While on Vacation, a Man Makes an Unexpected Decision

Tim Roth in "Sundown"
Photo Credit: RottenTomatoes.com

Writer-director Michel Franco’s latest drama, “Sundown,” begins in an unassuming way where he shows the ordinary happenings concerning a family at a resort and their time spent together.  However, what Franco ends up presenting us is something with so much more below the surface.

The story follows a man named Neil (Tim Roth) who decides to abandon his family when on vacation.

Roth, who starred in Franco’s film, “Chronic,” offers a subdued performance that invites us into Neil’s psyche, presenting someone who seems to be giving up on everything to make his life simpler.  He’s trying to escape from his family, but the way in which Roth carries himself leads us to believe that there’s something else going on that’s causing him to act this way.  Through the film, Roth doesn’t even talk that much, often keeping his responses short and letting us study him through his facial expressions and how he moves throughout the setting.  There’s a mix of melancholy and easement that Roth brings to Neil, and it’s this that helps make Roth’s character a mystery to solve.

Franco’s screenplay doesn’t unfold in the manner you might think.  Once everything is slowly set up in the first half, the second half has your expectations come undone, resulting in a movie where nothing is as it seems.  Even if you think not much happens in the first half, that storytelling choice makes sense later on as you learn new things and the motivations of the main character become clear.  There are things that can be open to interpretation, even in some of the smaller aspects, and this is what contributes to the film’s tension and unexpectedness, leaving you to want to go back and re-examine both the major and minor details.

During the simple events of the first half of the movie, Franco does what he can to establish a lingering, inescapable dread to carry us through this section, slowly preparing us for the second half, where new layers begin to unfold.  He teams up with his frequent cinematographer, Yves Cape, who worked with Franco on “New Order,” “April’s Daughter,” and “Chronic,” providing camerawork that doesn’t employ complex movements.  Instead, the duo uses simple tracking shots and a stoic camera to match the initial and unsettling straightforwardness of the story, a straightforwardness that’s soon shattered.

To add to the stripped-down nature of the filmmaking, Franco doesn’t use any musical score.  Rather, he relies on the sounds and music of the setting.  This allows us to become absorbed in the environment as Neil takes it all in, giving us the chance to pay full attention to everything that’s occurring in the streets that Neil traverses and in the places that he visits.

From the tranquil opening few minutes to the haunting final image, Franco brings us on what feels like a full journey for Neil’s character, despite the movie being less than 85 minutes.  This may be a short movie, but there’ll be long discussions afterwards.

Grade: A

Ghostface Returns to Dissect Re-quels and New Victims

Neve Campbell and Courteney Cox 
in "Scream"
Photo Credit: RottenTomatoes.com

Twenty-five years ago, director Wes Craven and screenwriter Kevin Williamson introduced a game-changer of the horror genre to moviegoers with their slasher film, “Scream,” which told the story of high-schooler Sidney Prescott (Neve Campbell) and her friends who are stalked by a masked killer with a love for horror movies.  With an ample amount of scares and laughs, this movie became the defining horror success of the ‘90s.

What soon followed was “Scream 2,” which focused on horror sequels; “Scream 3,” which dealt with trilogies; and “Scream 4,” which focused on remakes, with Craven directing all of them.  While the last two films weren’t quite as memorable as the first two, every installment has had memorable moments that have made this series a true force amongst horror movies.

With Craven’s passing in August 2015, it was difficult to think of how Sidney’s story could continue.  However, a way was found, one of which Craven would be proud.  In the fifth film, “Scream,” directors Matt Bettinelli-Olpen and Tyler Gillet bring us back to the town of Woodsboro for a brutal, funny, and thrilling installment.

After being away from Woodsboro for several years, Samantha Carpenter (Melissa Barrera) chooses to return to her hometown after hearing of an attack by someone in a Ghostface costume.  However, this person knows a family secret of hers and starts to come after not only Samantha, but also her friends.  The circumstances soon bring Sidney Prescott, Gale Weathers (Courteney Cox), and Dewey Riley (David Arquette) back to help track down the culprit.

Similar to how Campbell, Cox, and Arquette fit back into their characters without flaw following the 11-year hiatus between the third and fourth installments, they return in full force after nearly another 11 years since the fourth film.  Despite playing these characters for as long as they have, there isn’t any trace of them phoning in their performances, as they still remain committed to doing what they can to make us care for this trio as much as we have in the past.

Barrera shows a full confidence with being a lead in in a long-running horror series.  She displays the emotional impact of what her past has done to her and exhibits how painful it is to return to the place where she has horrible memories.  The interactions that Samantha has with certain characters helps offer some layers of drama in between the scares and wit, and these scenes help exemplify how wonderful of an addition Barrera is to the series.

Although it’s great seeing the main trio return, the new cast members are still given plenty of time to have audiences get to know them and their varying personalities.  Besides Barrera, the rest of the newcomers include Jenna Ortega, Jack Quaid, Dylan Minnette, Mason Gooding, Jasmin Savoy Brown, Mikey Madison, and Sonia Ben Ammar.  Each of them is given a chance to be noticed in this film, with Brown being one of the standouts as Mindy, a character who’s similar to Randy Meeks (played by Jamie Kennedy in the first two films) and has an extensive film knowledge, which is showcased in a scene where she passionately and humorously describes the rules of a legacy sequel, or “re-quel,” which is a term for a movie that has the qualities of both a reboot and a sequel.  Aside from their individual performances, the chemistry that they have when they’re all together is one of the factors that makes this movie as entertaining as it is.

And, of course, Roger L. Jackson makes a superb return as the voice of Ghostface.  His voice is as unsettling as ever, particularly in the opening scene, where it seems like his voice slowly transitions from that of one person’s voice, all the way to the full Ghostface voice.  It’s a simple tactic that gets the chills going, and you see how, after 25 years, Jackson can still put us on edge the way he always has. 

The screenplay by James Vanderbilt and Guy Busick, the latter of whom was a co-writer for Bettinelli-Olpin and Gillet’s 2019 film, “Ready or Not,” carries all of the smarts that we’ve come to know in the “Scream” films.  The narrative includes analyses of legacy sequels (like 2018’s “Halloween”) and obsessive fandom, as well as little bit of entertaining dialogue about trashy horror vs. artistic horror.  The pop culture references are a lot of fun and don’t feel shoe-horned into the dialogue, and there are clever parallels to the original that also well-placed.  It’s one of those movies where you can catch many small things while watching, catch more as you think of certain scenes later, and will surely catch others upon a second viewing.  This series has shown a tremendous ability to throw in humor and nods that are both at face value and subtle, and the screenwriters are more than up for the task in when it comes to delivering these factors.  Although there’s a certain past-comes-back-to-haunt-you storytelling device that seems out of place with the tone of the rest of the movie, the intelligence of the story more than makes up for this misstep.

Right from the excellent opening sequence that’s up there with that of the original,  Bettinelli-Olpin and Gillet let us know that they’re going to do whatever they can to deliver an installment that lives up to what Craven built.  They maintain a terrific mix of horror and humor that made their last film, “Ready or Not,” so much fun, exhibiting the same talent that Craven had for being able to switch between these tones to offer an entertaining moviegoing experience.  And, just like how their “Ready or Not” cinematographer, Brett Jutkiewicz, was able to capture the details of that film’s setting in the giant mansion, he does just as well with the settings that he’s given for this film.  Jutkiewicz brings us through the interior of the characters’ homes in such a way that allows us to see the layout of these houses as we try to see from where Ghostface might emerge.

These films work best whenever they have something to say about the horror genre, so if there’s a new trend in a few years for this franchise to deconstruct, I’ll be ready to scream again.

Grade: A-

To Obtain Power, a Lord and Lady Take Drastic Steps

Denzel Washington and Frances McDormand
in "The Tragedy of Macbeth"
Photo Credit: RottenTomatoes.com

Throughout the Coen brothers’ career, they’ve given us some superb Westerns with “The Ballad of Buster Scruggs,” “True Grit,” and No Country for Old Men,” as well as dark comedies like “Inside Llewyn Davis,” “A Serious Man,” and “Fargo.”  No matter what, all of their stories are ingrained in a sense of Americana that presents these communities they depict in ways that can be grim, thrilling, funny, or a little bit of everything.

The Coen brothers’ movies have all taken place in America, and given how much of a part their filmography plays in American culture, they’re some of the last people that you would expect to helm a Shakespeare adaptation.  However, it’s happened, and without surprise, it works.  But, for “The Tragedy of Macbeth,” only Joel is involved, with this being the first movie to be directed by a Coen brother and not have the other one involved in any way.  This movie is proof that, although the Coen brothers are known for making magic when together, that talent can still transition to solo outings.

When Scottish Lord Macbeth (Denzel Washington) is told by three witches (Kathryn Hunter) that he’ll become the next king, his wife, Lady Macbeth (Frances McDormand), will convince him to do whatever’s necessary to ascend to the throne.

Washington has several theater credits under his belt, including productions of Shakespeare’s “Julius Caesar,” “Richard III,” and “Coriolanus.”  He calls upon these experiences and uses that past power in his performance.  Washington carries a regality that takes up the screen, commanding the movie at every turn as he finds a fine balance between movie acting and theatricality.  As disastrous events unfold over the course of the film, Washington provides stunning work as Macbeth’s sense of power falls away little by little and he’s overcome with regret for the actions that he takes.  Washington has always had a grandness to his film performances that makes each of them become a stunning, mesmerizing force, and his work here couldn’t be a more perfect match for this decades-long cinematic tradition. 

McDormand, who played Lady Macbeth at the Berkeley Repertory Theater in 2016, is a chilling and intimidating presence as someone who will do anything to get within reach of a higher status.  She carries the ruthlessness that has been a staple of this unforgettable character, displaying the persona that’s as stone-hard as the castle walls around her.  Through this, McDormand shows Lady Macbeth’s unstoppable nature of a person whose moral compass has been overshadowed by her desires.  However, just like Washington, McDormand soon exhibits her character’s mental breakdown as her character realizes the magnitude of the irreversible act that she has encouraged.  As she psychologically unravels, McDormand shows how unhinged Lady Macbeth has become, being absent from reality and unable to handle what she’s done. 

Hunter, who has an extensive background in Shakespeare productions, as well as theater in general, provides a creepy and fascinating performance as the three witches.  With a crone-like voice and unsettling physical movements, she exudes the mysticism that the witches hold as this trio of characters deals with dark magic to foretell the troubling events of the film.  With that, it’s a performance that helps absorb you in the movie’s foreboding nature as you go from one tragic event to the next.

The screenplay by Coen sticks to the pure Shakespearean dialogue, keeping the essence of the play as the bard’s classic words flow from the cast.  It follows the story as we’ve come to know it, having the source material’s unforgettable scenes take place in their fullness as the arcs of the characters unfold in the dramatic scale that they require.

The cinematography by Bruno Delbonnel, who worked with the Coen brothers on “The Ballad of Buster Scruggs,” “Inside Llewyn Davis,” and their segment of “Paris, je t’aime,” offers gorgeous black and white camerawork that compliments the cold, expansive emptiness within the stone setting of Macbeth’s castle.  The way in which certain settings are framed sometimes gives the movie an appropriate stagey look (particularly in some of the exterior scenes) that compliments the long, long history of Shakespeare’s plays being presented in theaters to countless audiences.  Aside from that, the use of light and shadows is used in such a unique and gorgeous way that allows this to be an adaptation that has a visual individuality from others that have come before.

This movie is unlike anything either of the Coen brothers has done.  The way in which Joel Coen tackles Shakespeare’s play offers filmgoers a rich, new vision that blends without flaw with the immortality of the play, presenting another creative and bold chapter in Coen’s indelible career.  An innovative adaptation for any of Shakespeare’s work is always welcome, especially when it’s from someone as talented, and in this case, unexpected, as a Coen brother.

Grade: A

Finding Your Way and Growing Up in Los Angeles

Cooper Hoffman and Alana Haim in
"Licorice Pizza"
Photo Credit: RottenTomatoes.com

Throughout writer-director Paul Thomas Anderson’s admirable career, he’s crafted stories that unfold on a rather sprawling scale, such as “Boogie Nights,” “Magnolia,” “There Will Be Blood,” and “Inherent Vice.”  He’s built a reputation on being a filmmaker of tremendous ambition when it comes to constructing his films through significant technical aspects and expansive stories. 

His latest film is on a smaller scale in terms of story, but nevertheless shows his continued talent as one of the finest directors working today.  Anderson returns with his comedy-drama, “Licorice Pizza,” a movie that soars on its two breakout lead performances and Anderson’s love for the era in which the film takes place.

In the San Fernando Valley in 1973, a young actor named Gary Valentine (Cooper Hoffman) meets and becomes friends with a photographer’s assistant named Alana Kane (Alana Haim).  When the two begin a friendship, they get into mischief, take on responsibilities, and traverse the culture of 1970s California.

Hoffman, son of Philip Seymour Hoffman (a frequent collaborator of Anderson’s), provides an endearing performance as Gary.  He gives his character an optimism that shows Gary’s go-getter persona, an individual who doesn’t know the meaning of the word “failure” and gives everything that he can to be successful.  Hoffman has an energetic screen presence that marks a wonderful debut, assuring audiences that he’s going to carry on his father’s film-acting legacy.  

Haim is the latest singer-turned-actress who proves to have a natural talent for the screen, giving her character an abundance of heart and humor.  While Haim does superb work in delivering her dialogue, whether it be with emotion, wit, or an acidic touch, some of her finest moments come when she just has to emote.  There are two memorable scenes of this, one towards the beginning of the movie and one towards the end, and it’s scenes like these that show how versatile of actress Haim can be.

The on-screen connection between Hoffman and Haim is one of the most notable aspects of this movie.  To have two inexperienced actors star in a movie and make it look so easy is a superb thing to witness.  The exchange of banter and tension between their characters makes for a pairing that’s equal parts comedic and dramatic, and the skills that they present will get you excited for what projects they’ll pursue next.

Bradley Cooper delivers an understatedly crazed supporting performance as former Hollywood producer Jon Peters.  With just a few minutes of screen time, Cooper shows a character who’s determined to have people know who he is and the power he wields.  It’s a fun performance that’s charged with a little bit of insanity, and Cooper commits to bringing out his character’s humorous intimidation.

The screenplay by Anderson somewhat meanders at times as the movie goes through Gary and Alana’s day-to-day lives.  However, his narrative excels in layering his two main characters with the complexities of growing up, whether it be working, dealing with family issues, or feeling aimless while others around you are on a successful path.  When dealing with this themes, Anderson imbues his screenplay with events and people from that time, such as the gas crisis and the election campaign of Joel Wachs (Benny Sadie), with both events having an impact on the story when they’re called upon.

As is common in Anderson’s films, he employs fluid long takes that allow the long discussions to  unfold, as well as to let us take in the scenery and Florencia Martin’s meticulous production design of the time period.  Between Anderson and fellow cinematographer Michael Bauman, they shot the movie on superb 35 mm film and created a ‘70s texture by employing older lens.  

With Anderson’s directing, he shows a passion for his setting (several of his movies take place in California), as well as a dedication to how he displays the time period.  What’s commendable is how, despite the terrific details that he presents for the ‘70s, this isn’t a movie that goes out of its way to show you how well it recreates this decade.  Rather, you can appreciate these features while focusing your attention on the events of the movie.

“Licorice Pizza” is a coming-of-age story that’s a wonderful example of established talent behind the camera molding new talent in front of it, and you’ll like this opportunity to travel the sunny streets with these characters. 

Grade: A-

Top 10 Movies of 2021

Nicolas Cage in "Pig"
Photo Credit: RottenTomatoes.com

10) Pig - One of this year’s most original movies came from writer-director Michael Sarnoski’s crime drama.  The story follows Robin Feld (Nicolas Cage), a former Portland-based chef who’s now living in the woods with his truffle-hunting pig.  When Robin’s home is broken into and he has his pig stolen, he ventures out to Portland to track down the assailants.  Cage delivers his best performance in years as the reclusive soul who will do anything to get back what gives his life meaning, and Alex Wolff is wonderful as Robin’s truffle supplier who helps him on his journey.  Sarnoski’s screenplay explores the world of dining in such a way that hasn’t been done, offering drama, thrills, and even some humor, taking the story in some surprising directions.  This is a unique narrative in the best possible way and a stunning directorial debut that will have you hankering for what Sarnoski will conjure next.

Andrew Garfield in "Tick, Tick...Boom!"
Photo Credit: RottenTomatoes.com

9) Tick, Tick…Boom! - 2021 has been a terrific year for musicals, and Lin-Manuel Miranda’s feature directorial debut is more than fitting for his theatrical sensibilities, where he adapts Jonathan Larson’s musical of the same name.  The story focuses on Larson (Andrew Garfield), who’s about to turn 30 and is worried that he won’t do anything memorable with his life.  He soon puts his musical passion to work in order to become a renowned playwright.  Garfield provides a performance that explodes with energy as he powers his way through the musical numbers to bring this inspirational story to life.  Between songs like “30/90,” “Sunday,” “Come to Your Senses,” and “Why,” you’re offered an emotional and electric view into Larson’s life, and Miranda’s direction evokes as much vibrancy as possible, loading the movie with superb voices and imaginative visuals.  This is a film that captures the magic of what it means to chase your dreams; and, trust me, this is one dream of a movie.

Amin Nawabi in "Flee"
Photo Credit: RottenTomatoes.com

8) Flee - Director Jonas Poher Rasmussen’s animated documentary isn’t the easiest movie to watch, but that doesn’t mean you shouldn’t check it out.  In his film, he chronicles the life of a man named Amin Nawabi and how he escaped from war-torn Afghanistan to Denmark.  This is a heart-rending account of a refugee’s experience as he goes on a dangerous trip with his family in order to secure their safety.  Besides becoming familiar with Amin’s travels, we’re given a look into the life that he lived prior to this massive change, as well as a view into his life afterwards as he tries to establish a normal life and build a relationship with his boyfriend.  Through gorgeous, expressive animation, this is a documentary that’s unlike what you’ve seen, exhibiting a new way in which this genre can present its subjects.  This is a story that needed to be told, and you’ll be thankful to have been given the chance to know Amin.

From left: Caitríona Balfe, Jamie Dornan, 
Judi Dench, Jude Hill, and Lewis McAskie 
in "Belfast"
Photo Credit: RottenTomatoes.com

7) Belfast - Writer-director Kenneth Branagh’s latest movie brought us on a heartwarming and  poignant semi-autobiographical passage through his childhood.  In his film, Buddy (Jude Hill) spends his days going to school, playing in the streets, and getting into mischief.  However, the conflict between the Catholics and Protestants continues to grow, and Buddy’s family soon has to make the decision of whether or not they should pursue a safer life elsewhere.  Hill provides a spirited breakout performance as a young boy who has a deep bond with his hometown, while Caitríona Balfe, Jamie Dornan, Judi Dench, and Ciarán Hinds all give beautiful performances as Buddy’s mother, father, grandmother, and grandfather, respectively.  Branagh’s screenplay carries a significant love for his hometown and family, making us feel how much it all means to him.  This is a coming-of-age story that’s a detailed window into a family as they go through the good times and the bad, absorbing you as you see each day unfold.

Timothée Chalamet and Rebecca Ferguson
in "Dune"
Photo Credit: RottenTomatoes.com

6) Dune - Despite having made the two best sci-fi films of the last decade with “Arrival” and “Blade Runner 2049,” it was still a bold decision for Denis Villeneuve to do a new adaptation of Frank Herbert’s notoriously unfilmable novel, but he pulled it off.  The film tells the story of a noble family that moves to a desert planet and soon becomes caught in the middle of a deadly conflict.  This is just part one of a two-part adaptation, and it does a stellar job in introducing you to this world.  Filled with fine performances from a star-studded cast, led by Timothée Chalamet, Rebecca Ferguson, and Oscar Issac, as well as Villeneuve’s penchant for grand, immersive visuals, this is the adaptation for which fans of the novel have been waiting.  Given the level of craftsmanship that went into all aspects of this movie, we have every reason to be excited for part two.

Ansel Elgort and Rachel Zegler in 
"West Side Story"
Photo Credit: RottenTomatoes.com

5) West Side Story - Leave it to Steven Spielberg to not only make a film that captures the spirit of the 1961 original, but to also improve upon it in several ways.  The story follows the rivalry between a white gang known as the Jets, and a Puerto Rican gang called the Sharks.  When Maria (Rachel Zegler), the sister of Sharks leader Bernardo (David Alvarez), falls in love with Tony (Ansel Elgort), a former Jet, their new relationship puts a further strain on the two gangs that threatens to pull Maria and Tony apart.  Zegler gives a stunning breakout performance that announces a new talent to the world, while Ariana DeBose, Mike Faist, and Rita Moreno boast unforgettable supporting turns as Maria’s friend Anita, Jets leader Riff, and drugstore owner Valentina, respectively.  Through exuberant song-and-dance sequences and a more in-depth view into the tensions between the Jets and the Sharks, Spielberg and screenwriter Tony Kushner don’t just do right by the original’s legacy, but has their film create its own.

From left: Jason Isaacs, Martha Plimpton, 
Reed Birney, and Ann Dowd in "Mass"
Photo Credit: RottenTomatoes.com

4) Mass - The most emotionally deep-rooted movie of the year comes from writer-director Fran Kranz filmmaking debut.  Here, he tells the story of a mother and father (Martha Plimpton and Jason Isaacs) of a school-shooting victim, who meet with the perpetrator’s parents (Ann Dowd and Reed Birney).  All four central performances provide a total gut-punch as you watch them spend time with each other and sift through their deepest feelings of what they’ve experienced in the aftermath of this tragedy.  However, it’s Dowd who floors you in her heartbreaking final scene that will unravel you as she tells a story about her son.  You feel as though you’re sitting right with these characters and seeing their meeting unfold in real time, and for Krantz to tackle such a delicate subject for his first movie doesn’t do anything less than present the arrival of a filmmaker who has a firm command of his cast, the words, and the camera.

Dev Patel in "The Green Knight"
Photo Credit: RottenTomatoes.com

3) The Green Knight - Writer-director David Lowery’s latest film is a mesmerizing retelling of the classic legend, “Sir Gawain and the Green Knight,” where we see Sir Gawain (Dev Patel), nephew of King Arthur, set out on a quest to confront the Green Knight (Ralph Ineson) to settle a bargain.  Patel gives a majestic performance as the courageous and flawed Gawain, absorbing you in his character’s complex arc as he faces challenge after challenge.  Between the wonderful production design, gorgeous cinematography, and impressive visual effects, this is an indie film with the scope of a big-budget fantasy epic.  This is a distinguished addition to the fantasy genre that shows a boldness in both the screenplay and direction, displaying a breathtaking vision that Lowery isn’t afraid to let loose on the audience.  There’s a great deal of ambition in this film, not just in the technical aspects, but also the screenplay, which leaves you with much to discuss as soon as it ends.  If you haven’t done so, take this adventure as soon as you can.  

Amir Jadidi in "A Hero" 
Photo Credit: RottenTomatoes.com 

2) A Hero - This film from Iranian writer-director Asghar Farhadi is the first that I’ve seen from him, and it was a wonderful introduction to his work.  His recent movie is a morality tale that follows Rahim (Amir Jadidi), who’s on a two-day leave from prison, where he’s serving a sentence for failing to repay a debt.  After trying to have his creditor withdraw a complaint, his plan soon unravels into something more.  Jadidi gives a layered performance of a man who stumbles from one mishap to another, showing a man who becomes more and more tortured as he gets deeper into something out of which there might not be any escape.  Farhadi constructs a tense screenplay that keeps you wondering how something that may seem inconsequential might turn into something unwieldy.  And, the way in which he stages the big dialogue sequences as some characters try to prevent others from finding out certain truths isn’t anything less than engrossing.  Although this is the only movie of Farhadi’s that I’ve seen, it’s still easy to see why he’s one of the most renowned filmmakers of international cinema.

Kristen Stewart in "Spencer"
Photo Credit: RottenTomatoes.com

1) Spencer - Director Pablo Larraín takes a different approach to the biographical drama with his latest film, where he offers a fictionalized account of a Christmas weekend in 1991 spent at Queen Elizabeth’s Sandringham Estate in Norfolk.  Here, Princess Diana (née Spencer) feels the expectations and unwelcomeness of the royal family closing in on her.  Kristen Stewart gives one of the year’s most astounding and transformative performances as the Princess of Wales, inhabiting her to such a degree that you sit there in awe of Stewart’s talent.  She’s given good performances before, but this is on another level.  Steven Knight’s fascinating screenplay is a character study in the purest sense, delving into Diana’s mind and showing how out of place she feels amongst the royals.  Larraín imbues the movie with layers of beauty and psychological dread, blending the two to create an environment that’s pleasing to the eye, but also filled with claustrophobia as we feel Diana’s weekend-long suffocation of having all eyes on her.  Everything about this movie helps create a quietly visceral experience that’s majestic in every frame.