Changing the World Brick by Brick in Loving

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In Caroline County Virginia in 1958, an oridinary white man (Joel Edgerton) shows an ordinary black woman (Ruth Negga) the plot of farmland upon which he wishes to build them a house and then asks for her hand in marriage. It all seems so sweet and pedestrian and normal. He drag races cars when not building houses while she preps family meals and squeals with her sister over her coming nuptials. But it was anything but normal…in fact, their relationship was against the law in their own home state where both their families had lived and died alongside each other for years. After stealing away to Washington D. C. to get married, the couple are arrested in their bedroom upon returning to their peaceful Virginia homestead where the state refuses to leave them in peace.

Writer/director Jeff Nichols, who has become the premier chronicler of the American South for his cinematic generation, crafts a script that highlights the quiet, simple dignity of Richard and Mildred Loving while showing the casually insidious everyday acceptance of institutionalized racism. “You should’ve known better,” the law tells Richard. There’s no physical violence against the couple, but a threat of being torn apart emotionally hangs over them like a pall. Yet there are no histrionics over the Lovings’ predicament, no highfalutin ideals to which they subscribe, only a sense of what is decent and true. They love each other. It’s that simple. And they deserve to build a home and family just as much as anyone else. Both Edgerton and Negga transmit the feelings left unsaid through the nuances of their body language and facial expressions…both of them delivering master classes in subtlety and repressed emotions that come pouring out of their eyes. Always dignified…never wanting the spotlight. Continue reading

Let’s Have a Chat Upon Arrival

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The arrival of Arrival in American theaters couldn’t have come at a more poignant time just after the most contentious and draining of elections. In cinema there has always been a fine line between entertainment and art, and the greatest of films are often rendered great through the cultural lens through which they are viewed.  I (and I’m sure many others) might read too much into the fact that the alien’s arrival on Earth occurs on an otherwise calm, fine Tuesday in Autumn. Fear and rioting ensues.

In steps a linguist (Amy Adams) and a scientist (Jeremy Renner) to help the US Government figure out why the aliens are here…and most importantly, do they mean us any harm? One of the central themes of the film is the importance of communication…cutting through language barriers to find common ground and how we have to work together to avoid disaster. One of the other central themes of the film is that the most common of grounds might be grief. It’s all at once timely, hopeful and a little bit sad.

Director Denis Villeneuve’s melancholic and seemingly always tracking camera (the opening shot scans under a dark ceiling stretching out toward the dull light coming through a window overlooking a beautifully serene lake) sucks you in from the get-go while Max Richter’s “On the Nature of Daylight” plays on the soundtrack before Amy Adams’ philosophical and heartbreaking voice-over begins. I breathed a deep sigh (of relief), as I knew instantly we were in the hands of a master at the height of his craft. Richter’s music has been used in many films before this, but here it sounded new. When not employing the Richter theme, master of minimalist tension Johan Johannsson seeps under the celluloid skin with nerve-shattering precision. Meanwhile, cinematographer Bradford Young’s use of light and color compliment Villeneuve’s probing eye. And all three – artist, musician, and cameraman – work cinematic wonders in those slow-burn scenes of our wondering wanderers wandering down that dark tunnel to the light…and the otherworldly conversation at the end. Continue reading

Who Did You Expect in Moonlight?

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In Miami, a lonely, bullied child named Chiron (Alex Hibbert) is taken under the wing of drug dealer named Juan (Mahershala Ali, Oscar-worthy) while his own mother (Naomi Harris, also Oscar-worthy) succumbs to addiction. It sounds like the perfect recipe for a bombastic melodramatic Lee Daniels opera. But in the hands of writer-director Barry Jenkins, it’s anything but. We visit with this character Chiron at two other pivotal points in his life (played by Ashton Sanders as a teenager and Trevante Rhodes as an adult) each rife with their own emotional spectacle as he comes to terms with his identity as an African-American, as a homosexual, and as a human being struggling through this thing we called life.

The culmination of Barry Jenkins’ three-act coming-of-age tale is two childhood friends standing quietly in a living room after having not seen each other for over a decade. Kevin (whose interesting evolution we’ve also watched from the periphery) says to our protagonist, “You’re not who I expected.” To which our protagonist says, “Who did you expect?”

Every step of the way, be it in the subtle nuances of direction and framing, or the sometimes jarring yet exquisite use of lighting, or the poignant and careful choices of music (Mozart and pop songs mixed with Nicholas Britell’s fantastic original score), Jenkins’ quiet, steady, thoughtful film challenges the viewer’s expectations.   Continue reading

About Southside with You

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Shortly after the 2008 Presidential election, South Park aired one of their greatest episodes of all-time, About Last Night. With their usual juvenile yet savvy aplomb, Trey Parker and Matt Stone gleefully eviscerated both sides of the aisle, but their coup de gras was that the entire election was an elaborate jewel heist. Heck, it turned out that Barack and Michele weren’t even married…they were just two crazy kids, who through the course of the heist fell in love. And with DeBussy’s “Clair de Lune” playing over the closing scenes, those two crazy kids decide to give it all…love…marriage…the presidency…a chance.

Even the crudest of satirists could see that the real-life Barack and Michelle were in love. And that love’s first glimmers spark over the course of 84 minutes in writer/director Richard Tanne’s quasi-fictionalized account of one fateful summer day in Chicago in 1989. The compact film is full of small pleasures and big dreams. Small talk and big dialogue.   Continue reading

What Don’t Ya Want in Hell or High Water?

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Saucy old-lady and scene-stealer Margaret Bowen makes the menu options at T-Bone’s diner pretty dang clear to Texas Rangers Jeff Bridges (just. one. case. from. retirement) and Gil Birmingham (long time sufferer of Bridges’ playfully racist jokes and sagely gristle). Everyone gets a T-bone steak and a potato, and you either don’t want the corn or you don’t want the green beans. And you gotta ask yourself throughout the film…what don’t the characters want? Bridges doesn’t want to go down in a blaze of glory…right? The bank robbing brothers (Chris Pine – the good one, and Ben Foster – the bad one) don’t want to hurt anybody…right? Nobody in West Texas wants to use their concealed gun, it’s just for protection…right? Well, maybe wrong…and when everybody has hurt feelings, a trigger finger and is armed, there’s bound to be blood…eventually.

The “innocent” bystander women get some of the best lines in Taylor Sheridan’s sharp screenplay. Character actress favorite Dale Dickey, upon being asked if the bank robbers were black or white, pointedly responds, “You mean their skin color or their souls?” Another sassy waitress (Katy Mixon) who took to flirtin’ with one of our dastardly handsome brothers while the other robbed the bank across the street pitches a fit when the Rangers try to take her $200 tip as evidence. “That’ll pay half my mortgage!” Thank you very much!

And it’s those mortgages that are the root of the evils in David Mackenzie’s Neo-Western Hell or High Water. In fact, I would argue that the Texas Midlands Bank makes one of the greatest recent on-screen villains. Continue reading

Franchise Frenzy with Star Trek Beyond and Jason Bourne

It wouldn’t be the summer movie season without franchise entries galore, and although I proudly shirk most, two series I have always enjoyed are Star Trek and Jason Bourne. The latest episodes opened on back to back weekends and both are entertaining, serviceable entries providing escapism that hit all their required marks. But it was interesting to see how one was almost undone by its director’s ambition with action sequences, while the other was so taut and perfectly executed in its action as to take the film to another level. If Justin Lin’s smash-and-grab acrobatic incoherence is the perfect example of what not to do with action sequences, then Paul Greengrass’ intense hand-held location shooting is the masterclass of modern action direction.

Star Trek Beyond Damnit Jim Its Bright In Here

Being with the same cast for the third time around gives Star Trek Beyond a nice lived-in feel. We know the characters so well, as these actors have come into their own doing great jobs with Simon Pegg’s scripted witty and goofy banter that harkens back to classic Treks, especially Karl Urban as Bones. The plot is pretty basic. And since it seems like The Enterprise needs to get destroyed every time now, they wisely dispense with this in the beginning when the crew crash lands on an uncharted planet after having fallen into a giant space booby-trap. On hand as the villain, is a growling Idris Elba who seems to be the go-to guy for villains with crazy accents these days. The flick is fun and quick paced, and the special effects (especially the giant space station/city Yorktown) are colorful, bright and dazzling.

I was happy to see J.J. Abrams move on from the franchise, but Justin Lin was not the right choice to replace him. Lin made quite a name for himself orchestrating some of the most gleefully over-the-top car/truck/tank/plane/whatever smash-em-ups in the otherwise brain-dead Fast & Furious franchise. Sadly, his flair for the outlandish stunt doesn’t translate as well into space.   Continue reading

Netflix Oddities with Cemetery of Splendor and The Invitation

It’s the dog days of summer and the perfect time of the year to hibernate in the cave of air conditioning and explore the stranger side of Netflix. Two weird films deserve special notice.

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What is there to say about Thai director Apichatpong Weerasethakul’s Cemetery of Splendor?  I would say you don’t want to go into a Weerasethakul film cold, but one of his somnambulist odes needs to be your first, so why not this? In a rural hospital for injured and comatose soldiers, an elder nurse (Jenjira Pongpas, also from the director’s masterpiece, Uncle Boonmee Who Can Recall His Past Lives) muses on nationalism and the world both seen and unseen. There she befriends a psychic who claims to speak to the comatose soldiers and delivers messages to loved ones (a wife calmly demands to know the whereabouts of her husband’s alleged mistress). Meanwhile, long dead kings wage battles with the soldiers in their dreams…a story told by two young women claiming to be the physical manifestations of the goddesses to whom the nurse delivers offerings. All of this might sound a bit fantastic, but it’s all presented matter-of-factly as mundane discussions about relationships and everyday life intertwine effortlessly with talk of spooky splendors. Continue reading

Our Kind of Traitor is Our Kind of Movie

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In Marrakech, a British couple on the skids looking to reignite their stagnant marriage (an always slightly slimy but marginally honorable Ewan McGregor, the professor, and a delightful Naomie Harris, the barrister) accidentally befriend a bawdy yet charming Russian mobster (a smashingly good Stellan Skarsgard) and his brood of children in peril.  Wouldn’t you know it that Russian guy is looking to have help delivering a secret bank file to MI6 and get safe passage for his family on the eve of a shady financial deal his boss would kill people to cover up.  Once back in London, one British spy (Damien Lewis, nicely against type as the buttoned-up good guy) makes it his mission to use this information to bring down a certain MP (Jeremy Northam) involved in the corruption.

Susanna White’s jazzed up version of a John le Carre film adaptation is far better and more enjoyable than the ho-hum reviews and the movie’s own slickly off-putting first twenty minutes would have you believe.   Continue reading

Woman vs. Shark in The Shallows

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The Shallows could be easily dismissed as a guilty pleasure if it weren’t so competently constructed and self-serious.

Nancy (a believable and shockingly likable Blake Lively) is a med-student at a cross-roads in life wondering if she will or won’t become a doctor?  She’s also still emotionally scarred by her mother’s cancer-related death. Therefore, she does some soul-searching in Mexico where she successfully finds a secret cove and beautiful beach where her mother spent some time shortly after learning she was pregnant with Nancy.  There she takes to the surf and stays out in the shallow waters just a little bit too long…accidentally stumbling upon one insatiable shark’s feeding spot.

It’s not often you get such depth in a character leading a monster movie.  So when things get silly and over-the-top (especially in the deliciously inane third act), the viewer is invested enough in Nancy to not give a damn about how patently ridiculous her tete-a-tete with one nasty shark gets.  I imagine some animal rights activists will not be happy with the unfair portrayal of sharks…though seaguls (in the form of Nancy’s injured companion “Steve”) certainly get a nice image make-over here. Continue reading

The Spin’s Top 40 Sci-fi Films of All Time

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Well, those ever-expanding genre polls over at Wonders in the Dark continue…and next on their docket is the Top Sci-fi films.  Below is the list I submitted, and in the coming weeks and months they will be unveiling their list after all the votes are tabulated.  I went with a fairly liberal definition for sci-fi, hence some genre-bending monster and horror films made the cut (but alas, no Leprechaun in Space!).  Also making the cut are films like Being John Malkovich, as I saw in the film a “scientific” explanation for how people were able to enter the head of John Malkovich…an unnerving “fiction” for sure!

Sci-fi films from the 50’s, 60’s, 70’s and 80’s (along with Universal Monster movies from the 30’s) ruled my childhood as they were shown in endless loops on local television on the weekends…so there are many sentimental favorites here.  The list topper, from one Stanley Kubrick, should come as no surprise for my readers, as it is also a film I routinely name in my revolving Top Five Films of All Time.  Coming in at number 2, might surprise some, as it’s also a Universal Monster classic…James Whale’s Frankenstein, a great film based on Mary Shelley’s trailblazing sci-fi-by-way-of-parental-wish-fulfillment-nightmare gothic novel.

The best science fiction films typically tap into some disturbed psychology and common fears…hence its natural and seamless blend with horror (see Alien).  Satire, both gentle and militant, mixed with science fiction can also be potent (see the works of Jonze and Verhoeven and Miller).  At its most noble, science fiction allows us to dream bigger dreams (see the best of Spielberg and Nolan).

I’ll let the rest of the list below speak for itself – links provided to more detailed write-ups and reviews of applicable films provided by clicking the title. Continue reading