Author Archives: Ron

About Ron

I like to watch movies and share my thoughts on them. I have been writing reviews and distributing them since 2013.

The Nest

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The Nest                              4 stars

Sean Durkin, the director who brought us Martha Marcy May Marlene in 2011 has returned to the director’s chair to make the slow burning domestic thriller, The Nest. Englishman Rory (Jude Law of The Talented Mr. Ripley and The New Pope) is a successful commodities trader in 1980’s New York, has a great family and is living in an expensive house. His American wife Allison (Carrie Coon of Fargo, The Leftovers and Gone Girl) is a horse trainer and is now in her second marriage. Between them they have two children. Rory suddenly announces that there is an opportunity for him back in London at his old company so they should all move to England, an idea that Allison is not very happy with. Soon the family is in England living in a centuries old mansion that is in need of some work. (We are told that Led Zeppelin once stayed here, so there’s that.) The mansion is expansive, yet empty and seems to serve as a symbolic character for extravagance. The dining room table is so massive we are told that few houses could ever accommodate it. Carrie Coon effectively conveys mistrust toward Rory with her eyes and secretly hides a stash of cash as if anticipating what is to come. Soon enough things start to go sour as Rory’s skills as a dealmaker don’t measure up to his ambitions and he finds that he is running short of cash and has to beg Allison for help. Allison and the two children have little to connect to in this foreign country. The movie is memorable for the slow building tension between the two lead characters and for showing the cost of the desire to appear rich. In a memorable scene Rory talks with a cabdriver and when asked what he does he responds, “I pretend to be rich.” Then when asked what it is he wants, he says, “I don’t know”. The movie shows us a family that is headed for ruin, but ultimately leaves us with a feeling that there is at least a chance at redemption, if only they would take it. The best performance has to go to Carrie Coon, who conveys feeling with a look and body movements without saying a word.

Sorry We Missed You

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Sorry We Missed You                      3 stars

Sorry We Missed You is last year’s crusade film showing the perils of the working class in Britain by Ken Loach, who must be the hardest working director that you’ve never heard of. Loach has a long history of empathizing with working people in his movies going back to the sixties. In this film we follow Ricky and Abbie, a couple struggling to get by with their two children in a rented apartment. Ricky has been working odd jobs since the crash of 2008 and thinks he has found an opportunity as an entrepreneur operating as an independent delivery driver of parcels. He is lured in by the prospect of being his own boss and making his own decisions as opposed to working as an employee at a large business. He is told that he won’t work for his boss, but with him. He won’t receive wages, but fees since he is his own boss. Of course he will have to buy his own delivery van, so Abbie will have to sell her car that she needs for her job as an in home care person. She can just take the bus instead. And he is expected to meet a delivery schedule that is near impossible as he deals with traffic, ungrateful customers and fourteen hour-work days. The supervisor turns out to be a first class asshole who only cares about the bottom line and has no sympathy for what the workers or contractors are going through in their personal lives. The movie is an indictment of the gig economy that has become more prevalent in the last decade. It’s a way of reducing the income and benefits of the working poor while also placing all the risk on the workers. From the beginning the viewer knows what is coming as circumstances get progressively worse for this family as they struggle to work the long hours, raise their children and suffer setbacks not of their own making. There isn’t much plot other than that, so there is not a lot of drama to the story. It really feels more like a documentary that doesn’t have a satisfactory ending, but it certainly makes its point.

Queen & Slim

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Queen & Slim                     4 stars

Queen & Slim, released in 2019 may have been prophetic concerning the racial justice protest movement of the summer of 2020. The film, by director Melina Matsoukas follows the young black couple on a journey across the south being hunted by police. Slim, a Costco worker is portrayed by Daniel Kaluuya who is currently starring as Fred Hampton in Judas and the Black Messiah and who received an Oscar nomination for the horror movie Get Out. Queen, a strong woman who stands up for herself is played by newcomer Jodie Turner-Smith. The pair start the movie on a first date when they are stopped by a white police officer for failing to use a turn signal. When Queen, a defense attorney questions the officer’s reasons for the stop, the situation escalates with Queen getting shot and the officer dead in a clear case of self-defense. The couple are then on the run for the remainder of the film seeking help from sympathizing individuals along the way. However, due to the release of a video they become famous and become folk heroes to many throughout the country. In many ways the movie could be described as a black version of Bonnie and Clyde or even Thelma and Louise. As the pair struggle with the difficulties of coming up with a plan and get to know each other, the audience comes to sympathize with their situation and roots for them to survive. There are also notable performances by Bokeem Woodbine and Chloe Sevigny. The film is hard to classify as it starts as a rom-com, but transforms into a horror story, then into a road trip romance. It is supported by a superb hip-hop score featuring new artists. Kaluuya and Turner-Smith are the real stars here and we can be sure to see more good work and awards for Daniel Kaluuya.

Joker

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Joker                                     4 ½ stars

I finally got around to seeing Joker from 2019, the movie where the iconic villain gets his star treatment instead of sharing the screen with Batman. Undoubtedly most movie viewers have seen this film by now so I don’t need to go into the story much. Director Todd Phillips has fashioned not so much an action movie but a character study that explores how Arthur Fleck went from mentally ill loner to violent master criminal prior to becoming the arch nemesis of Batman. The dark mood of the film is created by the score and an expertly depiction of the early eighties in gritty city scenes. And of course the movie wouldn’t be possible without the acting skills of Joaquin Phoenix as the tormented Arthur. Phillips commented on how flexible Phoenix was in changing his approach in each take of filming. He certainly deserves his Best Actor Academy Award for the role. I was not far into the movie before I saw the similarities to Taxi Driver, the Robert DeNiro crime drama of the seventies. Much of the inspiration of Joker had to come from the Scorsese film. DeNiro himself makes an appearance as a famous late night talk show host on a TV set that is a dead ringer for Johnny Carson’s Tonight Show of the eighties. Though it is a dark movie, Joker belongs on the list of best pictures of the year.

Bridget Jones: Mad About the Boy

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Bridget Jones: Mad About the Boy            4 ½ stars

It’s 2025 and Bridget Jones, the confused and lovesick English woman is back for a fourth installment of the series that audiences love. It was back in 2001 when we first met Bridget starring Renee Zellweger in the title role, when she was trying to manage relationships with two different men: Mark Darcy (Colin Firth) and Daniel Cleaver (Hugh Grant). Now in Bridget Jones: Mad About the Boy, only available by streaming, Bridget finds herself single with two children after husband Mark died four years earlier. Bridget, the widow, has gotten back into TV production work and is successful and has surrounded herself with supportive friends. Some of them are encouraging her to get back on the market, as she should not be alone at this point in her life. Her charming and bumbling behavior is still there as she is constantly second guessing her own decisions (such as hiring a new nanny who looks like he could be a fashion model). Then she meets Roxster (Leo Woodall), a young man of 29 who is some sort of tree trimmer, under very amusing circumstances. Bridget decides to pursue the relationship, claiming she is 35 when it is obvious to all that she is over 50. She meets him for a date that immediately leads to sex, (of course) with all the amusing scenes and sexual references that are familiar to audiences of the earlier movies. The comedy necessarily sets a more serious tone than the previous editions since this is a woman dealing with the grief of losing a husband as well as being a single mother. So, there is a lot of emotion on display including an appearance by Daniel due to a scary health issue, who we have not seen since 2004. Nevertheless, there are still plenty genuine rom-com moments such as when Bridget has to be rescued from trying to climb a tree by the tree man. The movie manages to keep its comedic energy that we remember from the previous films while reminding us that Bridget is moving on and learning to deal with the things that life throws at her. Be sure to stick around through the credits as a few film clips from the earlier Bridget Jones movies are shown, including that memorable fight between Mark and Daniel.

Death of a Unicorn

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Death of a Unicorn          3 stars

Death of a Unicorn by first time director Alex Scharfman combines two genres of movies that I really like to see: the skewering of the rich and the comedy horror creature feature. So, if you think you might enjoy seeing some greedy ultra-rich bastards get what they deserve thanks to a murderous monster, this one could be for you. As is the case with most monster horror movies, there are some bad choices made by the characters that lead to unfortunate results for them. It features a few well-known stars and despite some unconvincing special effects, it is entertaining to watch. We meet lawyer Elliot (Paul Rudd of Ant-Man, Forgetting Sarah Marshall and Knocked Up) and his teenage daughter Ridley (Jenna Ortega of Wednesday) who are on their way to meet with his client, Odell Leopold (Richard E. Grant of Salt Burn) at their isolated mansion in the mountains, so that he can get him to sign a new contract. (Remember one of my first rules from the movies: If a billionaire invites you to their isolated mansion/compound, DO NOT accept!) Leopold and his family are major players in the Pharma industry and even have a live in security force and access to some top pharmaceutical researchers. On the drive to the mansion Elliot collides with an animal on the road that looks like a young horse like creature with a long horn on its forehead, injuring the animal. Not wanting to get caught by local authorities, Elliott bashes its head with a tire iron, spraying the animal’s blood all over poor Ridley and loads the dead animal into the back of the car. Later, during the meeting with Leopold (who is dying of cancer), his privileged wife (Tea Leoni of Tower Heist and Fun with Dick and Jane) and screw up son (Will Poulter of Midsommar and The Revenant) the unicorn in the car is discovered since it’s not really dead, so it is killed again. The group is fascinated by the fact that Ridley’s acne has cleared up after coming in contact with the creature’s blood. Naturally, the thing to do is to have the creature’s blood analyzed by Leopold’s scientists. They soon discover that it has mysterious healing powers so Leopold volunteers to consume some of the samples (as you do) and of course, his cancer is instantly cured! So, the greedy family must find a way to capitalize on this amazing discovery and make a ton of money. Ridley does some online research of her own and discovers some dangerous aspects of the legend of unicorns dating from the Middle Ages and tries to warn Leopold and family, but they aren’t willing to listen, since that would interfere with their plans to make more money. Things go predictably bad when Mama and Papa, two very large unicorns come looking for junior and aren’t at all pleased that these humans have killed him. What follows is a prolonged killing spree as the creatures hunt down their prey in quite violent and bloody fashion. Of course, most of the characters make one bad decision after another resulting in their being skewered and ripped apart by the pair of hooved parents. The animals are even smart enough to cut communication and power to the mansion. The writing for these ultra-rich idiots wasn’t the most convincing and the special effects creating the unicorns had a cheesy look to it. Better movies attacking the ultra-rich would be The Glass Onion and The Triangle of Sadness. For more entertaining comedy monster movies look for Werewolves Within, Shadow in the Cloud, The Dead Don’t Die and of course, the ever-popular Cocaine Bear. The movie is far from perfect but does provide a fun time for comedy horror fans. We will have to wait for a later attempt at combining attacks on the ultra-rich with a killer monster for something even better.

True History of the Kelly Gang

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True History of the Kelly Gang                    4 stars

Although violent in the extreme, I recommend seeing this modern telling of the story of Ned Kelly, the Irish Catholic outlaw who terrorized Australia in the late 1800’s. George Mackay of 1917 plays the violent adult Ned to perfection as we follow his very troubled life running afoul of authorities (all British) in the Australian outback. The filming of a desolate landscape contributes to the bleak outlook that director Justin Kurzel wants to convey. The varied score that includes punk rock pieces gives the movie a surrealistic feeling. This is a violent, brutal and bloody film that will put many viewers off, but it is necessary to tell what life was like for the Irish lower class under British rule. The first part of the movie shows Ned Kelly as a young boy growing up dirt poor with a drunk Irish father and a foul mouthed mother (Essie Davis of Babadook). The young Ned has encounters with cruel individuals that will form his character including Sgt. O’Neil (Charlie Hunnan) and the thief Harry Power (Russell Crowe). Crowe’s time on screen is short so it is almost criminal that he gets top casting credit while the boy playing Kelly, who is on screen much longer is barely mentioned. Other notable actors playing scoundrels are Nicolas Hoult as a British cop who teasingly alternates between being Kelly’s friend and trying to bring him down, and Marlon Williams as George King, an American who seeks to take advantage of the poor Kelly family. Thomasin McKenzie of Lost Girls and Jojo Rabbit portrays Kelly’s love and mother of his daughter. Besides the violence, there is a theme of cross dressing as the Kelly gang wears flowing dresses while committing their crimes, a practice meant to instill fear in their victims apparently originating in Ireland. None of the characters have any redeeming features, all contributing to the lawless environment they find themselves in. The film has a very violent shootout scene to end on featuring strobe lighting and a seemingly endless supply of blood. This film is not for everyone, but a good one for lovers of Westerns. I strongly advise that you see the movie with closed captions as I find much of the Australian dialect is difficult to understand.

One Night in Miami

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One Night in Miami                         5 stars

There has recently been an abundance of movies concerned with the civil rights era and/or racial injustice. One that should not be missed is One Night in Miami, written by Kemp Powers and directed by Regina King in her directorial debut. The movie takes a real event, the one night meeting of four legendary black figures in February of 1964 and imagines what transpired in the Miami motel, after Cassius Clay claimed the heavy weight boxing title at the age of 22. The four, black activist Malcolm X (Kingsley Ben-Adir), boxing champion Cassius Clay (to become Muhammed Ali) (Eli Goree), football star Jim Brown (Aldis Hodge) and singer/song writer Sam Cooke (Leslie Odom, Jr.) have gathered at the motel presumably to celebrate Clay’s unexpected win over Sonny Liston. Malcolm X though has brought the legends together for a private affair free of alcohol and women in order to challenge the men to take stronger action in the fight for racial justice in the 1960’s movement. Each of the men is at a pivotal point in their careers and must deal with their shortcomings and face what their role will be in the coming struggle. The script was adapted from the stage play also by Powers. Each of the four lead actors gives a commanding performance, especially Ben-Adir who shows Malcolm X’s doubts about breaking with the Nation of Islam and senses that something foreboding is coming. (He is to be assassinated only one year later.) One of the first scenes with Jim Brown visiting one of his “friendly” long time white neighbors played by Beau Bridges serves to remind us of what blacks in the south were facing at the time. Regina King said that the movie was still in production at the time of the George Floyd death, making the movie even more relevant to today. She wanted to get the film released as soon as possible. Look for One Night in Miami to receive several Academy Award nominations including Best Picture.

Bardo: False Chronicle of a Handful of Truths

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Bardo: False Chronicle of a Handful of Truths       3 stars

This film by Mexican director Alejandro Gonzáles Iñárritu, with its long title is a very ambitious project in scope as well as being quite long at 159 minutes. It has some basis on his own life, which is a departure from his earlier award-winning films including Birdman and The Revenant. The main character, named Silverio (Daniel Giménez Cacho) is a renowned activist and filmmaker of documentaries from Mexico, who is about to accept an award in Los Angeles for his latest film. He has a troubled relationship with his family including his wife, grown daughter and teenage son. And he is haunted by the loss of an infant son years earlier, who in the film didn’t want to be born, preferring to stay in the womb. Yes, you read that right! Much of the film deviates from reality, taking on a surrealistic tone such as when Mexican soldiers from The Mexican War appear pretending to be fighting, a commuter train suddenly flooding with water or with Silverio meeting Spanish conquistador, Hernán Cortéz on top of a hill of human flesh. It’s all meant to show how Silverio is wracked with guilt. His time is split between two worlds, that of America where he is praised for his films and that of Mexico where he is from. Silverio both loves the beauty of Mexico and its people and hates it for its poverty and corruption. There are some people, including some of his own family, that despise him for this duality of his life. The film has some very artistic merits to it and has some masterfully done cinematography, especially when the camera does extremely long continuous takes gradually transitioning location and mood. The movie is grand in scale and Iñárritu has a lot to say, but it is probably a bit much for most audiences to take in. By the end of it I felt exhausted.

Pieces of a Woman

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Pieces of a Woman                          3 stars

The title of Kornel Mundruczo’s Pieces of a Woman gives one the picture of a person being broken into pieces. This is truly the objective of the movie as we follow several months of Martha’s (Vanessa Kirby of The Crown) suffering after the loss of a baby daughter immediately after a difficult home birth. Sharing in the grief are her blue collar husband, Sean (Shia LaBeouf) and her elderly mother, Elizabeth (Ellen Burstyn). We see how each character deals with the loss differently and how it tears relationships apart. It is Kirby who gives a realistic performance of a woman broken by the experience, but then recovers from it on her own terms. For most of the movie I felt like I was watching people who were wallowing in self pity, who cannot feel empathy for the suffering of others. This is especially true of Sean, the working class husband who Elizabeth thinks is not good enough for her daughter. His reaction is one of rage as he fails to show up for work, has a brief affair and can’t find a way to cooperate in a sex scene with Martha. He is basically an ass, which makes it a perfect role for LaBeouf. Burstyn gives an excellent performance as the mother who is more concerned with making the midwife pay for the baby’s death than helping her daughter through the pain. The movie really belongs to Kirby who has been nominated for Best Actress by the Academy Awards for the role. The movie’s early scene showing the labor and delivery deserves a special mention as it is all done in a continuous take that lasts more than twenty minutes. The movie does have a courtroom scene about the lawsuit against the midwife, but it feels more like a subplot than the focus of the movie. For a better movie about the emotions of parents going through the loss of a child, I recommend Manchester by the Sea.