Wanting to Write Again, a Biographer Finds Her Voice Within Those of Others

Melissa McCarthy in "Can You Ever Forgive Me?"
Photo Credit: Imdb.com

When it comes to biographies and autobiographies, the thing that draws us to them is the prospect of learning about a well-known figure that has made an impact on the world in one way or another.  And, even if we're familiar with someone's story, there's always the possibility of getting to know other aspects about their lives once you begin reading.

Director Marielle Heller has us see biographies in a new light with her comedy-drama, "Can You Ever Forgive Me?," which is based on biographer Lee Israel's memoir of the same name and is brought to life by terrific performances and endless intrigue of its subject matter.

In 1991, Lee Israel (Melissa McCarthy) has hit a low point in her career.  Looking to continue writing, she begins forging letters from deceased authors and playwrights, and then sells them as authentic.  Although she gets away with it at first, the FBI soon begins to close in on her.

McCarthy provides a career-best performance as the cunning author.  While she's done a lot of comedic film roles over the last few years, this one allows her to bring out a more dramatic side to her acting abilities.  This makes for the latest case of an actor/actress accomplishing a smooth transition from one form of acting to the other.  Although McCarthy is given a chance to show her humorous side (she’s given a lot of funny dialogue), she does superb work in mixing it with the hardships and loneliness through which Lee traverses.  This results in her character displaying a bitterness that can make us laugh, but also make us feel for her. 

Throughout the film, McCarthy shows how Lee is conflicted in the crime that she’s committing.  Lee knows that she has to do what she's doing in order to get by, but she also shows traces of guilt when she's with her dealers.  This helps in adding complexity to her character as she's doing what she loves, which is writing, but is doing so in such a way that could land her in trouble. 

Richard E. Grant gives a vibrant performance as Lee's friend, Jack Hock.  While Grant's work in the film is comical for the most part, there are subtleties to him that give his character hints of heartbreak, which offer more to him than what's seen on first impression.  Despite the more poignant elements of his character, Grant does well in providing Jack with a spirit of someone who lives life to the best of their ability.  He delivers jolts of energy that have you feel the excitement that he feels with being involved in Lee's crime, and this makes him a joy to watch whenever he appears.

There are also a couple of other memorable supporting performances in the film.  There’s Jane Curtain as Lee's literary agent, who, even though she only has a couple of scenes, exemplifies well-tuned wit that's shared between her and McCarthy. 

Then, there’s Dolly Wells as a kindhearted bookshop owner who takes a romantic liking to Lee.  It's a quiet, yet emotional performance that builds a compelling character who tries to open herself to Lee, despite the latter not looking for a relationship.  This occurs during their dinner scene later in the film, which is a pivotal moment between them because of how Wells’ character shows small signs that she’s as lonely as Lee and looking for companionship, and Wells expresses a muted sense of longing that makes her few scenes impactful.

The screenplay by Nicole Holofcener and Jeff Whitty gives you a deep look into this period of Lee's life and what influences her to go about writing the letters.  Holofcener and Whitty bring us through the troubles of Lee's life, showing a writer who's desperate to write.  Whether it be a heated exchange between Lee and her agent, or Lee sitting down at a typewriter and not having any ideas of what to put on the paper, we see how difficult Lee’s career has become, and we're therefore sympathetic towards her reasoning as to why she chooses to create these forged letters.

Between the characters of Lee and Jack, Holofcener and Whitty build a relationship around these two individuals who have become outcasts in their own way.  Through these two characters' humorous and emotional interactions, the screenwriters provide us with insights of the problems that Lee and Jack are facing and show how much these two people need each other. 

The narrative also gives us a view into the world of the dealers who collect these valuable letters.  We see how these dealers operate and how knowledgable that they can be about whether these letters are real or fake, and this gives you an even greater sense of the threat that Lee feels of being exposed for forging the letters.

As a director, Heller crafts an intimate view of Lee, and despite her character using her writing abilities for fraudulent means, we still see the fullness of her character's talents.  In a movie about an individual who has had people lose interest in her work, Heller’s passionate approach to Lee’s story captures your interest throughout the film, having us remain invested in the events of the narrative as Lee digs herself deeper and deeper into her ploy.

Heller also gives the movie occasional, minor thrills, such as in a scene where Lee pretends to be doing research in a library, steals an authentic letter, and replaces it with a word-for-word replica.

With a true story that builds fascination from one scene to the next, "Can You Ever Forgive Me?" is an absorbing look at the life of a writer and how her talents led her to a stranger-than-fiction success in the literary world.

Grade: A

A Father Seeks Help for His Son, Before it’s Too Late

Timothée Chalamet and Steve Carell in "Beautiful Boy"
Photo Credit: Imdb.com

Movies about drug addiction can be some of the most harrowing to watch because we see characters who become victims of a habit that’s often difficult to shake and can consume one’s life.  We’ve seen this issue in such movies as Darren Aronofsky’s “Requiem for a Dream,” Danny Boyle’s “Trainspotting,” Otto Preminger’s “The Man with the Golden Arm,” among others.

We now have another film about the impacts of drug addiction with director Felix Van Groeningen's biographical drama, “Beautiful Boy,” a movie that’s saved from its flaws by the strength of its two searing central performances.

The story follows David Sheff (Steve Carell), a father who does whatever he can to help his son, Nic (Timothée Chalamet), end his meth addiction.

Carell showcased another side to his acting abilities when he took on the lead role in Bennett Miller’s 2014 drama, “Foxcatcher,” and with his performance in “Beautiful Boy,” he continues to prove that he’s one of the most multitalented actors working today.  The desperation that he exhibits as his character tries to get through to his son is heartrending and shows more of the new levels of serious acting of which Carell is capable.  While Carell shows a couple of emotional outbursts of panic, what makes his performance so captivating is how composed he makes his character seem, even though you can tell that he’s crumbling underneath as time seems to be running out for his son.  His performance is shattering, but at the same time, hopeful because of how unwavering his love for his son is and how far he will go to make him better.

Chalamet is harrowing to watch as Nic.  While David shows the desperation of getting his son back to normal, Chalamet matches that with the desperation of trying to get his next fix.  It’s a performance that shows the full impacts of what drugs can have on an addict, and you can’t help but wince whenever Nic relapses and seems to be getting closer to the point of no return.  The power of Chalamet’s performance brings us through a tough journey as his character risks his life for his addiction and has a future that becomes more out of reach as the drugs become within that reach.  This is stunning work that makes you feel the emotional turmoil that Nic experiences, and you won’t soon forget this performance.

The father-son bond between David and Nic has an abundance of realism to it.  The scenes that they share are heartbreaking in how you’re watching the strong connection of these characters’ begin to dissolve as a result of Nic’s drug use, and each interaction between Carell and Chalamet brings a raw power that holds your eyes to the screen. 

Van Groeningen and Luke Davis’ screenplay, which is based on the memoirs “Beautiful Boy: A Father’s Journey Through His Son’s Addiction” by David Sheff and “Tweak: Growing Up on Methamphetamines” by Nic Sheff, goes back and forth between the past and present, on occasion.  But, in the end, this structure isn't necessary and sometimes disrupts the flow of the movie.  The sequences that occur in the past are short enough that they all could have been edited together to be in the beginning of the movie.

While there are some instances of melodrama throughout the film, Van Groeningen is able to keep the emotions grounded as the film exhibits the effects of drug addiction and the emotional toll that this ordeal takes on Nic and his family.

Although Van Groeningen's direction with the film’s drama is fine, his use of music offers some odd choices that tend to get in the way of some of the film’s important moments, with the songs and music overemphasizing what’s clear to you.  An example is where, in an early scene, David looks at troubling writings and drawings in Nic’s notebook that hint at his growing drug dependency, and the music that plays over this sequence sounds like something that you would hear in a slow-burn horror movie.  Yes, it’s meant to be a frightening moment of realization for David, but the music doesn’t work for the scene.

Given the movie's timeliness to the national opioid crisis, it's too bad that “Beautiful Boy” couldn't have been a little better, but the heart of the narrative is within David and Nic's characters, so it was important that the movie at least had Carell and Chalamet build a dynamic to make you feel the urgency of the situation, and they excel in doing so.  This movie might not be perfect, but the bond between Carell and Chalamet is the main reason why this movie works, as it shows the extents to which their talents can go.
     
Grade: B

A Killer Returns, But His Target Has Been Waiting

Judy Greer and Jamie Lee Curtis in "Halloween"
Photo Credit: Imdb.com

In 1978, director John Carpenter scared moviegoers with his terrifying slasher film, "Halloween," which told the story of babysitter Laurie Strode (Jamie Lee Curtis, in her breakout role) who's stalked by escaped mental patient Michael Myers (Nick Castle).  With Curtis' performance, chilling imagery, and an iconic score (also by Carpenter), "Halloween" took a simple story with a low budget and created a film that became an unforgettable entry in the horror genre.

But, as many horror franchises experience, "Halloween" became a victim to a string of subpar sequels, with only the series' seventh entry, “Halloween H20: 20 Years Later," becoming the only decent sequel.

Then, in 2007, director Rob Zombie brought us a remake that abandoned the original's less-is-more approach for blood and gore, and then did it again in 2009 with his mercilessly unpleasant sequel, which made his first movie look subtle by comparison.

After four decades of a series that has had more lows than highs, director David Gordon Green brings the franchise back to most of its glory with "Halloween," which ignores the events of all of the previous installments and is instead a direct continuation of the original film, resulting in a sequel of which Carpenter can be proud.

Forty years after Michael Myers (Castle and James Jude Courtney, sharing the role) murdered three people on Halloween night, Laurie Strode (Curtis) is still living in Haddonfield, Illinois, preparing herself for his potential return, while Michael has spent that time in a sanitarium.  When he escapes during a transfer to a maximum security prison, he ventures back to his hometown to locate Laurie for a final confrontation.

Curtis returns in fighting form to the role that made her a star.  Once we see her back on screen, it's clear that the spirit of Laurie has never left Curtis, that it has become a part of her.  Curtis displays the strain of having her life consumed by the thought of Myers, emphasizing a 40-year buildup for mental stress that she’s had to endure, showing us one of two new sides to her character.  However, once Michael returns, Curtis brings out the other new side to her role, that of a horror-movie heroine who unleashes all of her strength to take down the evil that has plagued most of her life.  Laurie is back with a vengeance, and Curtis delivers a fierce performance.

Although Michael Myers is a nonspeaking role, Castle is still able to give you shivers with his character's slow, calculating movements as be traverses through the streets and shadows of Haddonfield.  He brings back the essence of Michael that put audiences on edge all of those years ago, and he reminds us of what has made Michael an enduring antagonist in the horror genre.

The screenplay by Green, Danny McBride, and Jeff Fradley provides depth into the psychological impact that events of 1978 have had on Laurie, and we're given scenes between Laurie and her family (Judy Greer as her daughter, Toby Huss as her son-in-law, and Andi Matichak as her granddaughter) that provide us with a view of the strained dynamics that have taken shape among them over the years.  Touches of drama like this are always refreshing to see in a horror movie, as it shows that the narrative is going for more than just scares.

The film has a few clever callbacks to the original, but the rest of them cause a distraction from time to time because of how similar the stories are between this film and the original.  There's even an instance where Laurie meets with Michael’s new psychiatrist (Haluk Bilginer) and refers to him as "the new Loomis," alluding to the character of Dr. Samuel Loomis, who was played by Donald Pleasence for five installments  The actor's voice even sounds like that of Pleasence.

The narrative loses some steam in the second half, which includes a high-school romance subplot that could have been cut out.  In a movie that promises a climactic fight between Laurie and Michael, this plot point slows the movie down and leaves you yearning to get to the much-anticipated finale.

As a director, Green shows confidence in taking on a sequel to a beloved classic, providing suspenseful set pieces throughout the film and delivering on a showdown between Laurie and Michael that will have you cheering.  And, although this film has its share of blood, it doesn't go too over the top for the sake of cheap shocks.

One of the original film's many noteworthy aspects is Dean Cundey's cinematography, which brings us a four-minute long take that's seen through the point of view of six-year-old Michael, as he walks through his house on Halloween night and murders his older sister at the start of the movie.  Green works with cinematographer Michael Simmonds to do their own long take, this time having Michael walk through a residential street of Haddonfield while everyone is trick-or-treating, and it's fun to see them bring their own neat camerawork to the series.

Despite underwhelming sequels and the 40-year gap between the releases of the original “Halloween” and Green’s film, this latest installment in the franchise offers enough enjoyment, even with its flaws.  If you’re ready to celebrate October 31, you might want to put this latest return to Haddonfield in your plans.

Grade: B

Risking Everything, an Astronaut Strives to Reach Far

Ryan Gosling in "First Man"
Photo Credit: Imdb.com

Oftentimes, filmmakers become known for directing movies within a certain genre.  However, there are occasions when they can take audiences by surprise by venturing into a different genre and setting creative challenges for themselves behind the camera, thereby allowing moviegoers to witness a new vision from a director.

Damien Chazelle is the latest example of this with his drama, “First Man,” which tells the story of the 1969 moon landing.  While the three previous films that Chazelle has directed (“Guy and Madeline on a Park Bench,” “Whiplash,” and “La La Land”) have narratives that deal with music, Chazelle branches out to deliver a thrilling and, at times, haunting depiction of a landmark moment in history.

In the 1960s, Neil Armstrong (Ryan Gosling) is a NASA test pilot who’s temporarily grounded, following some unsuccessful flights.  After proving himself later on, NASA selects him to command the Apollo 11 mission to the moon.

Gosling doesn't give a typical biopic performance, but that's because this movie isn't your typical biographical drama (more on that later).  It's a role that requires Gosling to do as much nonverbal acting as verbal.  And, despite this movie telling the story of a miraculous achievement, Gosling’s performance isn't quite meant to be uplifting, but is instead one that exhibits Armstrong's inner emotions as he remains determined to push forward with his tasks, despite experiencing multiple loses along the way.  It's a performance that reels you in because it's not showy in the slightest, but is instead one that relies on Gosling giving a performance that’s built on small details.  This lets you decipher Armstrong's thoughts a little bit at a time, with his character always finding himself needed by both his work and his family, and Gosling does impressive work with exhibiting his character's strain as Armstrong tries to meet the expectations of both.

Claire Foy provides a superb performance as Armstrong's wife, Janet.  Foy elicits the emotional stress of not knowing if she'll see her husband again after his mission and displays someone who must remain strong for the sake of her family.  This is highlighted in one of the film's best segments where she urges Neil to sit down with their sons and explain the possibility of him not returning.

The screenplay by Josh Singer, which is based on James R. Hanson’s book, “First Man: The Life of Neil A. Armstrong,” presents a narrative that has something much deeper on its mind than just chronicling NASA's historic achievement, as it also reflects on the personal hardships that Neil must face within NASA and at home, all of which make this a nuanced character study of Armstrong.  It's a poignant, contemplative view of Armstrong as he experiences the physical and emotional tolls of his monumental task.  With these factors, "First Man" is more than your standard biopic.

Chazelle re-teams with his “La La Land” cinematographer, Linus Sandgren, to bring us stunning camerawork that brings you right into the danger of Armstrong's undertakings, such as the flight sequence that opens the film and the moon-landing scene.  For the former, Sandgren and Chazelle provide a claustrophobic feel as Armstrong is confined to the limited space of his plane when he flies higher and higher into the vast unknown and faces technical difficulties, with several of the shots taking place from Armstrong's point-of-view, allowing us to be in his position and providing us with a stronger feeling of the life-threatening situation that he experiences in those moments.

When it comes to the moon-landing segment, one of the most notable aspects of Sandgren's cinematography is how he captures, in the simplest of ways, Armstrong accomplishing his goal.  As Armstrong is being strapped into the Apollo 11 spacecraft, there's a point-of-view shot from him looking out of one of the windows, with the moon taking up just a part of the window as it looms in the sky.  When the ship gets closer to the moon, we have another point-of-view shot from Armstrong as he looks out of the window, with the surface of the moon then taking up the whole window.  It's a minor detail, but it's significant.

In addition to Sandgren, Chazelle re-teams with "Whiplash" and "La La Land" editor Tom Cross and composer Justin Hurwitz (the latter of whom provided the music for all three of Chazelle’s previous features).  While this quartet provides magnificent work throughout the film, it’s the moon-landing sequence where the combined talents of these four reach a powerful apex.  What helps in making this scene so compelling is how it manages to keep you in suspense, even though you know the outcome.

While it’s understandable to see Chazelle’s direction as detached when it comes to the characters, it's meant to be that way because this is a story about the boundaries that we tend to put up around ourselves when focusing on breaking boundaries with our work, being so preoccupied that we tend to close off our loved ones in order to keep our minds on the task at hand.  This is summed up in a quiet, yet effective way in the film's closing scene.

"First Man" represents another giant leap that's taken by Chazelle, and given his career thus far, he will take many more.

Grade: A

A Documentarian Presents the Science Behind Science Fairs

"Science Fair"
Photo Credit: Imdb.com

For decades, science fairs have been an institution for encouraging young minds to work towards making eye-opening discoveries.  From booth to booth, there are ideas that are presented that have the potential to make our lives better.  And, with science having come a long way since the start of these fairs, they've become more staggering in the kinds of experiments that have been conducted by their participants. 

We see these wondrous and new scientific heights in director Cristina Costantini's enthralling documentary, "Science Fair," a celebratory film about the universal thirst for knowledge and the importance of cultivating the minds of tomorrow.

The documentary follows seven stories of high-school science-fair competitors, both from the U.S. and abroad, as they build their presentations for regional science fairs, with the hopes of placing high enough to take part in the Intel International Science and Engineering Fair (Intel ISEF) in Los Angeles.

Despite the movie only being 90 minutes, it provides you with a detailed look into the lives of each of its subjects as we learn about what drives their tireless pursuit of scientific advancement.  Given the multiple stories on which this film focuses, we're able to travel to several locations, including Long Island, South Dakota, Brazil, and Germany.  By doing this, we see that, although these participants are far apart from each other, they're connected by their passion of taking their ideas as far as possible.  The strength of this film comes in the difference of its subjects' backgrounds as you learn about their lifestyles and any challenges that they have to face in order to find success with their work, and the results aren't anything less than crowd-pleasing.

Although all of the stories are uplifting in their own way, two of the most inspirational ones are a story about a boy and girl who live in Brazil and try to come up with a way to combat the Zika virus (Brazil was one of the places that was hit the hardest by the disease), and the other one follows a young Muslim girl in South Dakota.  In the Brazil storyline, we see the hardships that are faced by the country and how it influences the two students’s research.  And, with the South Dakota storyline, we see how a student works to bring a strong, academic accomplishment to a school where athletics seem to be held in a higher regard than academics.  Out of all of the stories that are told in this movie, these two involve subjects who have the most to overcome, and this keeps you hooked as you watch the steps that they take to turn their experiments into successes.

Once we arrive at the ISEF portion of the film, we're provided with a fascinating, in-depth look at how this event is structured.  It soon gets to the point where you begin to feel anxious because, before the actual fair takes places, you’ve seen how much work that these students have done to get to ISEF, how the judges examine the many competing projects, and the speed bumps that can occur between arriving at ISEF and the start of the fair.  For anyone who has ever had to make a significant presentation, this segment of the film captures all of the tension of having months of preparation come down to a short period of judgement.

Costantini delivers an unyielding passion for science that absorbs you into the film.  The thrill of learning is palpable throughout, with Costantini also providing a sense of nervousness and excitement as the results of the regional contests and ISEF are announced.  The amount of insight that the students provide for their projects is compelling, and you always feel amazed by the vast intelligence of these participants.

"Science Fair" is a joyful experience about the competitiveness and camaraderie that comes with these events.  As you watch these students make it far with their boundless intellect, the film provides you with a lot of hope for the future, letting you know that our world will be in good hands.

Grade: A

From Bank to Bank, a Robber Becomes an American Legend

Sissy Spacek and Robert Redford in "The Old Man and the Gun"
Photo Credit: RottenTomatoes.com

There are many times in film when a story with a simple premise can be just as impactful as one that's more intricate.  This is because, when a movie has a simple narrative, you're encouraged to look through the deceptiveness of that simplicity and explore the smaller details that could give the movie a larger meaning, with such analyzations requiring a more careful eye.

Such a narrative is structured in writer-director David Lowery's "The Old Man and the Gun," a true-life comedy-drama that excels as a love story, crime caper, cat-and-mouse chase, and even as a meditation on living, and all of this is led by a superb performance from Robert Redford.

In the early 1980s, Forrest Tucker (Redford) is a 70-year-old who has lived a life that's a succession of bank robberies and prison breaks across the country.  After he conducts his latest robbery, Detective John Hunt (Casey Affleck) does whatever he can to try to catch Forrest.

Redford provides a charismatic performance that makes this film a joy, and he presents a charm and kindheartedness that sweeps you away onto Forrest’s journey as his character builds a life out of doing what he does best.  Forrest isn't your typical bank robber, but is a man who approaches the teller with a friendly persona and displays an infectious smile that makes it impossible not to be won over by him.  Redford makes you feel the excitement that his character feels as he conducts his robberies and experiences an outlaw’s American dream.  His performance is downplayed throughout, but every emotion that he exhibits makes a strong impact on the viewer.

Although the simplicity of the narrative somewhat limits the depth of the supporting characters, they're still intriguing to watch because of their grounded nature, like Affleck as Detective Hunt; Tika Sumpter as his wife, Maureen; and Danny Glover and Tom Waits as Forrest's fellow robbers, Teddy and Waller, respectively.  However, the best supporting performance comes from Sissy Spacek, who plays Forrest’s love interest, Jewel.  But, Jewel is more than that, as Spacek gives her character a luminous, countrywoman spirit that results in a character who always has a happy gleam in her eye and is an individual who’s affinity for relishing life is as strong as Forrest’s.

When it comes to Redford and Spacek, the bond that they have makes this a film that's worth seeing for these two stars, alone.  While all of the screen time that they share creates sparks that fly across the screen, their best scene is near the beginning of the film when they get to know one another in a diner, and this sequence lets you know that you're in for a treat as Forrest and Jewel delight in each other’s company and begin to fall in love.

The screenplay by Lowery, which is based on David Grann’s 2003 article in “The New Yorker,” titled “The Old Man and the Gun,” is a light story, but one that’s built on subtleties, all of which provide you with an insight into Forrest’s thoughts and motivations.  We’re given views of his craft and his past, and it’s fascinating to see how he’s able to accomplish his robberies and prison escapes numerous times.

As mentioned earlier, this film is several things in one, and Lowery's able to transition between these different aspects to make it all flow.  He gives us the understated thrills of the robberies and chase scenes, the romance of Forrest and Jewel’s relationship, and the quiet drama of Forrest pondering his life.  And, with the help of cinematography from Joe Anderson, he and Lowery capture the open landscapes of Texas that offer the numerous possibilities for anyone who roams them.

After nearly six decades of acting in movies, Redford’s work in “The Old Man and the Gun” proves that he’s still one of our finest onscreen talents.  As Forrest steals from banks, Redford steals our hearts.

Grade: A-

For Two Singers, a Chance Encounter Changes Their Lives

Bradley Cooper and Lady Gaga in "A Star Is Born"
Photo Credit: Imdb.com

In a time where Hollywood has been experiencing an overabundance of sequels and prequels, it can be a bit exasperating when looking for something original.  However, when it comes to remakes, there's something about them that makes the prospect interesting, and that's the ability for a director to take a film and bring it in a new direction so that it fits for the current time period, adding a new angle and vision in the process, and this has been the case with the multiple versions of "A Star Is Born."

In 1937, William A. Wellman gave us the first go-around of this story with Janet Gaynor and Fredric March, focusing on a waning movie star who helps start the career of an aspiring actress.  Then, in 1954, George Cukor gave us the film's first remake, starring Judy Garland and James Mason, which followed a similar story.  Then, in 1976, Frank Pierson gave us the second remake with Barbara Streisand and Kris Kristofferson, which focused on a troubled rock star who helps a young singer find success.

Now, we have the third remake of "A Star Is Born," this time from Bradley Cooper, who not only makes his directorial debut, but is also a star and a co-writer for the film.  Although this is a story that you’ve seen numerous times before, it’s tough to care about that because the movie is reinvigorated by the depths of emotion that are presented by the two lead performances.

Jackson Maine (Cooper) is a successful musician battling alcoholism.  One night, after performing, he meets a young woman named Ally (Lady Gaga), an aspiring singer/songwriter.  Once Jackson hears her sing, he invites her to one of his concerts, where Ally’s given the chance to perform, and she becomes an overnight sensation.  As Ally’s career begins to take off, her and Jackson’s relationship comes to a crossroads that jeopardizes everything that they’ve accomplished.

Cooper provides a charming and heartfelt performance of an artist whose musical commitment isn’t enough to keep him from his vices.  Although his character comes with a couple of clichés, they’re understated to the point that allows us to see the deeper parts of his role.  Cooper’s character has a downtrodden sensibility about him, but Jackson still displays his sense of purpose with his music.  The past decade has given us an eclectic range of performances from Cooper, and this one continues that streak, showing us not only his talents as an actor, but a new talent as a singer.  The opening scene of the film gives you a sense of the musical ability that Cooper has in store, and it gets more impressive from there in what may not only be one of his best performances, but also one of the best of the year.

Lady Gaga is exhilarating in a role that seems to have been made for her.  It’s a performance in which Gaga’s stage presence from her years of singing shine through as she uses the vigor of her past musical performances to exhibit the power that Ally always wanted to bring out.  At the end of her first scene, as she leaves work and quietly sings “Somewhere Over the Rainbow,” you know that her work in the film is going to be something special.  While Gaga has shown a lot of boldness in her musical performances and never seems to be apprehensive about trying something new with her work, you feel as though you see her in a new light as her character has to overcome her fear of rejection and find her voice.  Of course, her musical performances in the film are show-stopping, but it’s the dialogue-driven sequences where we see another side to her talents, where, through tender conversations with Jackson, Ally reveals much in terms of her worries and aspirations.  It’s an unveiling about herself that draws you further into her character, someone whose artistic abilities have been denied by the superficiality of the music industry.  This makes Ally’s first musical performance in the film a thrilling sequence to witness as she lets her voice break out into the cheering crowds, showing us that Gaga has as much power performing on screen as she does at any concert venue.

The chemistry between Cooper and Gaga is one of the main reasons to see this film.  The way in which their characters connect on screen shows that this is a pairing that was made for the two of them in which to shine.  Whether it’s their concert sequences or dramatic moments, every minute that they’re together gives this movie its magic, and it’ll be impossible for you to blink as you watch Cooper and Gaga bring exuberant life to every frame.

The movie is also bolstered by a few superb supporting performances.  Andrew Dice Clay gives some humorous work as Ally’s father.  Dave Chappelle is terrific as a close friend of Jackson’s, and despite only having a few minutes of screen time, he shows potential as a dramatic actor.  Then, there’s Sam Elliot, who plays Jackson’s manager and older brother (they explain the significant age difference in the film).  It’s a role in which Elliot character exhibits both the love and quiet resentment that he has for his brother, and the interactions that he has with Cooper do well in showing the tenseness that runs through their brotherhood.

The screenplay by Cooper, Eric Roth, and Will Fetters is, at its core, a story of which you've heard several times, but the updates that it makes to fit with today's music scene make it feel invigorating.  As the narrative takes us through Jackson and Ally’s collaboration, we see everything that transpires within their relationship, such as their songwriting, concert performances, roads trips, agreements, arguments, Jackson’s demons, and Ally’s insecurities.  And, despite having a few clichés, the strong emotion of the story manages to overshadow them.

As with any great movie that focuses on music, the wonderful original songs do well with enthralling you in Jackson and Ally’s artistic journey.  From songs like “Shallow” to “Always Remember Us This Way” to “I’ll Never Love Again,” there are many opportunities for Cooper to display his singing abilities, while Gaga is given the chance to continue showing the world that she’s one of the most dynamic voices working today in music.

Cinematographer Matthew Libatique provides strong camerawork, with some of the most memorable shots occurring in the standout concert sequences.  Just as what he accomplished three years ago for director F. Gary Gray’s “Straight Outta Compton,” Libatique captures the feeling of performing on stage and being surrounded by the sound of music and cheers from the audience.

As a filmmaker, Cooper directs the concert scenes with a boundless energy, and the dramatic scenes with a real-life rawness.  The way in which he uses the canvas of the music industry, from the concert sequences to the behind-the-scenes aspects of the two main characters' careers, Cooper shows he's a dynamite talent behind the camera, and to see him excel as a director leads him to becoming the latest multi-talented film star.  He has a command over every aspect of the film, displaying confidence and dexterity as he emerges as a filmmaker who shows that he has so much to offer.

“A Star Is Born” is a film that should be experienced on a big screen, just as you would want to see your favorite singer in concert.  The movie is a convergence of its two leading stars as their characters bring happiness to each other and sweet, sweet music to the world.

Grade: A-

The Life of a Comedian, in Her Own Words

Gilda Radner in "Love, Gilda"
Photo Credit: RottenTomatoes.com

For the last 43 years, "Saturday Night Live" has been a landmark in television.  Through sketch comedy, viewers have been introduced to unforgettable characters brought to us by countless legends, such as Chevy Chase, Julia Louis-Dreyfus, Mike Myers, Chris Farley, Adam Sandler, Tina Fey, Amy Poehler, and Kristin Wiig, to name a few.  To stay up late and watch these performers make us cry with laughter has been a ritual in American pop culture.  

Within this ritual came one of the most influential members in the show's history: the late Gilda Radner, who passed away in May 1989, having been ill with ovarian cancer.  In emotional and inspirational documentary, "Love, Gilda," director Lisa D’Apolito recounts Radner's many successes and the trail that she blazed, not just for women in comedy, but for everyone in comedy.

Throughout the film, D’Apolito has several notable figures from "SNL" read passages from Gilda's writings, including Chase, Poehler, Bill Hader, Maya Rudolph, Cecily Strong, and five-time host Melissa McCarthy, and you can see how honored that they feel for being able to read Gilda's words.  In these segments, you witness how Gilda's love for making people laugh was passed down through the decades to these comedic talents.

In addition to having these aforementioned actors and actresses read from Gilda’s writings, we’re also provided with interviews from many individuals who were close to her, including actor Martin Short, singer and composer Paul Shaffer, original “SNL” writer Alan Zweibel, and “SNL” creator and producer Lorne Michaels.  With their detailed accounts, we receive an idea of how Radner impacted the lives of those around her and the respect and love that others had towards her, and you come out of this movie with a richer understanding of what made her the comedian and kindhearted person that we remember her as. 

D’Apolito provides us with a well-researched journey through Gilda's childhood, how her talent flourished through college and theater groups, and how it led her to not only being a member of the first cast of “SNL,” but the first person to land a spot on the show out of everyone.  We see how her genius thrived on that show, bringing numerous memorable characters to life, such as personal advice expert Roseanne Roseannadanna; the elderly Emily Litella, who provided editorials for the show’s “Weekend Update” segment; and her Barbara Walters parody, “Baba Wawa.”  With these roles, Gilda presented a passion for comedy that has made her one of the staples of that show and a talent who’s in a whole other realm, and all of her characters are examples of that.

During the movie, portions are narrated by Gilda via cassette tapes that she recorded.  With these, we’re given a look into her life and whatever troubles that she had, and we see how she turned those troubles into jokes.  Early in the movie, we see a handwritten quote from one of her writings, saying that if there’s something that you don’t like about yourself, than you should laugh at it before someone else does, and such a view on life speaks to Gilda’s ability to find laughter in unexpected places.  This is most evident later on in the film where Gilda, at a point where she has had her illness for a while, joins a support group for individuals with cancer, and helps them cope by making them laugh through all of their worries.  This concept evolved into Gilda’s Club, a network of clubhouses where people with cancer and their families can gather and discuss living with the illness.

2018 has had a few great documentaries this year, and “Love, Gilda” takes its place among them.  D’Apolito’s film is a wonderful tribute to an icon and a testament to the healing power of comedy, bringing us through the laughs and the tears of Gilda’s life.  We see how fortunate people were decades ago to have Gilda in their lives to make them smile, and this documentary shows that, in many ways, she still can.

Grade: A