Actress and Beauty Gone

Actress Shirley Knight is gone at 83. A veteran of six decades of roles that garnered Oscar noms, a Tony Award, and Emmy Awards, she was a favorite of Tennessee Williams and worked steadily til recent years including a memorable role as Helen Hunt's mother in As Good As It Gets. For me, one of her best, haunting moments came in a seminal Outer Limits episode The Man Who Was Never Born with Martin Landau. At that time, she displayed acting abilities and beauty that propelled her to a long, distinguished career.

A Worthy Cause

   

Global Citizen's One World: Together at Home Concert tonight was to benefit and support WHO and healthcare workers worldwide. Nothing like this has ever been attempted before even with LiveAid. 

Hosted by the late night trio of Fallon/Kimmel/Colbert and opened by Lady Gaga, it was fascinating to hear the variety of songs old and new, foreign and domestic. There were Taylor Swift, Andrea Bocelli, Stevie Wonder, Elton John, The Rolling Stones, Jennifer Lopez and many others. The production was remarkably smooth with videos varying in quality but transitioning seamlessly among healthcare worker interviews, former first ladies, film and TV stars, and especially world class music artists. Performing from home settings, many of them singing covers of thematically relevant songs. And more than a few performances were so good (especially that finale), they brought tears. A worthy event for all.

Actor of Stage and Screen Passes

Actor Brian Dennehy passed away at 81. This two time Tony winner had 6 Emmy noms and starred in many films like First Blood (the first Rambo title), Gorky Park, Silverado, Cocoon, and more while he also featured in a multitude of TV films and series most notably in a significant arc for The Blacklist. He was respected by his peers especially on stage, and his crowning moment may have been his well honored role in Death of a Salesman.

War as First Hand Participant in 1917

Imaginatively staged with breathtaking moments filled with suspense and irony, 1917, inspired by director Sam Mendes' grandfather's experiences in World War I, is a remarkable cinematic triumph.

In France during World War I, two British soldiers are given a daunting mission to warn the front line that they are heading into a trap set by the Germans. One of the soldiers has a brother in harm’s way. Thus begins the harrowing journey of survival and a perilous race against time through war-torn enemy battlefields, booby traps, German snipers, and more.  In the compelling climax as British troops prepare to advance, will they be warned in time and who will survive?

This film has such a basic, simple premise, but the way it is presented is a meticulously choreographed narrative that unfolds as purely visual technique in a seemingly single shot with no cuts, something that has rarely ever been attempted in a major movie (Hitchcock’s 1948 Rope comes to mind).  The camera movements and action are so well staged, the film flows from location to location seamlessly with the audience given a subjective point of view to witness unfolding events first hand. Mendes and Oscar-winning cinematographer Roger Deakins have accomplished a remarkable achievement in filmmaking by not only pushing the limits of narrative exposition, but presenting an engaging, immersive experience in war.

The two, relatively new leads, George MacKay and Dean-Charles Chapman, are excellent and surrounded at key moments by  noted actors, Benedict Cumberbatch, Colin Firth, Richard Madden, and Mark Strong.   

Filled with memorable images and set pieces, and with its desperate search, echoing Saving Private Ryan, this is one of the greatest war films ever committed to celluloid.  Should be seen on a big screen.

**** of **** stars

Female and Proud in LITTLE WOMEN

Little Women (from the classic Louisa May Alcott novel) is a delightful semiautobiographical tale of a group of sisters in 19th Century New England and their desires, loves and regrets. It's a powerhouse cast and a strong script beautifully adapted and directed by Greta Gerwig.

In the waning years of the Civil War with their father away, the March family of females led by their mom (Laura Dern) struggles to survive amid harsh conditions.  Jo (Saoirse Roman) an aspiring writer, Meg (Emma Watson) searching for a husband, Amy (Florence Pugh) studying art in Paris, and the youngest, Beth (Eliza Scanlen), a budding pianist. While events swirl around them amid rivalry and jealousy and suitors including Laurie (Timothée Chalamet) to tempt the sisters, the family yearns for a better life as they confront adversity and tragedy amid kindness and generosity. As Jo grows into an independent woman, she reaches a crossroads in her career ambitions and search for love.

The stellar cast is quite good especially Ronan whose fully developed Jo has dreams of being a published author; she is full of pride and independence yet protective of her family. The film realistically portrays the limited options of women in this period and contrasts the class disparity between the poor March family with wealthy benefactors (Meryl Streep and Chris Cooper).  Life is shown as interchangeable moments and an individual’s destiny can turn on missed opportunities or unspoken feelings. Above all the film is a constant reminder of family bonds and solidarity.

Beautifully shot, the production does an excellent job of period authenticity particularly in costume design and musical score.  Despite abrupt and confusing flashbacks, it has a cumulative, emotional effect and a Sense and Sensibility vibe.  Simply a lovely film.

**** of **** stars

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)