The Cakemaker is a quietly beautiful German-Israeli film. The characters in this wonderful film speak three different languages (German, Hebrew, and English), but often the most powerful moments are those in which a character is given the time and space to contemplate their circumstances and/or choices in silence. While too many quiet moments can sometimes weigh down a film or feel contrived, that is not the case with The Cakemaker because the acting and the score are both so good that the judicious use of silence actually works to add to the audience's understanding of the characters and their thoughts & motivations. Even though some of the plot points can be seen coming from miles away, I was thoroughly engaged in this film from beginning to end. The film explores love and loss in fresh and interesting ways while also providing a glimpse into Israeli culture. These cultural aspects and the issue of language and communication shed new light on old themes.
This is an excellent film with terrific acting that manages to make tennis truly exciting. Sverrir Gudnason's performance as Björn Borg is mesmerizing; of course, it doesn't hurt that he is pretty much Tom Hiddleston's Swedish doppelgänger, and that his hair is beyond amazing (#hairgoals). In addition to the fantastic performances by Gudnason, Shia LaBeouf, and Stellan Skarsgård, the film uses music very skillfully to heighten the suspense (of an event with a known outcome) and add emotion in a non-manipulative way. Borg vs. McEnroe is, much like its main subjects, deliciously moody, and it conveys the glamour of tennis in the late 70s / early 80s in a way that totally drew me into its world and made me forget about all the thoughts usually crowding my mind. Films that offer a truly immersive experience seem rare these days, so I count myself as lucky that I found my way to this one.
This Arab-Israeli film is a highly engaging and compelling story about three 20-something Palestinian women living in Tel Aviv who are striving to live their own lives and embrace modern, Western-style womanhood while faced with the constraints of their culture's patriarchal society and men who are not nearly as enlightened as they are. All three lead performances are excellent and emotionally charged. I came away impressed by the strength of these women and the compassion and support which they showed to each other. It's a film made all the more powerful and relevant by the #MeToo and #TimesUp movements, and an important reminder that issues of sexual harassment affect women all around the world. In Between presents a fascinating look into a culture that I knew very little about and reminded me why seeking out independent and foreign films is a worthwhile endeavor.
It is best to go into this movie without knowing much – or anything – about the true story on which it is based because there is a devastating twist in the film that wouldn't be nearly as powerful with foreknowledge of the story. Shailene Woodley and Sam Clafin are both excellent, but it is really Shailene's show and she does a terrific job delivering an honest and emotionally compelling performance that makes it easy to empathize with her character even if you've never been lost at sea. When I saw this movie, I happened to be reading a book about the Apollo program, and it struck me that sailors and astronauts have quite a bit in common: both pursuits require an unbelievably large amount of knowledge to ensure survival. The knowledge-base and ingenuity required for travel in space and by sea is staggering and awe-inspiring, and I have great respect for both kinds of explorers and travelers. In addition to showcasing the strength and smarts of Woodley's character, the film also contains a wonderfully depicted love story that gives Woodley's and Clafin's characters more substance while also providing grounding for the story and making it more relatable and memorable as a whole.
While this film has many similarities with A Monster Calls and hasn't gotten nearly as much press or as wide a release as that film did, it is very much worth seeing. In I Kill Giants, it is not the monsters who are frightening, but rather the thoughts and actions of Barbara, the girl who conjures these monsters to blot out a reality that she perceives as much scarier. This film has a strong cast, extremely high production values, and manages to balance the foreboding darkness of Barbara's convictions with the rational knowledge that there must be another explanation. Indeed, the character of Sophia acts as an audience surrogate, wanting to believe in Barbara only so much as doing so will help her, but knowing that stoking her delusions will ultimately do more harm than good. The tricky, often heavy subject mater of I Kill Giants drives home how difficult it is for children when they are forced to deal with more "grown up" issues far too soon in their young lives.
Blaze is an interesting and extremely engaging film that has a lot to say about the intersection between music and storytelling. The non-linear way in which the film presents the story of Blaze Foley's life and relationship with Sybil Rosen (on whose memoir the film is based) echoes the idea that a song's meaning can change over time for each listener; a story isn't always the same depending on who's telling it and when it's being told. I wasn't familiar with Blaze Foley before I heard about this film, and while I had heard Townes Van Zandt's name, mainly as mentioned by Lyle Lovett, I wasn't all that familiar with him either, though I knew he was a significant figure for many Texas songwriters. However, I came out of Blaze with great appreciation for both of these men and their talent. I also came away extremely impressed by Ben Dickey and Charlie Sexton, who play Blaze and Townes, respectively. Charlie Sexton's performance as Townes Van Zandt is so charismatic that if the actual man had even half the charm, I can see why he became such a legendary figure. (Side note: Charlie Sexton has some excellent albums of his own, which I highly recommend checking out.) Everything about Blaze speaks to the love that was clearly poured into this film by everyone who worked on it, particularly director Ethan Hawke. Blaze is a must-see for anyone who draws inspiration from music, songwriting, and/or film.
Ghost Protocol is still the best Mission: Impossible film (hard to beat the whole Dubai sequence), and I hold a special place in my heart for M:I-2 (mainly due to Tom's excellent hair and the opening rock climbing sequence), but Fallout is definitely the next best in the series. Fallout is mainly a collection of insane action sequences held together by a plot that is surprisingly not too contrived nor too difficult to follow. There are HALO jumps, truck/motorcycle chases, an intense Tom-Cruise-running sequence, and a totally bonkers helicopter chase that is topped off by some M:I-2 throwback rock climbing. Tom Cruise is getting to do all the things he loves to do, with the twist that nothing goes perfectly and Ethan Hunt is most definitely not super-human. The inclusion of details about Ethan's personal life / backstory adds a layer of humanity to the story that almost makes Fallout feel like a James Bond film. The locations and stunts all have the sweeping scope more often seen in Bond films, and the villain has a bit of a Bond Villain feel to him as well in that he is a personal nemesis for Ethan. However, the clever use of masks and the presence of Luther and Benji cracking wise and providing some much needed grounding make this a Mission: Impossible film through-and-through.
Outlaw King is a film that draws you in right away and never lets you go. The film gives an in-depth look at an oft overlooked part of history and its star historical figure, Robert the Bruce. Outlaw King is full of formidable characters who also manage to be relatable because of the way they express their emotions and loyalties. Chris Pine's performance makes it easy to see why Robert was able to inspire such fierce loyalty and unite Scotland. Aaron Taylor-Johnson (nearly unrecognizable) and Tony Curran also give excellent, passionate performances, while Florence Pugh is a perfect match for Pine and is able to hold her ground among all the men that surround her. On the technical side of things, the battle scenes are well staged and skillfully filmed to capture the roughness and brutality of these undertakings. I actually wished this film were longer because I wanted to spend more time with Robert, his family, and his loyal friends / soldiers, even among the harsh conditions with which they had to contend.
Despite being directed by Andrew Bujalski, who also directed Funny Ha Ha (one of the worst movies I've ever seen), Support the Girls is a sweet, funny, and highly enjoyable movie. Regina Hall, Haley Lu Richardson, and Shayna McHayle all give excellent performances in this great story about staying positive, powering through, and the importance and power of female friendships. The movie mostly takes place over the course of one day, and the story is driven by Hall's character Lisa, who keeps her chin up no matter what that day throws at her. At its core, the film has a down-to-earth, slice-of-life vibe, but there are also touches of sunniness, optimism, and whimsy that elevate it to something special and memorable that could easily stand up to repeat viewings.
I didn't see the first Paddington movie, nor I have ever read any of the books, but Paddington 2 was getting such good reviews and featured Hugh Grant being campy, so I had to check it out. This is a rare film that lives up to its hype and is indeed utterly delightful. The whole cast is fantastic, since it is chock full of British cinema stalwarts, though the Hughs – Bonneville and Grant (also excellent together in Notting Hill) – are particularly outstanding and both manage to steal their fair share of scenes. It seems like everyone involved had a blast making the movie, and thus it was also a joy to watch. In addition to the crackerjack cast, Paddington 2 also boasts a terrific script with laughter and delight in plentiful supply.
I ended up seeing this movie twice, and the second time I enjoyed it even more than the first. Ethan Hawke, Rose Byrne, and Chris O'Dowd are just all so good! Washed-up hipster rock star is a role that Ethan Hawke seems born to play (I mean that in the best possible way), and he absolutely nails it. I don't think I could ever get tired of watching him sing "Waterloo Sunset" while playing a small, old electric keyboard. Meanwhile, Chris O'Dowd perfectly captures all the nuances of an obnoxious music geek, and Rose Byrne serves as the grounded center around which these two flawed men orbit. Like High Fidelity, Juliet, Naked perfectly captures the Nick Hornby ethos.
Bohemian Rhapsody has a strong foundation in its fantastic cast, especially Rami Malek as Freddie Mercury, Gwilym Lee as Brian May, and the always delightful Tm Hollander as Queen's lawyer / manager. However, the best thing about the film is how it makes Queen's music really come alive. The Live Aid concert sequence is extremely well done; like this year's version of A Star is Born, Bohemian Rhapsody excels at capturing the thrill and excitement of a live concert experience on film. The dynamics of the band were also very interesting to watch, most of all because it was quite touching to see how much these men truly cared about one another and formed their own kind of family, connected by their passions for music.
Emma Thompson's incredibly nuanced performance is the reason to see this film. Her character's struggle between morality, logic, emotion, and the law is extremely compelling to watch. Stanley Tucci and Fionn Whitehead also give excellent performances that are a match for Thompson's when it comes to gravitas. The Children Act is a thought-provoking film that raises many complex and intriguing questions that are ripe for discussion.
Clint Eastwood is still a magnetic force of nature at 88 years old. Clint gives a terrific, nuanced performance in The Mule, and also does a great job directing, making the most of the strengths of his talented cast. Bradley Cooper and Michael Peña are excellent as wisecracking maverick DEA agents, and Andy Garcia seems to be having just as much fun in his role as a wealthy, somewhat lax drug lord as he did with his equally suave and random roles in Book Club and Mama Mia! Here We Go Again. Clint also successfully balances several different story lines effectively while always conveying that everything will come together in the end; part of what makes the movie so entertaining is watching how that convergence unfolds. Much like its protagonist, The Mule is not flashy or fancy in any way, but its stripped down simplicity feels fresh and is exactly what makes this movie so enjoyable to watch.
This film is worth seeing for Viggo Mortensen's and Mahershala Ali's performances alone. These two extremely talented actors fully embody their characters (Tony "Lip" Vallelonga and Don Shirley, respectively) and have wonderful chemistry and rapport. The story is told in strokes that verge on too broad or overly simplified in order to produce a "feel good" film, but the complications and turmoil of racism in the 1960s, while toned down, are still there to give pause and serve as conversation starters. Green Book captures the overall mood of the early 1960s just as well as Mad Men ever did. Mortensen and Ali both imbue the film with honesty and humanity; neither of their characters is perfect, and they are able to learn from each other in ways that aren't patronizing. The film is also beautifully shot, with rich and vivid color pallets bursting from the screen and reflecting the vivacity of both Don Shirley's music and the American South.
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