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Big Sonia (2016)
don't carry hate
Greetings again from the darkness. Some people anxiously await the day they can retire and spend their days fishing or reading, while others put it off as long as possible since they find their identity through work. The diminutive subject of this terrific documentary is 91 year old Sonia Warshawski. Her reasons for maintaining a 6 day work week are both heart-warming and chilling, and make for a fascinating story.
Filmmakers Todd Soliday and Leah Warshawski (Sonia's granddaughter) do their part in allowing the charming and fiery lady to deliver her own message and recount the horrors of her childhood. Sonia is a Holocaust survivor. As a 13 year old in 1939 Poland, she and her family were taken. She never again saw her father or brother, took multiple beatings while being shuffled through 3 death camps (including Auschwitz and Bergen-Belsen), and ultimately watched her mother led into the gas chamber. In her own words, she says she "was in hell", and it's "a miracle" she made it out.
You might assume that anyone who has experienced so much pain would be bitter and cynical, but that's not Sonia's way. In addition to running her tailor shop for 35 years, she is also an inspirational speaker at churches, schools and prisons. We get to see her in these presentations and we are struck by how her words carry such weight with the audiences young and old. One of the convicts provides insight when he states, "It takes people who've been through something to reach those going through something". We also witness the way she connects with teenage students something most of us have little success with.
Of course, Sonia has embraced her story, but the emotions and pain are never far from her. She stays busy to keep the memories at bay, and finds the idea of retirement somewhat frightening. We meet her 3 children and hear stories of their childhood and her husband John, also a Holocaust survivor. John died from Alzheimer's complications, but he is remembered fondly by all. It's so touching to watch as Sonia shows us her mother's 75 year old scarf which she keeps under her pillow, and we are mesmerized as she recounts the incredible story of her liberation day.
An NPR radio interview provides some structure throughout, but it's not necessary as we would follow Sonia wherever she leads. It's so much fun to watch her Overland Park customers greet her in the now- defunct shopping mall, and it's downright hilarious as she sports her favorite animal prints on her coat, shoes and purse
and even the cover on the steering wheel that she can barely see over! Mostly this is a life lesson from a master who teaches us "don't carry hate"
even though she admits to being unable to forgive. She leaves that to a higher power. She is the best example we could have for keeping history alive and spreading love and goodness.
Lady Bird (2017)
expert filmmaking and story telling
Greetings again from the darkness. Joining the likes of Woody Allen, Mel Brooks and Ben Affleck, Greta Gerwig proves her significance and brilliance is most apparent behind the camera, rather than in front. Her first feature film flying solo as writer and director is without a doubt, one of the year's best. Surely she has benefited from having a very talented live-in muse and mentor and partner in Noah Baumbach, but this extraordinary film is clearly Ms. Gerwig's passion project and it's a thing of beauty (character warts and all).
Ultra talented Saoirse Ronan plays Christine, aka "Lady Bird". She claims it's her given name a name she gave herself. Entering her senior year of Catholic High School in Sacramento, she's the typical blend of teenage insecurity, bravado and restlessness. Her never quite satisfied mom is played by Laurie Metcalf, in what is probably her career best performance, and definitely worthy of Supporting Oscar consideration. A brilliant opening scene finds mother and daughter sharing a cry, which quickly devolves into one of the endless stream of arguments that make up half of their relationship. Their scenes together are sometimes caustic, always realistic, and likely to hit home to many mothers and daughters watching.
Lady Bird is convinced she must escape 2002 Sacramento and live on the east coast, where she assumes culture thrives. This is the age where every teenager is convinced an amazing destiny awaits them not stopping to contemplate what talent they possess that might actually contribute to society. Lady Bird is an average student who seems to dream not of greatness, but rather of some vision of life where she will be appreciated for simply being herself. So much of what happens is grounded in the reality of high school life, friendships, and family. She jumps at the chance to be friends with the "it girl" who controls the "in crowd". Leaving her lifelong best friend Julie (Beanie Feldstein, Jonah Hill's real life sister) in the dust, Lady Bird finagles her way into Jenna's (Odeya Rush) inner circle of rich kids, including the cooler-than-cool Kyle (Timothee Chalamet, CALL ME BY YOUR NAME). He's the bohemian-wannabe type we've all come across. Her attraction to Kyle results in confusion over her relationship with nice guy Danny (Lucas Hedges, MANCHESTER BY THE SEA).
The film touches on many familiar topics, and the script elegantly handles each piece of the puzzle and gives each character their due. Lady Bird's middle class family is going through some financial difficulties after her dad is laid off. Tracy Letts is superb as the dad who is beaten down by a life that's nearly passed him by, but he staves off his own depression just enough to provide the basic strength needed by his wife and spirited teenage daughter. Mr. Letts and Ms. Metcalf aren't TV sitcom parents carefully positioned as punchlines for clever kids, like what we typically see. The emotional bond between parents and offspring is perfectly awkward and deep. Mother and daughter have their shared escapes, while father and daughter share some secrets. There is also a complex sister-brother dynamic, as well as the common issues of school days teenage girl self-respect, class warfare, teacher crushes, and the pressures of extracurricular activities. Lois Smith has a couple of outstanding scenes as a wise and observant nun who sees Lady Bird for who she is, and provides the necessary guidance. Welcome comedy relief is combined with an editorial statement on the ongoing reductions in funding for the arts, as the football coach (Bob Stephenson) is put in charge of the drama department.
Ms. Gerwig's excellent (quasi-autobiographical) film defies traditional categorization. It's part teenage comedy, coming of age, family drama, and character study yet it's also so much more. Have you seen much of this before? Absolutely, and it's likely at least some of this has occurred in your own life, though you may not always enjoy being reminded. What is enjoyable is watching the work of a skilled filmmaker and exciting new cinematic story teller.
sweet message movie
Greetings again from the darkness. What a pleasant surprise and crowd-pleasing treat from director Stephen Chbosky! Ordinarily, if you tell me a Julia Roberts Owen Wilson movie is opening, I would experience nightmares of Malcolm McDowell in A CLOCKWORK ORANGE with his eyelids forced open by metal prongs attached to a head immobilizer (Don't expect any other reviews of this film to reference the Kubrick classic). It's based on the New York Times bestseller and it's a throwback to the days of sweet message films that don't require explanations before recommending.
"I can't wait for Halloween!" exclaims Auggie. While it's not difficult to imagine any kid looking forward to this big day, very few would share Auggie's reason. Through narration, he informs us that he's "not an ordinary kid". After a startling birth, he's been through 27 surgeries. Auggie has genetic facial deformities, and it's not the Halloween candy he anticipates; it's the one day with a level- playing field for him, as other kids wear their costume masks and he can simply blend in. Feel the tug on the heartstrings yet? You will.
Jacob Tremblay (ROOM) plays Auggie, and Julia Roberts and Owen Wilson play his loving parents. Until now, he's been home-schooled by Mom, but it's 5th grade and time for "real" school. Auggie's older sister Via is played beautifully by Izabela Vidovic. This is very much her story as well. She carries a burden that few understand, and even briefly finds peace in her fabricated time as an "only child". Previously, she had described Auggie as the sun, and the rest of the family as orbiting planets. Not only is it a wonderful performance from Miss Vidovic, but kudos to the filmmakers for casting a 16 year old actress as a high schooler. Typically these roles go to actors in their mid-20's (a pet peeve of mine).
The film kicks into gear, and we really begin to get to know Auggie, once school starts. Mandy Patinkin plays the principal Mr. Tushman (a name he embraces), and we get the expected nice kid Jack Will (Noah Jupe), the rich bully Julian (Bryce Gheisar), and the popular girl Charlotte (Elle McKinnon). Some of the characters have various segments of the film named after them, and though these are quite loosely told, they do provide some semblance of structure to the film and keep viewers focused on the diverse personalities. A Science Fair, field trip and school play (Our Town) each provide critical turning points, and of course, most of the film is based on Auggie's impact on those whose path he crosses.
Although we are subjected to one of Julia Roberts' patented cackles, it doesn't ruin the sentiment or message that Auggie delivers. Daveed Diggs has a nice turn as a teacher, and the always wonderful Sonia Braga makes a much-too-brief appearance. Director Chbosky previously gave us the gem THE PERKS OF BEING A WALLFLOWER, and this time out he allows us to explore the fragility of friendship and family, and the importance of toughness in an individual. The ending is pure Hollywood, but we should accept the crowd-pleasing cheesiness and be thankful for a pleasant, entertaining family movie.
"We need a renaissance of wonder. We need to renew, in our hearts and in our souls, the deathless dream, the eternal poetry, the perennial sense that life is miracle and magic." - E. Merrill Root (1895 - 1973) American Writer
another McDonagh classic
Greetings again from the darkness. Once out of our teen years (though some take a bit longer), the vast majority of us accept the obvious truth to the adage "life is not fair". Despite this, we never outgrow our desire for justice when we feel wronged. Uber- talented playwright/screenwriter/director Martin McDonagh delivers a superb drama blended with a type of dark comedy that allows us to deal with some pretty heavy, and often unpleasant small town happenings.
Oscar winner Frances McDormand plays Mildred, a grieving mother whose daughter was abducted and violently murdered. With the case having gone cold, Mildred is beyond frustrated and now desperate to prevent her daughter from being forgotten. To light the proverbial fire and motivate the local police department to show some urgency in solving her daughter's case, Mildred uses the titular billboards to make her point and target the Police Chief Willoughby (Woody Harrelson).
The billboards cause quite the ruckus as the media brings extra attention, which in turn creates conflict between Mildred and the police department, the town citizens, and even her own son (Lucas Hedges). The film could have been titled 'The Wrath of Mildred' if not for so many other facets to the story and characters with their own layers. Her anger is certainly understandable, though some of her actions are impossible to defend. Things can never again be square in the life of a parent who has lost a child, yet vengeance is itself a lost cause.
Mr. McDonagh's exceptional script utilizes twisted comedy to deal with the full spectrum of dark human emotions: managing the deepest grief, anger, guilt, and need for revenge. As in his Oscar winning script for the contemporary classic IN BRUGES (2008), his dialogue plays as a strange type of poetry, delivering some of the most harsh and profane lines in melodic fashion. In addition to his nonpareil wordsmithing, Mr. McDonagh and casting director Sarah Finn have done a remarkable job at matching many talented performers with the characters both large roles and small.
Following up her Emmy winning performance in "Olive Kitteridge", Ms. McDormand is yet again a force of nature on screen. She would likely have dominated the film if not for the effectively understated portrayal by Mr. Harrelson, and especially the best supporting performance of the year courtesy of Sam Rockwell. His Officer Dixon is a racist with out-of-control anger issues who still lives with his mom (a brilliant Sandy Martin, who was also the grandma in NAPOLEAN DYNAMITE). Caleb Landry Jones once again shows his uncanny ability to turn a minor role into a character we can't take our eyes off (you'll remember his screen debut as one of the bike riding boys near the end of NO COUNTRY FOR OLD MEN). Here he plays Red, the owner of the billboards with an inner desire to carry some clout. Rounding out the absurdly deep cast are Zeljko Ivanek, Kerry Condon, Lucas Hedges (MANCHESTER BY THE SEA), Peter Dinklage, John Hawkes, Abbie Cornish, and Clarke Peters (the epitome of a new Sheriff in town). Every actor has at least one moment (and monologue) to shine, and one of the best scenes (of the year) involves Nick Searcy as a Priest getting schooled on "culpability" by Mildred.
Cinematographer Ben Davis has a nice blend of "big" movies (AVENGERS: AGE OF ULTRON) and small (TAMARA DREWE) in his career, and here he really captures the feel of the small town and interactions of the characters. Also adding to the film's excellence is the folksy, western score (with a touch of dueling gunfighters) by Carter Burwell. And keeping the streak alive it's yet another worth-watching film featuring a Townes Van Zandt song.
Not many films dare tackle the list of topics and issues that are touched on here: church arrogance, police violence, racism, cancer, domestic violence, questioning the existence of God, parental grief with a desire for revenge, the weight of a guilty conscience, and the influence of parents in a rural setting. The film is superbly directed by Mr. McDonagh, who now has delivered two true classics in less than a decade. It's the uncomfortable laughs that make life in Ebbing tolerable, but it's the pain and emotions that stick with us long after the credits roll. Sometimes we need a reminder that fairness in the world should not be expected, and likely does not exist. If that's true, what do we do with our anger? McDonagh offers no easy answers, because there are none. But he does want us to carefully consider our responses.
Sweet Virginia (2017)
Greetings again from the darkness. Murders-for-hire evidently have a better success rate in real life than in movies, because cinematically speaking, they usually result in quite the mess for all involved (and some who aren't). Fresh off the 2012 Black List for best unproduced scripts, the screenplay from twin brothers Benjamin China and Paul China offers up a neo-noir with a familiar enough premise in a not-so-familiar setting.
Director Jamie M Dagg offers little chance for us to settle in, as a violent and seemingly senseless triple murder occurs within the first few minutes. We get our Bang Bang, with the Kiss Kiss soon to follow. The usually friendly game of poker among friends goes south quickly thanks to Elwood (Christopher Abbott, IT COMES AT NIGHT), a stranger in town. We soon enough learn that he is in town on "business", and now that the job is done, he expects to be paid.
Elwood not-so-patiently awaits his pay day while staying at the Sweet Virginia Motor Motel. It's a simple inn inherited by, and now run by, Sam Rossi (Jon Bernthal) a former rodeo star who these days battles multiple physical issues with pain dulled only by his morning weed ritual, and an ongoing affair with one of the ladies recently widowed by the Elwood's gun. Sam is shaggy looking, mellow and quite a pleasant fellow who seems like many in this quite small Alaska town living here for the solitude and anonymity.
Imogen Poots plays Lila, and Rosemarie DeWitt plays Bernadette. Their unhappy marriages of 3 and 18 years respectively have ended abruptly, and while neither is much into grieving, they both have new problems with which to deal. There is an unusually scarce police presence given that a triple homicide of local citizens has just occurred, but the focus here is on the four main characters, and especially on the two men.
Elwood is exceedingly high-strung and prone to violent outbursts, while Sam is congenial to all, and generous with his time and advice to local high schooler and motel employee Maggie (Odessa Young). To ensure that no viewer is left behind, there is a diner scene that emphasizes the polar opposite personalities of Elwood and Sam. Rather than pack the intended punch, it mostly just comes across as obvious and unnecessary. And that in a nutshell, is what keeps the film from being a bit more intriguing.
While there is not a lot of excess talking, death hovers over most scenes and conversations. The connection between Sam and Elwood marks the sometimes easy bond of strangers, while the fractured marriages of Lila and Bernadette show how character flaws are unveiled over time. Jessica Lee Gagne's cinematography and the slow pacing to match the setting are both to be admired, but the film lacks any type of artistic or stylish differentiation, and relies solely on the fine performances of the cast. It's certainly no BLOOD SIMPLE or HELL OR HIGH WATER, but it's interesting enough to hold attention for 90 minutes
despite the mess being all cleaned up and tidy by the end.
hatred is not new
Greetings again from the darkness. The Jim Crow South and WWII have each spawned many movies, and both play a crucial role in director Dee Rees' (BESSIE) adaptation (co-written with Virgil Williams) of Hillary Jordan's 2008 novel. It's the story of two families, the Jacksons and the McAllans, striving for daily survival in rural Mississippi during the 1940's.
The Jacksons are a black family tenant-farming on land owned by the white McAllans who transplanted from Memphis. This land is so remote and life so hard, that tractors are almost non-existent and mules are rare enough. There is such a bleakness to this existence that all seem oblivious to the always present mudhole leading to the front door of their shack. Elation comes in the form of a privacy wall constructed around the outdoor family shower, or the sweetness of a bar of chocolate. Soon after D-Day, Florence and Hap Jackson send their son Ronsel off to war. The same thing is happening across the 200 acre farm to Jamie McAllan, brother of Henry and son of Pappy.
A shifting of multiple narrators throughout allows us access to the perspectives of multiple characters. We get both black and white views on war and farming. Days in war bring injury, death and dirt not so dissimilar to life on a Mississippi farm. When Ronsel and Jamie return from war, they are both suffering. Ronsel can't come to grips with how he was treated as a redeemer in Europe, but just another 'black man' being targeted by the KKK at home, while Jamie is shell-shocked into alcoholism and an inability to function in society. The parallels between the war experience of Ronsel and Jamie lead them to a friendship that ultimately can't be good for either.
Jason Clarke plays Henry and Carey Mulligan, his wife Laura. Jonathan Banks ("Breaking Bad", "Better Call Saul") is the ultimate nasty racist Pappy, while Garrett Hedlund is Jamie. Rob Morgan and Mary J Blige are Hap and Florence Jackson, and Jason Mitchell (STRAIGHT OUTTA COMPTON) is Ronsel. While all perform well, it's Mitchell and Hedlund who are particular standouts, as is a radio reference of the great Lou Boudreau. Rachel Morrison's cinematography is terrific and captures both the hardscrabble life of Mississippi, but also the frantic and tragic abruptness of war (in just a couple of scenes).
Racism is always difficult to watch, and in that era, everyone had their place/plight in life. It was a structure built to ensure misery for most, and one guaranteed to collapse. The acting here is very strong and the film is well made. The story-telling is consistently disquieting and periodically unbearable. Still, we are all tired (or should be) of hatred. The somewhat hopeful ending caused an audible sigh of relief from an audience of viewers who had been angry and clinched for more than two hours. And though there is no joy in Mudville, we remain hopeful, even today.
Murder on the Orient Express (2017)
can't blame the butler
Greetings again from the darkness. Who doesn't love a good whodunit? Don't we all find a bit of guilty pleasure in being the mastermind who solves a fictitious murder case? Has anyone ever been better at crafting an intricate murder mystery than Agatha Christie? Why all the questions? Well, that's nothing compared to what "probably the world's greatest detective", Hercule Poirot, must answer amidst the foul play aboard the sleek, luxurious, and snowbound Orient Express.
This latest film version has Michael Green (BLADE RUNNER 2049, LOGAN) with the adapted screenplay and Kenneth Branagh directing and starring as the fabulously mustachioed Poirot (with his own take on the iconic super-sleuth). Like the near-perfect 1974 version, this latest adaptation succeeds in capturing the theatricality, while avoiding any stodgy staginess. Director Branagh shot on film and it pays off in both the stunning snow-covered mountains and landscapes, as well as the tight, precisely-blocked interior shots around the exceptional set designs.
Fans of the novel will notice some shifting of character names, professions and backgrounds, although the vast majority of the story remains intact including the early murder that occurs not long after the film ingeniously introduces us to each of the characters. The cast is strong and deep, and in addition to Mr. Branagh, features: Penelope Cruz, Willem Dafoe, Dame Judi Dench, Daisy Ridley, Leslie Odom Jr, Josh Gad, Johnny Depp, Derek Jacobi, Lucy Boynton, Michelle Pfeiffer, Olivia Coleman, Sergei Polunin, Manuel Garcia-Rulfo. All are suspects well, except the victim.
If you haven't read the novel or seen a previous version, know that the fun is in ride. Follow along as Poirot dispenses zingers throughout, while maintaining a most precise commitment to balance in all things. He is an exacting and fastidious man, and as entertaining as he is skilled in crime solving. Note that the photograph he keeps of his one true love Katherine, is actually a photo of young Emma Thompson (Branagh's real life wife). Enjoy keeping track of the clues and hints, while also tracking the widely diverse personalities, excuses and alibis. Most of the many characters only have a couple of key scenes, and it's quite fun to see what these talented performers make of their moments. Daisy Ridley, Lucy Boynton and Derek Jacobi make the most of their time, while Penelope Cruz overplays hers. Other than Branagh, the star who shines the brightest is Michelle Pfeiffer (fresh off a killer performance in MOTHER!). She continues to remind us just how talented she is, and no, your ears aren't playing tricks that's Ms. Pfeiffer singing "Never Forget" (lyrics by Branagh) as the closing credits roll.
Ms. Christie's outstanding novel was first published in 1934, and is somewhat based on the Lindbergh baby kidnapping and her own train- riding adventure. It's a wonderful and perplexing read
one that will have you changing your mind multiple times on who you believe to be guilty of murder. There have been numerous movie versions over the years, and none have matched the excellence of director Sidney Lumet's 1974 film with an incredible all-star cast alongside Albert Finney's Poirot. Though this most recent movie doesn't reach the timelessness of that one, no movie can capture the detail and maze- like structure of the novel. It's still quite fun and a true joy- to see the pages come to life (irony intended) on the big screen.
Daddy's Home 2 (2017)
mel makes mayhem
Greetings again from the darkness. It's rare for a sequel to be a better film than the original, and we are entering unicorn territory when dealing with comedy sequels improving on the first film. So hearing that most of the original cast is back for material from the same creative team director Sean Anders and his co-writers Brian Burns and John Morris well, expectations would normally be pretty low. However, all of that changes when we learn of two cast/character additions: Mel Gibson and John Lithgow.
After the fierce daddy competition between Brad (Will Ferrell) and Dusty (Mark Wahlberg) in the original two years ago, this film picks up with what looks to be a very healthy co-dad environment for all involved. In comedy-based cinema, the best way to disrupt a happy family synergy is to introduce the Christmas season and the sure-to- follow family turmoil. Enter Mel Gibson as Dusty's estranged dad, and John Lithgow as Brad's so-close-it's-too-close dad and let the holiday escapades begin.
At its core, this is an observational comedy about the contrast between old school and contemporary fatherhood - machismo vs emotionally open. Mel Gibson is key to the story working on multiple levels, and his performance is a reminder of his immense screen talent (in spite his personal life issues). His character's idea of being a father has been around for many generations. Toughen up the kids and make sure they are strong and independent. Keep those emotions close to the vest. On the other side is John Lithgow and his over-hugging and blubbering true feelings approach.
The familiar supporting cast holds up their end admirably. Linda Cardellini and Alessandra Ambrosio are back as Brad's and Dusty's wives, respectively. Scarlett Estevez, Owen Vaccaro, and Didi Costine are back as the kids each with their own quirks and growing pains. Even John Cena returns as Adrianna's biological father, and to deliver one of the film's best punchlines, as well as a bit that might forever ruin Christmas caroling for you.
The trailer, as with most comedies these days, gives away too many of the funny moments, so don't expect any additional spoilers here. There is some comedy brilliance mixed in with the cheesy, over-the- top slapstick (a snowblower scene that could have easily worked in Christmas VACATION almost 30 years ago). The brilliant moments are often the quieter ones, and they focus on parenting, family, and the challenges of childhood. There is a surprising and unusual cameo near the end, and the movie is well executed to satisfy its built-in audience, while also capitalizing on those who enjoy (and/or need) a good, clean comedy at Christmas time.
quiet moments outshine the fury
Greetings again from the darkness. As recognized at Sundance, this is a commendable debut feature film from writer/director Margaret Betts. It touches on subjects as thought-provoking as traditions in religion, faith, youthful romanticism, and most poignantly, first love. The film is at its best when focusing on the frustration, anger and confusion of both a helpless parent and the teenage girls so full of innocence as they try to come to grips with a decision their maturity level has them incapable of making.
Margaret Qualley ("The Leftovers", and real life daughter of Andie MacDowell) stars as Cathleen, a 17 year old girl whose small town life included parents who divorced when she was younger. Her mother (an excellent Julianne Nicholson) is a foul-mouthed, chain-smoking agnostic who embraced the responsibility of raising Cathleen, even after the father stormed out of their lives. As they stand face-to- face and Cathleen announces she is going to become a nun and proclaims "I'm in love with God", we all share the parent's pain as a mother stares back incredulously, knowing full well a 17 year old is incapable of making such a decision on her own.
At the convent we meet Reverend Mother (Melissa Leo), a woman so devoted to the cause that she hasn't stepped foot outside the fortress-like walls in 40 years. As she explains to the nuns-in- training that her voice is God's voice, it brought back memories of Alec Baldwin's surgeon character in MALICE (1998) stating in a perfunctory manner, "I am God."
The story follows (at least) three stories: the Reverend Mother, Cathleen and the other nuns, and that of the powerless parent. The setting is the early 1960's and an ordinance known as Vatican II has just been issued. It was designed to restructure the Catholic Church (for the first time in a century) and have it become more contemporary allowing the nuns to better serve society. Unfortunately, many of the long-term nuns did not embrace the changes and it rocked their daily routines. Adding salt to their wounds was the fact that the changes were mandated from Rome with no input from the nuns signaling the beginning of a still-present lack of power for women in the church. This is oh so evident in a scene with the Archbishop (Dennis O'Hare) explaining to Reverend Mother how she missed the "subtext" in the suggestions.
Most of the film focuses on the group of girls who are shielded from the outside world and its temptations as they go through the rigorous training on the path to solidifying their love of God. What we see is that these girls are simply trying to figure out their own identities as the system works to drain human nature from their souls. The scenes of solitary prayer are powerful as they each wrangle with their beliefs, faith and true self. Typical teenage giddiness is on display as the girls wear their white dresses and veils on the day of vows. Their elation around the campfire is more creepy than comforting. Most painful of all are the "circle of faults" that Reverend Mother subjects the girls to. Morgan Saylor ("Homeland" daughter) plays one of the Sisters and has one of the most gut-wrenching scenes in the film. Most of us have never been through anything close to this and would label it cruel and manipulative.
Cathleen's mother visits when allowed and dutifully shows up for all ceremonies. We can feel her pain as she strives to will some common sense into her daughter never giving up hope. It's crucial to note that Ms. Betts does not attempt to take down the church. Rather her story seeks to explore what inspires these young girls to make such a decision, and the emotional turmoil that goes into it. The film kicks off with a narrated "We were women in love", and ends with a footnote explaining that 90,000 nuns left the convents after Vatican II. If you can connect with the hopeful girls, perhaps the film will have the intended emotional gut punch for which it strives. For the rest of us, we are left with no real explanation, nothing to uplift us, and the crushed spirit of a 40 year devoted nun. On the bright side, the arrival of an exciting, new filmmaker is always worthy of celebration
no need to comfort me.
Last Flag Flying (2017)
no need for the Shore Patrol
Greetings again from the darkness. Apprehension and trepidation are the emotions that strike whenever anyone compares a movie to the classic 1973 Hal Ashby/ Jack Nicholson film THE LAST DETAIL. That holds true even if the novel the film is based on was written by the same author (Darryl Ponicson) who wrote "The Last Detail" (1970), and even if the new film is directed by one of the finest directors working today Richard Linklater. This latest doesn't play like a true sequel, but the reuniting of three men who served together in Vietnam does hammer home a couple of interesting statements while also delivering the type of dramedy that 2017 audiences tend to connect with.
Larry "Doc" Shepherd (Steve Carell), a former Navy medic, has had the type of year that no one deserves. It's 2003 and he has just been notified that his Marine son was killed in action while on duty in the war in Iraq. This comes only a few months after Doc lost his beloved wife to breast cancer. It's too much for him to handle on his own, so he embarks on a mission to ask his Vietnam buddies from three decades prior to accompany him to claim his son's body at Arlington National Cemetery.
His two buddies are former Marines Sal Nealon (Bryan Cranston) and Richard Mueller (Laurence Fishbourne). Sal is a washed out dive bar owner and Mueller is now the Reverend at a small church. The three men share the burden of a war secret that each has tried to forget, and they begin what's basically a road trip movie of middle aged men bonding during what is the absolute low point in life for one of them. Simultaneously, it also seems like an opportunity for all three to rejoin the living.
Lost idealism is the shared trait now among the three men, though their levels of cynicism vary. Edwin Starr sang it, and the characters in this movie openly question: War What is it good for? Doc, Sal and Mueller have separated themselves from memories of war in three distinct ways family, booze, and God. It's only by reconnecting with each other that they begin the long overdue process of reflection. TV's are tuned to the capture of Saddam Hussein from the spider-hole, and the similarities of the Vietnam and Iraq wars are contemplated. These are patriotic men who once trusted the government, but are now so disenchanted they ask "what's the point?"
Mr. Cranston has the showiest role, but it's Mr. Carell who shines as the still-in-shock father. J Quinton Johnson also excels as the young Marine charged with accompanying the gentlemen, and the best scene of the film features Cicely Tyson as the mother of a long ago fallen soldier who crossed paths with the three leads. As you might expect in a Linklater movie, the musical choices are unusual and spot on. Bob Dylan ("Not Dark Yet"), Neil Young ("Old Man"), Eminem ("Without Me"), and Levon Helm ("Wide River to Cross") are all included.
The film is certainly an unusual blend of comedy, tragic drama, and contemporary political commentary. Unfortunately, the contrivances are too many and too frequent to allow the film and characters to breathe and achieve the greatness of a true message movie. It teases us with flashes us brilliance and then pokes us in the ribs with another goofy sidebar as if to say "just kidding". It seems this would have been better served as an intimate portrayal of these three aging men who were willing to die for their country than as a giant political anti-war statement and an accusation of how evil the government is. The ultimate message Linklater drills home: be a good friend, and be a good person. We can never have enough of those.