Richard Linklater's low-key masterpiece isn't really about anything, and yet it is inherently watchable. In fact, I saw it twice while it was in cinemas. There are so many joyful and entertaining moments – and lots of great music and dancing. The cast is filled with charmers spouting many clever observations and witticisms. While the strength of the film lies in the tight chemistry of the ensemble cast, there is one clear standout: Glen Powell as Finnegan, the most charming and witty of them all. Finnegan is a realist (he knows baseball isn't his future) and a ladies man (he has all the best pick-up lines) with a sly sense of humor, and he's just as comfortable with the freshmen as he is with his fellow upperclassmen. Powell's performance is just as impressive as his mustache (sadly, I recently learned his fab shag haircut was not his own, even though the mustache was all him). Once I got the DVD, this became my go-to movie to put on anytime I want to chill – or to hang with some rad, retro Texas boys.
My Twitter review posted immediately after seeing the film assessed it as 'gorgeously shot and surprisingly soulful.' Which is true, except that soulful is an interesting word, since it's almost the main character's lack of a soul, or even a sense of himself, that makes him oddly sympathetic. In many ways, this film reminded me of American Psycho (the film version); the character of David could be a close cousin of Patrick Bateman. Both of these men have become lost within the world they inhabit, lacking true connection with anyone around them, blindly pursuing the ideals imposed by corporate culture, turning to delusion or illusion in an attempt to feel even the slightest emotion. The void at the center of these two lives is strangely beautiful and compelling -- its otherness a fascinating siren call. The contradictory nature of this rich emptiness is further emphasized by Creative Control's stunning black & white cinematography.
Somewhat maddeningly ambiguous, this film nonetheless features stunningly gorgeous scenery, a perfect soundtrack (I especially loved that it heavily featured Harry Nilsson's "Jump Into the Fire"), and virtuoso performances from Ralph Fiennes, Matthias Shoenaerts, and Tilda Swinton. The visuals and soundtrack from A Bigger Splash stayed vivid in my mind for nearly a month, and over six months later, Ralph Fiennes dancing to The Rolling Stones' "Emotional Rescue" is still a thing of great madness and beauty, destined to become a seminal cult classic scene.
Last Cab to Darwin's main strength is its lead performance, delivered by Australian actor Michael Caton. This poignant film kept me guessing about how the protagonist would choose to cope with his cancer right up until the very end. The story is one filled with kindness and love, and second (and third) chances, yet it avoids being treacly or preachy. Every character is someone you want to root for, even when they make mistakes; the characters here come across as believably flawed. On top of the affecting humanity of Last Cab to Darwin, this is a road trip movie set in central Australia, so the scenery is absolutely stunning, and sometimes haunting. I was a bit sad when the film ended because I wanted to spend more time with its wonderful characters and their stories.
This is an incredibly powerful film that I am still thinking about over a month after seeing it. The battle scenes covey how truly awful, heartbreaking, and terrifying war must be. Among the organized chaos with which they were filmed, all of these scenes had a visceral quality that made me feel so lucky that war is something I've never had to experience in reality. Hacksaw Ridge makes clear that the men who fought in WWII truly deserve their moniker 'the greatest generation', and it makes 'war is hell' so much more than the cliché it has become.
The profound sadness conveyed by this film is a testament to the power and (extremely high) quality of Jesse Plemons's and Molly Shannon's performances. While Other People ultimately tells a heartrending story, there is also a wonderful undercurrent of humor and a running joke involving Train's "Drops of Jupiter" that keep things feeling real, balanced, and unpretentious. The film is filled with small moments and raw, honest conversations that are highly impactful and touching. With so many films this year eschewing character development in favor of melodrama and splashy set pieces, it was refreshing so see a film as deeply felt and well-crafted as this one.
This is a superb film driven by a tight (and very Texan) script and excellent performances by Chris Pine (finally given a meaty role to make his own that isn't James T. Kirk), Ben Foster, Jeff Bridges, and Gil Birmingham. Hell or High Water is reminiscent of 70s crime films, minimal and gritty, and sympathetic to both sides of the law: smart cops trying to stay one step ahead and down-and-out working class men trying to claw their way up to make a mark on the world. In this case, two Texas Rangers are after a pair of brothers trying to hold on to the family farm. The chemistry between each of these pairs of men is fantastic, and their barbs and quips provide patches of levity against the bleakness of the landscape surrounding them – which, as the icing on the cake, is beautifully rendered by expert cinematography.
Ewan McGregor's earnestness is always a concern for me going into his films, but his earnestness serves him well in this Night Manager-eqsue spy thriller. Our Kind of Traitor is similar to The Night Manager not just in its civilians-turned-spies story line, but also in the way it places the viewer alongside those civilians, allowing the uncertainty and lack of trust become almost palpable. While Our Kind of Traitor isn't quite as sexy as its mini-series counterpart, it does offer a not-to-be-missed performance by Stellan Skarsgard, who anchors the film with his larger than life presence. The whole thing is wrapped up in a stylish, gorgeously shot package. Especially notable is a party scene set in Morocco early in the film that is ethereal and hypnotic, setting both a foundation and a contrast for all that follows.
This film tells a highly compelling story about a group of Polish nuns struggling with faith and uncertainly in the aftermath of WW II, as well as that of a French nurse and French-Jewish doctor who help them. All of the characters have great depth, providing solid grounding for their moral and intellectual dilemmas. The Innocents is a highly atmospheric film that has the ability to transport the viewer to a different time and place. While the subject matter is very serious, the film is much more uplifting than I expected it to be – in the end it's about people coming together from disparate backgrounds and helping each other to triumph in the face of great adversity.
This movie is sort of like an Alzheimer's version of Memento with a Holocaust twist. That may sound weird, but it really works -- it kept me guessing right up until the end. Christopher Plummer gives a fine performance as a man out for vengeance, but one who can't always remember his mission. The final scene is devastating, and well worth the patience needed to follow the twisting journey taken to get there, as well as the pain of watching a man struggle with dementia.
Blood Father lives up to the buzz it received and Mel is a total boss; the man who once ruled the box office is visible through the grizzled visage on display here. Like Hell or High Water, Blood Father is a deceptively simple film with plenty of grit and a wonderful script. Here, the script does a great job of building suspense and unease, but also has an enjoyably dark sense of humor – a perfect fit for Mel's excellent comedic timing. Erin Moriarty, who plays Gibson's daughter, turns in a solid performance, easily holding her own against the veteran actor. There are also strong supporting performances from William H. Macy and Michael Parks. Blood Father is a thoughtful and compelling vengeance movie that elevates the 'Taken genre' to a whole new level.
This haunting film has stayed with me long after leaving the cinema. Arrival actually has many themes in common with semi-recent SciFi tentpole Interstellar, but addresses them much more effectively and empathetically, especially when it comes to non-linear perceptions of time. Arrival is stunning to look at, and the puzzle of decoding an alien language is a captivating subject. I actually would have liked to see more of the legwork involved in translating the language, as well as more of the smaller moments between Amy Adams's and Jeremy Renner's characters. Both of these actors give it their all and imbue the film with the humanity that allows it to be cerebral and lofty without being off-putting or inaccessible.
I feel like Transpecos could make a nice little unofficial trilogy with Hell or High Water and Blood Father. All three films have a gritty, stripped-back feel and feature working-class folks trying to do the best to get by (even if that involves crime and violence) against the stunning backdrops of the American West. Transpecos boasts absolutely beautiful cinematography and a highly compelling lead performance from Gabriel Luna. Although the drug-deal-gone-bad plot-line is well-worn territory, the superior performances from Luna, Johnny Simmons, and Clifton Collins Jr. truly elevated the material. Overall, Transpecos is a highly memorable film that succeeds by imbuing its characters with flawed humanity.
There have been quite a few excellent neo-Westerns in cinemas this year, but In a Valley of Violence goes the old school route, with writer-director Ti West achieving a perfect blend of action, brutal violence, and humor. The film benefits from featuring one of the best canine actors out there: Jumpy as Abby really steals the show and has fabulous chemistry with Ethan Hawke. John Travolta also turns in a notable performance, and was clearly having a lot of fun with his role here. Tying everything together is an excellent score by Jeff Grace – one that could be straight out of a Spaghetti Western, but with a little more attitude. What is it all boils down to is a stripped-back western version of John Wick, with a healthy dose of High Plains Drifter.
Ben Affleck is just fantastic in The Accountant, and the supporting cast (especially J.K. Simmons, Jeffry Tambor, Jon Bernthal, and Anna Kendrick) are nothing to sneeze at either. However, the originality of the story/script is what impressed me most about this film. The use of flashbacks and the murkiness of the plot really kept me guessing from one minute to the next, which made watching this movie really fun. The whole thing has a sort of gonzo Jack Reacher vibe to it. In fact, The Accountant was a better Jack Reacher movie than the actual Jack Reacher movie that came out during the same month.
No comments:
Post a Comment