The Heart of the Matter in Beirut

There’s a great scene in Brad Anderson’s latest film, Beirut, where a former party-diplomat turned washed-up labor contract negotiator Mason Skiles (a frazzled-yet-still-dapper-perfect Jon Hamm) settles into his Beirut highrise hotel after returning to the city for the first time in a decade and after finding it a hostile, gunshots-outside-of-the-airport-and-checkpoint-riddled mess, pours himself a drink and walks to the window to take in the bitter, shattered view of a stooping, bombed-out skyline.  Anderson’s camera then shifts POV’s to that of the bombed out skyline as it pans out and we see Mason staring out his window, the hotel itself one of those battered buildings, a shell-hole and tentacled crack blighting its side just a few windows away from Mason’s own.

You can imagine a late-era Graham Greene having written the scene, but it’s Tony Gilroy who penned the screenplay instead.  Gilroy adroitly uses the civil war-torn era Beirut of the 70’s and early 80’s the same way Greene used WWII blitzkrieg era London (in The End of the Affair) and post-WWII era Vienna (in The Third Man).  It’s a cluster **** of diplomatic nightmares, crumbling buildings, intrigue and perils (of both the heart and the body).  Continue reading

Advertisements

Shhh Will You Please Be A Quiet Place?

*SPOILERS CONTAINED IN THIS REVIEW*

Apparently marrying Emily Blunt can give a guy an ego the size of Will Smith’s.  Case in point: John “Jim from The Office” Krasinski, who has the nerve to star and direct in his own horror allegory vanity project, A Quiet Place, and cast himself next to his wife (the future Mary Poppins) who is quite frankly pretty amazing in anything…no exception here.  Krasinski (a usually amiable goofball) is pretty terrible as a serious actor, but he’s a decent little workmanlike director, and his wife and the two kid actors (Millicent Simmonds and Noah Jupe) give compelling performances that allow their characters and the action to rise above Krasinki’s and the screenwriters’ shortcomings.  The film, though far from original in either theme (shhh…you gotta stay quiet to survive this post apocalyptic horror show run by marauding blind monsters who hunt by sound) or design (haven’t we seen these clicking gawky body-ripping creatures before…like, in everything…oh wait, they have really nifty ears here), ends up being above average for the genre.

The whole thing is overtly an allegory about parenting…but you know, the “parents need to be martyrs” and “father knows best” over-protective “the world is a dangerous place” patriarchal kind of parenting.  Continue reading

Is The Death of Stalin Funny?

Seriously.  Is the Death of Stalin funny?  Not the actual event of Joseph Stalin’s historical death (no death, not even that of a mass-murdering dictator is funny…right?) but the movie, The Death of Stalin…is it funny?  I’m asking for a friend.

Can a film that ends with a central character being shot dead, and his body then burned, being placed literally into the ash heap of history, be funny?

Ladies and gentlemen…Mr. Steve Buscemi…as Nickita Khrushchev!  He’s brilliant, as per usual.  Buscemi deftly goes from neurotic joke-man to cold-blooded power-grabber (oh, that’s so Buscemi).  But is the performance…funny?  I mean, yes…it is (as is Jeffrey Tambor as an air-headed and feckless Georgy Malekov)…but funny how?  Funny how it looks?  How it sounds…Steve Buscemi…as Khrushchev?  Funny ha-ha?

Armando Iannucci (of In the Loop and Veep fame) has become the modern master of the politic satire (usually aimed at current events), but here is a historical period-piece.  What’s his end-game?  A correlation to Putin’s Russia?  Trump’s America?  Any cult of personality that innately leads to gas-lighting the public and internal chaos?  Is this a cautionary tale? Continue reading

What I’m Watching Spring 2018

What I’m Watching this Spring…

The Will & Grace (NBC) and Roseanne (ABC) Revivals

Both of these sitcom resurrections (from opposite cultural perspective positions) work because they embrace sarcasm and lean into their own farcical natures.  Instead of playing it safe, they double-down on their stereotypes and remind us it’s okay to laugh at both sides of an issue…if it helps to get to the heart of the matter at hand.  They also both revel in their own classic sitcom conventions, both employing raucous laugh-tracks and theatrical staging (both, we are reminded warmly, are filmed before a “live studio audience”) eschewing the “wink, wink” tired nonsense of the faux-documentary sitcoms that have run their course in more recent decades. Continue reading

Going to Paris in the Present Tense

Mark Helprin’s Paris in the Present Tense opens with a magical passage dreamily describing that feeling of flying, sitting in a plane and taking-off, the world a string of lights slowly falling and fading away beneath you.  It’s a magnificent episode.  So much of the mood he sets was exactly what I felt on a flight ascent from Toronto to Philadelphia many years ago, and I had always wished I had the nerve to capture it properly in words.  Alas, Helprin captured it better than I ever could have…and wisely changed the setting to Paris, to boot!

The novel was a gift from my wife this past holiday season, and the greatest gift the novel gave to me was its ability to bring back memories of our trip to France in September of 2015 just a month before we were married.

Helprin’s swooning and expansive tale of an elderly cellist facing down the demons of his past and the fate of his legacy is dense, dense stuff.  Helprin’s vivid, thick, sometimes blustery, sometimes flowery descriptions of people, places, food, wine, and emotions are intermittently wondrous, evocative, illuminating, frustrating, and too often clichéd.  Oh, yes, anyone who has been there gets it…Paris is undeniably Hemingway’s Moveable FeastContinue reading

To Serve the Governed not the Governors in The Post

Could it be more a more timely moment than now for Hollywood to remind the public (and Washington) of the purpose of the free press?

The first hour of The Post is a rather hum-drum by the numbers affair about the lead up to the publication of the Pentagon Papers, first by the New York Times (who instantly get sued by the Nixon administration) and then by the Washington Post.  But hey, it’s Steven Spielberg directing…and Meryl Streep as the “I can’t believe I got into this mess but by golly am I gonna make something of myself by leading with my gut here!” owner of the titular Post…and Tom Hanks as chief editor Ben Bradlee (previously featured in All The President’s Men, to which this film cannily sets itself up as a prequel in the final moments)…and just look at all those TV stars in supporting roles (Carrie Coon!  Bob Odenkirk!  His comedy pal David Cross!  Bradley Whitford!).  So what the heck, the humming looks and sounds great, even if it’s all a bit dry.

But then, thanks to Spielberg’s midstream change of pacing (and the work of excellent editors), and John Williams’ score that hums like that of a great thriller, all of a sudden this little bit of “history we already knew” plays like a cracker-jack suspense flick as reporters feverishly try to meet the printing deadline working out of Bradlee’s drawing-room, and lawyers and whatnot weigh in on the implications of publishing the top-secret stuff. Continue reading

The Spin’s Cinema Rewind: 2017

My Top Ten Films of 2017:

  1. Phantom Thread – d. Paul Thomas Anderson
  2. Wind River – d. Taylor Sheridan
  3. Dunkirk – d. Christopher Nolan
  4. Blade Runner 2049 – d. Denis Villeneuve
  5. Personal Shopper -d. Olivier Assayas
  6. Mudbound – d. Dee Rees
  7. The Beguiled – d. Sofia Coppola
  8. Get Out – d. Jordan Peele
  9. Wonder Woman – d. Patty Jenkins
  10. Lady Bird – d. Greta Gerwig

Honorable Mentions:

Notable Omissions (films I’ve yet to see that are showing up on a many Top Ten lists):

Call Me By Your Name, The Shape of Water, I Tonya, The Post, All the Money in the World

Most Overrated:

  • Three Billboards Outside Ebbing Missouri – d. Martin McDonagh
  • The Big Sickd. Michael Showalter

Worst Films of the Year:

Tell us what your pick was for Best Film of 2017.

What movies would make your Top Ten List?

Speak your mind and join the discussion by leaving a comment!

If you’re a fellow film blogger with your own awards, top ten list or 2016 wrap-up, share your links in the comment form.

Every Little Stitch of Alma and Phantom Thread

Paul Thomas Anderson’s Phantom Thread opens with a simple, stately title card and the emerging sound of a crackling fire.  Soon, a moodily lit young woman (an impeccably unpredictable Vicky Krieps) is providing the introductory voice-over to our cinematic affair.  Right there, Anderson upends our expectations, as this being a Daniel Day Lewis film (and purportedly his last!), one expected if anyone would be narrating this tale, it would have been him.

Daniel Day Lewis is indeed the main focus of attention, a classic Andersonian archetype, the tortured artist/mad genius…a true narcissist who is also somehow sympathetic, likely a result of Lewis’ and Anderson’s own symbiotic genius.  Their finely stitched designer Reynolds Woodcock is the toast of the 1950’s London fashion scene, and his art, those costumes, are to die for.  But the story is told mostly from the point of view of his new love interest, the enigmatic Alma (Krieps), an initially demure waitress he picked up in the British countryside…both actress and environ exquisitely photographed, as is every single thing, by Anderson’s camera lens.

We know there’s more to Alma because of how Anderson frames the story, but we’re never given any exposition on her (and only a modicum of backstory – mostly surrounding his mother – for Reynolds) and thus we’re forced to judge her (and ultimately Reynolds) only by what unfolds on-screen.  We slowly see how Alma takes hold and upends Reynolds’ structured life enmeshed with his sister Cyril (a perfectly reserved but commanding Lesley Manville).  Alma is far more than the typical girl Reynolds and Cyril routinely toss aside like an off-season dress.  In fact, she emerges from her cocoon as another Andersonian archetype…the person willing to do anything to fit into, and keep together, their new makeshift family, no matter how dysfunctional (in ways both comic and tragic) that family becomes. Continue reading

Movies I’ve seen this year that I didn’t review because they were just totally Meh or Eww but now at the end of the year I want to tell you about them

The Big Sick – Meh.  It wasn’t funny.  At all.  Deadly serious, actually.  But it was an okay relationship drama.

Darkest Hour – Meh.  It was actually quite good (especially Gary Oldman’s impersonation of Winston Churchill, and some of those cool “views from above planes” pan-over shots)…but after Dunkirk, this “behind the scenes” political game came across as perfunctory.

Personal Shopper – WOW!  I tricked you, just like director Olivier Assayas did to the audience here!  This one (though horribly ineptly titled) is actually a minor masterpiece likely to make my top ten list for the year.  As I proclaimed on the Facebooks after watching it, “So like seriously, we just watched a Kristen Stewart movie where she was texting with a stranger on the Paris-to-London Chunnel for 20-30 minutes, and it was scary as hell.  Personal Shopper is a truly modern ghost story that will perplex, unnerve, and move you.”

The Dinner – Eww.  Do yourself a favor and just have an actual dinner.  Skip this tripe about the 1% all together.

The Killing of a Sacred Deer – Eww.  Double Eww.  Triple Eww.  Vile bougie trash that’s not even worth being set on fire.

What if this is the Best Version in Lady Bird?

When her mother (Laurie Metcalf) states that all she wants is for her daughter to be the best possible version of herself she can be, our titular anti-hero (Saoirse Ronan) delivers that biting and heartbreaking line that’s been playing in all the trailers for Greta Gerwig’s coming-of-age tale, “What if this is the best version?”

It leaves one to wonder if this film is the best version of the writer-director?  The story of a Catholic school senior in Sacramento, California finding her way while dreaming of going to college in NYC is highly autobiographical.  And while it brings out the best in Gerwig as an artist, I can’t help but hope (like Metcalf’s character) for more from her that will surprise and delight us in the years to come.  Many of the quirks people have come to love or loathe in Gerwig (mostly from her work with Noah Baumbach) are present here, but distilled through the amazing Ronan they become more palpable and endearing to the masses (and I write this as a fan of Gerwig in all her faults and glories as an actress).  Likewise, Lady Bird longs for acceptance of her whole self, warts and all, from those around her, especially her mother. Continue reading