Sunday, November 04, 2018
When Jared, played by Lucas Hedges, a young college student, comes out to his parents, a Baptist minister (an almost unrecognizable, overweight Russell Crowe) and his wife, Nicole Kidman, they decide to enroll him in a program to cure him of his homosexuality. It’s a bit like the Joan Fontaine character in Hitchcock’s Rebecca, after she marries Laurence Olivier and enters gloomy, mysterious Manderley. When Jared steps inside the Love in Action program he enters the gothic, a Dickensian institution run by Mr. Sykes, a character with a Dickensian name that Charles Dickens himself might have had fun developing, since from a literary point of view he is only a stone’s throw from Mr. Squeers, the cruel headmaster in the novel Nicholas Nickleby. The fact that this film is based on a true story verges on the unbelievably tragic.
The secondary characters are as fully rounded as the leads. Mr. Sykes, played by Joel Edgerton, the director of this film, is a wondrous creation: a Bible-wielding mountebank who spouts salvation while hiding from everyone his true nature. Also wondrous, as well as scary is one of Mr. Sykes’s enforcers, played with sinister gusto by Flea of The Red Hot Chilly Peppers. There is also a memorable performance by Troye Sivan, the South African-born, Australian actor/singer, whose latest pop album, Bloom, is at the top of the charts. Mr. Sivan has a great screen presence, and one of the members of the cast who is openly gay.
Despite its artistic flaws, Boy Erased is a courageous step from mainstream Hollywood to expose a dubious system that thus far has effected 700,000 members of the LGBTQ community, and continues to be practiced legally in many parts of the country.
Monday, October 29, 2018
In this retelling we meet Sussie Bannion, a young ingenue from America (Dakota Johnson), aching to escape her Mennonite upbringing, who travels to a divided West Berlin to enroll in the famous Helena Markos Dance Company, a school run by a Pina Baush look-alike named Madame Blanc (Tilda Swinton). Almost immediately the new girl falls under the spell of Madame Blanc, who recognizes in her an innate talent for dance, and the "je ne sais quoi" necessary to become a great dancer. At the same time, an elderly psychoanalyst (also played by Tilda Swinton wearing a ton of makeup), with a past dating back to the days of the Third Reich, is investigating the disappearance of one of the dancers in the company, and the alleged claims that the school is run by a coven of witches.
While all of this proves to be quite enigmatic, the movie fairly quickly falls off the rails as it tries to bite more than it can chew. Apparently in Guadagnino's mind it is not enough to just make a horror film. The new Suspiria, which is divided into acts like a German Expressionistic film of the silent era, ie, Nosferatu, features the Baader-Meinhof political landscape of Germany in the decade of the 1970's, as well as the vivid ghosts of National Socialism. This, together with a running time of 152 minutes, makes it a bladder-buster of a horror film, too long for a genre which, like comedy, works more effectively when it adheres to a shorter running time. Unfortunately, the film denouement is one of the most extravagant spectacles I have seen in quite a while. Never a good idea to outdo the original. Dario Argento is an excessive filmmaker, no one will argue with that, but in paying homage to the master, Guadagnino totally goes overboard.
So, should you bother with this remake? Try the new Suspiria if you like to be engrossed in a film that asks more questions than it answers, and if you enjoy the experience of a polemic work that's sure to spark some very interesting cinematic conversation.
Sunday, October 28, 2018
The well-preserved body of Seamus Carney, killed because he was believed to be an informer for the British, has been discovered buried in a bog, and now the kingpin of the IRA, Mr. Muldoon (Stuart Graham), must make sure that the surviving members of the Carney family do not accuse him and his cohorts of the murder. This threat is especially directed at the surviving brother of the deceased, Quinn Carney (Paddy Considine), the patriarch of a large rural Northern Ireland family. And what an incredible family Mr. Butterworth has created! All of them played with beautiful nuances and expert craft by a company of Irish actors under the direction of the spectacular Sam Mendes, a director who has proven again and again that he is both adept crafting films (from American Beauty to Skyfall and Spectre) to both musicals (the recent revival of Gypsy) and this masterpiece by the author of the monumental Jerusalem, one of the most exciting plays in recent days, which had a monumental Tony award winning performance by Mark Rylance.
Whereas Mr. Butterworth attempted to write an ensemble piece in Jerusalem, the outcome was mostly a vehicle for the talents of Mr. Rylance. With The Ferryman he has achieved this quest. With 21 speaking parts, the writing is able to create 21 fully-rounded characters which range from angry young men who dance furiously to a punk rock song by The Undertones, to a wheelchair-bound aunt, played beautifully by that great Irish actress Fionnula Flanagan, who remembers her unrequited love which left her childless. There is also a simple-minded British handyman named Tom Kettle (Justin Edwards) who works for the Carney family, and who brings the children apples, and who wrings the neck of a goose for the family harvest feast, an eerie act-ender harbinger of the violence that's bubbling under the surface of this work.
With a rousing version of the Irish fighting song "A Row in the Town," the mention of the feared legendary creatures called the Banshees, and an ending that you will never forget The Ferryman is most definitely an Irish play crafted out of ancient mythology and the violence of the times it portrays. Yet, the themes that it presents are as universal as those of the great playwrights of the English language. With this spectacular work, Mr. Butterworth joins that prestigious list.
Monday, October 15, 2018
Essentially the film follows the relationship between Vincent (an incredible Willem Dafoe) and his brother Theo (Rupert Friend), as well as the friendship between van Gogh and artist Paul Gauguin (Oscar Isaac). But like Schnabel's early broken canvases, the film is a disjointed look at the artist's downward spiral into madness, mutilation and suicide. Certainly it is not Lust for Life, Vincente Minelli's 1956 biopic starring Kirk Douglas as the tortured Dutch artist.
Willem Dafoe's understated van Gogh is the highlight of this work, and the glue that keeps this film together. Mr. Dafoe has been the darling of the Independent film sect lately, morphing from one character to another with the greatest of ease. He can be Pier Paolo Pasolini in Abel Ferrara's 2014 biopic of the murdered Italian filmmaker, or he can become Bobby, the manager of the Magic Castle hotel in last year's great The Florida Project. His van Gogh might just be his greatest role since he played the Son of God in Martin Scorsese's The Last Temptation of Christ.
If your idea of a biopic is not a definitive reconstruction of the past, and if your taste in film favors a narrative of moments, impressions and fragments, then you will certainly enjoy this arresting, luminous film.
Monday, October 08, 2018
One of them is Bradley Cooper. The current version of the story draws much from this version. The story is well-known. Jackson Maine (Bradley Cooper) is a hard drinking famous rocker who meets Ally (Lady Gaga) a talented, but unknown singer. Jackson gives a boost to her career, and the two fall in love and marry. But as Ally’s fame takes off, Jackson’s demons catch up to him. He horribly embarrasses Ally and himself the night she wins the Grammy award, and things go headlong downhill for Jackson to the inevitable tragic conclusion already familiar from the previous versions.
Thanks to Bradley Cooper’s intelligent handling of this material as co-screenwriter and in his directorial debut, A Star is Born has become the film to beat at the Oscars this year. The film features great emotional acting from Cooper, and shows a triple threat Lady Gaga who might just have carved out a niche for herself come Oscar night. Also giving memorable performances are Andrew Dice Clay playing Ally's father, Anthony Ramos as Ally's friend from her time when she was singing at a drag bar, Sam Elliott as Jackson's older brother, and Rafi Gavron as Rez, a music producer and Ally's manager who precipitates the tragic conclusion of the story with his unfeeling approach towards Jackson's alcoholism.
They don't write them like they used to, and Hollywood knows this. They keep resurrecting this property time and again because filmmakers know that audiences love a great tragic love story. This version of A Star is Born speaks to current audiences in a way the previous versions satisfied their particular public. And when it comes to the movies we love to see a performer who has already distinguished herself in another facet of showbiz making a kill on the big screen, and this is exactly what we get when we witness Lady Gaga's great performance.
Saturday, October 06, 2018
When you watch Roma you are also watching Cuarón's homage to the directors he loves and those that have influenced his career. Visually, it's impossible to watch Roma and not bring to mind the work of Federico Fellini and the other architects of the Neorealism movement. This is particularly evident in the choice of casting non-professional actors in key roles, such as Yalitza Aparicio, a woman from a village in Oaxaca, who had never acted before, and who plays Cleo, an indigenous servant/nanny to an upper middle class family.
But make no mistake about it: this is a 100% Mexican film, one which could not have been made elsewhere. Though touching upon Mexican themes of racial inequality and university students unrest, the core of the film remains the breakup of a family, and the way their nanny manages to keep them together, while confronting her own dire problems. This gives the film a universal appeal while at the same time remaining very close to Cuarón's memories of his beloved Libo, and indigenous woman whom he considered his second mother.
There are many epic moments in this film that stand out: a trip to the movies (to watch 1971's Marooned) where the disintegration of the family begins (the scene might remind you of a key scene in François Truffaut's The 400 Blows), a New Year's celebration featuring a shooting party which culminates in a forest fire, a student demonstration that ends tragically, and a visit to a seaside resort where a dangerous undertow and raging waves threatens the very lives of the main characters. Despite these superbly crafted showstoppers, it is the intimate moments of family life that catapult this film into the realm of greatness.
Roma is a Netflix film that you will be able to stream towards the end of the year, but this is the kind of movie that you need to watch on the big screen with an audience. Roma is Mexico's official entry into the 2018 Oscar race. If I were you I'd race to a theater to watch it.
Thursday, October 04, 2018
At the Q&A after the film, Kent Jones, the head of the selection committee at the New York Film Festival suggested that the unifying theme of the six stories is mortality. I'm sorry to say that this statement caught the brothers by surprise. Or were they just kidding, and playing to the crowd? With the Coens you never know. However, one thing's for sure: the movie is a very entertaining trifle which will surely please their fans.