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 →
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 →
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 →