Dark Horse

Dark Horse is another little gem that I missed at Sundance this year.  Luckily the Broadway, my favorite art house theater in downtown SLC, screens most of the Sundance selections so I can eventually see all of the movies that I missed.  I saw Dark Horse last night and I loved this inspirational documentary of how a group of working-class people from a poor mining community in Wales bred a champion racehorse.  Jan Vokes, a barmaid at a local pub, decided that she wanted to breed a racehorse and enlisted the help of the pub's patrons to create a syndicate.  Every member contributed £10 a week and eventually 23 people owned a share in the horse.  Jan bought a mare that came in last in every race she ran and had a bad temperament then found a stallion with a stud fee of £3000.  She took a second job as a cleaner at a grocery store to pay the stud fee.  They raised the foal, which they named Dream Alliance, on an allotment in their village and then, when he was old enough, found the best trainer that they could afford.   Philip Hobbs agreed to train Dream Alliance because he was "street smart and scrappy" but ultimately didn't think he could win.  At Dream Alliance's first race, the syndicate only hoped that he would finish the race but were elated when he came in fourth place.  As he began winning, he started to garner national attention and became a symbol of hope for the entire village.  The members of the syndicate are absolutely endearing and often reduced me to tears in their interviews.  My favorite scene in the documentary is when the whole syndicate, including members with tattoos, piercings, missing teeth, and sandwiches wrapped in tin foil, went to the racetrack to see Dream Alliance in his first race and, wearing badges signifying that they were owners of a horse, mingled with the aristocracy.  This is a stand-up-and-cheer movie about achieving a goal that everyone says can't be accomplished and I highly recommend it.

Note:  Dark Horse won the 2016 Documentary Audience Award at Sundance.  Good stuff!

Maggie's Plan

Another favorite from the Sundance Film Festival that I wanted to see again is Maggie's Plan.  It is a typical offbeat Greta Gerwig comedy (I was talking about this film with someone I met in line at another screening at Sundance and he called it very "Gerwig-y") and it is hilarious.  Maggie (Gerwig) is in her mid-thirties and wants to have a baby on her own because she is tired of waiting for the right relationship to happen so she comes up with an elaborate plan.  She picks a friend from college (a hilarious Travis Fimmel) as a sperm donor and even plans the exact date to inseminate herself.  Then she meets John (Ethan Hawke), an angst-ridden anthropology professor who is trying to write a novel and is trapped in a combative marriage to Georgette (Julianne Moore), another eccentric anthropologist, and he disrupts her plan.  Three years later, after marrying John and having a baby, she realizes that she doesn't love him any more and comes up with yet another elaborate plan to reunite him with Georgette.  Of course, things go awry, with a funny twist at the end, and Maggie learns that you can't plan love.  Gerwig has brilliant comedic timing but she also plays Maggie with a sensitivity that makes us truly care about and empathize with her.  Hawke is getting typecast as a clueless and absentee father lately (see here and here) but he is just so great at it and his portrayal of John is highly amusing, especially when he tries to find a place to spend the night.  Moore is absolutely hilarious as Georgette with her Danish accent, tight bun, and ethnic clothing.  I laughed out loud just about every time she was on the screen.  Add Maya Rudolph and Bill Hader as Maggie's best friends and you have a comedy filled with zany characters that is perfect for a night out with friends.

Weiner

I tend to favor narrative films over documentaries but this year at the Sundance Film Festival I saw quite a few documentaries.  Without question, the best one was Weiner.  It was so compelling that I decided to see it again Thursday night and I found it to be just as entertaining, and disturbing, as I did upon the first viewing.  In 2013 disgraced former Congressman Anthony Weiner made a bid for the Democratic nomination in the New York mayoral race.  He allowed filmmakers Josh Kriegman, a former staffer, and Elyse Steinberg unprecedented access to his campaign which, in the beginning, was incredibly successful.  He was leading in the polls and drawing huge crowds to his events when another sexting scandal, similar to the one which forced his resignation from Congress, erupted.  The cameras kept rolling as the campaign imploded and it became clear to everyone, except Weiner himself, that the nomination was lost.  It is fascinating to watch the spin where every move is carefully choregraphed, especially when Weiner practices different inflections for the line, "...and for that I am profoundly sorry" and, when asked for a comment by his communications officer, he struggles to remember what he said in another interview.  There are also some disturbing elements (where you simply can't look away), particularly with regard to Weiner's wife Huma Abedin, one of Hillary Clinton's top aides.  When the scandal first breaks there is a scene where Huma is visibly shaken and then Weiner asks the cameras to leave the room.  In the next scene she is standing at his side and speaking out in support of his campaign at a press conference.  It made me wonder what went on behind those closed doors.  In another scene, he is bullying her into accompanying him on election day and in the next scene he and his staff members are coming up with reasons why she is not with him.  One of the most interesting scenes is when Weiner watches a replay of his shouting match with political pundit Lawrence O'Donnell over and over while laughing hysterically and Huma leaves the room in tears.  It is a fascinating anatomy of a political scandal involving a a charismatic but deeply flawed individual and, I hate to admit it, but I certainly enjoyed watching it play out on the big screen.

Note:  Weiner won the 2016 Documentary Grand Jury Prize at Sundance.  Good stuff.

Sing Street

For some reason the film Sing Street was never on my radar during Sundance this year but several of my friends have recently recommended it to me so I went to see it last night.  I absolutely loved it (and I can't believe that I didn't try to get a ticket at Sundance).  It is 1985 in Dublin and Conor Lalor (Ferdia Walsh-Peelo) has troubles at home because his parents are fighting and troubles at his new school because of a bully and a ruthless headmaster.  When he meets Raphina (Lucy Boynton), an aspiring model, he tries to impress her by asking her to be in a music video for his (non-existent) band.  When she accepts, he gathers together a group of misfits, forms a band, begins writing songs for her, and gets a gig playing at his school, thus changing his life forever.  It is definitely your basic feel-good movie about overcoming the odds but it is just so much fun!  The boys in the band are so endearing and I absolutely loved all of their video shoots, especially their costumes.  Conor takes inspiration for his personal style from John Taylor of Duran Duran, then Robert Smith of The Cure (my favorite look), and finally Tony Hadley of Spandau Ballet and it is hilarious when he shows up at school all decked out after watching a particular music video (remember when MTV actually showed music videos?).  I laughed out loud when the members of band walked up to school in a line in slow-motion (a la Reservoir Dogs).  In fact, I laughed out loud many times.  I loved all of the 80s music and I also really loved the original music played by the band, especially "To Find You" and "Drive It Like You Stole It."  I loved this film (I may need to see it again) and I highly recommend it, especially to my Gen-Xers out there!

Note:  When I was in high school it seemed like everyone my parents' age was really nostalgic for music from the 60s.  I wondered, then, if my generation would be nostalgic for 80s music.  The answer, at least for me, is yes! 

I Saw the Light

I have definitely heard my fair share of country music lately!  While I am not usually a fan of the genre, I have been looking forward to I Saw the Light, a new biopic about country music legend Hank Williams, because I always enjoy stories about interesting people and I was hoping that it would be as entertaining as Walk the Line, a biopic about another country music icon, Johnny Cash, which I really enjoyed.  Hank Williams lived a life that was every bit as compelling as Johnny Cash did but, unfortunately, this movie certainly does not live up to Walk the Line.  I saw the film last night and it chronicles Williams' (Tom Hiddleston) first marriage to Audrey Sheppard (Elizabeth Olsen), his early days as a radio performer, his first recording contract in Nashville, his heyday on the Grand Ole Opry, his descent into alcohol and drug abuse, his second marriage to Billie Jean Jones (Maddie Hasson), and his untimely death at the age of 29.  In my opinion, the narrative lacks cohesion.  Events seem very random and there were many times when I wondered what was going on.  This is particularly true when Williams is in a sanatorium trying to get sober.  Out of nowhere we see Williams writhing on a bed and then, in the next scene, we see him signing himself out as an attendant tells him he looks better than when he came in and Williams vows that he won't be back.  We see many early scenes of Williams behaving badly, before becoming famous, but we never really know the cause of his ennui.  The script briefly touches on his mother's possessiveness, his absent father, and his not-even-remotely-talented and self-serving wife's attempts to use him to further her own career, but these themes are abandoned quickly and I wish that they had been explored with more depth.  What redeems this film, somewhat, is Hiddleston's amazing portrayal of Williams.  Like Joaquin Phoenix in Walk the Line, Hiddleston physically inhabits the role while performing all of Williams' songs himself and, while he doesn't sound exactly like him, he does a convincing job of capturing all of his idiosyncrasies.  I will admit that there were times when I lost interest in what was happening on screen but my attention never wavered when Hiddleston was performing, especially when he sings "Lovesick Blues" during his first appearance at the Grand Ole Opry.  I had goosebumps!  Such a brilliant performance deserves a better script!  I would recommend that you give it a miss.

Eye in the Sky

It has been quite a while since I've been to the Broadway, my favorite art house theater, so last night I decided to see Eye in the Sky, a film I have been anticipating since it premiered at the Toronto International Film Festival last year. To say that it is intense would be an understatement.  Usually when I say that I was on the edge of my seat it is a metaphor but, during this film, I literally moved to the edge of my seat, balled my hands into fists, and held my breath during a particularly suspenseful scene.  I  may have even yelled, "Hurry!" at the top of my lungs!  Luckily, everyone else in the audience was in a similar state of agitation!  Katharine Powell (the always brilliant Helen Mirren), a general in the British army, has been tracking a British national involved in a terrorist cell for six years.  She receives intelligence about her location, along with two other high profile terrorists including an American, in a safe house in Nairobi and plans a joint operation to arrest her and the other terrorists with the USAF using drones for surveillance.  When the subjects move to a Somali occupied area in Nairobi, the rules of engagement change from a pick up order to a kill order prompting much debate among COBRA, a British intelligence agency comprised of military and political leaders (most notably, Alan Rickman in one of his final roles, and Jeremy Northam, one of my favorite actors).  Using an agent on the ground (with some really cool, yet scary, technology), the team discovers that the terrorists are planning two imminent suicide bombing missions.  This convinces COBRA to authorize dropping the Hellfire missiles on the terrorists.  However, the pilots of the drone discover a little girl who will most certainly be killed as collateral damage prompting more debate.  The film ends during the aftermath of their decision leaving the viewer to  wonder if they made the right one.  This film is highly charged, to say the least, as the various participants try to justify losing one life versus losing many lives as a result of a suicide bomb and multiple perspectives are explored so you are not sure what to think by the time they take action.  The tension builds and builds with incredibly affecting performances, especially Mirren because her character is motivated by personal reasons and she chafes at the inability of the committee to make a decision.  It is a film that will leave you thinking long after you leave the theater and I highly recommend it.

The Lady in the Van

Last night I went to see the charming film The Lady in the Van at the Broadway.  It tells the (mostly) true story of how a homeless woman named Mary Shepherd (Maggie Smith) came to park her van in the driveway of playwright Alan Bennett (Alex Jennings) for fifteen years and the development of their unlikely friendship.  It is a slow moving film filled with lots of dialogue but, as I said, I found it to be charming, mostly on the strength of Maggie Smith's wonderful performance.  She excels at playing irascible old women!  My favorite device is depicting Alan Bennett as two separate characters: the one who lives life and the one who writes about it.  Alan Bennett, the participant, slowly discovers that Miss Shepherd has had a fascinating life as a world-renowned musician, a nun, and an ambulance driver during the war.  He also discovers the events which drove her to her lowly condition.  Alan Bennett, the writer, makes critical comments about the passivity which has allowed Miss Shepherd to take up residence while simultaneously wishing that he could write about her.  When the two characters, both played by Alex Jennings, argue with each other it is quite amusing.  To be sure, this is a comedy with lots of funny contributions from the ensemble cast playing Bennett's eccentric neighbors and, of course, Maggie Smith doing what she does best, but there is an incredibly poignant moment near the end of the film which had me in tears.  Ultimately, Miss Shepherd helps Bennett figure out who he really is.  The ending is a bit hokey (Bennett, the participant, frequently points out the events which didn't happen to Bennett, the writer) but, overall, I really enjoyed the film.  Fans of Maggie Smith are sure to enjoy it, as well.

45 Years

I've had a lot going on this week and I really needed to unwind a little bit last night so I decided to see 45 Years at my favorite art house theater.  It is the anatomy of a long and happy marriage in crisis and it is brilliant!  Geoff (Tom Courtenay) and Kate Mercer (Charlotte Rampling) are about to celebrate their 45th wedding anniversary with a lavish party when Geoff receives the news that a former girlfriend's body has been found in a melting glacier in Switzerland.  Katya, the girlfriend, had been killed while she and Geoff had been hiking together over fifty years ago and he was listed as her next of kin.  Kate reacts to the news with equanimity but soon becomes consumed with jealousy as Geoff begins reminiscing about his romance with Katya, including sneaking up to the attic in the middle of the night to look at photos of her.  In an incredibly powerful scene, Kate goes up to the attic when Geoff isn't home to look at the photos for herself.  Kate eventually confronts Geoff, in another highly charged scene, and they appear to reconcile.  He buys her a beautiful necklace for their anniversary and gives a loving tribute to her at their party but the ending of the film left me absolutely shattered!  I haven't been able to stop thinking about it!  It is an incredible, but devastating, exploration of two people who have spent their lives together but don't really know each other at all.  Their relationship is depicted by their daily routine during the six days leading up to their party (with intertitles designating the days).  It is so well done!  Although very little happens in the film, the tension increases little by little every day until the aforementioned confrontation and I was quite unsettled while watching it.  Courtenay is superb as a man driven to distraction by his memories and Rampling just might be a dark horse contender in the race for the Best Actress Oscar (you can read my commentaries on the other nominees Saoirse Ronan, Cate Blanchett, and Brie Larson) for her subtle, yet nuanced, performance.  Her close-up at the end of the movie alone is worthy of an Oscar!  This movie might not appeal to everyone but I found it to be very compelling.

Anomalisa

I have been so intrigued by this movie and I finally had the opportunity to see it last night.  Anomalisa is a brilliant tale about loneliness and existential angst using stop-motion animation.  Michael Stone (voiced by David Thewlis) is a motivational speaker who has traveled to Cincinnati for a conference.  We see him painfully avoid conversations with a seatmate on a flight, with a cab driver, with the bellboy at his hotel, and even with his wife and son during an awkward phone call.  He is so lonely that, in a fit of desperation, he arranges a rendezvous with a former girlfriend that ends in disaster.  Then he meets Lisa (voiced by Jennifer Jason Leigh), a sales-rep who has splurged on this conference just for the chance to meet Michael.  Even though she is plain and unsophisticated, he sees her as a breath of fresh air in his dismal life, the one person he has been waiting his whole life to meet, and invites her up to his hotel room (for one of the most interesting sex scenes you will ever see involving puppets).  He feels a deep connection and actually proposes that they run away together but, eventually, she becomes like everyone else and he ends up returning home to his boring life in Los Angeles.  One of the most intriguing aspects of this movie is that every character, other than Michael and Lisa, has the same voice (Tom Noonan) which highlights why Lisa is so special to Michael, an "anomaly" if you will.  When Michael becomes disenchanted with Lisa, her voice becomes Noonan's as well.  At first I found the use of one voice for all of the minor characters to be disconcerting but it ends up being an incredibly powerful device.  It is a beautiful and heartbreaking commentary on our desire for human connection that I haven't been able to stop thinking about.  I highly recommend it with the proviso that it might not be for everyone (the aforementioned sex scene is quite graphic).

Carol

I went to see Carol Sunday afternoon because Cate Blanchett's performance has garnered quite a bit of Oscar buzz but I left the theater completely blown away by Rooney Mara!  The film begins with a man interrupting a conversation fraught with tension between Therese (Mara) and Carol (Blanchett) and then flashes back to their first meeting to tell the story of how the two women got to that point (not a very original framing device but effective enough).  Therese is a young and naive woman who aspires to be a photographer but is temporarily working at a department store for the holidays in New York during the 1950s.  She has a sweet boyfriend who want to marry her but she is unsure of her feelings.  Carol, a beautiful and wealthy suburbanite going through a messy divorce, comes into the department store to buy a Christmas present for her daughter.  Therese helps her and, when Carol accidentally leaves her gloves on the counter, she retrieves her information from the sales slip and returns the gloves.  This leads to lunch, then a friendship, and then a passionate affair.  The nature of the relationship between Therese and Carol is the exact opposite of what I was expecting!  I thought that Therese would be the pursuer, leading Carol to completely disrupt the seemingly perfect life she had with her husband and daughter but Carol, who has had relationships with other women before, is the aggressor and she overwhelms the innocent Therese with just a smoldering glance.  I loved two things about the story.  First, neither woman is ashamed of the relationship, even in the repressive 1950s, and Carol refuses to admit that her homosexuality is wrong just for the sake of winning custody of her daughter.  Second, the relationship doesn't move forward until Therese becomes Carol's equal.  She lives on her own, begins a successful career in photography, and then chooses to be with Carol.  It is a compelling narrative that is beautifully told.  The production design and costumes perfectly capture the elegance of the 1950s and I thought the repeated use of the color red, especially against the stark white of winter, is particularly effective in portraying the vibrancy of the two women.  I loved the score because it is moody, atmospheric, and emotional.  Of course both Blanchett and Mara give incredible performances.  Blanchett is absolutely luminous and conveys more with just one look across a crowded room than many actresses do with pages of dialogue.  However, I was particularly impressed with Mara's ability to portray Therese's innocence and vulnerability (especially since my only exposure to her was as the antisocial hacker Lisbeth Salander in The Girl with the Dragon Tattoo).  The scene where she silently cries on the train is incredibly affecting.  The Oscar buzz surrounding this movie is entirely justified and I recommend it.

Hitchcock/Truffaut

I have long considered Alfred Hitchcock to be one of my very favorite directors.  I watched many of his movies at a young age late at night on public television.  I had a small black and white TV in my room and, when I couldn't sleep at 2:00 in the morning, my only option was public television (this was back in the day when there were very few channels and many of them signed off at midnight!).  I was introduced to a lot of wonderful old movies in this manner but Hitchcock's made a lasting impression, particularly Notorious, Spellbound, Rebecca, and North By Northwest.  My first exposure to Francois Truffaut was, ironically, as an actor in Steven Spielberg's blockbuster Close Encounters of the Third Kind, which is a favorite!  I was very taken with his performance as a scientist investigating extraterrestrials and it was my Dad who told me that he was a famous director.  Of course, I have since become a fan of his movies, especially Day for Night.  What happens when one of the founders of the French New Wave meets with the Master of Suspense for one week to talk about the latter's entire body of work?  You get a groundbreaking book, published in 1966, considered by many filmmakers to be, not only a masterpiece, but a blueprint for the craft.  You also get a fascinating documentary by Kent Jones, which I had the chance to see last night, wherein he uses the films of both Hitchcock and Truffaut to illustrate the points mentioned in their epic conversations, which were recorded, with particular emphasis on Vertigo and Psycho.  Jones also interviews many of my favorite contemporary directors, such as Wes Anderson, David Fincher, Richard Linklatter, Olivier Assayas, Peter Bogdanovich, and Martin Scorsese, who talk about the effect the book, and Hitchcock's movies, had on them as filmmakers.  That they are effusive in their praise, which is interesting but gets to be a bit much, is to be expected;  however, it is incredibly compelling when they analyze specific scenes, especially when Fincher talks about Vertigo ("It's so perverted.") and Scorsese talks about Psycho.  I enjoyed this documentary immensely because it reminded me of why I love Hitchcock's movies and I think it is a must-see for any film lover.

The Danish Girl

I am a huge fan of Eddie Redmayne!  The one tear that falls down his face in his portrayal of Marius during "Empty Chairs at Empty Tables" in the movie version of Les Miserables just about kills me and his physical transformation as Stephen Hawking in The Theory of Everything is nothing short of spectacular.  When I saw a still of him as Lili Elbe during the filming of The Danish Girl last year, I was very intrigued and I couldn't wait to see the film.  It was released on Christmas Day and I had the chance to see it yesterday.  It tells the real life story of the Danish landscape painter Einar Wegener who underwent the first gender reassignment surgery in the 1930s.  Redmayne portrays the tortured Wegener as he comes to terms with the fact that he is a woman trapped in a man's body and Alicia Vikander plays his wife Gerda, who is also a painter.  When a model does not show up for a sitting, Gerda asks Einar to pose for her wearing stockings, ballet slippers, and a silk dress.  Einar enjoys the feeling of the silk and begins to wear Gerda's clothing.  At first, Gerda encourages this because it heightens their physical relationship.  Considering it a bit of fun, they create the persona of Lili whom Gerda dresses and coaches on how to appear as a woman (in some amusing scenes).  Gerda and "Lili" attend a ball but the game loses its appeal for Gerda when she sees Lili kissing another man (Ben Whishaw).  Einar continues to dress as Lili behind Gerda's back but finally breaks down in an incredibly charged scene and confesses to her that he feels more alive as Lili.  Gerda struggles to support Einar in his decision to become a woman because she loves him and wants him to be happy but she knows that it will mean losing her husband.  Her struggle is further compounded by the fact that her paintings of Lili have become the toast of Paris.  She needs Lili to be her muse but she wants Einar to be her husband.  It is a beautiful love story with incredible performances.  Redmayne, once again, undergoes a complete physical transformation for this role particularly when Lili stares into a mirror and practices feminine gestures.  You literally cannot take your eyes off him!  Vikander, whom I am beginning to respect more and more, is incredibly sympathetic as Gerda and her journey is just as compelling as Lili's.  I found her performance to be deeply affecting, especially when Gerda begs Lili to let Einar come back to her.  It is a lavish period piece filled with beautiful interiors juxtaposed with shots of Copenhagen, Paris, and Dresden, gorgeous costumes, and an evocative soundtrack by Alexandre Desplat.  It is very slow moving (there are a lot of scenes with Lili practicing gestures in a mirror, including one with full-frontal nudity) and it is sometimes difficult to watch, especially when doctors describe Einar as perverted and want to commit him and when he is attacked, but it is compelling, nonetheless.  It is not for everyone but I highly recommend it as a beautiful film with stellar performances.

Macbeth

If I had to pick a favorite Shakespeare play, Macbeth would definitely be at the top of the list (along with The Merchant of Venice) so I have been looking forward to Justin Kurzel's latest adaptation of the Scottish play for what seems like the longest time!  I got to see it last night and I was mesmerized by it.  When it comes to Shakespeare, I am definitely a purist (Hello, I am an English teacher!) and I do not like it when directors get too artistic and do things like set Julius Caesar during World War I or Romeo and Juliet during the 1950s.  While the filmmakers did take a few liberties with the source material (more about that later), I loved the fact that they remained unfailingly true to the time and place, medieval Scotland, with some of the most realistic medieval warfare I have ever seen (more about that later, too).  The bloody tale of ambition and guilt begins when Macbeth (Michael Fassbender), victorious in battle for King Duncan (David Thewlis), is confronted by three apparitions on the battlefield who reveal that Macbeth will be the Thane of Cawdor and then the King of Scotland.  When the King grants him the title of Cawdor, he is spurred on by his ambitious wife (Marion Cotillard) to kill the King and take the crown, thereby fulfilling the prophecy.  Eventually, they are both undone by their paranoia and guilt over their bloody deeds.  This adaptation focuses on the fact that Macbeth and Lady Macbeth are childless as motivation for many of their actions (which Shakespeare hints at but does not explicitly state), beginning the film with the burial of their dead child and having Lady Macbeth's "sleepwalking" soliloquy directed to the ghost of the child, and I found this to be highly effective.  The "weird sisters" are portrayed as spectral figures and much of their dialogue is omitted (no cauldrons with the eye of a newt, either) but they are terrifying, nonetheless.  Other changes include having Malcolm (Jack Reynor) witness the death of his father before fleeing in fear, having Lady Macbeth witness the deaths of Macduff's (Sean Harris) family, and having the Birnam Wood come to Dunsinane as ashes (which is absolutely brilliant).  Fassbender is astonishing in this role, giving an incredibly nuanced performance as Macbeth becomes more and more tortured by guilt.  I was especially impressed with the scene with Lady Macbeth after his coronation when he first mentions his guilt.  The one tear rolling down his face just about killed me.  Cotillard is also amazing as Lady Macbeth and I was particularly struck by her strength in the Ghost of Banquo scene (with her eerie blue eye paint) and her absolute vulnerability in the "sleepwalking" scene.  These two performances make this movie a must-see, in my opinion.  The cinematography is incredible, with many of the battle scenes suffused with a red glow which is quite unnerving.  In fact, much of the film's impact is visual, as quite a bit of Shakespeare's original text is condensed.  I loved the immediacy of the battle scenes, almost as if the audience is a part of the action.  It is gruesome, to say the least, but you cannot look away. The stark beauty of the Scottish highlands is used to full effect, the costumes are surprisingly sparse but very appropriate for the time period, and the score is atmospheric and intense.   I loved it!  To be sure, this adaptation does not follow the source material as much as I would have liked, but I was captivated by the performances and would highly recommend it.

Note:  One of the employees at the Broadway told me (yes, I go there so much that all of the employees know me and talk to me) that reactions were mixed on opening day.  People either loved it or hated it!

Youth

Last night I had the opportunity to attend a free advance screening of Youth, a film by Italian director Paolo Sorrentino.  Fred Ballinger (Michael Caine) and Mick Boyle (Harvey Keitel) are long time friends vacationing at a luxury spa in the Swiss Alps.  Fred, a well known composer and conductor, is being lured out of retirement by an emissary of Queen Elizabeth to play at Prince Philip's birthday celebration but he repeatedly turns down the offer.  Mick is working with a group of young writers to develop the screenplay for his next film which will only be financed if Brenda Morel (Jane Fonda), an actress he discovered, agrees to star in it.  They share the resort with a group of eccentric characters, including a young actor (Paul Dano) who is trying desperately to be taken seriously after playing a robot, Miss Universe (Madalina Diana Ghenea), an overweight former soccer star (Roly Serrano) who is never named but modeled on Diego Maradona, and Fred's daughter Lena (Rachel Weisz) who has recently been dumped by her husband Julian (Ed Stoppard), who happens to be Mick's son.  The story is told through a series of vignettes, some of which are absolutely hilarious and some profoundly sad, as Fred and Mick reflect on their lives, their regrets, and their uncertain futures.  The theme is developed very slowly but, ultimately, the characters learn that they must live life to the fullest.  There are so many things that I loved in this film: the series of horrible performers at the resort each evening, the cameo of European pop star Paloma Faith (playing herself) as the woman who steals Julian away from Lena, all of the swans made of towels, a couple who never speak to each other until they are surreptitiously observed by Fred and Mick in an intimate moment, the Queen's emissary literally begging Fred to come out of retirement, and the young actor playing Hitler at breakfast.  I laughed and laughed through most of the film but it is quirky and a bit unsettling (think Fellini), particularly the many scenes of bored people mechanically participating in activities at the resort.  There is also a fair amount of nudity which may be off-putting for some.  However, Caine and Keitel give incredibly affecting performances in a beautifully crafted film.  It is most definitely not for everyone but I certainly enjoyed it!

Spotlight

I'm not a big fan of Black Friday shopping because I don't like crowds.  I decided to see a movie instead but, ironically, I think half of SLC had the same idea!  The Broadway Theatre was just as packed with people as any mall!  Luckily, I chose to see Spotlight, which is one of the best movies I've seen this year, so it was worth waiting in the long line in the frigid cold to buy tickets!   This film portrays The Boston Globe's investigation of the sexual abuse of children by priests and the cover up of these crimes by the Catholic church.   The new editor of The Boston Globe, Marty Baron (Liev Schreiber), wonders why the paper hasn't written much about the sex abuse case against a defrocked priest and assigns the Spotlight team to investigate.  The Spotlight editor, Walter "Robby" Robinson (Michael Keaton), reluctantly agrees.  Michael Rezendes (Mark Ruffalo) interviews the mercurial attorney for the victim (a brilliant Stanley Tucci) and discovers hundreds more victims while Sacha Pfeiffer (Rachel McAdams) interviews the prosecutor (Billy Crudup) and learns that the Catholic church has settled multiple cases against many more priests out of court in return for confidentiality.  Furthermore, researcher Matt Carroll (Brian D'Arcy James) learns that the majority of these priests have merely been moved to new parishes rather than removed from the priesthood.  As the team pours through clippings, reads endless directories, and knocks on doors looking for potential witnesses, the suspense builds and builds until it is almost unbearable.  The story is much more than a procedural drama because each of the members of Spotlight must grapple with how these revelations affect their own faith and it is very compelling.  The ensemble cast is absolutely incredible!  Lately, I'm becoming more and more impressed with Michael Keaton and Liev Schreiber.  This thought-provoking film is getting quite a bit of Oscar buzz and I highly recommend seeing it!

Room

Last night I went to see the film adaptation of Emma Donoghue's best-selling novel, Room (which my book club read several years ago).  It is extraordinary!  Joy (Brie Larson), a young woman who was abducted at age 17, has been held captive in a tiny garden shed for seven years with her five-year-old son Jack (Jacob Tremblay), who was fathered by her captor.  Despite the horror of her situation, she teaches Jack that the shed, which she calls Room, is the entire world and that everything in it is a friend.  When her captor reveals that he has lost his job and that he might lose his house, Joy realizes that she must take action to save Jack and tries to teach him about the outside world.  When they are rescued, Jack is completely overwhelmed by the world and everyone and everything in it and struggles with things as simple as climbing stairs.  However, as Jack becomes more and more confident in the world, Joy finds it difficult to reconcile the past seven years with her new life.   This movie is sometimes very unsettling to watch but it is also a beautiful story about a mother's love for her child (It reminded me a lot of the film Life is Beautiful where a father turns life in a concentration camp into an adventure for his son).  Both Larson and Tremblay give unbelievable performances, which are certain to be remembered during awards season, and I also really enjoyed Joan Allen's performance as Joy's mother, especially in her scenes with Jack.   The cinematography is very striking, particularly the dingy close-up shots which emphasize the claustrophobia of the shed juxtaposed with the wide and empty shots of the outside world.  While the novel is completely from the perspective of five-year-old Jack, this adaptation does a good job capturing his shifts in understanding (Donoghue also wrote the screenplay).  I would highly recommend this tense and psychological drama.

Note:  At this screening I saw the first preview for The Danish Girl.  I think I'm more excited to see it than the new Star Wars movie!

Suffragette

Every year I teach the memoir Night by Elie Wiesel to my sophomores.  I am always amazed at their intense reaction to this book.  I sometimes think that my students know, intellectually, that the Holocaust happened but they don't really have an understanding of how it actually affected real people until they read about Elie's first-hand experiences in a concentration camp.  Last night I went to see the movie Suffragette and, like my students, I feel like I had an intellectual understanding of the fight for women's suffrage but I didn't really know the horror of what these women went through until I saw events depicted on the big screen.  This movie was a visceral experience for me.  The story revolves around Maud Watts (Carey Mulligan), a young woman who works in deplorable conditions at a laundry earning much less than her male counterparts.  She learns of the women's suffrage movement from her co-workers and eventually becomes caught up in the cause.  As she becomes more involved, she endures social ostracism, the loss of her job, and the loss of her family.  It is heartbreaking to see, especially when her husband takes away her son, and I was horrified at the treatment many women received in prison, particularly when they are force-fed during a hunger strike.  These events were so upsetting to me that I actually had tears in my eyes for much of the movie.  Mulligan gives an incredible performance as Maud and Helena Bonham Carter is perfect as a fellow suffragette.  Bonham Carter plays so many eccentric characters that it is easy to forget that she is an exceptionally talented actress.  Ben Whishaw was very effective as Sonny, Maud's husband, because I hated him by the end of the movie (I like him better as Q).  I found it a bit odd that Meryl Streep had less than five minutes of screen time as Emmeline Pankhurst, a noted real-life leader of the movement, because she was featured so heavily in the marketing of the movie.  Many critics feel that the narrative is, at times, very heavy-handed.   However, I feel that the honest depiction of the struggle was necessary to show someone like me that I shouldn't take my very privileged life for granted.  I highly recommend this movie, especially to young women.

Note:  I have never enjoyed being told what to do so I feel sure that, had I lived during this time period, I would have been a suffragette!

Pawn Sacrifice

Last Thursday night I went to see the film Pawn Sacrifice at the Broadway.  It tells the true story of the epic chess tournament between American Bobby Fischer and Russian Boris Spassky during the height of the Cold War through the filter of Fischer's mental illness.  Tobey Maguire gives an incredibly nuanced performance (one of his best performances in years) as Fischer, a man who becomes incapacitated by his own paranoid delusions as government officials use him to score a victory over the Soviets in the wake of the Vietnam debacle.  Maguire portrays all of Fischer's eccentricities, such as demanding a match be moved because he can hear the sound of the television cameras, trashing his hotel room because he is certain that it is bugged, and battling reporters at the airport, without overshadowing the pathos of his isolation.  I was particularly struck by a scene showing Fischer cowering in a corner of his apartment tormented by the sound of the footsteps of people coming and going in the hall.  I also enjoyed Liev Schreiber's performance as Spassky because he was able to show both vulnerability and respect for Fischer's ability, especially in Game 6 when he concedes the match to Fischer. Their strong performances as men who were, themselves, used as chess pieces by their respective governments were compelling enough to make me invested in the outcome of a match conducted in near silence.  I, like many people in my screening, cheered when Fischer won!  The constant use of actual footage from coverage of the matches (there is a Forrest Gump moment with Dick Cavett) got old and the pop culture montages (especially the one with Jefferson Airplane's White Rabbit) interspersed here and there were a bit cliched.  However, I would definitely recommend this film as a compelling biopic about a complicated man.

The Diary of a Teenage Girl

On Sunday night my weekend film trifecta was complete when I saw The Diary of a Teenage Girl.  In my opinion, seeing three movies in three nights is a perfect way to spend your time!  I saw Diary of a Teenage Girl at Sundance this year but I wanted to see it again because it is incredibly powerful with an astonishing performance by Bel Powley.  Minnie Goetze (Powley) is a typical teenager who enjoys drawing comics and lives in San Francisco during the late 1970s.  Her mother Charlotte (Kristen Wiig) is a party girl and leaves her to her own devices most of the time and her father is not in her life.  One evening, as she is roughhousing with her mother's boyfriend Monroe (Alexander Skarsgard), she inadvertently gets him aroused and feels a tremendous sense of power by her ability to excite him.  She then pursues him and loses her virginity to him.  They have an on-again off-again affair because Monroe knows what they are doing is wrong but can't seem to help himself.  Minnie really enjoys her new-found sexuality and begins a relationship with a boy at school and even pretends to be a prostitute to make Monroe jealous.  When she receives a response to a fan letter from Aline Kominsky encouraging her to continue drawing comics, she realizes that she has more to offer than just her body and says goodbye to Monroe.  I love so many things about this movie!  Minnie narrates the story into a tape recorder as an audio diary so we hear everything from her perspective, including all of her teenage delusions about love, her insecurities, and her inconsistencies.  I love that no one rescues Minnie from her behavior.  She sees for herself that she is not emotionally ready for a sexual relationship and that Monroe is weak and not worthy of her.  Powley, who is in every scene, is absolutely brilliant as Minnie and her portrayal is real and honest.  I loved the 1970s rock and roll soundtrack and the art direction is fabulous (her house has a sort of Wes Anderson vibe to it).  Some people may object to the subject matter (there is a lot of sex and nudity in this movie) but Minnie's journey is ultimately so empowering, especially for girls, that I would highly recommend it.

Meru

While waiting in line for screenings at Sundance I had some amazing conversations about independent film with people from all over the country.  Inevitably, I would ask them about their favorite films from the festival and, more often than not, people would mention Meru.  I didn't know anything about this documentary but when I saw a trailer for it a few weeks ago, I immediately remembered these conversations and decided that I needed to see it.  As I mentioned, I tried to see it last Friday but it sold out all day because Jimmy Chin, one of the filmmakers, was giving a Q&A after each screening.  (Now that I've seen the film, I'm a little bummed that I missed hearing him talk about it).  I tried again on Saturday night and, I'm happy to report, I was successful.  The documentary is literally breathtaking and I found the story of the climb to be not only inspiring but also extremely compelling.  Meru follows climbers Conrad Anker, Renan Ozturk, and the aforementioned Jimmy Chin as they attempt to be the first to conquer the Shark's Fin on Meru Peak near the mouth of the Ganges River in India.  Interspersed with spectacular footage of the actual climb (shot, unbelievably, by Chin and Ozturk as they climbed) are interviews with the climbers and their loved ones telling the backstory of what led each of them to attempt something so dangerous as well as narration from Jon Krakauer, author of Into Thin Air (which I have my sophomores read), about the specifics of big-wall climbing in the Himalayas.  All three of them are fighting inner demons and are almost obsessed with conquering a peak so challenging that Krakauer says that it's not meant to be climbed.  There are moments when they are in genuine peril and I found myself holding my breath!  When asked about why climbers put their bodies through so much, Anker answers, "The view, man.  The view."  The view from my seat at the Broadway was absolutely amazing so I can only imagine what it must have been like at the top.  Do not miss this epic adventure!

Note:  Meru won the U.S. Documentary Audience Award at Sundance this year.  Good stuff!