Archive for the Drama Category

Dune

Posted in Action, Adventure, Drama, Science Fiction with tags on October 23, 2021 by Mark Hobin

Rating: 2 out of 5.

Chilly remote and majestic — the latest cinematic version of Frank Herbert’s Dune very much resembles the desert planet it depicts. The epic evolves like a visually profound mass of hot windswept dust to behold. The breadth and scale are impressive but the environment is dull. Even color is lacking. The production flaunts a monochromic palette that vacillates between dreary shades of blue to gray and on other occasions from orange to brown. I dare contend that if the film had been shot in black and white, it would’ve been more vibrant. The atmosphere weighs upon the audience. This lethargic mediation on race, culture, and colonialism is not a work to enjoy but to endure.

Dune is a tale fronted by a large cast of individuals in search of a personality. The saga details a feud between two families. The lush planet Caladan is ruled by Duke Leto (Oscar Isaac) of the House of Atreides. He has a son, Paul (Timothée Chalamet), with the official concubine Lady Jessica (Rebecca Ferguson). Paul could be “the one” — that is — the savior that might bring important change to the universe. Meanwhile, over on the planet Arrakis (informally known as Dune) live the native Fremen people. Long exposure to spice has given the Freemen glowing blue eyes — a welcome excuse to inject a little color, albiet through digital manipulation. They are ruled by Atreides’ mortal enemies, the Harkonnen. Arrakis is desolate terrain. However, the world is rich in “spice”, a powerful drug desired throughout the galaxy because it extends life and aids in interstellar travel among no doubt other glorious things. By order of an unseen Emperor, Duke Leto leaves for his new position as the governor of Arrakis. However, the Baron Vladimir Harkonnen (Stellan Skarsgård wearing a most unfortunate fat suit) has nefarious plans for Leto and the whole Atreides family. Dune portrays a complex society within a dystopian future. (Is there any other kind?).

As a captivating adventure this drama fails — but only in the most sensational way. The drama lacks vitality. The political machinations of the community within comprise the story but there’s nary a personality to be found in this emotionless drudge. Paul is surrounded by an Imperial Court of various mentors and advisors. Jason Momoa plays one, Duncan Idaho, a strapping warrior that exudes a modicum of the rakish charm we so desperately crave. Nearly everyone else delivers their lines with all the theatrics of a Shakespearean play. Their robotic declarations are so stilted, so deliberate they simulate the self-serious recitations of a poem, not human dialogue. Ecologist Dr. Liet-Kynes (Sharon Duncan-Brewster) is arguably the most egregious offender. I honestly suspected she was suppressing a secret — that she was indeed a robot. Although that reveal never arrives so apparently my suspicions were incorrect? The various performances are augmented by an unfocused gaze or a solemn pause. These actorly devices can rightly intensify a scene, but they cannot replace genuine depth or meaning. I felt absolutely nothing for anyone or anything in this sweeping account. I’ve derived more humanity from the random influx of travelers coming and going inside an airport than I did in this movie. Dune is full of lives, but there is no life.

What the picture has going for it is scope. The grand and stately fantasy perfectly conveys the monumental sweep of another world. The production design continually impresses from aircraft called Thopters with wings that buzz like dragonflies to miniature flying robots the size of tadpoles designed to kill. And the sandworms — those colossal creatures on Arrakis — are as spectacular as I imagined. The visuals from DP Greig Fraser (Rogue One: A Star Wars Story) would fulfill a nice retrospective in a museum dedicated to dazzling cinematography from sci-fi movies. I marveled at each individual segment as an artistic clip. But something happens when connecting one scene after another. Without any narrative thrust to propel them forward, they lack the emotional weight to keep the viewer enrapt. I tried to stay invested in this turgid drama. Oh, how I tried! Just before the credits roll, the chronicle ends with the intonations of Zendaya. (The actress’s brief appearance was greatly overstated in the marketing.) The mysterious Fremen girl who had been appearing in Paul’s dreams smiles playfully taunting the audience with “This is only the beginning.” That is correct. Director Denis Villeneuve’s ridiculously long 2-hour 35 minute adaptation only concerns the first half of the 1965 novel, which means it’s half an experience — a prologue to a sequel.

Without a single individual in which to root for or care, Dune is a torturous sit. The ceremonial dignity of soldiers marching in formation or the grandeur of awe-inspiring metal ships hovering in the sky can only take you so far. And yet there are flickers of liveliness. Within the first few minutes, Duke Leto playfully commands weapons master Gurney Halleck (Josh Brolin) to smile. As he sits there stone-faced, he declares, “I am smiling.” There are more examples. When Stilgar (Javier Bardem) greets Leto by spitting in his direction, the act is amusingly revealed to be a sign of respect. Or how about an evaluation from the Imperial Truthsayer (Charlotte Rampling) that puts Paul through a critical test. The intense ordeal is a compelling predicament. As the fable develops, much appreciated moments such as these would pop up occasionally. I savored each one. They broke up the monotony. Each reflection of this society aroused a response. Like an inhabitant of Arrakis for a precious glass of water, I happily relished these rare glimpses that reflected human emotion.

10-21-21

Lamb

Posted in Drama, Horror, Mystery, Thriller with tags on October 19, 2021 by Mark Hobin

Rating: 3.5 out of 5.

Can overanalyzing a movie diminish its enjoyment? I love this question because it acknowledges a simple truth about films we love. Some accounts — while fascinating — don’t stand up to that kind of analysis. Lamb is a captivating picture, but it needn’t be scrutinized. It’s not for everyone, but it was for me. I enjoyed its weirdness.

Director Valdimar Jóhannsson is making his feature-length debut. He co-wrote the screenplay with Sjón, a poet, novelist, and lyricist who frequently collaborates with singer Björk. This folk tale concerns sheepherders in rural Iceland. On a fateful Christmas Eve, one of their sheep has a baby. This lamb is different. The couple has lost a child and perhaps this is why they take extra interest in the animal. The overarching through-line is a tender yarn about a maternal bond. They wrap the animal up, bring her into the house and have it sleep next to them in a crib in the bedroom. They name her Ada. It takes some time before we — the audience — understand what makes this baby unique. Although if you’ve seen the trailer, her deformity will not be a surprise.

The mood is somber and there is little conversation. The actors convey a lot with looks and glances . Actress Noomi Rapace (The Girl with the Dragon Tattoo [2009]) imbues María with a steely resolve. Rapace is a Swedish actress but she lived in Iceland for a few years with her family as a child. She is still fluent in the language. Actor Hilmir Snær Guðnason (The Sea) is less famous outside of his native Iceland. As Ingvar, he manages to convey both the stoicism of Gerard Butler and the lighthearted goofiness of John Ritter. I use those references because he suggests both actors in appearance.

Haunting and hypnotic. That’s Lamb in a nutshell. It is a production that heavily relies on atmospherics . Developments unfold rather slowly. There’s a palpable feeling that something sinister is brewing. Like a pot simmering on the stove just on the precipice of a boil. However, there are welcome bits of levity that alleviate the solemnity. Ingvar’s brother Pétur (Björn Hlynur Haraldsson) shows up unannounced to stay for a while. The next morning he is sitting at the breakfast table. When Ana comes to the table, the look on his face is priceless. His response affirms what the audience has been thinking.

Lamb can be challenging. The story is not heavy on plot. Movies that get by on simplicity should be brief. This saga is 14 minutes shy of 2 hours. There are periods where the lack of dialogue and events don’t serve the production. The stretches of silence can almost parody the minimalism of an art-house flick. Then again, I’m convinced the humor is intentional. The visual manifestation of Ana is a weird hybrid of horror and comedy. A chronicle with a slow narrative with little action can often tax the viewer’s patience. Here however the quality has enough provocation to keep the viewer enrapt. There is so much to appreciate here.

10-12-21

Everybody’s Talking About Jamie

Posted in Biography, Comedy, Drama, Music, Musical with tags on October 8, 2021 by Mark Hobin

Rating: 3 out of 5.

It’s not uncommon for a musical to have origins in the theater, but how many of those works sprung from a documentary first? Everybody’s Talking About Jamie can trace its beginnings to the BBC Three documentary Jamie: Drag Queen at 16 — a 2011 portrait of Jamie Campbell, a 16-year-old boy who wanted to wear a dress to the prom. His true story inspired a West End stage play by Dan Gillespie Sells and Tom MacRae. Jonathan Butterell directs this film adaptation of that smash hit musical.

Jamie New (Max Harwood) — as he’s re-named here — is gay. However, that’s not even the issue. His classmates already know this. Jamie is out at the beginning of the picture. While his peers are thinking about what they want to be after graduation, Jamie wants to be a drag queen. He craves the spotlight and needs to be a star. The upcoming prom is the pivotal location where he hopes to unveil his new persona. His best friend Pritti (Lauren Patel) and his loving single mother, Margaret (Sarah Lancashire) may register slight surprise initially, but quickly shower him with unwavering support. There’s also local drag legend Hugo Battersby / Loco Chanelle (Richard E. Grant). He acts as a mentor. Even Jamie’s schoolmates seem mostly OK with his decision save for the obligatory class bully (Samuel Bottomley). The underwritten character casts a dismissive remark here and there, but never physical violence. Providing more genuine conflict is his absent father (Ralph Ineson), who wants nothing to do with him and one teacher, Miss Hedge (Sharon Horgan).

Miss Hedge (Sharon Horgan) is a fascinating character. She imbues the saga with some unexpected nuance and complexity. She isn’t so much intolerant as irritated by this diva who demands to be the center of attention in her class. “I’m a superstar and you don’t even know it,” Jamie sings in a lively production number where the boy daydreams a full-on performance with his classmates as backup dancers. Miss Hedge has no problems with his desire to wear a dress and be a drag queen. However, the prom she contends is not the setting. The yearly dance is a place for all the kids to shine. Jamie’s desire threatens to seize focus. The gala for many becomes a celebration of one. In a musical where you’re playing to the back of the house, her negativity has the undermining temperament of a villain, but here it’s registering a little subtlety. Her pushing back on his narcissism starts to make sense.

The central conceit could have been handled in any number of ways. Here the drama is presented as a cheery and upbeat crowd-pleaser. The lesson promotes the timeworn mantra “Be true to yourself.” Disregard what other people think. The thing is, Jamie does care. His biggest fear: being ignored. He is supremely self-absorbed. He aspires to be famous and demands that everybody love him. His personality is all ME! ME! ME! His ego grows a little less inspiring after a while.

Propelling the lighthearted spirit is an energetic collection of show tunes. Full disclosure — initially, I thought the songs were merely pleasant. I couldn’t recall a single one immediately after I watched the film. Then I started listening to the movie soundtrack. Its buoyant energy started to work its way into my consciousness. I’ve been humming it ever since, “Everybody’s talking ’bout J-J-Jamie. Everybody’s talking ’bout the boy in the dress who was born to impress” the students sing at school. The title track occurs after they attend Jamie’s drag show the night before. Other highlights include Jamie’s mother’s poignant ode “He’s My Boy” and “This Was Me,” a vulnerable reminiscence from Hugo about the past. The aforementioned “And You Don’t Even Know It” is perhaps the stage musical’s best-known ditty. These hook-laden melodies paired with the imaginatively staged routines elevate the production. The subject of self-acceptance comes across as superficial at times but the colorful, catchy compositions have a joy that propels the message of encouragement with vitality and verve.

09-19-21

Pig

Posted in Crime, Drama with tags on September 30, 2021 by Mark Hobin

Rating: 2.5 out of 5.

It’s difficult to pinpoint when Nicolas Cage first earned a reputation as an eccentric actor. Many say it started back in 1988 when he ate live cockroach in the cult comedy-horror Vampire’s Kiss. I’d argue it started even earlier. Listen to the high-pitched voice he uses in Peggy Sue Got Married and tell me that’s not a ridiculous choice. Anyway, his scenery-chewing sensibilities continue to be put to good use. Recent productions Mandy and Color out of Space continue to feature manic performances. So it is an amusing irony that a movie where he doesn’t “ham it up” is in a picture called Pig.

This is the portrait of a reclusive hermit named Robin Feld who owns a truffle-finding pig. Then one day some intruders break into his home and steal her. Thus begins an expedition to find out where his beloved pet has been taken. At first, we’re led to believe he’s practically homeless living in a shack in the forested outskirts of Portland but little details are slowly unveiled. Robin is currently a widower mourning the death of his wife. We find out rather early that he was once a prominent chef. He is joined by a cohort named Amir (Alex Wolff) — an awkward young man who supplies luxury ingredients to high-end restaurants.

This is an odd saga. We are in the dark about a lot of things. Bizarre developments are presented gradually. The depiction uncovers a world of fine dining with a seedy underbelly amongst restaurant workers. There’s a bewildering scene of something you might find in the movie Fight Club. That idiosyncratic humor pervades the film. In a key moment at Eurydice, the hottest restaurant in Portland, there’s a reveal of a plate — a single scallop. The server explains:

“We’ve emulsified locally sourced scallops encased in a flash-frozen seawater roe blend, on a bed of foraged huckleberry foam, all bathed in the smoke from Douglas fir cones.”

The absurdist description and visual of the minuscule bite pokes fun at the fine dining scene, but the sendup is glib. Writer/director Michael Sarnoski (who co-wrote the story with Vanessa Block) seeks to expose the inauthenticity of the experience. Robin berates the chef (David Knell) for not following his dream to open a pub. Later Robin’s odyssey to find a salted baguette leads him to a bakery. These and many other quirky but inessential details — are disclosed.

Pig is a meditative character study. There are moments to appreciate, but the culmination left me wanting more. This is a narrative that introduces us to Darius (Adam Arkin) — a power broker in the restaurant industry. He also happens to be Amir’s father. All I’ll say is that Darius and Robin have a history. The saga climaxes with the preparation of a dish. I was unmoved. The chronicle became one of the most critically acclaimed films of 2021. I was less captivated by the story’s dubious charms. I’ll grant that this is offbeat. Its ability to subvert expectations is perhaps its greatest asset. Too unique to completely dismiss but too muted for me to embrace.

09-07-21

Dear Evan Hansen

Posted in Drama, Music, Musical with tags on September 27, 2021 by Mark Hobin

Rating: 2.5 out of 5.

These days it’s far more likely for a popular movie to be turned into a Broadway musical, but I long for the time when the hit Broadway musical came first and then became a great film. West Side Story, My Fair Lady, and The Sound of Music are perfect examples of this. It rarely happens anymore. Sorry, but Mamma Mia!, Jersey Boys, Rent and Rock of Ages were turned into terrible movies. Les Miserables and Dreamgirls are more recent examples I did enjoy and interestingly it occurred again this very year. In the Heights was a solid production. Back in 2017, Dear Evan Hansen was nominated for 9 Tonys and won 6 including Best Musical. All the critics loved it in New York at the time, but it’s a complete bummer of a movie now.

This coming-of-age tale had everything going for it. (1) The film is an adaptation of Steven Levenson’s multiple-award-winning stage play, (2) it’s directed by Stephen The Perks of Being a Wallflower Chbosky, and (3) features the songwriting duo of Benj Pasek and Justin Paul who composed the music for La La Land and The Greatest Showman. I was primed to love this.

Evan Hansen is a teenager who suffers from severe social anxiety. We’re talking apprehension so intense he has trouble ordering a pizza. His therapist recommends that Evan write letters to himself detailing what will be good about each day. In his latest “Dear Evan Hansen” message, he regrets that it wasn’t such a great day after all. For one, he aspires to know school crush Zoe (Kaitlyn Dever) better. “Maybe if I could just talk to her” he laments. He also wishes that anything he said mattered, to anyone. Would anyone notice if he just disappeared?

The sequence of happenstance and coincidences that follow could only transpire with help from a writer. Evan goes to the library to finish and print the correspondence to himself. While attempting to retrieve the letter from the printer, he runs into Zoe’s brother, Connor (Colton Ryan). He’s another marginalized classmate going through some pretty weighty issues of his own. In an effort of goodwill, Connor makes small talk with Evan. He even signs the cast on Evan’s arm. In doing so, he inadvertently finds and reads Evan’s message sitting on the printer which mentions his sister Zoe within the text. Sensing something insidious and feeling tormented, Connor grabs the letter and storms out of the library.

Three days later, Evan is called to the principal’s office where he discovers Connor committed suicide. There he meets Connor’s mother Cynthia (Amy Adams) and his stepfather Larry (Danny Pino). Cynthia gives Evan the personal letter that was found on Connor — construing that her son wrote this as a suicide note for Evan. Although Evan attempts to correct and explain, Cynthia and Larry are deeply touched by the correspondence. They believe Evan to be Connor’s only friend and they derive deep comfort from this idea. Understandably, Evan can’t bring himself to reveal the truth to Connor’s parents. His heart is in the right place. Instead, he propagates the lie with the help of his classmate Jared (Nik Dodani) out of a desire to further console his grieving parents.

Evan Hansen’s lie begins to have a positive effect on everyone. It becomes a blessing in his own life as well as within the Murphy family. They rediscover the son they never knew. Heidi and Larry’s marriage is strengthened. Meanwhile, their love for Evan provides the welcome support of a traditional nuclear family that Evan so desperately craves. This concerns his single mother Heidi (Julianne Moore), although she is still presented as a loving and supportive parent. Unfortunately, Heidi is frequently absent, constantly working simply to make ends meet. That’s admirable. Nothing wrong with that. Actress Julianne Moore is compelling in the role famously portrayed by actress Rachel Bay Jones on Broadway. Jones won a Tony for her achievement.

Live theater and movies are such different things. So let’s address the elephant in the (social media) room — Ben Platt’s much-maligned inability to pass for a high schooler. He’s 27 and for the record, I don’t have a problem with that. The principal actors playing high schoolers in Grease — one of the most beloved musicals of all time — were all at least in their mid-20s. Heck Stockard Channing was 34 when she played Betty Rizzo, and she was fabulous. What I do have a problem with is Platt’s cloying performance. It’s manic, overwhelmed by facial tics and twitches. He’s trying too hard. His hunched shoulders and cutesy expressions convey neediness. I guess that worked in the play where he was playing to the back of the house. Cinema is more reliant on subtlety. Platt is way overcompensating for his age and it’s distracting.

So what about the music? I would be remiss if I didn’t acknowledge the most memorable songs. “Waving Through a Window”, “For Forever”, and “You will Be Found” are pleasant enough and Ben Platt is a competent singer. I’ll give him that. The real standout selection — in the movie anyway — is “Sincerely Me”. This is the moment where Evan enlists his friend, Jared, in creating fake backdated emails between him and Connor to corroborate his story. It’s the only production number featuring a sadly underused Colton Ryan. Their imagined camaraderie and friendship is one of the few moments where the film elicits pure joy.

Dear Evan Hansen is two-thirds of a good movie. It’s times like this, I wish I was a script doctor. I would’ve loved to get my hands on Steven Levenson’s screenplay. Before the final act, I was ready to give this film four stars. I found it a clever conceit how a little misunderstanding benefited everyone. Then the plot takes a fatal turn. A classmate named Alana Beck (Amanda Stenberg) senses some inconsistencies within Evan’s story. She confronts him about the veracity of his friendship with Connor. Everything from that moment on was a quick plunge into an epic fail. A sweet, uplifting tale descended into a funeral dirge on a dime. Like I got whiplash at how fast my joy turned to sorrow. By the end of the picture, I felt betrayed.

09-23-21

** POTENTIAL SPOILERS AHEAD ***

It’s difficult to explain the extent of my disappointment without divulging specific details of the plot, but I can explain the nature of my frustration with an analogy. If your best friend has a baby and that newborn is shall we say, less than attractive, I see no harm in “misleading” them by saying their infant is beautiful. I would continue to promote that so-called “lie” because it harms no one. It merely creates happiness and preserves the friendship. Writer Steven Levenson is not of that mindset.

The Eyes of Tammy Faye

Posted in Biography, Drama, History with tags on September 23, 2021 by Mark Hobin

Rating: 3.5 out of 5.

Let’s be clear. The downfall of Jim Bakker and his PTL Club TV program became public in 1987. It was then that Jessica Hahn alleged that she had been drugged and raped by the televangelist and another preacher (John Wesley Fletcher) back in 1980 when she worked for the PTL Club as a secretary. Jim Bakker would later contend the act was consensual. Regardless, Bakker still paid the former employee $279,000 at the time to keep her silent. None of this is presented within The Eyes of Tammy Faye. The details of what led to their disgrace are frustratingly vague. I was more uncertain about what happened after I saw the movie than before.

True to its title, this is a story told from the (apparently cloudy) eyes of Tammy Faye. That’s not a makeup joke. I’m saying her perspective was extremely limited and that’s the point of view of the film. But how does a screenplay attempt this tale and only briefly namecheck Jessica Hahn in a random news montage? In the aftermath of the sex scandal that made headlines, all of the PTL Television Network’s finances were called into question. The misdirection of funds is his undoing in this account. Michael Showalter directs and Abe Sylvia (TV shows Dead to Me & Nurse Jackie) adapts from a 2000 documentary by filmmakers Randy Barbato and Fenton Bailey. The five-time Emmy-winning duo co-founded the production company World of Wonder in 1991, most famous for RuPaul’s Drag Race.

The Eyes of Tammy Faye elicits compassion for a woman who initially received none. The intentions of the screenwriters are admirable. Tammy Faye (and her husband Jim) were essentially a punch line back in the late 1980s. Here however the woman exudes warmth, sincerity, and kindness. The consideration and reevaluation gives the religious figure back her humanity. Jessica Chastain is more than up to the task in the titular role. She is a compelling presence. I can understand why the actress has garnered serious Oscar attention for her role as the embattled televangelist. She could well earn her third nomination (The Help, Zero Dark Thirty). The chronicle is not charitable to her husband Jim though. Nevertheless, Andrew Garfield still manages to convey a little of what drew Tammy Faye to this deeply flawed character.

Engendering sympathy for “women wronged by the media” has captured the zeitgeist. Lorena Bobbitt, Anna Nicole Smith, Tonya Harding, Britney Spears, Janet Jackson, Pamela Smart, and Monica Lewinsky all became obsessions in the media for wildly different reasons. I don’t mean to compare their contrasting notorieties to each other. However, each woman experienced a negative burst of fame for something that some apologists now defend. The Eyes of Tammy Faye is part of this tradition. This feels like the fanciful recollections of a woman who was duped. The performances are what elevates this drama. Cherry Jones as Tammy Faye’s mom and Vincent D’Onofrio as Jerry Falwell both add significantly to the narrative as well. I found the saga fascinating as I was riveted throughout.

09-21-21

Cry Macho

Posted in Drama, Western with tags on September 18, 2021 by Mark Hobin

Rating: 2 out of 5.

I did laugh — a lot — so I was tempted to deem this the funniest movie of the year, if not for two things: 1) it’s burdened by a mediocre story and 2) it’s not a comedy. However, the flicks that make us laugh the most are often the ones that do so unintentionally. Cry Macho is one of those films. It verges on the absurd.

Our tale begins when broken-down bygone rodeo star Mike Milo (Clint Eastwood) is hired by his former boss, Howard Polk (Dwight Yoakam). Howard tasks the senior citizen to travel to Mexico and retrieve his 13-year-old Latino son Rafael (Eduardo Minett). Nicknamed Rafo, he’s currently living with his mother Leta (Fernanda Urrejola). We’re informed the boy is a wayward criminal involved in gambling, drinking, and illegal cockfighting. Rafo’s pet rooster and constant companion is called Macho. Then we meet the boy and he seems more like a waif from Oliver Twist. He’s neither convincing nor natural in the part. Anyone remember the actor who played Sylvester Stallone’s estranged son Michael in Over the Top? * Completely random reference I know, but I feel like maybe Eduardo Minett went to the same affected school of child acting.

You’ve got to hand it to Clint Eastwood. The man is 91 years old and he’s still making movies. Cry Macho is not only directed and produced by the legendary actor, but he also stars. He’s the very definition of a grizzled old man. I think it was during the 1990s when Woody Allen started to regularly cast youthful actors in the parts he would have previously played himself. Methinks Clint should have done the same thing here. And by youthful, I mean to select a man in his 50s. I counted three times when attractive younger women are barely able to contain their lust upon seeing him. This includes a widow named Marta (Natalia Traven) who owns a cafe. Luckily he rebuffs every one of them. Thank goodness! I didn’t need to see that little flirtation play out. Unfortunately, it did in The Mule so consider yourself warned if you haven’t seen it.

Clint Eastwood isn’t as spry as he used to be. Those aren’t the only moments that strain credulity. We can see Mike Milo moves pretty slowly. He has difficulty walking at this point in his life. There’s no shame in that. However to also have us believe he can easily tame a wild bucking bronco is a hilarious spectacle of pure camp. His stunt double’s hand conveniently covering his face during most of the ride. In a subsequent scene, Mike approaches the dinner table, and he’s so frail he has trouble just lowering his body to take a seat. His earlier horse-riding talents are a bewildering burst of athleticism.

Set in 1980, the period piece is a character study of aging, remorse, and regret. It speaks to recurring themes that Eastwood has explored as of late with writer Nick Schenck (Gran Torino, The Mule). Here Schenck contributes to a screenplay by author N. Richard Nash who wrote the 1975 novel of the same name. The chronicle unfolds at a genteel pace that feels like it was made in another era. I have to applaud its courtly energy, but I cannot abide the mawkish melodrama, the bad acting (not Clint), or the ridiculous leaps of faith necessary to accept a nonagenarian in the starring role. I have enjoyed many films in the twilight of Clint Eastwood’s career. This is not one of them.

09-17-21

* The actor’s name is David Mendenhall

Fast Film Reviews on talkSPORT radio

Posted in Drama with tags on September 8, 2021 by Mark Hobin

I’m talking about movies on talkSPORT radio with the UK’s Martin Kelner. On Sunday, Aug 29, we discussed the 6 part TV docuseries THE STORY OF LATE NIGHT which aired on CNN, and the documentary BOB ROSS: HAPPY ACCIDENTS, BETRAYAL & GREED (Netflix). My segment begins 5 minutes into the 2:30 – 3:00 section (about 25 minutes from the end). Click below and enjoy!

Source: The world’s biggest sports radio station | talkSPORT

CODA

Posted in Drama, Family, Music with tags on August 22, 2021 by Mark Hobin

Rating: 4 out of 5.

The term CODA was coined in 1983 by Millie Brother while founding the support organization Children of Deaf Adults. However, the word can also describe a concluding passage or event. That meaning is equally relevant here. This is a heartwarming tale about a hearing girl named Ruby played by Emilia Jones with Marlee Matlin and Troy Kotsur as her parents and Daniel Durant as her brother, all of whom are deaf. Writer/director Sian Heder’s picture is a remake of the French film La Famille Bélier whose plot bears more than a passing resemblance to the 1996 German movie Beyond Silence.

Because Ruby is the only one in the household who can hear, she assists in the family fishing business as an interpreter with the outside world. She plans to do it full-time after finishing high school. However, Ruby can also sing and tries out for the school chorus. It turns out she is quite good. Choir teacher Bernardo Villalobos (Eugenio Derbez) is impressed. She’s paired up with a fellow student named Miles (Ferdia Walsh-Peelo) for a duet and a sweet romance blossoms.

Simplicity is the ultimate sophistication. CODA is a simple saga that is honest, wise, and unassuming. The chronicle concerns a girl who triumphs through different challenges by juggling her talents and interests with the demands of her family. It’s a formulaic account, but it gives the audience exactly what they want. A powerful reminder that the most enduring movies are derivative. Three Amigos, A Bug’s Life, and Galaxy Quest are all based on the same narrative. Their blueprint — The Magnificent Seven — is an inspiration which itself was a remake of Seven Samurai. The westerns of director John Ford inspired director Akira Kurosawa. It never ends. Formulas don’t negate an artistic work. It’s HOW these elements are creatively put together that matters. CODA poignantly captures the heart with sincerity — a human life artfully presented in a way with which anyone can identify.

My empathy was fully engaged. I admit I teared up at several points. In the final 20 minutes where Ruby sings the Joni Mitchell chestnut “Both Sides Now” I was on the precipice of full-blown waterworks. The screenplay is funny too. Earlier in the story, there’s a moment where the parents are discussing Ruby’s singing career. Mother is worried. “And what if she can’t sing? Maybe she’s awful,” she says and the father quickly responds, “She’s not awful.” The mother counters with “Really? Have you heard her?”

That deft mix of emotions is a big part of why this warm and earnest movie works. Also, credit goes to a charismatic ensemble. Special mention for newcomer actress Emilia Jones in the starring role. I was surprised to learn she is from the UK. Another Brit who can do a spot on American accent. She is just fantastic. CODA won the Grand Jury Prize at the 2021 Sundance Film Festival and has gotten a limited release in theaters and through Apple TV+. It’s one of the highlights of the year for me.

08-15-21

Respect

Posted in Biography, Drama, Music with tags on August 20, 2021 by Mark Hobin

Rating: 3 out of 5.

Let’s start with the fact that the Queen of Soul herself handpicked Jennifer Hudson to play her before she passed in 2018. She knew what she was doing. Jennifer Hudson is an entertainer whose life story could also form the basis of another fascinating biography. Hudson initially rose to prominence as a finalist on the third season of the singing competition American Idol in 2004. She even sang two Aretha songs on the show: “Share Your Love With Me” and “Baby, I Love You.” Despite making the Top 12, she struggled to maintain popularity with the audience and only placed seventh. Then somehow turned that relatively mediocre finish into a feature film debut as Effie White in Dreamgirls in 2006. The role garnered widespread universal acclaim. A slew of awards followed including the Academy Award for Best Supporting Actress. The accomplished Grammy-winning singer has continued to appear in films.

If it wasn’t obvious from my introductory paragraph, Jennifer Hudson is the heart and soul of Respect. She is incredibly compelling. Conversely, the production follows the rote story beats of a traditional biopic. It begins with Aretha (Skye Dakota Turner ) as a 10-year-old girl circa 1952 growing up in Detroit. We meet a domineering father, the Reverend C.L. Franklin (Forest Whitaker), and a sympathetic mother Barbara Siggers (Audra McDonald). They are separated. The young girl performs to the delight of partygoers at her father’s behest with luminaries like Dinah Washington and Sam Cooke in attendance. It sounds idyllic, but her childhood was tainted by trauma and tragedy.

Aretha’s adult life had its share of difficulties. She gained notoriety but was also fraught by dark periods. These episodes are referred to as her “personal demons.” After a string of 9 albums with Columbia and no hits, she changed labels. At Atlantic, she meets veteran record producer Jerry Wexler (Marc Maron) and eventually achieved mainstream success in 1967 with her 10th record Never Loved a Man the Way I Love You. The title track and the #1 “Respect” were both smash hits. Her career would take off from there. The chronicle recounts an abusive relationship with husband and manager Ted White (Marlon Wayans). After they break up she dates tour manager Ken Cunningham (Albert Jones). Along the way, the pressures of fame predictably drive her to drink. The trials and tribulations culminate with her biggest selling disc, the live gospel recording Amazing Grace in 1972.

Aretha Franklin would continue to have hits well into the 1980s. A string of successes for Arista Records included the classic 1985 album Who Zooming Who. A follow-up would include her duet with George Michael. “I Knew You Were Waiting (For Me)” was a #1 single. That kind of achievement for women of a certain age is such a rarity. I wish the film had touched on that decade.

Respect is a conventional account that offers a smattering of wonderful numbers. Of course you’ll hear the title track, which was recorded by Otis Redding first, but you’ll also learn the genesis of the arrangement. The recreation of an iconic concert where she performs the song at Madison Square Garden is mesmerizing. There’s a host of other performances each one a joy in their own right. Aretha Franklin sings “(You Make Me Feel Like) A Natural Woman”, “Chain of Fools”, “Think”, and “Amazing Grace” among them. The vocals are so good that you’ll be fidgeting in your seat waiting for the next tune. This is a 2 hour and 25-minute movie. There’s a lot of information packed in this chronicle. Truth to tell, I didn’t know much about Aretha Franklin’s life. I did learn some things, although her Wikipedia article is just as informative. Respect is a serviceable biopic that presents the highlights of a career. This works best as a Broadway-style jukebox musical where the songs are the point. Jennifer Hudson makes it worth watching.

08-17-21