Two High Schoolers Go on Their First and Last Hurrah Before College

Beanie Feldstein (left) and Kaitlyn Dever in "Booksmart"
Photo Credit: Imdb.com

The great thing about high-school movies is how anyone can relate them.  We’ve all been through the laughs, awkwardness, and drama during those years of our lives, making them times that have the potential to remain unforgettable.  Because of how well we can connect with such movies, it’s always curious to see how a certain movie will approach the subject of high school.

Actress Olivia Wilde makes her directorial debut and brings us a new high-school comedy with her film, “Booksmart,” an energetic and funny coming-of-age story that’s brought to life by the unbeatable chemistry of its two leads.

Amy (Kaitlyn Dever) and Molly (Beanie Feldstein) are hardworking high-school seniors who are all set for college.  However, they soon realize that they let classwork get in the way of having fun, and the two of them decide to attend a party held by a fellow student the night before they graduate.  This change in their routine will lead to a series of high jinks that neither could have anticipated.

From the opening scene, where Dever and Feldstein take part in some improv dancing as Amy picks up Molly for school, you’re won over by their on-screen connection.  You can see the strength of their friendship and their I-don’t-care-what-others-think-of-us attitude, and you get caught up in the joy that they experience in spending time together.  It’s a friendship at its purest, showing an unbreakable bond between Amy and Molly that will help carry them through a night where they will emerge from their comfort zones.  There’s a palpable energy between Dever and Feldstein that brought me back to the fun times that my friends and I shared in high school, and that sense of excitement that the two of them bring to the movie gets you pumped for the many possibilities that this special night could have in store for them.

The film has several supporting performances that add much to the hilarity.  There’s Billie Lourd as a hilariously unhinged party girl; Skyler Gisondo as a lively, always-smiling classmate; Jessica Williams as Amy and Molly’s free-spirited teacher; Jason Sudeikis as Amy and Molly’s principal; and Lisa Kudrow and Will Forte as Amy’s parents.  In a movie as funny as this, it’s great to see it populated by several humorous characters who get to have witty interactions with the two leads.

The screenplay by Emily Halpern, Sarah Haskins, Susanna Fogel, and Katie Silberman has several similarities to the 2007 comedy “Superbad,” but the differences within the script are enough to give this movie some freshness, making Amy and Molly’s party-finding journey a night that the two of them, and you, won’t soon forget.  Each scenario becomes more wild than the last, with one of them leading to a very funny stop-motion sequence that’s a result of Amy and Molly feeling the effects from unknowingly ingesting hallucinogenic drugs, and this scene is an adventurous storytelling choice for a coming-of-age comedy that compliments the adventurousness of its two lead characters.

Aside from all of the frenetic antics into which Amy and Molly find themselves, the narrative also explores the theme of not being labeled by your peers, which leads to some endearing dialogues that the characters share as they explain their true selves, proving our pre-conceived notions about them wrong.  These conversations give the movie an emotional weight that balances out the laughs with heart-to-heart talks that make these characters memorable.

As a director, Wilde captures the exuberance and unpredictability of high school, whether it be celebrating the last day of school throughout the hallways, going through a series of parties before arriving at the right one, or driving erratically in order to make it to graduation on time, there’s an entertaining frenzy that propels the movie from one enjoyable sequence to the next, and there isn’t a dull moment to be had.

Despite the terrific craziness that ensues, Wilde never forgets to emphasize the emotional bond between Amy and Molly.  She displays their commitment to each other as they set out to have a night that they will always remember, while also exploring the strains in their friendship that appear later on that threaten to drive them apart.

With “Booksmart,” Wilde hasn’t only given us a wonderful contribution to the high-school-comedy sub-genre, but also a celebration of how it’s never to late, in any part of your life, to have a good time.

Grade: A-

An Aspiring Filmmaker Falls for a Mysterious Man

Honor Swinton Byrne and Tom Burke in "The Souvenir"
Photo Credit: Imdb.com

While viewing writer-director Joanna Hogg’s new drama, “The Souvenir,” it doesn’t take you long to realize that this is one of those movies that’s going to make you think hard about where it’s going to take you.  You have the characters interacting, but you’re not sure to what it’s adding up, and you’re trying to decipher what their intentions are towards each other as their relationship remains enigmatic.  There’s a sense of romantic mystery behind this film, leaving you engrossed in a story of love and heartbreak that focuses on Julie (Honor Swinton Byrne, daughter of actress Tilda Swinton), a film student in ‘80s Britain who begins a relationship with Anthony (Tom Burke), a man with a troubled life about which Julie doesn’t know.

Swinton, in a breakout performance, proves to be just like mother, in that she’s able to show an intensity to her acting without being showy.  With a quiet voice and the simple ways in which she carries herself throughout the film, Swinton dives into the deepness of her character to show someone who has ambition in her artistic endeavors, having many ideas in her mind of how she would like to express herself.  Swinton shows her character trying to understand the world around her and her own life, and the dedication to her performance allows us to be in her shoes as we share her journey in attempting to comprehend what she’s experiencing.

From Burke’s first scene, you can tell that there’s something hiding within his debonaire persona.  It’s a performance that raises a lot of questions, drawing you into his character as you try to figure out what’s going on behind his tranquilness.  It’s a performance that doesn’t give away his character’s thoughts right away, but instead begs you to pay close attention to how his character interacts with everyone and everything around him.  With Burke displaying the attitude of a well-adjusted, high-society individual, he does excellent work in throwing you off of the scent of the kind of person that his character is hiding.

Tilda Swinton shows up in a few scenes as Julie’s mother, and seeing this real-life mother and daughter portray a mother and daughter on screen brings extra depth to the bond between their characters; and, although Swinton doesn’t have a lot of screen time, it leaves an impact that’s as strong as what has been felt in her other performances.

In Hogg’s screenplay, which is based on her own experiences, she constructs a relationship between two people with different backgrounds that makes it seem as though they like each other, but also makes it seem as though there’s a distance between them, one that never quite lets up.  There are factors that could hinder their bond, and the narrative utilizes a slow-burn approach to the progression of the relationship that makes us wait to see what may bring their love for each other towards possible disrepair.  While this relationship plays out, there aren’t many obvious details given to us along the way about what’s happening or what will happen between Julie and Anthony, but instead, there are subtleties throughout that encourage you to piece together whatever emerges from the story’s elusiveness. 

For David Raedeker’s camerawork, one of the most noteworthy aspects is how he utilizes several shots of characters walking away from the camera with their backs towards us, something that is seen quite a bit with Julie’s character, which surrounds her with an air of mystique.  We can’t see her face in these shots, so we’re left to wonder what Julie’s thinking, providing her with an ambiguity that’s as strong as the one found in the story itself.

A way in which Hogg heightens the intimacy between Julie and Anthony is how she doesn’t use much sound in several of the scenes between them, allowing us to focus on the images and dialogue as their relationship becomes more and more complicated.  We sense the understated emotions that they express, and it’s this quietness that punctuates these sequences and makes their time together on screen brim with both tenderness and tension.

There’s a scene where Julie meets with a professor, and he recommends that she directs a film with a story that focuses more on her experiences, instead of agreeing with her desire to make a film about experiences through which she has never gone.  This gives the movie a sort-of meta quality because we’re watching a movie that itself is a story about Hogg’s experiences, with Swinton acting as her stand-in.  Through all of this, Hogg provides you with a peek into the incidents that shaped her life, making “The Souvenir” a captivating portrait of pursuing a dream while going through the unexpected hardships that fate could have in store for you.

Grade: A

With Many Assassins Hunting Him, a Hitman Gives Them His All

Keanu Reeves and Halle Berry in
"John Wick: Chapter 3 - Parabellum"
Photo Credit: Imdb.com

In 2014, director Chad Stahelski introduced audiences to a ruthless assassin in his thriller, “John Wick.”  What at first looked like another generic action movie turned out to be a step above countless others of the kind, providing a wild ride that was filled with well-choreographed action sequences and an intense performance from Keanu Reeves.  Stahelski then continued the series in 2017 with “John Wick: Chapter 2,” a sequel that upped the intensity of the first film and built upon the world of assassins that was brought to us in the original.

Stahelski now brings the story of John Wick to new heights with “John Wick: Chapter 3 - Parabellum,” delivering more breathless action sequences and a top-of-his-game performance from Reeves.

Following the events of the second film, John Wick has a bounty on him, prompting a legion of assassins to come after him.  Not being able to trust many, John embarks on a globetrotting journey to help find the few allies who will help him take on those who are trying to kill him.

Reeves continues to show full commitment in bringing out his character’s unwavering fighting prowess as he moves from one bone-shattering confrontation to the next.  It’s a performance of ferocious physicality that’s punctuated by small, yet effective displays of emotion as John recalls what he has lost and makes tough decisions about what to do in order to move forward.  He’s not some hollow action hero who’s only attributes are his fighting skills, but an action protagonist who carries a considerable amount of grief over what’s been taken from him, which lets us become absorbed into his odyssey as he tries to avoid death at every turn.

Just like the last two films, this installment has several terrific supporting performances.  As for returning characters, there’s Laurence Fishburne as the Bowery King, a regal-like crime lord; Lance Reddick as Charon, the kind and accommodating concierge at a hotel for assassins; and Ian MacShane as Winston, the manager of said hotel who does his best to help John, even in the most pressing conditions.

As for new characters, there’s Mark Dacascos as Zero, a lethal and occasionally humorous assassin who’s John’s biggest threat; Asia Kate Dillon as the steely Adjudicator of the High Table, a council that oversees the rules by which the assassins abide; Halle Berry as Sofia, a fellow assassin and friends of John’s; and Anjelica Huston as The Director, a person from John’s past.  These latest additions to the series make wonderful impressions and help us continue to get drawn into John Wick’s world.

The screenplay by Derek Kolstad (who wrote the first two installments), Shay Hatten, Chris Collins, and Marc Abrams has action scenes to spare, but it also works hard to expand upon the ins and outs of the secret society of assassins.  John’s interactions between the distinct characters offer us views of their roles within the organization, and thereby give us more details of how the society of assassins operates.  It’s a fascinating world upon which the screenwriters continue to build, always taking their time in bringing to light the mysterious qualities of this organization, and after three movies, this setting still feels as fresh as ever.

The cinematography by Dan Laustsen and editing by Evan Schiff (both of whom worked on the second film) help Stahelski in crafting action scenes that, thankfully, don’t use a lot of shaky cam or are over edited.  Instead, these sequences stay on shots for several seconds so we can become more immersed in what’s happening on screen and use a steadier camera, and all of this creates a comprehensibility for these sequences.

Stahelski knows how to deliver blistering action, managing to ramp up the intensity of everything that came before, and it’s clear that will be the case for this movie within the first 15 minutes, where we have a knife fight that will have you gasp at the fierceness of how it plays out.  Besides this, several of the other action scenes have portions that unfold in long takes, with one of the best being the start of a pulse-pounding motorcycle chase between John Wick and a half dozen assassins.  There’s also a blazing gunfight about halfway through the movie that’s a pure rush of adrenaline.  Good luck trying to choose an action sequence as your favorite because Stahelski succeeds in making that an impossible feat.

Similar to the “Mission: Impossible” films, the “John Wick” series has to be commended for the structuring of intricate action sequences that emphasize the use of practical effects.  This creates a realness to these scenes that helps us feel the intensity through which John has to go as he faces constant bouts of danger.

Whether or not anymore movies are made from this franchise is unknown, but if this movie is anything by which to go, it’s clear that John Wick has plenty of fight left in him.

Grade: A

A Presidential Hopeful and Journalist Find Love in the World of Politics

Charlize Theron and Seth Rogen in "Long Shot"
Photo Credit: RottenTomatoes.com

One of the most fun things about watching a romantic-comedy is seeing the situation unfold between two people as their chemistry grows during the movie, bringing them from scene to scene as we see where their relationship will go and how they will sort through their differences.

Director Jonathan Levine focuses on this for his film, “Long Shot,” in which he places two actors who you wouldn’t quite imagine seeing in a movie together, but has it thrive on their unlimited on-screen bond.

Charlotte Field (Charlize Theron) is the U.S. Secretary of State who’s planning to run for president.  As she begins her campaign, circumstances arise that have her run into an out-of-work journalist, Fred Flarsky (Seth Rogen), whom she used to babysit.  When Charlotte hires him to punch up her speeches, the two will form a relationship that neither of them expected to happen. 

In this movie, Theron proves that she should do comedies as much as she does dramas.  As she’s proven in 2018’s “Tully” and 2011’s “Young Adult,” Theron has a natural humorous charisma.  She’s an actress whose ability to elicit laughter makes it hard to believe that she hasn’t done many other comedies in the past, but she has a line delivery that makes it feel like she has.  Mixed in with all of this, Theron shows the wide-eyed ambition for success in her character’s fiery spirit as Charlotte works to sidestep what’s expected of her as being a woman in politics and strives towards the causes in which she believes.

Within Rogen’s character are traces of the types of characters that we’ve seen him play before, but the role of Fred has more to him than that because he also has admirable qualities, such as standing up for what he believes in, as well as having to learn how to compromise when need be.  Despite the familiarity between this character and some of Rogen’s other roles, he somehow manages to still be fun to watch because of how committed he remains to making audiences laugh at his go-for-broke antics.

The chemistry between Theron and Rogen is faultless, with the two of them embracing the heart and hilarity of the script and reveling in the numerous comedic back-and-forths that they’re able to share.  Whether they’re having a sweet moment or a crazy moment, Theron and Rogen display the timeless notion of a relationship sparking between the most unlikely people, keeping us invested in how their connection will grow over time and how they will face oncoming challenges.

There’s also a slew of witty supporting performances, such as June Diane Raphael as Charlotte’s by-the-books staffer; O’Shea Jackson, Jr., as Fred’s affluent best friend; an unrecognizable Andy Serkis as an uncouth media tycoon; Alexander Skarsgård as an eccentric Canadian prime minister; and Bob Odenkirk as a dimwitted U.S. president.

Although the screenplay by Dan Sterling and Liz Hannah can be heavy-handed at times when it comes to the political aspects, it nevertheless gives a great deal of laughs throughout its duration.  And, at its best moments, the political backdrop makes for an entertaining way in which to tell the story because of the people and locations that come into the narrative as Charlotte and Fred travel on the former’s campaign.  Both screenwriters have dealt with politics in film before, with Sterling being the screenwriter for 2014’s “The Interview” and Hannah being one of the two screenwriters for 2017’s, “The Post,” so they do a commendable job in bringing their experience in writing political stories to this film. 

There are many memorable lines, and you’ll find yourself laughing from minute to minute with all of the hilarious dialogue, with one of the film’s best quotes focusing on an outlandish suit that Fred’s given to wear at a world leaders summit in Stockholm. 

With a two-hour runtime, Sterling and Hannah allow us to see the many aspects of Charlotte’s political campaign and take advantage of all of the humorous possibilities that can come out of the narrative and letting Charlotte and Fred’s relationship flourish within these events as they come to learn about each other.

Levine is able to bring out the best in Theron and Rogen’s chemistry, creating a vibrancy that makes “Long Shot” an enjoyable watch.  He maintains an energy that permeates throughout the film as he explores modern political campaigns and the many aspects that go into a politician trying to defy the expectations of the voting public.  There are plenty of laughs and smarts to be had here, and despite the movie’s title, enjoying this film won’t be a long shot at all.

Grade: A-

An Author’s Secretive Live is Revealed in Her Words

Molly Shannon (left) and Susan Ziegler in
"Wild Nights with Emily"
Photo Credit: RottenTomatoes.com

In regard to American literature, Emily Dickinson is one of our most prolific.  Having written over a thousand poems, Dickinson allowed readers to peek into her mysterious life and become familiar with the experiences that influenced her work.

This is all explored in writer-director Madeleine Olnek’s biographical comedy, “Wild Nights with Emily,” in which she focuses on the writings of Dickinson, and with a funny and dramatic performance from Molly Shannon in the title role, this movie makes for a fascinating biopic.

In 19th-century Amherst, Massachusetts, Emily Dickinson is a gifted writer who’s struggling to get published.  While she writes, she soon begins a relationship with her sister-in-law, Susan Huntington Gilbert Dickinson (Susan Ziegler), who becomes Emily’s muse for her poetry.

Although this is a comedy and Shannon thrives in this genre, the role of a complex literary icon isn’t a character you would quite expect her to play, but she pulls it off as she shows Dickinson’s love for language and desire to share her words with the world.  Shannon has a few opportunities to display her comedic talents, but it’s the dramatic aspects of her character that will impress you.  Shannon brings out the passion in Emily’s voice as she puts her ideas on paper, letting us know how much writing serves as a significant creative outlet to explore her relationship, which was seen as taboo at the time.

The connection that Shannon and Ziegler share is a powerful example of how an artist’s life can influence their work.  You see the sense of life that sparks between them when they’re together, as well as the quiet heartbreak of them having to keep their relationship a secret, restricted to secret meetings and delivering letters to each other by a third party.  Through all of this, we’re given insight into who these two women are and how their love presents itself in Dickinson’s writing.

During the first third of the film, there are scenes where we see younger versions of Emily and Susan, played by Dana Melanie and Sasha Frolova, respectively.  These sequences offer some intriguing views into how their relationship began, but the acting from Melanie and Frolova isn’t as strong as it should be, seeing as they have to establish a heartfelt relationship between their characters.

Amy Seimetz, who portrays Mabel Loomis Todd, an editor who published Dickinson’s work following her passing, gives an entertaining performance as a young woman who works her way into the lives of the Dickinsons.  With this role, Seimetz provides memorable work as she brings out her character’s high-society personality in humorous ways.

Olnek’s screenplay constructs a movie that’s just under 90 minutes, but it still manages to give the viewer enough details concerning the formation of Emily and Susan’s relationship and how much the former dedicated herself to trying to break out in the literary world.  Often, Olnek places quotes from Dickinson’s poems onto the screen, with Dickinson narrating them on a few occasions; and, as they appear during the scenes to which they relate, this furthers the notion of Dickinson’s life and writing having a deep connection with each other.

While the film dives into Emily’s journey to have her work recognized and her relationship with Susan, the narrative also deals with the concept of having one of the most important aspects of her life erased from her past, a concept that’s encapsulated in poignant fashion in the film’s last couple of minutes.  This is made all of the more eye-opening with some on-screen text before the end credits that explains how this erasure was reversed.

The first half of the film tends to be slow in spots, but as the film goes on and we approach the second half, you’re drawn further into Emily and Susan’s relationship as Olnek shows the tenderness between them and the sense of loss of how they didn’t get to live out their relationship in the way that they wished.  Olnek brings us into the mind of Dickinson, constructing a psychological and emotional study of who she was, making “Wild Nights with Emily” an intriguing look at a writer and the abundance of personal thoughts that she entrusted to her readers.

Grade: B+