McVie Was Fleetwood Mac Keyboradist

 

Rock star Christine McVie has passed at 79. As part of Fleetwood Mac, she collaborated on records that sold over 100 million copies which peaked with their classic Rumours album, and the Grammy Award winning group was inducted into the Rock and Roll Hall of Fame in 1999. Her keyboards and smooth vocals will always be beautiful.

Horrific Obsession in SMILE

 

With visual flair by first-time feature director Parker Finn, Smile is a fright fest of images and menace that is a fairly effective tale of terror.

When Dr. Rose Cotter (Sosie Bacon) treats a disturbed patient who is paranoid and scared to death, it is the beginning of a terrifying descent into madness as she begins to witness disturbing visions. The recurring motif is the appearance of evil smiles on other people’s faces.  Feeling herself losing touch with reality and sanity, she alienates those closest to her and sees her therapist wondering if some unseen force is responsible for the nightmarish visions.  When she finds that there may be other victims, she must turn to an unlikely source to find answers, and her investigation forces her to confront her past and her mom’s tragic death.  Her life in danger, she desperately searches for answers before it’s too late. Can she avoid the ghastly fate of the others? 

The film works partly as a mystery as she follows clues to other witnesses connected to grisly deaths.  It’s a relatively straightforward premise with its strong theme of past trauma.  Part of the unsettled feel of the story is not knowing whether what Cotter sees is real or imagined.  Some scenes are visually horrifying, and though you can sense or guess something coming, it still packs a wallop nonetheless.

The film is another version of malevolent menace employed in films like It Follows and has a tinge of supernatural vibe from The Ring.  A bit methodical in its pacing at times, it builds tension and delivers its shocks, and though there are instances you wish the film explored certain subplots more, Finn impresses.  It’s best to let his film play and exact its scares.

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

Spielberg Revisits His Origins in THE FABELMANS

 

Director Steven Spielberg has frequently imbued his films with aspects of his early life, whether it be the fractured family in E.T., the tribute to his father in Saving Private Ryan, or his Jewish background in Schindler’s List.  He fully reconnects with his past in The Fabelmans, an earnest, heartfelt remembrance of his youth and the events that came to shape arguably the greatest film director of his generation.

In 1952 in New Jersey, the Fabelmans are a middle class, Jewish family whose young son, Sam, is so affected by The Greatest Show on Earth that he begins a lifelong passion of making movies.  Sam's parents are stark contrasts as his free-spirited mom, Mitzi (Michelle Williams), loves the arts and encourages her son’s creativity while pragmatic dad, Burt (Paul Dano), is an engineer, whose jobs relocate the family to the west coast.  As a high schooler, Sam (Gabriel LaBelle) is a victim of racism and bullying while also discovering love. As his filmmaking career beckons, his parents’ marital strife threatens to tear the family apart.

It must have been painful yet cathartic for Spielberg to relive his early years (via Sam), but what shines through is his parents’ unwavering love and sacrifice and how filmmaking served as his emotional refuge.  There are poignant and funny moments, but the film never falls into sentimentality.

Williams and Dano are outstanding with great support from Seth Rogan and Judd Hirsch.  In a film filled with movie inspirations and Easter eggs, the final scene (featuring a memorable turn by David Lynch) is truly prescient with Sam at the brink of his film career.  This loving tribute to his parents leaves you with a sense of empathy and understanding of Spielberg’s touchstones.  

**** of **** stars (For movie lovers everywhere)

SHE SAID and Its Hidden Truths

Adapted from a landmark New York Times investigation/book, She Said (directed by Maria Schrader) is the fascinating expose on sexual harassment of women and subsequent cover-up which led to the beginnings of the MeToo movement in Hollywood and beyond.

In 2016 with President Trump’s alleged, improper behavior and subsequent focus on rumors of sexual misconduct in Hollywood, two New York Times reporters (Carey Mulligan and Zoe Kazan) investigate Harvey Weinstein, a powerful, manipulative producer who for decades has allegedly preyed on women via seemingly innocent production meetings that become sexual encounters.  A grim picture emerges of destroyed lives amid sexual harassment, intimidation, and the fear of being blacklisted. However, Weinstein’s pattern of behavior is just part of a larger, systemic problem.  The ultimate challenge becomes getting victims or witnesses to ‘go on the record’, and slowly production assistants and accountants are joined by actresses in coming forward as the truth begins to come to light.

Told mainly from the reporters’ point of view, it’s an engrossing, mystery story and a riveting journey with subject matter that maintains your attention from beginning to end. These reporters are humanized by showing their personal lives and families, and though frustrated by dead ends and self-doubt, they are also brave, compassionate and relentless.  Their reporting of sensitive stories from broken individuals is sobering and heartbreaking, but by giving voice to them, it becomes empowering.  

Highlighted by an emotional turning point with Ashley Judd (portraying herself), the strong cast shines.  In the tradition of landmark, investigative films like All the President’s Men, Spotlight, and more recently, The Post, it’s not necessarily a perfect film, but its timely topic and adherence to a compelling, true story warrant attention and awards buzz.  These ordinary reporters became extraordinary heroes for our time.

**** of **** stars

A Solemn, Hopeful BLACK PANTHER: WAKANDA FOREVER

 

The spirit of the late Chadwick Boseman formerly T’Challa, Black Panther, is strong in this moving sequel, Black Panther: Wakanda Forever, effectively transitioning from the past to the future with some stirring moments as directed by co-writer Ryan Coogler.

Wakanda mourns the loss of their leader, T’Challa, and must reconcile its standing in the world as it guards its precious vibranium.  However, the discovery of another source threatens a mysterious underwater kingdom led by all-powerful Namor (Tenoch Huerta), who ruthlessly protects his people and proves a formidable rival of Wakanda led by Queen Mother (Angela Bassett) and T’Challa’s brilliant sister, Princess Shuri (Letitia Wright). As the FBI and CIA close in, Wakanda ally Everett Ross (Martin Freeman) tries to stave off disaster when Namor challenges Wakanda setting up a major confrontation. In a world with no Black Panther, Shuri must prepare her nation for battle; will she do the right thing and at what cost?

The ambitious story is engaging as it builds to a grand faceoff while it deals with processing loss and healing for T’Challa’s family.  Contrasting two proud cultures, each powerful and technologically advanced, the film effectively serves as an origin story for Namor and introduces a new character, Ironheart (Dominique Thorne).

Along with Lupita Nyong’o, Bassett and Wright are simply excellent; indeed the cast rises to the occasion with their roles expanded significantly while newcomer Huerta shines in his debut. There are callbacks to the past (with some surprises).

With colorful production values and a lovely Rihanna song, Coogler accomplishes much by honoring Boseman’s legacy, introducing new characters and storylines, and, to its credit, it almost all works. This is Marvel’s most mature film, and the moving end (and mid-credit scene) will resonate.

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

Tár and Her Compulsion

 

Tár is a psychological drama from writer/director Todd Field (In the Bedroom, Little Children) that features a disturbing depiction of genius undone by human behavior. It’s also is a masterful showcase for Cate Blanchett.

Lydia Tár (Blanchett) has a prodigious career as a brilliant classical composer and conductor for a German orchestra.  Mentored by Leonard Bernstein and having won the highest accolades, she is an advocate for female representation in classical music. With her female partner and their young daughter, her life is full and brimming with music students, business meetings, concert rehearsals, and a new book. When she repeatedly avoids urgent messages from a female in her past and begins to focus her attention on a talented female cellist, it leads to larger, more sinister issues.  When the past catches up with her, truths emerge that threaten to upend her personal and professional life.  

Told from her point of view, Lydia can be demanding and precise in her art, and her position of power and decision making often impact other people’s lives whether it be students, musicians, or associates.  The question soon becomes, “Does she take advantage of her position for selfish reasons?” As she becomes more self-consumed with her personal sins, she begins to experience strange sounds and a growing paranoia.  Ultimately, her compulsive behavior and past transgressions come back to haunt her. 

This meticulously researched and authentic screenplay that embraces the creative process and the politics of music, also gives a fascinating take on issues like ‘cancel culture’. Blanchett’s acting is on a different level, incorporating physicality and nuance into creating this complex character. It’s not a matter of ‘if’ but rather ‘when’ she gets an Oscar nomination.  She’s that good. And that final shot is stunning.

**** of ****stars (for Blanchett fans)

Lonely Souls in The Banshees of Inisherin

Written and directed by Martin McDonagh (Three Billboards Outside Ebbing, Missouri), The Banshees of Inisherin is an unusual, intimate study of human behavior in an isolated setting, Brilliantly acted, it’s also one of the best films of the year.

In a small, island village off the coast of Ireland in 1923, a farmer, Pádraic (Colin Farrell), is stunned by the abrupt end of a friendship with his drinking buddy Colm (Brendan Gleeson). His sister (Kerry Condon) and friend, Dominic (Barry Keoghan), try to console him, but Pádraic desperately tries to understand what has happened and to salvage their relationship.  Resolute and determined, Colm responds by issuing a shocking and ominous response.  What follows goes beyond the simple bond between two men and taps into inner demons and unleashes the longings of each person.

This minimalist drama, with flourishes of humor (featuring one of the most unusual confessional scenes you’ll see,) and tragedy, could easily have been adapted for the stage.  Its emerging themes of loneliness and purpose take on almost a mythic, classic tragedy. Colm’s sudden change and unyielding stance creates a mystery and forms the backbone of the narrative as both leads are in different stages of reexamining themselves.

In support, Condon and Keoghan are quite impressive, etching memorable characters with their own life ambitions.  Beautifully shot, the landscape and even animals like a dog and donkey serve as significant, supporting players.

The story touches upon one’s legacy and portrays life as a delicate, fragile balance. As such, it’s a film that won’t register for some people looking for easy resolutions and explanations; rather, it needs to be simply experienced as an acting showcase. Those who are game will be rewarded.  Oscar nominations will surely follow. 

***1/2 of **** stars (add ½* for Gleeson and Farrell)