This Is a Movie Review: Brad Pitt Takes Matter Into His Own Hands in the WWII Thriller ‘Allied’

November 21, 2016

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Brad Pitt plays Max Vatan and Marion Cotillard plays Marianne Beausejour in Allied from Paramount Pictures.

This review was originally published on News Cult in November 2016.

Starring: Brad Pitt, Marion Cotillard, Jared Harris

Director: Robert Zemeckis

Running Time: 124 Minutes

Rating: R for the Horrors of War

Release Date: November 23, 2016

The World War II thriller Allied has a hell of a premise: intelligence officer Max Vatan (Brad Pitt) is informed that his French wife Marianne Beausejour (Marion Cotillard) may actually be a sleeper spy for the Germans. If she is, he must execute her himself or face hanging for high treason. This is the sort of flashy, adult-oriented actioner that can only get studio backing if the biggest star in the world is in it, and that few directors besides Robert Zemeckis (Back to the Future, Beowulf, Flight) are interested in making anymore. That’s a shame. Allied does not set any gold standards, but it is the sort of perfectly enjoyable effort that Hollywood should be cranking out with ease.

Do not let my pleasant but uninspiring description fool you into thinking that Allied lacks personality. Indeed, its best scene is both Max and Marianne’s sexual linchpin and the prime CGI showcase. Their relationship is confirmed as more than just the bonding of fellow warriors as they find themselves stuck in their car in the middle of a sandstorm. The camera rotates with the force of the environment, as the editing pace intensifies, placing them in a transformational vortex, which serves as the point of no return.

As Max disobeys orders and takes the investigation into his own hands, the twists pile up and complicate the initial assessment of Marianne. Yet the plotting remains straightforward. This is the Occam’s razor of spy thrillers: British intelligence may have a reputation for playing head games with its officers, but sometimes the most simple subterfuge is the correct explanation. Furthermore, while Allied’s official reports may be fudged a few times, its emotions never are. Subtlety may suffer, but integrity (and honor in a very classic sense) survives.

Allied is Recommended If You Like: Casablanca, Valkyrie, Thrillers About the Wrongly Accused Directed by Alfred Hitchcock or Those Influenced by Hitchcock

Grade: 3.5 out of 5 Looks of Anguish from Brad Pitt

This Is a Movie Review: The Edge of Seventeen

November 18, 2016

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the_edge_of_seventeen

This review was originally published on News Cult in November 2016.

Starring: Hailee Steinfeld, Woody Harrelson, Kyra Sedgwick

Director: Kelly Fremon Craig

Running Time: 99 Minutes

Rating: R, But It Should Really Be PG-13 Because We Should Be More Comfortable with the Fact That Teens Are Sexual Creatures

Release Date: November 18, 2016

Some of the most memorable moments of The Edge of Seventeen remind me of RuPaul’s Drag Race, specifically the reality show’s “Reading is Fundamental” segments (which were in turn inspired by the drag ball documentary Paris Is Burning). “Reading” is basically insult comedy, with everyone in the room taking turns as insulter and insulted – so, you know, a roast, but the drag queen version, i.e., bitchier and wittier. But there is also a sense of perfecting one’s craft and being there to support each other. Much of Edge of Seventeen’s dialogue has this acidic streak, even though every character is fundamentally on one another’s side. Woody Harrelson at one point informs our heroine Hailee Steinfeld, “Maybe nobody likes you” – despite being her closest confidante and that line being part of a pep talk to raise her spirits.

Everything starts falling apart right from the start when high school junior Nadine (Steinfeld) discovers her best friend Krista (Haley Lu Richardson) hooking up with her brother Darian (Blake Jenner). Nadine declares that Krista must choose between her and Darian; Krista refuses to play along, but Nadine is so stubborn and thus she suddenly finds herself friendless. It is hard for me to relate to this type of conflict, because if one of my siblings started dating one of my best friends, I would be thrilled! They might officially become part of my family! (That specific argument is actually made to Nadine.)

However, I do realize that not all brothers and sisters get along that well. But what is maddening is that as much Nadine frustrates Darian, he clearly wants a good relationship with her. The source of this friction is possibly the death of their father five years earlier. It is implied that Nadine feels alienated from her brother and her exhausted mother (Kyra Sedgwick) because of their different methods for handling grief. She also may be suffering from depression or anxiety, which does not make her self-centeredness any less maddening, but at least it makes more understandable.

I am a little torn about how to assess Edge of Seventeen. Nadine is a supremely frustrating character, constantly making hurtful decisions when she intellectually must know better. But she is also easy to fall for. Part of that is because she is played by the guileless but fierce Steinfeld. A bigger part is the fact that when she actually does realize there are other people who have experienced pain she like has, she becomes a fun person to open up to. I may have to catch a few re-watches at home over the next several years to cement this as a classic, but for now it at least undoubtedly has my attention.

The Edge of Seventeen is Recommended If You Like: Clueless, Silver Linings Playbook, Teenagers Played by Actual Teenagers and One Token 30-Year-Old

Grade: 3.5 out of 5 Accidental Sexts

This Is a Movie Review: Manchester by the Sea

November 18, 2016

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manchester-by-the-sea-casey-affleck-lucas-hedges-promo

This review was originally published on News Cult in November 2016.

Starring: Casey Affleck, Lucas Hedges, Kyle Chandler, Michelle Williams

Director: Kenneth Lonergan

Running Time: 137 Minutes

Rating: R for Adult Themes Discussed and Left Undiscussed

Release Date: November 18, 2016 (Limited)

In Manchester by the Sea, Boston handyman Lee Chandler (Casey Affleck) must return home to his Massachusetts fishing village hometown after the death of his older brother Joe (Kyle Chandler). He is then shocked to discover that Joe has entrusted him as the sole guardian of his teenage nephew Patrick (Lucas Hedges). As he struggles to settle back into life in Manchester-by-the-Sea, he must deal with returning to a place where his existence is practically an urban legend and crossing paths with his ex-wife (Michelle Williams) after their marriage ended in tragedy.

That sounds like a formula for a bummer, and indeed the emotions are often heavy. But if you come in stealing yourself for non-stop depression, like I did, then you will be pleasantly surprised by how much humor there is. At times it plays like an odd couple buddy comedy between Affleck and Hedges, even when long-simmering familial tensions are at their most contentious. The two even act as impromptu wingmen for each other. The film’s sexual politics involving adolescents and how much parents are privy to them are both progressive and screwball.

But Manchester by the Sea undoubtedly belongs to Affleck. I had heard his is one of the best performances of the year. So I was on the lookout for any clear techniques that would show off his emotional prowess, which are not obvious. Do not be fooled though. I have been won over, even though I cannot pinpoint any one at which I would say, “There it is!” Perhaps you will feel the same way.

The question of why Lee’s life has ended up the way it has is pressing at every turn. He has been the victim of multiple tragedies, but that can hardly be the entire source of blame, as his hotheadedness is constantly betraying him. For anyone who has ever had loved ones drag themselves and everyone else down, take a breath, and then take several more, as you stick with the duration of this film. It will reward you for your patience.

Manchester by the Sea is Recommended If You Like: Hanging out with the family, Bah-ston accents, A Surprise Cameo from a Cinematic Icon

Grade: 4 out of 5 Sucker Punches from Casey Affleck

This Is a Movie Review: The Handmaiden

November 12, 2016

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the-handmaiden

Oldboy director Park Chan-wook’s lavish “romance” mystery The Handmaiden has earned praise for its devastating twists, and there is indeed a doozy that upends everything about a third of the way through. And then there is another doozy about 2/3 of the way through that pushes that upending even further along the track. Now I’m not about to tell you that those twists are not what this film is really all about, because they’re great, and they lend The Handmaiden its power. But if you focus on them at the expense of everything else, then you are an inexplicable individual, because there is so much else going on that is impossible to ignore: finely woven costumes, extravagant set design, ACTING! Let me leave you with this: the culture of tentacle porn is a big influence.

I give The Handmaiden 8 Uses of Tongue out of 10 Goofy Paintings.

This Is a Movie Review: Arrival

November 11, 2016

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arrival_movie

This review was originally published on News Cult in November 2016.

Starring: Amy Adams, Jeremy Renner, Forest Whitaker, Michael Stuhlbarg

Director: Denis Villeneuve

Running Time: 116 Minutes

Rating: Rated PG-13 for Visceral Disorientation

Release Date: November 11, 2016

Arrival takes the novel approach of making translation the focus of an alien invasion movie. Amy Adams plays Dr. Louise Banks, a renowned linguist hired to attempt to communicate with extraterrestrials to understand the purpose of their visit to Earth. This may sound like a formula profoundly devoid of excitement, but if you believe that, then you are vastly underestimating humanity’s potential for paranoia, as well as director Denis Villeneuve’s (Prisoners, Sicario) proven knack for drawing out intrigue by just lingering on the vastness of his settings. Also, if you can get over the lack of typical sci-fi action, Dr. Banks’ sessions with the two main “heptapod” aliens (dubbed “Abbot and Costello”) are a lot of fun, in a Sesame Street-edutainment sort of way.

Ultimately, Arrival justifies its existence by demonstrating that the question of how to talk to the aliens should pretty much always be one of the most pressing concerns in this genre. More fantastically inclined entries may get away with universal translation devices, but the road to such an invention, as presented here, is a thrilling triumph of human ingenuity and transcendent gumption.

Cracking the code of whether or not the aliens are friend, foe, or something else entirely requires an entirely new way of thinking. Understanding context is always important when it comes to communication, but this is a film about when context does not exist, which is existentially terrifying. In the fight to create context, what emerges is a holistic approach that is simultaneously not at all about cracking any code and entirely about cracking a code that both exists and does not exist. To truly understand Arrival, you must accept that it can never be understood. This is filmmaking at the crossroads of theoretical physics, hope, and the sublime.

Arrival is Recommended If You Like: Primer, Close Encounters of the Third Kind, the quieter moments of 2001

Grade: 4.5 Out of 5 Droopy Forest Whitaker Eyelids

This Is a Movie Review: Loving

November 3, 2016

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loving-movie-ruth-negga-joel-edgerton

This review was originally published on News Cult in November 2016.

Starring: Joel Edgerton, Ruth Negga, Nick Kroll

Director: Jeff Nichols

Running Time: 123 Minutes

Rating: PG-13 for Prejudice and the Paranoia That Goes with It

Release Date: November 4, 2016 (Limited)

Director Jeff Nichols is known for including a tinge of the supernatural in his films, especially the apocalyptic Take Shelter and the little-kid-with-mysterious-powers thriller Midnight Special. But even in his ostensibly more realistic pics, like the Southern McConaissance drama Mud, there is a spiritually arousing sense of magic in the air. His latest, Loving, which tells the true-life story behind the 1967 Supreme Court case that struck down the last of this country’s anti-miscegenation laws, achieves that same miraculous sense of wonder by keeping the focus on the day-to-day realities of committed romance under siege.

As Richard (Joel Edgerton) and Mildred (Ruth Negga) Loving’s case makes it way from the local county court to the Virginia Supreme Court all the way to the highest court in the land, there are surprisingly few scenes that actually take place inside a courtroom. The message effectively becomes: love speaks for itself. The film does not see the need for showstopping dramatic speeches, because who needs to be convinced about the rightness of what those speeches would say? Instead, the story mostly sticks with the Lovings’ domestic life, which is constantly under siege, but resolutely tender.

Despite Loving’s lack of interest in legal jargon or courtroom clichés, it does make time for a mini-arc for the titular couple’s main lawyer. When we meet him, Bernard Cohen (Nick Kroll) has little experience with civil rights cases, but he is ambitious enough, or foolhardy enough, to plow right ahead to a potential meeting with the Supreme Court. The casting of Kroll, as much of a novice to high-profile drama as Cohen is to precedent-setting litigation, proves surprisingly apt.

As essential as Kroll’s performance is, it is (like the rest of the movie, and as it should be) all in service to the Lovings. The key line comes when Cohen asks Richard, who has declined to appear during the Supreme Court hearing, if he would like him to tell the justices anything. “Tell the judge I love my wife,” he declares softly but demonstrably.

Edgerton plays Richard as a man who just wants to get on with making a good life for his wife and children. He is uncomfortable with the media attention his marriage receives and flummoxed by the prejudice it engenders. This is in sharp contrast to Negga, who plays Mildred with fragile expressions that belie her steely emotions. Their complementary approaches to overcoming the ordeal of their life are inspiring. It feels like they were destined to be the couple to break down barriers. The poetic perfection of their last name also contributes to that sense. If they were not already called the Lovings, supernaturally inclined Jeff Nichols would have had to christen them thus.

Loving is Recommended If You Like: To Kill a Mockingbird, That feeling you got when the Supreme Court ruled gay marriage constitutional, Actors who look just like the real people they’re portraying

Grade: 4 out of 5 Loves That Conquer All

 

This Is a Movie Review: Doctor Strange

October 31, 2016

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doctor-strange-close-up-with-buildings-in-background

This review was originally published on News Cult in October 2016.

Starring: Benedict Cumberbatch, Chiwetel Ejiofor, Tilda Swinton, Mads Mikkelsen, Rachel McAdams

Directors: Scott Derrickson

Running Time: 115 Minutes

Rating: PG-13 for fantastical bumps and bruises and a gruesome accident

Release Date: November 4, 2016

Now at 14 films strong, the Marvel Cinematic Universe shows no signs of abandoning its (consistently profitable) template: initial humbling, transformative origin, world-threatening climax. Doctor Strange is not interested in (or prohibited from) straying from that template, but it does mess with the rules in ways that do right by its protagonist.

That transgressive attitude is there right from the start. Stephen Strange is a highly respected and highly arrogant neurosurgeon whose superheroic path is catalyzed by a car wreck that is as horrific and as indulgent as a PG-13 rating allows. The comic book model often begins with these intense powder kegs, but they are rarely this visceral, unless they are making a show of being “adult,” which is not what this entry is all about.

With his hands left stubbornly tremorous, Strange is enticed by the promise of an alternative treatment in the mountains of Nepal. While initially prone to skepticism about the sorcery he encounters, he hears out the pitch, perhaps because all characters played by Chiwetel Ejiofor or Tilda Swinton exude confidence. Convincing Strange could have been drawn out, but that likely would have been tiresome, so instead he is soundly convinced by a cosmic trip that achieves cinematic psychedelia unheard of for decades.

Of course, this all leads to a grand climactic battle – this time, a traitorous rebellion led by a former pupil (Mads Mikkelsen). As usual, the entire planet is at threat, but Dr. Strange is sly about how this comes to pass. With much of the action taking place in the “Mirror Dimension” or “astral planes,” the world at large generally has no idea what is going on.

Basically, while Doctor Strange must work within constraints, it has no intention of dialing back the pizzazz. And why should it, considering that so many of its characters can bend the very nature of reality? The film’s most striking visuals – rolling skyscrapers, warped cityscapes – are obviously reminiscent of Inception. That earlier dreamscape flick famously utilized primarily practical effects, while Strange quite obviously employs CGI. That is not a knock – this is perhaps the most artful use of impractical effects of all time. As Stephen Strange learns in his hero’s journey, it’s all about playing to your strengths.

Doctor Strange is Recommended If You Like: Inception But Wish It Had Been More Maniacal, 2001, a Healthy Helping of Looney Tunes

Grade: 4 out of 5 Astral Bodies

 

This Is a Movie Review: Keeping Up with the Joneses

October 24, 2016

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DF-13591_R2 - It’s been a rough day for suburban couple Jeff and Karen Gaffney (Zach Galifianakis, Isla Fisher) and their neighbors, the covert spies Mr. and Mrs. Jones (Gal Gadot, Jon Hamm). Photo Credit: Bob Mahoney.

There is a deep well of kindness to all the characters that Zach Galifianakis plays. As an HR manager in the suburbanites-caught-up-in-spy-intrigue action comedy Keeping Up with the Joneses, this quality is more relevant than usual. He listens and keeps an open mind, which new neighbor Jon Hamm appreciates even as he is pressing him to divulge information that is sensitive to national security. The film utilizes that empathetic quality, but it feels accidental or noncommittal about it. The climax features the cartoonishly high stakes typical of mediocre action comedies, but with a game cast adept at offbeat line readings, it could have aimed for something more eccentric.

I give Keeping Up with the Joneses 11 Moments of Genuine Connection out of 20 Subterfuges.

This Is a Movie Review: Ouija: Origin of Evil

October 24, 2016

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ouija-origin-of-evil

A bit of fanfare has been made director Mike Flanagan’s use of split diopter shots and insistence on inserting cigarette burns in the corner of the screen in Ouija: Origin of Evil. These techniques work with the retro vibe in this ’60s-set horror prequel, but this is more than just aesthetic fetishism. They speak to the great care given to constructing the whole film. You’ll see the denizens of the spirit world lurking around the corners, and occasionally bursting into the foreground, but only when you are damn well supposed to.

The fact that Ouija: Origin of Evil is so thorough might lead viewers to make some faulty conclusions and connections, which may just be intentional, and even if they are not, they are still disorienting in a way that great horror often is. One of the main girls is played by Annalise Basso, who was previously in the underrated Oculus, also directed by Flanagan. As Ouija becomes increasingly trippier, it almost feels like Basso is playing the same character she did in (the very trippy) Oculus. Of course, Origin of Evil is actually a prequel to another Ouija movie, but not very many people saw that and I imagine those who did promptly forgot about it.

Much of the success of Origin of Evil rests on the little shoulders of Lulu Wilson, who plays the younger and more possessed of the two main girls. She continues a long and vaunted tradition of creepy horror kids, establishing her own place in this hall of fame by adding hints of nonchalance and ace comic timing. There is one moment when she replaces the second half of an oft-repeated mantra with “blah blah blah,” which is liable to floor viewers with an unexpected chuckle. This film does not reinvent the supernatural genre, but it never lets you take it easy.

I give Ouija: Origin of Evil 8 Skeletons out of 10 Crawlspaces.

This Is a Movie Review: The Girl on the Train

October 16, 2016

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girl-on-the-train-looking-out-the-window

We’re not going to hold The Girl on the Train to the same standard as Gone Girl, are we? No, because individual films are their own things, but still, comparisons can be illuminating. And these two female-led/female-titled page-to-screen sensations go together more than just superficially. Both films have plenty to say about being pegged into gender roles, and how unreliable narrators can obscure the truth of those messages, but on the Train gives itself much less room to explore those ideas than Gone does. It either thinks they will stand clearly enough on their own or does not realize how much they are there in the first place. So what we are left with is an excellent lead performance in an adequately pulpy, but mostly disposable thriller.

I give The Girl on the Train 70 Vodka Swills out of 100 Truth Revelations.

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