed by Noah Baumbach) and acted.

Charlie (Adam Driver) and Nicole (Scarlett Johansson) are a young couple who love their young son. Charlie is an up and coming, self-absorbed theater director while Nicole is an actress who put her career and identity on hold to raise their child. When their marriage falls apart, they go through the process of counseling and then divorce which upends their personal lives.  Traveling to Los Angeles to stay with her mom, she shoots a TV pilot hoping to revive her career while Charlie struggles to balance his responsibilities to his theater and as a father.  Divorce evolves into a complicated, expensive endeavor where lines are blurred.  Still caring for each other, they have to reinvent their own lives and find a new normal.   When both engage lawyers, things become raw and contentious, and life will never be the same.

These two characters, whose lives diverge, are shown as seemingly normal with flaws and regrets, and yet neither is necessarily a bad person, each perhaps making unfortunate choices.  Johansson and Driver make you realize what gifted actors they are beyond starring in Hollywood blockbusters like Star Wars and The Avengers, respectively. (Somebody put Driver in a musical. Who knew he could sing?) Laura Dern won an Oscar for her effective turn as a savvy lawyer, and Alan Alda and Ray Liotta complement the strong acting ensemble.

The film shuttles back and forth to contrast different points in this narrative, but it is always presented with honesty and insight even in the quiet moments.  A winner all the way for those open to this topic.

**** of **** stars

The Return of RICHARD JEWELL

Richard Jewell is a very good film with standout acting and a fascinating reevaluation of a controversial figure in the Atlanta Olympic bombing.

In the late 1980s, Richard Jewell (Paul Walter Hauser) struggles with his overzealous nature through a series of jobs that are on the peripheral fringes of his desired career in law enforcement. Living with his mom (Kathy Bates), he has an opportunity to work security at the 1996 Olympics in Atlanta. One fateful night at Centennial Park festivities, he notifies authorities of a mysterious backpack which explodes with deadly results. Jewell appears to be a hero until a suspicious FBI agent (Jon Hamm) and an eager reporter (Olivia Wilde) point to Jewell as the prime suspect in the bombing. Faced with condemnation and circumstantial evidence, Jewell enlists a lawyer (Sam Rockwell in a terrific turn) to defend him as the media frenzy reaches a crescendo.

Hauser is excellent and totally convincing as Jewell, not too bright but with a good heart, who dreams of a better life for himself and his loving mom. Bates lends strong support that culminates in a press conference that is a key emotional moment.    Although Wilde’s character is conniving to the point of being clichéd, the film never loses focus.

This is an interesting study in celebrity and fame; it’s also astonishing how quickly Jewell is perceived as hero then villain and his life ruined. The interview techniques used to trip or trick Jewell are as appalling as how Jewell and his mother’s world are upended.

It’s a story worth telling and done so with the typical Clint Eastwood craftsmanship where his methodical filmmaking (the bombing is shot with heightened realism and maximum impact,) produces an emotional, heartfelt reaction.  One of Eastwood's best biopics.

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

Corporate Villainy in DARK WATERS

Told with utter conviction and realism by director Todd Haynes (Carol, Far from Heaven), Dark Waters, a David Vs Goliath real life tale based on a New York Times magazine article, is a grim, compelling depiction of the true story of how one man stood up to a major corporate power. Think Erin Brockovich without Brockovich, and while this film is just as compelling with its real life narrative, it does miss a sense of humor relief of that film.

The story gets going in 1998 rural Ohio where a farmer approaches local corporate lawyer Rob Bilott (Mark Ruffalo) to help him and his dying cows. Bilott discovers evidence of a massive conspiracy by DuPont to cover up the pollution of a small town (that pulls him back to his local roots) and poisoning its people and animals. His detective work uncovers a corporate secret (with a fascinating, perverse documenting of the origins of a deadly product) that has enormous ramifications and jeopardizes not only his career but his family’s safety. The years go by, and the case takes a personal, emotional toll on the lawyer who faces formidable obstacles and overwhelming odds.

The strong cast includes Anne Hathaway as his wife and Tim Robbins as his boss, but Ruffalo carries the bulk of the film on his shoulders, and he shines. His character confronts his own fears and experiences guilt as he learns the truth. He is in effect our surrogate from beginning to end.

Dark Waters with its somber tone is for the serious minded with a subject matter that reverberates to this day. Presented as a scary lesson in corporate greed, with its postscript, it’s enough to make you toss out all your Teflon pans.

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

The Legacy of THE IRISHMAN

Martin Scorsese brings to the screen a dramatization of the rise and fall of a major American figure during a turbulent time in history in The Irishman, an epic saga that spans decades and represents the director at his peak with a dazzling acting ensemble.

Told in flashbacks and covering the 1940s through near present, Frank Sheeran (Robert DeNiro) rises through the ranks of longshoreman to become assistant of powerful union boss, Jimmy Hoffa (Al Pacino), all the while developing close ties with local mob bosses as a hitman. He is a man who protects his family and is a loyal mob soldier who is capable of sudden, jarring violence. As Hoffa’s legal troubles mount, and the mob under increased scrutiny by the Fed, perhaps the most famous unsolved murder is reenacted and with it the devastating, personal consequences.

The relationship and bond between Sheeran and Hoffa is the centerpiece that propels the narrative as Pacino and DeNiro excel. It’s DeNiro’s best role in years while Pacino’s Hoffa is a proud man whose intoxication with power and being a loose cannon with no filter leads to his downfall.  Joe Pesci and Harvey Keitel as mobsters are a delight.

Like an epic novel at over three hours, its excellent screenplay focuses on the toll this way of life exacts on friendships and family. Its themes of power and betrayal offer a fascinating look at union corruption and political events linking JFK, the Bay of Pigs, and the creation of Las Vegas. Whether this is all true is questionable, but it is realistically presented.  It’s the entire mobster arc with a postscript that brings this tale full circle. This could very well be the Scorsese’s last gangster film; if so, he goes out a winner.

**** of **** stars

JUDY and the Tortured, Gifted Soul

Judy is a touching biographic telling of movie star and singer Judy Garland featuring a knockout turn by Renée Zellweger who has the vocal chops (as in Chicago) to honor the spirit of the legendary actress.   

Starting with a young Judy Garland on the set of The Wizard of Oz where studio head Louis B Mayer counsels his budding star who is fed pills for her weight and anxiety, we flash forward to the 1960s where Judy is middle aged, living a nomadic existence, and out of work with two young children to care for. When an opportunity comes to sing and make money in England, she flies to London where adoring fans are witness to an unstable singer whose moods and substance abuse hamper her comeback performance.  She also has to contend with husbands past and present while desperate to reunite with her kids stateside.  As the pressure and her insecurity take a physical and emotional toll, does she have a gold performance left in her?

The period details are good, but the film is serviceable at best. However, it is Zellweger who carries this film from start to finish.  She convincingly embodies a performer who has a vulnerable, unstable side and self-deprecating humor that masks her fears.  What sells this is that she instills her powerful vocals with Garland’s resonance in several, memorable songs.  

Whether this is or isn't an accurate depiction of her personal demons (a 2001 TV movie with Judy Davis compares favorably,) there is no doubt that she is a tragic figure whose gift was unparalleled, and those climactic moments in a London venue are quite affecting.  It’s no surprise that Renée won The Oscar for Leading Actress. 

*** of **** stars (add ½ star for Renee)

Sublime Mystery in KNIVES OUT

Knives Out is a delicious homage to cinematic whodunits in the spirit of writer Agatha Christie. With a marvelous cast of suspects led by a robust Daniel Craig and sharp, witty dialogue, it is an intricate, convoluted tapestry of deception, greed, family rivalry, and treachery leading to murder. There are big surprises and red herrings aplenty.

Harland Thrombey (Christopher Plummer) is a best-selling mystery author whose family gathers for a special birthday. When he winds up dead and his wealthy estate up for grabs, is foul play involved? Enter renowned detective Benoit Blanc (Daniel Craig) whose passive style and technique belies a meticulous mind that gathers information through a series of interviews with the family members culminating in a grand denouement with all the principals gathered.

Craig has a ball heading a stellar ensemble (Jamie Lee Curtis, Chris Evans, Toni Collette, Ana De Armas, Don Johnson, Michael Shannon, and more).  We get character sketches of scheming family members, each with an hidden agenda beneath a facade.   

The tight screenplay serves up not only as a wonderful murder mystery with a sly sense of humor but has a dash of Hitchcockian overtones as the audience is drawn into complicity with a key character.  It follows in the tradition of classic mystery novels, a kind of cross between Murder on the Orient Express and Murder by Death in the best sense.  The plot uses a familiar device by reconstructing parallel events sprinkled with left turns and an ending that should be supremely satisfying, particularly when it vindicates the good in people.

Director/writer Rían Johnson (Looper) has fashioned a joyous mystery romp that hopefully will lead to more adventures with Craig. An joyful confection from start to finish.

**** of **** stars

Golden Girl Passes

Honor Blackman passed away at 94. She was the iconic foil to Sean Connery's James Bond in the classic Goldfinger. I won't say her character's name but she is a woman of "many parts".

What some may not realize was that Blackman was John Steed's partner in the old British TV spy show The Avengers. Her role as Cathy Gale had an independent, smart, judo dispensing woman which was groundbreaking. When Goldfinger stole her away, the TV show replaced her with Diana Rigg's Emma Peel. (In fact in that season, a scene has Steed reading a card from Cathy and he wonders what she is doing at Fort Knox!)

Hawaiian Farewell

Hawaii Five-0 just ended its run after 10 years. This reboot defied the odds by being a hugely successful series based on the legendary original of the 1960s and 70s. While developing its own chemistry, it never failed to pay homage to previous characters from the original. (One governor named Denning was the name of the actor who played the governor in the original.) While the original had ingenious, macabre plots, the 2.0 version would typically have two concurrent plotlines and focused on characters.
The finale tied things up nicely as a bookend to the pilot. The farewell was emotional, and you could see it coming as the last scene gives us an idealized, happy ending. Friday night's won't be quite the same. Aloha Five-0.

SCTV Characters Immortalized

Edmonton commemorated Bob and Doug McKenzie, the McKenzie brothers, with statues. These characters were regularly portrayed by Rick Moranis and Dave Thomas on NBC TV's SCTV which was a Canadian version like Saturday Night Live. Its brilliant, irreverent skits spoofed institutions and won loyal fans and Emmy Awards. A McKenzie movie, Strange Brew, also followed. "Take off, eh?"

Long Live The Uptown

 D.C. iconic Uptown Theater has closed abruptly. AMC made the announcement and whether another chain picks it up is questionable in this age of streaming and multiplexes. It was perhaps the largest screen in the region (also curved) and one of the last to have balcony seating.
If there was a blockbuster prestige film, it would open at the Uptown. In 1968. 2001:A Space Odyssey had its world premiere there and my dad the physicist brought our family. I saw That's Entertainment there as well as Gone With the Wind and other revivals or restored versions of The Wild Bunch, Lawrence or Arabia, and Spartacus.
Star Wars opened there and every sequel/prequel. I would gather with friends for every opening night waiting in long lines for that special feeling and electricity, the most recent of which was the last installment,The Rise of Skywalker. Alien, Jurassic Park, Titanic, Apocalypse Now and many more became stunning cinematic memories.

Now an era has ended. There are a few big screens (IMAX and The Senator) still around but they are the exceptions. I am grateful for having had the theatrical movie going experience as it was intended.
Long Live The Uptown.

International Star Has Passed

Veteran screen actor Max Von Sydow has passed at 90. A favorite of director Ingmar Bergman in such classics as The Seventh Seal and The Virgin Spring, he starred in blockbusters like The Greatest Story Ever Told and The Exorcist and became a memorable supporting actor in dozens of films especially Three Days of the Condor, Extremely Loud and Incredibly Close, and Star Wars: The Force Awakens. Yes, a long distinguished career.

92nd Oscars 2020

Another Oscar telecast ran over. A bouncy opening musical number and the song nominees added some zest. Steve Martin and Chris Rock need to actually cohost one day. The show boasted a healthy dose of nominee clips. Strongly favored awards did in fact go to Best Actress. Actor, and support. Nice to see Renee complete her comeback. Parasite overtook favored 1917. A first for foreign title as Best Pic. It was star studded and glitzy. Jane Fonda looked splendid. So did Regina King, Scarlett. and, and well, you get it. And so begins the filmwatch for next year's show.

Robert Conrad-Tough Hero

Actor Robert Conrad passed away at 84 and who made his mark in films and TV. His lead in Baa Baa Black Sheep was one of his best, but the role he will forever be remembered for is secret agent James West in The Wild Wild West in the sixties. Its combination of the spy craze in a western setting complete with diabolical villains, beautiful women, and a talented partner played by Ross Martin proved an exciting adventure. What stood out besides its imaginative plots and bizarre design was Conrad's ability to do most of his own stunts especially the hand to hand fights. No one did more. The show was cancelled only because it was caught up in the purge of violent shows.
I was fortunate to meet Conrad a few years ago at the MidAtlantic Nostalgia Convention and expressed my gratitude from days of youth watching a superbly entertaining show with my family.  What a tough dude.

2020 OSCAR PREDICTIONS FOR 2019 FILMS

OK, I have seen all best picture nominees and a few other titles but not all.  Some major categories are fairly certain but the tech categories should be interesting. There is usually a big surprise though so…. Enjoy

PICTURE-It comes down to 1917 with Parasite surging.

ACTOR-Joaquin Phoenix as Joker

ACTRESS-Renée Zellweger as Judy

SUPPORTING ACTOR-Brad Pitt for Once Upon a Time in Hollywood

SUPPORTING ACTRESS-Laura Dern for Marriage Story. (Also noteworthy for Little Women)

DIRECTOR-Sam Mendes for 1917 unless Bong Joon-oh jumps ahead with Parasite

ORIGINAL SCREENPLAY-Parasite leapfrogs over for Once Upon a Time in Hollywood

ADAPTED SCREENPLAY-JoJo Rabbit hops over Little Women

ANIMATED FEATURE-Klaus stuns Toy Story 4

FILM EDITING-Ford vs Ferrari

CINEMATOGRAPHY-1917

PRODUCTION DESIGN-Once Upon a Time in Hollywood

ORIGINAL SCORE-Joker

ORIGINAL SONG-(I’m Gonna) Love Me Again for Rocketman

SOUND EDITING-1917                                           

SOUND MIXING-1917                                           

COSTUME DESIGN-Little Women

MAKEUP& HAIRSTYLING- Bombshell                                              

VISUAL EFFECTS- 1917 but Lion King could easily take this

FOREIGN LANGUAGE FILM-Parasite         

DOCUMENTARY FEATURE-American Factory

ANIMATED SHORT-Hair Love

DOCUMENTARY SHORT-Learning to Skateboard in a Warzone

LIVE ACTION SHORT-The Neighbor’s Window

All the Best Pic nominees will win something, but The Irishman may be shutout completely! The locks are Best Actor, Cinematography, and Foreign Language Film.