Through the Night, a Tailor Falls Deep into the Folds of Crime

Mark Rylance in "The Outfit"
Photo Credit: Imdb.com

One of the most interesting things to see in moviemaking is when a screenwriter tries his or her hand at directing.  After writing the words that will be performed on film, the next big step would be to direct the stories that you’ve scribed.  Some of the finest examples include Ben Affleck, Alex Garland, and Paul Schrader.  Being able to see a screenwriter evolve into a director and see that they have the talent for the latter every bit as much as the former is always a wonderful experience.

Screenwriter Graham Moore, who’s most famous for his screenplay for Morten Tyldum’s 2014 historical drama, “The Imitation Game,” is the latest to join this trend with his directorial debut, “The Outfit.”  It’s a crime drama that doesn’t play out like your usual film from this genre, keeping you on your toes and knocking you down at every turn.

In 1956 Chicago, Leonard Burling (Mark Rylance) is a tailor whose main customers are in organized crime.  One night, events play out that have Leonard stuck in a dangerous plot with Irish mobsters, and he’ll have to outsmart them if he’s going to live to see the next day.

Rylance shows his character’s methodical thinking as Leonard sets about his tasks, bringing to life a person whose mind is always going and knows how to find the finer details of his work and everything else around him.  Between Leonard’s intelligence and calm demeanor, Rylance displays him as someone’s who’s more than capable of handling pressure, even when his life is on the line.  There’s a soft toughness that Rylance exhibits in his character, and seeing him use this in his techniques to outsmart his enemies is both tense and satisfying to witness.  There are some surprises as to what Leonard’s capable of doing, and the way in which Rylance pulls them off shows his ability to portray someone who has so much more to him that we expect.

The supporting cast provides great work as characters who become involved in this perilous night.  There’s Zoey Deutch as Mable Shaun, Leonard’s resourceful receptionist; Dylan O’Brian as Richie Boyle, the suave, rough-around-the-edges gangster and his father’s second-in-command; Johnny Flynn as Francis, Richie’s volatile associate and the chief enforcer of the Boyle crime family; and Simon Russell Beale and Nikki Amuka-Bird as Roy Boyle and Violet LaFontaine, the leaders of two rival gangs who can show an intense display of command just by walking around a room.

The screenplay by Moore and Johnathan McClain has the story take place in one setting over the course of one night.  They use both aspects to their fullest by populating them with engaging characters who take part in one tense interaction after another.  Between these exchanges, the story does well in establishing the kind of environment in which Leonard works, letting you know the dangers on the streets, despite remaining inside for the whole movie.  The intriguing setup to the main conflict is enticing enough, but after a big turning point halfway through, we see that this story isn’t going to play out like we expect.  From there, as Leonard faces several deadly complications, the story places on layers of deceit that lead to some revelations that add up to a gripping finale.

As a director, it’s clear that Moore picked up a few things while working with Tyldum on “The Imitation Game,” even recruiting that movie’s editor, William Goldenberg.  His editing is as precise as Leonard’s suit-making, keeping the flow of the nerve-racking confrontations going as we remain on edge to see who’ll survive the night.  Meanwhile, Dick Pope’s cinematography makes wonderful use of closeups, allowing us to read the faces of the characters to figure out what truths they’re hiding.   

With a small cast, one setting, and a narrow timeframe within the story, it’s clear that Moore can make the most out of what he has when trying to deliver an intriguing thriller, and by doing so, “The Outfit” shows that he’s tailor-made for filmmaking.

Grade: A

Predictions for the 94th Academy Awards

Best Supporting Actor: Ciarán Hinds, “Belfast”; Troy Kotsur, “CODA”; Jesse Plemons, “The Power of the Dog”; J.K. Simmons, “Being the Ricardos”; Kodi Smit-McPhee, “The Power of the Dog”

Troy Kotsur in "CODA"
Photo Credit: Imdb.com

Will Win and Should Win: Troy Kotsur, “CODA” - Kotsur is one of this category’s four first-time nominees, and it looks like he’ll be the one to come out on top.  For his performance as the patriarch of a culturally deaf family that relies on their daughter (the only hearing member of their family) to help with their fishing business, Kotsur delivered an abundance of warmth and humor in his breakout role.  While he didn’t have much luck with the critics associations or the Golden Globes, he nevertheless picked up momentum when he won the Critics’ Choice Award, the Screen Actors Guild Award, and the British Academy of Film and Television Arts Award.  Although he might have a little bit of competition with Smit-McPhee, who won the Golden Globe, it’s safe to say Kotsur will be the one walking to the Dolby Theatre stage on Oscar night.

Best Supporting Actress: Jessie Buckley, “The Lost Daughter”; Ariana DeBose, “West Side Story”; Judi Dench, “Belfast”; Kirsten Dunst, “The Power of the Dog”; Aunjanue Ellis, “King Richard”

Ariana DeBose in "West Side Story"
Photo Credit: Imdb.com

Will Win and Should Win: Ariana DeBose, “West Side Story”- Another breakout performance that’ll be recognized, and deservedly so at the Oscars is DeBose’s exuberant and heartbreaking work as Anita, the best friend and sisterly figure for the main character, Maria.  DeBose takes the character that was made iconic by Rita Moreno in the 1961 version and breathes new life into it, resulting in powerful, star-making work.  Besides a touch of success with the critics associations, DeBose has been barreling through the big awards ceremonies, winning the Critics’ Choice Award, the Golden Globe, the SAG Award, and the BAFTA.  If DeBose’s luck continues, she’ll be another first-time nominee who’ll soon be able to call herself an Oscar winner.  

Best Actor: Javier Bardem, “Being the Ricardos”; Benedict Cumberbatch, “The Power of the Dog;” Andrew Garfield, “Tick, Tick…Boom!’; Will Smith, “King Richard”; Denzel Washington, “The Tragedy of Macbeth”

Will Smith in "King Richard"
Photo Credit: RottenTomatoes.com

Will Win: Will Smith, “King Richard” - Despite being one of the biggest movie stars of all time, it’s been 15 years since Smith’s last Oscar nomination, having been nominated for Best Actor for “The Pursuit of Happiness,” and then five years before that in the same category for “Ali.”  For his third nomination, be portrays Richard Williams, the father of tennis stars Venus and Serena Williams, who does whatever he can to make sure the two sisters achieve greatness.  While his name wasn’t mentioned often with the critics groups, he’s experienced much more success with the bigger awards, winning the Critics’ Choice Award, the Golden Globe for Best Actor-Drama, the SAG Award, and the BAFTA.  With this trajectory, it looks like one of the most-recognizable names in Hollywood will leave the Dolby Theatre on Oscar night with a trophy in hand.

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

Should Win: Andrew Garfield, “Tick…Tick…Boom!” - For his work as aspiring playwright Jonathan Larson, Garfield gave a fireworks-on-the-screen performance that showed he’s not just a talented actor, but also a wonderful and dynamic singer.  This is a role to which Garfield provided so much energy and devotion, having you see his fullest commitment in every scene to make sure this musical is presented in endless bursts of life.  Although Garfield won the Golden Globe for Best Actor- Musical or Comedy, he hasn’t had luck with the other award shows or many of the critics groups.  If he manages to pull off a surprise win, that will be wonderful because this is a performance that deserves every ounce of love from the viewer.

Best Actress: Jessica Chastain, “The Eyes of Tammy Faye”; Olivia Colman, “The Lost Daughter”; Penélope Cruz, “Parallel Mothers”; Nicole Kidman, “Being the Ricardos”; Kristen Stewart, “Spencer”

Jessica Chastain in "The Eyes of Tammy Faye"
Photo Credit: RottenTomatoes.com

Will Win: Jessica Chastain, “The Eyes of Tammy Faye” - Out of the four acting categories, this is the only one that has a good amount of unpredictability.  While non of them was nominated at the BAFTAs, Chastain has the highest chance right now at a win, having received the Critics’ Choice Award and the SAG Award.  Meanwhile, Kidman won the Golden Globe for Best Actress-Drama, and Stewart has had quite a bit of luck with the critics groups.  Although any of these five nominees could end up winning, Chastain has the edge for her performance as televangelist Tammy Faye Bakker.  This is Chastain’s third nomination, and it could very well end up as her first win.

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

Should Win: Kristen Stewart, “Spencer” - In what was, for me, the best movie of the year, Stewart gave a marvel of a performance that was the most transformative of 2021.  In her role as Princess Diana, Stewart gave a deeply poignant portrayal of her character trying to assimilate into the royal family during Christmas of 1991.  Stewart shows how much Diana’s isolation impacts her character, showing the intense strain that such a situation has on her as most of the family seems to criticize her at every turn.  Stewart has built an admirable career over the last few years, giving one memorable performance after the next, but this is something different all together.  The command that she exhibits over this role is unforgettable, and you’ll be left in awe at this newfound depth of her talent.

Best Director: Paul Thomas Anderson, “Licorice Pizza;” Kenneth Branagh, “Belfast”; Jane Campion, “The Power of the Dog”; Ryusuke Hamaguchi, “Drive My Car”; Steven Spielberg, “West Side Story”

Jane Campion, "The Power of the Dog"
Photo Credit: Imdb.com 

Will Win: Jane Campion, “The Power of the Dog” - Campion’s only other Oscar nomination for directing came in 1994 for her movie, “The Piano.”  For her Western psychological-drama, she has amassed directing accolades at the Critics’ Choice Awards, the Golden Globes, the BAFTAs, the Directors Guild of America Awards, and the Silver Lion for Best Direction at the 78th Venice International Film Festival, as well as numerous wins from critics groups.  Given everything she has won up until this point, the Oscar is hers.

Steven Spielberg, "West Side Story"
Photo Credit: Imdb.com

Should Win: Steven Spielberg, “West Side Story” - Leave it to Spielberg to take one of the most famous movie musicals of all time and manage to not only make a spectacular new adaptation, but also one that, in some ways, improves upon the original.  He displays a clear passion for the source material throughout the film, bringing emotion and exuberance through the performances, dialogue, and song-and-dance sequences.  Spielberg doesn’t try to redo the 1961 version, but instead teams up with his usual collaborators to construct his own vision of the story, and it couldn’t have come out any better.  He’s a director whose decades-long career has given us countess masterpieces, and he has accomplished that once again with his latest gift to moviegoers.     

Best Picture: “Belfast,” “CODA,” “Don’t Look Up,” “Drive My Car,” “Dune,” “King Richard,” “Licorice Pizza,” “Nightmare Alley,” “The Power of the Dog,” “West Side Story”

"The Power of the Dog"
Photo Credit: RottenTomatoes.com

Will Win: “The Power of the Dog” - Jane Campion’s film, which tells the story of a Montana rancher who comes at odds with everyone around him, started its terrific awards run ever since its premiere at last year’s Venice Film Festival.  Since then, it went on to receive acclaim at other fall film festivals, before going on to dominate the critics groups and award shows.  It’s the most nominated movie at the Oscars this year, earning 12 nominations.  It has won Best Picture from many critics groups, the Critics Choice Awards, the Golden Globes, and the BAFTAs.  Although “CODA” won the Producers Guild of America Award, an accolade that’s usually a good indicator of what will win Best Picture, “The Power of the Dog” has been too much of a behemoth during the awards season, and I can’t see it being derailed at this point.  So, unless the Academy decides to go with “CODA,” expect Campion’s film to win the biggest honor of the night.  

"West Side Story"
Photo Credit: RottenTomatoes.com

Should Win: “West Side Story” - Even for a director as prolific as Steven Spielberg, making a new “West Side Story” was a daring undertaking, but he managed to capture the old-Hollywood scope of the original, all while fitting it with his filmmaking style.  Between the performances, screenplay, production design, costumes, singing, and dancing, everything came together to perfection to tell the story of a man and woman from different backgrounds in Manhattan 1957 who must go against the wishes of their friends and family if they’re love for each other is to survive.  Spielberg and screenwriter Tony Kushner kept in all of the elements that we love from the 1961 adaptation, all while adding depth to the central conflict between the Jets and the Sharks, thereby creating even bigger stakes for the characters.  It hasn’t had Best Picture success with the critics groups, and its highest honor at the big awards ceremonies has been a win for Best Motion Picture-Musical or Comedy at the Golden Globes, so it doesn’t seem like this will repeat the original’s success at winning Best Picture.  However, this movie has so much to love about it, and in time, I’m sure Spielberg’s adaptation will become a classic every bit as much as its 1961 counterpart.

Be sure to check out the 94th Academy Awards this Sunday, March 27, at 8:00 EST on ABC.

In Texas, an Amateur Film Crew Meets Danger During Production

Mia Goth in "X"
Photo Credit: Imdb.com

When it comes to deconstructing movie tropes, no genre lends itself quite as nicely as the horror genre.  Given how many iconic movies, and numerous sequels to those movies, have been released over the last few decades, it’s always fun to analyze the patterns that show up.  While Wes Craven’s “Scream” franchise became the leader in doing so, we’ve also had Drew Goddard’s modern classic “The Cabin in the Woods” find its own imaginative way to deconstruct horror tropes.

Renowned indie-horror writer-director Ti West tackles slasher tropes with his latest film, “X,” a supremely entertaining horror film that explores these motifs in unique and subtle ways.

In 1979 Texas, Maxine (Mia Goth), Lorraine (Jenna Ortega), Wayne (Martin Henderson), Jackson (Scott Mescudi), Bobby-Lynne (Brittany Snow), and RJ (Owen Campbell) drive to a farm where they rent a house to shoot an adult film.  As their time on the farm goes on, the group realizes that their hosts aren’t what they seem.

Goth provides an excellent performance as a young woman who dreams of being famous, but falls into a sense of contemplation when production on their film begins.  It’s a performance that’s unexpectedly poignant at times as we watch her go through moments of rumination when she’s alone or goes through unsettling interactions with the farm owners.  With these scenes, whether Maxine is speaking or not, Goth presents her character in such a way that has us wonder about her and what deeper things are going through her mind.  

The six core actors and actresses in this group have a chemistry that’s a lot of fun to watch, with each of them having a distinct personality that engages you in their interplay as they try to get through their film production and survive the terror that comes their way.  Despite this being a slasher movie, the characters don’t feel like genre archetypes, but instead come across as real people, and part of that comes from the strength of the performances from this group.

The screenplay by West lets us see the friendships unfold before the bloodshed begins, allowing us to get to know the group dynamics.  The narrative slowly builds up the horror elements of the script, but for the first half, there’s mostly focus on the characters as we learn about each one.  Aside from the scares and laughs, the movie tackles some surprisingly emotional themes that add depth to the characters and makes this movie much more than a slasher film.  The topics that are explored add to the viewing experience because you’re caught off guard as you start to see what this movie is really about, leaving you to wonder how it’ll tie in with the later events of the movie.

This is an entertaining subversion of slasher tropes that takes you back to the era that invented those tropes.  Between the characters, setting, and technical aspects, we have clever nods to slasher movies like “The Texas Chainsaw Massacre,” “Halloween,” and “Friday the 13th.  However, this movie is less of a wink-wink to what we’ve come to know in the genre, and is instead a movie that encourages you to search deeper into the movie to see how these tropes are being used and shaken up to offer something different.

As a director, West accomplishes a balance in the scares, humor, and melancholy.  Although he maintains a killer sense of fun in this examination of slasher hallmarks, the movie has more on its mind than that, with the off-kilter atmosphere prepping us for the unexpected paths that this movie will take.  Other than this, cinematographer Eliot Rockett, who collaborated with West on “The House of the Devil,” “Cabin Fever 2: Spring Fever,” and “The Innkeepers” offers several creepy shots that will have you squirm with dread, especially an overhead shot at the farm’s lake early on in the film.

West uses his low budget to work wonders in recreating the late ‘70s, providing the movie with the same look of the low-budget horror films that emerged from that era.  In doing so, West constructs a movie that feels very much in its place and time.

And, just when you think the movie has done much to surprise you, there’s one more thing.  When the film ends, make sure to stay until after the credits because you’re in for something great.

With “X,” you’ll find that West is another horror filmmaker who can present something new out of what we’ve seen before.

Grade: A

A Family Considers a Future Without Their Beloved Robot

Malea Emma Tjandrawidjaja and Justin H. Min 
in "After Yang"
Photo Credit: Imdb.com

In 2016, author Alexander Weinstein published a collection of captivating science-fiction short stories called “Children of the New World.”  Though his vivid imagination and relatable characters, each story, despite their quick length, was able to paint a picture of futuristic technology to which we seem to be getting closer every day.  There’s a bleakness that runs throughout these stories that create eery, cautionary narratives that are loaded with different angles from which you can interpret these parables.

One story from that collection is “Saying Goodbye to Yang,” which has been adapted by writer-director Kogonada for his second film, “After Yang,” a poignant and meditative drama that proves there are still wonderful stories to tell about the relationship between humans and robots.

In the not-too-distant future, Jake (Colin Farrell), Kyra (Jodie Turner-Smith), and their adopted daughter, Mika (Malea Emma Tjandrawidjaja) live with a robotic child named Yang (Justin H. Min).  One day, when Yang becomes unresponsive, the family attempt to repair him, but also must consider moving on without him.

Farrell and Turner-Smith have a restraint to their performances that punctuates the sadness they feel with the unsureness of Yang’s situation.  Their concern is palpable throughout, both in terms of what they’re going to do with Yang and how they’re going to help their daughter process his absence and the possibility of him not coming back.  The love that they have for both Mika and Yang is heartwarming to witness, and the soft-spoken, yet powerful nature of Farrell and Turner-Smith’s performances is a solace that carries you through the emotional uncertainty.

Tjandrawidjaja provides wonderful work as a young girl who has a profound bond with Yang.  She displays a joyfulness when they’re spending time together, and the woe when he’s not around.  With this, Tjandrawidjaja inhabits a character who doesn’t see Yang as a robot, but as a cherished friend.

Although Min plays a robot, he portrays his character more as an individual who’s stunningly human and trying to understand the deeper aspects of the world around him.  There are some hints of robotic-ness in the way he moves, but his humanistic qualities present Yang as someone who has assimilated into the family, expressing the same amount of love towards them as they for him.  There’s a passion for the human experience that we see in Yang, and Min absorbs the viewer in his character’s enthusiasm to engage with his surroundings.

Despite the source material only being 22 pages, Kogonada’s screenplays is able to lengthen the story by expanding certain aspects of Weinstein’s work.  There are more scenes shared by Jake, Kyra, and Mika, allowing us to see how Yang’s absence impacts each of them, and there’s a fascinating arc given to a supporting character that’s only mentioned in passing in the short story.  However, two primary areas within the expansion of the source narrative is how we’re given flashbacks of Yang and a few looks into his memories.  While Yang remains in an unresponsive state for most of the source material, we’re given several flashbacks as we see him interact with his family, letting us see how much they all meant to each other and deepening his character’s journey through understanding life.  Linked with his examination on life is a few scenes where we’re able to see Yang’s recorded memories, particularly in one sequence near the end were we view memories that span years, which may be the most beautiful segment of the film as we experience the world through Yang’s wisdom-filled eyes.

Just as Kogonada exemplified with his debut film, “Columbus,” he knows how to use both architectural structures and natural landscapes to help us examine his characters in their own environments and the larger world around them.  With cinematography by Benjamin Loeb, Kogonada has the film linger on shots as we take in and study both the settings and the characters, which helps with the film’s contemplative tone.  With this tone that Kogonada used in “Columbus,” he once again explores the concept of facing an impending loss of a loved one.  However, he doesn’t do so in an overly emotional way, but instead employs a sense of calm and uses an introspective approach as we watch how Jake, Kyra, and Mika navigate a tough situation.

Science-fiction is a bottomless well from which you can find fascinating drama, making “After Yang” a beautiful exploration of a human story, not just for its flesh-and-blood characters, but for Yang, as well.

Grade: A 

Batman Returns to Puzzle Out the Riddler

Robert Pattinson in "The Batman"
Photo Credit: RottenTomatoes.com

Director Matt Reeves is someone who has accomplished a fine progression as a filmmaker.  He displayed spectacle on a low budget with “Cloverfield,” an emotional story with “Let Me In,” and then blended spectacle and story in “Dawn of the Planet of the Apes” and “War for the Planet of the Apes.”  With those last two movies, you can see that Reeves has grown into a director on whom you can rely to craft blockbusters that have as many thrills as they do moments of dramatic heft.

Now, Reeves continues that trend with a dive into comic-book films.  His latest movie, “The Batman,” is another epic and layered adaptation for the superhero that constructs an intriguing immersion into this staple of DC Comics’ mythology.

Having watched over Gotham City for two years as Batman, Bruce Wayne (Robert Pattinson) has been doing whatever he can to keep the city safe.  When a new danger emerges in the form of the Riddler (Paul Dano), Bruce will have to outsmart him as he comes face to face with his past and how it connects to the corruption within Gotham.

Pattinson delivers a superb interpretation of the Caped Crusader.  From his speech to his body language, he shows how much of a toll being a vigilante has had on him.  There’s an intense sense of burden that Pattinson gives to his version of Batman, exhibiting someone who realizes he can’t be everywhere to save everyone, but must do his best with what he can do.  Pattinson provides a view into the loss that Bruce experienced before the events of the movie and how that has impacted him.  However, this grimness doesn’t make up his whole performance.  Rather, Pattinson does an equally superb job in bringing out Bruce’s resilience and ingenuity in the face of Gotham’s horrors and the care for the people to whom he becomes close.

Zoë Kravitz gives a strong performance as Selina Kyle/Catwoman.  She displays the cunning behavior and humor that we’ve come to know in this character, all while imbuing it with a layer of melancholy as she faces her own troubles.  Kravitz brings out the deep-rooted commitment that her character has in fulfilling her personal agenda while trying to collaborate with Bruce, presenting a Catwoman who’s magnetic to watch.

Dano portrays the Riddler as a version that’s much more disturbed than what we saw with Jim Carrey’s version in Joel Schumacher’s “Batman Forever.”  This Riddler ensures that you’ll be unsettled whenever he’s on screen.  Much like how Heath Ledger reinvented the Joker for Christopher Nolan’s “The Dark Knight,” Dano gives us a Riddler who fits in with today’s world.  Whether he’s addressing his audience with a chilling, serial-killer calm, or outbursts of rage, this is a terrific reimagining of one of Batman’s most iconic villains, and Dano’s approach announces a welcome addition to the pantheon of memorable villain portrayals in Batman films.

Backing up Pattinson, Kravtiz, and Dano is a supporting cast of huge talent.  There’s Jeffrey Wright as dedicated Gotham PD lieutenant James Gordon; John Turturro as intimidating mob boss Carmine Falcone; Peter Sarsgaard as corrupt Gotham DA Gil Colson; Andy Serkis as Bruce’s loyal butler and friend, Alfred Pennyworth; and an unrecognizable Colin Farrell as one of Falcone’s top associates, Oswald Cobblepot/Penguin.  All of these performances help flesh out the rich array of characters that populate Gotham and contribute to the sprawl of the story.

The screenplay by Reeves and Peter Craig delves into the “World’s Greatest Detective” aspect of Batman’s character, bringing audiences through the layers of Gotham’s criminality.  Craig, who was one of the writers for the bank-robbery drama, “The Town,” uses that experience to cowrite a narrative that’s every bit as much a superhero story as it is a crime saga.  This is a Batman movie where we see him as a detective, searching for clues that lead him to bigger and more disturbing truths.  The story delivers thrills as we go from one scene to next and uncover more secrets that grow out of the central mystery.

The film has a three-hour runtime, so there are several characters ands plot threads on which to focus, which can lead to the movie becoming a tad unwieldy at times.  However, the way in which everyone and everything begins to connect to the larger picture as the movie goes on means that there isn’t anything that’s superfluous.

Greg Fraser, who collaborated with Reeves on his horror drama, “Let Me In,” continues to be one of the finest cinematographers working today when it comes to lensing big-budget blockbusters, as he did in 2016 with Gareth Edwards’ “Rogue One: A Star Wars Story,” and just a few months ago with Denis Villeneuve’s “Dune.”  From the shadowy streets, alleyways and subway platforms, to the grandness of Wayne Manor, to the expansiveness of Gotham City, Fraser immerses you in settings that have their details jump out.  He knows how to bring a sense of artistry to the visuals, not only to the character-driven scenes, but also the big effects-driven scenes.  

Reeves establishes wonderful atmospherics that heighten the grimness of Gotham, distinguishing himself from the eye-catching architectural mishmash of Tim Burton’s two Batman films and the urban realism of Christopher Nolan’s “Dark Knight” trilogy.  Given how many times we’ve seen Batman on screen, it’s important for a filmmaker to set himself apart from what we’ve seen before, and Reeves delivers.  Aside from the ambiance and memorable drama between the characters, Reeves gives us terrific actions scenes, such as Batman and Selina going up against the Riddler’s followers, and the fiery car chase between Batman and the Penguin.  Reeves has shown in the past that he can bring audiences scenes of spectacle that don’t feel conventional, and that talent carries over to this.  

“The Batman” is supposed to be the first in a new trilogy, and if Reeves is able to maintain his impressive balancing act of drama and action, I’ll look forward to visiting his bold vision of Gotham City once again.

Grade: A-

Catchup of Oscar-Nominated Films

The 94th Academy Awards will take place on Sunday, March 27.  In preparation for them, I caught up on the movies that were nominated in the top six categories: Picture, Director, Actress, Actor, Supporting Actress, and Supporting Actor.  Here are the five that I viewed.

Hidetoshi Nishijima and Tōko Miura in 
"Drive My Car"
Photo Credit: RottenTomatoes.com

1) “Drive My Car” (Best Picture, Best Director) If you’re looking for a movie that’ll take you on a poignant and expansive journey of self-rediscovery, you can’t do any better than director-cowriter Ryusuke Hamaguchi’s film, which is based on Haruki Murakami’s 2014 short story of the same name.  The movie follows actor and theater director Yūsuke Kafuku (Hidetoshi Nishijima), who suffers the loss of his wife, Oto (Reika Kirishima).  Two years later, he’s hired to direct a multilingual stage production of Anton Chekhov’s play, “Uncle Vanya,” all while forming an unexpected friendship with Misaki Watari (Tōko Miura), who’s been hired as Yūsuke’s driver.  Nishijima provides a performance that’s loaded with many rich, complicated layers that offer a view into this troubled artist’s life.  Meanwhile, Miura portrays a character who’s rich in emotion and wisdom, giving an effectively stoic performance that allows you to not only see the focus that Misaki has on her job, but also how she tries to hold back the pain from years of heartache.  The screenplay by Hamaguchi and Takamasa Oe shares a story that’s every bit as much a road movie as it is a story about reconnecting with and making sense of your past.  Not only that, but the narrative parallels the events of “Uncle Vanya” to a beautiful degree, leaving their stage performance of the play to be one of tremendous impact that won’t leave you anything short of enraptured.  The film has a three-hour runtime, and because of that, the direction and writing allow us to experience the full effects of the plot and the talks amongst the characters as we sit and let everything unfold.  So, just get in the car and give yourself over to wherever this drive takes you.  You won’t forget it.

Grade: A

Milena Smit and Penélope Cruz in
"Parallel Mothers"
Photo Credit: RottenTomatoes.com

2) “Parallel Mothers” (Best Actress) Before watching writer-director Pedro Almodóvar’s latest drama, I’d only seen three of his movies from his decades-long career, but that’s still enough to know that he’s one of international cinema’s most distinct visions.  When stepping into his new film, I knew I was in for something special.  His movie follows Janis Martínez (Penélope Cruz) and Ana Manso Ferreras (Milena Smit), two mothers whose lives are changed forever when they give birth on the same day.  Cruz delivers a beautiful performance as a new mother who exhibits a determination and purpose when it comes to focusing on both her work and parenthood, but soon faces a deep emotional struggle when she makes a life-shattering discovery.  Meanwhile, Smit excels in a stunning breakout performance that’ll make you hope to see more of her talent in forthcoming movies.  The chemistry between Cruz and Smit carries the movie through as their characters bond over the course the film, only to become strained and possibly irreparable in the third act.  Almodóvar’s screenplay offers an examination on motherhood and the challenges that come with it, all while placing it against and relating it to the thought-provoking backdrop of Janis and her home village excavating for the remains of her great-grandfather and other men who were killed and buried there during the Spanish Civil War.  As a director, Almodóvar evokes heartrending drama from his cast, all while providing his reliably beautiful use of colors within the environments of the film, ensuring that his settings stand out every bit as much as his talented cast.  With the staying power of this film, Almodóvar once again shows that his ability to engage an audience is as potent as ever.

Grade: A

Olivia Colman in "The Lost Daughter"
Photo Credit: RottenTomatoes.com

3) “The Lost Daughter” (nominations: Best Actress, Best Supporting Actress) Maggie Gyllenhaal’s feature directorial debut finds her adapting Elena Ferrante’s 2006 novel of the same name.  In this stunning, anxiety-inducing psychological drama, the story follows Leda Caruso (Olivia Colman), a college professor who’s on holiday in Greece.  While over there, circumstances will arise that will cause her to face her troubled past.  Colman provides a performance that’s masterful in its heartbreak, but refrains from being showy.  This is work that has you feel her character’s inner pain seep through the screen, making it a performance that’s not always easy to watch, but one that you must experience.  Jessie Buckley’s career continues to unfold in marvelous directions, doing so here by portraying a younger Leda and giving older Leda’s flashbacks a detailed view into why she grew up into the person that she became.  And, with just a few minutes peppered here and there throughout the film, Dakota Johnson’s performance as a vacationer, Nina, who bonds with Leda shows so much poignancy despite having little screen time.  Gyllenhaal brings a wonderful directorial effort in her first go-around behind the camera.  The way in which she utilizes close-ups (courtesy of cinematography by Helene Louvart) to provide a quiet, in-depth view of the emotions and challenges that go into motherhood is one of many aspects that make this movie as powerful as it is.  No matter how much screen time each of these characters is given, the cast and Gyllenhaal are able to express the complexities that Leda, young Leda, and Nina face in their lives, ensuring that you’re absorbed in each of their stories as they unfurl from one emotional beat to the next.  Gyllenhaal has proven herself to be a great actress over the last couple of decades, and now, we see the beginnings of someone who’ll be a terrific filmmaker.

Grade: A

Javier Bardem and Nicole Kidman in
"Being the Ricardos"
Photo Credit: RottenTomatoes.com

4) “Being the Ricardos” (nominations: Best Actress, Best Actor, Best Supporting Actor) - The story of Lucille Ball and Desi Arnaz is one of the most iconic of the entertainment industry, leading to the television phenomenon of “I Love Lucy,” a sitcom that broke ground in many ways and has lived a long life since then.  In Aaron Sorkin’s latest film as a writer-director, he follows Ball and Arnaz (Nicole Kidman and Javier Bardem) as they go through a week of preparations to film their next episode, all while facing professional and personal challenges.  Kidman provides a wonderful performance as Lucille, exhibiting the hungriness of success in an industry that she loves, as well as the determination to overcome the unexpected obstacles that threaten her success.  Meanwhile, Bardem gives off a lot of energy as Arnaz, displaying his character as the dynamic performer and savvy businessman that he was.  In supporting performances, J.K. Simmons and Nina Arianda are comical to watch as the always-bickering William Frawley and Vivian Vance, who portrayed Fred and Ethel Mertz on “I Love Lucy,” while Tony Hale and Alia Shawkat, as show producer Jess Oppenheimer and show writer Madelyn Pugh are also memorable as their characters face their own tensions on set during an especially difficult week.  Although Sorkin’s script offers an enticing view of the work behind creating an episode of “I Love Lucy,” it also spends time focusing on the years that Lucy and Desi shared before creating the show.  The issue is that the sequences involving the show’s preparations are more interesting and should have been the whole movie, instead of trying to balance being a behind-the-scenes glimpse of the show and a Lucy/Desi biopic.  Between writing and directing, Sorkin is more proficient at the former.  His direction feels workman-like and doesn’t have much of a distinct style, which is something that an entertainment-industry story like this could have used.

Grade: B-

Cate Blanchett, Tyler Perry, Leonardo 
DiCaprio, and Jennifer Lawrence in
"Don't Look Up"
Photo Credit: RottenTomatoes.com

5) “Don’t Look Up” (Best Picture) - Adam McKay has had a frustrating filmmaking career over the last few years.  While his attempts at mining comedy from real-life events started out well with “The Big Short,” it didn’t quite work out with “Vice.”  He falls even further with his latest film, which centers on two astronomers (Leonardo DiCaprio and Jennifer Lawrence) as they try to alert the world about an oncoming collision with a comet.  DiCaprio and Lawrence work well together, and their onscreen bond is one of the only memorable things about this movie.  The rest of the cast has several big names, but only Meryl Streep and Cate Blanchett stand out as the United States President and a talk-show host, respectively.  Mark Rylance, a talented actor, stands out as well, but not in a positive way.  His performance as a tech billionaire is rather grating, seeming to take his similar, yet good performance in “Ready Player One,” and portraying his “Don’t Look Up” character in such a way, but to an annoying degree.  As for McKay and David Sirota’s screenplay, there’s a subtle detail here and there, but for the most part, the story falls into the same trap as “Vice” in being too heavy-handed and is further bogged down by McKay’s self-indulgent directorial style.  The critiques on politics, social media, and current events aren’t saying anything groundbreaking, and there are a couple of subplots that could have been left out to trim down the movie.  The material for an amusing satire is present, but it’s so smug and lacking in nuance that any entertainment that you could have received out of this is absent.  If McKay continues his career like this, things aren’t looking up for the quality of his upcoming films.

Grade: C