Halfway-Through-2021 Movie Catchup

Given how I still had a few movies to watch before I finalized my list for my top five favorite movies of the first half of the year, I needed time to view them.  With that, I didn’t have much time to write full-length reviews for theses films.  In this case, I’ve written mini reviews for some last-minute movies that I’ve watched over the last two weeks.  Here they are!

Clayne Crawford in
"The Killing of Two Lovers"
Photo Credit: RottenTomatoes.com

1) The Killing of Two Lovers - Written and directed by Robert Machoian, this tightly wound drama follows David (Clayne Crawford), who becomes more and more jealous after his ex-wife starts dating another man.  Crawford delivers an intimidating performance, showing someone who’s unpredictable in his actions and could very well commit regrettable actions at any moment.  His chemistry with Sepideh Moafi, who plays his ex-wife, Nikki, includes moments of equilibrium and opposition, adding to the constant unease within their strained relationship.  Machoian’s screenplay creates so much tension with just a few characters, opening with a quiet, yet impactful sequence that has you wondering what could possibly happen by the time you reach the conclusion.  His use of long takes from cinematographer Oscar Ignacio Jimenez allows for dialogues to play out in real time as you watch what the relationships are like between the characters, getting to know their histories and where they might be at the end of the film.  This is a disquieting movie that keeps you enthralled right up to its haunting final scene.

Grade: A

Toni Collette in "Dream Horse"
Photo Credit: RottenTomatoes.com

2) Dream Horse - I know many sports movies have their clichés, but as long as the films are well-acted and handled with some fine technical craft, I can forgive the clichés.  This is the case with director Euros Lyn’s true-story account, “Dream Horse.”  The movie follows Jan Vokes (Toni Collette), who, with the help of her husband and other town residents, breeds a race horse named Dream Alliance to compete in the Welsh Grand National.  Collette provides terrific work as a determined individual who rallies the belief of others to support Dream Alliance, making you feel her character’s excitement for and commitment to the races.  The screenplay, written by Neil McKay, is inspirational and cheer-worthy, and cinematographer Erik Wilson films the racing scenes with some thrill to them, having the camera glide across the track as you become immersed in the speed of the galloping horses.  If you’re looking for a movie to put in a good mood, this one’s a winner.

Grade: B+

Eric Bana in "The Dry"
Photo Credit: Imdb.com

3) The Dry - It’s great when you come across a mystery film that has more to it than just thrills, and that’s the case with director Robert Connolly’s film, “The Dry,” which is based on the 2016 novel by Jane Harper.  The story follows an Australian federal agent, Aaron Falk (Eric Bana), who returns to his hometown to attend the funeral of a childhood friend and that friend’s family, who have died in an alleged murder-suicide.  When Aaron’s asked to investigate the crime, he also must face the distrust of the townspeople, who still view him as the prime suspect in the murder of his girlfriend 20 years ago.  Bana provides a subdued, yet powerful performance of someone who falls back under the microscope of the people around him, but must stay calm and solve the case at hand.  Although the supporting characters aren’t quite as interesting as Aaron, the screenplay by Connolly and Harry Cripps succeeds in how it weaves back and forth between the primary story and the flashbacks of Aaron’s younger years, keeping you captivated by both storylines as you try to figure out the mystery at the heart of each plot line.  Meanwhile, Connolly maintains the richness of the drama and mysterious aura as we’re brought through the dark corners of the town at the center of the story.  This is a mixture of thrills and smarts on which you shouldn’t pass.

Grade: A-

Emma Stone in "Cruella"
Photo Credit: RottenTomatoes.com

4) Cruella - Disney’s latest live-action treatment of an animated property is another example that, no matter how many talented people they assemble for such a project, it’s rare that it works.  The studio now gives audiences a backstory to one of its most-famous villains, which is directed by Craig Gillespie.  Emma Stone plays Estella Miller, an aspiring fashion designer in 1970s London who soon goes on a path to becoming Cruella de Vil.  Stone gives a devilishly entertaining performance, as does Emma Thompson, who portrays Estella’s mean-spirited boss.  However, despite the performances and some eye-popping costumes, there’s quite a bit going against this movie.  The screenplay by Dana Fox and Tom McNamara creates an overlong story with pacing that’s all over the place (this movie didn’t have to be two hours), as well as a reveal that I guarantee will make you roll your eyes.  Not once does this movie give a reason as to why this backstory needed to be told, and because of that, the film never feels like more than a product.  Gillespie does what he can with the technical aspects to at least bring some creativity to the movie, but those factors are brought down by the story.  Unlike the dogs in this movie, “Cruella” doesn’t have much of a bite.

Grade: C+

Be on the lookout for the list of my top five favorite movies of the year so far, which will be out in a few days.

With a New Friend, a Sea Creature Embraces a Different World

From left: Luca (Jacob Tremblay)
and Alberto (Jack Dylan Glazer) in "Luca"
Photo Credit: RottenTomatoes.com

Of the many things that Pixar does well, one of them is giving us an occasional story that dives into a particular culture.  They did this with France in “Ratatouille,” Scotland in “Brave,” and Mexico in “Coco.”  When the filmmakers do this, they provide countless fascinating details that invite us into the customs that they depict, all through Pixar’s typical inventiveness and wonderful storytelling.

They accomplish this once again with a movie that takes us to the Italian Riviera in Enrico Casarosa’s “Luca,” which serves as his feature directorial debut  With relatable characters and an endearing tale, you’ll be transported to a gorgeous setting that’s sure to enchant.

Taking place off the coast of Italy in the mid-twentieth century, Luca Paguro (Jacob Tremblay) is part of a species of sea creatures who have the ability to take on a human form whenever they’re on land.  When he becomes friends with Alberto Scorfano (Jack Dylan Glazer), another member of such species, the two of them set off on an adventure that will change their lives.

Tremblay and Glazer offer humorous and emotional vocal performances as two characters who support each other as they face the challenges of adapting to a world that they fear won’t accept them.  There’s a terrific chemistry between Luca and Alberto as they joke around, explore new surroundings, and talk about their dreams.  The amount of time that we’re able to spend with them let’s Trembley and Glazer’s work show their abilities to bring these characters to life with their voices and invest us in Luca and Alberto’s journey as they become more acquainted with a world outside of their own.

Trembley and Glazer are backed up by an entertaining supporting cast.  There’s Emma Berman as Giulia Marcovaldo, a young girl who befriends Luca and Alberto; Maya Rudolph and Jim Gaffigan as Daniela and Lorenzo, Luca’s parents; Saverio Raimondo as Ercole Visconti, a local bully; Marco Barricelli as Massimo Marcovaldo, a fisherman and Giulia’s father; and Sacha Baron Cohen as Ugo, Luca’s uncle.  The best one, however, is Sandy Martin as Luca’s trouble-making grandmother, who always manages to make you laugh whenever she’s on screen.

Although the screenplay by Jesse Andrews and Mike Jones isn’t quite as deep as some of Pixar’s other stories, it still offers a heartwarming narrative with a valuable message.  The movie takes its time with Luca adjusting to land and getting to know Alberto.  After that, the movie goes in-depth with their growing friendship as they enjoy their new experiences as humans and try to make it through the difficulties that soon threaten their bond.  

Casarosa provides stunning visuals for Luca’s underwater home and the Italian coast.  As has become the standard with Pixar’s animation, there’s a crispness to the images that help to draw you further into the story, and every time Pixar gives us the opportunity to travel to new locales,  we can be sure that they will make them as beautiful and engaging as possible.  After all of these years, it’s great to think that Pixar can still impress us with what they can accomplish with whichever setting they have for a particular movie.  Between the serenity of Luca’s home and the sun-kissed Italian shores, Casarosa invites you to colorful environments that absorb you in the film’s fantastical elements.  

Over the years, Pixar has done well in bringing us across the world, and given the wonderful stories that they’ve told of internationals lands, I’m sure they’ll soon have another memorable addition in their travelogue.

Grade: A-

In a Tight-Knit Community is a Story of the Generations Who Built It

Anthony Ramos in "In the Heights"
Photo Credit: RottenTomatoes.com

Over 15 years ago, Quiara Alegría Hudes and Lin-Manuel Miranda introduced audiences to their loving tribute to the neighborhood of Washington Heights with their musical, “In the Heights.”  It offered theatergoers an exuberant trip through a community of people who did what they could to pursue the American dream.  

Now, Jon M. Chu takes the reins to direct the film adaptation, an energetic and heartwarming traverse through the lives of hopeful characters as they celebrate the liveliness of their corner of New York City.

In Washington Heights, Usnavi de la Vega (Anthony Ramos) owns a bodega and envisions reviving his late father’s business in the Dominican Republic.  His family and friends have their own dreams as well, and will also try to stay true to the place that made them who they are.  

Ramos delivers a star-making performance as the charismatic Usnavi, an individual who loves his community, but also has a certain future he wishes to pursue, one that might have him leaving his home.  Ramos displays a bigheartedness in his character as he presents someone who tries to do right by everyone.  His impassioned expressiveness opens his soul to you as you get to know him and how deeply he feels for the roots and memories that he has for Washington Heights.  This is a rich performance that shows how much home, family, and friends mean to the main character, and Ramos will transport you as his character chases his dreams.

The supporting cast is stellar and loaded with many fine performances.  There’s Melissa Barrera as Vanessa Morales, an aspiring fashion designer and Usnavi’s love interest; Leslie Grace as Nina Rosario, a young woman returning home from her first year of college; Corey Hawkins as Benny, a taxi dispatcher who’s in love with Nina; Jimmy Smits as Kevin Rosario, Nina’s father and Benny’s supervisor; Olga Merediz as Abuela Claudia, the neighborhood matriarch; Gregory Diaz IV as Sonny de la Vega, Usnavi’s cousin and coworker; Daphne Rubin-Vega as Daniela, a salon owner; Stephanie Beatriz and Dascha Polanco as Carla and Cuca, respectively, who are two of Daniela’s hair stylists; Marc Anthony as Gapo de la Vega, Sonny’s father; and Lin-Manuel Miranda as Piragüero, the Piragua Guy.  The dedication to their performances gives you a rich view into the day-to-day happenings within their neighborhood and an understanding of what they want most in their lives.

However, out of all of this performances, the standouts are Merediz and Grace.  Merediz, who originated her role on Broadway, shows moments of tenderness and motherly guidance throughout the movie.  However, it’s her presentation of the song, “Paciencia y Fey,” that brings us into her past to see what she experienced in order to get to where is today, a prime example of the importance of appreciating the sacrifices that generations before us have made.  

Meanwhile, Grace makes what could be one of the finest film debuts of the year in a performance that’s filled with emotional energy.  There’s so much feeling in her voice whenever she performs a song, whether it’s her solo song, “Breathe,” or her duets with Benny for “When You’re Home” and “When the Sun Goes Down,” and this gets you to the point where you’re elated whenever she’s on screen.  This is a performance that show’s an acting career on the rise, and you’re sure to remember every minute of Grace’s work in this movie.

The screenplay by Quiara Alegría Hudes, who cowrote the Broadway musical with Miranda, goes into in-depth when depicting the titular community.  The many narrative threads that he weaves together brings us through the world within the streets of Washington Heights.  The sprawling nature of the screenplay presents a lovingness that shows Hudes wanting to exhibit many facets of this community, and between the dialogue and songs, he’s able to familiarize us with the people, places, and ideals within the Heights and make us happy to be there.  The central theme about each generation passing on their hopes for a better life to the generation that comes after is explored in uplifting detail, and every storyline we traverse has an impactful journey through this topic.

Given the story’s mosaic-like approach, the only downside is that there are several plot points to resolve within the last half hour, so the pace feels kind of off in that portion.

Chu, who brought an abundance of visual flair for Singapore when he directed “Crazy Rich Asians” three years ago, offers just as much when depicting Washington Heights.  With the help from cinematographer Alice Brooks, the two of them bring the many songs to electrifying life.  There are the big musical numbers, like the opening song, “In the Heights,” that sweeps us away and introduces us to the sunny streets of Usnavi’s hometown; “96,000,” where the characters contemplate what they would to with their potential lottery winnings; “Blackout,” which shows the residents making the most of a power outage and lightning up their streets with fireworks; and “Carnaval del Barrio,” which is a celebration of the numerous backgrounds that make up Washington Heights.  Chu and Brook’s work with the smaller numbers is just as accomplished as it is with the bigger ones, such as with “Benny’s Dispatch,” “When the Sun Goes Down,” and “Champagne,” with each of these numbers being performed as duets that offer lower-key moments for the movie to slow down a bit and have a deeper analyzation of the characters within those musical sequences. 

Despite this movie being available on HBO Max, a theater is the best way to see this movie.  To experience the musical numbers and the individual stories of the characters unfold on a big screen is a sight to embrace, and if you’re looking to take a few trips this summer, make sure that one of them is to the Heights.

Grade: A-

In a Struggling Community, a Young Woman Has a Chance for Something More

Jessica Barden in "Holler"
Photo Credit: RottenTomatoes.com

There have been many great modern films that have depicted small-town American life in one way or another.  Over the years, we’ve been given movies like Debra Granik’s “Winter’s Bone” and “Leave No Trace,” David Mackenzie’s “Hell or High Water,” Jeff Nichols’ “Take Shelter” and “Loving,” Andrea Arnold’s “American Honey,” and Kelly Reichardt’s “Wendy and Lucy” and “Certain Women.” All of these movies tell engaging stories that are so different from each other, yet offer a view into several worlds within rural America and emphasize that stories such as these can have as much of an impact as those that take place in bigger settings.

Now, writer-director Nicole Riegel contributes to this type of story with her filmmaking debut for the drama, “Holler,” a vivid look into a woman’s fight for everyday survival.

In a small community in Southern Ohio, Ruth (Jessica Barden) is a high-school student trying to make it by in a town that doesn’t hold much promise for her future.  When she finds out that she’s been accepted into college, she decides to join a scrap-metal crew to try and pay for her education.

Barden offers a strong performance as a young woman who must decide what to do with her future.  At the start of the film, Barden showcases her character’s streetwise mentality, the effect of an individual who has learned how to make it through the roughness of her impoverished community.  There’s a steeliness in her eyes that displays someone who has been through much, but continues to move on in order to get passed another day.  However, as the movie goes on, Barden exhibits the conflicted nature that Ruth faces as she must decide whether to stay in her hometown where she’s most familiar, or leave everything behind and go to college.  Ruth’s a compelling character, and Barden does superb work in not only presenting us with what Ruth is going through in the present, but also giving us a clear idea of the hardships she has experienced in the past.

The supporting cast does well in fleshing out the world that Ruth inhabits, and they all make an impression, whether they have just a couple of scenes, or several.  There’s Gus Harper as Blaze, Ruth’s supportive and protective brother; Austin Amelio as Hark, the shady individual with whom Ruth and Blaze go into business; and Becky Ann Baker as Linda, a compassionate friend of Ruth’s family.  However, the standout of the supporting cast is Pamela Adlon as Rhodna, Ruth and Blaze’s mother, who’s trying to go through drug rehabilitation.  With just two scenes, Adlon displays the dramatic potential of which she’s capable, and she’ll leave you wanting to see what else she can do in dramatic territory such as this.

Although Riegel’s screenplay might seem a little slim in terms of the central story, it nevertheless offers an intimate portrait of this corner of America through its array of characters.  Through those characters, we not only see how their everyday lives are, but we also see the notion of what it means to have to choose to either stay in a town to which you’ve become accustomed, or to venture out from what you know.  Through the interactions of these characters, we’re able to see glimpses of the different facets of their lives, whether it be school, their home lives, or their work lives, all of which provide us with an understanding of the challenges that these characters are always facing.

Riegel doesn’t try to go overboard with the drama for this movie, but rather scales it back in such a way that reflects the reserved, beaten-down nature of the film’s setting.  She makes you feel the uncertainty that the characters experience on a daily basis, drawing you into not only the physical environment of the movie, but also the emotional one.

“Holler” may be a quiet movie, but it has a loud voice underneath.

Grade: A-

A Family Ventures Further into a World Where Sound Brings Death

From left: Millicent Simmonds, Noah Jupe, 
and Emily Blunt in "A Quiet Place: Part II"
Photo Credit: RottenTomatoes.com

Three years ago, actor-director John Krasinski made a stunning entrance into horror with “A Quiet Place,” a movie where he displayed a mastery of the genre that equaled what you would see in an experienced horror filmmaker.  With engaging characters, an intriguing premise, and an atmosphere that brought unending anxiety, audiences were given a ride that was both scary and thrilling.

Now, he returns to expand this story with “A Quiet Place: Part II,” a movie that not only continues to display Krasinski’s directorial skills, but is also one of the best horror sequels to come around in a long time.

Taking place right where the first movie left off, Evelyn Abbott (Emily Blunt), her daughter, Regan (Millicent Simmonds), her son, Marcus (Noah Jupe), and her newborn infant leave their home to search for survivors in a world that’s overrun by aliens who hunt by sound.  They soon encounter Emmett (Cillian Murphy), who reluctantly takes them in.  As time goes on, Evelyn’s family and Emmett have to learn to trust each other if they’re going to outsmart the deadly creatures.

Blunt, Simmonds, and Jupe continue the rock-solid chemistry that they shared in the first film, delving into the material they’re given to deepen their family dynamics and portray characters in whom you can become engaged.  Their arcs are fleshed out further as these characters are forced to abandon their home, and the performances that the three of them provide show the strength that their characters must elicit if they’re going to survive an uncertain world.

However, out of all three of them, the standout is Simmonds.  Simmonds, who’s hearing impaired, delivers a performance for a character who taps into her bravery in order to save the ones she loves.  She manages to say as much with her impassioned sign language as her fellow cast members say with dialogue, and once this series reaches its conclusion, Simmonds will be remembered as a highlight.

Murphy, who isn’t a stranger to end-of-the-world horror, having starred in Danny Boyle’s film, “28 Days Later,” offers a compelling performance of a man who’s had his own share of experiences that continue to haunt him.  Murphy gives Emmett a mysterious aura where you’re not sure where his character will go, and the intrigue that we see in him makes Murphy a wonderful addition to the continued unfolding of the world within the movie.

Although Krasinski’s screenplay has a bit of an uneven structure, he offsets this by expanding the world of the first movie, introducing new elements that bring you further into the threats that the characters face and creating many possibilities in which he can take the story if he makes a third movie.  Just as he, Bryan Woods, and Scott Beck did for their screenplay with the original, Krasinski offers a fine balance between the tense set pieces and scenes that build the characters and add more to their relationships as they face constant danger.

One of the most memorable parts of his screenplay is the opening sequence, which takes place on the day that the aliens begin their attack.  Given the decent length of this scene, we’re provided with an idea of what the main characters were like before the apocalyptic event, showing us a view into their ordinary lives that change in an instant. 

As a director, Krasinski once again delivers scenes of unbearable tension.  His impressive handling on atmosphere is dynamite throughout, but is most notable in the opening scene.  We know that we’re being brought through the day that changed the world for these characters, and the way in which he employs a small-town, eerie calm will have you clutching yourself as you wait to see how the alien invasion will unfold within their community.  During this scene, he uses cinematography from Polly Morgan that utilizes well-choreographed long takes to show the invasion commencing, with one particular long take being a sequence that takes place inside Evelyn’s car as she weaves her way through the chaos to shepherd her children to safety.

While horror sequels aren’t always a safe bet, “A Quiet Place: Part II” makes it clear that Krasinski, his cast, and his crew have a firm handle on what they want this series to be.  So, if Krasinski continues on the trajectory that his filmmaking talents are taking him, it’s certain that he will be making much more noise in the future.

Grade: A-

During the Cold War, a Businessman Enters the World of Espionage

Merab Ninidze and Benedict Cumberbatch in
"The Courier"
Photo Credit: RottenTomatoes.com

With the Cold War being one of the most contentious periods of the twentieth century, it’s not any surprise that there are still many stories that can be told about that point in history.  We’ve been given a couple of major films that have focused on this subject in one way or another, and they’ve shown how this era can be depicted in several genres.  While historical-thrillers have been the prime genre for such a story, like with Steven Spielberg’s 2015 film, “Bridge of Spies,” it has also proved to be effective in a very different genre, with this example being Guillermo del Toro’s 2017 romantic fantasy, “The Shape of Water.”

Now, director Dominic Cooke has found a riveting true story set during the Cold War with his new film, “The Courier,” a movie where, despite the tensions between the U.S. and Russia being at the forefront, there’s still a heartfelt story within.

The story follows Greville Wynne (Benedict Cumberbatch), a British businessman who’s recruited by the Secret Intelligent Service to carry messages to a Russian source, Colonel Oleg Penkovsky (Merab Ninidze) during the Cuban Missile Crisis.

Cumberbatch offers a compelling performance as a reluctant hero who soon builds up the courage to put himself in danger.  His performance resembles what you’ll see in many of Hitchcock’s thrillers, with an everyday man thrown into significant circumstances.  Cumberbatch shows the palpable anxiety that such an undertaking has on his character, but also uplifts you with the newfound bravery that becomes stronger in him as he advances in his mission.  It’s an old-school type of performance that never gets stale, one that matches the strength of Cumberbatch’s acting abilities.

Ninidze is every bit as absorbing as Cumberbatch, also playing someone who must risk his life to dispel the threats of nuclear war.  He displays the courageousness of battling the oppressiveness of his country, risking everything to create a better life for his family and the rest of the world.

Cumberbatch and Ninidze offer genuine chemistry as two characters who are tasked with the same job, and it’s the similarities in their roles that immerse you in Greville and Oleg’s growing bond as the world hangs in the balance.  The scenes that they share express their humanity that was a saving grace in the Cold War, a hopeful glimmer that people from two opposing nations could work together for the betterment of their world.

Aside from Cumberbatch and Ninidze, we also have some fine supporting performances from Rachel Brosnahan and Angus Wright as the intelligence officers who guide Greville through his mission; and Jessie Buckley and Maria Mironova as Greville and Oleg’s wives, respectively.  Through these characters, we see how the stress of the situation impacts them in different ways, between those on the frontline and those who are in the dark and waiting for news at home.

Although the third act feels a bit rushed, Tom O’Connor’s screenplay is still a gripping Cold War thriller.  We have the typical scenes of the espionage plans as they’re planned and enacted, which are engaging; however, there’s more to the story than that.  Interspersed within the spy-thriller sequences is a more poignant story, one that deals with the friendship between Greville and Oleg.  These are the scenes that provide an effective human component to the mission at hand, absorbing us in Greville and Oleg’s growing relationship as their work becomes more and more dangerous.  The humanity of the characters is also exhibited in the scenes with Grevill and Oleg interacting with their families, which shed light on the personal stakes that the two characters have amidst the worldwide stakes.

Cooke’s direction has the espionage thrills that we’ve come to love over the decades in this type of historical film, keeping us tense when the movie brings us deeper into Greville and Oleg’s task.  But, an aspect of his filmmaking that’s even more notable is how he’s able to slow things down from time to time as we witness not only the bond that grows between these two strangers who have a common goal, but also the complications that their mission causes in their families.  Cooke establishes a balance between the tones of a spy-thriller and that of a friendship/family drama, making “The Courier” a compelling view of the deep connections that can be made in a tumultuous period.

Grade: A-