I, Tonya

2017’s “I, Tonya“, directed by Craig Gillespie.

Starring Margot Robbie, Sebastian Stan, Allison Janney, Julianne Nicholson, Paul Walter Hauser, Bobby Cannavale, Bojana Novakovic, and Caitlin Carver.

Nominated for an Academy Award for Best Actress (Margot Robbie), Best Supporting Actress (Allison Janney), and Best Film Editing (Tatiana S. Riegel).

What is it about?

“I, Tonya” is the inspired by true events fictional biopic of the disgraced figure skater Tonya Harding, who in the 1990’s rose to infamy through the controversy of Harding’s crew attacking rival skater, Nancy Kerrigan. “I, Tonya” attempts to show Harding’s journey, with an overbearing and abusive trailer park mother (Allison Janney) forcing Harding to be a figure skater, and later we get to meet Harding’s husband, Jeff Gillooly (Sebastian Shaw), who is also abusive towards Harding. Harding has a long road ahead of her, with so few supportive resources in her life, combined with a figure skating consortium that isn’t keen on Harding being the face of the sport- thanks to her trailer park roots. Will we be able to sympathize with Harding’s point of view by movie’s end?

Why is it worth seeing?

“I, Tonya” features some great performances from Robbie, Janney, and Shaw respectively as our flawed protagonist, mother, and (ex) husband. Director Craig Gillepsie borrows liberally from Martin Scorcese’s grab bag of classic rock infused scenes to give them great rollicking energy, making a biopic about skating as interesting as possible. And fans of mockumentaries will find plenty to appreciate here as the fourth wall is frequently broken, and many scenes are played for so-strange-they’re-hilarious gusto.

Screenwriter Steven Rogers interviewed Harding and ex-husband, Jeff Gillooly, and found both stories about what happened contradictory- and decided that would be the movie’s strength, in the viewer having no idea what actually happened and making up their own minds. But not knowing exactly what happened, is a lot different than making a comedy out of somebody’s life whom has gone through a lot of pain living in America’s margins.

It’s challenging not to feel for Harding. She’s that girl, who when working on cars, doesn’t think a rag is necessary- that’s what her clothes are for. To watch this movie, she will never be able to avoid that lack of cleanliness, or gain respect for being able to fix those very cars better than her husband. After the attack on Kerrigan, she was stripped of her competition medals, and she was banned from the sport for life. Her abusive ex-husband then released a sex tape of the 2 of them to the media. The clobbered Harding would try a music band that got booed off of the stage, a boxing career that she dropped out of, and appear in celebrity videos. She may very well be at peace now, but to watch here you would never know. Her mother has admitted to hitting her at a young age, and we know that her first marriage was tumultuous. Is that the stuff that comedies are made out of?

Given that this time period (mid-90’s) was around the same time that the media started to scrape the bottom of the barrel to satisfy 24 hour news networks, this movie’s slick energy, and pain and suffering used for laughs, seems to support the sensationalized media’s goals. It’s unfortunate, as the great performances and arc of the biopic are really great. Gillepsie even has an amazing scene to highlight Janney’s disposition in contrast to everyone else- it’s just too bad we can’t learn more about the protagonist since the movie is so busy triple-axeling her in the stomach.

Rating:

3.5/5

Trailer: Click Here.

Key Largo

1948s “Key Largo“, directed by John Hudson.

Starring Humphrey Bogart, Lauren Bacall, Edward G. Robinson, Lionel Barrymore, Claire Trevor, Monty Blue, and Thomas Gomez.

Winner of an Academy Award for Best Supporting Actress (Claire Trevor).

What is it about?

“Key Largo” is about an ex military major (Humphrey Bogart) who while travelling in Florida, stops in to see a fallen comrade’s father (Lionel Barrymore). Barrymore runs a hotel with his fetching daughter (Lauren Bacall), however Bogart finds some unusual guests staying there. With a hurricane level storm raging outside, a gang of gangsters (lead by Edward G. Robinson) take the group hostage, and Bogart engages with Robinson in a battle of wits to stay alive. Will Bacall and Bogart be able to consummate their attraction to each other with their lives at stake?

Why is it worth seeing?

“Key Largo” is a film featuring a psychological game of cat and mouse between the detached but honourable Bogart, and a ruthless and cunning Robinson. Many a scene displays the war for Bogart’s soul, depicted here as a battle between his head and his heart. With the hurricane turning the household into essentially a bottle episode, there’s nowhere to hide in director John Hudson’s classic.

As mentioned above, the strongest elements of “Key Largo” are with Bogart needing to decide his course of action regarding his newfound enemy, Robinson. While it’s fun to watch those 2 tangle, I didn’t pick up a lot of chemistry between Bogart and Bacall, other than admiring each other from afar- a troubling discovery, given the 2 had been married for 3 years upon “Key Largo”’s release.

More troubling is the difficulty in addressing some of the inappropriate societal themes so prevalent in this era- the movie’s depictions of “Indians”, and women (as in how to treat them) are likely relevant to the spirit of the movie’s release date zeitgeist, but it doesn’t make it any easier to watch. Indeed, Claire Trevor would win an Oscar for her portrayal of a battered girlfriend who is discarded by her mean partner to an indifferent audience.

Huston does a good job of highlighting tension in tight quarters, but also leaves some issues unresolved, such as a bullet wound that seems to go away, and questions about the structural integrity of a house that may not outlast a hurricane. “Key Largo” works best as a memorial to that particular time period, and it’s always nice to visit a Bogart production, even if it’s no “Casablanca”.

Rating:

3.5/5

Trailer: Click Here.

Call Me by Your Name

2017’s “Call Me by Your Name“, directed by Luca Guadagnino.

Starring Timothée Chalamet, Armie Hammer, Michael Stuhlbarg, Amira Casar, and Esther Garrel.

Nominated for an Academy Award for Best Picture, Best Actor (Timothée Chalamet),

Best Adapted Screenplay (James Ivory), and Best Musical Song (Sufjan Stevens).

What is it about?

“Call Me By Your Name” is set in Northern Italy during the summer of 1983. Young man Elio (Timothée Chalamet), lives at the family summer home with his professor father and mother (Michael Stuhlbarg and Amira Casar). Stuhlbarg invites graduate student Oliver (Armie Hammer) to live with them and intern for him for the summer. Elio and Oliver don’t exactly hit it off initially, but as the languid days of idle summer drift along, an attraction develops. Will Elio and Oliver be able to explore their feelings?

Why is it worth seeing?

Director Luca Guadagnino has called “Call Me By Your Name” the third feature of his “Desire Trilogy” (the first 2 being 2009’s breathtaking “I am Love” and 2015’s “A Bigger Splash”). Using the historical and nature packed areas of Crema, Guadagnino delivers that sun dappled days of leisure quality to a same sex love story that is as patient as it is ephemeral.

Screenwriter (and film icon) James Ivory has things develop at a summer vacation pace, which is saying something for a European culture depicted here where things don’t quite move at the same pace as North America. Something resembling (upper class) decadence and pursuit of La Dolce Vita’s slow food pace of life is favoured- and that’s in between the relaxation. From this viewpoint comes a love story that takes it’s time.

Chalamet and Hammer initially come together and aren’t that fond of each other, but as they spend time together in close quarters things start to happen. Hammer and especially Chalamet are very strong in delivering the herky jerky inertia of trying to deny their feelings- and are almost as strong as Stuhlbarg, in his quietly potent performance as the professor father who is smarter than he lets on.

While the subject matter is admirable, and the performances earnest amongst a lovely setting, “Call Me Your Name”’s greatest strength is in capturing the fleeting moments of a summer fling that can never be forgotten.  However, it’s pacing and characters can be difficult to relate to, before one even considers the power imbalance inherent in their relationship (statutory rape). Subsequent response will hinge heavily on viewer’s thoughts on these subjects. So while it’s a lovely slow burn that’s very personal, reactions to “Call Me By Your Name” can be mixed.

Rating:

3.5/5

Trailer: Click Here.

The Shape of Water

2017’s “The Shape of Water“, directed by Guillermo Del Toro.

Starring Sally Hawkins, Doug Jones, Michael Shannon, Richard Jenkins, Octavia Spencer, Michael Stuhlbarg, David Hewlett, and Nick Searcy.

 

Nominated for an Academy Award for Best Picture, Best Director (Guillermo del Toro), Best Actress (Sally Hawkins), Best Supporting Actor (Richard Jenkins), Best Supporting Actress (Octavia Spencer), Best Original Score (Alexandre Desplat), Best Original Screenplay (Guillermo del Toro and Vanessa Taylor), Best Cinematography (Dan Laustsen), Best Costume Design (Luis Sequeira), Best Sound Editing (Nathan Robitaille and Nelson Ferreira), Best Sound Mixing (Christian T. Cooke, Glen Gauthier, and Brad Zoern), Best Film Editing (Sidney Wolinsky), Best Production Design (Paul D. Austerberry, Shane Vieau, and Jeffrey A. Melvin).

What is it about?

“The Shape of Water” is about a mute janitor (Sally Hawkins), who works in a Baltimore scientific research facility in 1962. After a general brings back a humanoid fish creature from South America(Doug Jones), Hawkins and Jones find that they have an attraction to each other. With help from her gay neighbour (Richard Jenkins) and co-worker (Octavia Spencer), Hawkins has to get past psychopathic company man (Michael Shannon), as well as competing government spies (Michael Stuhlbarg) who want the asset for sinister purposes. Will this hostile dryland setting prove fecund enough for their union to take hold?

Why is it worth seeing?

Director Guillermo Del Toro’s love of movies has never been more clear in this homage to cinema. Referencing old musicals, European art house cinema, and 50’s diners for art direction, it’s a feast for the eyes,  and occasionally the heart.

Unfortunately, the visuals take centre stage, and we’re left to stare at some more of Del Toro’s creature love, going through, well, human love. Like an outsider wandered in from the seminal 2006’s “Pan’s Labyrinth”, or even the “Hellboy” series, Doug Jones’ fish character is difficult to get behind. While Sally Hawkins is divine as the spunky heroine who isn’t afraid of the colour of one’s scales, it was difficult to get swept up in their salmon powered meet cute. As well, Michael Shannon’s character is way over the top, and we are left to tackle the metaphor about how the monsters amongst us sometimes look human and wear suits.

“Water” has some lovely moments, and some lovely intentions, particularly in the musical homage scene- but in a romance of 2 beings bonding, it lacks a lot of heart, and feels like it has low stakes, even for his trademark scenes of gross violence. For such a personal and unique movie, it feels oddly patched together, a hodge podge of former movies, and is a ghost of Del Toro’s stronger and more personal work.

Rating:

3/5

 

Trailer: Click Here.

Favourite Scenes of the Year- 2017

-Justice League. Infighting.
Stay with me here. One of the year’s most mediocre films is quite forgettable- save for one scene that reminds us how it’s possible to have moments of humour and transcendence in the off putting DC universe. Fake Spoiler Alert: When Superman is revived, he’s really grumpy, and attacks the rest of the league. While grappling with the group, the Flash also jumps into action- and then realizes that Superman not only can see him in lightning fast form, but can react to him appropriately. That Nano second when the Flash realizes he’s found his match is comedic gold, and exciting.

-Columbus. Building Explanation.
In director Kokonada’s clinical ode to architecture, Jin (John Cho) wants to know what his fast friend Cassie (Haley Lu Richardson) finds special about a building. She describes it, much like a city tour guide, and he asks again- this time what she likes about it. Her response, as framed by Kokonada, leaves her response to the viewers’ imagination while still celebrating the luminous spirit of the film.

-Lost City of Z. Initial Adventure Montage.

James Gray’s take on the adventures of Percy Fawcett in the previous century has his usual clinical formalism on display. But the first voyage to South America, told in a breathless montage, captures the spirit of Fawcett’s plight, and indeed, adventure itself. It’s sights and sounds are a tribute to cinema.

-Personal Shopper. Text Message.

It’s always dangerous to highlight technology in a film- could we watching the equivalent of pagers in 10 years? But director Oliver Ossayas’ European ode to the art house ghost story finds tension in a scene where Kristen Stewart’s medium character may be communicating with the dead via text message. In those ellipsis moments where it’s not clear whom is communicating with her, it’s difficult to say if we want it to be the paranormal- or not. Now that’s something call waiting could never capture…

-Star Wars Episode VIII: The Last Jedi. The Throne Room.
Any talk about the current Disney mega machine not being able to deviate from the George Lucas originals templates (such as the case in Force Awakens) is eviscerated here. Director Rian Johnson’s original take on the series is announced quite firmly when Rey and Kylo Ren meet Supreme Leader Snoke in his chambers, complete with armoured guards. When the scene has played out, like some kind of grindhouse ballet taking place in the middle of a scorched “Neon Demon” set, it’s difficult not to get excited for what Johnson will bring to a potential trilogy in the future.

-T2: Trainspotting. Renton’s Return Home.

The worst named and most disappointing movie of the year wasn’t all lame. Renton returns to his childhood home, and director Danny Boyle brings to light a development in the family’s composition that is barely remarked on, but speaks volumes about the passage of time. Something eerie and haunting, that the cast refuses to speak about. Practically blink and you miss it, but it’s stuck with me like a ghost.

-The Shape of Water. Sing scene.

In Del Toro’s tribute to the movies themselves, Sally Hawkins plays a mute women who has an affair with a partner of the aquatic sort. She communicates in sign language throughout the film- except for one scene where she gets to communicate differently. The resulting tribute to musicals of yesteryear is graceful and weightless.

Lady Bird

2017’s “Lady Bird“, written and directed by Greta Gerwig.

Starring Saoirse Ronan, Laurie Metcalf, Tracy Letts, Beanie Feldstein, Lucas Hedges, Timothée Chalamet, Odeya Rush, Jordan Rodrigues, and Marielle Scott.

Nominated for an Academy Award for Best Picture, Best Actress (Saoirse Ronan), Best Supporting Actress (Laurie Metcalf), Best Director (Greta Gerwig), and Best Original Screenplay (Greta Gerwig).

 

What is it about?

“Lady Bird” is a coming of age fable about a grade 12 teenager (wonderfully played by Saoirse Ronan) growing into adulthood. Based in Sacramento in 2002, we meet her family (her mother, played beautifully by Laurie Metcalf, her father, a dependable Tracy Letts, and siblings Jordan Rodrigues and Marielle Scott). Lady Bird (a nickname Ronan gives to herself) feuds with her mother and siblings, and lies to others about meaningless and meaningful things. While showing a full heart, she crushes on boys, experiments with different social groups, and dreams of going to college on the East coast. Will this Lady Bird be able to become the best person that she can be?

Why is it worth seeing?

Semi autobiographical, writer/director Gerwig proves that she is a serious triple threat after previous efforts such as co-writing and starring in such films as 2012’s "Frances Ha" and 2015’s "Mistress America". In her directing and solo writing debut, it is a patient but never plodding take on the frustrating splendour of adolescence, and a welcome addition to the coming of age tale genre.

It’s easy to imagine Gerwig casting herself as well, herself, after playing other people so well, so to watch her instead place Saoirse Ronan as the free spirited Lady Bird is commendable- and perfect. Ronan is impeccable as the young lead, so frustrating and inspiring in equal measure. But what’s a hero without a villain? Laurie Metcalf is pitch perfect, as Lady Bird’s mother and occasional sparring partner. Metcalf proves herself capable of both showing the great love and pride she has for her eclectic spawn, while also slinging some serious zingers in battles that she ultimately will never win. Helping enormously in the fight for Lady Bird’s soul, is Letts, as the depressed father who referees household battles, and Beanie Feldstein, as the best friend who is always there for Lady Bird, no matter the lack of reciprocity.

Gerwig also keeps things real, in the class warfare depicted here in the “midwest of California” Sacramento. Topics of money and social mobility come up often, and watching fathers compete with their sons for jobs when not at their overcrowded homes is a sobering reminder of the close proximity many Americans have to the fringes of society. Lady bird frequently acknowledges this while never putting it in the foreground- or trying to solve a problem that few can solve.

Gerwig has said that “Lady Bird” is her love letter to her home town of Sacramento, which after observing her previous films (and considering her current city of residence: New York), is hard to believe. While it may very well hold a dear spot in her heart, I think love letters to cities look stronger when they’re like this, and this.

As well, Gerwig sometimes displays her artist flag too prominently. For example, the character of the drama teacher replacement, whom is presumably a sports coach, is cartoonish and simplified, in a movie that confidently displays it’s complexity and nuance.

While it may not always honour it’s geography, the great casting and performances, refreshing patience, humour, and sweetness celebrate the journey of adolescence and make “Lady Bird” a lovely creature that can really sing at times.

Rating:

4/5

Trailer: Click Here.

A Ghost Story

2017’s “Ghost Story“, written and directed by David Lowery.

Starring Casey Affleck, Rooney Mara, and Will Oldham.

What is it about?

“A Ghost Story” is an art house drama featuring Casey Affleck (known simply as C) and Rooney Mara (known simply as M). The 2 of them live together as a couple, him composing music while she tends to the home, until Affleck’s untimely death. But Affleck is not done- his ghost rises from his body, draped in sheets, and returns to the home that they shared together. Unable to speak with his former lover, will the ghost of Affleck be able to find peace in the land of the living?

Why is it worth seeing?

As the above description details, “A Ghost Story” is a low concept art film with some serious ambitions. Lowery tries to make a film that embodies the sense of timelessness that the paranormal likely would experience, and throws in plenty of the celestial to occupy the mundane events that a creature wrapped in bed sheets (with eye holes cut out) would experience in it’s wanderings.

As mentioned above, Lowery’s sense of time and mourning, make for a film that has some serious navel gazing in the Michael Haneke vein. Featuring likely the longest takes of the year, patience is required, and that’s before we get to watch the bed sheet wrapped figure silently watch people go by, epoch by epoch.

Beyond the art house sensibilities, there are some funny moments, such as a chance encounter with another ghost, that make the film endearing. However, it’s ethereal trappings can be difficult to grasp a hold of. As well, beneath the message the film is delivering to us through the story, there is also a monologue to hammer the whole thing home, delivered by that guy (Will Oldham) at a party. This is likely the most unbearable point made in the film: who hasn’t been to a social function and wished that a ghost standing silently in the corner would murder that insufferable blowhard who is in love with the sound of their own voice?

Celebrating the romantic ideal of unfinished business, through the cyclical trappings of time and space, “A Ghost Story” isn’t everyone’s cup of chamomile tea, but I can see how it could be for some. It’s tale of wandering until you find what you’re looking for- through the deathly quiet.

Rating:

3.5/5

Trailer: Click Here.

3 Billboards Outside Ebbing, Missouri

2017’s “3 Billboards Outside Ebbing, Missouri“, written and directed by Martin McDonagh.

Starring Frances McDormand, Woody Harrelson, Sam Rockwell, Lucas Hedges, Caleb Landry Jones, Clarke Peters, Peter Dinklage, John Hawkes, and Sandy Martin.

Nominated for an Academy Award for Best Picture, Best Actress (Frances McDormand), Best Supporting Actor (Sam Rockwell), Best Supporting Actor (Woody Harrelson), Best Original Score (Carter Burwell), Best Original Screenplay (Martin McDonagh), and Best Film Editing (John Gregory).

 

 

What is it about?

“3 Billboards…” is about a woman (an amazing Frances McDormand) in a small town who’s daughter was raped and murdered 7 months previous. Frustrated at the local law enforcement (Lead by a wonderful Woody Harrelson, and featuring a dynamic Sam Rockwell)’s lack of progress, she pays for 3 billboards that openly question Harrelson’s results. The billboards certainly have an effect, as they trigger the small town’s characters into a chain of dramatic events that speak to the capacity of anger, hope, and forgiveness. Will McDormand and her family be able to see justice done for the daughter’s death?

Why is it worth seeing?

“3 Billboards…” is a very intimate look into the characters who inhabit a small town, where everybody knows each other’s business and aren’t afraid to share their opinions. The theatrical experience of writer/director Martin McDonagh very much comes through, but make no mistake, this is no play masquerading as a film. It’s characters are alive, with several performances of the year present. Through the heart, and the hatred, also comes through a thick web of humour. It really says something that a drama with such dark subject matter could be so funny at times, and McDonagh juggles the tones expertly.

While the movie is very funny at times, McDormand’s character takes no prisoners. Grimly demanding justice and not being afraid to leave any stone unturned, she even alienates her family members, including her son (Lucas Hedges, solid again after “Manchester by the Sea”) and ex-husband (John Hawkes, who needs more work) in her quest. When a character, who would like her to take the billboards down, lets her know that he also has cancer, she informs him that they’ll be more effective after he croaks. Equally as persistent, is the Sam Rockwell character, who’s Sheriff is initially almost cartoonish in his ignorance and hate- who then believes that he could be a better person. Harrelson is great too, as a character who realizes giving up may just be the recipe for wellness the town so desperately needs.

While it’s vulnerable characters and propensity for the strength of hope are inspiring, there are a few false notes, such as a rant against the Catholic church that seems to break character and betray the writer/director’s worse impulses. And sometimes the small setting morphs into something resembling too convenient to be believed. However, the movie’s perfectly timed ambiguous ending more than make up for mere quibbles.

“3 Billboards…”’ strength of fantastic performances, filtered through messages of hope overcoming hatred, as well as the power of forgiveness, make it one of 2017’s strongest films. Go watch it with your mother (warning: some See You Next Tuesdays are present).

Rating:

4/5

Trailer: Click Here.

Green Zone

2010’s “Green Zone“, directed by Paul Greengrass.

Starring Matt Damon, Amy Ryan, Khalid Abdalla, Greg Kinnear, Brendan Gleeson, and Jason Isaacs.

What is it about?

“Green Zone” is about the opening days of America’s year 1, after the overthrow of Sadaam Hussein, where America was the legal occupying power, and de facto government of Iraq. We meet a military unit (lead by Matt Damon) who’s job is to look for Weapons of Mass Destruction. Damon continues to come up empty in his search, and is brushed off by officials (overseen by Greg Kinnear, representing the Pentagon). Damon is able to find support from a CIA outlier (Brandon Gleeson), and gets invaluable help from an Iraqi (Khalid Abdalla) to track down insurgents who contain valuable information about the US’s reasons for invading Iraq in the first place. With journalist Amy Ryan involved, will Damon and his select friends beat the rest of the army in the race to uncover the truth?

Why is it worth seeing?

“Green Zone” is a bit of a coup- marketed as a military thriller, it definitely has it’s moments of intensity. But what's special about it is it’s showcasing the chicanery around the circumstances of why America invaded the area of Mesopotamia. Based off of the 2006 book, “Imperial Life in the Emerald City” by Washington Post journalist, Rajiv Chandrasekaran, it does a commendable job of showing the con that was sold to citizens in the early 2000’s.

Director Paul Greengrass wanted to highlight the corruption, ineptitude, and sheer greed that possessed American officials during the takeover. He does a great job of showing the collateral damage that was inflicted upon the populace, left to fend for themselves without power, running water, or a military. In all of that, he inserts Damon, who has his military objectives constantly thwarted by other grunts taking orders from an indifferent Washington, D.C.

“Green Zone”’s attempts to showcase the chaos and hubris of America’s imperialism are commendable, however, Greengrass’s liberal use of shaky cam grows tiresome. And Damon’s character, functions as a type of sermonizer that recall lectures from the sixth grade.  

Despite this, Greengrass does a fine job of capturing the spirit of the enforced misery of the American occupation, and can be a fine starting point into understanding the religious and geopolitical factors influencing the region BEFORE the U.S. stepped in. Considering the types of movies that are typically made about the U.S. military, it’s actually a bit of a miracle.

Rating:

4/5

Trailer: Click Here.