For One Family, Wrestling Isn’t a Hobby, It’s a Lifestyle

Jack Lowden and Florence Pugh in
"Fighting with My Family"
Photo Credit: RottenTomatoes.com

One of the marks of a skillful filmmaker is the ability to make you invested in something that you wouldn’t care about on a normal basis.  Such a skill can make you look at something in a different way and maybe give you a new appreciation for whatever the subject of the movie might be.

Writer-director Stephen Merchant accomplishes this with the biographical comedy-drama, “Fighting with My Family.”  Other than watching a bit of “WWE SmackDown” here and there when I was younger, I was never much a wrestling fan.  However, Merchant puts enough care into this story, giving us a narrative that has laughs, emotion, and inspiration.

Saraya “Paige” Bevis (Florence Pugh) lives in Norwich, England, with her family of wrestlers that includes her brother, Zak (Jack Lowden); her mother, Julia (Lena Headey); and father, Patrick (Nick Frost).  Although the family gets along with their love for each and love of wrestling, complications soon arise when Paige and Jack try out for “SmackDown,” with only Paige being chosen to move to the next round.

Pugh, who delivered a stunning breakout performance in William Oldroyd’s 2017 drama, “Lady Macbeth,” delivers blazing work as a young woman who strives to prove herself in the ring.  With a boldness in attitude and refusal to let anyone stand in her way, Pugh brings out the humorous and dramatic aspects of her character that create endearing work.  Pugh exhibits Paige’s confidence as she’s at home and when she ventures to Florida to train, but she also shows a shyness as she’s seen as an outsider among the other trainees, bringing her into a situation where she seems to be both in and out of her element.  It’s a moving arc as we see her try to juggle chasing her dream and handling the growing strain between her brother.

Lowden provides an emotional performance where we see the heartrending disappointment in him realizing that his dreams of wrestling might be coming to an end.  It’s a role that exemplifies the pain of having someone tell you that you might not be good enough to be what you want to be, and seeing the weight of this fall down on Zak in one of the film’s most poignant scenes shows you the hopelessness that he feels in having his dream start to become out of his reach.

As Paige’s parents, Headey and Frost provide terrific work whenever they’re together and show a strong connection between their characters.  After being on the fantasy-drama series “Game of Thrones” since 2011, it’s fun to see Headey take on a character such as Julia.  As for Frost, his talent for wit is as reliable as ever, making you grin whenever he’s on screen.

Pugh, Lowden, Headey, and Frost all exhibit a wonderful on-screen chemistry, presenting a familial bond that has you understand how much wrestling means to them and how it connects them.  You sense the love and support that they have for each other, with Julia and Patrick always being there to encourage their children’s dreams.

Dwayne “The Rock” Johnson appears in a couple of scenes as himself, but he makes the most out of his limited screen time, especially in his first appearance, where he provides some hilarious words of advice for Paige and Zak as they prepare for their WWE tryouts.

Although the story follows many beats that you’ll find in other sports movies, Merchant’s screenplay, which is based on the Max Fisher’s 2012 documentary, “The Wrestlers: Fighting with My Family,” provides you with an insight into how much wrestling means to the Bevis family, showing the matches that they put on for the public and the gym that they operate that teaches youths how to wrestle.  Once we arrive at the portion of the narrative where Paige travels to Florida to train with other WWE hopefuls, Merchant offers a look into the challenges that Paige must face when competing against other wrestlers and facing the skepticism of a WWE trainer (Vince Vaughn).  Between these two areas of the plot, we see the hard work to which Paige and her family commit themselves in order to find success in wrestling.

As a director, Merchant brings us into the WWE world in such a way that even non-fans of wrestling will be drawn into what he presents.  He provides enough details that show what goes into becoming a successful wrestler, making us feel the physical toll that these competitors have to go through in order to gain recognition.  Outside of this, Merchant also shows his dexterity in transitioning between the family’s humorous antics and heartfelt moments, creating a genuineness within the lives of the characters.

“Fighting with My Family” is a crowd-pleasing view of a family that shows the love that they have for each other and the love that they have for wrestling, and all of that should be enough to make you want to step into the ring.

Grade: A-

In a Tumultuous World, Music is a Couple’s Salvation

Tomasz Kot and Joanna Kulig in "Cold War"
Photo Credit: Imdb.com

Paweł Pawlikowski’s historical drama, “Cold War,” begins with what may be one of the most distinct opening scenes of 2018, having the camera focus on several villagers in Poland as they sing and play instruments.  This introduces us into a world where these individuals find refuge in their art in order to get by during their day to day hardships.

From there, Pawlikowski delivers a story that unfolds by showing the love of music that two people share as they face the oppressive bleakness of the world around them.

In late 1940s Poland, a young woman named Zuzanna “Zula” Lichón (Joanna Kulig) is brought to live in a home with many other aspiring musicians, singers, and dancers, where they all audition to take part in a troupe that will tour across Europe.  Soon, Zula captures the attention of a musical director, Wiktor Warski (Tomasz Kot).  As time goes on and Zula and other artists perform around Europe, she and Wiktor long to escape to the West, where they’ll be able to exercise their creative freedom from having to take part in communist propaganda.  Although their situation is ideal at first, circumstances will arise that will bring significant changes to their lives.

Kulig provides a radiant performance as an individual whose character comes alive whenever she’s on a stage because that’s the place where her character seems to be at home, absorbing the spotlight and becoming one with her art. Through her spiritedness and love for singing and dancing, we see how much this acts as her escape from the harsh realities of her life.  However, as the movie goes on, Kulig exhibits Zula’s emotional pain as her relationship with Wiktor becomes more strained.  Her character goes through many changes during the film, and Kulig excels in showing the impact that every step of this journey has on her character.

Kulig and Kot have an intense on-screen chemistry that draws us into their love for each other and the troubled relationship that arises from jealousy and being apart for an extended period of time.  It’s a relationship that’s equal parts joyous and heartbreaking, and the way that their bond changes through a period of many years offers endless fascination.

The screenplay by Pawlikowski, Janusz Głowacki, and Piotr Borkowski does well in taking its time to establish the environment of the story.  The sequences that we spend at the artists’ residence, with the auditions and rehearsals, shows us the wealth of talent that comes out of these individuals whose lives have been upended by the horrors of war.  As we move onto the portions of the film with Zula touring around Europe with Wiktor and their fellow performers, it’s here where we receive a deeper sense of what performing means to her, which leads into Zula and Wiktor's powerful odyssey as they try to make their dreams of success come true.  This is a story that’s filled with complexities of its characters and settings, and it does much to show us the impacts that historical events of the narrative’s time period have on the lives of Zula, Wiktor, and others.

One of the many notable aspects of the movie is Łukasz Żal’s cinematography, which presents the film in gorgeous black and white.  This allows us to feel the chill and somberness of the Polish setting, while also presenting the other European settings, particularly France, in a beauty that shows an abundance of promise for the two main characters.  It’s impossible not to sink into the film as you behold the imagery that Żal conjures in order to help tell this story.

With the help of Zal’s camerawork, Pawlikowski excels in displaying the disheartening aura of the film’s beginning, the grandness of the performance sequences, to the heartrending nature of the relationship between Zula and Wiktor.  All of this makes “Cold War” a rich and layered story where love and music run deep, and I urge you to take this journey.

Grade: A

Predictions for the 91st Academy Awards

Best Supporting Actor: Mahershala Ali, "Green Book"; Adam Driver, "BlacKkKlansman"; Sam Elliot, "A Star Is Born"; Richard E. Grant , "Can You Ever Forgive Me?"; Sam Rockwell - "Vice"

Mahershala Ali in "Green Book"
Photo Credit: Imdb.com

Will Win and Should Win: Mahershala Ali, "Green Book" - While Richard E. Grant has received the most attention of the five nominations with numerous nominations and wins amongst critics groups, Ali has had all of the luck with the major awards shows, winning the Critics’ Choice Movie Award, the Golden Globe, the Screen Actors Guild Award, and the BAFTA (British Academy of Film and Television Awards).  Portraying famed jazz pianist Don Shirley, Ali gave a wonderful performance of a man who travels throughout the South in the 1962 with his two bandmates and chauffeur on a concert tour.  While the films allows him to have some humorous moments along the way, it’s the dramatic side to his character that stands out, showing him trying to use his music to make an impact on a segregated society.  After winning in this category in 2017 for his role in "Moonlight," which was his first nomination, it looks like Ali will be making a return to the Dolby Theater stage.


Best Supporting Actress: Amy Adams, "Vice"; Marina de Tavira, "Roma"; Regina King, "If Beale Street Could Talk"; Emma Stone, "The Favourite"; Rachel Weisz, "The Favourite"

Regina King in "If Beale Street Could Talk"
Photo Credit: Imdb.com

Will Win: Regina King, "If Beale Street Could Talk" - At the start of awards season, King was the frontrunner in this category, winning numerous accolades from critics groups for her performance of a strong-willed mother who tries to help her daughter get her boyfriend out of jail, who has been imprisoned for a crime he didn’t commit.  When the major awards shows began airing, King went on to win the Critics’ Choice Award and the Golden Globe.  Although she wasn't nominated for the SAG Award or the BAFTA, she has had enough success on the awards circuit, thus far.  So, expect her first nomination to translate into a win.

Rachel Weisz in "The Favourite"
Photo Credit: Imdb.com

Should Win: Rachel Weisz, "The Favourite" - Weisz has been nominated for many awards for her work as the confidante to a cantankerous monarch, and she has had some luck in the process.  It’s a role in which Weisz revels in her character’s mischievous deeds, and it’s so much fun to see her go head-to-head with Emma Stone’s character.  Weisz does superb work in showing both her affection for the queen as her best friend and the jealousy that the she holds towards Stone’s character as the latter tries makes her way into the queen’s inner circle, drawing us into the arc of Weisz’s character as she worries about the possible breaking of her bond with her longtime friend.  Although Weisz managed to pull off a win at the BAFTA’s, which might have been made possible because King wasn’t nominated, it’s difficult to see Weisz receiving the Oscar instead of King, at this point.


Best Actor: Christian Bale, "Vice"; Bradley Cooper, "A Star Is Born"; Willem Dafoe, "At Eternity's Gate"; Rami Malek, "Bohemian Rhapsody"; Viggo Mortensen, "Green Book”

Rami Malek in "Bohemian Rhapsody"
Photo Credit: RottenTomatoes.com

Will Win: Rami Malek, “Bohemian Rhapsody” - Despite a troubled production and a mixed response from critics, the biopic of British rock band Queen has received a lot of unexpected awards attention, even scooping up a Best Motion Picture - Drama win at the Golden Globes and a Best Picture nomination from the Academy.  Despite the not-so-stellar critical reactions for the movie itself, there has been mammoth praise for Malek’s performance as Queen’s lead singer, Freddie Mercury.  Malek has received several nominations from critics groups and has won a Golden Globe for Best Actor - Motion Picture Drama, a SAG Award, and a BAFTA.  While Christian Bale poses a chance at being a possible winner, having won a Golden Globe for Best Actor- Motion Picture Musical or Comedy and the Critics’ Choice Award, expect Malek to be another first-time nominee from this year to walk away with the Oscar.

Bradley Cooper in "A Star Is Born"
Photo Credit: Imdb.com

Should Win: Bradley Cooper, “A Star Is Born” - This was the year where Cooper proved to be a multitalented individual, having acted in, directed, and co-written this musical drama, while also impressing audiences with a dynamic singing voice.  This is one of Cooper’s best performances to date, playing a country-music star who finds a new creative spark as he begins to collaborate and fall in love with a nightclub singer-songwriter (Lady Gaga).  What’s remarkable about Cooper’s performance is how he doesn’t let his character become a down-on-his-luck cliché, but instead makes his role into something that’s soulful, tender, and heartbreaking.  Cooper’s performance hasn’t had much luck in terms of wins from critics groups or the major awards shows, which is a shame because his work in this film presents next-level potential.  His first acting nomination came in 2013, and now in 2019, he’s already received his fourth.  With that much recognition in a short span of time, it’s easy to predict that he will have a lot more with which to impress us in the future.


Best Actress: Yalitza Aparicio, "Roma"; Glenn Close, "The Wife"; Olivia Colman, "The Favourite"; Lady Gaga, "A Star Is Born"; Melissa McCarthy, "Can You Ever Forgive Me?"

Glenn Close in "The Wife"
Photo Credit: Imdb.com

Will Win: Glenn Close, "The Wife" - Before this year, Close has received six Oscar nominations, but has never won.  She hasn't received much attention from critics groups for her role as the spouse of an acclaimed author, but her wins at the Critics’ Choice Awards (where she tied with Lady Gaga), Golden Globes, and SAG Awards are sure to result in Close having an Oscar to her name by this Sunday.

Olivia Colman in "The Favourite"
Photo Credit: Imdb.com

Should Win: Olivia Colman, "The Favourite" - While Colman isn’t predicted to make it to the stage at this year’s ceremony, she’s had some notable wins at other awards shows, winning the Golden Globe for Best Actress - Motion Picture Musical or Comedy and Best Actress at the BAFTAs, while also picking up some wins from critics groups along the way for her performance as an erratic British queen.  This has been quite a competitive year for this category, so Colman scoring a nomination is an award itself, but she has been a top competitor for quite some time.  It’s not only a performance with tremendous wit, but is also one that brings us into the tragedies that as plagued her character's life, and Colman provides stunning work in translating both sides of her role. She provides a combined effort of being unpredictable in certain scenes, and grounded in others, making this one of the most memorable performances of 2018.


Best Director: Alfonso Cuarón, "Roma"; Yorgos Lanthimos, "The Favourite"; Spike Lee, "BlacKkKlansman"; Adam McKay, "Vice"; Paweł Pawlikowski, "Cold War"

Alfonso Cuarón, director of "Roma"
Photo Credit: Imdb.com

Will Win: Alfonso Cuarón, "Roma" - Five years ago, Cuarón won in this category for his science-fiction thriller, "Gravity," and it looks like he will receive another win for his latest work, which tells the story of a live-in housekeeper who takes care of a family in early 1970s Mexico City.  Not only did he serve as the writer and director, but Cuarón was also the film’s cinematographer, which I'm sure has impressed Academy members.  As of now, he has won directing honors at the Critics’ Choice Awards, the Golden Globes, the BAFTAs, the Directors Guild of America, and from multiple critics groups, so it looks like his second directorial nomination will become his second win.

Yorgos Lanthimos, director of "The Favourite"
Photo Credit: Imdb.com

Should Win: Yorgos Lanthimos, "The Favourite" - Lanthimos excels in bringing us films that take a genre and imbue it with a weirdness that adds some freshness to those genres, with his latest subject being a historical period film.  Other than his Oscar nomination, Lanthimos was nominated at the Critics’ Choice Awards and the BAFTAs, and has also received nominations from several critics groups.  Throughout the film, Lanthimos is able to maintain his ability to keep us invested in trying to figure out what will happen next and delivers a historical film unlike any other.  This is all with the help of a surprising true story and outrageous and humorous images that invite us into a complex triangle of friendship that has many layers of deviousness.  Although Lanthimos likely won’t be winning this year, his talent for offering audiences unconventional filmgoing experiences will have him returning to the Oscars soon enough. 


Best Picture: “Black Panther,” ”BlacKkKlansman"; "Bohemian Rhapsody"; "The Favourite"; "Green Book"; "Roma"; "A Star Is Born;" "Vice"

"Roma"
Photo Credit: Imdb.com

Will Win: "Roma" - Last month, Best Picture looked like it would come down between “Roma” and "Green Book.”  In the case for "Green Book," it won the Producers Guild of America Award for Best Theatrical Motion Picture, which is a good indicator of what will win Best Picture, with 20 winners receiving the Oscars' top prize out of the 30 years of the PGA Awards.  And, its Golden Globe win for Best Motion Picture - Musical or Comedy doesn't hurt either.  However, two of the nine times that the PGA Awards and the Oscars didn't match up weren't too long ago, occurring in 2016 and 2017, so the PGAs haven't been quite as dependable as they usually are.  There's also the fact that "Green Book" didn't receive a nomination for Best Director.  In regard to "Roma," it's tied with "The Favourite" for having the most nominations of the year at 10, against five for "Green Book," and it won Best Picture at the Critics’ Choice Awards and BAFTAs.  And, although it wasn't nominated for Best Motion Picture - Drama at the Golden Globes, where there’s a rule stating that foreign-language films can’t be nominated in the Best Motion Picture - Drama and Musical or Comedy categories, it was able to pull off a win for Best Foreign Language Film.  What might hurt the Best Picture chances for "Roma" is that it's a Netflix movie, and it's difficult to tell how the Academy will feel about awarding Best Picture to a movie from a streaming service.  So, there’s a possibility that they just wanted to recognize "Roma" with a nomination, but not a win.  Despite this, the 10 nominations and many awards that "Roma" has received up to this point are difficult to ignore, so there's a chance that it could end up being this year's big winner.

"The Favourite"
Photo Credit: Imdb.com

Should Win: "The Favourite" - Although Lanthimos’ film has earned Best Picture nominations from the top awards shows and a few critics groups, in hasn’t had much fortune when it comes to winning, which is a shame because “The Favourite” is one of the most entertaining and original films of the year and is a terrific blend of acting, directing, writing, and technical qualities.  This is a historical period film with a hilarious and vicious twist, and Lanthimos never lets us forget that.  His film brings us many humorous sequences, but he never dilutes the emotional undertones of Olivia Colman’s character.  This movie has a lot going for it in several respects, making it deserving of its 10 nominations, and I’m hoping it’s able to pick up a couple of wins.  I’m still upset with myself for not getting around to seeing this movie a second time because there’s so much to appreciate.  So, if you haven’t seen it yet, fix that as soon as you can because this is a movie that impresses and astounds in equal measure.

Tune into the 91st Academy Awards on Sunday, February 24, at 8:00 p.m. on ABC.

After Years of Fame, a Comedic Duo Attempts to Recapture Audiences’ Hearts

Steve Coogan (left) and John C. Reilly in "Stan & Ollie"
Photo Credit: Imdb.com

As a movie buff, it’s difficult for me to resist stories about Hollywood’s golden age, as these were decades where the possibilities of filmmaking expanded and gave us some of the best movies of all time and some of the most-talented actors and actresses in the industry.  Over the last few years, we’ve had Martin Scorsese’s 2004 drama, “The Aviator,” which told the story of film director Howard Hughes; Julian Jarrold’s 2012 making-of-“The Birds” television film, “The Girl;” Sacha Gervasi’s 2012 making-of-“Psycho” drama, “Hitchcock”; and Ryan Murphy, Jaffe Cohen, and Michael Zam’s 2017 miniseries, “Feud: Bette and Joan,” which focused on the strained work-relationship between Bette Davis and Joan Crawford on the set of “What Ever Happened to Baby Jane?”  Watching such true stories offers endless, fascinating details about these artists and their work, creating irresistible insight over which any film lover will obsess.

Director Jon S. Baird does the same with his comedy-drama, “Stan & Ollie,” a witty and emotional view into the legendary duo, Laurel and Hardy, in a story that’s brought to life with the help of two great lead performances.

In 1937, Stan Laurel (Steve Coogan) and Oliver Hardy (John C. Reilly) face some difficulties that put their collaboration on hold.  Sixteen years later, the two of them reunite and embark on a music-hall tour across England and Ireland as they also attempt to have another film made.

Coogan and Reilly have a boundless chemistry that makes this movie an absolute joy to watch.  Just as their real-life counterparts made audiences laugh for many years, Coogan and Reilly make us laugh with their witty exchanges and embodiment of the spirit of Laurel and Hardy.  As their characters’ successes shift towards their troubles, Coogan and Reilly deliver the emotional strain that grows between Laurel and Hardy when previous difficulties that arose during their stardom threatens to break their friendship.  These are affecting performances because of how we see them experiencing happiness in bringing their comedic talents to audiences, but then must face the possibility of having that time in their lives come to an end.

Aside from the highs and lows that we see in Stan and Ollie’s relationship, we’re also treated to some wonderful bits of visual comedy from the two of them, and not just when they’re filming a movie or performing on stage, but in the moments between their productions.  This includes a scene involving Stan in a film producer’s office, and Stan and Ollie at the front desk of a hotel, and these scenes emphasize how much the two of them loved to entertain audiences.  This is a movie that’s full of charm, and those aforementioned sequences display the magic that was held within the talents of Laurie and Hardy.

The film also has two memorable supporting performances from Nina Arianda and Shirley Henderson as Laurel and Hardy’s wives, respectively.  They bring considerable fun to the screen and provide the film with many humorous moments, making the two of them a wonderful duo to go alongside Laurel and Hardy.

The screenplay by Jeff Pope offers a look into this iconic pair of performers as they try to come to terms with their fading popularity.  This is a more fascinating choice in telling the story than focusing on their whole careers because all of its attention can remain on a tumultuous time that comes later in Stan and Ollie’s lives.  The movie takes place in 1937 for about 10 minutes in the beginning, while the rest of it takes place in 1953, and we know for long Laurel and Hardy have been working together before that 16-year separation.  So, there’s more emotion to the story because the movie brings us to a later stage in their careers where they’re not sure if they’ll ever meet the same high levels of success that they maintained for so long.  Here, we see the impacts that previous conflicting plans for fame have on Laurel and Hardy at this period of their lives and how their animosity threatens to end their collaboration.

One of the film’s most memorable scenes is its opening.  Here, we begin with Stan and Ollie sharing a friendly discussion in their dressing room, and they then proceed to walk out onto the studio lot.  The cinematography by Laurie Rose constructs this scene as a long take that lasts about five minutes.  The camera follows Stan and Ollie as they continue to speak, while also absorbing the audience in a classical-Hollywood atmosphere.  Watching this conversation unfold creates a rich naturalism between Laurel and Hardy as they go about another day of bringing smiles to moviegoers.

Baird exhibits Laurel and Hardy’s friendship and their passion for comedy in a film that’s loaded with heart and humor, and he might even get you a bit misty-eyed.  With “Stan & Ollie, ” Baird and his team don’t just show the talent that sparked from these two iconic performers, but also how a mutual love for entertaining sparked a friendship.

Grade: A

Going Against the Odds, a Young Ginsburg Begins Her Fight for Equality

Felicity Jones in "On the Basis of Sex"
Photo Credit: Imdb.com

While any drama film that focuses on a real-life individual who’s done much to improve the lives of people is always intriguing to watch, seeing such a film where the subject is still living and continuing their life’s work adds a level of potency to the story because you know that the person is going beyond what you see in the movie.

This is the case with director Mimi Leder’s biographical drama, “On the Basis of Sex,” where she tells the story of Supreme Court Justice Ruth Bader Ginsburg.  While the film has some faults, the uplifting narrative and wonderful lead performance are enough to compensate.

In 1956, Ruth Bader Ginsburg (Felicity Jones) enrolls in Harvard Law School as one of just a few women, studying alongside her husband, Martin (Armie Hammer).  Upon graduating and not being hired by any law firms, Ruth begins a career as a professor at Rutgers Law School.  Soon after, she’s given the opportunity from the American Civil Liberties Union to work with a sex-based-discrimination case that could help abolish inequality between men and women.

Jones provides a tough and spirited performance as Ginsburg, showing her character’s grit and persistence in furthering her education.  Jones wins you over from the first scene, presenting Ginsburg as an eager, wide-eyed law student who’s ready to obtain as much knowledge as possible and get closer to her calling in legal practices.  Jones shows Ginsburg’s conscientiousness as a student; her frustration at being rejected from law firms, despite her expertise; and her dedication to strengthening equality throughout America, all of which results in a portrayal that gets you caught up in Ginsburg’s inspirational journey as you watch her make history in the courtroom.

The supporting cast has several talented performers, such as Hammer; Justin Theroux as Mel Wulf, the legal director of the ACLU; and Kathy Bates as attorney and political activist Dorothy Kenyon.  While the supporting actors and actresses do what they can with the material that they’re given, they don’t have much of an opportunity to do a lot that’s memorable.  The only supporting cast member who’s given an opportunity to make an impression is Cailee Spaeny, who portrays Ginsburg’s daughter, Jane.  It’s a performance that shows her character’s strong willingness to strive for equal rights between men and women, while also displaying how much her character is influenced by the tireless work that her mom puts towards her family and career.

The screenplay by Daniel Stiepleman (who’s Ginsburg’s nephew) has a few unsubtle moments in the first couple of scenes, but there aren’t as many as the film goes on.  Although Stiepleman has to compress Ginsburg’s story into a two-hour film, he provides enough details for the aspects of her life that the film covers.  We have scenes of her as a student; her married life; her time as a professor; and the landmark case into which she pours her heart; while also going in depth as the story describes the laws that discriminate between the sexes.

Although the film has the look and feel of a standard biopic, Leder offers some memorable shots here and there, such as in the opening scene where we see Ginsburg entering the halls of Harvard with a crowd of male students, a sequence that shows Ginsburg’s earnestness in pursuing her dreams and going against what was expected of women during that time.

“On the Basis of Sex” may have some areas in which it could have been stronger, but the places in which it excels have enough to make you cheer.

Grade: B

Unsure About Their Future, a Couple Uses Love to Keep Going

KiKi Layne and Stephan James in
"If Beale Street Could Talk"
Photo Credit: Imdb.com

Before this year, writer-director Barry Jenkins found a calling for telling stories of people in love and dealing with the troubles that surface.  He did this in 2008 with his debut feature, “Medicine for Melancholy,” then in 2016 for “Moonlight.”  These films capture both the joys and hardships that come with being in a relationship, and he explores this concept through two different and heartfelt scenarios.

Jenkins chooses this as his area of focus again for the romantic drama, “If Beale Street Could Talk.”  Through Jenkins’ customary mix of accomplished direction, rich performances, a layered story, and technical proficiency, he offers another deep view into a relationship that must overcome the obstacles that get in the way of two peoples’ devotion to each other.

In early 1970s Harlem, Tish Rivers (KiKi Layne) and Alonzo Hunt (Stephan James) fall in love.  When Tish becomes pregnant, the two are ready to begin the next chapter of their life.  When Alonzo is accused of assaulting a woman and sent to jail, Tish, her family, and Alonzo’s family will do whatever they can to prove his innocence.

Layne provides a superb breakout performance of a young woman who exemplifies intense commitment to her family and boyfriend as she tries to help Alonzo get out of prison, while also preparing to bring their baby into the world.  Layne gives us a character who's soft-spoken, but one who isn’t afraid to let her feelings out when she needs to be heard.  She brings an unbridled strength as she shows Tish going through her pregnancy and starting a new chapter in her life, all while not knowing whether or not Alonzo will be coming home.  The depth of quiet, yet powerful emotion that Layne puts into her role makes this career-making work that shouldn’t be missed.     

James offers a performance that shows his determination in providing Tish with the best life that he can give her, with a highlighted in a charming scene where they go visit a potential loft.  The happiness that he feels when he’s around Tish makes his time in prison much more heartbreaking because James evokes the feeling of intense loneliness and helplessness as he’s separated from Tish and his family.  Just like Tish, Alonzo doesn’t know what his future holds, and James has to exhibit a range of feelings to reflect that in his character, and he does so to great success.

Regina King, who portrays Tish’s mother, Sharon, shows the understanding and care that her daughter needs during this uncertain time in her life.  In her scenes, King exhibits the protectiveness that her character has for Tish, always being at Tish’s side as the latter experiences her hardships.  Later in the movie, when Sharon travels to Puerto Rico to speak with Alonso’s accuser, who has fled America, King brings out her character’s strong will to prove Alonzo’s innocence, an affecting look out how accepting she is of having Alonzo as part of her family, despite most of his family disagreeing with the matter.   

The supporting cast comes equipped with several memorable performances, such as Teyonah Parris and Colman Domingo as Tish’s sister and father; Aunjanue Ellis and Michael Beach as Alfonzo’s mother and father; and Brian Tyree Henry as Alfonzo’s friend, who’s a standout amongst these performances and is given one of the best scenes in the movie, where he provides Alfonzo with some details about his time in prison, and although it’s played out in an understated manner, it’s nevertheless tense and disquieting.

Jenkins’ screenplay, which is based on James Baldwin’s 1974 novel of the same name, uses narration from Tish as a way to go back and forth between the past and present as we see her and Alonzo’s time together before the latter’s arrest.  During the sequences that occur in the past, we’re given a beautiful look into Tish and Alonzo’s relationship as the possibilities of the world seem endless to them.  What makes the transitions between the past and present so potent is how we’re able to feel Tish’s sense of longing for simpler times as she recalls the happier moments that she experienced with Alonzo.  We see these events along with her, but are then taken back with her into the present where she has to contend with Alonzo being away from her.  It’s a poignant examination of dedicating your life to someone who you love and having your joyful memories of that person help you get through difficult times and keeping that love alive.

Jenkins re-teams with James Laxton, who provided the cinematography for both of director’s previous films.  Just like with “Medicine for Melancholy” and “Moonlight,” Laxton uses several long takes as a way to let events play out in real time, making us feel closer to the goings-on for the characters and letting us experience them as they do.

Another similarity between “If Beale Street Could Talk” and Jenkins’ previous two films is that he often has passages of the movie transpire with little dialogue, or none at all.  Through these scenes, we’re drawn further into the lives of the characters, and with magnificent framing from Laxton and a beautiful score from Nicholas Britell (who provided the music for “Moonlight”), there’s magic that’s brought to these scenes.  One of the best examples of this is the opening scene where we have Tish and Alonzo taking a walk, and they ask each other if they’re ready to take the next step in their relationship.  With these minimal-dialogue and dialogue-free scenes that focus on Tish and Alonzo, you get a strong sense of their love, a bond that will help them rise above whatever misfortunes that life brings. 

After gaining attention with “Moonlight,” Jenkins became a cinematic vision to follow, and his work with “If Beale Street Could Talk” continues to present him as such with this deep and genuine love story. 

Grade: A

In the White House, a Vice President Sneaks His Way to the Top

Amy Adams and Christian Bale in "Vice"
Photo Credit: Imdb.com

For over a decade, Adam McKay has found success in directing fun, mainstream comedies, such as the two “Anchorman” movies, “The Other Guys,” and “Step Brothers,” while serving as a co-writer for them, as well.  With these films, McKay reveled in their uproarious scenarios, delivering memorable characters and an abundance of laughs.

Then, in 2015, he expanded his storytelling abilities by directing and co-writing the comedy-drama, “The Big Short,” in which he provided an in-depth view of the 2007-2008 financial crisis, offering both a humorous and maddening experience as we watched where it all went wrong with America’s economy.

He now brings us another true-story account with his newest comedy-drama, “Vice," and although the performances are fantastic, McKay tries too hard to get his point across at times, resulting in a weakened impact.

The story follows Dick Cheney (Christian Bale) as he rises to power within Washington, D.C., and soon becomes one of the most secretive leaders in 21st-century America during his time as vice president to George W. Bush (Sam Rockwell).

In his role as Cheney, Bale continues to show his talents at being a transformative actor.  He has the flawless ability to sink into his characters, and you wouldn’t recognize that it’s him playing Cheney if you walked into this movie not knowing anything about the cast.  He accomplishes Cheney’s vocals and brings out a mischievous personality, embodying the sneakiness with which Cheney used to place himself into the position of authority that he sought.  Even with the movie’s flaws, it’s Bale’s performance that helps make this film worth a watch.  

Amy Adams gives a terrific performance as Cheney’s wife, Lynne.  In her first scene, Lynne mentions that, because she’s a woman, her career options are limited (this portion of the film takes place in the ‘60s), so she implores Dick to do what he can for the both of them in order to bring a sense of accomplishment to their family.  Once the two of them get to Washington, Adams shows us that Lynne has a determination for political success that’s as strong as her husband’s, and to see her character work alongside her spouse makes for an intriguing couple to watch as they attempt to gain more and more power.

Despite only having a few scenes, Rockwell makes a humorous impression as George, Jr.  Just like Bale, he’s able to channel his real-life counterpart’s mannerisms without fault and not have it devolve into an overblown caricature.  Even though Bale is the star of the movie, Rockwell is able to hold the screen in equal measure when he shares it with Bale, and they’re able to create scenes of dynamite acting as we watch two individuals that are pretty much the doppelgängers of Cheney and Bush.

The film also has memorable performances from Steve Carell as Secretary of Defense Donald Rumsfeld; Alison Pill and Lily Rabe as Cheney’s daughters, Mary and Liz, respectively; and Tyler Perry as Secretary of State Colin Powell.  Just as with many of McKay’s other films, he’s able to handle a big cast while giving everyone an opportunity to capture the audience's attention.

  

Similar “The Big Short,” McKay’s screenplay does well in diving deep into his subject.  And, here, we see the troubling nature of Cheney’s constant search for having a level of power that he shouldn’t.  A noteworthy aspect of the narrative is how it doesn’t just focus on Cheney’s time during George, Jr.'s presidency, but also shows a great deal of his time spent in Washington throughout the decades before, where we see the many political connections that Cheney builds as the film gets closer to the time in his life when he’s vice president.

While there’s an intriguing story to be told here, it’s not done so in the best way.  Although the movie is detailed in how it chronicles Cheney’s rise to power, McKay does a little too much when it comes to how he tries to convey his messages, such as hammering in metaphoric visuals throughout the movie in order to emphasize certain aspects of the story that have become clear to us.

During “Vice,” it seems as though McKay is trying to eclipse what he accomplished for “The Big Short.”  For that film, he was able to take one of the most important national stories of the 2000s and explore it from various angles, all while using certain storytelling methods, such as breaking the fourth wall, and was able to keep it from feeling excessive.  With the significant chapter of U.S. history that “Vice” depicts, it’s easy to understand why McKay would be ambitious with the techniques that he uses to present this story, but a lot of the times, the heavy use of these techniques comes off more as attention-grabbing and unsubtle.  The story that McKay's telling is outrageous enough, so it's not necessary for him to overdo his approach. 

McKay is a director who’s able to construct comedies that can have undemanding narratives, as well as comedies that offer more in the way of thought-provoking stories.  It’s admirable that McKay wants to invest more of his time with the latter, as we've seen with "The Big Short" and "Vice," and if he's able to keep providing us with in-depth analyses of his topics and avoid spoon-feeding their meanings to us, as he does a lot with his latest movie, than I'm sure his evolution as a filmmaker will impress us once again.    

    

Grade: B-