Top 10 Movies of 2020

Mebh Óg MacTíre (left, voiced by Eva Whittaker) and
Robyn Goodfellowe (Honor Kneafsey)
in "Wolfwalkers"
Photo Credit: Imdb.com

10) Wolfwalkers - After seeing this latest addition from the animation studio, Cartoon Saloon, I realized that I have to take time to see some of their other films because this movie was just too good.  The story takes place in 17th-century Kilkenny, Ireland, and follows a hunter (Sean Bean) who is tasked with killing a group of wolves in a nearby forest.  However, his daughter, Robyn (Honor Kneafsey), an apprentice hunter, befriends a young girl, Mebh Óg MacTíre (Eva Whittaker) from the woods and finds out that she’s part of a group of wolfwalkers, mystical beings who are humans by day, and wolves by night.  The voice acting is rich in emotion as Robyn and Mebh build their friendship, keeping you immersed in the life-changing journey in which they find themselves.  This is a magical and heartwarming story that’s bolstered by the gorgeous 2-D animation, the visuals of which provide colorful and stunning landscapes for the young adventurers as they face danger and fight to keep the wolves safe.  There isn’t any doubt that you’ll be swept away from this movie’s storybook mythology. 

From left: Chadwick Boseman, Colman Domingo, 
Viola Davis, Michael Potts, and Glynn Turman in 
"Ma Rainey's Black Bottom"
Photo Credit: RottenTomatoes.com

9) Ma Rainey’s Black Bottom - Four years after Denzel Washington’s terrific film adaptation of August Wilson’s play, “Fences,” director George C. Wolfe now gives us the next movie treatment for a Wilson play with this story of blue’s singer Ma Rainey (Viola Davis), who, on a tumultuous afternoon, records some songs with her backup band at a studio in Chicago.  Davis is transcendent as Ma Rainey, emanating both her character’s towering presence as a stage performer, while also showing Ma Rainey’s determination to not be pushed around.  And, Chadwick Bozeman, in his final performance, is thunderous and heartbreaking as the band’s trumpet player, Levee Green.  This adaptation remains true to the source material, never omitting anything significant.  Although this is pretty much a scene-for-scene adaptation, that’s not a negative thing in the slightest.  What this means is that we’re given all of the power of Wilson’s text and the ferocity of a live stage performance, leading you to experience the force of the cast come right through the screen.

Riz Ahmed in "Sound of Metal"
Photo Credit: RottenTomatoes.com

8) Sound of Metal - If there was any movie this year that did everything that it could to make it seem like you're walking in the main character’s shoes, it’s director Darius Marder’s drama about a heavy-metal drummer (Riz Ahmed) who finds refuge in a deaf community when he begins experiencing progressive hearing loss.  Ahmed turns in a performance that’s at once heartbreaking in his despair for losing his hearing, but then slowly turns inspirational as he begins to adjust to a world without sound.  Marder provides considerable insight into the transition that Ahmed’s character makes as he slowly begins to lose his ability to hear, while also exhibiting what the rest of the hearing-impaired community experiences in their daily lives.  Aside from that, Marder’s expert sound design provides flawless work in immersing us in the muffled and distorted sounds that Ahmed’s character experiences, as well as the near total silence at certain points.  The amount of detail, both narrative and technical, that goes into exploring the main character’s new life is a thought-provoking experience that you shouldn’t miss.

Evan Rachel Wood in "Kajillionaire"
Photo Credit: RottenTomatoes.com

7) Kajillionaire - Writer-director Miranda July’s latest movie has a touch of weirdness to it right from the start, but that’s not a bad thing at all because it draws us quickly into the story, which focuses on a family of con artists who believe in living on the bare minimum.  The performances from Evan Rachel Wood, Richard Jenkins, and Debra Winger all group well together to exhibit an off-kilter family that doesn’t require much, and Gina Rodriguez is equally good as a young woman who’s invited into the family’s schemes.  However, it’s Wood’s performance that keeps you hooked in the growing complications of the characters’ scams, showing someone who remains conflicted in choosing to either break away from her family or stay with them, oftentimes seeming like an outcast among her mom and dad.  July’s film tackles the issue of materialism in a unique and poignant way as we see the evolution of the relationships within the story.  Even though the notion of people being more important than things is a topic that’s been explored many times before, it’s nevertheless a prevalent theme that’s examined here with humor, emotion, and vigor.

Carrie Coon and Jude Law in "The Nest"
Photo Credit: RottenTomatoes.com

6) The Nest - It’s hard to believe that it took writer-director Sean Durkin almost a decade to bring us another movie after his first one, “Martha Marcy May Marlene,” but he has finally returned with his latest thriller.  His movie follows a father (Jude Law) who moves his wife (Carrie Coon) and their children (Charlie Shotwell and Oona Roche) to his native England when an enticing business opportunity is offered.  Not too long after moving, each member of the family begins to experience the impact of their transition in different ways.  Law and Coon provide fiery work as their characters start to become at odds with each other, showing the crumbling of their family in disquieting detail.  As with Durkin’s previous movie, he imbues his latest film with subtleties that add new levels to what you’re watching, making you think and rethink what must be going on through the heads of the characters.  The deconstruction of this family is effective in how it takes its time showing each thread come undone as you begin to think they’ll never be the same, and Durkin assures you’ll be wondering that the whole way through.

From left: Leslie Odom Jr., Eli Goree, Kingsley
Ben-Adir, and Aldis Hodge in 
"One Night in Miami"
Photo Credit: RottenTomatoes.com

5) One Night in Miami - One of the best directorial debuts of this year comes from Regina King in her adaptation of Kemp Powers’ 2013 play, for which he wrote the screenplay.  The story chronicles a fictional meeting in a Miami hotel room between Malcolm X (Kingsley Ben-Adir), Muhammad Ali (Eli Goree), Jim Brown (Aldis Hodge), and Sam Cooke (Leslie Odom Jr.), following Ali’s surprise victory against Sonny Liston.  The four lead performances provide a superb on-screen bond as they discuss and sometimes fight over what it means for them to be iconic figures in the middle of the racial tensions of the 1960s.  Each of them is given a moment to command a scene, and they never try to outdo each other, but rather show that this is a collaborative effort.  Despite the movie just taking place in one location for most of the movie, their acting talents, Powers’ words, and King’s newfound filmmaking abilities keep the emotion going and never allow a dull moment to happen, showing how much can happen over the course of a night.

Amanda Seyfried and Gary Oldman in "Mank"
Photo Credit: Imdb.com

4) Mank - Six years after the release of his last film, “Gone Girl,” director David Fincher finally returns to the movies with “Mank,” which tells the story of screenwriter Herman J. Mankiewicz (Gary Oldman), as he’s tasked with writing the script for “Citizen Kane.”  Oldman not only brings a fine amount of humor to the role, but also a sense of weariness that shows someone who’s strained by the time crunch of his screenwriting assignment.  While the supporting cast is talented as a whole, Amanda Seyfried is the standout, delivering one of her finest performances as witty and wise film actress Marion Davies.  Working from a screenplay by his late father, Jack Fincher, David Fincher conjures up a superb account of Mankiewicz’s writing process for “Citizen Kane,” as well as an intriguing view of the inner workings of Hollywood.  When you mix it all with black-and-white cinematography and gorgeous period detail, the over-half-a-decade wait for another Fincher movie was worth the wait.

Orion Lee and John Magaro in "First Cow"
Photo Credit: Imdb.com

3) First Cow - Director Kelly Reichardt is known for her minimalist stories that still have much to say, and that trend continued this year with her drama, “First Cow.”  Her latest film tells the story of a cook, Otis (John Magaro) and his new friend, King-Lu (Orion Lee), who start a small baking business.  However, they need milk, and their only source is a cow that belongs to a wealthy landowner (Toby Jones).  This is movie that thrives on the friendship that’s built between the two main characters, and Magaro and Lee’s performances provide plenty of emotional insight into their connection that strengthens throughout the film.  This is a transportive experience as Reichardt invites you to visit 19th-century Oregon Country and the beauty of the West, immersing you in the sounds of nature and everyday life that Otis and King-Lu experience.  It’s the type of movie that’s built mostly on small moments, but those moments lead to something impactful, and this makes “First Cow” one of the latest examples of how much a filmmaker can do with a small-scale approach to storytelling.

22 (left, voiced by Tina Fey) and Joe Gardner 
(Jamie Foxx) in "Soul"
Photo Credit: RottenTomatoes.com

2) Soul - With movies like “Up” and “Coco,” Pixar isn’t a stranger to handling stories that involve life and death, focusing on this theme in emotional, beautiful, and unique ways.  They’ve done it once again with their latest film, which follows Joe Gardner (Jamie Foxx), a band teacher and aspiring jazz pianist who’s given a chance to launch his career as a professional musician.  Before he can do that, he must try to reunite his soul with his body after they become separated.  Foxx elicits great amounts of vigor as his character shares his love of music, and Tina Fey, who voices a soul named 22 who assists Joe on his journey, brings a quick-witted persona to her character and revels in some of the movie’s funniest lines.  As Pixar has done many times before, they’re able to present deep subjects in gorgeous and imaginative ways, telling a story that transitions between the soft, otherworldly glow of the “Great Before,” a place where souls prepare for life on Earth, and the vibrant, bustling setting of New York City, where Joe lives.  This is another stunning stroke of originality from Pixar, once again showing an inventiveness that doesn’t have any boundaries.

From left: Isiah Whitlock Jr., Norm Lewis, 
Delroy Lindo, Clarke Peters, and Jonathan 
Majors in "Da 5 Bloods"
Photo Credit: RottenTomatoes.com

1) Da 5 Bloods - For his latest film, Director Spike Lee delivers another blistering movie with historical elements.  The story follows five African-American soldiers, Paul (Delroy Lindo), Otis (Clarke Peters), Eddie (Norm Lewis), Melvin (Isiah Whitlock Jr.), and Norman (Chadwick Boseman), who find a locker of gold bars in a place crash in Vietnam, but lose it after an enemy attack, which kills Norman.  In the present day, the four veterans and Paul’s son, David (Jonathan Majors), return to Vietnam to search for the gold and Marvin’s remains.  Every performance is superb, with the five veteran characters exhibiting a connection that gives you a full view of the strength of their bond, but it’s Lindo who’s given the chance to go on a whole other level as he displays the psychological trauma that he’s been suffering ever since his days in the army.  Between the film’s detailed narrative, accomplished technical aspects (in particular the use of different aspect ratios), rock-solid camaraderie amongst the cast, and what could be the most nerve-shredding scene in movies this year (if you’ve seen this movie, you know which scene), this is an epic story of friendship that will leave its mark on the viewer.

Separated from His Body, a Soul Makes a Life-Changing Journey

22 (left, voiced by Tina Fey) and Joe Gardner 
(voiced by Jamie Foxx) in "Soul"
Photo Credit: RottenTomatoes.com

While many of Pixar’s movies have succeeded in exploring emotional territory that can be just as enriching for adult viewers as it can be for children, a prime example of just how deep and intricate they can take a concept is their 2015 film, “Inside Out.”  Not only did this movie offer poignant material in the usual Pixar fashion, but it did so by taking an inventive look inside the human psyche and exploring its inner-workings through the use of anthropomorphic emotions as characters.  It’s one of the studio’s finest examples of their ability to offer complex storytelling while also being entertaining.

The studio accomplishes something similarly with Pete Doctor (who directed and co-wrote “Inside Out) and Kemp Powers’ new movie, “Soul,” which focuses on an intricate view on the subject of life and death.  As with many other Pixar movies, this one doesn’t shy away from focusing on heavy topics, and with a fine balance of wit and drama, the film explores its theme in a unique way that’s the standard of Pixar.

Joe Gardner (Jamie Foxx) is a music teacher in New York City who feels dissatisfied with his job.  Before his chance to break out as a jazz musician, his soul is accidentally separated from his body and must find itself in the “Great Before,” a place where young souls are prepared for life on Earth.  To get back to Earth, Joe recruits the help of another soul, named 22 (Tina Fey).

Foxx provides heartfelt work as a man who has a passion for music and a soul who has a determination to reunite with his physical self.  He brings laughs when his character tries to adjust to the world of the “Great Before,” exhibiting a comical panic as he races to make things right.  However, as the film goes on and he begins to realize that there’s more to his life than what he expected, Foxx makes a superb, heartwarming turn as his character has a breakthrough that’s an emotional highlight of the movie.

Fey is her usual comedic self, voicing a soul who has been in the “Great Before” for a long time and doesn’t wish to go to Earth.  She exhibits her fast-paced humor and has her typical great delivery of some of the film’s funniest dialogue.  Later in the film, Fey’s character is given a similar chance like Foxx’s to exhibit some poignancy in her role as she goes from someone who doesn’t wish to experience life to someone who begins to consider that there may be aspects about life that make it worth living.

While the supporting voice cast is terrific all around, such as Phylicia Rashad as Joe’s mother, Libba, and Angela Bassett as Dorothea Williams, a jazz musician and saxophone player, the standout is Rachel House as Terry, an antagonistic, takes-her-job-too-seriously soul counter in the “Great Beyond.”  The cunning tone of her voice, mixed with the way in which the animators make her move around in a sly nature adds to a character who’s so much fun to watch as she calculates her movements and slightly bumbles her way through getting the job done.

The screenplay by Doctor, Powers, and Mike Jones is an imaginative existential story.  We’re provided with a detailed look into Joe’s life throughout the movie, giving us a view of his passions and his connections with his friends and family and showing us the kind of person he is before we journey along with his soul as he makes some deep discoveries about himself.  The narrative that Doctor, Powers, and Jones create is a view of life and death that only writers behind a Pixar movie could have created, a type of genius that always has you thinking, “How did they come up with this?”  Of course, by now, it shouldn’t come as a surprise that Pixar can craft something like this.  The way in which this trio is able to write a complex story that deals with topics like life, death, pre-existence, and finding one’s purpose, and have it all coalesce results in a screenplay that exhibits an abundance of feeling and intelligence.

Doctor and Powers provide stunning animation for the film’s settings in the “Great Before” and NYC.  The “Great Before” is imbued with soft, ethereal colors, while the city is vibrant with the throngs of people, busy streets, and shop windows, creating an immersive experience within the environments of the film and empowering your senses as you take in another stellar world that Pixar has created.  Accompanying the lively visuals is a score from Trent Reznor, Atticus Ross, and Jon Batiste.  Reznor and Ross create otherworldly music for the sequences of the film that take place in the “Great Before,” while Batiste provides a catchy, jazzy score for the scenes that take place in the city. 

Given the story material, it could have been tricky to balance lightheartedness and misty-eyed emotion, but as directors, Doctor and Powers pull it off without issue.  Through their beautiful exploration of what it means to live, “Soul” is a movie that will make you feel alive.

Grade: A

One Afternoon in a Recording Studio, Tension and Art Collide

From left: Chadwick Boseman, Colman Domingo, 
Viola Davis, Michael Potts, and Glynn Turman in 
"Ma Rainey's Black Bottom" 
Photo Credit: RottenTomatoes.com 

Check out my review on SiftPop.com!

In Denmark, a Group of Teachers Drinks for Academic Purposes

From left: Thomas Bo Larsen, Lars Ranthe, 
Mads Mikkelsen, and Magnus Millang in 
"Another Round" 
Photo Credit: Imdb.com

Over the decades, many mainstream comedies have enjoyed placing their characters in situations where they drink excessively and find themselves in unpredictable and, to them, unmemorable shenanigans. They have fun and regrets in equal measure, leaving you to revel in the antics that unfold as these characters have some of the best times of their lives.

This type of story takes an intriguing turn in director Thomas Vinterberg’s comedy-drama, “Another Round.”  Here, we see the characters’ alcoholic adventures as something that’s much more than about them drinking.  It’s instead a story that explores the characters through a humorous and emotional lens.

In Copenhagen, Martin (Mads Mikkelsen), Tommy (Thomas Bo Larson), Peter (Lars Ranthe), and Nikolaj (Magnus Millang) are teachers who feel as though they’re not motivating their students as much as they can.  To fix this, they decide to test psychiatrist Finn Skårderud’s study that discusses how maintaining a BAC of .05% makes you more productive and creative.  As the four friends begin to conduct this experiment, they will see both the positive and negative impacts of their research.

Mikkelsen, who stared in Vinterberg’s 2012 film “The Hunt,” delivers a performance that’s both fun and dramatic.  He excels in bringing to realization an everyday character going through some personal issues, showing the boredom and uncertainty of being in a rut.  However, in the scenes where he begins the experiment and becomes more confident in front of his students, Mikkelsen sweeps you up in this new nature of his character.  He then makes a heartrending transition into someone whose life begins to fall apart when the experiment seems to go too far.  This is a human story that’s helped made possible by a very human performance, resulting in another piece of work that further proves Mikkelsen’s reputation for being a distinguished actor in global cinema.

The bond between the four main characters is what makes this film feel as fresh as it does.  Whether it’s them enjoying drunken nights or sticking together through hardships, the actors portraying these characters bring a superb amount of strength to their on-screen chemistry.  As we watch Mikkelsen, Larson, Ranthe, and Millang portray the ups and downs of this point in their characters’ lives, this quartet of actors imbue it all with an emotional depth and abundance of energy that makes them a compelling team to watch.  

The screenplay by Vinterberg and Tobias Lindholm, both of whom have co-written several other screenplays, may seem like something we’ve seen before in terms of adult characters trying to bring more fun into their lives, but the narrative does well in providing us with witty and poignant interactions between the characters, grounding the movie in an authenticity where this story could have fallen into a trivial night-of-binge-drinking sort of narrative.  It’s not until we arrive to around the half-hour mark where they begin the experiment, so before then, we’re given plenty of time to become familiar with these characters, particularly in a 10-minute scene at a birthday dinner where you’re given an idea of the chemistry that will be the foundation of the movie.

Vinterberg and Lindholm also manage to have their screenplay create a balance in the amount scenes that each character is provided.  Throughout the movie, the screenwriting duo not only creates sequences that focus on the these characters spending time together, but also showing them in their individual environments, be it when they’re each instructing a class or interacting with their families.  So, despite Martin being the main character, the screenwriters also give us detailed views of who his three best friends are, an aspect that adds more depth to the story.

The cinematography from Sturla Brandth Grøvlen utilizes a lot of handheld camera movements, having the viewing experience the characters’ drunkenness with the swaying of the camera during their inebriation.  Whether it be in a bar or running down the street while intoxicated, you’re in that state of mind as Martin and his friends increase their BACs.  While this camerawork is used to fine effect in the humorous scenes, it’s greatest impact comes in the dramatic scenes as the friends’ drunkenness increases and their lives begin to spin out of control.

As a director, Vinterberg accomplishes the changes in tonal shifts when the lives of the characters become more complicated as their experiment goes on.  These skillful transitions punctuate the growing troubles that the characters experience, slowly leading us from merriment to hard-hitting emotions as Martin and friends go through a set of events that make you feel as though you’re watching actual people traverse through both the good times and the bad.

Vinterberg has made a movie where there’s much believability in the lives that he’s depicting, and by the time you’ve finished going on this journey, you might wish to go for another round.

Grade: A-

Over One Night, Four Icons Dissect Their Lives

From left: Leslie Odom Jr,. Eli Goree, 
Kingsley Ben-Adir, and Aldis Hodge in 
"One Night in Miami" 
Photo Credit: RottenTomatoes.com

When a movie tackles historical events, it’s important that they remain as true to real life as they can.  However, there are some times when, for the purposes of the story, they might have to stretch the truth a little.  But, as long as they get most of their subject right, this can be forgivable.

But, there are occasions when getting really creative with history can result in something invigorating.  This was accomplished by Kemp Powers for his 2013 stage-play debut, “One Night in Miami,” which followed a fictionalized account of four notable figures spending time together.  Now, actress Regina King makes her filmmaking debut with the movie adaptation of the same name, offering a compelling look into the meeting at the center of the movie.

The story unfolds in a Miami hotel room on a night in February 1964 with Malcolm X (Kingsley Ben-Adir), Muhammad Ali (Eli Goree), Jim Brown (Aldis Hodge), and Sam Cooke (Leslie Odom Jr.), following Ali’s stunning win against Sonny Liston.

The four leads create unforgettable chemistry as they talk, laugh, and argue through various discussions about their roles in life.  All of them exhibit a passion within their performances as they express the deep-rooted emotions of their characters.  Whether it be a scene of Ali praying with Malcolm X, Malcolm X and Sam fighting over how they should use their cultural status in the fight for equality, or Jim trying to calm Sam down after the latter argues with Malcolm X, each of the four leads is given an opportunity to show the power that they can contribute to this impressive quartet or actors.  They all express the dramatic weight that comes with each of their character’s journeys, presenting us with a view of what their real-life counterparts must have experienced.

Despite this movie focusing on four people for most of the runtime, the mightiness of the four lead performances proves that this movie would have worked even if it was just them in the movie without the brief supporting characters on the side.  With the leads spending a lot of time together, they do terrific work in not trying to outdo each other, but they instead give each of their performances the right amount of grandeur, while also allowing the others to shine.  This is a collaborative effort that works without flaw, and once the movie is over, you know that each of the leads gave everything they had and left it on the screen.

Powers’ screenplay mainly takes place in a hotel room, but the minimalist setting doesn’t lessen the power of the story in any way.  Before we arrive at the hotel, Powers provides us with an introductory scene for each lead character to help us get to know where they are at that stage in their life and to show us what issues they’re facing at that moment.  By the time that their lives converge in the hotel room, they’re able to provide an insight of what the outside world is like for them, just by the discussions that they have in that room.  The interactions that take place between the leads, whether it be two, three, or all four of the characters, offer many avenues through which to explore different topics.  It’s because of this that you have an idea of what each of the leads is thinking in terms of the issues that they face in the ‘60s, using a brief timeframe within the story to provide us with a bigger picture of their ongoing struggles.  Powers delivers an in-depth examination for each of his four main characters, and with just one night of these characters’ lives, we feel as if we know them by the time the film ends.

King shows much talent behind the camera, giving viewers an emotional portrait of four individuals trying to make it through their successful, yet challenging lives.  With a small, central cast and a limited setting, King displays a passion for getting the most out of what the story calls for and explores the era that’s depicted in superb detail.  Between the poignancy of the characters’ hardships, the lightheartedness of their growing friendship, the strain that sometimes arises among them, and the sense of hope that eventually prevails, King does well in having you understand the impact that this time period has on the characters.

Through the lens of this movie, “One Night in Miami” is a story from which can gain a lot, making it a night you won’t forget.

Grade: A

While Stuck in Bed, a Screenwriter Creates His Masterpiece

Amanda Seyfried and Gary Oldman in "Mank" 
Photo Credit: Imdb.com

I realize that to say this is a cliché, but there isn’t any denying that Orson Welles’ 1941 film, “Citizen Kane,” is one of the greatest and most iconic movies ever made.  Between Welles’ groundbreaking direction, his majestic and heartrending performance, and a story about its main character’s American dream and the emptiness of excessiveness, Welles constructed a movie that, after almost 80 years since its release, never fails to leave the viewer in awe at its ambition.

Despite Welles’ name maybe being associated with this movie the most, “Citizen Kane” didn’t all spawn from his mind.  He had a great deal of help from screenwriter Herman J. Mankiewicz, and his writing process is chronicled in director David Fincher’s biographical drama, “Mank,” an intriguing story of old Hollywood and the hurdles that Mankiewicz had to face in order to complete his work.

In 1940, RKO Pictures offers Orson Welles (Tom Burke) total creative control for his next movie, “Citizen Kane.”  He recruits the help of Herman J. Mankiewicz (Gary Oldman) to write the script, who’s recovering from a broken leg that he sustained in a car accident.  As Herman works to complete his screenplay on time, he will also have to deal with other issues that threaten to hinder his work.

Oldman provides a performance that’s both humorous in how his character handles tough situations with his wit, but also melancholic in how his relationships between him and the people with whom he works become more and more damaged.  It’s a role where Oldman presents the strain that his character experiences as he faces a time crunch.  He never goes overboard with displaying how stressed Herman begins to feel and doesn’t indulge too much in the clichés of characters who are writers, but instead shows an understated weariness that exhibits what his demons and the demanding nature of the work are doing to him. 

The film has a fine supporting cast, such as Lily Collins as Rita Alexander, Herman’s secretary; Arliss Howard as Louis B. Mayer, cofounder of MGM; Ferdinand Kingsley as Irving Thalberg, a film producer; Tuppence Middleton as Sara Mankiewicz, Herman’s wife; and Charles Dance as newspaper publisher William Randolph Hearst.  While all of these cast members do well in their roles, they either don’t have a lot of memorable material, or don’t have much screen time.  However, two cast members who are given the chance to make an impression are Amanda Seyfried as actress Marion Davies and Hearst’s mistress, and Tom Burke as Orson Welles.  Seyfried is given a couple of scenes with Oldman as their characters get to know each other, opening up a relationship that becomes more complicated as Herman nears the end of his script.  For Burke, the final confrontation between Orson and Herman simmers with tension as the two argue over writing credit, providing a scene that’s reminiscent of the Winklevoss twins’ intellectual-property lawsuit against Mark Zuckerberg in “The Social Network.”

The screenplay by Jack Fincher, who’s David’s father (he passed away in April 2003), has an intriguing similarity to the screenplay for “Citizen Kane,” in that it plays around with the chronology of the film’s events.  Just like how Mankiewicz’s screenplay goes back and forth between Kane’s life and the investigation that follows his passing, Fincher’s narrative transitions between Herman writing the screenplay and his years in Hollywood leading up to being offered the project.  In the scenes that take place in the past (that timeframe spans from 1933-1937), we’re given a detailed account of the events that surrounded Herman’s life, particularly his involvement in local politics and how it intertwines with his work in Hollywood.  It’s a refreshing change of pace of how, in a movie about the making of a movie, we don’t see something that’s just about the filmmaking process, but we also see an aspect of Hollywood that doesn’t seem like it’s explored too often in movies that take place in that location.

For the scenes that occur during Herman’s time writing “Citizen Kane,” they all take place in a secluded house, providing audiences with a feeling of how Herman must feel in having to stay in one place as he tries to recover from his injury and buckle down to get his work done.  With characters coming in and out of the house to check on his condition and to see how the screenplay is progressing, the amount of time that we spend in the house shows us the stress of Herman’s writing process and the pressure to finish his screenplay on time.

The score from Trent Reznor and Atticus Ross, who provided unforgettable scores for Fincher’s “Gone Girl,” “The Girl with the Dragon Tattoo,” and “The Social Network,” shows a new depth to their talent as they deliver a score that’s reminiscent of the style of classic Hollywood movies.  When you consider how modern the scores are for their previous three movies with Fincher, you won’t feel anything less than impressed with this switch their able to make.

“Mank” is Fincher’s first movie in six years, following “Gone Girl,” which means this is the longest wait that we’ve had between movies from him.  That wait was worth it to see Fincher’s behind-the-scenes view concerning a specific chapter of the making of “Citizen Kane.”  This movie doesn’t have the look or feel of Fincher’s previous films, but given the amount of time we waited for another one of his movies, it’s exciting to see him return with something that’s different.  The cinematography by Erik Messerschimdt, who provided the camerawork for several episodes of “Mindhunter” (a show where Fincher directed seven episodes) employs black-and-white photography, and when that’s paired with production design by Donald Graham Burt, who has collaborated with Fincher on five of his other movies, we have a film that evokes the spirit of Hollywood’s golden age.  Whether it be a studio lot, a film set, an Election Night party, or Hearst’s San Simeon mansion that recalls Kane’s cavernous mansion Xanadu, this movie immerses you in detailed environments both in and around Hollywood.

At one point in the movie, Herman says, “You cannot capture a man’s entire life in two hours.  All you can hope is to leave the impression of one.”  It’s safe to say that David and Jack Fincher have accomplished that for “Mank.”

Grade: A-

As a Young Drummer Loses His Hearing, He Enters Another World

Riz Ahmed in "Sound of Metal"
Photo Credit: RottenTomatoes.com

For a director making his feature filmmaking debut, Darius Marder has to be commended for showing an ability to immerse us in the life of the main character, especially when that character has to go through a significant lifestyle change.  In his new drama, “Sound of Metal,” Marder depicts this character’s experience through an authentic lens and presents their new way of life with all of the necessary details in such a way that makes this a strong entrance for Marder in the filmmaking world.

Ruben Stone (Riz Ahmed) is a heavy-metal drummer and former drug addict who performs with his girlfriend, Lou (Olivia Cooke).  When Ruben begins to lose his hearing, his sponsor puts him in contact with the head of a deaf community, Joe (Paul Raci), who helps Ruben become acclimated to his situation.

Ahmed brings in a heartrending, yet equally inspiring performance as someone who must move on from the life her knew before in order to adjust and make the best of what’s happening to him.  The panic and frustration that he feels as the realization hits him about losing his hearing is painful to witness, showing a person who exhibits so much talent but is then placed in a situation where he might not be able to use it anymore.  There are also the scenes of contemplation as Ruben must figure out how he’s going to move forward with his impairment, and the intense consideration that Ahmed exhibits during these sequences keeps us invested in his journey as we wonder what he intends to do in this scenario.

Cooke provides terrific work as Lou, a character who shows a strength in needing to leave Ruben at the deaf community as he tries to adjust to his hearing impairment.  She displays how much her character cares about Ruben’s well-being, presenting an effective picture of Lou’s unwavering love for him as they go through a challenging moment in their lives.  The scene before they part is one of the most emotional in the film, with Lou’s plea for Ruben to work hard at the deaf community showing the lovingness of someone wanting to put their life on hold and refusing to move on without their significant other.

The movie also includes several nonprofessional, hearing-impaired actors to portray the other members of the deaf community in which Ruben stays.  The standout is Raci, who plays Joe, the head of the community, and it’s a compassionate performance of someone who wants to do whatever he can to help Ruben and the rest of those for whom he cares.

The screenplay by Marder and his brother, Abraham, not only plays out as a study of how the main character transitions into a nearly soundless world, but is also about people saving each other in times when they’re lives seem to be falling apart and when we have to give up certain things in order to heal completely.  It’s something that’s explored not throughout the movie, but mainly focused on at certain points while providing enough insight for that topic.  When the film isn’t focusing on that aspect, it’s a compelling and eye-opening view of Ruben trying different methods in order to assimilate into his new state of being.

Before Ruben begins his days at the deaf community, the narrative spends enough time establishing the relationship between him and Lou, which helps to heighten the poignancy of their separation when Ruben begins his stay at the deaf community.  It’s not until we’re about a third of the way through the movie that Ruben and Lou, temporarily, go their separate ways, so by then you know how deep their bond is and how hard it is for them be apart.

Darius Marder uses subtitles throughout the movie, and they’re used several ways.  When the subtitles appear with the purpose of describing the different diegetic noises throughout the film, it’s a heartbreaking detail because we’re constantly reminded of the sounds on which Ruben is missing out, whether it be the leaves rustling, wind in the grass, insects trilling, or birds chirping.  This is another aspect of Ruben’s journey that allows us to feel deeply for him because it makes you think about how much we might take these beautiful, earthly noises for granted until they’re not there anymore.  Besides these everyday sounds, we also go through muffled, distorted noises and almost total silence, letting us experience what Ruben goes through as it becomes more and more difficult for him to hear.

However, there are also scenes that have an impact on how they don’t use subtitles.  These scenes occur at the deaf community when Ruben is near someone or a group of people as they communicate with sign language.  In these scenes, the lack of subtitles places us in Ruben’s shoes as he has trouble understanding what’s being said to him and around him.  This is an effective way to have us feel the uncertainty that he experiences when trying to become used to a new style of communication.

In a story about connecting with people and the world itself in the midst of unexpected challenges, “Sound of Metal” is thunderous.

Grade: A

While in Hiding, a Woman Discovers Something Hidden Within

Rachel Brosnahan and Arinzé Kene in 
"I'm Your Woman" 
Photo Credit: RottenTomatoes.com

The opening of director Julia Hart’s slow-burn crime-drama, “I’m Your Woman,” presents the lead character, Jean (Rachel Brosnahan), as she relaxes in her backyard, letting the day sail by.  She doesn’t seem to have much going on, hinting at a life that seems normal on the surface, but possibly missing something.  This is a modest introduction to someone who will experience a complete change in character when her life takes a dangerous turn.

The story takes place in the 1970s and follows Jean, who lives an uneventful life with her husband, Eddie (Bill Heck).  One night, she’s visited by his associate, Cal (Arinzé Kene), who tells her that she has to go into hiding because of her husband betraying his business partner.  Jean soon finds herself in a life-threatening scenario that will have her questioning who her husband really is.

Brosnahan is a captivating presence throughout, proving that she has a promising future in movies whenever she finishes her acclaimed work on TV’s “The Marvelous Mrs. Maisel.”  The sense of panic and confusion that she elicits as she’s thrown into the uncertainty of her situation grips you as she tries to hold everything together in the midst of this unexpected shift in her life.  However, as time goes on and she must learn to tap into her inner strength, Brosnahan sets a fire ablaze in Jean’s eyes as she becomes aware of what’s at stake and will do whatever she can in order to come out of her situation alive.  This is a fleshed-out evolution of her character that takes its time in developing who Jean is and who she becomes, with Brosnahan embracing this complex character and showing both the before and after in great detail. 

Marcia Stephanie Blake, who the plays Cal’s wife, Teri, is intriguing as an individual who helps to familiarize Jean with the criminal underworld in which their husbands work.  As this unfolds in the second half of the movie, we see a friendship form as Teri and Jean begin working together more and more as the danger keeps closing in.  Blake presents someone who has been through what Jean is experiencing, someone who came to terms with this lifestyle and had make the best of it, but now must fight for her life, just like Jean.

Kene delivers a calm, yet forceful performance as an individual who’s tasked with guiding Jean through the deadly cat-and-mouse chases when people begin hunting them down.  He brings us a character who must make tough decisions, but at the same time, seems used to doing so, showing us how much his mind races as he formulates plans to keep Jean safe.  It’s a startling blend of someone who can be quick and violent in what he must do for his job, but also understanding and quietly compassionate in what Jean is feeling with her life being uprooted.

The screenplay by Hart and her husband, Jordan Horowitz, who have been co-writers for Hart’s other films, takes an approach to the story where it’s all told from Jean’s point of view.  This allows the movie to abandon crime-drama tropes and instead make it a character study about Jean coming into her own as a person who must learn to do what she can to protect her loved ones.  By telling the story from her perspective, we feel the sense of unease that she experiences in being kept in the dark about many aspects of what’s occurring off-screen.  Despite there being some details that are kept from Jean, we’re still given the chance to have other aspects of the story disclosed, as we come along with Jean and have our eyes opened little by little, but never quite all of the way (which isn’t a bad thing), to what’s really going on.

Hart always makes you feel the urgency that Jean experiences.  With many scenes taking place at night, Hart solidifies the uneasy, mysterious feeling of not knowing what’s lurking in the dark, with there always being the possibility of unknown assailants waiting for you to make a wrong move.  In many cases, she uses Bryce Fortner’s cinematography to encourage you to scan the frame for any potential enemies within the image, whether it be when Jean tries to escape a home invasion, or something as simple as her meeting someone in a diner.  Hart always emphasizes that a threat can come from anywhere, making your pulse work overtime as you follow Jean from one location to the next as she begins to further understand the world in which she’s now a part.

If you’re searching for a crime narrative that subverts your expectations from what you’ve seen before in this genre, Jean is your woman.

Grade: A

Through Several Years of Hardship, A Young Man Searches for Success

Dev Patel in "The Personal History of 
 David Copperfield" 
Photo Credit: RottenTomatoes.com 

Although I love to read, I’m ashamed to say that the only two books by Charles Dickens that I’ve read are “Oliver Twist” and “A Christmas Carol.”  However, that’s not to say that I don’t appreciate his writing, and despite having not read much of Dicken’s work, I still enjoy watching an occasional adaptation of any of his books.  

Well, one of the biggest treats of 2020 cinema happens to be a movie based on his novel, “David Copperfield,” from which director Armando Iannucci brings us his latest movie, “The Personal History of David Copperfield.”  With his approach to the source material, Iannucci brings us a movie that’s funny, emotional, heartwarming, energetic, whimsical, and so enjoyable.

The story follows the titular character (Dev Patel) who goes from being an orphan to a young man who must overcome one burden after another in order to find and live the life for which he’s always wished.

Patel delivers a remarkable performance as David, an ambitious individual who works hard to overcome his difficult past.  It’s a spirited portrayal that immerses you in the character’s arc as he tries to make his way in the world and get through the people who try to hold him back.  Patel provides terrific work in exhibiting his character’s dislike and rage against his stepfather and his stepfather’s sister, while also showing his comedic abilities when interacting with some of the more eccentric characters.  Patel brings to life the charming Dickensian nature of his character, showing the enthusiasm that David displays when exploring England, a vivacity that makes this journey irresistible. 

Patel leads an unforgettable cast that’s hard to beat.  There’s Jairaj Varsani as a younger David; Aneurin Barnard as James Steerforth, David’s charming boarding-school classmate; Nikki Amuka-Bird as James’ strict mother; Peter Capaldi as Wilkins Micawber, David’s cheerful landlord; Morfydd Clark as Dora Spenlow, David’s bubbly love interest; Daisy May Cooper as Peggoty, David’s motherly housekeeper; Tilda Swinton as Betsey Trotwood, David’s goodnatured great-aunt; Hugh Laurie as Mr. Dick, Betsy’s eccentric distant relative; Benedict Wong as Mr. Wakefield, Betsy’s booze-loving lawyer; Rosalind Eleazar as Agnes Wickfield, Mr. Wakefield’s hardworking daughter and David’s warmhearted confidante; Ben Whishaw as Uriah Heep, Mr. Wakefield’s conniving clerk who hides his ill intentions from his employer; Darren Boyd as Edward Murdstone, David’s cruel stepfather; and Gwendoline Christie Edward’s frigid sister, Jane.  This is a world-class cast that shouldn’t be missed, as each of them is given the opportunity to shine on screen.

The screenplay by Iannucci and Simon Blackwell, the latter of whom was one of the writers for Iannucci’s 2009 film, “In the Loop,” provides an exuberant amount of detail in terms of portraying David’s life on screen, so much so that, at times, David seems to rise above being a fictitious person and instead someone who lived.  Between all of the people he meets and all of the places to which he ventures, Iannucci and Blackwell construct a fleshed-out narrative that never lose any of its buoyancy.  In just two hours, you feel as though you’ve seen, and lived, someone’s whole life, and you come away from this movie feeling as if you really know these characters.

I haven’t seen “In the Loop,” but what I can tell from Iannucci’s 2018 film, “The Death of Stalin,” is that he has a talent for handling extensive casts and making sure everyone has at least one memorable scene.  He does superb work in coordinating the humorous pratfalls and poignant moments in which the characters find themselves, masterfully weaving in and out of the various tones that come from dealing with many characters and plot points.  This is an ambitious adaptation, not just in terms of balancing all of the cast members, but also when it comes to the abundance of period detail and making you feel as though you’re striding alongside David as he lives his many eventful years.

“The Personal History of David Copperfield” offers a personal history, indeed.  At the end, you don’t feel as though you’ve merely watched a movie, but also feel like you made a friend.

Grade: A

In Trying to Be a Skilled Hunter, a Young Girl Becomes Much More

Mebh Óg MacTíre (left, voiced by Eva Whittaker) 
and Robyn Goodfellowe (voiced by Honor Kneafsey) 
in "Wolfwalkers" 
Photo Credit: Imdb.com

Check out my review on SiftPop.com!

Feeling Trapped, a Daughter Tries to Escape Her Unstable Mother

Sarah Paulson (left) and Kiera Allen in "Run" 
Photo Credit: RottenTomatoes.com

Two years ago, Aneesh Chaganty made one of the boldest filmmaking debuts of 2018 with his psychological techno-thriller, “Searching.”  Teaming up with his co-writer, Sev Ohanian, they delivered an anxiety-inducing story of a father trying to find his daughter, all of which took place on computer and cell phone screens.  It was a creative and immersive moviegoing experience, one where the storytelling approach didn’t come off as a gimmick, but was instead an innovative technique that heightened the suspense of the narrative.

Now, they’re back with their second feature, “Run,” another dive into thriller territory.  Although it’s not quite as gripping as “Searching,” it still offers some enjoyable thrills and a pair of superb performances.

For all of her life, Chloe Sherman (Kiera Allen) has been confined to a wheelchair and taken care of and homeschooled by her mother, Diane (Sarah Paulson).  Despite them having a loving bond, Chloe soon begins to suspect that her mother is harboring some disturbing secrets.

In her breakthrough performance, Allen manages to bring out both the fear and resilience that her character faces in an unthinkable situation.  The panic that Allen’s character exhibits is palpable and anchors you to the life-or-death gravity of being at the mercy or her mother.  However, in the scenes where Allen shows her character’s ingenuity, she gives Chloe an understated ferociousness that invests you in how far she’s willing to push herself towards finding out the menace that’s hiding behind her mom’s seemingly loving veneer.  With this being Allen’s first feature-length movie, she does a commendable job in throwing herself into her role, exhibiting just as much power as her co-star and making you switch between biting your nails as you fear for her life, and cheering for her as she does what she can to fight her way from the unsettling lifestyle in which her mother has trapped her.  In her character’s heart-pounding journey to uncover the mystery behind her sheltered life, Allen’s debut couldn’t be stronger. 

It’s difficult to go into detail about Paulson’s performance for fear of spoilers, but what I can say is that, as always, she displays the fullest commitment to her role. What’s noteworthy is that, even though this is the type of story that can fall into campiness, Paulson keeps her performance from going over-the-top, while still being able to display her character’s disturbed mind in a compelling way.  With all of the time that she’s spent on television’s “American Horror Story,” it’s not a surprise that it doesn’t take much for Paulson to immerse herself in the unsettling nature of the story.  While Paulson has excelled in multiple genres, she has been an unforgettable force in the field of horror and suspense, and here, she’s as engrossing as ever, showing how much her character cares for her daughter, but making you always think about how there’s something that’s very, very wrong with Diane.  It’s a performance that will rattle your nerves, and just like how Chloe’s character will show you how far she’s willing to go to escape from her mom, Diane will show you what she’s willing to do to maintain the poisonous relationship that’s at the center of the story.

The screenplay by Chaganty and Ohanian has a couple of predictable story beats and is a bit of a step back from the labyrinthine nature of their debut feature, but it still offers some entertaining surprises that manage to accelerate your heart rate.  With both this film and “Searching” having small casts, this allows more of an intimate screen-sharing between the cast members.  The scenes with Chloe and Diane become more tense as the movie progresses, keeping you invested in the twisted nature of their dangerous relationship.  Between “Searching” and “Run,” Chaganty and Ohanian have proven that they’re not just skillful at crafting thrills in their narrative, but also building characters that provide those thrills with a bigger impact because of how detailed they are.  By balancing the drama and pulse-quickening apprehension, this duo once again uses those aspects to explore the connection between parents and their children, just as they did with “Searching.”

Despite some of the movie feeling a bit familiar, Chaganty has the ability to get as much tension as possible out of any scene.  Whether a sequence focuses on Chloe and Diane sharing a meal, or one of the film’s bigger scenes, such as when Chloe has to find a way to escape her barricaded bedroom, Chaganty delivers tightly wound thrills that are made even more impressive with the fact that this is only his second feature.  What’s remarkable his that he’s able to keep the movie fast-paced, while also providing us with enough time to get to know the characters, thanks to his “Searching” editors Nick Johnson and Will Merrick.  Meanwhile, composer Torin Borrowdale, who also collaborated with Chaganty on “Searching,” delivers a score that helps amplify the film’s suspenseful nature.

With just two movies, Chaganty and Ohanian have solidified themselves as individuals who exemplify great ambition in their work, showing that they’re not afraid to take their ideas and run with them.

Grade: B+

A Family Searches for the American Dream in Another Country

Carrie Coon and Jude Law in "The Nest" 
Photo Credit: RottenTomatoes.com 

Check out my review on SiftPop.com!

From Day to Day, a Group of Con Artists Looks for Their Next Job

Evan Rachel Wood in "Kajillionaire" 
Photo Credit: RottenTomatoes.com

Upon seeing the trailer for writer-director Miranda July’s comedy-drama, “Kajillionaire,” you would be forgiven for thinking that it looked like one of those overly quirky indie movies that would pop up in theaters throughout the early 2000s.  You see a trailer that presents a couple of minutes of a family acting eccentric and dressing funny, people who we’ve seen several iterations of many times before in movies that mistakes over-quirkiness for cleverness.

Thankfully, that couldn’t be less of the case for July’s movie.  It goes beyond what the trailer suggests it will offer, instead bringing you a movie that’s not only funny, but is also an unexpectedly moving examination on family and a critique on materialism.

In Los Angeles, a young woman named Old Dolio Dyne (Evan Rachel Wood) and her parents, Robert and Theresa (Richard Jenkins and Debra Winger), make a living as con artists, focusing on trivial thefts that allow them to live off of as little money as possible.  When Robert and Theresa decide to bring an outsider, Melanie Whitacre (Gina Rodriguez), in on their latest venture, Old Dolio will find her strained relationship with her parents become even more so.

Wood’s performance brings us one of the most unique characters to movies this year.  Old Dolio might seem like a character who isn’t anything but quirks, but she’s so much more than that.  Wood exhibits Old Dolio’s insecurities and detachment from her parents, showing us an individual who’s looking for someone to love her and not just use her when a scam needs to be accomplished.  Throughout the movie, Wood shows her character’s inner conflict of deciding whether to become a different person and break away from her parents, or remain who she is so she can gain their approval.  Wood punctuates her portrayal with small moments of emotion that provides us with a window early on with what she’s feeling, setting the stage for us to consider who her character will become by the end of the film.

Jenkins and Winger are terrific as parents who are set in their ways and refuse to even think about stopping their dishonest lives as con artists.  We see how stuck they are in their work and how it has caused their incapability, and even hesitancy, to build a healthy relationship with their daughter.  Jenkins and Winger show how their characters’ gears are always turning and how much scamming has become a way of life for them, trying to figure out their latest scheme so that they can live as easy of an existence as possible.  

Rodriguez provides superb work as Melanie constructing a memorable bond with Wood as their characters attempt to understand and connect with each other.  The chemistry that they share opens up avenues that you didn’t think this movie would explore, but it manages this in such a way that has it blend in with what came before, building upon the film’s theme about what it means to value people over things.

July’s screenplay takes some intriguing turns that make this movie something that’s much more than it seems.  What starts out as a fun heist caper soon becomes a story that explores the bond, or lack thereof, between Old Dolio and her parents.  We slowly move into the strain within this family, presenting characters who should have affection for each other, but just use each other to get what they want.  This is shown most poignantly in a scene about halfway through the film, where the family is in the middle of a scam and must pretend to be a family that’s closer to each other than they really are.  The way in which this scene is handled takes an emotional turn as we go from seeing who this family really is, to who they could be, yet refuse to be.

The screenplay also examines the topic of materialism in a way that doesn’t seem cliched.  Instead, it’s explored in a quiet and unexpectedly heartrending way, particularly in scenes where the story evaluates the dynamics between the four main characters, adding considerable depth to them and their situation.

In regard to directing, July is able to establish a touch of an off-kilter tone that introduces us to the lives of these characters, but still manages to ground the movie in a setting that’s very real and captures both the wittiness and emotion that goes into the lifestyle that Old Dolio and her family live.  In July’s pursuit to give us a story about how you don’t need to be rich in order to get by, “Kajillionaire” is a movie that’s rich with its message.

Grade: A

With Her Father’s Help, a Young Woman Investigates Her Marriage

Bill Murray and Rashida Jones in 
"On the Rocks"
Photo Credit: RottenTomatoes.com 

Check out my review on SiftPop.com!

From the Street to the Court, Seven Individuals Fight for a Common Goal

Sacha Baron Cohen (left) and Jeremy Strong 
in "The Trial of the Chicago 7" 
Photo Credit: RottenTomatoes.com 

After years of writing masterful screenplays, Aaron Sorkin made his feature directorial debut in 2017 with the biographical drama, “Molly’s Game,” which he also wrote.  Although it was an instance where he showed more of a flair for writing than directing, he nevertheless displayed sparks of filmmaking potential that could become something great.

He now returns to the director’s chair for another biographical drama, “The Trial of the Chicago 7,” which is also written by him.  Here, Sorkin cements his directing talents that pair superbly with his captivating screenplay.

In 1968, during the time of the Democratic National Convention in Chicago, a riot occurs between a group of protestors and the city police.  For the next several months, the Chicago 7 (Eddie Redmayne, Sacha Baron Cohen, Alex Sharp, Jeremy Strong, John Carroll Lynch, Noah Robbins, and Daniel Flaherty) are put on trial for the confrontation.

The film has one of the most stunning casts of the year, a cast that’s full of esteemed performers who provide impassioned work to bring this staggering true story to life as their characters traverse the tumultuousness of the trial.  As great as everyone is, the two standouts (not just from the actors portraying the Chicago 7, but the cast as a whole), are Redmayne and Cohen as political activists Tom Hayden and Abbie Hoffman, respectively.  The material that they’re given allows them to display their characters’ intense dedication to their cause, all of which adds to the gravity of the film’s historical moment and presenting what their work means for America’s future.

Outside of the actors portraying the Chicago 7, there also has to be a mentioning of Yahya Abdul-Mateen II as political activist Bobby Seale, Frank Langella as Judge Julius Hoffman, and Mark Rylance as the Chicago 7’s lawyer, William Kunstler.  All three of them round out the cast with committed performances that do their part to help bring out the intensity of the courtroom procedures and ensuring that you feel the contentiousness of the battle that’s being fought.

Sorkin’s screenplay takes its intriguing historical era and balances an abundance of characters, allowing us to get to know each of the figures.  With its approach in telling the story of the trial interspersed with scenes in the past that lead up to said trial, we have both timelines get to their boiling points at the same time as we arrive at the part of the riot that led the Chicago 7 to court, and then going to the final days of the trial right after.  Sorkin gives us a deeply detailed view for both of these sections of the story, showing what motivated the Chicago 7 to protest, and then the stress that they face when fighting for their cause in front of a judge and jury.  With the story focusing on one of the defining moments of the ‘60s, Sorkin provides this event with an in-depth and compelling examination.

The editing by Alan Baumgarten (one of the three editors for Sorkin’s “Molly’s Game”) and the direction by Sorkin blends well with the nature of the latter’s dialogue.  Sorkin is able to take his time establishing the characters and setting, but at other times, he increases the pace to make us feel the mounting tension of the scenario’s time-sensitive nature, with the characters going through their dialogue in a tense fashion.  The latter is most noticeable in a scene within the last 20 minutes, where the story transitions back and forth between the turning point in the demonstrations and Hayden being presented evidence that can reveal his role in said turning point.  It calls to mind the pivotal scene between Steve Jobs and John Scully in the second act of Danny Boyle’s 2015 film, “Steve Jobs,” which was also written by Sorkin.  What Boyle, Sorkin, editor Elliot Graham, and composer Daniel Pemberton accomplished there is done to just as powerful of an effect here by Sorkin, Baumgarten, and Pemberton, and is one of the best sequences of the movie.

Back in 1992, when Sorkin wrote the screenplay for “A Few Good Men,” which was adapted from his 1989 stage play, he gave audiences a pulse-pounding legal drama that showed Sorkin’s talent for delivering screenplays where you become absorbed in the dialogue-heavy nature of the scenes.  Whether it be “A Few Good Men,” “The Social Network,” “Molly’s Game,” or “The Trial of the Chicago 7,” Sorkin is able to bring genuine and heated confrontations when it comes to narratives involving legal matter, showing how tense such interactions can become when people are trying to have their side of the story heard.  With this being only the second movie that he has directed, Sorkin does an impressive job in handling the sprawling nature of the story with its many characters, the details it takes into recreating that time period, and delivering as much tension to the scenes of the protest as he brings to the scenes of the trial.  It’s because of all of this that “The Trial of the Chicago 7” gives you the sense of what it must have been like to see history such as this being made. 

Grade: A

A Senior Year with Prom, Graduation, and Existentialism

Katherine Langford and Charlie Plummer 
in "Spontaneous" 
Photo Credit: RottenTomatoes.com

The high-school sub-genre of film has done well in emphasizing how the experience that we have in those four years of schooling is full of things that we plan and things that are a spur of the moment.  The latter is the most prevalent because of how so much happens in those four years, that for one thing we anticipate, there are many others that come as a surprise to us.  Sometimes it’s good, and sometimes it’s not.  But, it happens to all of us.

This is something that’s explored in writer-director Brian Duffield’s sci-fi romantic-comedy, “Spontaneous,” a humorous and dark view into what it means to live every moment like it’s your last.

Mara Carlyle (Katherine Langford) is a high-school senior whose life takes an unexpected turn when her classmates begin to spontaneously explode.  Before Mara and her new boyfriend, Dylan Hovemeyer (Charlie Plummer), fall victim to the same fate, they try to figure out why such an occurrence is taking place.

Langford and Plummer have both done their share of dramatic material, with Langford having starred in the Netflix series “13 Reasons Why,” and Plummer having starred in the films “Lean on Pete” and “All the Money in the World.”  Although they’re able to use their dramatic talents that we’ve seen in the past, they’re also given the chance to exercise their comedic skills as they develop their characters’ relationship and maintain their connection in the middle of all of the uncertainty that this strange event is bringing.  The endearing bond that Mara and Dylan share shows them trying to make the best of a bad situation, never losing their sense of humor and always showing a commitment to each other to get through unexpected difficulties.  And, as a film buff, their occasional movie references were enough to have me rooting for them.

Duffield’s screenplay, which is based on Aaron Starmer’s 2016 novel of the same name, can get a little heavy-handed at some points and doesn’t really have anything groundbreaking to say in terms of the spontaneity of life, but the way in which this topic unfolds is nevertheless a unique, sci-fi/body-horror vision.  The story takes its time in developing Maya and Dylan’s relationship, showing how terrific their characters are for each other and how their similar sense of humor makes for wonderful interactions.  Having us spend a lot of time with them allows for us to experience how much they care for each other, showing a strengthening in their relationship as the scenario at hand gets worse.

This is a story where it might be difficult to find the right balance between the laughs and the shocks of the danger, but as a director, Duffield accomplishes the tricky transitions.  The romantic moments and memorable, comedic banter add some lightness in between the demises of students during the first two thirds of the movie, but we’re then brought into the third act that begins with a scene whose execution couldn’t agree more with Dylan’s assessment earlier in the movie that their situation is like a David Cronenberg movie.  It’s at this point that the gravity of what’s happening to these characters its you hard.

Duffield never fails to create tension because with the whole concept of the movie being to live your life as if you could die at any minute, we even begin to fear that one or both of the main characters could go at any minute.  With cinematography by Aaron Morton, Duffield holds onto shots for quite a length of time in certain spots, so you start to believe that something bad is going to happen.  Sure, you’ll be laughing quite a bit from time to time during other segments, but the anxiety returns quickly and heavily.  But, “Spontaneous” knows that that’s how life unfolds sometimes, and although that can be a difficult aspect of existence with which to live, it’s all about making the most of it.

Grade: B+

It May Be Their House for the Weekend, But They’re Not the Only Ones

From left: Dan Stevens, Sheila Vand, and 
Jeremy Allen White in "The Rental" 
Photo Credit: Imdb.com

Some of the boldest entries in the horror genre of the last few years came from well-known actors who wanted to make their filmmaking visions seen, with those examples being Jordan Peele’s “Get Out” and “Us,” and John Krasinski’s “A Quiet Place.”  Not only did these films solidify new moviemaking talents, but they’ve become some of the best offerings from the horror genre that we’ve seen in a while.

Now, actor Dave Franco makes his directorial debut with the horror film, “The Rental,” and while this movie doesn’t quite reach the heights of those aforementioned movies, he’s still able to provide a fun update to the cabin-in-the-woods angle for the Airbnb generation.  

The story follows two young couples who rent a seaside home for a weekend getaway, only to find out that they’re being watched.

The four leads, who are played by Dan Stevens, Alison Brie, Sheila Vand, and Jeremy Allen White, aren’t given characters that are exactly three-dimensional, but they still exhibit a fine chemistry that draws us into their friendship, and then their fight for survival.  Their characters might not be too engaging, but their committed performances help in keeping this movie from being a disposable entry in the genre.

While the screenplay by Franco and Joe Swanberg is rather thin, it does well in terms of playing with your expectations a bit, with the film unfolding as more of a relationship drama as secrets are kept and revealed amongst the two couples.  Although there are horror elements that offer some chills during this portion of the movie, they aren’t in your face.  Instead, they take a back seat to the drama between the characters, slowly easing their way forward as the movie reaches its purely horror segment.  By the time we arrive at that part of the story, it never seems jarring because of the story having taken its time to transition between the two tones.  Despite the story not offering much in the way of depth, Franco and Swanberg should be commended for knowing how to build towards something and keeping us invested.

Parts of the narrative seem familiar in several respects, but Franco proves to be someone who’s capable of using the technical aspects of filmmaking to heighten the narrative.  The use of cinematography by Christian Sprenger displays the space of the house in such a way that gives us an idea of not only the vastness of the interior that the characters inhabit, but also the outside, with the giant windows showing the expansive outdoors that further highlight the isolation of the main characters.

The final five minutes of the movie are probably what show Franco’s potential the most.  He builds tension even as the film seems to have wrapped up, heading towards an ending that leaves a disquieting impact.  Aside from that, another plus is that the few jump scares that Franco uses aren’t cheap, but instead evoke some shivers from the viewer.  Despite being new to directing, Franco not only shows that he can craft a good scare, but also proves that he isn’t afraid to show restraint when it’s needed the most.

“The Rental” might not be a top pick when it comes to other recent horror films, but it shows glimmers of promise from Franco as a filmmaker.  And, just like a simple weekend getaway, this movie proves to be diverting enough.

Grade: B

Even During the Apocalypse, It’s Never Too Late to Grow Up

Sunita Mani and John Paul Reynolds in 
"Save Yourselves!"
Photo Credit: RottenTomatoes.com

When focusing on films about alien invasions, big-budget special-effects movies like Steven Spielberg’s “War of the Worlds” and Roland Emmerich’s “Independence Day” probably come to mind.  While these aren’t the type of stories that one would associate with anything outside of blockbusters, smaller-scale narratives can work just as well when focusing on this section of the sci-fi genre.

Writer-directors Alex Huston Fischer and Eleanor Wilson accomplish this with their comedy, “Save Yourselves!”, which is their feature filmmaking debut.  Despite a story in which it might take awhile for you to get involved, this still manages to be a light and entertaining trip through the apocalypse.

Wanting to disconnect from their phones, laptops, and other forms of communication, a Brooklyn couple, Su (Sunita Mani) and Jack (John Paul Reynolds) decides to spend a week at a friend’s house in upstate New York and improve their relationship.  They soon realize that, having disconnected themselves from all media, they’ve missed news about an alien takeover. Once the extraterrestrials reach the house, Su and Jack will have to learn how to fend for themselves.

For much of the movie, Mani and Reynolds are the only two people.  With the time that Su and Jack spend together, Mani and Reynolds uphold a fun chemistry that makes their characters fun to follow.  Su and Jack share a loving connection where, even if the characters themselves aren’t too engaging at first, Mani and Reynolds at least inhabit their roles genuinely enough to get us interested in their characters at the start of the movie.  As the story goes on, their characters examine their insecurities and the problems in their relationship, leading to some memorable interactions between Mani and Reynolds that hold the right balance of humor and drama.  These dialogues that they share soon add some depth to their characters that make them more interesting than they are in the beginning.

The screenplay by Fischer and Wilson may paint the main characters as typical Brooklyn hipsters at the start, but it soon becomes a rather heartwarming story about what it means to have to grow up in a time of crisis.  There’s some witty dialogue here and there to sustain the so-so first half, but as the movie goes on and Su and Jack find themselves having to take on more responsibilities to get through the invasion, the second half of the story invests you more in Su and Jack’s journey and does well in examining its central theme.

As directors, Fischer and Wilson decide to forgo big set pieces, and instead go for more character work and establishing a sci-fi story that’s built on emotion, rather than thrills.  Not that there’s anything wrong with thrills in an alien-invasion story, but for a minimalist movie like this, a story built on characters and dialogue tends to work better.  Fischer and Wilson make this the case for “Save Yourselves!”, showing that a movie about an apocalyptic event can still be explored just as in depth with smaller-scale stories.

Grade: B+