'Tár' A Review

 Tár is a drama about abuser and internationally renowned conductor Lydia Tár(Cate Blanchett). The film opens on a Q&A event which neatly provides Lydia's professional bonafides as well as sets up tension with her beleaguered assistant as well as a mysterious young woman who is seen watching the event. Lydia is generally self-centered, pretentious, rude, and cruel. We see her act this way with her wife and colleagues and eventually allegations of grooming and abuse of power come to light.

Blanchett is a fine actor but either she is out of her depth or the script lets her down. The character is profoundly irritating and uninteresting. Rich, entitled, god-complex, rigid and the, presumably, redeeming quality- talent, passion for music- is not shown or translated in an effective way so ultimately what you are left with is a shallow elitist character clearly consumed with avarice and ego. The character, as written, is unengaging and on top of that as played by Blanchett is very stilted, very manufactured, very presentational. Whether that's deliberate or not it simply reads as contrived. The same is true of a lot of the cast, aside from Nina Hoss as Sharon Lydia's wife who gives virtually the only realistic performance, a lot of it feels fake. There's a recurring bit with two characters that Lydia deals with, one having a nervous tick of knee bobbing and another with pen clicking, both of which, as portrayed, do not feel real in any way, it reads very clearly as unnatural, as an acting direction.

Visually it's very crisp, the costuming very slick, the score including a fair amount of diegetic music from the orchestra, is all very effective. There are some cool dream sequences too, its clear in his decade plus off writer/director Todd Field hasn't lost any skill as a filmmaker. The same can't be said of his ability as a screenwriter.

First and foremost, who cares about Lydia, the script offers nothing about her character that is engaging other than her "genius" which is repeatedly voiced explicitly but never effectively shown. The attempts at commentary about cancel culture, #metoo, the "price" of genius fall flat. The circumstances are never fully investigated, Lydia's character both what she actually did and what her perception of that is is never explored. As portrayed she has little(or we are not given access to) interiority. So, given that, what's the point? The film hints at bigger issues but lacks the courage to actually get in the trenches and address them. It hints, it implies, it skirts and in that cowardice reveals it's irresponsibility. And taking the bigger issues aside the character is just kind of awful so why would we want to spend over two and a half hours with her when she doesn't do or change much at all. What does she have to teach us? What humanity is on display? Nothing and not much.

Frustrating, regressive, and shallow.

Currently in theaters coming soon to VOD.

Don't See It.

Charm

An actor acquaintance was talking about an ex

ex-friend or ex-lover I wasn't clear

but she said

"he had the intense focus of the alcoholic"

and it explained a lot for me

I had never put it together

a quality of the addict

is a singularness of purpose

-consumption of the substance-

but this extreme attention

can be leveled at a person

like a spotlight

the recipient feels seen, feels distinct

it can translate as charm.

Whether honest connection

or manipulation

something to be aware of. The wattage.

'Mona Lisa And The Blood Moon' A Review

Mona Lisa and the Blood Moon is a New Orleans set fantasy thriller about an escaped mental patient who has mind control abilities. Mona(Jun Jong-seo) escapes an institution and encounters stripper Bonnie(Kate Hudson) and befriends her son Charlie(Evan Whitten). Mona and Bonnie develop an uneasy criminal partnership utilizing Mona's power. The cops, already after Mona after her escape, close in.

Jong-seo puts in an appropriately odd almost alien performance, unsettling yet alluring. Hudson goes full on as the shitty stripper mom- it's by far her best role and performance in quite awhile- complicated, funny, dark, dimensional, it's wonderful to see. Whitten is good for a child actor, especially towards the end of the film. Craig Robinson in a supporting role as cop is wonderful, as always, and functions as a much needed grounding agent. Ed Skein as Fuzz, in almost an extended cameo is delicious and surprising, kind of a wiser, benevolent version of Alien from Spring Breakers. There is a lot of talent in the cast but the characters are kind of superseded by the tone.

Like all of Ana Lily Amirpour the production design is immaculate and transportive. The dark of New Orleans at night is lush, the neon and lights crackling, the costuming and set design realistic but hyper specific. And above all the score, this electronic, eerie, propulsive sound that almost never fades during the entire runtime. All together it creates a big mood. Each element(as well as the acting and script) equally working together to create this cohesive whole, it thrills. The pacing lags a bit in the middle, doesn't detract much but you're left with the feeling that this is a good 106 minute film and it could have been an amazing 90 minute one.

Visually rich, addictive score, and a solid script make for a wonderful ride.

Currently available to rent on most VOD platforms.

See It.

'Raymond & Ray' A Review

Raymond & Ray is a dramedy about two traumatized brothers attending the funeral of their abusive father. 

Ethan Hawke brings his confidence and presence, and makes Ray three dimensional, makes him dynamic. It's a grounded, subtle, realized. Ewan McGregor struggles a bit with the more buttoned up Raymond but the two have great chemistry and where McGregor stumbles its mostly the fault of the script not his acting. It's great to see Sophie Okonedo as Kiera and Maribel Verdú as Lucia, both bring their unique energies to the screen, but as written both function solely as foils for the two brothers. Bechdel test: fail. The cast are all talented but the themes their asked to contend with are left mystifyingly unexplored.

Visually effective save for the handful of glaring greenscreen car scenes, a decent score with some nice diegetic trumpet playing from Hawke(even though that aspect of the character feels a bit shoehorned given his personal interest and Born To Be Blue). The big offense is the themes, death, grief, trauma, abuse, all of which are hinted at, indicated, but never explored, never actually confronted. There are no insights here, none of it is ever really addressed, nothing is worked through, and for the most part no one takes or gives responsibility for the damage. Most of the characters in the movie are messed up and that's taken here as the norm, they have no impetus to change, no motivation to transform, no path in which to do either. So it ends with the titular leads, basically, in the same position and condition in which the movie started, which is not something that's remotely interesting- two 50 year old messed up white dudes going to their asshole father's funeral while continuing not to deal with how and why they are messed up. Snooze. Shit, Breakfast Club has better insights about fathers and sons and that's not even what it's about.

An intriguing premise and two solid leads devolves into cowardly emotional simplicity.

Currently streaming on Apple+.

Don't See It.

'Ticket To Paradise' A Review

Ticket to Paradise is a romcom about two rich narcissistic divorced boomers(Clooney and Roberts) who attempt to break up their daughters hasty marriage.

It's nice to see Clooney and Roberts on screen together and in this type of lighthearted fair but the script is so obtuse, so bludgeoning regardless of the talent in the cast it's tough to take. It seems like they're having a good time but not because what they're making is good but because of its beautiful locations. Their characters are awful and their much delayed 'redemption' is unbelievable and forced. The comedy is incredibly strained, there's an air over the whole movie of rich people entitlement(the basic circumstances of the whole movie would be incredibly expensive for any of the characters to logistically participate in), and whatever romance is involved is also highly questionable(an extremely hostile divorced couple is going to give-it-another-shot after 15 years? A recent college grad deciding to get married within a couple weeks of meeting someone IS an insane naïve thing to do). It is nice to get time and attention on the Balinese people but even then it smacks of stereotype, the 'exotic' foreigner.

The production is all relatively successful if not inspired(not atypical for a romcom). Effective cinematography, decent score, eye-candy costumes. It all works. It's the script that is the insurmountable hurdle. The plot and the attitudes are straight out of the 90's but not in a nostalgic way, it's baffling and it's boring.

A romcom mostly devoid of romance or comedy. 

Currently in theaters, coming soon to VOD.

Don't See It.

The Unstoppable Force

One lesson I learned the hard way
after arrests, firings, failures

pain of a wide variety

was that most things

are outside my control

that I exist and operate

within a broader context

sometimes benevolent

sometimes malevolent

but always indifferent

to my personal desires

and perceptions

the understanding of this

the deference to this reality

struck me, for a time, as supplication

which I rejected

and caused more suffering

but in eventual acceptance to this fact

the truth that I can only control myself

and exist within and am a part of

a wonderous, eclectic organism

a life, not exclusive from but included within 

something wider, greater

in this knowledge

I found a new freedom

a new happiness

'Lou' A Review

Lou is an action/thriller set in 1986 on an island off the coast of Washington. Lou(Allison Janney) is the mysterious landlord with a particular set of skills who, when her tenant Hannah's(Jurnee Smollett) daughter is kidnapped by her presumed dead father(Logan Marshall-Green), sets off with her to get her back.

It's great to see Janney as a grizzled bad ass, a delight in fact, and she totally inhabits it. Smollett does well but her character, as written, frequently strains credulity. Marshall-Green is always intriguing and he brings his particular blend of leading man charm and creepiness to the villian role. All in all the three are solid, of the supporting cast there are few and don't make too much of an impact.

The production has value, visually- although taking place mostly in darkness and rain- has a decent clarity, the fight scenes and action sequences have punch(although there are not enough of them), the real issue is the script and pacing. There's a tension in the movie with what it wants/intends to be, is it Taken starring Janney? If so there's not enough of Janney putting bad guys in the dirt. Is it some kind of psychological familial espionage investigation? If so it's not smart enough. It has a lot going for it it just doesn't quite come together.

Worth a watch for Janney kicking ass, everything else is relatively meh.

Currently streaming on Netflix.

Stream It.

'Bitch Ass' A Review

Bitch Ass is a slasher movie set in 1999 LA. As part of a gang initiation a group of four teens are sent to break in to a local home after the elderly owner recent passing. Once inside the seemingly simple b-and-e takes a turn.

All in all the movie boasts a talented cast with Teon Kelley as Q as the primary lead and Tunde Laleye as the titular villain. Like many genre flicks the focus here is on the plot and less on character dimension, even so the cast is assured, doles out laughs and scares with ease and brings the needed electricity to this 80's throwback.

Visually crisp with some interesting deployment of aspect ratio and split screen, an effective soundtrack, and even though clearly on a budget some impressive production set pieces. An entertaining first outing for writer/director Bill Posely and co-writer Jon Colomb, bodes well for future projects.

Slick, cheap, effective b-movie fun.

Currently available to rent on most VOD platforms.

Rent It.

The Immovable Object

One important thing my parents taught me

each in their own way
was immovability

which is not inherently virtue or vice

it can manifest as stubbornness

an inability to compromise

an inaccurate self righteousness

but it can also manifest as principle

an expression of character

an adherence to truth

As a result of their example

I found within my self a threshold

beyond which, regardless of consequence,

I would not pass through

the trick of course is tempering this quality

with fluidity, with humility

identifying the appropriate when

to deploy the simple, powerful declarative

No.

and mean it

with totality.

'Amsterdam' A Review

Amsterdam is a period comedy/mystery set in 1933 NYC. Best friends Bert(Christian Bale) a doctor and Harold(John David Washington) a lawyer work together for veterans health and rights. In a flashback we see them meeting during WWI, both injured the two bond with an eccentric nurse Valerie(Margot Robbie), after the war the three live freely in Amsterdam for a time but are eventually separated. In the present Bert and Harold investigate the untimely death of their former commander and reconnect with Valerie. 

Bale brings his signature commitment and nuance to the role but in this collaboration with writer/director David O. Russell, their third, the material does not match his talent. He's the most assured, most compelling performer in the lengthy cast but it can't elevate a flat script and a convoluted plot. Washington struggles to generate much depth for his character, it's relatively inert, and ultimately cannot overcome the narrative problems. Robbie, like Bale, is assured and magnetic but is equally hamstrung. The extensive supporting cast is filled with celebs but there is so little for them to do in the overly complicated but ultimately unaffecting plot it doesn't much matter.

Visually crisp and rich, beautiful period settings and costuming with a score that is half effective and half bludgeoning all in all make for a immersive production. But the script and tone are the big problems. There is so much plot the characters, their connections and emotions take a back seat, and the plot itself is complex but shallow, the attempts at racial and social commentary are clunky in the extreme. Tonally it attempts comedy but also melodramatic romance, attempts serious social justice but answers it with twee flower child 'love is the answer' sentiment. It's bizarre.

A pristine production, an excellent cast, but with a confused, clunky, emotionally static narrative rendering a lot of effort mostly mundane.

Currently in theaters, coming soon to VOD.

Don't See It.

'Catherine Called Birdy' A Review

Catherine Called Birdy is a coming-of-age comedy set in medieval England. Birdy(Bella Ramsey) is reaching the age of maturity and due to her father Lord Rollo's(Andrew Scott) financial needs is up to be married off to a wealthy old man which she does everything she can to prevent.

Ramsey is wonderful, infectious, funny, caustic, she fills up the screen and shoulders the movie with assurance. It's great to see her get this much acting breathing room and if there were doubts after her star turn in GoT this puts any remaining to rest. The supporting cast are all really talented and put in engaging performances but the script doesn't have much room for anyone other than the titular hero. Scott puts in a valiant effort but can't pull off the relatively unbelievable third act turn. Billie Piper, Lesley Sharp, the incredible Sophie Okonedo, Mimi Khayisa- all great talents- are not given enough to do.

Beautiful on location shooting and excellent costume make the movie great to look at but the modern soundtrack is not as successful and only highlights the overall tonal confusion. The movie juxtaposes some pretty broad comedy against some pretty stark realities, it investigates some real gender struggles but totally ignores those of class(the serfs are depicted as extremely content and adoring of their lords and ladys). There is some indicating towards the realities of life, the impossibility of happily-ever-after endings, but then the movie delivers one. It's incongruous.

A breezy, overly simple, feel-good movie suitable for a YA audience but perhaps not a general one.

Currently streaming on Amazon.

Don't See It.

A Good Walker

I have few gifts
beyond the normal

but I can walk

I can walk all day

get up and do it again

innate to my construction

I contain an unflinching

Scandinavian stubbornness

paired with a Midwestern

sturdiness of frame

I'm not an athlete

I'm not a leader

but I can push

slowly, inexorably

forward.

'Mr. Harrigan's Phone' A Review

 Mr. Harrigan's Phone is a coming-of-age thriller, an adaptation of a Stephen King novella. Set in the mid oughts, about small town Maine kid Craig(Jaeden Martell) who begins to work for mysterious rich recluse Mr. Harrigan(Donald Sutherland) by doing odd jobs around the house but mostly reading aloud to him due to his failing eyesight. Craig gets an iPhone 1 and then later gifts one to Mr. Harrigan who is initially skeptical but becomes enthralled. 

Martell continues to build a solid career(IT, Knives Out, Metal Lords), he has a naturalism and confidence on screen that is beyond his years that's not precious or precocious just sincere. He has somewhat of a difficult job here, balancing interiority with the not insignificant amount of plot, but he balances it well. It's always a treat to see Sutherland as he's getting up there and he may play it a bit too dour here but he and Martell have nice chemistry and the scenes between the two of them are some of the most compelling of the movie. Kirby Howell-Baptiste is wonderful to see, a breath of vitality and energy, but the part is limited. A nice surprise is Cyrus Arnold as the bully Kenny, who upends the archetype a bit by playing him very emotionally raw, very obviously troubled, rather than an aggro meathead.

Crisp visuals, real New England locations, an effective if somewhat forgettable soundtrack make for an all around competent production design, if not particularly inspired. There's a balance with any adaptation to be faithful to the source material but also inject some personal electricity. Here it works but it doesn't soar. The source material is lean on the supernatural and scares and is more about the characters and morality. In order to tip the scales, for the spooky season seemingly, the movie tries to heighten the horror not particularly successfully so it has, I think unintentionally, a little bit of that Ryan Murphy camp gloss.

Simple cozy fun if not a homerun.

Currently streaming on Netflix.

Rent It.

Pastrami Guy

His eyes were dead
glossed

he moved

slow, slow, slow

through jello

his recall

non-existent

Stoned

Opiates

that flat stupidity

which made ordering

quite the ordeal.

The sandwich

was OK.

'Bros' A Review

Bros is a romcom about NYC podcaster/creative Bobby(Billy Eichner) who recently landed a job as the curator of the new National LGBTQ+ History Museum. He is perpetually single but says he is OK with just randomly hooking up. At a club he meets Aaron(Luke Macfarlane) with whom he begins a tenative relationship.

Eichner, for the first time, is given the time and space of a lead role in a feature and he really soars. He holds the movie together with an unshakable confidence(which is interestingly kind of commented on in a meta sort of way). He's got an ease and a charm we typically don't see from his supporting characters that are loud with neurosis, not that that's not present here but it's perfectly modulated, there are some really funny sequences and bits but it's all balanced with the emotional journey of Eichner's character(and to a lesser extent Macfarlane's). Macfarlane in some ways has the tougher part, he's described as 'boring' and on the service the character seems as kind of a shallow, gym rat type but as the story progresses you understand and by into the attraction and the compatibility of the leads. Their chemistry is great and there is a lot of comedy but a surprising amount of nuance and commentary going on subtextually. For example Aaron seems to still be, on some level, coming to acceptance with his sexuality but this is never made directly text we simply see it as Billy and Aaron navigate various situations(unlike say Happiest Season which makes closeting a bludgeoning front-and-center plot pillar). The supporting cast is stacked with talent and fun surprises(a true joy to see Harvey Fierstein) but the focus is really on the central relationship.

Mostly on location shooting gives it an authentic feel and thankfully the cliche NYC-as-character stuff is mostly left out. And in a stunning deviation from the norm the character's apartments seem to be actually appropriately sized and affordable to their depicted life styles. Presumably a result of Eichner actually being a born and bred New Yorker. The soundtrack works, the editing is crisp, like most Apatow projects the run time is a tad long but there is enough laughs, enough heart, and enough story to remain hooked throughout.

A fresh, casually electric film that entertains and moves.

Currently in theaters, coming soon to VOD.

See It.

'Hocus Pocus 2' A Review

 Hocus Pocus 2 is a fantasy/comedy, a sequel to the 1993 cult hit. The movie opens on a flashback of the Sanderson sisters as kids being banished by the local Reverend. They flee into the forbidden woods and encounter a witch(Hannah Waddingham in a great cameo) who sets the sisters on their witch-y path. Back to Halloween in present day Salem, high schoolers Becca(Whitney Peak) and Izzy(Belissa Escobedo) who are interested in magic perform Becca's birthday ritual and inadvertently bring the Sanderson sisters back.

Bette Midler, Kathy Najimy, and Sarah Jessica Parker return as the Sanderson sisters in full force, they hit the ground running and effortlessly slip back into these iconic characters but with even more verve and confidence than the original. Their chemistry, overlapping dialogue, and slapstick comedy is pitch perfect and their enthusiasm and energy is infectious. Peak, Escobedo, and their semi-estranged friend played by Lilia Buckingham also have good chemistry and provide a nice grounding heart to the camp. Tony Hale gives a great supporting turn as both the Salem reverand of the past and the present day mayor. It's clear the entire cast is having a ball and that makes this already fun story even more so.

A fair amount of on-location shooting paired with relatively minimal greenscreen and soundstage stuff make for an immersive real feel. The soundtrack is effective and the dance numbers are a blast. The costuming is on point and it's wonderful to see Midler, Najimy, and Parker back in their old duds. It all works together pretty seamlessly and although their are nods and references to the original it feels fresh and fun where a lot of these requels don't. They're able to recapture the magic. This isn't as scary as the original its more campy but it doesn't loose the heart, the comedy, or the adventure. A real treat.

A perfect piece of Halloween fun paired with effective(but not pandering) nostalgia.

Currently streaming on Disney+.

See It.