‘The Rhythm Section’ Abandons All Clarity in the Name of Single-Minded Revenge

January 29, 2020

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CREDIT: Paramount Pictures

Starring: Blake Lively, Jude Law, Sterling K. Brown, Raza Jaffrey, Max Casella

Director: Reed Morano

Running Time: 109 Minutes

Rating: R for Guns Mainly, Plus a Few Needles, and By-the-Book Sex Appeal

Release Date: January 31, 2020

In The Rhythm Section, Blake Lively goes by the name Stephanie Patrick, but while she is on her revenge mission, she assumes the identity of a woman named Petra, an assassin who recently disappeared and presumably died. Also, heading back to early in the film, she’s making ends meet as a prostitute who goes by whatever name her clients want her to have. That lack of identity is telling. We know what motivates her (avenging the death of her family in a plane crash), but we never really learn who she is on a more fundamental level. That elemental minimalism can work in an action flick, but I get the sense that The Rhythm Section wants us to understand the context surrounding Stephanie’s mission, but explanation thereof never fully arrives.

That identity crisis extends into just about every facet. For example, the title is a supremely non-obvious one for a movie that doesn’t have anything to do with music. Its meaning is provided when an even bigger question mark of a person, as played by Jude Law, tells Stephanie in the course of training her to become a killer that she must keep her internal rhythm section steady. Her heart is the drums, and her breathing is the bass. This fairly fascinating idea is never referenced again at any other point. I suppose that Stephanie certainly breathes hard and her heart pounds when she gets into some deadly situations, but that is not emphasized in a way that it is calling out to be.

So much of The Rhythm Section is an enigma. Stephanie looks like a pretty well-off young adult before her family dies, so why she must turn to prostitution is anyone’s guess. (Maybe, maybe, it’s her path into the underworld of assassin-ry.) And her entire physicality is plainly bizarre. During the main training montage, she seems completely incapable of running like a normal human being, with her arms flailing and torso bent at a nearly ninety degree angle. It’s certainly a bold acting choice on Lively’s part. Maybe it’s a physical manifestation of the agony of trauma. Anyway, this all leads into a cat-and-mouse game between Lively and Sterling K. Brown, which should be dynamite, but it’s built upon the barest bones of a structure.

The Rhythm Section is Recommended If You Like: Vaguely high-profile cinematic oddities

Grade: 2.5 out of 5 Reluctant Kills

‘Just Mercy’ One Month After It Came Out Review

January 28, 2020

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CREDIT: Warner Bros.

There is a moment late in Just Mercy when death row inmate Walter McMillan’s (Jamie Foxx) conviction is suddenly overturned because the prosecuting representatives of Alabama suddenly decide to agree with the defense. It sounds pretty unbelievable, considering how the state has hitherto stubbornly refused to acknowledge the total lack of evidence against him, but apparently that’s how it actually went down. And that’s Just Mercy in a nutshell: agonizingly frustrating miscarriage of justice that keeps persisting, and then from out of nowhere sudden satisfaction in the form of a full exoneration. In simple terms, that makes this true life story successful, but in deeper terms, I would’ve liked it to explore what motivated that reversal a little more. That element is a big deal and quite unique compared to other stories of the wrongfully convicted. But while Just Mercy could have been a little more risk-taking, it’s still a net good to see the work of the Equal Justice Initiative on screen.

I give Just Mercy 3 Testimonies out of 5 Phony Deals.

‘The Assistant’ Presents the Banality That Goes Hand-in-Hand with Toxic Abuse

January 27, 2020

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CREDIT: Ty Johnson/Bleecker Street

Starring: Julia Garner, Noah Robbins, Jon Orsini, Kristine Froseth, Matthew Macfadyen

Director: Kitty Green

Running Time: 85 Minutes

Rating: R for Some Profanity and Implications of So Much Worse

Release Date: January 31, 2020 (Limited)

The Assistant is five minutes short of an hour and a half, and yet is still somehow the most patience-testing movie I have seen in quite some time. I am not sure if I mean that as a criticism or an acknowledgement of a challenge. Every last frame features the drudgery of office work at a film production company. The subtext of a major scandal rotting within is ever-present to the point that it is practically text, but it never comes to the fore. There is one sequence when titular assistant Jane (Julia Garner) attempts to uncover the truth (or some piece of it) by speaking to an HR representative (Matthew Macfadyen), who grinds away at her spirit and convinces her to not throw away the supposedly wonderful opportunity she’s been given by blabbing about something she knows nothing about. But otherwise, she experiences rather mundane workday stressors: a paper jam here, a paper cut there, a botched lunch order here, a missing note in a finance report there. All that isn’t anywhere near enjoyable to watch, even if you support the larger social purpose that this movie can (hopefully) serve.

And yet, as frustrated as I was while watching The Assistant and immediately after, in the days since, my default feelings have become more uniformly positive. Those little details that in the moment felt so pointless now seem like an important part of creating a full picture for generating empathy. The head of the company is never seen, barely heard, and only ever referred to as “he,” but to anyone who has been paying attention to the headlines the past few years, it is clear that he is based on Harvey Weinstein. With that in mind, The Assistant is like an anthropological presentation on what it is like to work day in and day out for a boss who’s a serial abuser. (And in fact, writer-director Kitty Green spent a year researching the subject to create as fully accurate a picture as possible.) To understand how such a dehumanizing culture can flourish, you need to get inside it, and The Assistant places us right in the middle.

The Assistant is Recommended: Even if it sounds like a painful experience

Grade: 3.5 out of 5 Stressors

Jeff’s Wacky SNL Review: Adam Driver/Halsey

January 26, 2020

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CREDIT: Will Heath/NBC

It’s the first SNL of 2020. We diddddd it!

So in the spirit of moving forward, I’m going to take a moment to look back. When I first started writing up SNL episode recap/reviews, I would usually watch some of the episode as it aired live (typically until around Update) and then go to bed and watch the rest on Sunday morning. But as I got older, I realized that I tended to get tired at nighttime and preferred going to bed before the show started and thus I would watch it all on Sunday morning. But this time, I got back in my old groove and watched the first couple sketches before tucking in for the night (though slightly DVR-delayed). I didn’t feel too tired, and the Australian Open was on, so I decided to roll with how I was feeling. Just so you know. Also, I had a milkshake while watching. I really had a hankering for one!

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‘Color Out of Space’ is Here to Blow Your Mind Just as You Asked

January 25, 2020

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CREDIT: RLJE Films

Color Out of Space is basically the inverse of Cats. While the nonsense with the Jellicles was disturbing in just the ways one would expect, this blast of no-holds-barred horror sci-fi is satisfying in the ways that you would expect a movie based on an H.P. Lovecraft short story starring Nicolas Cage and directed by Richard Stanley after a long stint in director jail to be. In many ways, it’s like Annihilation but if instead of starring a quintet of women, it starred Cage with his typical five-times-bigger-than-the-average-person personality. After a couple hours’ journey through an unremitting vision, it concludes on a note (for the survivors) of “Well, that was weird. At least now we can move on with our lives.” And you can, too!

I give Color Out of Space A Million Colors Into My Face.

Best Songs of 2019

January 25, 2020

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CREDIT: Tove Lo/YouTube Screenshot

The following are the singles that had enough of an impact on me in 2019 to make me go, “I’ll have to mark that one down for posterity.” A few of them were originally released before 2019, but they didn’t reach their full cultural impact until 2019. And for the first time in the decade or so since I’ve been doing this, I’ve got a repeat winner, as I also coronated Tove Lo in 2017.

1. Tove Lo – “Glad He’s Gone”: Such friendship, such storytelling. We are all so blessed to have Tove Lo in our lives.
2. Lana Del Rey – “Mariners Apartment Complex”: Four minutes of musical madness that feels like hours of bliss.
3. The Chemical Brothers – “Eve of Destruction”: If you think the world’s gone to hell, have a dance party!
4. Vampire Weekend – “Sunflower”: There have been multiple (good) songs named “Sunflower” the past few years; this is the one that’s most likely to make you feel like a sunflower waking up in the morning.
5. Lizzo -“Truth Hurts”: 100% that mix of references that clearly hold deep emotional resonance for Lizzo.
6. Gary Clark Jr. – “This Land”: Can tasty guitar solos solve racism? Can’t hurt.
7. Hozier – “Dinner and Diatribes”: A galloping piece of soulfulness.
8. Dua Lipa – “Swan Song”: An original track from Alita: Battle Angel, and clearly the sound of future sci-fi feminism.
9. Sara Bareilles – “Armor”: Listen to Sara Bareilles getting down with her jazzy bad self and the rest of us getting down with her!
10. Kimbra – “Lightyear”: Space wonder Kimbra has a message to beam down to us earthbound folks.
11. Shaed – “Thunder”: One of those indie rock “This is who we are!” statements of declaration.
12. Billie Eilish – “Bad Guy”: Billie sings about the joys of being devious, but by all accounts, her personal life is quite wholesome. I think that’s a great way to live.
13. Meg Myers – “Running Up That Hill”: I’m just glad that Kate Bush covers are on the radio in 2019.
14. Lana Del Rey – “Doin’ Time”: Is Lana the current Queen of Remix? She just knows how to summon the past into her modern legacy.
15. Tones and I – “Dance Monkey”: We can always use some monosyllabic shouts amidst the more word-like lyrics to convince us to get up there and bust a move.
16. Camila Cabello – “Cry for Me”: Sometimes you need to make an insistent demand for emotional connection to get the message across.
17. Lil Nas X – “Old Town Road”: The epitome of Gen Z’s total lack of recognition of genre constraints.
18. Absofacto – “Dissolve”: A little skitter-skatter of chillax rock.
19. Benny Blanco, Tainy, Selena Gomez, and J Balvin – “I Can’t Get Enough”: A pleasure moan produced into nugget-size song form.
20. Starcrawler – “Pet Sematary”: It really is the perfect unassailable opening guitar riff to kick off some opening credits, no matter which version.

2/15/20 UPDATE: In the spirit of comprehension, I may have overlooked a few songs that I loved enough to be top 20-worthy from a band that had already made the cut. So, to correct the record, some more-than-honorable mentions go to “MAH” and “Got to Keep On” by the Chemical Brothers.

Entertainment To-Do List: Week of 1/24/20

January 24, 2020

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CREDIT: Michele Crowe/CBS

Every week, I list all the upcoming (or recently released) movies, TV shows, albums, podcasts, etc. that I believe are worth checking out.

Movies
–The Turning (Theatrically Nationwide) – Horror completism, though I do have my reservations.

TV
–Arrow Series Finale (January 28 on The CW)
–Miracle Workers: Dark Ages Season Premiere (January 28 on TBS)
–The Good Place Series Finale (January 30 on NBC)

Music on TV
-62nd Annual Grammy Awards (January 26 on CBS) – Although apparently the awards are rigged!

‘The Turning’ is a Workmanlike Piece of Gothic Horror Until It Is Overcome by an Astoundingly Abrupt Ending

January 23, 2020

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CREDIT: Patrick Redmond/Universal Pictures and DreamWorks Pictures

Starring: Mackenzie Davis, Finn Wolfhard, Brooklynn Prince, Barbara Marten, Joely Richardson

Director: Floria Sigsimondi

Running Time: 94 Minutes

Rating: PG-13 for General Spookiness, Fantastically Rude Children, and Artfully Composed Bathtub Shots

Release Date: January 24, 2020

Take a classic gothic horror tale, pair it with a director of classic music videos, and what do you get? Almost certainly a spooky atmosphere. But will the narrative be just as effective? The Turning is based on Henry James’ 1898 novella The Turn of the Screw and it’s directed by Floria Sigismondi, who is best known for colorful clips like Katy Perry’s “E.T.” and Rihanna’s “Sledgehammer.” Perhaps that rock ‘n’ roll background is why The Turning is set squarely in 1994, with the death of Kurt Cobain serving as one of the last moments that Kate (Mackenzie Davis) experiences in the outside world before descending into a pit of terror. She has been hired as a live-in tutor and nanny for a couple of orphans in a perpetually autumnal mansion that looks at least as old James’ story.

Kate is immediately haunted by ghostly visions, and while she generally trusts her own eyes, she has reason to believe that she is just dreaming or that the kids are playing tricks on her. While the younger of the two, Flora (Brooklynn Prince), is mostly sweet, the older one, Miles (Finn Wolfhard), is the epitome of disaffected, possibly sociopathic adolescence. The Turning is most effective as a portrait of how hate can linger and infect an entire household, whether or not the phantom sightings are real ghosts. Miles was apparently close with the former groundskeeper, who died in an accident and is described as a brute of a man. Meanwhile, the housekeeper (Barbara Marten), who looks like she’s been there since the house was built, is aware of all of these dynamics but is more concerned about keeping everything difficult under wraps.

For the most part, The Turning is a fairly straightforward, patient (perhaps to a fault) tale about how difficult it can be to escape a toxic environment, even when it is so clear that you must get out. It seems to be heading towards a conclusion that works perfectly fine for such a setup, but then it is interrupted by one of the most puzzling endings I’ve ever seen. This hardly qualifies as a spoiler because it is nowhere near clear what this finale actually is. It’s enough to make you suspect that the last reel of film is missing. (Or, since we’re now in a digital projection era, I suppose the error would’ve been that the last 10% of the file didn’t convert properly.) The closest comparison I can think of is the famously nonsensical ending of the original A Nightmare on Elm Street, but in that case, it is clear that it was tacked on after the fact and thus easy to dismiss as not really part of the rest of the movie. I would be willing to do the same with The Turning‘s ending, but it very much feels like it is there for a reason. Alas, it’s a reason that never reveals itself. It’s just plain baffling, and thus hard to call this movie anything but incomplete.

The Turning is Recommended If You Like: Leaving five minutes before the ending

Grade: 2.5 out of 5 Dead Fish

It’s Worth Spending a Couple of Stylish, Silly Hours with ‘The Gentlemen’ of Guy Richie

January 21, 2020

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CREDIT: Christopher Raphael

Starring: Matthew McConaughey, Charlie Hunnam, Henry Golding, Michelle Dockery, Jeremy Strong, Eddie Marsan, Colin Farrell, Hugh Grant

Director: Guy Ritchie

Running Time: 113 Minutes

Rating: R for Drug Dealing, Gunfire Blood Splatter, and a Bit of Poison

Release Date: January 24, 2020

The Gentlemen is basically the Guy Ritchie-fied version of a John le Carré story. Instead of a labyrinthine plot about nattily dressed spies and other government associates double-, triple-, and quadruple-crossing each other, we have here a labyrinthine plot about nattily dressed drug dealers and dirt diggers double-, triple-, and quadruple-crossing each other. Also as with the typical Le Carré, The Gentlemen requires a diagram to make sense of everything that happens and how everyone relates to each other. But on a scene-by-scene basis, it is clear (or at least clear enough to be entertaining) where everyone’s motivations lie and who’s trying to pull the upper hand on whom.

CREDIT: Christopher Raphael

While watching The Gentlemen, I had similar feelings that I do when watching my favorite sports teams pull off successful big play after big play, with nary an error or defensive blunder the whole time. It is not always clear who to root for in these ensemble-driven crime-business action flicks, nor it is always preferable. But in this case, knowing that Mickey Pearson (Matthew McConaughey) and his partner Raymond (Charlie Hunnam) are the (relative) moral paragons is a big help. The fact that Mickey peddles cannabis instead of, say, heroin and does so proudly because his product doesn’t kill his customers, allows us to orient ourselves toward some clarity in a movie that is otherwise often quite cacophonous.

And Hugh Grant’s presence as a private investigator who is just dying to get the big scoop on everybody (and also not die in the process) lets us know that it’s a good idea to laugh. There’s plenty of silliness otherwise to prompt the chuckles, but Grant is the crux that assures us of the light-footed, devilishly good time we ought to be having. It’s always a delight to see him so immersed in this sort of gleefulness. Even the meta twist that he pulls off at the end somehow feels so right when in lesser hands it could have undermined the whole tone. Instead, The Gentlemen is a stylish romp that will have you going, “The good-ish guys won.”

The Gentlemen is Recommended If: You’ve always wondered what it would be like if Tinker Tailor Soldier Spy merged with Matthew McConaughey’s Lincoln commercials and added a dash of Hugh Grant in Paddington 2 Mode

Grade: 3 out of 5 Turtleneck Sweaters

‘VHYes,’ Yes, Yes, Ohhh Yes!

January 19, 2020

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CREDIT: Oscilloscope Laboratories/YouTube Screenshot

Shot entirely on VHS, VHYes is a montage of what happens when a twelve-year-old boy who gets a camera for Christmas 1987 tapes over his parents’ wedding tape with a selection of various late night shows. Thus, it is right up my alley, as I love it when an old, supposedly outdated technology manages to poke its way into a new era. The section that really gets me going more than any other is a parody of a cheesy porno, set in a blazing-hot, global warming-ravaged winter in which a bunch of horny scientists have to get it on with each other to solve the crisis. Since this isn’t an actual porno, the climactic moments are pointedly removed, but I still achieve satisfaction. There’s a certain artfulness to the whole affair (as indicated by the European-but-also-vulgar director’s name, “Dick Pierre”), and it’s always lovely when there’s plenty of personality present even when the conventional wisdom says it’s not needed. And that’s a big reason why I love the persistence of VHS. It’s not just about (or even primarily about) nostalgia. With the tracking lines and unique frame rate and visual noise, there’s just so much personality inherent to the format.

I give VHYes An Indication That I’m Totally Into Its Personality.

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