Category Archives: Drama

To Leslie

To Leslie               5 stars

One of the best based on real life, but largely unnoticed movies of 2022 must be To Leslie, directed by Michael Morris and starring British actress Andrea Riseborough (Nancy, Amsterdam). Riseborough expertly plays Leslie, an alcoholic single mother from a West Texas town who as we see from the movie’s first clip, won the Texas lottery. The movie picks up six years later when we see that she has squandered all the winnings on booze and abandoned her son at age 13. She is kicked out of the cheap motel she has been living in, so with a single suitcase is forced to live on the streets. Her son, James (Owen Teague), now a young adult finds her and takes her in on the promise that she not drink anymore. Naturally, she does not last even a day before she steals James’ roommate’s money and goes on another of her binges. This is too much for James to deal with, so she is kicked out once again and taken in by two estranged friends, Nancy (Allison Janney) and Dutch (Stephen Root) in her hometown where the cycle is repeated all over. Forced to face the consequences of her actions she has one last chance to figure out her life and make things right with those she has wronged. Riseborough strikes all the right notes in the role and is completely believable as the deceitful addict. She well deserves the Best Female Actor Academy Award nomination for this part. Marc Maron, the comedian, plays a large role in the film as a motel manager who befriends Leslie. He is perfectly cast in the movie. Young rising star Teague is good too as the son and you can see him next in Kingdom of the Planet of the Apes (but don’t expect to recognize him). The use of 35 mm film in making the movie gives it that gritty look of the seventies. If you missed this gem of real life when it was in the theaters, you can catch it now on streaming services.

The Fall Guy

The Fall Guy       4 stars

The summer blockbuster season may have started a bit early with the release of The Fall Guy, directed by David Leitch (Bullet Train, Fast & Furious Presents: Hobbs & Shaw). The action comedy starring Ryan Gosling as stuntman Colt Seavers and Emily Blunt as movie director Jody is designed as a tribute to the stuntmen who make action movies fun to watch. Part of the fun is watching Colt prepare for each shot and endure one take after another of getting blown up and burned. In addition, Gosling shows that he is made to be a comedic leading man whether he is crying to a Taylor Swift song or giving one liners while taking punishment from the bad guys (of which there are plenty). The pair of Gosling and Blunt work comedy gold in their scenes together with dueling dialogue especially in an early scene when Jody questions Colt about his character’s motivation in front of the entire production crew. Remember that last summer Gosling was discovering his manliness as Ken in Barbie and Blunt was enduring marriage to Robert Oppenheimer in Oppenheimer. (It is clear that Gosling has not lost his physique since Barbie.) The premise is that Colt, the main stuntman for action star Tom Ryder (Aaron Taylor-Johnson), returns from an injury to work on a movie in Australia being directed by his crush, Jody in her first directing opportunity. Her big budget movie is a sort of Mad Max action film with some fearsome looking space aliens and big explosions. During production, the movie producer (Hannah Waddingham) approaches Colt, telling him that the star, Ryder has gone missing, and Colt must track him down. And with what is an obvious MacGuffin, he must not tell Jody about the missing star. (A MacGuffin is a device that keeps the plot moving but may not make any sense.) When Colt discovers a dead body, he soon realizes that he is in over his head and he must face off against multiple villains in car chases and fight scenes, something he is surprisingly good at. After that the plot loses all credibility and little about the story makes any sense. But don’t let that stop you from enjoying it. I finally gave up on trying to make sense of it. But I did enjoy the fight scenes that included Stephanie Hsu (Everything, Everywhere, All at Once) as an assistant fighting a villain at the wheel of a large truck a la Indiana Jones. (And then there is the dog that helps Colt in fights, while only responding to commands in French.) The level of action is high like Leitch’s earlier movie, Bullet Train. It slows down a bit when Blunt shares the screen, with her contributing to the comedic nature of the movie. The score is very upbeat including a few renditions of I Was Made for Loving You Baby performed by both Yungblud and Kiss. So, turn off your brain for two hours and enjoy some real mind-blowing action.

Poor Things

Poor Things        5 stars

What if you took Mary Shelley’s Frankenstein about a mad scientist reanimating a human of stitched together body parts in the 19th century, but substituted a woman for the monster, made it a comedy and oh, added a lot of sex? You would have Poor Things, the new movie by director Yorgos Lanthimos (known for his previous outings Dogtooth, The Lobster and The Favourite). The Greek director has created a sort of alternate world set in Victorian London, but with a mixture of odd architecture and transportation and clothing styles that shouldn’t exist. Behind the dark comedy and the science fiction aspects is a story of discovery of the depravity of the modern world and female empowerment. Early in the film in London we meet Dr. Godwin Baxter (Willem Dafoe), our mad scientist who has a very disfigured face, along with a young woman named Bella Baxter (Emma Stone), who is his “experiment”. In his household are a few of his earlier experiments on live animals such as a dog with a goose head and a chicken with a pig’s head. Bella killed herself before Godwin (or “God” as she calls him) retrieved her body and then brought her back to life but with a few changes. Her mind is wiped clean, and she is being retrained in how to live. She can barely talk and struggles to walk and eat normally. Behaving like a toddler without inhibitions, Stone pulls off the act with comic effect. With the aid of a medical student as God’s assistant, Max (Ramy Youssef) Bella gradually learns to behave more normally and is taught about the outside world, but also discovers free will and masturbation. She is confined to the house, but when a self-centered lawyer (Mark Ruffalo) finds her and is stricken with her he convinces her to join him in travels across Europe. Leaving Dr. Baxter, Bella sees the world and is enlightened about many things like dancing and fashion and how others perceive her. She also learns about pain and suffering in the world and has empathy toward the unfortunate. But there is also the sex that she finds so enjoyable or as she calls it, “the furious jumping”. She even finds out that women can make money by having sex with men and becomes very accomplished at it in a Paris brothel! Lanthimos uses some innovative techniques like filming the first part of the movie in black and white to make it look older and using wide lens shots at low angles. The music is unquestionably strange throughout. The selection of placing the movie during Victorian times when women were especially subservient to men makes Bella’s transformation into an independent, confident woman who won’t be owned by a man all the more stark. There are several characters that can be regarded as cads, but strangely, Dr. Baxter isn’t one of them. He could be described as being paternal toward Bella, wanting to protect her from the evils of the world. The movie held my interest throughout and had many fun moments of satirical comedy, and did I mention there is lots of sex?

The Boy and the Heron

The Boy and the Heron                  4 ½ stars

A lot of movie goers were surprised at the release of The Boy and the Heron, by Hayao Miyazaki, Japan’s master animator. Ten years ago, he released The Wind Rises saying it would be his final feature film. Fans of Miyazaki and Studio Ghibli fondly remember his earlier classics My Neighbor Totoro, Princess Mononoke, Spirited Away and Howl’s Moving Castle. His style typically involves a fantasy world with strange creatures having human qualities, drawn in a way that evokes many emotions in the viewer. In his new final film, he bases the story on his own childhood growing up during World War II in Japan. The main character is Mahito, a 12-year-old boy recalling how his mother was killed in a hospital fire caused by a bombing attack. His father moves the boy to the country near the factory his father operates. Also in the new home are his father’s new wife, Natsuko, who is Mahito’s aunt and is already pregnant, as well as seven old grannies who tend to their needs in the house. Mahito is consumed by grief from the loss of his mother and spends time exploring the environs around the house. Only, he is routinely harassed by a persistent large gray heron wherever he goes. One day he follows the heron to a great decaying stone tower and tries to enter it to investigate but finds he can’t get inside the structure. Mahito is warned by the grannies not to go there and is told the tower was built by his mother’s uncle many years ago. Then one day Natsuko goes missing and the gray heron reveals that he is really an old, ugly gnome with a voice, telling Mahito that his mother is not dead, and she can be found in the tower. Mahito follows the heron into the tower entering a new fantasy world that is inhabited by the living and the dead. There are many strange beings there including a large flock of angry talking pelicans, a young pirate, thousands of balloon like creatures called the Warawara that float through the air, a girl named Lady Himi who protects the Warawara with fire, and a kingdom of giant parakeets led by the Parakeet king. Also, present is a version of Mahito’s great uncle who is striving to build a perfect structure out of stone blocks. He is seeking a successor to his job and wants Mahito to take his place. Some of the scenes may seem confusing and there is a lot going on here, but the point seems to be that Mahito is working through his grief and is struggling to do the right thing in his life. Like his earlier films Miyazaki uses many familiar techniques in The Boy and the Heron to illustrate certain life lessons. Here the lesson is how one is to carry on with living when weighed down by extreme sadness. This film is somewhat autobiographical and is different from most in that the main character is a boy where he usually has female lead characters. (Like in Princess Mononoke and Spirited Away.) As in many of his other films it has a variety of odd characters, some likable and many with undesirable traits and questionable motives. I recommend it for animation fans, but perhaps not for the youngest of viewers because of some frightening images.

Guillermo del Toro’s Pinocchio

Guillermo del Toro’s Pinocchio                   5 stars

Pinocchio by Academy Award winner Guillermo del Toro is not your Disney’s Pinocchio. It is not at all like the underwhelming live action Disney version that came out the same year (starring Tom Hanks). Del Toro’s movie is done with creative stop motion animation using physical carved figures and has a very dark aspect to it. There are the same basic elements from the original 1883 story by Carlo Collodi. It opens with Geppetto (David Bradley), the carpenter losing the son he loves, only here it is due to a stray bomb dropped from a war plane during World War II. It is set during the reign of Benito Mussolini, who we actually get to meet at one point. Pinocchio (Gregory Mann) was carved by Geppetto out of grief and was brought to life by some magic spirits. He has some very bad habits, always getting into trouble breaking things and skipping school like someone with ADHD. Like the original story his adventures include joining the circus and encountering a giant fish at sea and having a tiny cricket friend (Ewan McGregor) who looks out for him. In this version Pinocchio is crudely carved and is very puppet-like, with a large head and narrow limbs so that it is obvious he is made of wood. He would not be described as cute. And since he is very gullible it is easy for a carnival master (Christoph Waltz) to persuade him to join the circus. When it is learned that Pinocchio can be brought back to life after being killed, the local Podestà (Ron Perlman) sees that he will make the perfect soldier for the Fascist cause and forces him to join the army. He goes on to meet Il Duce who is not amused by Pinocchio’s antics so promptly shoots him! Each time he “dies” he is instructed by the Blue Fairy (Tilda Swinton) about his fate and the choices he is faced with. The movie has more violence than the Disney versions but even so is still suitable for children. It still has the same positive messages of the importance of love and family like the other versions. It is a natural story for del Toro to tackle adding it to his previous dark fantasy movies like Pan’s Labyrinth and The Shape of Water. It is very deserving of the Academy Award for Best Animated Feature it received.

The Iron Claw

The Iron Claw     4 ½ stars

“Mom tried to protect us with God. Pop tried to protect us with wrestling.” These are the words of Kevin Von Erich speaking of how his father, Fritz Von Erich drove his sons to be successful in the professional wrestling arena, but ultimately as we discover to tragic results. The movie The Iron Claw, by Sean Durkin (Martha Marcy May Marlene and The Nest) is about the real life Von Erich family, the kings of professional wrestling in Texas in the eighties. The movie is inspired by the lives of Fritz, the father of the clan (Holt McCallany), oldest son Kevin (a muscular Zac Efron like you’ve never seen him before) who is filled with drive to be the best but is haunted by what he sees as a curse on the family, second son David (Harris Dickinson), the tall lanky blond who tag teams with Kevin, third son Kerry (Jeremy Allen White who you will recognize from The Bear (also Law & Order)) who left a career in track and field for the chance to join his brothers in the ring and finally Mike (Stanley Simons) who saw himself as a country musician; that is, until he too joined his brothers in the ring. The movie is about a family of wrestlers, but it is also about the firm grip of control that Fritz had over his sons, wanting them to be the best and earn the championship belt that eluded him in his wrestling career. “The Iron Claw” is the name of Fritz’s signature move, the use of his hand to squeeze an opponent’s head until they surrender, but it also symbolizes the way he controls his family including his wife (Maura Tierney) who must watch the destruction of the family as they pursue pop’s dream. (Fritz is not going to win any parenting awards with his approach.) The actors, especially Efron obviously had to work up their physique and train hard to wrestle to make this movie. The action in the ring looks as comical as the real thing to me. There is some reference to the staging that is done in pro-wrestling, it being the best performers that end up being champion, so I have no doubt that it looks as real as possible. Unfortunately for the Von Erich family the tragedy that befalls each is only too real as well. The effect on Kevin is devastating as we watch his descent into depression. This is probably Zac Efron’s best performance to date. (We should forget about 2015’s We Are Your Friends.) “The Iron Claw” is far from an upbeat movie and you should be prepared to shed some tears. But it does deliver its message about being loyal to one’s family no matter what.

Maestro

Maestro               5 stars

It has been five years since Bradley Cooper’s directorial debut of A Star Is Born, a remake of a true Hollywood classic that he also starred in alongside Lady Gaga. Now he has co-written, directed, and starred in Maestro, a biopic on the life of Leonard Bernstein, the legendary American composer and conductor. Cooper elected to focus on his twenty-five-year relationship and marriage to actress Felicia Montealegre (played masterfully by Carey Mulligan (An Education, Drive, She Said, Promising Young Woman), showing us how they met at a New York gala, how she stayed with the man she loved through many difficult years until her death from cancer. We see Bernstein’s rise to fame after he directed the New York Philharmonic and the attention to his career by the media. The film does not show us much of his creative process in his compositions, choosing to show us his conducting skills (which I understand are very accurate thanks to Cooper’s attention to detail), and his tendency toward having affairs with men causing great strife for Felicia. I think that he made the right choice in not making the movie too broad as often happens with biopics. I really liked some of the creative elements used in the picture, such as the moving camera work in an opening scene where Bernstein learns he is to conduct the New York Philharmonic and we follow him from a bedroom as he moves through hallways and appears in the concert hall all in one continuous motion. The early scenes in the forties and fifties are all done in black and white making it look like old Hollywood, but when we get to the sixties and seventies the screen turns to bright colors displaying the difference in the eras. I loved the fantasy sequence showing dancing sailors giving us a hint of On the Town, but with Bernstein showing up in the act as a foretelling of the troubles to come. The film wouldn’t be nearly the success that it is without Carey Mulligan as Felicia who loves Bernstein but must suffer through his infidelities and his selfishness over his own greatness. The scene of the two confronting one another in their apartment during a Thanksgiving parade, (complete with Snoopy balloon) with her exploding in rage is equal to what I’ve seen in Anatomy of a Fall and Marriage Story. I have admired her acting skills since 2010’s An Education. She has been nominated for acting Oscars twice before and will surely be nominated for Maestro come Oscar time. She could very well win it this time. Bradley Cooper has Bernstein’s mannerisms down cold and keeps the energy of the film high with the quick dialogue he delivers along with the rest of the cast. The makeup on Cooper is convincing as we see Bernstein age through the decades. Undoubtedly, the movie will be rewarded for this. The only problem I had was with the movie not telling us what pieces are being performed when Bernstein is conducting. It is assumed the audience knows them and while they are familiar to me, I would like to know what they are during the movie. I am just glad I got the chance to see it in the theater to get the full effect. All music lovers should see this one and even if you’re not you shouldn’t miss it. Maestro is one of the best movies of the year.

The Boys in the Boat

The Boys in the Boat                       2 ½ stars

Director George Clooney who brought us such movies as Good Night and Good Luck,
Leatherheads and The Monuments Men returns to the director’s chair for a feel-good
underdog sports movie in The Boys in the Boat. This true story about an
eight-man rowing team from the University of Washington that competed in the
1936 Berlin Olympics and won a gold medal for the US is based on the
bestselling book by the same name. It follows the team through their struggles
during the depression, focusing mainly on rower Joe Rantz (Callum Turner of
Emma and Fantastic Beasts) who was abandoned by his father at age 14 but is
trying to stay in school to earn an engineering degree. Joe and the others are
drawn to the sport primarily based on the promise that is a guaranteed paying
job for those who make the team. The team coach (Joel Edgerton: Loving, It
Comes at Night, Boy Erased) has a vision of success with the young men of the
junior varsity team at U of W and tells them they are competing in the most
difficult sport in the world. While I agree that this is a story worth learning
about, the movie becomes one sports movie cliché after another. You can insert almost
any sport into the plot, whether it is boxing, basketball, track and field,
tennis or horse racing and you will have basically the same movie. (But not
golf. There is no sport in movies more boring than golf.) You have the grueling
workouts, the early spark of talent, the belief in greatness, the setbacks (in
this case the challenges from the administration against the junior team, the
need for raising more funds to go to Berlin) and the final heart pounding
competition. In this case we even get the appearance of Der Feurer at the final
event who is there to see the triumph of the Germans over the other teams. The coxswain,
Bobby (Luke Slattery) shows some real personality as he shouts encouragement to
the team when they are racing. But otherwise, these athletes seem like bland
copies of one another in their scenes together. There is an amusing romance
when a former classmate (Hadley Robinson) tries to get Joe’s attention and you
would almost expect a musical number out of a thirty’s movie to break out.
There were some nice touches like the aerial shots of the boats in steady
rhythm and the moving grandstands on a train that follows the course of the
race. The movie is good as a comfortable sports movie, but empty of any
surprises.

Girls Will Be Girls

Girls Will Be Girls 4 1/2 stars

In Girls Will Be Girls we find a coming of age story set in India in the Himalaya mountains. In a strict boarding school, Mira has just earned the title and responsibilities of Head Prefect. She has the pressures of keeping her grades up and dealing with a strict mother, but then a new boy arrives at the school that takes an interest in her. It’s a story of discovering desire and romance for the first time from first time writer-director Shuchi Talati. Mira has to be very careful about what she reveals to her mother about the relationship, but the mother takes an interest in the boy’s wellbeing too, setting up a conflict between mother and daughter. It is a well told story done with slow building tension. Both of the young actors were present for the Q & A. It was one of the best movies of the fest I have seen so far.

Ferrari

Ferrari                   4 stars

There is a lot of heat and noise coming from the fast cars on the roads of Italy in Michael Mann’s new movie Ferrari about the man behind the sports car company that bears his name. There is also a lot of heat being generated off the track too coming from Ferrari’s wife, Laura (Penelope Cruz in one of her finest performances) who is unhappy with her place in her marriage to Enzo Ferrari (Adam Driver). This auto racing movie set in 1957 does concern competition between drivers of the world’s fastest machines on land, Formula One race cars, but it is also about the challenge Ferrari is facing, trying to save his company from bankruptcy while also keeping his life with his mistress, Lina (Shailene Woodley) secret from his wife. Early on we see what Laura is capable of as her fiery temper leads her to fire a gun, nearly hitting Ferrari. There is no hiding her feelings as only Cruz can show. She is still hurting from the death of her only son who died one year before that she blames on Enzo. But Ferrari needs to accommodate Laura as she controls most of the automobile company. The company is not selling enough sports cars to keep it afloat, but if one of its race cars can defeat Maserati in the famous Mille Miglia, the thousand-mile race across the hills of Italy, then it will be possible to sell many more of the expensive cars and save the company. Ferrari must also convince the right investor to help finance his venture so he must manipulate them into seeing things his way. You can see that Enzo has a lot on his mind. The movie viewer has a lot on his mind too as there is a lot of drama going on when not on the racecourse. Of course, there are plenty of exciting scenes of the race cars hurtling around the track and competing against each other on the road around hairpin turns through the countryside. I can’t imagine how it was possible to film scenes like this, but they are thrilling. There is no hiding the hazards of the sport in this era as is shown by some very graphic scenes that will silence the audience. Adam Driver displays his usual intensity, though not exploding with rage like he has in other roles. He keeps a subdued presence, but you can imagine him boiling beneath the surface as Ferrari maintains control over how the drivers are to handle the cars in the race and deal with a hostile wife at home. We don’t really get to know the drivers well, other than one who is especially eager to win at all costs. Patrick Dempsey portrays Piero Taruffi, the most experienced driver who has somehow survived to an advanced age for racecar drivers. There are some interesting things to see from this time, such as cars that carried two passengers and how the occupants sometimes have to work on a disabled car during a race to get it running again. There is so much packed in the two-hour plus running time that by the end of the race it is almost immaterial who the winner is. The movie is not for everyone, but anyone with a passing interest in auto racing should see it. As well as any fans of the talented Penelope Cruz.