A Rivalry Supreme in THE FAVOURITE

Merry old England is given a new slant in The Favourite, a wonderfully acted period drama with loads of wit and nasty venom amid a sumptuous period setting as directed by Yorgos Lanthimos.

In 18^th century England, Lady Sarah (Rachel Weisz) advises and watches over Queen Anne (Olivia Colman), a weak, frail monarch who is dependent on Sarah’s consort.  Sarah’s control over the throne involves policy including waging war and taxing the populace.  Abigail (Emma Stone) arrives claiming to be her cousin and seeking employment. The two women vie for the attention of their queen, and the competition begins with meanness and outright debauchery.  Strategic alliances are formed with treachery aplenty.  Who will triumph?

The screenplay (Deborah Davis and Tony McNamara) is deliciously subversive and playful as both Weisz and Stone are wonderful as rivals attempting to curry favor of their queen, and they have a field day with the dialogue. Even better, Colman excels as the childish, moody ruler. The dynamic interplay among the three is a joyous romp in maneuvering and betrayal.

Lavish period recreation has a bit of Tom Jones’ playful sensibility with the nastiness of a Ken Russell film. The sets and costume designs are gorgeous. The film has a forced perspective, almost a fish eye point of view in the way it is shot to bend reality.

This is the type of film that will not appeal to all, and don’t expect a tidy ending, but for those game for a challenging exercise in backroom maneuvering and seduction among three excellent actresses at the top of their game, you’ll have a grand time.  Lanthimos is a filmmaker to watch as he is mining the fringes of mainstream cinema with his offbeat vision.

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

A Scathing Indictment in VICE

Similar in tone to his Oscar winner, The Big Short, and purportedly based on real incidents, Vice is director/writer Adam McKay’s version of the remarkable story of Dick Cheney, who, despite major health concerns and personal setbacks,  ascends to the highest levels of government and becomes perhaps the most powerful Vice President ever.

Opening in 1963, young Dick Cheney (Christian Bale) is a hard drinking, Yale reject who, with a good push from his wife Lynne (Amy Adams), reinvents himself first as an intern, through the turbulent 1970s to congressman, chief of staff, and, with a call from George W. Bush, becomes Vice President. Bypassing Congressional oversight, he has a direct influence in energy, military, foreign policy, and authority over the White House which has enormous consequences.  With the 9/11 terrorist attack, he becomes arguably the most powerful man in the world.  

If you buy McKay’s proposition, it’s a devastating history lesson of power wielded maliciously by a political insider whose use of conservative media, propaganda, and outrageous statements reverberates to this day.  McKay is not afraid to scramble the film’s narrative structure (with touches reminiscent of documentarian Michael Moore) or fooling the audience with an ‘ending’.

The great cast (with Steve Carell quite effective as key mentor Donald Rumsfeld and Sam Rockwell hamming it up as George W. Bush) portrays characters that are almost caricatures, but it is Bale’s dead on transformation (abetted by great makeup) that is remarkable and thoroughly convincing. (There are amusing cameos by Alfred Molina and Naomi Watts.) 

It’s a portrait of the American Dream corrupted by a politician whose rise to power was matched by his far reaching control. The postscript on Iraq is sobering, and there is a mid-credit scene!

***1/2 of ****stars (add ½* for Bale)

The British Rascal

 Albert Finney passed away at 82. He was at the forefront of the British film movement in the early sixties which peaked with the wonderful, Oscar winning classic, Tom Jones. He had five Oscar nominations and a variety of roles that ranged from turning down Lawrence of Arabia to being Detective Poirot in Murder on the Orient Express to Erin Brockovich's cantankerous boss to more recent roles in the Bourne series, Skyfall and Big Fish. He and Audrey Hepburn made a darling couple in Two for the Road, and he excelled as the husband in a tragic marriage in the great Shoot the Moon. There were so many more roles in a long and distinguished career.

The Pure Pleasures of ROMA

A loving vignette of childhood experiences with the family nanny, Roma is a triumph of fond memory and maternal love by master director, Alfonso Cuarón (Gravity) at the top of his game who also wrote, produced, shot, and co-edited this tribute!

In the early 1970s in Mexico City, a busy, middle class family has a nanny, Cleo (Yalitza Aparicio), who cares for the children and takes care of chores.  It is a time of change with political upheaval in city streets and the constant threat of violence.  Cleo is involved in many family activities and acts as surrogate mother to these children who have become her defacto family. On a personal side, she deals with romance and disappointment while maintaining her job, and there are moments when all aspects converge.  After a road trip to visit relatives, the family has its own upheaval, and Cleo is the one constant and savior through it all.    

The nostalgic moments are lovingly recreated in impeccable detail, and the black and white cinematography is vibrant and exquisite like still life.  There is a documentary feel to it with some of the best moments (including a harrowing moments at a hospital and the beach) in scenes bereft of dialogue (Spanish language).

As Cleo, first time actress Aparicio is a natural on the screen with an authentic performance.  The film is told from her point of view with the sights and distinct sounds of local street scenes; we experience her joys and sadness especially when tragedy strikes.

Roma is the latest in a group of standout, semiautobiographical films like The 400 Blows and Hope and Glory that are precious time capsules that capture youthful pain and joy.  This labor of love is Cuarón’s most personal film and perhaps his best, a masterpiece.

**** of **** stars

Penny Marshall was Much More Than Laverne

Penny Marshall passed away at 75 and with her go memories of TV shows like The Odd Couple and a glorious run in Laverne and Shirley with its Lucy and Ethel hijinks. But greater glory came when she became a bona fide director who was perhaps the first female to guide a film to blockbuster status and a catalogue of films especially the trifecta of Big, Awakenings, and A League of Their Own which were unqualified successes critically and financially. Gone much too soon, her legacy has helped inspire female directors to this day (Ava DuVernay with Selma and Patty Jenkins with Wonder Woman).

A Special Bond in THE GREEN BOOK

Based on the true story of a truly odd couple on a life changing road trip, The Green Book, directed by Peter Farrelly (known for blockbuster comedies), is a moving, character study amid the civil rights era in America and features outstanding acting by its leads.

In New York City, 1962, a doorman/bouncer, Tony Lip (Viggo Mortensen) answers an ad to escort Dr. Don Shirley (Mahershala Ali) to his piano concerts for two months through the Deep South.  The two disparate men, (a wealthy, culturally refined, black pianist and a streetwise, white driver trying to support his family,) head south, using The Green Book, a survival guide for blacks which lists hotels and restaurants as safe places.  As they face harrowing and often racist obstacles, these two come to depend on each other for different reasons as they develop compassion and mutual respect on their fateful journey.

The film is serious in tone but has funny exchanges of dialogue and amusing moments (when Dr. Shirley helps Tony write romantic letters to his wife while Tony shows the doctor the pleasures of pop music and fast food).  

There will be comparisons to Driving Miss Daisy and even  Planes, Trains and Automobiles, but this story is borne of a real life friendship, and the film does show that, despite racial intolerance and even differences in social class, people have much in common (although it would not have hurt to learn more about their respective backgrounds.) Yes, the Christmas Eve finale is expectedly sentimental, but so what? It packs a well earned, emotional punch, a true holiday film that works because of these two gifted actors who should be gunning for Oscar gold.  

**** of **** stars

WIDOWS and Empowerment

Director Steve McQueen’s first feature since his Oscar winning 12 Years a Slave, Widows  delves into the real meaning of female empowerment and raises what would be a standard genre film to dizzying heights.  It is a triumph of acting led by Viola Davis.

In Chicago, four women married to professional thieves are left to fend for themselves when a big heist goes horribly wrong. With a huge debt to repay some dangerous characters, and left with notes from her dead husband, Harry Rawlings (Liam Neeson), Veronica (Viola Davis) has a business proposition for the other widows by planning a new heist to repay the debt and start a new life. But things are not as what they seem with corrupt politicians seeking money and power. These female amateurs must find the courage to not only protect their families but their very survival.

You find yourself caring and rooting for these women with limited options who must rely on each other in a male dominated world.  The film touches upon political and familial legacies, but also explores the precious bond of love where no one is perfect, and everyone has past sins.

Viola is marvelous as the leader who not only displays resourcefulness, but a vulnerability that makes for a fully realized performance. Her past is revealed through a series of key flashbacks which give clues to her current plight.  An acting ensemble includes Colin Farrell, Michelle Rodriguez, Robert Duvall, Daniel Kaluuya, Elizabeth Debicki, and others working off a screenplay by Gillian Flynn and McQueen.

The film has a methodical pace with a tense, climactic heist and some surprising twists. Although the finale is a bit open ended, this impressive film is an energetic study in loyalty and greed wrapped up with some powerful acting.

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

The Script Doc Is Out

William Goldman died at 87. He was one of the greatest screenwriters from 1960s to the millennium. He wrote novels that he often adapted to movies as well as other authors. He helped mentor other screenwriters like Aaron Sorkin and wrote a memoir on his screenwriting days called Adventures in the Screen Trade where he proclaimed the famous line, ”Nobody knows anything”. He also came up with other memorable lines that are part of the lexicon like “Follow the money”, “As you wish”, and “Is it safe?” His films included Magic, The Princess Bride, Marathon Man, The Stepford Wives, A Bridge Too Far, and Misery.

He won two Oscars for screenplay for Butch Cassidy and the Sundance Kid and All the President’s Men and two Edgars (for best mystery writer)as well.  He was a top script doctor who rescued or consulted on screenplays for films like Indecent Proposal, A Few Good Men, and Good Will Hunting. He was at one point the highest paid script writer in Hollywood. And just to show he was human, his unproduced adaptations included Papillion and The Right Stuff. 

Stan Was the Man

Stan Lee has passed away at 95. What an amazing tale of a man who helped elevate the comic art form with his talented colleagues like Jack Kirby and Gene Colon (their cover art below). 

His career spanned pre World War II to the present but his glory years were the 1960s when he collaborated to create iconic superheroes who were human and fallible. Spiderman, Fantastic 4, Black Panther, X Men, and many more that reflected contemporary social issues. His weekly Stan's Soapbox was his commentary that ended with his phrases, "Excelsior!" or " 'nuff said". My favorite comic series was called Tales of Suspense that featured twin adventures with Captain America and Iron Man. 

So when Marvel moved to 21st century tech moviemaking, the adaptations were a child's dream come true. Stan would do cameos in most of these no matter the studio or format of film or TV. It almost seems fitting as ten years of the current Marvel Cinematic Universe culminates with the anticipated Avengers 4 next year, which ties up all 22 previous films in the series and marks the beginning of a new phase with relatively new or upcoming heroes, that I am virtually certain he filmed one more cameo. What a cool guy, what a talent, Stan, you were truly the Man.

Hawaii Five 0 at #200 Looks Back in Time

Tonight was the 200th episode of Hawaii Five 0 which would make its original show proud. This was different in taking a fanciful trip in nostalgia to an unsolved case. It was an opportunity to see the cast in change of pace roles. The episode was also a tribute to the famous real life, Hawaiian detective Chang Apana who inspired author Earl Derr Biggers to create Charlie Chan who (political correctness aside) was popular in books and especially in films. The show runners obviously have alot of reverence for old Five 0 lore and canon and this aspect was well done. They even insert a shot of Danny reading an early Biggers book The House Without a Key and show McGarrett studying a photo with Apana and Warner Oland who was the definitive Chan. The show runners did not have to include that, but film buffs love that detail! The show keeps churning out entertaining shows with a close knit cast, and it is not unrealistic to look forward to episode 250. 

Family Horror in HEREDITARY

Writer/Director Ari Aster’s first feature is a moody horror film, Hereditary, that is extremely well made and unsettling, and it marks a genuine talent for the future. It also features a bravura performance by Toni Collette.

After their grandmother has passed away, a grief stricken family must cope with the aftermath. Their daughter, Charlie, has a mysterious bond with grandma, and the mother, Annie (Collette), bears witness to strange visions and sounds as she experiences a mixture of emotions and guilt.  When a horrific tragedy occurs, she finds herself devolving into depression and losing touch with her family and reality. After finding some solace in a loss support group, she meets a fellow attendee who introduces her to the world of mediums to contact the dead. Amid paranoia, can Annie save her family even if it means sacrificing her own sanity?

The film is a thoroughly convincing depiction of a broken family.  Things and people are not what they seem or are out of place.  Beginning with The Sixth Sense kind of vibe, it takes the creepy family dynamics of Get Out and Don’t Look Now and then veers off into dark, Lovecraftian territory.  It is quite effective in its well-placed scares abetted by startling visuals and lingers with an uncomfortable feeling of menace long after the shocking end.  The use of Annie’s job designing dioramas adds an element of creepiness with some bizarre scenes recreated in miniature. 

Collette is the standout, and the film is well cast especially with Alex Wolff and Milly Shapiro as the teen children. It’s quite a disturbing journey and impressive piece of genre filmmaking guaranteed to get under your skin.  And just what is that smell?!

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

A Personal Journey in FIRST MAN

In keeping with the realism of space epics like The Right Stuff , Apollo 13, and even Hidden Figures, First Man is director Damien Chazelle’s (La La Land) vivid recreation of the events leading to man’s first moon landing nearly fifty years ago and the man who led the mission amid personal challenges and sacrifice. 

In 1961, Neil Armstrong (Ryan Gosling) is a loving family man and engineer with a knack for solving problems as he rises from test pilot to Project Gemini, a prelude to the Apollo Program which will place a man on the moon and win the space race against the Soviets.  His wife, Janet (Claire Foy), and their children live with the risks and danger that plague the space program, and when tragedy strikes home, the human and emotional loss will have a profound effect on him even as all eyes are focused on man’s first moon mission. 

Gosling does an admirable job as Armstrong, who was part public figure and enigma, and Foy is effective as his supportive wife who will not sit on the sidelines. It is interesting how he reacts to his personal grief and how his soft spoken persona contrasted with more vocal astronauts like Buzz Aldrin.

Space aficionados will love the recreations of key space missions.  It’s a technical achievement with imaginative camerawork and realistic, visual and sound effects to simulate the astronauts’ point of view.  What is fascinating are the behind-the-scenes mechanical problems and close calls not widely known in news headlines.

A more cerebral kind of movie, it’s an intimate journey of a true American hero which culminates in not only a historic moment for all time, but ends with a memorable shot that shows where its heart lies.

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

Moore’s Warning in FAHRENHEIT 11/9

Documentarian Michael Moore has always been successful at manipulating his audiences with a persuasive narrative and some compelling news footage and interviews. His cautionary tale, Fahrenheit 11/9, raises some significant issues that have far reaching implications for this country.

On Election Eve, 2016, as virtually every major poll predicts a convincing Presidential victory by Hillary Clinton over Donald Trump, even Trump supporters are pessimistic. When 11/9 brings a historic, Trump upset win, how could this have happened? Moore’s playful spin on his Fahrenheit 9/11 is this insightful study of politics and media and how corporate money and influence play a direct role in elections and policy that has far reaching consequences. 

Starting with the power of the media that propelled Donald Trump into the spotlight, he lashes out at Republicans and Democrats alike as well as his own embarrassing shortcomings.  He focuses on unfairly influenced primaries in West Virginia and the horrific water crisis in Flint, Michigan (Moore’s hometown), with its corrupt officials who contributed to the public’s loss of faith in government.  He also shows a remarkable segment where underpaid, state teachers strike in together in supreme solidarity.  Similarly, Parkland School students react to a mass shooting by effecting political change through global marches and social media.

Though he may seem self-righteous and heavy handed at times, he has lost none of his passion or his skill at persuasive cinema to rally his audience emotionally.  There is a sense of urgency in his message, a call to arms, as he shines a light on grassroots candidates who are the hope of the nation. You may or may not believe or agree with him, but his observations are eye opening.

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

Three Fun Horror Classics for Halloween

Ah Halloween, what a fun celebration. A chance to be ghoulish and to eat candy treats and dress up different. Here are three scary classics. The original The Thing from 1951 which I can never ever get tired of and holds up beautifully. Then there is one of Vincent Price's best, the campy The Abominable Dr. Phibes from 1971. And 1979 gave us the bizarre scifi horror cult film (J.J. Abrams loves it) Phantasm. Forget logic and reality. Great fun and scares all.