Archive for the Drama Category


Posted in Drama, Romance on November 17, 2015 by Mark Hobin

 photo brooklyn_ver3_zpsdyjwt9ge.jpg photo starrating-4andahalfstars.jpgMovies concerning the cultural assimilation of an immigrant into American life are rare. Nostalgic period pieces about the experience are rarer still. Into this atmosphere comes Brooklyn. In stark contrast to the current zeitgeist, it’s like a invigorating breath of positive air. That’s not to say her new country is a bed of roses. However opportunity does exist for those with an indomitable resolve. The drama is a paean to the spirit of new beginnings, a fresh identity in a foreign land. It’s unapologetically old fashioned and I mean that in the most grand, romantic, heartwarming sense of the word.

On paper, the plot is perfectly ordinary. Eilis Lacey is around 20 years old and living in 1950s Ireland. Things could be better as her life has become stagnant. She journeys to the U.S. searching for better opportunities. Eilis deals with simple problems: the boat trip across, her accommodations in America, starting a new job, going to school, the people she meets, homesickness. A chronicle so straightforward, the sum total of which could be summarized in 2 sentences. The relationships she develops and her conflicting feelings regarding her past and her current experience come into play. I won’t spoil with specifics. We’ve seen this material before.  What makes Brooklyn so affecting is the fully realized portrait of American life, as seen through the eyes of an outsider.  The entire composition is rather profound. Brooklyn is based on the 2009 novel of the same name by Irish author Colm Tóibín. The screenplay is adapted by Nick Hornby (About a Boy, An Education) and directed by John Crowley (Boy A). Brooklyn somehow presents the subject in a way that feels innovative and new. The depiction is honest, sweet, lovely and sincere.

At the heart of Brooklyn is Eilis Lacey, a young Irish immigrant played by Saoirse Ronan. Her talent was famously recognized in 2007 after a supporting part in Atonement for which she received an Oscar nomination. She’s all but assured of another, this time in the Best Actress category. The film’s narrative rests completely on the shoulders of the ingenue. She beautifully upholds the story in every scene with poise and class. She’s supported by a fairly large cast. Emory Cohen, Domhnall Gleeson, Jim Broadbent, Julie Walters, Bríd Brennan all support her in key roles. Every single actor having a chance to shine with their rich performances. But this is Saoirse Ronan’s show and she commands the screen.

It has been said that eyes are the window to the soul. Director John Crowley utilizes this to his advantage. Sometimes the camera simply lingers on Saoirse’s expressive face. Her countenance speaks volumes, but there’s also a sophistication just in the way she carries herself. She recalls classic Hollywood with her hypnotic presence. You’ll marvel that this actress is only 21 years old. The maturity of her performance is nothing less than a flawless achievement that elevates the entire film. A Best Picture nomination somehow eluded Avalon & In America, pleasantly optimistic tales about immigration. I’m hoping that changes with Brooklyn.



Posted in Biography, Drama, History with tags on November 12, 2015 by Mark Hobin

Spotlight photo starrating-4stars.jpgThe difference between when a story explodes in the media and the time it actually happens, can be two totally different things. Just ask Bill Cosby. Such is the case with the sexual abuse scandal in the Catholic Archdiocese of Boston. On January 6, 2002 the Boston Globe ran the first of many reports detailing a shocking pattern of molestation and cover-ups that had been going on for years. The ignominy went deeper than the actual acts. It was also that the Church knew about the crimes and knowingly shuttled priests to different parishes when incidents would rise. The events in the Archdiocese had local repercussions. Cardinal Bernard Law ultimately resigned as the Archbishop of Boston for his administrative role in the crime. However what originally appeared to be a problem within the local diocese caused other victims to come forward in parishes across the United States. The sheer number of people attested to a pattern that went back decades. The ensuing scandal spread and became a nationwide crisis for the Catholic Church.

Confession: The scandal had far reaching consequences. The victims had been harmed directly but the news also disturbed faithful members of the Church. As a practicing Roman Catholic, the scandal shook me. It was a powerful reminder that a religious organization is not God. Of course I knew what Spotlight was about even before I saw it. This was going to be a painful reminder of a very embarrassing chapter in the Catholic Church. What I didn’t expect, however was the balanced level at which the movie treats faith. At one point in their investigation, the Boston Globe’s “Spotlight” team comes into contact with an ex-priest turned psychiatrist. He was not involved in any wrongdoing, but they wanted his comment on it. Incredulous they ask over a phone call, how he can still be a practicing Catholic. His response, “My faith is in the eternal. I try to separate the two.”

First and foremost, Spotlight is about investigative journalism. The story itself is secondary to the way reporters conduct their procedure. The narrative is fashioned as a finely tuned ensemble piece. It’s fascinating that an entire film can be constructed simply out of conversations. But rest assured, these are extremely eye opening discussions. Liev Schreiber is the newly appointed Editor-in-Chief, Marty Baron, presented as a Jewish outsider in the largely Roman Catholic enclave of Boston. At first the exposé appears to be about John J. Geoghan, one former priest found to have a history of abuse, but Marty suspects a systemic problem. Before they publish, he presses the team to dig deeper. Was the hierarchy of the Boston diocese aware of this misconduct? Editor Baron pays a courtesy call to Cardinal Law (Len Cariou). Their chat highlights a happily upbeat Law, who mistakenly assumes the Boston Globe will work WITH the Catholic Church.

At the heart of Spotlight is the investigative unit. Michael Keaton, Mark Ruffalo, Rachel McAdams, and Brian d’Arcy James portray the core reporters of the team. As Assistant Managing Editor Ben Bradlee Jr., John Slattery oversees them. Spotlight certainly puts the Catholic Church on notice for the way it handled the allegations, but it also has a harsh critique for journalists themselves, even the very ones who finally broke the story. Interestingly, all of the the “Spotlight” reporters admit to being lapsed Catholics. Despite having fallen from organized religion, their lack of desire to offend their readership underlies their hesitancy at first. The way news stories are buried and ignored, sometimes for years, is a very key point of the drama. The information was always there. It just wasn’t reported properly. Lawyers (played by Stanley Tucci and Billy Crudup) are on opposite sides that have represented the plaintiffs and defendants for years. They each have extensive knowledge of the cases and are key to understanding the depth of this problem.

Spotlight is a pragmatic and clear headed approach to investigative journalism. Director Tom McCarthy (The Station Agent, The Visitor, Win Win) and his co-writer Josh Singer (TV’s The West Wing) do not sensationalize the subject. For example, there are no flashback scenes of the abuse. Discussions with the now adult victims are carefully handled as fact finding interviews. At one point, a man only offers he was “molested” as a boy. Rachel McAdams as reporter Sacha Pfeiffer, gracefully presses that he needs to be more specific as that word can have a variety of meanings to different people. Our witness to the rest of their conversation ends there. In a later scene, Sacha knocks on the door of another former clergy member: Father Ronald H. Paquin (Richard O’Rourke). Their brief, matter-of-fact interaction is one of the most memorable dialogues in the entire film. It stays with you because it reveals so much in mere mommets. The trust we place in trusted figures of authority, the role of journalists to report the news, the way scandals affect our faith, the lasting effects of sexual abuse – Spotlight touches on all of these issues and more in a 128 minute runtime that flies by. It does all this in the guise of a straightforward drama. The account could have been about almost any report, as long as it were true. The nature of this story obviously gives the chronicle an emotional component, but Spotlight is somewhat dispassionate. Yet that weakness of sorts is also its strength. The drama is efficient, objective and direct and that’s exactly what good news journalism should be.


Beasts of No Nation

Posted in Drama, War with tags on November 4, 2015 by Mark Hobin

Beasts of No Nation photo starrating-2andahalfstars.jpgWar is hell. The idea has been promoted before and here it is presented once again. This time through a series harrowing images that remain in the mind’s eye well after this combat film is over. The tale concerns Agu (Abraham Attah), a young West African boy affected by an unnamed civil war raging in his country. His mother and sisters escape, but his father is shot and killed. Agu is essentially kidnapped by militants who coerce him to join their rebel force. Their mercenary unit is headed up by a megalomaniacal leader only referred to as Commandant (Idris Elba).

Agu’s awareness of evil expands as the conflict rages on. This conversion forms the narrative in the capable hands of newcomer Abraham Attah. He is fascinating, both thoughtful and sincere. It’s a revelatory performance and the most compelling reason to discuss the picture. Idris Elba as the Commandant is also effective as an intimidating presence overseeing this rag tag team of soldiers. His dominant authority over these young men and boys as he molds them into soldiers is chilling. As the full extent of his predatory abuse is revealed, he becomes an even more reprehensible individual. The pessimism inherent in the perspective adheres close to convention. It is his meeting with the Supreme Commander (Jude Akuwudike) where the limits of the Commandant’s power are revealed. This is where the script finally explores something slightly more innovative.

Director Cary Joji Fukunaga has shown a facility with different genres. He has gone from the Mexican gangland adventure Sin Nombre to an adaptation of Charlotte Brontë’s Jane Eyre. This time he’s adapting another book, the 2005 debut novel by Nigerian-American author Uzodinma Iweala. Little detail is given as to what conflict this is and for what exactly are these various warring factions fighting. The lack of political context or commentary is a bit of a misstep in a chronicle about people who do indeed pick sides. Our protagonist, however doesn’t pick a side. He’s merely swept up into the maelstrom of violence. The saga revels in one war crime after another. The way people intellectually justify their point of view is clearly not the point. Beasts of No Nation is about a child’s loss of innocence. Not a novel idea, but at least one presented with a pair of laudable performances.

Note: Beasts of No Nation debuted simultaneously on Netflix and to theaters in limited release. It’s a tough watch particularly at a punishing 2 hours 17 minutes. The temptation to break away from this bleak story is pretty high. I admittedly did not see this in one sitting. I do consider my wavering desire to finish the movie, relevant. Definitely more of an immersive experience uninterrupted in a theater.



Posted in Biography, Drama, History with tags on October 29, 2015 by Mark Hobin

Suffragette photo starrating-2andahalfstars.jpgYou’d think a period piece concerning the women’s suffragette movement in the U.K. would be an uplifting slam dunk. I mean championing a women’s right to vote is not exactly a controversial notion unless, according to the movie’s closing credits, you’re Saudi Arabia. It’s the kind of accessible femininism that everybody can get behind. Unfortunately what should have been an unimpeachable drama becomes a tedious chore with a mangled narrative that thwarts an inspiring true story.

The screenplay has fashioned the UK suffrage crusade around a fictional group of working class women. If your knowledge about their struggle is centered around actress Glynis Johns singling “Sister Suffragette” in Mary Poppins, then this movie should be quite an education. Yes they do in fact wear those sashes and bonnets, but they aren’t interested in peaceful protest. These women are violent. First it starts with throwing rocks at store front windows. Then it’s on to blowing things up, first mailboxes, then the prime minister’s home.

Meryl Streep pops up briefly to inspire the masses as a leader of the British suffragette campaign. And by briefly, I mean if you use the restroom, you’ll miss her. She plays political activist Emmeline Pankhurst, one of the few roles literally based on a real person. Women have been fighting for more representation in Parliament for some 50 years, she laments. Civil disobedience has now given way to a radicalized cause prone to violence as the sole route to change. She inspires Maud Watts (Carey Mulligan) to go from law abiding housewife to rabble rouser. “We break windows, we burn things, because war’s the only language men listen to” she cries.

A great actor can rise above conventional, even bland, filmmaking. I thought this as I watched Carey Mulligan in Suffragette. She is convincing as Maud, a working wife and mother, who is indirectly recruited into the movement. This occurs when she is asked to read a speech detailing horrible conditions at the laundry to a cabinet committee, on behalf of her co-worker Violet (Anne-Marie Duff). Maud does this because her friend’s face is badly bruised after having been beat by her husband. It would seem that condition would actually lend more power to Violet’s words, but that idea is never even considered. Carey Mulligan as Maud is barely concerned about the vote at the beginning, but her transformation into a raging extremist becomes a compelling character arc.

Maud’s conversion from mild mannered housewife into left wing revolutionary is effective in Carey Mulligan’s hands. She transcends the material. The same cannot be said for the rest of the cast. The film is filled with clichés not people. Meryl Streep’s part is too small to make a difference. Helena Bonham Carter, Anne-Marie Duff and Romola Garai all portray fictional composites that represent types. Natalie Press, on the other hand, is the very real Emily Davison. It’s unfortunate she’s more of a plot device than a person. She provides a climax of sorts. Oh but the men fare even worse. Ben Whishaw plays Maud’s husband as an unforgiving man who’d rather kick his wife out into the street and give up his only child for adoption, than have a conversation with his wife. Maud’s boss (Geoff Bell) is a snarling sexual predator and shop-floor tyrant that does everything but twirl his mustache. Meanwhile the police bash lady demonstrators senseless with batons.

Suffragette is a pedestrian account that fails to be incisive. The screenplay by Abi Morgan paints their experience in broad strokes. These are supposed to be our mothers and daughters, but they aren’t human, they’re shortcuts to character development that short change a powerful saga. It’s interesting to note that Abi Morgan also wrote The Iron Lady which was another narratively weak script. Maud loses her husband, child, job, home, basically everything in her life. She’s even thrown in jail and force fed with tubes in a particularly hard to watch scene. On paper, this chronicle should’ve been a soft sell for today’s viewer. It’s the ultimate indignity to the struggle of these brave women that you unwittingly start to question Maud’s decisions. Was becoming a domestic bomber and arsonist really the correct path? This shouldn’t happen in a tale about courageous women fighting for equal rights, but strangely it does.



Posted in Drama on October 24, 2015 by Mark Hobin

Room photo starrating-5stars.jpgJack lives with Ma in a single-room that contains a bed, a bathtub, a small kitchen, a wardrobe, and a TV set. This is Jack’s world. It is all he has ever known. He has never set foot in the outside world. As such, he believes that Room and everything it contains are what’s real. The breadth of nature is an illusion that exists only on television. Ma indulges these fantasies because this is their life. She loves Jack with all her heart and provides a comfortable atmosphere in the most honorable manner she can. She ensures he lives a fulfilling life — physically active, mentally sound, healthy diet, limiting TV-watching time and good hygiene. She bakes him a cake to celebrate his 5th birthday. From that point on, however, things are about to change.

Director Lenny Abrahamson is an Irish filmmaker who caused indie waves in the U.S. in 2014 with Frank, a somewhat inscrutable rock & roll tale about a band whose lead singer permanently wears an oversized fiberglass head. Where that movie fabricated a setup that was avant garde and somewhat inaccessible, Room is totally the opposite. Room details the touching relationship between a parent and her child under difficult circumstances. Here Abrahamson deftly handles the scenario, keeping it from succumbing to the easy extremes of oppressive cruelty or overt sentimentality.

The environment would seem to be fairly restrictive at first, but the claustrophobic setting gives way to a boundless examination of human emotion. I dare say there is surprising nuance in the ways these conversations with Ma and Jake play out. Little 5 year old Jack is the film’s cheerful narrator. As embodied by Jacob Tremblay as her son, he radiates utter naiveté. Completely trusting and sincere, he is a wide eyed innocent. A boy with hair that has never been cut, the source of his strength he says. He has an unexpectedly sunny disposition as he explains his limited understanding of the world to us. It would be an incredible performance for anyone, but particularly impressive coming from such a young actor. He undergoes a transformation of character. That subsequent cognizance is so perfectly realized, I was floored. Brie Larson is no less extraordinary as Ma. At 25, she too registers a surprisingly mature performance as a mother with infinite devotion for her son.

Room is based on the 2010 book of the same name by writer Emma Donoghue. The Irish born-Canadian citizen adapted her own novel to pen the screenplay. In it she has done something quite remarkable. This is a meditation on love, to ponder how a parent takes the best of a bad situation and makes it presentable for their child. Rather than exploit the experience for the obvious emotional pain, she celebrates their close relationship. Impressively it doesn’t succumb to mawkishness either.

There are indeed scenes that pack a wallop, but the feelings are earned organically as the chronicle progresses. I was tearing up at various points throughout, almost sobbing at one point because the intensity of what was happening was too much to bear. As the narrative develops there’s suspense, excitement, tears and joy. I haven’t even revealed a major component of the story. I admire the production’s finely crafted restraint and have acted in kind. However know this, happiness and terror exist side by side. Author Emma Donoghue has found a unique way to detail the tender bond between a mother and her son. Room‘s exploration of love is so heartbreakingly original, it’s cathartic.


The Walk

Posted in Adventure, Biography, Drama with tags on October 8, 2015 by Mark Hobin

The Walk photo starrating-4stars.jpgThe tale was famously told onscreen once before in James Marsh’s Man on Wire, an Oscar winner in 2009 for Best Documentary Feature. On the early morning of August 7, 1974, French high-wire artist Philippe Petit walked a tightrope between the Twin Towers of the World Trade Center. He completed the death-defying stunt 1,350-feet above the ground, making 8 passes on the wire for 45 minutes. The story behind this unauthorized feat was a carefully planned exploit that he referred to as “le coup”.

At first glance, Director Robert Zemeckis (Back to the Future, Who Framed Roger Rabbit) might appear to be an odd fit for this fairly introspective little dramatic piece. But upon closer inspection, the concept doesn’t seem like such a random subject for the director. This is the saga of a dreamer, and as such, it feels like a labor of love for the wildly successful auteur who helmed Forrest Gump. The cinematic valentine comes across as both an ode to the idealistic spirit of Philippe Petit as well as a tribute to the memory of those impressive buildings that once towered above New York City.

A large part of the picture is merely setup to his celebrated act. The planning and organization of the caper is presented with all the anticipation of a heist. Robert Zemeckis frames the movie with charismatic actor Joseph Gordon-Levitt as the similarly charming Petit speaking right into the camera while atop of the torch in the Statue of Liberty. Petit narrates his chronicle. That’s a whimsical touch. I suppose Zemeckis makes all of the prelude as interesting as possible, but it’s not unlike someone clearing their throat before giving an oratory address.

Zemeckis surrounds Gordon-Levitt with a colorful cast of accomplices. These include a photographer portrayed by Clément Sibony and a math whiz played by César Domboy. There’s also James Badge Dale as an American who speaks French, Steve Valentine as an American admirer with a WTC office, and Charlotte LeBon as a fellow French street performer/love interest. Ben Schwartz and Benedict Samuel are the final two conspirators. To be honest I couldn’t tell you what purpose they serve. Oh and there’s Ben Kingsley as Papa Rudy, a circus performer who inspires Petit in his native France.

Like the recent Everest prior to this, The Walk debuted exclusively in 448 IMAX 3D theaters a week before its wide release. What could have been a gimmick becomes a fundamental component of the moviegoing phenomenon. This may sound like hyperbole, but I don’t think I’ve ever seen a film that utilized 3D and IMAX more perfectly than this one. The spectacle is nothing less than revelatory. I’m not saying the first half is expendable, but compared to the spectacular climax, it pales in comparison to the realism of the tightrope performance. You actually suffer the dizzying vertigo first-hand.  The experience truly illustrates the danger of Petit’s achievement. This will scare the heck out of you. The technology elevates the sensation into something unforgettable.


Pawn Sacrifice

Posted in Biography, Drama, Sports with tags on October 1, 2015 by Mark Hobin

Pawn Sacrifice photo starrating-3stars.jpgIt’s easy to see how a chess match between American Bobby Fischer (Tobey Maguire) and Russian Boris Spassky (Liev Schreiber) became the ultimate Cold War showdown amongst two superpowers. Boris Spassky of the Soviet Union was the defending champion. The Soviet Chess School had long held a monopoly on the game at the highest level and Spassky was the latest in an uninterrupted chain beginning in 1948. The political rivalry separating the Soviet Union from the United States laid the foundation for a clash of mental dexterity that played out in a chess tournament on the world stage. It fascinated America and ignited a widespread chess fever at a height that has never been duplicated since.

Pawn Sacrifice is a handsomely mounted period piece – a fastidiously rendered production with shifting cinematography styles. Director Edward Zwick combines archival footage with shots made to look like the real thing. He uses cinematic tricks like digitally inserting Tobey Maguire into The Dick Cavett Show, as well as using real news reports from the era. When Fischer goes AWOL at the championship, a dozen different news anchors question Bobby’s whereabouts. These filmmaking techniques are showy but they’re never quite as satisfying as good old fashioned conversation between two people. Zwick has assembled an impressive supporting cast including Michael Stuhlbarg, Peter Sarsgaard and Robin Weigert as his attorney, his coach, and his mom respectively. Liev Schreiber speaks Russian as Boris Spassky, though his performance is mostly emotive. Each extracts a component of Fischer’s intense intellect.

Ah but Bobby Fischer was one of those marvels tinged with madness. I’d fault the “tortured genius” narrative for endorsing a biopic cliché if it weren’t actually true. Pawn Sacrifice is undoubtedly a skillfully constructed docudrama. However for those hungry for a movie about chess and the intricacies of the game, they will be disappointed. This is a chronicle detailing paranoia, with chess as a backdrop. The filmmakers are more concerned with Fischer’s fragile psychological state than his brilliant mind. The child prodigy that became the youngest international grand master at the age of 15 is merely subtext. Many of the chess matches are kept off screen. Tobey Maguire plays Jewish Brooklyn born Bobby Fischer as a man haunted by demons. He’s a seething ball of neurosis. He tears apart his hotel rooms searching for wiretaps. He complains that his food has been poisoned. The script doesn’t explicitly say chess made him crazy, although the association seems to be that chess exacerbated his mental illness. Why chess became his obsession, and not another pursuit, remains unclear.

Pawn Sacrifice presents Bobby Fischer as a most unlikeable individual. He suffers from moods that fly into a rage at the drop of a hat. He avows the Soviets have been cheating by throwing games to create draws. His devotion to the Worldwide Church of God and its radio evangelism is presented as peculiar. He is anti-Semitic, even though he himself is Jewish. When Fischer finally gets to Reykjavik for the World Chess Championship, he makes everyone wait, taking the stage at the very last possible minute for his first game. Then forfeits the second game by not turning up at all. His prima donna behavior escalates with one outlandish demand after another. He complains that the audience and the TV video cameras are too noisy, refusing to continue unless the tournament is moved from a public hall to a private room. Save for a few coughs, the room appears quiet to us. When Fischer threatens to quit, Henry Kissinger calls to offer words of encouragement. The organizers relent anyway, giving into his demands. This doesn’t endear Bobby to us. Certainly it isn’t necessary to like the central character in order to appreciate a film. Yet we should feel something for this man. The movie entertains in parts but while showing how Bobby Fischer could be a jerk, it neglects to present his humanity. I was captivated during much of Pawn Sacrifice. I wanted to know more about this boy genius, particularly in his early life. It wasn’t until the climax that finally I realized that, after getting to know fellow American Bobby Fischer, I found myself rooting for Boris Spassky.



Posted in Adventure, Biography, Drama, History, Sports with tags on September 28, 2015 by Mark Hobin

Everest photo starrating-4stars.jpgLace up your boots, strap on your pack, and let’s hit the trails. Everest concerns an ill-fated climbing expedition in 1996 to summit the world’s tallest mountain. The account mainly focuses on a crew in the Himalayas headed by Rob Hall (Jason Clarke), a guide for Adventure Consultants.

Everest has an extended cast of famous names. Most don’t get more than a few lines of dialogue, but nevertheless their familiar presence aids in our affinity for their characters. Rob’s clients include Beck Weathers (Josh Brolin), a seasoned hiker, Doug Hansen (John Hawkes), a former mailman pursuing his dream, and climbing veteran Yasuko Namba (Naoko Mori), who has scaled 6 of the 7 summits. Only Everest remains for her. Another excursion is led by Scott Fischer (Jake Gyllenhaal), the chief guide for Mountain Madness. These tourist treks highlight the commercialization of Everest, which is an underlying theme. Initially they happen to each meet at the base camp first, in preparation for their attempt to reach the apex. The two caravans communicate with Helen Wilton (Emily Watson), who manages the base camp compound. Everest is loosely inspired by the book Into Thin Air by Outside magazine journalist Jon Krakauer. He’s portrayed here by Michael Kelly.

Icelandic born director Baltasar Kormakur (Contraband, 2 Guns) ups the ante over his previous American films and produces something far more ambitious. Granted this isn’t intellectually deep or technically rich. Narratively it’s fairly straightforward. However there is grace in trusting that the genuine drama of the true story will captivate the viewer….and it does. Green screen technology is used sparingly. Everest was shot on location at Everest base camp. The Dolomite mountains in northern Italy stands in for higher elevations. At times, the chronicle has such a visceral quality, it almost feels like documentary. It does a nice job in depicting the physiological effects of the climb. At higher altitudes even breathing becomes a task because the percentage of oxygen in the air is lower. The conditions force the team to acclimate to the low atmospheric pressure first before continuing.

Everest is a rather simple tale about a quest that ended in tragedy. It’s an old fashioned rip roaring adventure ideally suited to the big screen. Early theater engagements were shown exclusively in IMAX 3D. The attributes of those formats serve this subject well. The visual splendor is beautifully conveyed. Sweeping vistas and aerial photography convey a sense of grandeur. One dizzy overhead shot above a high suspension bridge triggers feelings of acrophobia. This is a saga where nature is the enemy. A grueling storm, frostbite, blindless and the wind all threaten the safety of our courageous explorers. I am neither an experienced mountaineer nor was I present on the actual expedition. Therefore I am not here to vouch for the authenticity of facts of the sport or what really happened. What I am is a film critic, and I can say that Everest absolutely delivers thrilling entertainment.



Posted in Action, Crime, Drama with tags on September 26, 2015 by Mark Hobin

Sicario photo starrating-3andahalfstars.jpgWelcome to Juarez, a Mexican city along the U.S. border just across the Rio Grande from El Paso, Texas. Juarez is a battleground for drug cartels and one of the most violent places in the world. This is the setting for director Denis Villeneuve’s latest production which details an ever escalating war on drugs.

Sicario relies on a trio of solid performances. Emily Blunt plays Kate Macer, a naive FBI agent enlisted to aid in the capture of a dangerous drug lord. She runs a kidnap rescue team, but soon her talents will be pushed far beyond what she normally does. Right from the beginning, Sicario opens with a nightmarish find. Hidden within the plasterboard walls of a harmless looking home are dozens of corpses sealed in plastic bags. It’s a prelude to the vicious methods of the criminal organizations they wish to stop. Josh Brolin is the task force official in charge of the clandestine U.S. operation. Is he DEA? CIA? Something else? His affiliations aren’t clear as is the mysterious “consultant” they hire played by Benicio Del Toro. This the film’s most juicy role and he clearly relishes the part. Kate Macer is by the book. The rest of this crew, seemingly less so.

If there’s an MVP, it’s Roger Deakins’ cinematography. Once again working with Villeneuve (Prisoners), he extracts the art out of a grim drama. There are comprehensive aerial shots of the desert, a stunning night-vision raid, emotive close-ups in a climatic dinner scene. A convoy stopped to a standstill in a traffic jam at the U.S.-Mexico border is a heart-pounding set piece. Car chases are so cliche. Headless figures hung as a warning from an overpass, is a chilling image that lingers long after the picture is over. Jóhann Jóhannsson’s spare music with it’s punchy tones, is rather effective as well.  This is the same guy responsible for the lush orchestrations of The Theory of Everything. Talk about contrasts. It’s more sound design than melody, but the score mines a truly suspenseful feeling.

Sicario is an experience. An air of hopelessness permeates the atmosphere. This isn’t a detailed investigation. It’s a bleak mood piece that gives the viewer a you-are-there perspective. Director Villeneuve showcases the corrupt measures utilized to combat drug trafficking. Sicario is slang for “hitman” in Mexico and the simple title fits. The drama is minimalist, both in the articulated tale as well as style. As Emily Blunt plunges deeper into this sinister world, she registers confusion and uncertainty. To be honest, I wish the script had allowed her to be a bit more shrewd. Although we the audience can easily identify with her bewilderment. Who is this top secret U.S. Agency that she’s working for now? What has she gotten herself into exactly? And is there even a solution to the horrors of the illegal drug trade? So much ambiguity. We don’t get many answers, but such is life I suppose.


The Second Mother

Posted in Drama with tags on September 25, 2015 by Mark Hobin

The Second Mother photo starrating-3stars.jpgThe Second Mother is the story of Val (Regina Casé), a maid who works in São Paulo. She has been the live-in housekeeper/nanny for the same family for over a decade. They are father (Lourenço Mutarelli), mother (Karine Teles) and son Fabinho (Michel Joelsas).  Val has a daughter herself named Jessica (Camila Márdila), whom she hasn’t seen in 13 years. Left in the care of relatives back in their small village in Pernambuco, Val has been sending money all these years so her daughter can have a better life and education. Then one day, Jessica decides to come stay in São Paulo in order to take a university admissions exam. Living with Mom and her bosses creates problems.

The Second Mother is essentially a movie about relationships. Writer/director Anna Muylaert is particularly focused on the idea of motherhood. The Brazilian film was originally titled: Que Horas Ela Volta? which literally translates as “What time will she return?”  It’s a chronicle of this woman Val.  The affinity between the wealthy employer’s son who adores her is contradicted by her biological daughter Jessica who holds a grudge.  Their psychological divide is emphasized.  Val is a very humble woman who understands her “place”. Her newly arrived daughter however, does not. Sleeping arrangements, the swimming pool, and even some choice ice cream, all become a bone of contention. Jessica’s forceful, almost arrogant conduct sparks a mixed reaction from the various members of the household. They have always treated their housekeeper with respect, but unspoken class distinctions are brought to the fore as a result of Jessica’s behavior.

At the heart of The Second Mother is a warm, humorous, gently nuanced performance from Regina Casé, a veteran actress of the Brazilian stage and TV. Her daughter’s contemptuous attitude arises out of Jessica’s refusal to accept the social class disparity that separates her mother from her supervisors. Val’s exasperated protestations are amusing, but also quite reasonable. You sympathize with Val. There is a resilience and dignity to her within her deferential demeanor. Her strained relationship with her own daughter is contrasted with the beloved esteem to which her employers’ son, regards her.  And why shouldn’t he? Val raised him from a toddler to adolescence, while her biological offspring is but a stranger to her. Ironically Fabinho’s connection with his own mother is more distant. This slight, at times inconsequential drama, ambles along at a leisurely pace through a series of circumstances that underlie hierarchical social categories in South American life. The examination culminates more with a whimper than a bang, but the journey to get there is fairly interesting nonetheless.



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