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 →
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 →
The third Daniel Craig headlining Bond flick, Skyfall, opens up like many Bond films of yore with a spectacular chase sequence that involves motorcycles atop Istanbul’s famous market and a fist-fight atop a moving train that ends with Bond getting accidentally shot by another agent trying to take out his combatant. And as he falls into the river below, the traditional Bond credit sequence begins with Adele’s superb theme song recalling Shirley Bassey’s iconic Goldfinger.
It seems we were in for more of the same, but did they just kill Bond…even if only symbolically? During the credits you are reminded of the masterstroke of hiring cinematographer Roger Deakins (arguably the best in the biz today) and his frequent cohort, Oscar-winning director Sam Mendes as their names come up in that comfortably familiar Bond credit sequence font. Never before has a Bond film been given such behind-the-scenes pedigree, and armed with a sharper than normal script – the dynamic duo pay homage, deconstruct, and resurrect from one amazing set piece to the next the entire Bond oeuvre. Continue reading →