Nuclear Angst in A HOUSE OF DYNAMITE

Kathryn Bigelow (Zero Dark Thirty) returns from a long absence with A House of Dynamite, a detailed reenactment of a nuclear ‘what-if’ scenario that is both a high-powered thriller and cautionary tale that rings true.

An intercontinental ballistic missile launch in the Pacific by an unknown power triggers alarms in the United States at early warning military stations that begin tracking its ominous trajectory toward the Midwest.  As various federal agencies spring into action, 19 precious minutes remain before a critical decision must be made by The President (Idris Elba).  When an intercept missile is fired to stop the invading missile, it is compared to “a bullet hitting a bullet”.  As frantic communications among key sources desperately attempt to make sense of their information, The President must make a fateful, agonizing choice amid a worst case scenario.

Told from several points of view in repeat succession (like Weapons), those at the highest level of government are shown responding to an extraordinary, impossible situation which has ramifications on a personal level.  Aside from Elba, standouts in the cast include Rebecca Ferguson and Jared Harris among the huge cast.      

This tense story has a highly authentic feel in the minute details and location work, and what Bigelow does to heighten the realism and immediacy involves rapid editing and hand held camerawork.  It is noteworthy that the film works as well as it does by being an updated, state-of-the-art thriller in the mode of numerous Cold War-themed TV shows (Special Bulletin) and films like Fail Safe, Dr. Strangelove, The Bedford Incident, and Wargames. 

It isn’t a perfect film especially at the ending (which may disappoint some), but it’s an effective, plausible dramatization and reminder of the constant, ever present risk of nuclear proliferation.  There are no easy answers here.

**** of *****  on Netflix

 

A TV Mom of Moms

 

Actress June Lockhart has passed at 100. Her long career covered eight decades in stage, film and television and included Emmy nominations and a Tony Award as a newcomer.  Her first film role was daughter to her father Gene Lockhart in 1938 for A Christmas Carol. She had countless film and television guest roles, but she will always be remembered as the TV moms in Lassie and Lost in Space, two shows that are near and dear to my heart.  Though I met several stars of Lost in Space, I never got to meet her, but she lives on forever on video.

Past Imperfect in REGRETTING YOU

Past meets present with emotional trauma in the touching film adaptation of the best-seller, Regretting You, a drama that is highlighted by sensitive direction from Josh Boone (The Fault in Our Stars) and a good cast.

Morgan (Allison Williams) and Jenny are sisters who, 17 years later, are now moms. Morgan is married to Chris and has a teenager, Clara (Mckenna Grace), while Jenny, a new mother herself, is planning to marry Jonah. Clara yearns to be an actress and finds a soulmate in Miller, another high schooler with dreams of being a filmmaker.  Life seems blissful until tragedy strikes, and Morgan’s life is not only shaken, but devastated when a dark secret emerges thst threatens to unravel her relationship with Clara.  Mother and daughter struggle with the truth and an uncertain future.

The story establishes the quartet of high school friends whose relationships grow over the years, and though the narrative does give hints of something hidden, when it is revealed, these characters’ intertwined worlds are forever changed.  The film achieves the difficult task of balancing multiple sets of relationships including Morgan and Jonah, Clara and Miller, and especially Morgan and Clara. Not only is it about rediscovering one’s true passion but, in the case of Morgan, reinvention and letting go of a painful past.  The appealing cast performs admirably especially Williams in an emotionally challenging role. 

This is a straightforward drama not without moments of humor and irony. Though parts may seem a bit clichéd and predictable, it is played convincingly and realistically as during Clara’s birthday dinner where all the principal characters collide.   Above all, what comes through in the end is the love each person has to give. How’s that for a parting message?

***1/2 of ***** (add ½* for fans of the book)

 

And Unconventional Star

Actress/Director Diane Keaton has passed at 79. This unique star had a lengthy film career that had her costar in some of Woody Allen's greatest, early films including Sleeper, Love and Death, Manhattan, Interiors, and Annie Hall which immortalized the quote, "la-de-da", garnering her an Oscar for Best Actress, and influencing audiences as a fashion icon. She was a big part of the Godfather films where came into her own as a dramatic actress. Her other major films included Reds, Looking for Mr Goodbar, Father of the Bride, The First Wives Club, and Something's Gotta Give which resulted in another Oscar nomination. In addition to directing projects like the music video, Heaven Is a Place on Earth, and an episode of Twin Peaks, she was awarded The American Film Institute life achievement award.

Tatum Shines as ROOFMAN

Based on a true story, Roofman is the fascinating depiction of a criminal with a heart of gold who is winningly portrayed by Channing Tatum in a thoroughly entertaining comedy/drama.

In the early 2000’s military veteran Jeffrey Manchester (Tatum) is struggling to make a better life for his fractured family.  He turns to robbing McDonald’s restaurants by entering the roofs until the police close in, and he goes to prison.  Ever observant and resourceful, he manages to escape and stumbles upon a Toys “R” Us store where he sneaks in and makes it his makeshift home unbeknownst to the staff including Leigh (Kirsten Dunst), a divorced mother.  His generous heart leads to a toy donation at a church and a chance meeting with Leigh, and the two begin an improbable relationship.  But Jeffrey’s new life cannot last forever, and when given a choice of freedom or staying with his true love, he is at a crossroads.

There is a sort of Cinderella vibe where Jeffrey leaves his unhappiness for moments of love and joy and displaying his facade. What makes this a delight is watching how he lives a solitary, idyllic existence with all the amenities a toy store has to offer including monitors, candy, and merchandise he exchanges for cash. He is clever, yet fallible at times, making goofy mistakes and barely evading detection.

Tatum is quite charming and endearing as the robber with a conscience.  He and Dunst, who has become a strong, mature actress (Civil War), make a terrific couple, and they are ably supported by Peter Dinklage and LaKeith Stanfield.  Brimming with sentiment and good will, the film builds empathy, and you can’t help but root for Jeffrey and Leigh.  It is nothing more than a sweet, earnest film

**** of ***** stars (A must for Tatum fans)

 

ONE BATTLE AFTER ANOTHER and the Legacy of Family

 

One Battle After Another, writer/director Paul Thomas Anderson’s (There Will Be Blood. Magnolia) bold statement on family amid extreme circumstances, is also one of the best films of the year.

Bob (Leonardo DiCaprio) and girlfriend Perfidia (Teyana Taylor) are part of a revolutionary group attacking immigrant detention centers and other targets. When Perfidia and detention commander Captain Lockjaw (Sean Penn) develop an unsavory relationship, the group is exposed, and Bob takes his newly born baby to safety. Sixteen years later Bob and his  teen daughter Willa (Chase Infiniti) are pursued by (now Colonel) Lockjaw, who is determined to remove any evidence of an interracial relationship (with Perfidia) in order to qualify for membership to a white supremacist group. When Willa disappears, a desperate Bob enlists the help of a Sensei (Benicio del Toro).  His journey will test loyalties and reveal deep secrets that could cost him and his daughter’s life.

Anderson’s most ambitious work is an epic, outrageous drama that hearkens to current events including detention centers, white supremacy, and military intervention, and yet the prevailing theme of ‘father and daughter’ is central to the film.  Essentially one long series of chases, the cast is outstanding with DiCaprio, a standout, playing a paranoid dad and special mention to newcomer Infiniti and veteran del Toro.    

This is the work of a filmmaker at the height of his powers balancing tense scenarios with moments of humor (including uproarious scenes of DiCaprio trying to remember his group’s passwords), as he manages to deftly converge the characters’ narrative arcs.  At 161 minutes, this well paced film, shot in the Vistavision format, is constantly engaging, and it deserves to be experienced on the big screen. Expect multiple Oscar nominations across the board including Best Picture.

 ***** of ***** stars

The Madness of HIM

 

Jordan Peele (Get Out) is the producer on HIM, a film from director/cowriter Justin Tipping, and the result is a confusing, nightmare (in many ways) of a film that proves to be a disappointment.

A young boy dreams of being a pro football star like his idol, Isaiah White (Marlon Wayans). As an adult, Cameron Cade (Tyriq Withers) is participating in a major combine when he is attacked by a mysterious figure and left with potential brain damage. Desperate to succeed, he accepts help from his idol, White, now an aged star, who acts as an unorthodox mentor. What follows is an intense regimen including brutal workouts and psychological torture that tests his limits and sanity.  Will he be able to handle the harsh, mind numbing training (which includes blood transfusions) and still survive? It all leads to a surprising, diabolical reveal.

The story starts out promisingly about a talented athlete, and whether he has what it takes to be the best but quickly devolves into, simply put, a convoluted, surreal mess. What could have been a study on the physical and psychological sacrifice of White and the highly competitive nature of being elite, deviates into tangents and loses its audience.  Unfortunately, the only good thing to recommend here are two good performances (by Wayans and Withers) and not much else.  Certainly, there is a visual talent on display, but for what purpose and to what end? The film, bereft of a decent script, gets progressively more confusing and disturbing without a clear, rational narrative. It’s a case of wasted talent and technique.

This is a graphic study of obsession that leads to an empty resolution.  Someday, Tipping may create a more coherent, effective film. This isn’t it.  

** of ***** stars (a * for each lead actor)

MidAtlantic Nostalgia Convention and a New Venue

 

The 20th MidAtlantic Nostalgia Convention is underway at a new venue the Sheraton Baltimore North Hotel in Towson through Saturday. Along with the usual vendors of memorabilia including comic books, stills, posters, records, toys, games and much more, there were the celebrities from TV and movie past including Vicki Lawrence, Hayley Mills, Bruce McGill (D Day) and Peter Riegert (Boone) from Animal House, Morgan Fairchild, Larry Matthew's (Ritchie on Dick Van Dyke Show), and more. Juliet Millls got delayed til tomorrow and Kristy McNichol couldn't make it. 

I got to meet Brad from The Rocky Horror Picture Show, Barry Bostwick, and he signed my poster! We talked about his hidden gem of a film, Movie Movie and his role on TVs War and Remembrance. This Tony Award winner was very cool and gracious. I went with Laura who had a field day with the cocreator of H. R. Pufnstuf, Marty Krofft. She and I played tag team photographers and shoppers. And we saw the show runner, Martin Grams who is capping off his last convention with a bang. Thank you for the memories and the thrills. The event ends this Saturday.

A Fitting End for DOWNTON ABBEY: THE GRAND FINALE

 

Julian Fellowes’ legendary TV series and two follow-up films finally conclude in Downton Abbey: The Grand Finale, a splendid sendoff that brings the multiple characters and their storylines to a conclusion that should provide closure for most ardent fans.

It is 1930, and the Crawley family spends time in London’s social scene where the announced divorce of Lady Mary (Michelle Dockery) creates a perceived scandal and backlash at a pivotal time amidst the Great Depression where the financial solvency of aristocracy is threatened.  When American relative, Harold (Paul Giamatti), arrives, he brings what could be a risky proposition, while playwright Noël Coward pays a memorable visit that brings an air of unpredictability.   The times are changing as patriarch Robert (Hugh Bonneville) and Cora (Elizabeth McGovern) contemplate life beyond the estate and entrusting Downton Abbey to a new generation.

The classic cast returns minus deceased matriarch Violet (Maggie Smith) as this installment wraps up subplots and various, intertwined narratives in a sharp screenplay that focuses on the relationships and conveys humor and sentiment in equal measure. As before, Fellowes makes a distinct contrast between the upper class Crawleys and lower class servants. Loyalties are tested with the emerging theme of how progressive minded thinking must challenge old fashioned tradition and convention. 

The grandeur of the Downton setting never fails to impress as do the sumptuous production values of art direction, costume design, and a rich, musical score.  At slightly more than 2 hours, the film moves along at a good clip, and while it could arguably continue for more installments, this is a good, proper place to end the saga, which it does in fine fashion (with a few emotional call backs). 

****1/2 of ***** stars (A must for Downton purists)

The Sundance Kid

 

Actor/Director Robert Redford has passed at 89. This icon from the 1960s and 1970s was a heartthrob and movie star of the highest order in such popular classics as Three Days of the Condor, The Way We Were, The Candidate, All the President's Men, Out of Africa, and many more. He was teamed with Paul Newman for two immensely popular and critically lauded Oscar darlings, Butch Cassidy and the Sundance Kid and The Sting. He became an acclaimed director of such films as Quiz Show, A River Runs Through It, and Ordinary People for which he won an Oscar for Best Director. A staunch defender of the environment, he also founded The Sundance Institute for showcasing aspiring, independent filmmakers which presaged the awards season. He was active well into his eighties and even dabbled in the Marvel Cinematic Universe notably Captain America: The Winter Soldier. He was awarded an honorary Oscar in 2002.