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| Carey Mulligan and Bradley Cooper in "Maestro" Photo Credit: Imdb.com |
Maestro - After actor Bradley Cooper made his stunning directorial debut in 2018 with his remake of “A Star is Born,” I couldn’t wait to see what his filmmaking followup would be. For his second go-around behind the camera, Cooper remains with music-centered narratives for a biopic about American conductor and composer, Leonard Bernstein, taking on the role. Cooper displays a strong passion for portraying this icon, particularly in the music scenes, such as the standout sequence where he conducts an orchestra at the Ely Cathedral in England. Carey Mulligan plays his wife, actress Felicia Montealegre, and has an effortless magnetic charm to her that absorbs you right into her character. Together, Cooper and Mulligan have wonderful chemistry as they build upon their love, only to then traverse shaky ground. The screenplay by Cooper and Josh Singer is, unfortunately, the weak link in the film. At just two hours, the film feels like it should’ve been longer, so as to really do justice to Bernstein’s history. Also, as captivating as the love story is between Leonard and Felicia, it tends to overshadow whatever focus the film has on Bernstein’s lasting legacy on music. If the movie was longer, the script could’ve struck more of a balance between these two aspects. However, just as with “A Star is Born,” Cooper’s direction boasts wonderful production values, between “Star is Born” cinematographer Matthew Libatique’s gorgeous black-and-white camerawork for the segments of the film that take place earlier in Bernstein’s life, and Kevin Thompson and Rena DeAngelo’s impeccable production design that captures the different time periods of the film. While this movie may be a bit of a step down from Cooper’s directorial debut as a whole, the highlights nevertheless keep you excited for what he might helm next.
Grade: B
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| Sandra Hüller in "Anatomy of a Fall" Photo Credit: RottenTomatoes.com |
Anatomy of a Fall - If there’s one film from 2023 that could spark fervent debates after it ends, it’s director Justine Triet’s challenging courtroom thriller. The story follows Sandra Voyter (Sandra Hüller) who tries to prove her innocence after her husband’s death at their isolated mountain house. Hüller delivers a powerhouse performance that shows how strongly her character adheres to her guiltlessness, and she makes her role compelling enough to always have us study her to see if she has any tells that could prove otherwise. Milo Machado Graner, who plays Sandra’s blind son, Daniel, offers a heartbreaking portrayal as a young boy who’s thrown into the frenzy of the murder trial and is confronted with whether or not to help his mom win her case. The screenplay by Triet and Arthur Harari offers plenty of drama both in and out of the courtroom, providing a view into the lives of the defendant and her son. After an enticing setup, we’re driven into a whirlwind of speculation as many people are brought in to give their opinions on if they think Sandra had anything to do with her husband’s death, having us go back and forth in terms of whether or not we believe in Sandra’s innocence. This is a thrilling character study as we keep finding out details concerning the background of Sandra’s marriage. No matter if it’s the tense moments in the courthouse or at Sandra’s home (the film mainly takes place at these two locations), Triet holds you in the power of the movie as everything that we learn keeps coming undone as new revelations come forward. This is a film that doesn’t offer easy answers, and it’ll be poking at your brain for days after watching it.
Grade: A
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| Teo Yoo and Greta Lee in "Past Lives" Photo Credit: RottenTomatoes.com |
Past Lives - Writer-director Celine Song’s feature filmmaking debut is one of the most genuine romances that I’ve seen in a while. Her movie follows Nora Moon (Greta Lee) and Hae Sung (Teo Yoo), who were childhood sweethearts in South Korea before Nora and her family emigrated to New York City. Twenty-four years later, they must figure out their futures when Hae Sung travels to America to reconnect with Nora. Lee offers a complicated performance of someone who shows the poignancy of not knowing whether to keep living her life in NYC with her husband (John Magaro), or restart what she had with Hae Sung. Meanwhile, Yoo provides beautiful work as someone who thrusts himself into a new world to see his friend, hoping for them to fall in love again, despite knowing that Nora has built a new life with another man. Song’s semi-autobiographical screenplay deftly goes between the different time periods of the main characters’ lives, giving us enough context for how much they connected when they were children and providing the groundwork for the emotional heft that comes later on. Through long takes that have the warmth and uncertainty of this couple unfold, Song and cinematographer Shabier Kirchner construct an atmosphere that’s both melancholic and life-affirming, making this an emotional journey that you must take. Don’t write this off as a simple sweethearts-reconnect narrative because there’s a lot more to it than that. Even if the love might or might not be reciprocated between the two main characters, there’s still so much love put into this film that will have your eyes glued to the screen as Nora and Hae Sung become reacquainted and open up to each other. This movie may be called “Past Lives,” but as you watch it, you’ll feel very much in the moment.
Grade: A
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| Michael Fassbender in "The Killer" Photo Credit: RottenTomatoes.com |
The Killer - While David Fincher has given us films like the fantasy drama “The Curious Case of Benjamin” and the biographical films “The Social Network” and “Mank,” most of his filmography consists of unsettling, and oftentimes brutal, thrillers. His latest is an adaptation of the French graphic novel series by Alexis “Matz” Nolent and Luc Jacamon. The story follows a nameless assassin (Michael Fassbender) who goes on a globetrotting quest for vengeance after a hit goes wrong. Fassbender delivers a performance of an individual who has a calculating persona and a ruthlessness to him that helps his character maintain his captivating aura. The screenplay by Andrew Kevin Walker, who wrote the script for Fincher’s “Seven,” teams up with the director once again after 25 years. The narrative includes quite a bit of narration, which can sometimes bog the movie down with the main character's pretentious philosophical musings and repetition of his mantra. Aside from that, there’s nevertheless a surprising, low-key sense of humor throughout the film that makes for a darkly witty pairing with the stoic nature of Fassbender’s character. Fincher offers plenty of tension whenever the assassin prepares for a hit, especially in the film’s heart-pounding opening sequence. With previous collaborators, such as cinematographer Erik Messerschmidt, editor Kirk Baxter, and composers Trent Reznor and Atticus Ross, Fincher uses their talents to absorb us right into the settings of the film to construct a thriller whose atmosphere makes you feel the unrelenting coldness that gets a hold of every scene. Fincher’s “The Killer” might not always be on target, but with the technical craftsmanship and fine acting, there’s enough to encourage you to follow this mission to the end.
Grade: B
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| Christian Friedel in "The Zone of Interest" Photo Credit: RottenTomatoes.com |
The Zone of Interest - A moviegoing experience that you won’t be able to shake for a while is this unsettling historical drama from writer-director Jonathan Glazer, which is based on the 2014 novel by Martin Amis. The story follows Nazi commandant Rudolf Höss (Christian Friedel), a husband and father who tries to provide an idyllic life for his family in their home, which is next to the Auschwitz concentration camp. Friedel is very disquieting as a Nazi officer who nonchalantly goes about his day-to-day murderous duties. Sandra Hüller, who plays his wife, Hedwig, is just as unnerving as a woman whose only concern is maintaining their peaceful existence. The screenplay by Glazer narrows the larger scope of Amis’ novel and focuses on just Höss’ family and their home life for most of the runtime, and it works to tremendous effect. This approach allows for us to see the small details of the family’s daily life, details that speak to the bigger picture of what’s happening beyond the walls of the ill-gotten Eden at the center of the story. By crafting the movie in such a way, everything that’s implied is just as terrifying as what we see on the surface. Through Łukasz Żal’s restrained camerawork, Mica Levi’s chilling score, and Johnnie Burn’s immersive sound design that mixes what you hear both inside and outside the walls that border the Höss’ property, Glazer brings us a chilling view of the evil that carried out these crimes against humanity and the haunting casualness of those who benefited from their wartime gains. When this film ends, you’ll feel it lingering like a ghost.
Grade: A
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