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3 Stars (for most of the film)
Let me start by saying I LOVE a scary horror movie. Horror is one of my favorite genres – if well done. Well done are “The Shining,” “The Exorcist,” “Silence of the Lambs,” “Alien” and “Psycho” – to name a few iconic horror films. You get the picture – these are exceptional films – sit on the edge of your seat and peek through your fingers scary. What will happen next? Who will be the next victim and how will it happen? In short, we really do not need ghosts to make a horror movie really scary. What we need is good acting, a plausible script, an eerie setting, a feeling of impending dread, and a sense of connection with the actors. All of these characteristics seem to be present in the latest horror film “Hereditary” by debut feature director Ari Aster – with one exception. The film just falls apart – script-wise – at the very end.
For most of two hours we are mesmerized by the acting and the juxtaposition of the mundane against the truly eerily horrible. We connect strongly with the characters – not knowing who is good and who is evil. We know something is terribly wrong with this seemingly wholesome family. Peter Graham (Alex Wolff), the son, is a high school teen who has a crush on a fellow classmate, smokes pot quite a bit, has buddies, is not above lying to his parents and seems always up for a party – a contemporary teen. His sister Charlie (Milly Shapiro) is a bit odd, even for a 13-year-old. She is a total loner who sleeps in a treehouse, makes quirky little figures out of odds and ends, and draws constantly when she is not otherwise occupied in a world of her own making. She also has an annoying habit of making clicking sounds with her tongue. Gabriel Byrne is the dad who appears to be a regular guy – a loving father, a sensitive and tolerant husband and the source of reason in this bizarre family. But all kudos go to Mom.
Toni Collette plays Annie Graham, the mom. We know something is not quite right with Annie. For starts, she creates scenic miniatures as a profession. She can usually be found in her workshop practicing her craft with a huge magnifying glass and tiny little brushes. Weirder than this is that these scenic tableaus are all over the house – set on tables, in nooks and crannies. And many depict her own family in their surroundings, so we are never sure if we are seeing a miniature or the real version until the camera pulls away. But when the camera pulls away, we do not feel any sense of ease. The house itself is a nightmare. It is a many-storied dark wooden structure which looks like it belongs in a horror movie. The interior is dark with wood paneled halls and dreadful decor. Think of the scary lodge in “The Shining” or the drabness of the Bates Motel in “Psycho.” It is a scary place. Whoever would choose to live there? Annie would.
Annie had been estranged from her mother most of her life – until the old woman developed dementia and came to live with the family. Estrange is not a powerful enough word. Annie loathed her mother. As the story opens, grandma has just died and is being put to rest in the local cemetery. The only one who is truly sad about this turn of events is the odd daughter Charlie. Mom takes it quite well and is creating a miniature of her late mom in hospice care – we never know why.
But Annie is the real force in this film. Her emotions are all over the place. Her grief, when it comes, is so profound that she can scarcely stand. Her anger, when it flares, is so cruel it causes us to gasp. In trying to come to terms with her grief, her character metamorphoses to someone who bewilders her family and terrifies the audience. Where is she going with her craziness? We are concerned because we have been through so much with her character. She has lived with tragedy and is merely trying to get on with life – to find some meaning in all the senseless distress that surrounds her. Somewhere in this part of the film – which has developed into a real psychological drama – Director Aster mysteriously and abruptly takes us to a place that is not worthy of the characters, the actors or the potential of the film. I am reminded of Agatha Christie who had a nasty habit of pinning the turning point of her mysteries on some obscure character or event which simply popped up out of the blue. She was often unfair to her readers in this way. And Aster is more than unfair to his audience when he takes this film into some ridiculous manufactured set of circumstances taken from a “D” rated horror flick. Don’t waste my time. How dare you make me like these characters and then turn them into fodder for a cheap trick. Too bad – you really had us going there for quite a while. This film had to potential to join the great iconic horror movies.
Like you, I couldn’t wait to see Sandra Bullock in “Ocean’s 8” – it sounded like a sure thing, considering the film’s male predecessors. I mean, a lovely little heist with a fabulous cast in some trendy clothes – what’s not worth anticipating? And, frankly, I have loved Sandra Bullock in most of her movies – she was totally fabulous in “The Blind Side,” and “Miss Congeniality” is an iconic hoot.
But, alas, the script is so flimsy and plodding that the movie falls flat on it larcenous face. Larceny is the basic plot of the film – and larceny is clearly at the heart of director Gary Ross who co-wrote the script with Olivia Milch. I didn’t expect much from Milch – her only claim to fame is a recent teen movie “Dude.” But Ross gave us such wry films as “Big” and “Dave” and the excitement of “Seabiscuit” and “Hunger Games.” So, I was expecting more from him. What a waste of time and talent. Perhaps he is off his medication.
Instead of a blockbuster film, audiences were conned into viewing a rather boring film that takes a painfully long time to set up – and, worse, it really does not capitalize on the talents of its cast. In that regard, it reminded me of “Book Club” – which was, at least, amusing at times. This cast consists of Bullock, Cate Blanchett, Anne Hathaway, Sarah Paulson, Mindy Kaling and Rihanna – as the larcenous eight who plan to rob a specific necklace encrusted with 6 pounds of diamonds which has been kept in a vault for 50 years.
Bullock stars as Debbie Ocean – Danny’s obviously younger sister who has just been released from a stint in jail – the result of a con by her former boyfriend (Richard Armitage). She swears to the parole board that she plans to lead a simple life and, upon her release, immediately embarks on assembling a team for one of the biggest gem heists in history. She has spent her entire time in the slammer perfecting the crime. She has a super cast of thieves who all play a role in the extravagant robbery. The venue is the fabulous Met Gala.
At the Gala event, look for cameo appearances by the following who play themselves: Celebrities Kim Kardashian, Heidi Klum, Kendal Jenner and Kylie Jenner; Tennis stars Serena Williams and Maria Sharapova; Vogue editors Anna Wintour, Hammish Bowles and Lauren Santo Domingo; fashion models Gigi Hadid, Hailey Baldwin and Olivia Munn; rapper Common; actresses Katie Holmes and Jaime King (appearing with Taylor Swift); designers Zac Posen, Tommy Hilfiger, Waris Ahluwalia, Alexander Wang; fashion author Derek Blasberg; and commercial diva Adriana Lima. This took a lot of doing. (You have to read this because I did a lot of research to get it right.)
The scenes at the Gala are dazzling. Bullock impersonates a Swedish (I think) bossy woman while her cohorts dash around as chefs, waitstaff, janitors, managers, etc. It sounds to me as if Bullock actually speaks Swedish – but if I don’t even know if she’s impersonating a Swede, there is no way I can possible attest to the veracity of the Swedish tongue.
There is one interesting twist in the plot at the end of the film and I won’t spoil that for you because I know you will want to see this regardless of my warning. It isn’t a total loss if you have to while away a raining afternoon. It is just another in a long series of disappointments coming from Hollywood. Hollywood has simply stopped producing good movies – relying on celebrity and star appeal, glitz, a rehash of the old stuff that once worked, and a dependence on a captive audience for all of its franchise films. During Hollywood’s Golden Era, there were a lot of “B” movies that were created. These films were low budget films which were designed to be seen in tandum with the feature film. Alas, that is what we are getting these days – a lot of “B” movies. The difference between today and the Golden Era is that you could always walk out on a B movie. But when the B movie is the featured production, it doesn’t make much sense. You would think that the world is positively bursting with great screen writers. Yet they never seem leave their mark on contemporary films – are they parking cars and waiting on tables? If Hollywood writes itself out of existence, it will be its own fault.
3 ½ Stars
Before we get into the content of this incredible movie, we need to set some things straight. It is not a typical “movie” – it is a “docudrama.” Which means that while much of it is true, the director (Chloe Zhao) took some liberties with the truth to create an interesting plot. But just as with documentaries, most of the characters in this film are real people – way more than you would have thought possible considering the script and the action.
Brady Blackburn (Brady Jandreau) was a rising star on the rodeo circuit. His specialty: bronco riding. He was barely out of his teens when he suffered a traumatic brain injury during a rodeo event. His foot got caught in a stirrup and he was dragged along and ultimately had his head stomped on by the horse.
When we first meet Brady in the film he is removing staples from his head which secures a large gauze bandage. Underneath is a huge incision, also secured with multiple staples. What we cannot see is the metal plate that is under the scar. Brady lives with his dad Wayne Blackburn (Tim Jandreau) and sister Lilly Blackburn (Lilly Jandreau) – yes, Brady’s real family.
The real Brady grew up on the Pine Ridge Indian Reservation in southwest South Dakota and was first placed on a horse when he was 15 months old. By the age of three he was riding competitively; and he was a competent horse trainer at the age of 12. He turned his talents to bronco riding until his fateful accident at the age of 20.
Here we pick up the story as Brady struggles with the stagnation of recuperating when his heart is still at the rodeo. His rodeo friends come to cheer him – all of them real rodeo cowboys. And when they gather together the talk often turns to the masterful bull riding performances of their friend Lane Scott. At various points in the film, Brady pays visits to Lane in a rehab facility, and I got the impression that the wheelchair bound Lane got his injuries bull riding. In real life, his injuries were the result of a serious automobile accident. But the point is, Lane was Brady’s mentor and best friend – Brady says Lane was like a brother to him. The scenes between the two are heartwarming as Brady communicates with Lane through hand signals and does everything he can to help Lane relish in the joys of his rodeo days.
When Brady is no longer able to work the rodeo circuit, he turns his attention to training horses. Brady has a special technique when “breaking” horses. He talks to them, gains their trust and coaxes them along to accepting saddle and rider. It is truly amazing to watch him ply his talents during these training scenes. In the script, Brady has a serious incident when out for a gentle ride across the plains. This results in his doctors telling him that he can never ride again without killing himself. So, Brady ends up working at a super market where he runs into his fans while stocking shelves and working the cash register. Fans stop him to take selfies. Others ask when he’ll be back on the circuit.
But for Brady, there is no acceptable alternate life apart from the rodeo or from training horses. You can’t do either if you can’t ride. That is the dilemma in the film. From my perspective it does not end happily – there is no real resolution in the film. And we are left to wonder how Brady will surmount this totally depressing circumstance. How do you build a life when all of your talents and interests are forbidden? That question is what makes this film so haunting and profound.
Brady is incredibly handsome and engaging. He has a very warm and easy aspect about him. Some of my favorite scenes are when he interacts with his old friend Lane or with his teenage sister Lilly. Although Lilly is mentally challenged, she has a frank and personable way about her. Her sense of good cheer is apparent whenever she is on the screen. She makes up songs, says goodnight to the setting sun, marvels at the stars and the cosmos, and firmly rebels against wearing a bra. All by herself she is a show-stopper.
This is a quiet film in many ways: the score is peaceful; the countryside is stunning; the characters are natural; and the scenes of Brady galloping across the grassy plains are stirring in their simplicity. Even if you have never ridden a horse, you can sense the convergence of peace and exhilaration that comes from loping across a slice of land with the wind in your face and sharing the natural rhythm of horse and rider.
I wish I could say that the story line ends on a positive note. But although there does not appear to be much of a future for Brady Blackburn, the real Brady has been able to continue his work as a horse trainer and is still able to sit tall in the saddle.
Sadly, I never got to see Ridley Scott’s “All the Money in the World” when it was released in time for Christopher Plummer, playing billionaire John Paul Getty, to be nominated for a Best Actor performance. The real stunning achievement of this movie, and a fact that will one day be forgotten, is that the elder Getty role was originally played by actor Kevin Spacey who was fired by 80-year-old director Scott one month before the scheduled release date as a result of the myriad sexual misconduct charges against Spacey. Bravo for Mr. Scott.
As a consequence, Christopher Plummer was enlisted to shoot all of the Spacey scenes, and it is a marvel that the result does not even appear as a blip on the film’s radar. This speaks volumes concerning Plummer’s ability and fortitude, I imagine, as well as the technical savvy of the crew.
The film cautions that certain liberties were taken with some of the facts, but the story is essentially true to life. In the 1970’s Getty’s grandson John Paul Getty III was living in Italy with his drug addicted father when the young heir was kidnapped off the street by a group of opportunistic thugs who held Junior for $17 million in ransom, believing that such a sum would be chump change for grandpa Getty. At the time, Getty was reputed to be the richest person in the entire world. I remember this ignoble era in Italian history as a time when there were multiple kidnappings of monied people. But this particular kidnapping was among the most notorious and one that took a long time to negotiate.
The kidnappers had not considered what an appalling miser the elder Getty was – a man who chose to wash his own underwear and hang it to dry in his five-star hotel bathroom rather than pay to have this service done by hotel professionals. So, it is no wonder that Getty refused to pay the ransom – claiming that to do so would start a trend with no end in sight. In fact, Getty would hold out for as long as he could until his accountants devised a way for him to pay the ransom and take a full tax deduction. This says volumes about the shortcomings of Getty’s character. Plummer’s portrayal is so believable that I found myself alternately amazed and repulsed by Getty’s total lack of humanity and empathy.
Even when the ransom is reduced by three-quarters and his grandson’s ear arrives in the mail showing the seriousness of the thugs, Getty is unmoved. It takes his former daughter-in-law Gail Harris (Michelle Williams) ultimately to secure her son’s return. Williams is excellent in her role. The elder Getty has essentially stripped her of her rights to her own children and left her penniless. Yet in the many scenes when she must confront her former father-in-law with her son’s life hanging in the balance, she maintains a controlled edge to her approach so as not to further alienate the one person capable of determining the outcome of this horrible adventure.
Mark Wahlberg plays the role of Fletcher Chase, the one-time CIA operative turned business manager for the old man. It is only through his relationship with Williams that he seems to regain some perspective on what it takes to return to being human.
This is a good film and worth watching. We are told that, even with his incredible fortune, Getty never contributed a dime to charity. It was only when the family wealth which was bequeathed to the grandchildren that Gail Harris was able to assert her influence over the fortune. Getty had squirrelled away an unbelievable treasure trove of art and fine artifacts which ultimately became the basis for the Getty Museum. Most of the family fortune was thereafter directed to charity – something which surely caused the old man to turn over in his grave. One assumes if he could have returned from the grave by making a pact with the devil that he would have done so. By all appearances, he already had done this during his lifetime.
2 ½ Stars
If you are in love with the movie “Book Club” do not read further. I had read the reviews and decided not to see this chick flick. But when a friend declared that she was going to see it for a second time and was arranging a group to join her, I thought I should give it a try.
I’m not sorry I saw it, but I could easily have waited for Red Box or Netflix – and, frankly, I think it could have been more fun – pause for a popcorn break or to crack open another cold one. But instead, I saw it with a close friend and fellow movie-goer who always enjoys a good laugh – we have been known to exhaust ourselves laughing at some very funny flicks. Alas, our laughs were most welcome but few and far between. So, what is wrong with this movie? It has four fabulous stars and a great supporting cast of terrific character actors as well as a rare appearance by Don Johnson. Sounds like a formula for success to me.
Let’s start with the story line. Summary: four girlfriends in their 60’s meet monthly for their book club and decide to read the entire trilogy of “Fifty Shades of Grey.” Consequently, they generally feel something may be missing from their own sex lives. As fate would have it, two incredibly handsome men pop up in the lives of Vivian (Jane Fonda), a never-married who owns a posh hotel, and Diane (Diane Keaton), who is recently widowed and bullied by her grown daughters. Arthur (Don Johnson) shamelessly pursues Vivian who is terrified of a close relationship; and Mitchell (Andy Garcia) instantly falls for the widow Diane and lures her to his fabulous private estate in breathtaking Sedona, Arizona. Sharon (Candice Bergen) is a federal judge who has been divorced for 18 years from Tom (Ed Begley, Jr.) who has recently become engaged to a girl barely out of braces and acne treatments, whom Tom has met on line. This inspires her honor to join an on-line dating service – with some interesting results. This leaves Carol (Mary Steenburgen), who is married to Bruce (Craig Nelson), who has recently retired from work and from all things emotional.
Well, this could be amusing. But it really isn’t nearly funny enough. I found it more interesting to see the clothes and hairstyles of the women than to hear their unfunny lines. Vivian and Arthur are old lovers and frolic in a public fountain which, at most, brings on an amusing smile. Diane and Mitchell are discovered by her children floating on a giant swan in the middle of Mitchell’s swimming pool. Sharon is presiding over a pre-trial hearing when her computer sets off sexual transmissions. And poor Carol is forced to tap dance solo when her husband ditches the dancing lessons.
It was refreshing to see Wallace Shawn and Richard Dreyfuss show up as Keaton’s blind dates. I would not have minded that myself. Andy Garcia plays an airline pilot who doesn’t need to work for a living due to an invention he made years earlier; and he still looks awfully good. It was most refreshing to see Don Johnson come out of hiding after so many years (remember Sonny from “Miami Vice”?). And at the age of 80, Jane Fonda looks amazing (Whatever the cost and pain, it was worth it!). Although the starring women are supposed to be in their 60’s in the story line, only Mary Steenburgen really is. But it was not a stretch to imagine any of these gals in their 60’s. What is it with Diane Keaton and those turtlenecks?
Clearly, Bergen had the funniest schticks. She runs into her ex at a bar just as her blind date Dr. Derrick (Wallace Shawn – “My Dinner with Andre”) shows up. The best part is when her friends try to fit her with a total-body Spanks. Bergen is constantly charming and amusing and has a great sense of comedic timing. Alas, she is the only one. All that being said, “Book Club” is pleasant entertainment at a time when Hollywood seems to have gone on hiatus. With not a lot of worthy movies in the hopper, this was an agreeable movie-going experience. As they might say on American Band Stand: “I’d give it a 65; it has a good beat and you can dance to it.”
2 ½ Stars
We are experiencing the most Saharan era in filmdom that I can ever recall. With the exception of the Marvel franchise, there has not been a noteworthy movie released since the Oscars aired – and what a pitiful viewing experience that was. I can recall nothing this barren for such an extended period of time. If I were still writing for the newspapers, I would be sorely challenged to find a film to review on a weekly basis. For this reason, dear movie fans, I am steering you to your own televisions or other device that streams movies. So, bear with me. Whatever you do, do not waste your money on a movie in the theaters without first reviewing it from a source you trust. I think most of the time Rotten Tomatoes provides an accurate consensus. But beware! If the positive reviews are translated from a foreign language, I would steer clear.
I recently viewed a very entertaining first movie directed by Oren Uziel who wrote the screenplay for “The Cloverfield Paradox.” This is an entertaining black comedy/crime story with a fascinating cast of characters and a novel approach to the story-telling. The story is told backwards in time. Some critics found this tedious, but I found it added interest – I like filling in the dots and was tempted to watch the movie over again to see where the threads hung together.
The story begins on a Friday morning. Andy Sikes (Rainn Wilson) is hiding out in his own basement, having just robbed the local bank. His brother Zeke (Benjamin Walker) just happens to be the sheriff and is having breakfast at his brother’s house with Andy’s zany wife Martha (Angela Vint) and precocious five-year old daughter. Martha is a notoriously dreadful cook who is constantly enlisting her brother-in-law for family meals in her husband’s mysterious absence. So often is he sharing a meeal at his brother’s house, that his niece asks if he is going to bee her new daddy. The bank heist has already occurred when the story begins. The bank is owned by judge Dawkins (John Michael Higgins; RIP) who appears to be involuntarily in on the heist.
There are some interesting low life locals played by Wyatt Russell and Adam Pally – part of the trio of bank robbers. And the FBI moves in with a couple of characters stolen from a Laurel and Hardy skit: Rob Corddry and Ron Livingston. Each day ends unexpectedly and begins the previous morning with a whole new set of characters. There is even a twist ending which I did not see coming.
This movie is not for everyone. But for me it was a delightful way to spend an evening watching a movie at home since the local theaters currently have nothing to offer. So if you will excuse me, I may go back to watch “Shimmer Lake” from the beginning.
2 ½ Stars.
If you saw Steven Spielberg’s “Ready Player One” and were either on stimulus over-load or scratching your head thinking you must have entered the wrong theater, you are probably not alone. This is not the Spielberg of old – and so what?
The movie takes place in Columbus, Ohio in 2045 – a city unrecognizable in its shantytown ugliness and precarious construction. Think: trailers on stilts piled on top of each other in some sort of tenuous arrangement. Seriously, are there no engineers left? Well, it is after the “bandwidth riots” and reality really sucks. So, everyone is tuned in on a headset to a virtual world known as the Oasis which was conjured up by a now-deceased genius called Halliday (Mark Rylance).
Halliday left a game – or series of games – in which the ultimate prize is command of the Oasis. While anyone can enter the game, in seven years no one has solved the puzzle – which requires the winning of three magical keys by playing a variety of games pulled from various video games. The ultimate win leads to a glowing egg. Okay, it sounds really stupid. But wait.
In this virtual world everyone has an avatar, including the deceased Halliday (okay, he is dead, so it is a hologram). Our hero, Wade Watts (Tye Sheridan), is a teen orphan living with his aunt (Susan Lynch) and a variety of her male abusers/losers. No wonder that Wade has to hide out in a secret place under a pile of junk and assume the avatar ID of Parzival. It’s not a good idea to use your real name as Wade eventually finds out. His love interest is a sexy girl avatar named Art3mis (sic) (Olivia Cooke).
Plotting against the couple – and everyone else in the film – is the evil Sorrento (Ben Mendelsohn) who leads a high-tech corporation with Mafia-like tactics who has its eye on the prize so it can rule the Oasis. Sorrento is a scary figure but he is one of those guys who doesn’t know what he doesn’t know so he is constantly over-ruling his more able assistant (Ronke Adekoluejo).
Well, we know where this is heading. But along the way we are treated with a variety of nostalgic references created by Halliday who was taken with pop culture of the 1980’s: “Back to the Future,” “Batman,” “Ferris Bueller’s Day Off,” “Willy Wonka and the Chocolate Factory,” “Starwars,” “Alien”, as well as Duran Duran, Van Halen, the Bee Gees, and Michael Jackson and, yes, Tab – the old no-cal beverage. And the list goes on and on. There are over twenty songs in the soundtrack, and it’s kind of fun also to identify some of the lightening-fast references of old.
This film has its origins in Ernest Cline’s nerdy sci-fi novel of the same title. If you aren’t a geeky gamer, this film may not mean much to you. But there are whole generations out there for which this film will resonate.