Guillermo del Toro Brings Us a Creature-Feature Love Story

Doug Jones and Sally Hawkins in "The Shape of Water"
Photo Credit: Imdb.com

While there are many directors working these days that have exemplified movie magic, one such person who comes to mind right away in that respect is Guillermo del Toro.  He’s a filmmaker who revels in both the beautiful and the frightening, getting himself and us so caught up in the worlds that he brings to the screen and letting us sense his deep love for the medium.  Whether it be one of his best accomplishments, such as “Pan's Labyrinth” and “The Devil's Backbone,” or one of his somewhat lesser films, such as “Crimson Peak” and “Pacific Rim,” you can always find something special in a del Toro film.

His latest achievement is the fantasy-drama, “The Shape of Water.”  As usual, he soars in melding the ordinary with the extraordinary and crafting something that’s bold, exciting, and wondrous.

During the Cold War, a mute janitor, Elisa Esposito (Sally Hawkins), cleans the facilities of a secret laboratory.  One day, a humanoid, amphibious creature (Doug Jones) is brought from South America to the lab in a water tank, and Elisa establishes a connection with it.  When the creature’s in danger of being killed for research purposes, Elisa formulates a plan to help her new friend escape.

Sally Hawkins, in a nonverbal performance, is able to exemplify the love that her character has for the creature by relying on facial expressions and sign language.  Through all of this, we’re able to access her innermost thoughts and feelings, making us able to decipher a great deal of her loneliness, longing for companionship, and love she wants to give.

Doug Jones, a long-time collaborator with del Toro, once again becomes one with a fantastical role.  Having portrayed a number of nonhuman characters in del Toro’s film, such as Abe Sapien in the two “Hellboy” movies and The Faun and The Pale Man in “Pan’s Labyrinth,” Jones has shown himself to be a perfect channel for bringing the director’s stunning creations to life.  He becomes so in tune with his costumes and makeup that it’s almost as if he becomes possessed by his characters, which results in him delivering one memorable performance after another.

As for the supporting cast, it offers terrific work from Octavia Spencer as Elisa’s friend and co-worker, Richard Jenkins as Elisa’s kindhearted neighbor, Michael Shannon as a heartless colonel, and Michael Stuhlbarg as a scientist who holds a few secrets.

The screenplay by del Toro and Vanessa Taylor has a couple of obvious similarities to “Pan’s Labyrinth” and may seem like your typical misunderstood-human-befriends-a-mysterious-creature narrative, but the story is told with such passion, that you don’t mind that it shares some likenesses to a couple of other movies.  It has its own deeper ideas that it’s trying to convey, so even if the movie follows this familiar blueprint, the film goes in its own engaging direction. 

While the story remains committed to building the relationship between Elisa and the creature, it also dedicates a sufficient amount of time to many its supporting characters, with Jenkins, Shannon, and Stuhlbarg’s roles given detailed arcs.  But, in Spencer’s case, although she has some good scenes, her arc could have been a little more fleshed out.

The narrative also uses the creature as a catalyst for a broader narrative about the mistreatment of marginalized people, like African-Americans, gays, and the disabled.  These groups and the creature all share the same encounter with hostility from others, and del Toro and Taylor construct a powerful look at how these characters who are seen as different come together to help someone who’s experiencing the same lack of acceptance as them.

del Toro’s use of a clockwork/time motif throughout the film is used with great effect.  It’s first used to emphasize the daily, mundane routine of Elisa’s life.  Later on, however, it’s used to increase the tension of the situation as Elisa and her friends enact their plan to free the creature.  With the help of Sidney Wolinsky’s precise editing, del Toro shows his talent for timing his shots so that each one is in the right place and has the right length.  He makes sure that everything comes together and there isn’t a wasted or unnecessary shot.

“The Shape of Water” feels like a story that you would find in a fairytale book, as they both have a sense of enchantment that builds from frame to frame and page to page.  With this film, del Toro shows that you’re never too old for a fable that teaches you about life and how to be human.

Final grade: A-

Top 10 Films of 2017

"Marjorie Prime"
Photo Credit: Imdb.com

10) Marjorie Prime - The rapid advancement of technology is something that’s been examined a few times in film over the last few years, and writer-director Michael Almereyda approaches it from a new angle in “Marjorie Prime.”  Based on the play by Jordan Harrison, the film tells the story of an elderly woman named Marjorie (Lois Smith) who has a hologram of her husband’s younger self (Jon Hamm) recount their life together back to her as her memory begins to fade.  The film offers a strong performance from stage and screen legend Smith, as well as some fine work from Hamm, Geena Davis, and Tim Robbins.  Almereyda’s screenplay explores the desire to preserve oneself through technology, but he doesn’t view this longing in an unfavorable light.  Rather, he expresses an understanding for this desire because of our natural need to hold onto our memories as we age.  Almereyda also uses clever ways to reveal the passage of time in such a way that it adds more potency to a moment where a character might be experiencing a loss.  All of this makes for a touching love story that deserves your time.

"The Florida Project"
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9) The Florida Project - In director Sean Baker’s latest drama, he brings us to a type of community in America that we know is there, but one that we may not always acknowledge.  The story takes place just outside of Disney World in Orlando, Florida, where Halley (Bria Vinaite) raises her six-year-old daughter, Moonee (Brooklynn Prince), in a motel run by a kind manager named Bobby (Willem Dafoe).  While Halley does what she can to keep her and her daughter’s lives afloat, Moonee goes around town with her friends to explore their surroundings.  Despite being the only established actor in the cast, Dafoe gives an understated, yet moving performance, while Vinaite and Prince provide stunning debut performances.  The film explores the power of a child’s sense of adventure, while also using Disney World as a device to juxtapose the enclosed park that vacationers love with the world right outside of it that they may overlook.  This movie is a tribute to childhood and how the optimism at such a stage in a person’s life can help them view the world as being a little brighter than it may be at the moment.

"Professor Marston and the Wonder Women"
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8) Professor Marston and the Wonder Women - A couple of months ago, I'll admit that I grew fatigued by the influx of superhero movies that have been released.  However, even if you may feel this way as well, or were never into comic-book movies to begin with, don’t let that stop you from checking out this fascinating film from writer-director Angela Robinson.  It tells the true story of Harvard psychology professor William Moulton Marston (Luke Evans), his wife and fellow teacher, Elizabeth (Rebecca Hall), and teaching assistant Olive Byrne (Bella Heathcote), who conduct research on human interaction and soon become involved in a polygamous relationship.  This leads Marston to create one of the most famous superheroes off all time: Wonder Woman.  The film soars with the strong performances of the three leads, all of whom exhibit an unfaltering chemistry, and Robinson’s screenplay digs deep into the characters’ academics, the complexities of their relationship, and the process of creating Wonder Woman.  Robinson makes it effortless for the viewer to become absorbed in every scene because of the stakes that are at hand as the trio combat the norms of society.  Just like Wonder Woman jumping off of the page for readers, this film leaps off of the screen for viewers.

"Dunkirk"
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7) Dunkirk - Christopher Nolan is a filmmaker who’s excelled in several genres, such as psychological thrillers, comic-book films, and sci-fi epics.  This year, he brought us his most visceral big-screen experience and best movie to date with his World War II film, which follows the evacuation of Dunkirk from three perspectives: land, air, and sea.  Yes, you could argue that there isn’t much in terms of story or character development, but it works in this instance because the time-sensitive mission doesn’t offer the characters a chance to learn much about each other, as it’s all about survival and getting home.  Through Han Zimmer’s music, Hoyte van Hoytema’s cinematography, and Lee Smith’s editing between the three story lines, you feel the constant peril of the war as it closes around you, but there’s an underlying inspiration as people band together to bring the Allied forces back home.  Even after all of Nolan’s previous achievements, he still manages to wow us with his filmmaking ambitions.

"Blade Runner 2049"
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6) Blade Runner 2049 - Long-awaited sequels can be a gamble because there’s a possibility that the huge gap in time may result in a cash grab that’s low on quality.  However, with Denis Villeneuve’s sequel to Ridley Scott’s sci-fi masterpiece, that’s not the case.  The movie tells the story of K (Ryan Gosling), a Blade Runner who uncovers a secret about replicants (bioengineered humans) that could change the course of history.  What makes this sequel to Scott’s 1982 classic one of the best of the year is how it doesn't take the easy way out by making a sequel that follows the same beats as the original, but instead delivers a story that enriches the mythology of what came before.  One of many factors that helps the movie come alive is Roger Deakins’ blindingly gorgeous cinematography of the film’s futuristic setting, making this the most beautiful-looking movie of the year.  Much like the original, this is a film that makes you pay close attention to the narrative and prioritizes story over action, being one of several modern examples that show what big-budget sci-fi movies can be.

"The Lost City of Z"
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5) The Lost City of Z - Sometimes, even if a film is based on a true story, you may go into the movie knowing little about the subject, which can elevate the viewing experience more because you’re learning about said subject as you go along.  This is what happened to me when I saw writer-director James Gray’s latest film.  It follows the story of British officer Percy Fawcett (Charlie Hunnam) who begins a search for a lost city in the Amazon after finding clues during a previous expedition.  Hunnam gives a surprisingly great and commanding performance, while Robert Pattinson, Sienna Miller, and Tom Holland round out a wonderful supporting cast.  Gray has the film unfold like an old-school Hollywood epic and shows both the wonder and danger of this part of the world as it’s explored in rich detail, and this is made possible through Darius Khondji's lush cinematography that revels in the beauty of the Amazonian jungle.  This film has the spirit of adventure coursing through every frame and basks in the thrill of geographical discovery, absorbing you on every step of Fawcett’s journey.

"Get Out"
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4) Get Out - A horror movie is at its best when it doesn't just rely on scares, but also has something to say.  This is the case with Jordan Peele’s directorial debut.  The story, written by Peele, follows Chris Washington (Daniel Kaluuya), a young African-American man who accompanies his girlfriend, Rose Armitage (Allison Williams) for a weekend getaway at her parents’ (Catherine Keener and Bradley Whitford) home.  Chris soon realizes that he may not be as welcome as he thinks he is.  Kaluuya’s performance superbly displays a sense of isolation and discomfort, and Keener, despite being an A-lister, manages to keep her performance low-key, which makes her character much more unsettling.  Peele not only delivers a premise that keeps you hooked in wanting to unlock the mystery, but he imbues it with subtleties that you’ll find with multiple viewings, and this is all wrapped in an examination of racial tensions that are still prevalent today.  He develops an atmosphere that renders you on edge with how uncomfortable Chris’ situation is as he gets to know Rose’s family, with the party scene being as unnerving as it’s darkly funny.  Given how stale mainstream horror can sometimes seem these days, the genre could use more visions like Peele’s. 

"Good Time"
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3) Good Time - Some of the most memorable thrills of the year were felt in this crime drama from Ben and Josh Safdie.  The story takes place in Queens and follows a young man named Connie (Robert Pattinson) who must obtain bail money after his mentally handicapped brother, Nick (Ben Safdie), gets arrested during an escape from a bank robbery that they committed.  Pattinson delivers an explosive performance, and Safdie shows that he has just as much talent in front of the camera as he does behind it.  With most of the film taking over the course of one night, the Safdie brothers provide a strong sense of urgency all of the way through, beginning with the blood-pumping bank robbery in the first 10 minutes, bringing us from one nail-biting scene to another, and throwing us into the bleaker side of New York City.  This is an on-the-run odyssey you must experience.

"I, Tonya"
Photo Credit: Imdb.com

2) I, Tonya - While there have been several biopics about famous athletes, I don’t think you’ve seen one quite like this comedy-drama from director Craig Gillespie.  This film takes the “based on a true story” concept and brings it to an exciting new level.  The narrative focuses on figure skater Tonya Harding (Margot Robbie) and her fall from grace after getting involved in a plot to bring down the career of fellow figure skater, Nancy Kerrigan (Caitlin Carver).  What makes this biopic so unique is how it’s told through multiple perspectives, allowing the audience a chance to take in everyone’s account of the events and choose for themselves whom they think is the most truthful.  Robbie and Allison Janney do dynamic work as Harding and her hard-to-please mother, and Sebastian Stan is wonderful as Tonya’s ex-husband.  This film offers sympathetic reasons as to why Tonya got herself into this position, and it’s ultimately a condemnation on the audience about the long-term effects that their preconceived judgements can have on an individual, and it has as much humor as it does heartbreak.

"Call Me by Your Name"
Photo Credit: Imdb.com 

1) Call Me by Your Name - One of the great joys of cinema is seeing a film where, once it’s over, you have an experience that makes you want to watch the movie again right away.  The film to do that to me this year was Luca Guadagnino's coming-of-age story, which is adapted from André Aciman's novel.  The narrative takes place during the summer of 1983, when Elio Perlman (Timothée Chalamet) is living abroad with his family in Italy as his father (Michael Stuhlbarg), a professor of archeology, can focus on his academic work.  When a grad student, Oliver (Armie Hammer), arrives at their house to stay for a while and assist him, he and Elio begin a relationship that will change their lives forever.  Chalamet’s work results in the breakout performance of the year, exhibiting all of the emotions that comes with true love, while Hammer, who hasn’t had a memorable performance since he made his entrance in 2010 with “The Social Network,” finally gets another role that’s worthy of his talents.  Guadagnino captures the Italian countryside in such a loving way that you can almost feel the sunshine and whispers of the wind on your skin, with the film relishing its summer setting as the love between Elio and Oliver blossoms throughout the season.  This is a romantic and heartbreaking film that’s going to be etched in your mind after you see it, which is appropriate because this is a movie that you won’t want to forget.

A Figure Skater Goes from Champion to Tabloid Headliner

Margot Robbie in "I, Tonya"
Photo Credit: Imdb.com

Whenever a story breaks about an individual committing a questionable act, we can’t help but be glued to our news outlets to speculate what has happened and draw our own conclusions.  While there may be some instances where the truth is more clear-cut, there are others where you’re not sure what and whom to believe, making it difficult to dig through the mud and reach the exact truth.

As figure skater Tonya Harding says in director Craig Gillespie’s biographical comedy-drama, “I, Tonya,” “There’s no such thing as truth.  Everyone has their own truth.”  This is a sentiment that’s examined in the unusual true story about Harding's involvement in an attempt to sabotage rival figure-skater Nancy Kerrigan's (Caitlin Carver) career.

Ever since Tonya Harding (Margot Robbie) was a young girl, her dream was to skate.  Through the “support” of her physically and verbally abusive mother, LaVona Fay Golden(Allison Janney), Tonya becomes one of the world’s best skaters in the early ‘90s, and eventually makes it to the Winter Olympics.  However, when her ex-husband, Jeff Gillooly (Sebastian Stan), comes back into her life, Tonya’s career suffers a downfall that no one could have expected.

Margot Robbie provides a transformative performance that’s deeply sympathetic, as she’s torn between what people expect her to be as a figure skater and what she wants to be: herself.  She displays the frustration at not being judged the way her talent should be judged, all because of her lower-class upbringing, and we’re able to feel how unfair this is for her.  As the film cuts between her past and present self, we see the distinctions between Tonya as a hopeful figure-skating champion, and Tonya as an infamous former talent.  This allows us to see the person who she’ll become, even if we haven’t yet seen her full path to greatness unfold, and Robbie displays a complete mastery of her character.

While Allison Janney has provided many witty performances in film, what she does here is something deeper.  She uses a kind of verbal cruelty that can make us laugh, but a kind that also makes us wince at its ability to sting.  However, we understand she is the way she is because she wants to push Tonya to reach her highest potential and have her exceed the low expectations that others see in her because of her questionable upbringing.

Sebastian Stan’s performance is one that lets us to see two distinct sides of his character, one of which being Tonya’s abusive husband, and the other being a solemn, apologetic individual in the interviews.  When we see the latter, it’s almost difficult to believe that it’s the same person who used to hurt Tonya, and the transitions between these two timelines let’s us experience a jarring change in his personalty between then and now.  This is even more jarring when we see him go between both sides of his personality in the non-interview portions of the film, going from uncaring in one scene to loving in the next, showing how volatile his character is during his time with Tonya.

The screenplay by Steven Rogers takes the “based on a true story” approach and brings it to an exciting new level by having the narrative told through multiple and contradictory perspectives.  We mostly hear from Tonya and Jeff, but we’re also given viewpoints from Tonya’s mother, her skating coach (Julianne Nicholson), her bodyguard (Paul Walter Hauser), and a tabloid-news producer (Bobby Cannavale).  By having several people tell their sides of the story, this leads the audience to have to make up their minds to see who they’re going to believe.  

What Rogers does is use the interviews as a framing device and have the characters face the audience, putting us in the position of the interviewer.  This is a way to have the characters break the fourth wall and address us, as they do a few times in the non-interview scenes.  It makes it seem like that the characters are fighting to grab hold of the audience’s attention in order to get their side of the story out in the open.

With the help of Gillespie’s direction, the fourth-wall breaking has a startling effect in one scene where Tonya mentions how she had been abused her entire life, be it by her mother or her husband.  But, she then says that when the public wanted to bring her career down with their speculations of what happened in the Nancy Kerrigan incident, they became her abusers.  By having her face the audience when she says this, it puts them in an uncomfortable position, adding a deeper level to the viewing experience because it relates back to when Tonya says, “America, they want someone to love, but they want someone to hate,” meaning that people like to raise their idols up, only to see them plummet from grace.  All of this makes “I, Tonya” a darkly funny, yet condemning portrait about how our unjustified views of others can damage their lives.

Final grade: A

A Jedi-In-Training Seeks the Teachings of a Master

Daisy Ridley in "Star Wars: Episode VIII - The Last Jedi"
Photo Credit: Imdb.com

*Spoiler-free review*

While any installment in a trilogy carries its own degree of importance, it’s the second film that acts as a turning point.  It expands upon what we saw in the first film and offers a few surprises, all of which propels events for the final installment.  I think we can all agree that the “Star Wars” franchise did this without flaw in their original trilogy for “The Empire Strikes Back,” as it followed “A New Hope” with a darker narrative, an enthralling expansion of its mythology, and one of the greatest plot twists in movie history.

Then, two years ago, “Star Wars: Episode VII - The Force Awakens” kicked off the sequel trilogy, and ever since, anticipation has been high as to where the story would go from there.  Now, director Rian Johnson brings us back to cinema’s cherished, far-far-away galaxy with “Star Wars: Episode VIII - The Last Jedi,” which, despite a few flaws, is the best film in the franchise since “Empire.”

I don’t want to divulge too many details about the plot.  So, all I’ll say is that the story follows the Resistance as they continue their fight against the First Order, while Rey (Daisy Ridley) begins her Jedi training with Luke Skywalker (Mark Hamill), who has been living in isolation.

Seeing Mark Hamill return as Luke Skywalker is one of the great joys you’ll have at the movies this year.  To imagine that he was once a hopeful farm-boy and is now a cloistered Jedi shows how much his character has been through since we were first introduced to him.  It’s a performance that shows the wisdom that Luke holds and the pain he’s experienced, and Hamill uses the depths of this role to make Luke much more than a curmudgeonly Jedi master.

Carrie Fisher, in her final screen appearance before her passing in December 2016, delivers her best performance of the series in her iconic role of General Leia Organa.  She’s a headstrong authority figure who knows what must be done to keep the Resistance alive, while also holding out hope that her brother will come to their aid, displaying the sibling connection that serves as one of the strong dramatic aspects of the sequel trilogy.

Daisy Ridley made a powerful first impression for her breakout role in “The Force Awakens,” and she now continues to show the acting strength that her character of a Jedi-in-training requires.  As Rey grapples with trying to find her place in the universe, Ridley provides a terrific output of emotion as she moves forward with her live-changing journey. 

Adam Driver, who plays the villainous Kylo Ren, expands upon the conflicted emotions that he displayed in “The Force Awakens.”  It’s a little difficult to talk about his character without including spoilers, but I’ll say that it looks like his internal struggle will reach a fascinating apex in the next chapter. 

John Boyega and Oscar Isaac continue to prove that they’re fun additions to the “Star Wars” universe as Finn and Poe Dameron, respectively, but the story doesn't give their characters much of an opportunity to add emotional depth to their roles.  However, given that the film is primarily meant to advance the arcs of Rey and Kylo Ren, it’s understandable why it would unfold in this way.

In terms of some of the supporting characters that return from “The Force Awakens,” Andy Serkis returns as Supreme Leader Snoke and delivers another accomplished motion-capture performance.  And, while Domhnall Gleeson gave an adequate performance in “The Force Awakens” as General Hux, he tends to overact from time to time in this installment.

While “The Force Awakens” was derivative of “A New Hope,” Johnson's screenplay avoids being a nostalgic retread of “The Empire Strikes Back.”  Yes, “The Last Jedi” has some similarities to “Empire,” but it does enough to avoid repetition and makes this an unpredictable middle chapter.  

After an exciting opening sequence, the story builds itself around character moments, instead of just feeling like it has to give us one space battle after another.  Actually, most of the bigger action scenes come in the third act, which allows for the narrative to focus more on Rey and her arduous transition into becoming a Jedi.

One of the narrative’s blemishes is a sequence that lasts for about 15 minutes where Finn and one of the film’s new characters, Resistance member Rose Tico (Kelly Marie Tran), must travel to a distant planet to find special help for their cause.  It’s an unnecessary section of the film that could have been left out.

Johnson hasn’t directed a movie since his low-budget sci-fi film, “Looper,” but he displays an ability to change gears from the small-scale thrills of that movie to the galactic operatics of “Star Wars,” all while keeping us invested in Rey’s epic quest of self-discovery.  Johnson recognizes that what makes “Empire” a top-tier sequel is how its main focus is building the relationships between the characters to drive the story and add more dramatic weight to the mission of the rebellion, and this is what he achieves for the latest outing in the series.

Colin Trevorrow (“Jurassic World”), who was chosen to direct episode nine, left the project in September, leaving J.J. Abrams, who helmed “The Force Awakens,” to step in and direct.  Although “The Force Awakens” borrowed heavily from “A New Hope,” you can’t deny that Abrams brought new energy to the franchise after much of it was diminished in the prequel trilogy, and I’m sure that he will deliver a thrilling conclusion to this sequel trilogy, now that Johnson has put more of the pieces in place.  

You may not be able to contain your excitement for the concluding chapter after watching “The Last Jedi,” but as Luke says to Rey in the film, “Breathe.  Just breathe.”

Final grade: B+

As a High-School Senior, a Young Woman Tries to Break Out

Saoirse Ronan (left) and Laurie Metcalf in "Lady Bird"
Photo Credit: Imdb.com

High school can be one of the most fun times of anyone’s life.  But, it can also come with several difficulties, like trying to fit in, finding yourself, and deciding what you’re going to do once you graduate.  When depicting high school in film, there are a wealth of stories you can extract from this topic, as the late filmmaker John Hughes exemplified in the ‘80s.

Indie-actress Greta Gerwig now makes her solo directorial debut with her semi-autobiographical comedy-drama, “Lady Bird,” which she also wrote, bringing to life a high-school movie that’s every bit as funny as it’s emotional, despite a premise that’s a little familiar.

Christine “Lady Bird” McPherson (Saoirse Ronan) is a senior at a Catholic high-school in Sacramento.  She longs to leave her hometown and head to the east coast to attend college.  At home, she always argues with her mother (Laurie Metcalf), while her father (Tracey Letts) faces the possibility of unemployment.  During Christine’s tumultuous time at home and in school, she’ll do what she can to get through the hardships and forge her own path.

Saoirse Ronan provides one of the best performances of her career.  Although her character isn’t always appreciative of what her parents try to do for her to help her succeed, Ronan portrays Christine in a way that doesn’t make her annoyingly bratty, but rather a girl on the verge of adulthood who’s trying to get through life’s challenges and make a future for herself after graduation.  It’s a genuine portrayal of an adolescent experiencing one of the most significant in her life, complete with the laughs, tears, and anxieties, and Ronan’s performance will help any viewer relate to her journey in some way or another.

Laurie Metcalf is superb as Christine’s hardworking and dedicated mother.  She’s a parent who seems to be at the end of her rope because of her daughter’s behavior, but she still does whatever she can to make sure that her family has the best life possible, despite their economic standing.  Even if Christine doesn’t always reciprocate the affection that her mother provides her, Metcalf still makes sure that her character shows or hints at the unconditional love she has for her daughter.

In terms of the high-school supporting characters, Beanie Feldstein and Lucas Hedges give heartfelt performances as Christine’s best friend and drama-club crush, respectively.  However, Odeya Rush and Timothée Chalamet’s roles as a popular girl and wannabe rock musician are not much more than one-dimensional high-school archetypes, despite decent performances.

While Gerwig’s screenplay follows some similar beats you can find in other high-school/coming-of-age films, it has enough that’s different to help make it stand out from all of those other movies.  The story is a seamless blend of a witty high-school narrative and an emotional family-drama, resulting in a detailed look at what Christine experiences at school and home.

As a director, Gerwig’s able to make transitions between the humorous and dramatic scenes without it feeling too jarring, instead making it an authentic examination of a high-school student who’s coming into her own as an adult.  Gerwig’s able to capture everything that a person is likely to think and feel during this time in their life, and her personal connection to the events of the film is visible in every scene.

High school is a turning point for anyone, and “Lady Bird” uses those defining moments to put on a celebration about finding oneself and exploring the possibilities of what your future may hold.

Final grade: B+

Hollywood Outsiders Achieve Fame Through a Cinematic Calamity

Dave Franco (left) and James Franco in
"The Disaster Artist"
Photo Credit: Imdb.com

In 2003, a film called “The Room” was unleashed upon the world.  Written, directed, and produced by Tommy Wiseau (who also stared in it), constructed a “romantic drama” about Johnny (Wiseau) and his fiancé, Lisa (Juliette Danielle) who live a happy life.  She soon begins cheating on Johnny with his best friend, Mark (Greg Sestero), which jeopardizes her and Johnny’s relationship.  What Wiseau gave us was a film that was one of the best so-bad-it’s-good movies ever, developing a huge cult following and spawning countless midnight screenings for fans.  It’s one of those movie where, as you’re watching it, you keep thinking to yourself that there isn’t anyway that a movie like this could exist, which soon leads you to question your reality and sanity.

Ten years later, Sestero and journalist Tom Bissell (who wrote about “The Room” in the August 2010 issue of “Harper’s Magazine”) released “The Disaster Artist,” a memoir about the making of the film.  What the duo gives readers is a hilarious and surprisingly emotional account of what went into making one of the worst movies ever made.

Now, James Franco directs and stars in this comedy-drama, bringing the bonkers, see-it-to-believe-it true story to the big screen.  While it doesn’t go quite as in-depth as the source material, there’s still a fun time to be had while watching Wiseau’s “success” unfold.

In 1998, aspiring actor Greg Sestero (Dave Franco) meets Tommy Wiseau (James Franco) in a drama class in San Francisco.  After becoming friends, they decide to move to Los Angeles to break into show business.  Following several unsuccessful auditions, Tommy decides to make his own movie with Greg.  What results is the oddest underdog story in Hollywood history.

Watching James Franco portray Tommy Wiseau is one of the great joys you’ll have at the movies this season.  He delivers a phenomenal performance and masters Wiseau’s unidentifiable accent and strange behavior.  If you’ve seen “The Room” or Wiseau doing interviews, you know how there isn’t another person like him on Earth, so strange and otherworldly is his presence.  It’s a personality that requires considerable talent to pull off, and Franco succeeds.  But, despite it being a mostly humorous performance, Franco is able to dig into the dramatic side of his character and show Wiseau’s need for acceptance in a society that continues to shut him out, and you can’t help but feel sorry for him because of how persistent he is in trying to become a star.

Although James Franco looks more like Tommy than Dave Franco does Greg, having these brothers portray them benefits the relationship between the two characters because the natural sibling bond of the Francos brings the friendship of their characters to realization on screen.  Their chemistry is effortless, and this strong connection helps to elevate the more-dramatic scenes between these characters, showing us the toll that their friendship begins to have on them.

While the supporting cast does fine with their roles, one of the most memorable is Zac Efron as Dan Janjigian, who plays drug-dealer Chris-R in “The Room.”  What’s funny about the casting of “The Room” is how Janjigian wasn’t even pursuing an acting career, but was recommended for the part by his roommate (also named Dan), who was originally supposed to play Mark.  Janjigian ended up giving the best performance in “The Room,” and he only had one scene.  That intensity he brought to the role (which was much more than “The Room” deserved) is displayed by Efron as his character tries to pump himself up for his scene, and it becomes one of the most memorable in the film.

The screenplay by Scott Neustadter and Michael H. Weber would have benefitted from being about half an hour longer to show more of the bonkers on-set mishaps of the troubled production and a few scenes that deepen the relationship between Tommy and Greg (I would have sat through a three-hour version of this movie).  However, what we do get to see is enjoyable enough to make this a serviceable adaptation.

One of the most fascinating aspects of “The Disaster Artist” is some films with which it shares some comparisons.  There’s a bit of “The Talented Mr. Ripley” in it, with Tommy and Greg being akin to Matt Damon’s Tom Ripley and Jude Law’s Dickie Greenleaf, respectively.  There are also some likenesses to “Sunset Boulevard,” with Tommy sharing the qualities of Gloria Swanson’s Norma Desmond, someone who’ll stop at nothing to be in front of the film cameras.  Sestero and Bissell begin each chapter of the book with quotes from these two movies, so if you’ve seen either of these films, your experience watching “The Disaster Artist” will be a little richer.  However, the movie to which “The Disaster Artist” is a soulmate is Tim Burton’s “Ed Wood,” part of which chronicles the infamous director as he makes “Plan 9 from Outer Space,” another film that’s considered to be one of the worst ever made.

It’s appropriate to have James Franco star and direct “The Disaster Artist,” seeing as Wiseau did the same for “The Room.”  By having Franco do this, it’s evident that he has a love for this story and wants to capture not only the spirit of the source material, but the spirit of how it must have felt on set, given how Franco directed “The Disaster Artist” in character as Tommy.  Through Franco’s commitment, you can sense that he wants to bring us as much of the book’s zaniness as he can.

As a director, Franco uses cinematography from Brandon Trost that employs a documentary style of filmmaking in the portions of the movie that take place on the set of “The Room.”  With this, we get a strong behind-the-scenes feel when watching these sequences play out, and you feel the same level of delightful absurdity that you experience while viewing “The Room.”

Although Wiseau didn’t have any creative talent, what makes this movie a joy to watch is that we see how his passion for acting and filmmaking helped him achieve his dream of being discovered.  In the end, “The Disaster Artist” is a weirdly inspirational story because of how Wiseau defied all of the odds to bring his vision to life, no matter how misguided it might have been.

Final grade: B+

A Religion on the Verge of Revision

Margaret Qualley in "Novitiate"

Change is something to which we all react differently.  Some accept it and others resist it.  It can be difficult to be asked to give up the way things were in order to make way for something new, which is something that’s viewed from a religious perspective in Margaret Betts’ new drama, “Novitiate.”  With strong performances from the film’s cast, we’re given a deep approach into how these changes impacted those whose beliefs were their lives.

In 1964, 17-year-old Cathleen Harris (Margaret Qualley), decides to leave her home and live in a convent to become a nun.  Devout in her newfound faith, she works through the rigorous process to achieve her calling.  All of this is done under the watchful eye of Reverend Mother Marie St. Clair (Melissa Leo), who’s grappling with the Second Vatican Council, which is proposing reforms in the church that the Reverend Mother fears will upend the way of life for which she and other nuns have worked to reach.

What elevates Margaret Qualley’s performance is that her character isn’t someone who’s an overly impassioned individual, but someone who, despite feeling introverted, is dedicated to her calling, enough to leave everything and everyone she loves behind in order to become what she wants.  Later in the film, Qualley succeeds in conveying her character’s sense of conflict when Cathleen’s pulled between the new leniency of the church and personal matters that she doesn’t think fit with her new lifestyle, even with the reforms.  This film is one of those instances where the performance doesn’t have many scenes of “big acting,” but is instead made up of mostly subdued moments that hold their own power because of Qualley’s ability to display her character’s pensive, innocent nature.

For Melissa Leo, it’s wonderful that she has been given another meaty role, seeing as it’s been almost seven years after she won her Oscar for “The Fighter.”  Leo’s performance provides a level of force that makes her character’s anxiety-producing, student-instructor interactions on level with that of J.K. Simmons’ verbally abusive jazz conductor  in “Whiplash.”  Her character is equal parts intimidating because of her ironclad devotion to her standards of the sisterhood, but also sympathetic in that she feels like she’s losing her grasp on something that has given meaning to her life.  These two traits fit together because we understand that she’s as strict as she is because she wants to maintain the proper behavior of the nuns as a way to combat the changes she doesn’t want, a desperation in her character that soon makes us feel more for her than fear her.

Dianna Agron is wonderful in her role as Sister Mary Grace, a young nun whose compassion acts as a haven for the young girls from the reverend mother.  Whenever she’s on screen, her presence provides a sense of calm and relief as we’re temporarily taken out of the Reverend Mother’s sight.  But, her character is more than that because she’s just as conflicted as Qualley and Leo, in that she wants to be at the convent to guide the postulants, but is having difficulties remaining loyal to the institution because of its rules and restrictions.

The rest of the supporting cast that portrays the postulants does a stellar job at exhibiting the mental and emotional hardships that come with their process, calling into question of whether or not it’s worth it to give up all that they have in order to live a life that’s shut away from everything else.  One of the standouts in this group of postulants is Morgan Saylor, who plays Sister Evelyn, whose most memorable moments come in a sequence where the Reverend Mother has the postulants sit around her and reveal what they believe to be their individual flaws that are holding them back from being the nuns they’re trying to be.

The screenplay by Betts offers a fascinating look into how this religious institution functions and the turning point that they’re experiencing.  Throughout the narrative, Betts provides equal focus on both the reforms that the convent is facing and how it operates as it provides the education that the postulants need to become nuns, all of which gives us a view into a world closed off from everything else.

As a director, Betts provides an abundance of tension in the scenes where the postulants are in the presence of the Reverend Mother, while also displaying considerable emotional power in the moments where Cathleen and the Reverend Mother must reevaluate their lives in the face of major changes.  These aspects help make “Novitiate” a layered examination of traditional, religious practices and how they were adjusted for the twentieth century.

Final grade: A

Finding an Escape in the Spirit of Adventure

Willem Dafoe and Brooklynn Prince in
"The Florida Project"
Photo Credit: Imdb.com

One of the many powers of film is that it can transport you to places that are unfamiliar to you, but could feel closer than you think.  Different people and cultures are all around us, and to see them on screen can give you a look into these communities and provide you with the feeling of visiting a whole other world.

Director Sean Baker accomplishes this with his latest drama, “The Florida Project.”  Filmed with almost all unprofessional actors and using a day-in-the-life narrative for its characters, Baker delivers one of the most affecting movies of the year. 

In Kissimmee, Florida, six-year-old Moonie (Brooklynn Prince) lives with her mother, Halley (Bria Vinaite), in a motel that’s run by a kind manager, Bobby Hicks (Willem Dafoe).  During the day, Moonie spends her time exploring the city with her friends, Jancey (Valeria Cotto) and Scooty (Christopher Rivera), while Halley struggles to keep her and Moonie’s life afloat.

Brooklynn Prince is one of the most astounding discoveries in film this year.  She’s able to hold her own amongst the older actors and exhibits a great deal of confidence as a young actress.  She captures the innocence and live-life-to-the-fullest persona we have all felt as children, and to see her interacting with her environment shows her character’s strong imaginative spirit, a girl making the best of a bad situation.  But, the peak of her performance comes in her final scene, which is the most emotional in the film, and it’s one that elevates her work to rank among the best big-screen debuts of any child actor in recent years.

Although Bria Vinaite’s character is an occasionally infuriating person, being both immature and neglectful, we also see her trying to provide for her daughter, which helps us to feel for her.  Vinaite’s role is the epitome of a love-hate relationship, as we sympathize with her as she tries to give Moonie as good of a life as possible, but also dislike her behavior when she reverts back to her less-than-reputable and childish behavior.  In all, it’s a heartbreaking performance that promises great things for Vinaite’s career.

Willem Dafoe’s performance reminds me of those given last year by Michelle Williams and Nicole Kidman in “Manchester by the Sea” and “Lion,” respectively, in that, even though they’re established actors, their performances are modest, not showy.  In the case of Dafoe, he’s understated to the point where he fits in with the unprofessional actors and doesn’t call attention to himself, but he’s still allowed to display his acting powers in smaller ways that are still effective.  His performance is of someone who’s sort of a father figure to Moonie and Halley, offering help whenever he can to make sure they stay on the right path.

The screenplay by Baker and Chris Bergoch doesn’t have a typical three-act structure, but is instead more of a series of vignettes that shows how the characters go about their lives on a daily basis.  By telling the story in such a manner, the film provides a greater sense of realism because it’s not the type of movie that has to follow a traditional storytelling format, but instead just takes you from one day to the next as it shows you what Mooney, Halley, and the other characters experience in this lifestyle.

Throughout the film, Baker and Bergoch invite comparisons between Moonie’s hometown and Disney World, as she doesn’t live too far away from the .  The motels and other tourist attractions around Moonie’s motel almost create her and her friends’ own version of Disney World, as her motel is called the Magic Castle (a stand-in for the Magic Kingdom), the Futureland Motel (a stand-in for Epcot’s Future World).  And then we have Moonie taking Jancey on a safari to see a herd of cows (the Animal Kingdom), and when they relax under a giant tree (the Animal Kingdom’s Tree of Life).  By doing this, the screenwriters juxtapose Disney World with the outside world that people don’t normally consider or see when they visit the theme park, despite that lifestyle being in the park’s own backyard.

Because Baker uses a cast of mostly unprofessional actors, this aspect adds to the authentic portrait of this piece of American life, as he follows his subjects like a documentarian. This is exemplified in the scenes where Halley takes Moonie to upscale hotels, where they stand outside to sell perfume to passersby.  Most of the time in these scenes, he films the mother and daughter from afar, like an explorer observing a species in the wild.

“The Florida Project” is one of those movies that will stick in your mind after you leave the theater because there isn’t anything else quite like it that has come out this year.  It’s a tribute to childhood and how the optimism at such a stage in a person’s existence can help them see their life as being a little brighter than it may be at the moment.  It’s an optimism we’ve all needed when we were younger, knowing that, in those moments, were when we were most invincible.

Final grade: A

For a Tough, Midwestern Mother, Words and Actions are Equally Powerful

Frances McDormand in "Three Billboards Outside
Ebbing, Missouri"
Photo Credit: Imdb.com

Balancing drama and humor in a film can be tricky territory in which to traverse.  If one overshadows the other, you risk losing the viewer because they won’t be sure what you’re trying to accomplish.  It takes a talented filmmaker to be able to make audiences laugh at one moment, and then gasp at the flip of a dime, all without making it feel like the director is trying too hard.  Martin McDonagh is one such individual who has accomplished this before in his films “Seven Psychopaths” and “In Bruges.”

He now brings his signature dark humor to the screen once again in his comedy-drama, “Three Billboards Outside Ebbing, Missouri.”  Although this film deals with rough subject matter, he manages to show some black wit throughout the story, all with his usual mix of distinctive characters and memorable dialogue.

It’s been seven months since Mildred Hayes’ (Frances McDormand) daughter, Angela (Kathryn Newton), was murdered.  Since then, the police have given up the case, due to the lack of leads.  Mildred soon takes matters into her own hands and rents out three billboards outside of town that speak a message to Sheriff Bill Willoughby (Woody Harrelson).  He soon develops a newfound dedication to finding Angela’s killer, all while Mildred continues her own approach to solving the case.

Frances McDormand’s character is like the antithesis of her role as police chief Marge Gunderson in 1996’s “Fargo,” who was someone who made sure that justice was served; but in this case, McDormand inhabits someone who does so by using methods that are much more radical (the fact that the names of the two characters are similar should elicit a chuckle).  She brings a fiercely funny performance that revels in her character’s abrasive personality and coarse dialogue, but it’s one that never forgets about the grit and determination that Margaret exemplifies when trying to catch her daughter’s murderer.  Actually, some of McDormand’s best scenes are the ones that are more contemplative, particularly in a touching sequence where her character plants flowers underneath the billboards.

Although Woody Harrelson’s character can have a tough persona, he manages to make his character more than just a gruff sheriff.  Harrelson’s not only witty, but he also brings emotional depth to his work when it’s time for his character to face challenging decisions.  Willoughby has a much more dramatic arc than is expected, portraying a law enforcer who must help a mother seek justice, as well as a father and husband who must focus on his own issues that hit much closer to home.

Sam Rockwell provides one of his best performances as a prejudicial police officer, but just like Harrelson’s work in the film, you get a couple of more layers than you anticipate.  He may seem like a dimwitted individual, but Rockwell portrays his character in such a way where you see that’s he’s trying to be more of big shot in order to impress his fellow officers and higher-ups, pretty much to the point where you feel sorry for him.  All of this helps to make his journey in the second half of the film all the more compelling.  I would reveal more about his character, but it would spoil the places in which Rockwell’s role brings him.

McDonagh’s screenplay does well in exploring the theme of the supposed quiet nature of small-town America and the dangers that may lurk underneath.  Having the story take place in Ebbing is a clever move because the name itself explains exactly what the town is doing, experiencing a fading of the notion that this is a typical rural town where one can’t imagine anything bad happening.   To help expand upon the sense of something withering away, McDonagh uses a recurring motif of fire, utilizing it to show the waning facade of the small-town quaintness and exposing the town for what it may truly be.  On the wittier side of this rural illusion, McDonagh has Margaret working in a store called “Southern Charms,” a trait that’s hilariously missing from her character.

What McDonagh also does with his narrative is subvert expectations as to how the film will play out.  He doesn’t make this a typical police procedural or whodunit, but instead uses the story as a way to examine Margaret’s more-extreme actions.  You sympathize with her because of her loss, but you may also question the steps she takes to find the justice for which she’s looking.

While mixing sometimes-startling violence with dark humor, McDonagh continues to exhibit his ability to find comedy in the unlikeliest of places.  Despite making us laugh from time to time during the film, he remains in-tune with Margaret’s plight and the pain she’s feeling.  And in regard to the crumbing of the town’s false appearances to show what’s beneath, McDonagh strengthens that notion with the use of McDormand’s comical and dramatic sensibilities, with the former appearing the most, only to vanish at times to show the depths of what’s going through Margaret’s mind.  In the end, McDonagh gives us more than the narrative’s initial mystery, and the movie is so much better because of it.

Final grade: A

Reconnecting in the Midst of Loss

From left: Bryan Cranston, Steve Carell, and Laurence Fishburne
in "Last Flag Flying"
Photo Credit: Imdb.com

Richard Linklater is a filmmaker who excels in coming-of-age stories, as he’s displayed with movies such as “Dazed and Confused,” “Boyhood,” “Everybody Wants Some!!” and his “Before” trilogy.  Because these films focus on people growing up at different stages in their lives, Linklater shows that you can come of age at any age.

He sticks with the same concept for his latest film, “Last Flag Flying,” which finds Linklater shifting into a different kind of dramatic territory.  As with a lot of his work, this movie soars on the talents of its cast and timeless themes, providing a rich opportunity for moviegoers to connect with the story at hand.

In December 2003, Larry “Doc” Shepherd (Steve Carell), receives word that his son has been killed in Iraq.  He then sets out to reunite with his friends and fellow Vietnam veterans, Sal Nealon (Bryan Cranston) and Richard Mueller (Laurence Fishburne), to accompany him to Arlington Cemetery for the funeral.  In a quick change of plans, Larry decides to bring his son back to his hometown to be buried, and as the three friends travel back to Larry’s home for the service, they take the time to reconnect and come to terms with their past.

Linklater is a master at assembling casts that have a natural chemistry, almost to the point where he doesn’t even have to do any directing and can just let the cast do what they have to do.  Carell, who impressed us with his fiercely dramatic turn in 2014’s “Foxcatcher,” delivers another performance that shows the acting depth of which he’s capable outside of comedies.  It’s an introverted performance that captures the deep level of loss he feels and the sadness that’s running through him, but also lets us see the happiness he feels when in the company of his close friends.  Cranston, who’s meant to be the funny man of the trio, delivers the right amount of comedy to help us see the lighthearted moments between him and his friends.  His humor may be a tad jarring at first because of the story’s emotional scenario, but he never lets it undermine the seriousness of Larry’s loss.  And Fishburne is wonderful as a man who has left his past behind him, but does what’s right and stands by Larry as he goes through a tragic time, making this performance his finest of the past few years.

Cicily Tyson, who plays the mother of a deceased Marine who served with the main trio, delivers an understated, yet impactful performance in a five-minute sequence during the film’s last half hour.  I won’t give anymore details, but I will say it’s one of the film’s best scenes.  

The screenplay by Linklater and Darryl Ponicsan, which is based on the latter’s 2005 novel, takes a bit of time to smooth out the transitions between the dramatic and humorous moments, but it doesn’t take long for it to find its footing.  

The plot of the film mostly revolves around the main characters reuniting and catching up, so the overall story isn’t so much a traditional plot structure as it is like time you’re spending with old friends, reminiscing about the moments that were shared years ago and what has happened during your time apart.  That’s why the audiences can become attached to them, because at certain points in the film, you can look at this trio and picture similar times you’ve had with your friends.  This is Linklater's filmmaking power, to make his viewers recall their own experiences, a skill that makes him one of the best American directors working today.    

What could have been an overly sentimental military-drama is instead a movie that skillfully deals with themes such as reconnection, regrets, and loss, all of which are handled with the high level of care and detail that we have come to expect from a director who excels in such relatable topics.  Just as with many of Linklater’s other films, he allows scenes to unfold at a deliberate pace without making the film feel slow, which lets us sit back and be absorbed in the opportunity to get to know his characters. 

You can always rely on Linklater to tackle the challenges of life and remain grounded in his approach, rather than making it schmaltzy for the sake of eliciting a cheap emotional response.  The feelings you go through while watching one of his movies are earned because, whether Linklater’s characters are older, younger, or the same age as you, you’ve probably had experiences that are similar to the ones that are lived by those characters.  In the end, Linklater doesn’t just want to make a good movie; he wants to put a bit of your life on screen.

Final grade: A-