Category Archives: Drama

Sentimental Value

Sentimental Value           5 stars

From filmmaker Joachim Trier comes one of the best films I have seen about family dynamics and the lasting effects of trauma on generations. Renate Reinsve stars as stage actress Nora who still lives in the family house in Oslo that has been in the family for multiple generations. She has just had the memorial service for her mother, who raised Nora and her sister, Agnes (Inga Ibsdotter Lilleaas) when their long absent father, Gustav (Stellan Skarsgard of Dune and Nymphomaniac: Vol. 1 & II), a famed filmmaker, who walked out on the family when the girls were young suddenly shows up. The two sisters still resent their father leaving, but Gustav acts like things are still normal between them. On top of that he offers Nora the starring role in his new movie that he has written especially for her. Nora says no way to the offer and soon after Gustav shows up with a famous American actress, Rachel (Elle Fanning of Somewhere and Maleficent) to whom he has offered the role. Things then become personal when the location of the film is to be the family home. In addition, Gustav convinces Rachel to dye her hair the same color as Nora’s plus he wants to cast Agnes’ young son, Erik, as the son of Rachel’s character. It gets even more shocking when it is revealed that the film will feature a suicide in a manner like an actual suicide that happened in the family many years before. In this way the film becomes art imitating life, something that is just too much for Nora to contemplate, given the events in her family. Both Lilleaas and Fanning are both stunning as actors in the movie, but the film really belongs to Reinsve and Skarsgard, who play well off each other and make you realize that neither is the villain here. They are just trying to work through the pain of their circumstances. This is the second time that Joachim Trier and Renate Reinsve have worked together with their previous film being The Worst Person in the World (which I previously reviewed). Don’t be turned off by the subject matter as things work out in the end, but I won’t say how. Sentimental Value, I believe will be seen as one of the best films of the year.

Marriage Story

Marriage Story                  4 ½ stars

Marriage Story, written and directed by Noah Baumbach is probably his best work to date.  That is saying a lot as I have previously enjoyed Mistress America, While We’re Young, Frances Ha and Greenberg among others.  Unlike those earlier comedies this one is strictly drama as it tells us about a marriage that is coming apart.  It accurately shows the pain and emotion that comes with the impending divorce of Charlie and Nicole (played by Adam Driver and Scarlett Johansson).  The pair have decided to divorce but haven’t worked out the details when actress Nicole moves from New York to Los Angeles with the couple’s son, Henry, leaving Charlie a successful play director to work with his theater group in New York.  Things become serious when Nicole hires divorce lawyer Nora (Laura Dern) and she asks for full custody of their son.  The writing of the dialogue is first rate which coupled with convincing performances from the three main actors makes the discussions and conflicts all seem real.  You will feel the pain coming through as the couple go from loving each other to resentment and distrust.  Laura Dern especially is excellent showing that she deserves the Academy Award for her acting.  You won’t be laughing through this movie, but will be gripped by the performances.  If you are more interested in comedies though, you should check out Baumbach’s earlier screenwriting efforts.

A House of Dynamite

A House of Dynamite      3 stars

It has been eight years since Kathryn Bigelow’s last movie, Detroit, and now the movie everyone seems to be talking about, A House of Dynamite, has been showing on Netflix after a brief theatrical run. Academy Award winner Bigelow has impressed us before with her high-tension thrillers like The Hurt Locker, Zero Dark Thirty and Detroit so now she has turned her attention to showing us what the launching of a nuclear missile at the United States might look like. Unfortunately, the intention of depicting this kind of crisis doesn’t fit well into the format of a 90-to-120-minute movie. The idea is to show as realistically as possible how the US military would respond to an attack by a single nuclear missile fired at the middle of the country from an unknown adversary. Since the time it takes from detection to impact is only nineteen minutes, there is a lot of extra time to fill in. Bigelow’s answer to this problem is to first show the events in the White House situation room with some additional scenes from military bases, but then when the missile arrives, we back up several minutes and replay the events from different perspectives including those of high-ranking officials. Then we do it all over again, this time with POTUS (Idris Elba) being the focus of most of the scenes. So, after the first time through much of the tension is gone as we know what to expect. The big question is what will be the response of the US military. Will the president order an all-out retaliation, or will he accept the loss of a major city, hoping to deescalate the situation? Another problem with the film is that there are so many characters, many of which only appear briefly. We don’t get the chance to know their story or what makes them tick. There are plenty of big names in the movie including Rebecca Ferguson, Jared Harris, Tracy Letts and Jason Clarke that expertly play their parts, but I would like to know more about their characters. I understand that many military consultants were employed to get the details right. But sometimes realism doesn’t result in the most interesting movie.

Frankenstein

Frankenstein     5 stars

For his entire adult life Guillermo Del Toro has been obsessed with Frankenstein. The famed writer/director and winner of three Oscars previously brought us Hellboy, Pan’s Labyrinth and The Shape of Water. He reportedly has thoroughly researched all previous works on the subject of Mary Shelley’s gothic novel, even building a room in his house dedicated to the story of Frankenstein. His own version of the story is now on-screen starring Oscar Isaac (Inside Llewyn Davis, Ex Machina) as Victor Frankenstein, the brilliant doctor obsessed with the creation of a living being made from dead body parts and Jacob Elordi (Saltburn, Priscilla) as the misunderstood monster. The viewer is amazed at the elaborate sets that include Frankenstein’s laboratory complete with glowing nineteenth century electrical equipment and a complete sailing ship trapped in Arctic ice. The story is largely true to the original novel (which I read around thirty years ago). Isaac plays the doctor with high intensity and makes us believe he sees himself as a sort of god but who is lacking in empathy toward his creation. Elordi, with his large frame and soft eyes makes us sympathetic toward the naïve creature, but fearful when he goes into a rage against those who would harm him. His appearance is startling with elaborate makeup, making it appear he is put together with many parts. The carving up of dead bodies and assembly into a new body looks horrifyingly realistic. The movie will certainly earn an Academy Award nomination for Makeup and Hairstyling as well as Visual Effects. Christoph Waltz (Inglourious Basterds, Django Unchained) puts in an appearance as Harlander, a collaborator of Frankenstein who has his own agenda. Mia Goth (X, Pearl, Suspiria), the new scream queen, is Elizabeth, the beautiful fiancé of Victor’s younger brother, who is the only one that can see the beauty and the suffering of the monster at the hands of Frankenstein. As in the book and unlike some of the film adaptations, this monster becomes fully articulate and can express the torment that the world heaps on him. He comes to hate Frankenstein for creating him but giving no thought as to what would come after, forcing him to be alone in a world that despises him. Much of what the creature says comes straight out of the Shelley novel. It’s clear that del Toro is sympathetic toward the monster as he characterizes him as someone desperate for human affection but then changes him into an instrument of vengeance against his creator. This may not be del Toro’s best movie. But it’s certainly a close second to The Shape of Water from 2017, a movie that shares some of the elements of Frankenstein.

Portrait of a Lady on Fire

Portrait of a Lady on Fire               4 ½ stars

Portrait de la Jeune Fille en Feu or Portrait of a Lady on Fire is a complex love story with only female characters set in eighteenth century France that is certainly very difficult to describe.  A young painter, Marianne is commissioned to paint a portrait of a noblewoman’s daughter (Heloise) who has spent her adult life in a convent and is to be married to a Milanese suitor.  The problem is Heloise is to think that Marianne is there as a companion and is not to know that her real purpose is to paint a portrait.  Thus, the painter has to do the painting in secret without the benefit of a posed subject.  The relationship between the two young women changes and grows throughout the slowly developing plot as we learn more about Heloise.  How she wants to enjoy her freedom and is less than enthused about her planned marriage, about the suicide of her sister and the failed attempt at a portrait by a previous painter.  It is a well put together love story about a slowly growing attraction between the characters and a resentment of the circumstances of their lives.  The story is told with very few characters and a minimum of dialogue.  An additional feature is how the film shows just how difficult it is for a painter to create a painting, something I don’t remember seeing before.  For those who love period romances, Portrait of a Lady on Fire is highly recommended.

Emma.

Emma.                                   4 ½ stars

The latest adaptation of Jane Austen’s novel Emma by director Autumn de Wilde is full of wit and social satire as it takes a look at the life of one Emma Woodhouse (Anya Taylor-Joy), the attractive and mettlesome daughter of a rich landowner (Bill Nighy) in a large country estate.  Since Emma is rich and “had lived nearly 21 years in the world with very little to distress or vex her”, she spends her time manipulating those around her, trying to pair people up or breaking them up according to her own liking.  There are plenty of parties, dances and picnics for the gentile, rich upper class that give Emma the chance to work her devilish charms on those she takes an interest in.  This film is more comedic than most Austen based movies as the characters often express themselves without being too direct about their intentions.  The one exception to this rule is performed by Mr. Knightley (Johnny Flynn), Emma’s friend from childhood who is often direct to Emma about her schemes and their effect on the lives of others.  Taylor-Joy’s mannerisms and expressions are perfect for role of Emma as one always gets the impression that there is a scheme going on behind those wide eyes.  And I cannot fail to mention the incredible costumes and hairstyling that plays a major part in the film.  All Jane Austen fans should definitely go see Emma.

Sorry, Baby

Sorry, Baby         4 stars

I had heard of the title Sorry, Baby from when it played at the Sundance Film Festival but didn’t know anything about it before seeing it this past week. The film is written by, directed by and starring Eva Victor, a standup comic and improv player. Victor stars as Agnes, a full English professor at a New England liberal arts university who lives alone in a house outside of town with her cat. One weekend she is visited by her friend Lydie (Naomi Ackie of Star Wars: The Rise of Skywalker and Mickey 17) who she knows from her graduate school days at the same college. The two are very close and loyal to one another. They can talk endlessly about all sorts of subjects including men. During the visit Lydie reveals that she is pregnant and expecting a baby with her partner. This is a happy occasion except that Agnes wants to make sure that Lydie will still love her, not the expected response. They go out to see other friends from grad school for dinner at their house, when we get the sense that something is not right with Agnes. She has a panic attack and must excuse herself. At other times she is wary of her surroundings when alone. This film is a character study that focuses on one character, someone who makes us wonder what is going on with them as they seem to be alternately strong, then weak. We then go back in time a few years to the time when Agnes and Lydie are both still graduate students working on their theses in the same mentor group. They share the same mentor, an older man named Preston Decker (Louis Cancelmi) who is a handsome academic type. He is very impressed by Agnes’ writing and tells her so. There is a convenient reason for Agnes to stop by Decker’s house for more consultation on her thesis, where we find out the reason for all her anxiety. We never see anything happening. The only hint is a very long shot of the exterior of the house, until Agnes leaves looking disturbed. She then drives home in a reckless matter. From then on, we watch as Agnes deals with the trauma with Lydie’s support, following all the prescribed actions when one has faced an attack. For the remainder of the movie Agnes must go about her life but her interactions with other people are always affected by what she went through. She has moments of rage hoping for some form of retribution and at other times she is in need of reassurance, even at one time from her cute guy neighbor next door, Gavin (Lucas Hedges of Boy Erased and Manchester by the Sea), who she asks rather graphically for sex. The title of the film is indicative of things we say to people going through something difficult that may or may not be genuine. Don’t get the wrong impression of the movie. Despite the heavy subject matter it has many moments of comedy that will generate laughs. The final scene of the movie is especially heart wrenching. A few weeks ago, I saw another film on a similar subject, After the Hunt. Sorry, Baby is far superior as it has characters that seem very real and that the audience can relate to.

The Invisible Man

The Invisible Man                             4 stars

If you are ready to experience something more terrifying than the Coronavirus you can check out the new remake of The Invisible Man.  This film by Leigh Whannell reimagines the 1933 classic horror movie setting it in modern times and bringing several surprises and shocking moments with it.  Cecelia (Elizabeth Moss in Us last year) does a daring nighttime escape from her violent boyfriend, Adrian who is essentially holding her captive in his luxury home.  She is aided by her sister and a childhood friend James, a police officer (Aldis Hodge of Straight Outta Compton).  Adrian also happens to be a wealthy and brilliant scientist who has some interesting projects he is working on.  Before long while Cecilia is still in hiding she learns of the suicide of Adrian, but refuses to believe it.  She suspects it was faked and that it is just part of his scheme to control her.  At this point things get interesting when strange things start to happen in James’ house where she is hiding.  The film uses many slow panning shots where the camera shows us parts of the rooms with no one in them, but Cecelia is certain there is a presence there nonetheless.  As the tension rises so does the certainty that Adrian is out there but he is unseen, because, well, he is invisible.  The filmmaker comes up with an ingenious explanation for how this is all accomplished which I cannot share with you.  The shock comes from experiencing it for yourself.  But rest assured, many people will die before the end of the movie which you had to expect.  Leigh Whannell is probably best known for his work in the Saw series of films, only one of which I ever saw.  They weren’t movies that I cared to see, but The Invisible Man is well worth the ticket if you are in for two hours of shock and terror.

Khartoum

Khartoum                                            5 stars

This is the last movie I saw in the theater before the Coronavirus shut down all the movie theaters in the state. Khartoum is the 1966 film that tells of the 1884 conflict in Sudan that occurred between the British led Egyptians and Sudanese against a Muslim army led by Muhammad Ahmad.  At the time Egypt was part of the British Empire and Ahmad was determined to take Egypt and the entire Arab world away from the Western powers and rule it himself.  I remember hearing the story of General Gordon and his doomed quest to keep the Egyptians and Sudanese from falling victim to the madman at the city of Khartoum on the Nile River.  In a purely political move the British Prime Minister, Gladstone knew he could not defend the city so he sent General Gordon, a hero in the eyes of the Sudanese, to the city to effect an evacuation of the city’s population, so that if he failed the blame would not fall on the British government.  The film brings these events to the big screen telling it as an epic tale aided with scenes involving hundreds of extras and a wide colorful screen.  The film stars the legendary Charlton Heston as General Gordon and Laurence Olivier as the evil and very tanned Ahmed.  These stars along with supporting cast of Richard Johnson and Ralph Richardson bring some of the most dramatic dialogue I’ve seen of the era.  One can compare it to the truly epic Lawrence of Arabia to give you an idea.  There is action too involving some well produced armed conflict in the desert, but the main attraction is the story itself.  It’s mainly about a man’s quest to do the right thing in the face of unbeatable odds.  I am really glad I finally got the chance to see it.  I don’t know when I will get the chance to go to the theaters again, unfortunately.

Annihilation

Annihilation                                        2 ½ stars

Annihilation by Alex Garland is a movie I was curious about when it came out in 2018 but didn’t see then.  It has a look of a fantasy adventure from the previews with its characters venturing into a strange landscape full of new plants and creatures giving it a biodiversity look.  Let me assure you that that is not what it is like.  It’s a full-fledged science fiction horror movie with a strange alien presence that has invaded earth.  For reasons I won’t go into the biologist character Lena (Natalie Portman) volunteers for a mission to enter an area on the Florida coastline taken over by the alien presence that is referred to as The Shimmer. It’s an area surrounded by a strange force field defeating all communication with those inside.  She is joined by psychologist Dr. Ventress (Jennifer Jason Leigh), physicist Josie Tessa Thompson), paramedic Anya (Gina Rodriguez), and anthropologist Cass (Tuva Novotny).  It doesn’t help our confidence to hear that a previous expedition has never been heard from again.  The group discovers that they have lost some of their memories after entering and encounter strange plants and animals that are growing and taking on characteristics of other species.  Soon one member is attacked by a giant crocodile that the women dispatch with heavy machinegun fire.  (They are very well armed.)  One by one, the group are either picked off by strange creatures or by their own actions as their minds turn them against one another.  Until Lena must face the alien presence alone.  One can compare this movie to the science fiction film Solaris as there is a similar theme.  The film is based on a book, Southern Reach by Jeff VanderMeer and has been compared to the ancient myth of Orpheus.  It has a very slow moving and menacing tone to it with plenty of ominous music.  It’s very pretty to look at with some shocking surprises but it doesn’t make my list of great science fiction films.