Drama, Female Director, Independent Feature, Movie Reviews, Movies

REVIEW: “CLEMENCY” (2019) Neon Pictures

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“CLEMENCY”  opens with an agonizingly difficult scene and is definitely not for the faint of heart. We are watching a man die. Actually, incorrect. We are watching Victor Jimenez (Alex Castillo) being served his death penalty execution sentence by injection where a good vein cannot be found for the needle and it’s going horrifically wrong in every which way possible. A scene so horribly difficult to watch that no amount of squirming or covering of the eyes will ever quite be enough to un-see it. This horrific opening scene leads us into  Chinonye Chukwu’s second film with a point of view rarely shared, a non-political look at the emotional toll something like this takes on those who must carry out the sentence.

Bernadine Williams (Alfre Woodard) is the female Warden of a prison in Texas where death penalty sentences are carried out per the courts orders. Bernadine’s job involves dealing with every thing from family members, protesters, lawyers, the media, picking of guards and medical staff, overseeing the procedures, even final meals. statements and last rites performed in conjunction with Chaplain Kendricks (Michael O’Neill).  She performs these tasks in a very professional manner while trying to maintain a sense of duty and responsibility, in a seemingly matter-of-fact tone that comes across. This portrayed stoic persona is taking a toll on her life both personally and professionally. She drinks to much, fails miserably at having even the most basic of normal conversation, doesn’t sleep much which leads to more drinking and problems in her marriage to her husband Jonathan (Wendall Pierce), a high school teacher who dreams of them retiring together and taking a much needed sabbatical.

In the aftermath of the horribly botched execution, Bernadine is tasked with having to prepare for the next execution of convict Anthony Woods (Aldis Hodge) and is under pressure to make sure the same mistakes don’t happen. From the Deputy Warden Thomas Morgan (Richard Gunn) to Prison Major Logan Cartright (LaMonica Garrett), most every person she tries to have help, expresses a desire to walk away and this speaks clearly to the burden associated with the tasking of carrying out the sentencing.  In the meantime, Woods, a death row inmate for now for 15 years and with his execution date fast approaching, is feeling the desire to try to leave behind something besides a legacy of his life of crime for his son to remember him by, and for some closure.  Hope rises from him with a visit from his former girlfriend Evette (Danielle Brooks), sadly, as she expresses to Woods what it is she needs, that hope is crushed as well.

Despite his claims of innocence, his confession that he was there but did not commit the crime he is convicted for, and critical evidence showing he was not the one who killed the police officer, Woods’ attorney Marty Lumetta (Richard Schiff) informs him that his last strand of hope is a decree of clemency by the governor as all legal appeals have failed thus far.  The rest of the movie’s parts work within each other to show the toll the past and present executions present and how they all must confront the demons put in front of them. Anthony’s lawyer character, equally damaged by not being able to save Anthony after putting all he had into it, tells him that this is to be his last case as he is on the verge of retiring, but not because he wants to, but because he simply can’t handle the despair of his job anymore. Hodge puts forth an almost non-verbal performance with his unspoken words reflecting his pain almost more than if he had spoken them. There are some moments between prisoner and lawyer that are touching and strong, especially as you realize that well, simply put, this isn’t going to have a happy ending.

But let’s be clear whose movie this really is and that is of course Alfre Woodard. Her ‘Bernadette’ is strong, but oh so pained and flawed. But yet she embraces her with every look, every nuance of this quiet performance is almost loudly done with micro moments that are seismic in the overall perspective. Only the character of Bernadine’s husband seems a bit thinly sketched here jumping into arguments and leaving Bernadine to cope on her own while in clear turmoil. Leaving the performances aside for a moment as the film itself misses something that’s hard to put a finger on. Maybe it’s the overuse of the jerky movement of the handycam in one nauseating scene where the roving camera didn’t fit in well, Maybe it’s the conflicted narrative at times, as we sometimes lose track of what exactly the film is leading us to. Is it Bernadine’s shifting attitude towards laws themselves or is it losing her composure with what the executions toll is taking from her emotionally & physically. Or is it about Anthony isolation for so many years and facing his impending death. Or we could go so far and make it about his lawyers impending resignation. Some of this leaves us hanging without balance, but once again it’s such a performance driven film and without said performances it wouldn’t be nearly so powerful that you almost forget you wished all of the characters were just people you wanted to like, but couldn’t grasp doing so.

Grade: B-

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Media Review Screening: Tuesday, December 3, 2019 ~ Courtesy of 42 West

“CLEMENCY” WILL BE OUT IN SELECT THEATERS ON DECEMBER 27, 2019 

Biography, Drama, Golden Globes, Movie Reviews, Movies

REVIEW: “BOMBSHELL” (2019) Lionsgate/AnnapurnaPictures

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Director Jay Roach’s newest drama is the aptly titled “BOMBSHELL” in which we see a literal sex harassment bomb being dropped with not only the star talent names that are all over the cast of this true story, but of the toxic effects of Chairman Roger Ailes (John Lithgow) as well, and what ensues during this well deserved take down. Ailes, who ruled the roost at Fox News until the toxicity of his created atmosphere surfaces in an accusation that is led by seasoned television host Gretchen Carlson (Nicole Kidman), after her firing from the company. What follows, shows us in detail the culmination of the loss of not only his CEO/Chairman title, but of his reign at Fox News. And folks – this ‘Bombshell’ couldn’t have dropped at a better time.

With the #MeToo movement in full force for a couple of years now and with victims coming forward and sharing their horrific experiences around sexual harassment, the revelations are astounding but not surprising after more and more highly regarded and powerful men have been uncovered as sexual predators in the workforce. To be fair, what happened in 2016 at Fox News, does get dramaticized to make it more appealing for the movie going audiences, but at the core of the story is nothing but truth.

The film follows Gretchen Carlson (Kidman) who opts to fight her ouster from the company claiming that her career was marked by frequent harassment often by Aisles himself. At the same time Megyn Kelly (Charlize Theron), is dealing with backlash from Presidential Candidate Donald Trump and is being forced to endure what she sees as verbal attacks for the good of their audience and ratings.  As this story unfolds, the audience is introduced to Kayla Pospisil (Margot Robbie), a young journalist eager to make her way up the corporate ladder. She is introduced to Aisles who asks her to “model” for him claiming that since they work in a visual medium, he cannot just let anyone on the air and needs to ensure “loyalty” amongst his staff. Carlson eventually files a lawsuit but due to the power that Aisles and the Network holds, nobody is willing to come forward to back her and she is faced with taking on the media giant alone. The movie then centers on the key players and their day to day lives which enables them to find the strength to come forward and do what they believe is right.

Everyone here from our leads to the supporting is a respected name and adds in so much to the overall story line.  John Lithgow gives the performance of a lifetime, from the paranoia to his personification of ‘fake news’ to his harassment, both verbal & sexual in nature, of the loathsome Roger Ailes. Connie Britton steps up as his wife Beth Ailes, who seemingly doesn’t want to see what’s right in front of her, until of course it actually is with the tapes Carlson unveils she has. Kate McKinnon is on hand as Jess Carr, the Faux news ‘secret’ Democrat who hides her sexuality in a closet of her own making that she can’t get out of. We have so many small roles that even out this cast with everyone from a hilarious little pivot role of Judge Jeanine Pirro (Alanna Ubach), to Richard Kind stepping in as Rudy Guiliani, Greta Van Susteren (Anne Ramsay), Sean Hannity (Spencer Garrett), Geraldo Rivera (Tony Plana), Bill O’Reilly (Kevin Dorff) and lastly, Jennifer Morrison as Juliet Huddy, one of the very few who filed years before all this came out and was subsequently banished to an outlying station. With all wonderful supporting cast, it’s Margot Robbie who has found her possible Oscar winning role here in Kayla. There are moments when as the horrible things are happening to her, the pain in her eyes is palpable – with the audience feeling and living every second with her. We really have to commend the make up/designers here as Theron really looks so much like Megyn Kelly in this film that at times its hard to not feel like she IS Kelly.  Theron transforms so well, you’d almost think she could pass as her clone with her characteristics, facial expressions, voice, all under perfect control – it’s uncanny. Same with Kidman as Carlson as her acting is nuanced, as she brings an energetic confidence to her character and the film that we all can applaud.

Personally, it can be respected what these women went through and finally stood up for – what can’t always be forgiven is the damage they caused with their words on Fox and waiting so long to finally step forward. While the film touches on important matters that has recently come to the light in droves, it doesn’t always reach its potential and with some choppy editing and often-bizarre narrative techniques, making the story relatively disjointed at times. The film is sure to spark some discussion as despite the events portrayed in the film it appears that many of those who acted improperly managed to financially win from their downfall but it at least set a precedent for those looking to come forward knowing they are not alone.

Grade: B-

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Media Review Screening: Tuesday, December 3, 2019 ~ Courtesy of Lionsgate

“BOMBSHELL” IS OUT IN THEATERS NATIONWIDE // WORLDWIDE TO FOLLOW JANUARY 2020

 

 

Drama, Movie Reviews, Movies

REVIEW: “RICHARD JEWELL” (2019) Warner Bros.

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The title of this film “RICHARD JEWELL” is our subject matter as well. Jewell is a security guard who was hailed as a hero for finding a pipe bomb and thus preventing a bigger tragedy in 1996 during the time of the Atlanta Olympics. The film focuses on the events of the bombing itself and what takes place in the life of Richard Jewell post-bombing.

Imagine being falsely accused of a terrorist act that killed and injured people. Imagine that you are the FBI’s primary suspect. Imagine your name and face are spread across every possible media outlet. Imagine your belongings have been searched and seized as evidence – right down to your mom’s underwear. Lastly, imagine all of this occurs mere days after your actions actually saved lives and you were hailed as a hero across all of those same media outlets.  Well that imaginary man is actually Richard Jewell (Paul Walter Hauser), a humble but rather over-zealous security guard whom yes, imagines himself a law enforcement officer as he never fails to tell us.

We first meet Richard as a supply clerk at a law firm in 1986. His awkward ways and surprising efficiency catches the eye of attorney Watson Bryant (Sam Rockwell), a quasi-connection that comes into play a big part in both of their lives a decade later. We then jump ahead 10 years to find Richard being fired from his campus security job at a college due to not only his odd behaviour, but his escalating over-zealous focus on following protocol to a point of pulling people over off-campus as a police officer would. Fortunately for Richard, the Olympics are coming to Atlanta, so finding work as a security guard is pretty easy.

Pan to Atlanta’s Centennial Olympic Park. Crowds of people are dancing at a Kenny Rogers concert and two days later we have Sly & The Family Stone and people dancing the Macarena. As one of the on-site security guards, Richard spots a suspicious backpack that turns out to be holding the pipe bomb that detonates minutes later, creating turmoil and tragedy at the site.  In hindsight we see that thanks to Richard, it wasn’t worse and as the viewing audience, we know that Richard’s actions saved lives and he definitely is not responsible for planting the bomb. And it’s because of knowing this, that we have the feeling of being in Richard’s shoes – thanks in part because of the Oscar-worthy performance here by Hauser as well.  Every time we hear Richard say “I’m law enforcement too”, it’s heart-breaking to us and gives an opening for the FBI to try and manipulate him. The scenario of a single white male living at home with his mom, carrying his gung-ho dreams of a career in law enforcement while collecting guns, knowledge on bombs and police procedure, makes Richard Jewell the perfect patsy.

Two key supporting roles come courtesy of Oscar winner Kathy Bates as Richard’s mother Bobi, and Nina Arianda as Bryant’s paralegal Nadya. Bates starts out as a loving and simple mother to Richard, but her press conference captures the character in a new light. It’s a strong and heartfelt performance. Arianda on the other hand, brings some warmth sprinkled with welcome sarcasm to her role. Once again, Hauser is spot-on in every scene, and when the four are all together, it’s a pleasure to watch. Hauser and Rockwell are especially good in their scenes together as the ‘wronged man’ contrast with the take-no-bull attorney and somehow actually gives a touch a humour in this otherwise not so humourous story.

With Jon Hamm having perfected the role of the cocksure agent-man and this one being no different as he plays FBI Agent Tom Shaw, the man totally focused on proving Richard Jewell was the perpetrator. The depiction of Atlanta Journal-Constitution reporter Kathy Scruggs (Olivia Wilde) is a bit curious, being that the uproar is over what some interpret as a reporter trading intimate relations for a scoop, yet the contempt here seems focused more on the idea of trying this case in the public eye while lacking any real evidence outside of a profile. Perhaps the viewer reaction to this is just a sign of the times we are now in.

Leading me into the fact that with four-time Oscar winner Clint Eastwood directing yet another story of a working-class hero, or essentially as he would like us all to see it. While the film deserves to be commended, the story being true as it is, as well as the wonderful performances by the entire cast, it was not lost on me on or many I saw the film with-of the political propaganda side of this film in the times facing us in our present situation. Staunch Republican that he is, Mr. Eastwood was sure to make note at what could be construed to believe to be perfect timing of the fact of the FBI made a huge error is their assessment of Richard Jewell and as such are not to be trusted. Same point being made with the media – aka ‘fake media’. Perfect timing Mr. Eastwood for more political rhetoric to keep in tune with the division of this country. Taking the hero story to the next level as we all know human beings make mistakes – and while there is cause to find total fault with the mishandling of this case, it goes without saying that they are not always wrong. No one would want to find themselves in Richard Jewell’s shoes, hence this story does deserve to be told even if it feels like a two-headed coin spin by Eastwood here.

Both Richard Jewell and Kathy Scruggs have passed, him in 2007, her in 2001, so we will never know their take on all this today.

Grade: B

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Media Screening: Tuesday, December 10, 2019 ~ Courtesy of Warner Bros. 

“RICHARD JEWELL” IS OUT IN U.S. THEATERS NOW // WORLDWIDE TO FOLLOW JANUARY 2020

Drama, Female Director, Movie Reviews, Movies, Woman Director

REVIEW: “QUEEN & SLIM” (2019) Universal Pictures

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Queen (Jodie Turner-Smith) and Slim (Daniel Kaluuya) open our story on what is clearly a first date. She an attorney and he a passive religious type, not seeming to even have one single thing in common down to even the tiniest of facts that she orders a salad while he orders steak and eggs. When the eggs aren’t scrambled the way he ordered, she expects him to make a fuss to the waitress and when he doesn’t, she seems to throw shade not just at this fact, but that the diner feels ‘cheap’ to her. But there is more to this that meets the initial eye as he slowly makes his point to her. Not only is the waitress someone he knows from his neighborhood and single mother supporting her kids on her own, but the business is black owned, making the reasoning behind his choice much more than ‘cheap’. This is just the first thing that will make you start to take notice of all the little things that happen throughout this film.

We soon realize that this date is just not working for both parties involved and as Slim is driving Queen home, the couple’s first date takes an unexpected turn when they are pulled over by a police officer.  What happens next will tear the fabric of your being completely apart as you watch with a feeling of being punched in the gut. As you see them pull over and stop for a small driving infraction, things quickly escalate with Slim trying to keep his calm with a cop who is looking for anything to arrest on as he yells at them to keep showing their hands and get out of the car. Instead, as Queen steps out, our trigger-happy officer fires his weapon hitting her in the leg. Slim jumps into a melee with the officer and as they struggle the weapon goes off killing the officer immediately. Our ‘first date’ has just turned into two fugitives going on the run – Bonnie & Clyde style.

queen and slim 1

Without going into spoilers, this is where Director Melina Matsoukas guides us through their entire journey of life on the run. The setup is promising and both actors have enough pull to take you along for the ride. Where it fails at times during this run, is mostly in it’s editing and pacing especially past the halfway point. The movie feels about 40 minutes too long. In the beginning, the characters’ decision to go on the run feels very haphazard, especially considering Queen’s profession. Some of the main character decisions are remarkably dumb at times (a scene at a gas station will leave you scratching your head) and certain other side characters take decisions that are unlike them. The movie can be downright infuriating at times. It has so much potential, but with it’s slow pace it ends up not fulfilling the promise of what could have been a great fugitive movie with a strong social message – even though it legitimately makes you have a physical reaction to what’s happening onscreen. After all that, the movie doesn’t know what it wants to do. It’s plethora of confused dialogue coupled with amazing performances by the two leads make for a tolerable hour of entertainment, but way to long of a journey at 132 minutes of run time.

“Queen & Slim” might have a bit of modern day “Bonnie & Clyde” vibe to it, but this film speaks to our times. It can be electrifying, funny and honest – a film that will grab you along for one hell of a ride. Daniel Kaluuya continues to dazzle and Jodie Turner-Smith is not only simply stunning, but quite remarkable in her performance as well.  A very special mention to supporting actor Bokeem Woodbine who’s performance is unmissable as Queen’s Uncle Earl.

With the screenplay written by Lena Waithe from a story by her and James Frey, the movie is an emotional journey, while not perfect and a bit long, when considering the repetitive structure of the story, this IS a movie that everyone should see. To every single disenfranchised person, most especially those of colour, I’m sure this film hits hard and hits home and there are those of you that can easily envision yourself in their shoes.

Grade: C+

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Media Review Screening: Thursday, November 21, 2019 ~ Courtesy of Universal Pictures

“QUEEN AND SLIM” IS OUT IN U.S. THEATERS NOW // WORLDWIDE TO FOLLOW JANUARY 2020

 

Action, Crime, Drama, Movie Reviews, Movies

REVIEW: “21 BRIDGES” (2019) STX Entertainment

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“21 BRIDGES” opens with a young Andre Davis (Christian Isaiah) at the funeral of his police officer father who was killed by some drug dealers and the clear effect it has on him. Scroll ten years forward to an adult Andre (Chadwick Boseman) who has grown up to be a cop himself, but one with a notable tendency to shoot first and ask questions later.  This leads to him being called up in front of Bureau of Internal Affairs.  As this is happening to him, what is supposed to be a small time drug heist, goes down and several police officers are coldly gunned down by the two criminals who blundered into this unexpected disaster, Ray (Taylor Kitsch) and Michael (Stephan James), both war veterans and extremely loyal to one another. Ray is the typical villain while Michael, although loyal to him, has more sense and compassion and wanted to walk away once things were clearly not going to plan.

Police Captain McKenna (J.K. Simmons) now has a bunch of cops out for revenge for their fallen officers. In a rare move on this mission-almost-impossible, he decides to pair up Andre with narcotics officer Frankie Burns (Sienna Miller), a tough as nails undercover with a mind of her own – though you get the sense there is more to her than meets the eye.  As the two criminals take to the streets of Manhattan on the run, and with the FBI breathing down their back to take over, Andre makes the decision to shut the entire city of Manhattan down all exit/entries closed hence all 21 bridges leading in and out of the city. Shaken by the loss of eight of his officers, Capt. McKenna continues to hint to Davis to live up to his reputation and take no prisoners.  But Davis’ intuition kicks in as very early on, it becomes clear that dirty cops are involved with all the incidents seemingly pointing to a conspiracy of sorts, and Andre doesn’t know whom to trust. With that, Andre has just one night to solve the case and catch the killers before they escape the city of Manhattan.

Not going into full detail of the entire plot which, needless to say, has many twists and turns sort of running parallel are a police procedural and a crime story from the POV of the criminals. Yet the twists are obvious and predictable with the dialogue being somewhat routine. With a decent character development ’21 Bridges’ should be Boseman’s vehicle, yet it’s Stephen James who is the stand out here. Not only does his character feel like the one with the most to lose, but he’s got a story behind him that conflicts with his actions and he plays it well enough to the point of actually wanting to see him to get away with it all at times.

Nothing super new here story-wise, but the camera work and action scenes were marvelous. Although the plot is not original, the story was fine with good editing, however the script could have been better and acting was average at times. It’s still a decent bang for it’s buck.

Grade: C

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Media Review Screening: Wednesday, November 20, 2019 ~ Courtesy of STX Entertainment

“21 BRIDGES” IS OUT NOW IN THEATERS WORLDWIDE

Biography, Drama

REVIEW: “A BEAUTIFUL DAY IN THE NEIGHBORHOOD” (2019) Sony/TriStar Pictures

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Movie marketing can be funny sometimes. It can direct you with a simple trailer into thinking a movie is or isn’t something or sway your opinion one way vs. another.

“A BEAUTIFUL DAY IN THE NEIGHBORHOOD” is a film you naturally think will be all about Mr. Rogers, the beloved American host of the PBS half-hour children’s educational television series and everyone’s favourite neighbor. Most will agree that the mindset going into this movie is thinking that it will be more of a showcase of the life of one of the kindest men to be on this earth. What you actually get is a film about the relationship that develops between Fred Rogers (Tom Hanks) and Lloyd Vogel (Matthew Rhys), a cynical reporter who through his “shut-up-and-get-it-done” magazine editor Ellen (Christine Lahti), is picked for an assignment to interview Fred for a piece on American heroes. The film is all based on the real life story of Tom Junod’s relationship with Mr. Rogers. This along with the fact that not only is Junod aka Lloyd, is known mostly as an investigative reporter who only does serious op-eds – while cutting the people in them to pieces, rather than a puff-piece journo, But the fact remains that he detests that he has even interview Fred at all. Pointedly threading throughout the first half of the film is the “I’m better than this” attitude from Lloyd and therefore he should not be made to do this assignment.

This is where the film goes a bit awry and takes a left turn as the focal point turns us almost completely to Lloyd and the trials and tribulations of his life vs. telling us about Mr. Rogers as the movie is titled. As we fall into watching Lloyd try to get past the fact that not only does he not want to do this interview with again the ‘better than this’ attitude turned on blast, but his sister Lorraine (Tammy Blanchard) is getting married and wants to have their dad Jerry (Chris Cooper) walk her down the aisle.  But Lloyd is not up to seeing his dad, the man who walked out on the family as his mother lay dying of cancer and they were just children.  In-between all this is his wife Andrea (Susan Kelechi Watson), is dealing with taking care of their newborn son and struggling with Lloyd constantly having to travel for weeks for work. While this is all happening, the audience is left wondering where exactly is Mr. Rogers fitting into this story-line.

Don’t get me wrong, the film is about the life struggles, past and present of this journalist that Mr. Rogers ends up befriending during the interviewing process and about Mr. Rogers’ impact on one person’s life on its surface. It’s sheer fun at times and hard not to laugh about his sincere kindness stumping most of those around him as the film brings back many aspects of nostalgia for viewers of the original show. Hanks and company perfectly recreate iconic scenes and moments that are sure to jog fond memories from many.  Heartwarming at times, it’s the Hollywood version of Mr. Rogers vs. the documentary version of “Won’t You Be My Neighbor” that was actually about the life of Mr. Rogers and focuses on HIS trials and tribulations versus this film, where we are made to watch a character that you are not sure you even like to begin with. Director Marielle Heller chose to almost completely ignore things that the documentary so focused in on such as Rogers’ faith, his acceptance, teaching and introducing of his audience to accept everyone no matter race, creed or colour. The paradox of this can be pretty off putting at times but Hanks is amazing and tailor made for this role, but it’s hard shake off the feeling that instead of being the lead, he comes off as a supporting actor at best.

However, looking slightly beyond the initial opening of the film, it does reveal itself to also see that it is a look at the human condition and Mr. Rogers’ exceptional understanding of it. It explains the importance people have in each other’s lives and how much we depend on one another, something Mr. Rogers very much understood and exemplified in his life’s work. But again, we can’t help but fall back time and time again, on the fact that we signed up for a movie about Mr. Rogers life, not Lloyd’s family life and it’s a harder sell as it’s just not Mr. Rogers movie and that can’t be forgotten nor forgiven throughout the almost two hour run time.

The end is as predictable as it gets, which is not a bad thing for this movie though, as it’s the perfect fit for Hanks character, Mr. Rodgers. The world we live in today could do with more Mr. Rogers, sadly I don’t think he’d much like what our world has become, nor do I think his way of thinking would be all that accepted as it once was. This might not be Mr. Rogers movie completely, but what this movie is best at is reminding you, that it’s not hard to be kind and maybe we all should be more kind to each other, because kindness is the only thing you can’t have enough of in this world nowadays.

Grade: B

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Media Review Screening: Wednesday, November 13, 2019 ~ Courtesy of LAFTV Film Group

“A BEAUTIFUL DAY IN THE NEIGHBORHOOD” WILL BE IN THEATERS NATIONWIDE FRIDAY, NOVEMBER 22, 2019 // WORLDWIDE RELEASE TO FOLLOW JANUARY 2020.

Side note: It’s clear Sony/TriStar is doing a huge roll-out of marketing along with their release of this film, we were given some fun tchotchkes of a Mr. Rogers tie and a cute little bottle cozy that were given to every single person at the screening. We also were treated to a full choir singing “Won’t You Be My Neighbor” and it’s rare and so nice to have such an amazing pre-screening experience and I would like to say thanks to them for that.

1960's, Action, Biography, Drama, Movie Reviews, Movies

REVIEW: “FORD v. FERRARI (2019) 20th Century Fox

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Biopics can be a hard sell at times. “FORD v FERRARI” is one of the latest true stories out of Hollywood that will be hitting the big screen, and here’s why this one deserves to be seen whether you are a racing fan or not, it absolutely deserves your attention.

In the mid-’60s, Ford and Ferrari fought it out for real at most brutal of all car races, the 24 Hours of Le Mans, a road race that lasts almost as long as this film. At a whopping 152 minutes, director James Mangold’s biopic is no quick win, but buckle up and sit back for the duration and you will be rewarded with a film that delivers great performances, a gripping tale of determination and courage, and some truly spectacular racing scenes (real or CGI? I couldn’t tell).

This could’ve simply been just a car movie. Instead, “Ford v Ferrari” delves into taking us in glorious detail, thru the true story rivalry between Enzo Ferrari (Remo Girone) and Henry Ford II (Tracy Letts), which sparked after the former refused to include his iconic racing team, Scuderia Ferrari, in a buyout of the Italian car company to Ford. Angered not only by this, but by a stinging comment Enzo makes to the effect that Ford is not credible with enough to be any part of a legendary firm like Ferrari with Henry Ford II at the helm because the real legend is Henry Ford himself, not his son.  Ford II then calls on legendary car maker Carroll Shelby (Matt Damon) to design a car that can beat Ferrari at Le Mans, leading Shelby to create the iconic GT40 with the help of championship driver Ken Miles (Christian Bale), even though he is deemed by Ford’s second in command, Leo Beebe (Josh Lucas) as a ‘loose cannon’.

Herein lies the classic underdog story, as the film follows the team as they design and test the new race-car, experiencing various setbacks along the way (some of which are orchestrated by Beebe, who wants to see Mills fail), before finally making it to France. Following all these multiple characters throughout, Ford v Ferrari focuses on the fact that Henry Ford II was given a challenge to create the fastest race car in the world and thereby improve the company’s image in the eyes of young Americans and putting the Italians in their place at the same time.

If you’re a fan of racing or cars in general, this movie will have you over the moon as it takes you thru the paces of the racing sequences, all which take up a good chunk of the film. Luckily, they are intense, well shot, with a fantastic score to back it up and sound effects to get your heart pumping. Everything about the exciting aspects of this film was top notch. But even if you aren’t a racing enthusiast, this movie doesn’t bore you with minutia, but instead gives you the necessary overview of the needed context so that every viewer understands what’s on the line here.  But secondary to the racing we have backstory about Miles and his family including what it’s like for his wife Mollie (Caitronia Balfe), and his son Peter (Noah Jupe), as they watch in trepidation as Ken goes about not only his racing with a few terrifying crashes that they are witness to, but also the fact that Ken puts racing above just about everything in his life, including his family business of an auto repair garage i.e., food on the table.  While Shelby’s character doesn’t have the struggle of a family life, he has the struggle with the Ford executives over every single aspect of how to build the car that can win Le Mans with Miles at the driving helm.  Until one wonderful moment when he takes Ford II himself out for a spin on the track and thereby ensures himself a blank check much to the angst of Beebe.

Christian Bale and Matt Damon give stellar performances here as the two leading men in the film and you totally buy their rigid friendship that slowly develops based on a mutual respect. Bale seems to disappear into his character especially noting he can ‘speak’ as himself here – accent and all. Damon as well, has the opportunity here to show quite a range from confident showman to a vulnerability we rarely get to see. The supporting cast is flawlessly put together as a well-oiled pit crew with notables such as Jon Berenthal playing Lee Iacocca (yes, THAT Lee Iacocca – who not only developed the Mustang itself, but the Pinto as well and went on to revive the Chrysler Corp.). Tracy Letts layers his performance here with strength and flair as Ford II, Ray McKinnon does top-notch mechanic Phil Remington true to form, and Josh Lucas is the perfect fodder of ‘bad guy executive’ of the bunch.

In the end, Ford v Ferrari is engaging, emotional, and downright thrilling when it wants to be. You find yourself invested in these characters and on the edge of your seat during the climactic races. The only small flaw is some missed opportunity in terms of emotion during certain scenes but all is forgiven in that, seeing as the rest of the movie is so impressive. Ford v Ferrari is one of the definitely one of the most exciting movies so far this year and is sure-fire to be crossing the finish line in first place come opening weekend.

Grade: B+

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Media Review Screening: Wednesday, November 6, 2019 ~ Courtesy of 20th Century Fox

“FORD v. FERRARI”  WILL BE OUT IN THEATERS WORLDWIDE FRIDAY, NOVEMBER 15, 2019

 

 

1950's, Crime, Drama, film noir, Movie Reviews, Movies

REVIEW: “MOTHERLESS BROOKLYN” (2019) Warner Bros. // Post Q & A: Edward Norton, Gugu Mbatha-Raw

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Set in a tough but glamorous moment in time, “MOTHERLESS BROOKLYN” follows Lionel Essrog (Edward Norton) after the murder of his closest friend and colleague Frank Minna (Bruce Willis).  Lionel is hellbent on unraveling the reason and discovering why Frank was killed and who is the killer.  He finds himself on a paper trail across Brooklyn, never giving up on his plan. Being that Lionel is someone someone who also happens to suffer from Tourettes or Tertz Syndrome, and other verbal and motor tics, yet is endowed with perfect pitch of a memory that forgets nothing, makes him a true asset in the world of being part of Minna’s boys – the team of the Private Investigation office of Frank Minna.  He is a character that has a lot of depth to get behind, and being one that needs a great performance in order to be authentic.  And we are given that performance in spades, not only by Norton, but the fantastic entire ensemble cast of this film.

The script that is taken from the book of the same title by Jonathan Lethem, is directed and written by Norton as well, and is where this film truly shines the most in film noir context.  Norton has written it to set in Brooklyn in the 1950’s – in a New York that power-hungry people like Robert Moses are transforming, a New York that feeds his autocratic inclination, as the power behind the throne. The indiscriminate use by the city power brokers of the time of ’eminent domain’ in what is subjectively, the ethnic cleansing of the working poor, the blacks and the Puerto Ricans, who are all subject to losing their homes on a whim, to the pretending to ever provide them with places to relocate. The villain here is Moses “Moe” Randolph, a not so thinly-veiled character that is modeled on Robert Moses, and played well by Alec Baldwin. But pay attention as it can seem a bit overwhelming and convoluted in the beginning, giving the feeling that if you miss even one moment, you will lose track of the story line and seemingly every singular piece is of importance as each scene details in the telling of this tale.

Murder, greed, sibling rivalry and treachery, mafia-like tactics, along with adultery, corruption, jazz, taut racial relations, and resistance from below and the stone-willed determination of Norton to put together and solve the disparate pieces of this puzzle that is ‘Homeless Brooklyn’.  A sure fire cast of supporting characters starting with Gugu Mbatha-Raw as Laura Rose, who is not just a woman of mixed race here, but playing an educated, strong African American women of the time period, a role written in by Norton specifically to shine through to help those in the thresholds of despair facing eviction. Willem Dafoe as Paul Randolph, the brilliant engineer brother of the King Moe himself, yet who couldn’t be more of a polar opposite of his brother. The always spectacular Cherry Jones who gives grit & spit to her portrayal of Gabby Horowitz, Bobby Cannavale, who has been stepping up his game in good supporting characters in films this year is Tony Vermonte, the guy who wants to take over leading the agency here – but has a second play in motion being he’s side-stepping out with Julia Minna, (Leslie Mann), Frank’s wife.  And how can you not enjoy seeing Michael Kenneth Williams as a mellow jazz musician (even if I always secretly wish he would reprise his Omar character in The Wire).  Ethan Suplee, Dallas Roberts, Josh Pais, Fisher Stevens, and Peter Lewis help round out this ensemble cast that seemingly are all so far apart at the beginning of this film, as we watch only to see that all the pieces slowly fall into place one by one, showing how really very connected they are and making 144 minutes fly by at a fast clip. And what would this film be if not with it’s many street scenes, as even the city – Brooklyn – ably stars as itself.

‘Homeless Brooklyn’ speaks to the politics of our day, nonetheless the moral of justice is frayed in a jagged pattern. It’s perfect film noir fodder: power and corruption, progress vs. community, race and a bit of sex, all with a jazz score in the background.  And sometimes it’s just funny.

Grade: A

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Media Review Screening: Monday, November 11, 2019 ~ Courtesy of Warner Bros.

“MOTHERLESS BROOKLYN” IS NOW PLAYING IN THEATERS // WORLDWIDE RELEASE TO FOLLOW

 

Post Q & A with Ed Norton, Gugu Mbatha-Raw:

It’s always a wonderful experience to have post Q & A’s with the actor/directors etc.. as they can provide a completely different view into a film that we might never get the chance to know about. Everything from costuming to the music to budgeting, productions shoots and insights of the characters and those that make those characters come to life.  This one was just exactly that.

The Q & A started off with questioning Ed Norton about changing the book from what it was to a completely different setting of Brooklyn in the 1950’s and the challenges that gave him. Norton, followed through that it took him years to create this and accepting the challenge to make it what he truly wanted in film noir, was one he really worked hard for as so many didn’t take it seriously in financing etc.

Asking Gugu Mbatha-Raw about her character which wasn’t even in the book and was it harder to shape her by not having a book to read like the others did on their characters. – She liked that her character was a strong, educated woman in the 50’s where things like that were rare occurrences. Gugu also noted she was the only Brit actor and being around these top notch terrific theater actors helped make her in so many ways with accent, dress, etc in helping shape her character

Norton spoke about how due to the small 26 million dollar budget, all the actors took deferred salaries in order to make the film possible. Almost all of them being top NYC theater actors that Norton has known for years, such as Peter Lewis with whom he’d been in plays with since his 20’s and was his scene study actor here. Due to the detailed speeches and the short 46 day shoot, Norton needed to know that they could do it. No mistakes, no time for rehearsals etc..had to be able to walk in and do it.  So as Norton noted, he is forever in their debt and if you see him in the coming years in something that you are wondering ‘why is he even in this movie – take for instance a bit role as the mayor in Die Hard 8 – well he is paying off his debt. – to much laughter from the audience.

Comedy, Drama, Movie Reviews, Movies, Romance

REVIEW: “LAST CHRISTMAS” (2019) Universal

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If Emilia Clarke was looking to step out and reinvent herself after eight years as Game of Thrones’ Daenerys Targaryen, then “LAST CHRISTMAS” would be that vehicle. Along with her character choice of Kate, a wayward and dysfunctional wanna-be actress in her 20’s, who spends her day working as an Elf selling year round Christmas monstrosities – well you couldn’t be further removed from the queen of dragons herself with this one.

Her boss, in what is sure to be London’s gaudiest Christmas store, conveniently goes by the moniker “Santa” (Michelle Yeoh), constantly admonishes Kate for her shortcoming, and there are many of them. As a matter of fact, Kate is simply just the worst. Her nights are devoted to getting plastered, trying to find one in the endless array of couches to crash on – and mornings, well mornings are spent trying to recall the who/what/where of the previous evening shenanigans. “It’s not my fault” is almost a battle-cry for Kate. She just can’t seem to get it together, oddly enough, even when she somehow forgot to lock the door and the store gets robbed, incredibly she keeps her job.

One day the super dreamy Tom (Henry Golding) enters the picture, helping her piece her life back together just in time for Christmas. Magically he enchants her in every way from little dances in the street, to taking her to his little private garden spot. But everything just seems to be a bit to convenient here.  Showing up at the most random of moments, Tom is just too good to be true. And this is only a partial list of things that just make no sense here.  Katie even goes so far as to out her sister Marta (Lydia Leonard), yet instead of facing actual repercussions for these things, seemingly things get better for her. It’s like magically overnight she becomes a good person.

It’s never a good sign when the film’s trailer feels like the whole movie, but you would be right on the money with ‘Last Christmas,’  and those holding their breath for something more will leave sorely underwhelmed.  Sure, you don’t go into a film like this expecting to be surprised but neither do you want it feeling like it’s three steps behind you just because you’ve seen the trailer. Yet, as soon the film delivers its climactic plot twist with the earnestness of a kid tying their shoelaces for the first time, the film quickly trips over its own feet. Your only small highlights in characters here are her parents Petra (Emma Thompson), who delves into heavily into a Eastern European accent, and Ivan (Boris Isakovic) her taxi cab driving dad, both of whom supply a laugh or two but not much more.

It’s hard to know who to lay blame on here as there’s not much to work with in terms of the film’s story. Taking its title from the 1984 Wham! pop song Last Christmas, the film treats George Michael’s music with the same depth as Yesterday treated the Beatles; as window dressing. When it comes to the actual film, it’s nothing more than your typical Hallmark movie of the week. Watching Clarke bumble around is endearing enough for the first half or so but it wears thin quickly and the predictable story line does little to keep things interesting.

So, the question remains: how far can a film go based on charm alone? Well, your mileage will undoubtedly vary based on your tolerance of saccharine love stories as ‘Last Christmas’ is as sweet as they get. Its lack of cynicism and Clarke’s infectiously bubbly lead performance will likely be its saving grace for many, but overall it’s ‘Christmas’ story feels like a lump of coal wrapped up in pretty packaging.

Grade: C

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Media Review Screening: Tuesday, October 5, 2019 ~ Courtesy of Universal Pictures

“LAST CHRISTMAS” IS OUT IN THEATERS IN THEATERS WORLDWIDE

 

Drama, Fantasy, Horror, Movie Reviews, Movies

REVIEW: “DOCTOR SLEEP” (2019) Warner Bros.

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In “DOCTOR SLEEP” little Danny Torrance is now a grown up Dan Torrance (Ewan McGregor), and is still understandably haunted by the things that happened to him at the Overlook Hotel as a small child. Most days he drinks his hours away to silence the voices in his head. After one drug-fueled drinking rampage, waking hungover and getting ready to rob the last dollars from his one-night stands wallet – even upon seeing the fact that she has a toddler – but not even so much as blinking an eye over being such a degenerate, he gets interrupted by his still very present ghost mentor Dick Hallorann (Carl Lumbly). This all leads his decision to hop on a bus to go across the country to a new town and once there immediately meets good Samaritan Billy Freeman (Cliff Curtis). Freeman, who inexplicably within minutes of meeting Dan, just up and pays for his room and board, then magically gives him a job as well. Oh! to be of this place where all lives are wonderfully and simply mended right? And yes, of course all this helps Dan get his life back together, as he ‘meets’ and connects with a young Abra Stone (Kyliegh Curran), through the chalkboard wall in the room as she ‘Shines’ just like he does and they exchange messages through this medium. Seemingly against his will (yawn), he ends up protecting her from a group of powerful psychics, lead by Rose the Hat (Rebecca Ferguson), who hunt young children with psychic powers in order to feed on them to make themselves live forever.  Oh how the plot thickens as in a twists of all twists (dripping sarcasm) in order to keep Abra (yes, as in Abra-ka-dabra) safe, Torrance will of course be forced to return to the place of all his nightmares, The Overlook and face his ghosts.

The first hour is spent to a certain extent, explaining ‘The Shining’ and what the intentions of the merciless cult-group The True Knot are. As we follow Dan Torrance as a middle-aged man plagued by all these horrific memories, they take liberties left and right rolling right thru a completely inconsistent tone of plot due to the mass sprawl of locational changes. One minute we’re in a sleepy town, the next a woodland area, and then all of a sudden eight years have been and gone. The zippy nature of the editing and bloated explanation results in zero feeling of terror and needles to say, the tension is non-existent.

The second act gives more of an explanation in detailed effect, of the who, what, how, and why’s of the cult group led by Rose. They show us how the group hunt the children and we get to know the some of the main characters that follow her from Crow Daddy (Zahn McClarnon), Snakebite Andi (Emily Alyn Lind), Barry the Chunk (Robert Longstreet) to the creepy Grampa Flick (Carel Struycken) and Silent Sarey (Catherine Parker). We also get a lot of recurring visuals (The naked Lady in the Bathtub for example) that were meant to be scary, but by the end, are just eye roll inducing.  While the acts of Rose and her group of cannibalistic crazies are horrific, most especially the not needed but much detailed kidnapping and killing of Bradley ‘Baseball Boy’ Trevor (Jacob Tremblay), the fact is, they just aren’t scary.  The absolute revolting nature of this heinous act doesn’t make you frightened, it repulses you, which doesn’t make for a good horror scare in the slightest.  It also makes you realize that all you have to do is change these characters to vampires and the ‘steam’ to blood, and you’ve got a typical tween vampire flick going for you here, with about the same embodiment of zest to the performances as well.  Ferguson, who shines so well in action flicks, comes off here as a gypsy Rose caricature channeling Stevie Nicks, while McGregor doesn’t come close to giving us the feels that child Danny Torrance gave us.  One point in particular, there is a ridiculous ‘Buffy the Vampire’ type fight sequence where a supernaturally charged Rebecca Ferguson takes out an axe-wielding Ewen McGregor in a martial arts type scenario that is so out of place in this film that holding in the laughter is difficult because they are trying to have us believe this is serious stuff.  The ridiculousness of scenes like this screeches throughout the film. There is however, one big stand out performance here in Kyliegh Curran, a superb young actress (whom I hope we see much more of in the future) who makes her character so believable and gives us her all.

The third and final act then arrives, and the entire story crumbles much like the Overlook itself. Plagued by an overshadowing sickness that ‘The Shining’ had produced. Nostalgia. Remember that time where Jack viciously chopped the bedroom door down with an axe? Or that moment where blood came hurtling through the hallways in slow motion? What about Room 237? The introductory swooping camera movement that Kubrick embraced whilst the Torrance’s drove to the hotel? The typewriter? Slowly walking up the stairs in a confrontational manner? The snow-covered hedge maze? The twins? No? You don’t remember? No worries as Director Mike Flanagan has got you covered. Nostalgia is a powerful tool, yet it must be handled with delicacy. The difference between imitating and homage is very fine, and unfortunately Flanagan settled for the former.

Sadly most of this film was just..meh. It lacked the nail biting atmosphere that ‘The Shining’ had in spades. It lacked a lot of fear of any kind really.  One can argue that it is wrong and unfair to compare the two films given the uniqueness of Kubrick’s vision, but Doctor Sleep invites these comparisons by constantly referencing The Shining in flashbacks, relying on much of Kubrick’s imagery to pedal its cheap scares.

Grade: C-

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Media Review Screening: Wednesday, November 6, 2019 ~ Courtesy of Warner Bros.

“DOCTOR SLEEP” IS OUT NOW IN THEATERS WORLDWIDE

 

Peggy at the Movies ~ Film Critic | Movie Maven | Reviews & More"