SALTBURN and the Nature of Deception

 

Saltburn, a convoluted, psychological drama from director/writer Emerald Fennell (Promising Young Woman), is a daring exploration of human desire and corruption.

Oxford University welcomes the Class of 2006, and Oliver (Barry Keoghan), a seemingly shy, isolated student from a modest background and a fractured family, is befriended by popular Felix (Jacob Elordi) who comes from great family wealth and stature. When Felix invites Oliver to stay with his family for the summer, it ignites a series of bizarre events at Saltburn, a grand estate populated by Felix’s parents (Richard E. Grant and Rosamund Pike), his sister, a cousin, and an army of servants. Oliver is drawn to Felix, and he ingratiates and assimilates himself into the family creating emotional ripples of rivalry and jealousy.  Soon Felix’s mom plans a grand birthday party for Oliver where raw emotions are exposed with shocking, tragic consequences.

What is Oliver’s agenda?  He is portrayed as a fish out of water, but he also harbors a deep infatuation for Felix while eavesdropping and voyeuristically spying on Felix’s family.  Is he running from his past and looking for a better standing with this family, or is he a cold, calculating predator capable of subterfuge of the darkest order?

Keoghan makes the most of this challenging role that brings instant comparisons to The Talented Mr. Ripley while the cast is sublime with Pike a standout as the doting mother.  The film’s striking visuals (augmented by an excellent soundtrack) and mature themes recall Women in Love.  Fennell’s screenplay is dense with sensuality and seduction, and nothing is by chance or accidental leading to an unexpected, stunning end.  It’s a magnificent, character study with a dark streak of hedonism and explicit scenes not for all tastes, but discerning viewers will find an audacious narrative of twisted truths and manipulation. 

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

The Complex Figure of NAPOLEON

 

The subject of a number of films (especially a groundbreaking silent film by Abel Gance), Napoleon, directed by legend, Ridley Scott (Black Hawk Down, Alien), presents a character study within a sweeping, historic drama that mostly succeeds.

The French Revolution ends a royal reign in 1793 and brings new leadership to France when young Napoleon Bonaparte (Joaquin Phoenix), an ambitious army officer, rises through the ranks with sheer bravado and military skill.  As he ascends into leadership following the Reign of Terror, he meets and falls in love with Joséphine (Vanessa Kirby is quite good) which leads to a union that parallels his consolidation of power. Their relationship undergoes turmoil amid rumors of infidelity and her inability to conceive an heir.  Crowning himself Emperor, he wages war on disloyal alliances especially England, and from successful campaigns in Egypt to staggering human losses in Russia, he is eventually exiled only to return with the help of loyal troops.  Ultimately a coalition of European armies led by England’s Duke of Wellington defeats Napoleon at Waterloo and sends him to permanent exile, ending his reign.

David Scarpa’s extensive screenplay raises the question of how much of the depicted events are historically accurate and whether the film captures the essence of the dynamic between Napoleon and Joséphine.  At 85, Scott is still in command of cinema especially epic dramas with sumptuous period details and elaborate battle scenes that recall Spartacus and Braveheart.  He tries to humanize this legendary figure, a modern Caesar with a thirst for power, and he partly succeeds even though his Napoleon (well portrayed by Phoenix) is not entirely sympathetic. There are similarities to Scott’s Gladiator, but whereas the protagonist in that film elicited empathy, in this case, not so much.

**** of ***** stars (for Scott purists)

WISH and the Power of Yearning

 

Disney has another holiday success in Wish, an animated musical that should appeal to adults as much as children.

The Kingdom of Rosas is ruled by King Magnifico (Chris Pine) who has the power to grant anyone’s wish during a ceremony.  Everyone wants their wish to come true including Asha (Ariana DeBose) who loves her family and respects their wishes.  When she tries to become Magnifico’s apprentice to gain favor for her family, he secretly has a different agenda to keep all the people’s wishes for himself and then uses a book of forbidden, dark magic to gain more power (like the Darkhold in Marvel films). Saddened, Asha’s desperate wish to the sky brings down a star entity who possesses magical powers to help her. Can Asha’s friends prevent the increasingly powerful Magnifico? The fate of Rosas’ citizens hangs in the balance.

The film’s main theme centering on wish fulfillment is a high concept and an emotional journey that seems more suited for older kids. The plot follows the usual Disney formula of a youthful protagonist who helps her family against evil.  Asha is a fully developed character who has her yearnings but is unselfishly devoted to her family, whereas Magnifico is essentially one dimensional and whose motives are his own aggrandizement. 

There are nice touches with an adorable, pet goat named Valentino whose wish to speak is granted and (with other talking animals and plants) provides some comic relief.  The animation is imaginative, and there are nice musical sequences especially one involving an energetic group of chickens. 

At a brisk 95 minutes, it’s a simple tale with a sweet message about the triumph of spirit and love against dire odds.  (The end credits contain a constellation of images for Disney fans.)

**** of ***** stars

THE HOLDOVERS and Its Lonely Souls

 

From director Alexander Payne (Sideways, Nebraska), The Holdovers is an extremely well-acted drama with plenty of period flavor and emotional feeling.

It’s Christmas season, 1970, at Barton Academy, and Paul Hunham (Paul Giamatti), a stern, middle-aged professor and disciplinarian, drinks a lot and has no family or close friends. He is assigned to watch over a few students including Angus (Dominic Sessa) who must stay at the closed school during the holidays. Angus is an angry young man who clashes with Hunham and is constantly breaking the rules and getting into trouble.  Mary (Da’Vine Joy Randolph), the lone cafeteria worker remaining on campus, has suffered the loss of her son in Vietnam. As Christmas approaches, the trio spend time together and go on a road trip of shared experiences that serves as a catalyst for life changing moments.  

The excellent screenplay (David Hemingson) is always engaging and sprinkled with humorous dialogue (backed by a good soundtrack).  Paul and Angus both harbor deep secrets behind facades and lies, and gradually tiny cracks reveal their pasts as painful truths emerge.  Eventually there is a semblance of mutual respect.  The three principals form a makeshift family that learns to care and even sacrifice for one another, which culminates in a moving, realistic ending. Over the course of the film, you develop empathy for these broken people.

Despite subplots that really don’t go anywhere, the film is so earnest and involving, it doesn’t matter. With its depictions of personal loss and new beginnings, it’s about real people facing life’s challenges and coming a bit closer to one another.  Impeccably directed, Payne elicits heartfelt performances from Giamatti, Sessa, and Randolph. Filled with humanity and goodwill, it’s a poignant film, a simple tale told exceedingly well. Expect Oscar nominations.

 ****1/2 of ***** stars

More Is Less in THE MARVELS

The Marvels (directed by Nia DaCosta) is the latest film that continues the Marvel Cinematic Universe with a reasonably entertaining film featuring three superheroes.

With the power of the quantum band, a bitter Dar-Benn attacks and ravages other worlds to save her dying Kree planet, and this rips holes in space triggering an event that causes Captain Marvel, Carol Danvers (Brie Larson), Monica Rambeau (Teyonah Parris), and Ms. Marvel, Kamala Khan (Iman Vellani) to switch places with each other whenever they use their similar, yet unique powers.  Together with Nick Fury (Samuel L. Jackson), who leads the space defense force S.A.B.E.R., they must combine their powers to work together and save Earth without tearing the fabric of time/space.

The film is a follow-up to plot points in WandaVision, Ms. Marvel, and Captain Marvel.  Goose, the cat-like Flerken, makes a welcome, funny return with his kin, and there is even an offbeat musical number.  The chemistry is good among the three leads (who look smashing in their costumes) with Vellani’s character shining with her enthusiasm and helping to keep the story grounded.

This is about a sisterhood of brave heroes and their sacrifice, but there are missed opportunities at times as it fails to convincingly explore personal moments including a rift between Monica and Carol.  This genre also feels a bit worn, and although it tries to break free of tired tropes, there are the same repetitive super battles with a villain who is not particularly interesting.  Except for event films (like Spider-Man: No Way Home) the formula for Marvel is getting repetitive (and expensive).

This is a decent film that could have been more; in this case, more is not necessarily better.  (Pre-credits and mid-credits scenes have significant ramifications in the MCU.)

 ***1/2 of ***** stars

Familiar Tropes in NEXT GOAL WINS

Inspired by true events, director/cowriter (and supporting actor) Taika Waititi (JoJo Rabbit, Thor:Ragnarok) creates a big-hearted, amusing tale of camaraderie and teamwork under challenging circumstances.

American Samoa’s soccer team not only loses horribly in their World Cup qualifying game in 2001, but fails to score a single goal, and ten years later, the team is destined to repeat their scoreless ways as more qualifying games approach. When soccer coach Thomas Rongen (Michael Fassbender) is forced to coach this team, it is a group of eager yet undisciplined players in search of their first goal.  Rongen must adjust to a totally new culture and way of life as he battles inner demons and a failed marriage to try to instill in these players the will to succeed with only four weeks until the games. 

This story has been done previously in other clichéd sports films like the superior Hoosiers.  Here we have a disparate band of misfits who strive to coalesce as a team against overwhelming odds.  There is acceptance and self-sacrifice as it presents some interesting subplots and characters that are touched upon but unfortunately never fully developed including Rongen’s background and his relationship with a transgendered player. There are a number of inside jokes referencing other movies like Any Given Sunday, and while the film doesn’t ever take itself too seriously, it does lean into the heart of Samoan culture.  Fassbender’s character is clearly the focus here with his self-discovery and learning to move on with his life especially during a touching, revealing moment at the pivotal climax. 

With an amusing post credit scene, this is one of those feel good, independent films that could have been more but will satisfy most audiences.

*** 1/2 of ***** stars (for Waititi fans)