Wake Up Dead Man

The second movie in the double feature with my nephew last night was Wake Up Dead Man.  I am a huge fan of this franchise and I think this installment is my favorite because, where Knives Out and Glass Onion are indictments against inherited wealth and celebrity culture, respectively, this one takes aim at the abuses often found in organized religion so it is much darker but also very moving because faith is proven to be more powerful. Reverend Jud Duplenticy (Josh O'Connor) is a young and idealistic priest with a violent past who is sent to Our Lady of Perpetual Fortitude in upstate New York as punishment for hitting a deacon.  The small parish is led by the radicalized Monsignor Jefferson Wicks (Josh Brolin) who antagonizes all but a few eccentric members of his dwindling congregation, including the devout Martha Delacroix (Glenn Close) who assists him, the recovering alcoholic Samson Holt (Thomas Haden Church) who works as groundskeeper, the bitter Vera Draven (Kerry Washington) who replaced her father as Wicks's lawyer, the failed right-wing politician Cy Draven (Daryl McCormack) who now espouses his rhetoric online, the conspiracy-obsessed best-selling author Lee Ross (Andrew Scott) who is writing a book about Wicks, the local doctor Nat Sharp (Jeremy Renner) whose wife has recently left him, and the disabled cellist Simone Vivane (Cailee Spaeny) who is hoping (and paying) for a miracle from Wicks. Jud is determined to serve the congregation with love and mercy rather than fear and judgement which brings him into conflict with Wicks repeatedly so, when Wicks is stabbed to death in an alcove in the middle of the Good Friday service, he is the most obvious suspect.  Police Chief Geraldine Scott (Mila Kunis) eventually calls in Benoit Blanc (Daniel Craig) to solve the seemingly impossible crime because everyone is revealed to have a motive but it appears that no one had the opportunity.  There are lots of twists and turns and, as always, it subverts expectations multiple times.  I especially loved the push and pull between reason personified by Blanc and faith represented by Jud because both are eventually needed to solve the mystery.  Craig is as entertaining as ever and both Close and Brolin give standout performances from the ensemble but O'Connor is absolutely brilliant as a flawed character who ultimately embodies what is good about religion.  Finally, I loved how the theme of good and evil is emphasized by the clever use of light and shadow in the cinematography.  I loved this continuation of the series and I hope Rian Johnson continues making them!

Note:  My only complaint is that the song "Wake Up Dead Man" by U2 is not used during the credits like the song "Glass Onion" by the Beatles is used in the previous movie.

Sentimental Value

The second movie in my double feature at the Broadway yesterday was Sentimental Value.  I have been looking forward to this ever since it won the Grand Prix at Cannes earlier this year and I was definitely not disappointed.  Nora Borg (Renate Reinsve) is a stage and television actress in Norway who, along with her sister Agnes (Inga Ibsdotter Lilleaas), is dismayed when her estranged father, celebrated director Gustav Borg (Stellan Skarsgard), reappears in her life after the death of her mother.  He is hoping to make a comeback with an autobiographical movie about his mother featuring a script written specifically for Nora.  She is angry with her father for abandoning her and turns down the role thinking that he is only using her to get financing.  When Hollywood actress Rachel Kemp (Elle Fanning) becomes enamored with him after seeing a retrospective of his work at the Deauville Film Festival, he offers her the role instead and they begin rehearsals in the house, which has been in his family for generations, where key moments in the script actually happened.  Rachel eventually realizes that she cannot do justice to the role because she has no connection to the character.  Nora finally reads the script and recognizes that the character is actually based on her and that her father wrote it as a way to reconcile with her.  This features incredibly powerful performances from Skarsgard and Reinsve and I was especially impressed by the scene in which Gustav first offers Nora the role because there is so much raw emotion simmering under the surface in their seemingly polite conversation (it is absolutely riveting).  Fanning is also great and I loved the juxtaposition between how Rachel delivers a line from the script in English and how Nora delivers the same line in Norwegian because it is immediately apparent that the role was written for the latter.  The house in which Gustav, Nora, and Agnes grew up is used as a character to represent all of the memories that keep them in a dysfunctional relationship and it is remodeled throughout the narrative to depict the possibility of a fresh start.  This is a brilliant exploration of the power of art to heal and I highly recommend it.

Rental Family

Yesterday I spent most of the day at the Broadway watching movies with all of the other retired people!  My double feature started with Rental Family and I really loved it.  Phillip Vandarploeug (Brendan Fraser) is a lonely American actor living in Tokyo, Japan.  He struggles to find work (his biggest success has been playing a superhero in a toothpaste commercial) and to find a connection (he spends his evenings wistfully watching people in the apartments opposite his through the window).  His agent sends him on a job playing a "sad American" and he is disconcerted to realize that he has been hired to play a mourner at a funeral by a company that provides people to serve as family members, friends, colleagues, or other significant people for personal, social, or emotional reasons.  Shinji (Takehiro Hira), the owner of the company, offers him more work and, because he needs the money, he reluctantly agrees and plays a groom for a young woman who wants to appease her traditional parents and a friend to an antisocial young man who wants someone to play video games with him.  However, when he plays a reporter interviewing a retired actor (Akira Emoto) suffering from dementia and the estranged father of a young girl (Shannon Mahina Gorman) whose mother (Shino Shinozaki) wants to get her into a good school, he forms an emotional bond with both of them which eventually becomes problematic.  This has a beautiful message about the importance of feeling seen and there were several times when I had tears in my eyes.  I also loved the subplots involving the owner Shinji and another employee of the company (Mari Yamamoto) because they reveal the loneliness that has become endemic in society today.  Fraser gives a lovely and sensitive performance that never feels manipulative (in my opinion it is better than his performance in The Whale) and I loved his interactions with Emoto (particularly when Phillip stages a "jailbreak" because it is hilarious).  This is a gentle and touching movie that will make you laugh and cry and I highly recommend it.

Sisu: Road to Revenge

Last night I went to see Sisu: Road to Revenge and I had a great time (at one point someone in the audience cheered out loud).  I was really surprised by how much I enjoyed the first movie (it is incredibly violent but also wildly entertaining and strangely satisfying) and this one amps up the carnage!  After World War II, Finland is forced to cede territory to the Soviet Union as part of the peace agreement and this displaces many, including the legendary ex-commando Aatami Korpi (Jorma Tommila). He crosses the border in order to find his former house and dismantles it board by board so he can transport it and rebuild it in Finland.  However, Igor Draganov (Stephen Lang), the Red Army soldier responsible for killing his wife and children during the war, is ordered by the KGB to find him and finish the job.  Absolute mayhem ensues but, this time, Korpi has a worthy opponent.  He must fight soldiers on tanks, motorcycles, planes, and a moving train (this occurs after he has been brutally tortured) before an epic confrontation with Draganov involving hand-to-hand combat (and several available items such as a fork, a shovel, and a ballistic missile).  The action is even more exciting and unrelenting (I especially loved a scene where he uses dynamite to catapult a tank that he has commandeered over a Soviet checkpoint) but also even more implausible (his truck is forced over a cliff into the water and he is able to use the boards from his house to build a makeshift raft).  As with the first movie, the violence is interspersed with some incredibly moving moments and Tommila gives another brilliant performance in which his physicality communicates the narrative (this time there is no dialogue with an amusing callback to the earlier movie).  If you are a fan of Sisu, buckle up because this is an even wilder ride and I highly recommend it (if you can handle the gore).

Jay Kelly

Last night I went to see Jay Kelly at the Broadway.  I am a big fan of director Noah Baumbach and I really enjoyed it.  Jay Kelly (George Clooney) is a famous movie star with a 35 year career in Hollywood who has an existential crisis and questions whether it has been worth the cost of all of his important relationships.  He spontaneously decides to travel to Europe, ostensibly for a tribute at a film festival but really to spend time with his youngest daughter Daisy (Grace Edwards) who is on a trip with friends.  This forces members of his entourage, including his manager Ron (Adam Sandler), his publicist Liz (Laura Dern), and others, to leave their families on short notice to travel with him.  He has a series of misadventures on a train, including an incident with a German cyclist (Lars Eidinger) that goes viral, and reminisces, through flashbacks, about important people who are no longer in his life, including Peter (Jim Broadbent), the director who gave him his first big break, Timothy (Billy Crudup), a friend who blames him for stealing a role meant for him, Jessica (Riley Keough), his oldest daughter who feels abandoned by him, and Daphne (Eve Hewson), an actress with whom he had an ill-fated affair.  When he gets to the film festival, his daughter, who is angry at being followed, refuses to attend, his father (Stacy Keach), who he reluctantly invited, decides to go home early, and most of his entourage, who all have other responsibilities, abandon him.  His only support is Ron, who is paid to be there, and, even though the audience at the festival is visibly moved by a retrospective of his work, he finally realizes what he has lost.  This is a bit bloated with lots of underdeveloped characters to keep track of but I really liked the message about what truly matters in life which is shown through the juxtaposition between Jay and Ben (Patrick Wilson), a less famous actor who arrives at the festival with his wife (Isla Fisher) and other family members, as well as between Jay and Ron, who ultimately resigns in order to be with his wife (Greta Gerwig) and family.  This is a powerful portrait of a man who comes to regret his choices but it is also incredibly funny (I especially loved a running bit about a rider that stipulates having cheesecake on all of Jay's movie sets and at his appearances and another one in which he whines about being alone while having staff members cater to him).  Clooney is at his very best as Jay (a stand-in for himself?) and, even though I am not a big fan of Sandler, I was quite impressed with his performance as Ron.  I also loved Eidinger, who is absolutely deranged as the cyclist, and Alba Rohrwacher, who is hilarious as a fawning festival committee member.  You can probably wait to watch this on Netflix but I definitely recommend checking it out when it begins streaming on December 5.

Wicked Double Feature

Yesterday my sister, my nephew, and I went to a Wicked and Wicked: For Good double feature and it was so much fun!  I am glad that I got to see the first movie on the big screen again before the new one because, in my opinion, both of them form one cohesive narrative.  I think Wicked tells Elphaba's story (a misunderstood young woman learns how to control her magic and becomes the Wicked Witch of the West to fulfill her destiny) and Wicked: For Good tells Glinda's story (a popular young woman realizes that she doesn't need magic and becomes Glinda the Good to fulfill her destiny).  I was initially a bit concerned when it was announced that the stage musical was being divided into two movies because I think the second act is weaker than the first but Wicked: For Good definitely improves upon the source material with additions (of songs and scenes) that deepen the relationships between the characters.  I do think the movie gets off to a slow start with an expanded version of "Every Day More Wicked" (which includes reprises from many of the songs in the first movie) but I really loved the new songs "No Place Like Home" and "The Girl in the Bubble" and the expanded version of "Wonderful" because they add to the characterizations of Elphaba (Cynthia Erivo), Glinda (Ariana Grande), and the Wizard (Jeff Goldblum), respectively.  I also liked the addition of a scene between Nessarose (Marissa Bode) and Boq (Ethan Slater) because it shows her control over him, the wedding scene between Glinda and Fiyero (Jonathan Bailey) with cuts to Elphaba because it is so powerful, and several scenes with the animals because they emphasize Elphaba's motivation.  I was impressed with how the filmmakers portrayed Nessarose's enchanted shoes as well as how Dorothy (Bethany Weaver), the Tin Man, the Scarecrow, and the Cowardly Lion (Colman Domingo) are depicted.  My favorite scenes were definitely the duet of "As Long as You're Mine" between Elphaba and Fiyero and the confrontation between Elphaba and Glinda at Dorothy's farmhouse after the tornado (the audience cheered during both of them).  As I previously mentioned, this movie focuses more on Glinda and Grande does a brilliant job portraying her journey.  Her acting is as exceptional as her singing, especially in "I Couldn't Be Happier," "I'm Not That Girl (Reprise)," and "For Good" (the scene that follows this song brought me to tears).  Erivo's performance of "No Good Deed" is absolutely amazing (I had chills), Bailey's portrayal of Fiyero's inner conflict is very affecting, and, even though her singing is not great, Michelle Yeoh is fun to watch as the villain Madame Morrible.  It is not as big a spectacle as the first movie (there are few big choreographed numbers) but I enjoyed the world-building, particularly Elphaba's tree house hideaway, the production design, and the costumes.  I really loved this (my sister and I are already talking about seeing it again) and highly recommend it!

Note:  My sister made us pink and green hoodies (my sister and nephew had pink ones and I had a green one) with the logo embroidered on them.  We got lots of comments!

Keeper

I didn't like Longlegs as much as other people seemed to (I think the unbearable tension so painstakingly crafted in the first two acts is completely undone when the mystery is explained) but I was willing to give Osgood Perkins another chance because the trailer for Keeper looked intriguing.  I went to see it last night at the Broadway with my nephew and, in my opinion, it is even worse than Longlegs.  Dr. Malcolm Westridge (Rossif Sutherland) arranges for a romantic weekend with his girlfriend Liz (Tatiana Maslany) at his secluded cabin in the woods for their one year anniversary.  When they arrive, Malcolm insists that Liz eat a piece of the cake left there for them by the caretaker and, even though she doesn't like chocolate, she eventually acquiesces.  The next morning Malcolm is called away to a medical emergency and Liz begins having disturbing visions, which may or may not be real, of strange women who seem to be haunting the cabin.  It is only when Malcolm returns that Liz discovers the true horror lurking inside.  There is an opening montage and an early scene between Malcolm and Liz that set up a possible exploration of toxic relationships and men who are unwilling to commit (my nephew had an even better take about a serial killer who preys on women) and I would have preferred that, or literally anything else, to the actual resolution to the mystery.  Even more frustrating than the underwhelming ending is the incredibly slow, and monotonous, build-up that prioritizes style over substance (I did really like the cabin, which is a character in and of itself, with architectural angles and plate glass windows that allow for some interesting shots with cool perspectives and reflections). This isn't even remotely scary and I found the creatures to be bizarre rather than creepy (my nephew and I laughed out loud several times).  Finally, I didn't especially like Maslany's performance (my nephew argues that she does the best she can with the cringe-worthy dialogue) but Sutherland is one of the worst actors I have ever seen and the two of them have zero chemistry.  I definitely recommend avoiding this (even to fans of Perkins). 

Note: I think Perkins needs better material.  He excels in creating atmospheric visuals but they are undermined by weak screenplays.

The Running Man

I am a big fan of Edgar Wright so I was really excited for his remake of The Running Man.  My nephew and I went to see it last night and we were both a bit underwhelmed.  In a dystopian future, Ben Richards (Glen Powell) cannot work because he has been blacklisted for insubordination so he is desperate for money when his daughter gets sick and needs costly medicine.  He decides that his only option is to attend the tryouts for one of the many violent game shows shown by the network to distract the population from the totalitarian regime and he is ultimately selected for The Running Man along with Tim Jansky (Martin Herlihy) and Jenni Laughlin (Katy O'Brian).  The object of this game is to survive for 30 days while being pursued by masked hunters, led by Evan McCone (Lee Pace), who eliminate the contestants when found.  Members of the community are encouraged to report sightings of them and they must record themselves and send in the tapes using monitored drop boxes every day.  If they survive, they win one billion dollars.  The show is produced by Dan Killian (Josh Brolin) and hosted by Bobby "Bobby T" Thompson (Colman Domingo) and it eventually becomes clear to Richards that the two of them are manipulating the footage to keep the audience engaged and determined to find them.  Richards is soon the only contestant left and, after 14 days on the run, he has a dramatic confrontation with Killian but discovers that he has become a hero to the working-class who use him as a catalyst to rise up against the network.  I really liked some of the action sequences and the stylized production design but this ultimately becomes a slog to get through with too many underdeveloped characters helping Richards (my favorite is an unhinged Michael Cera who plays a rebel who only wants revenge against the hunters who killed his father) and a really heavy-handed message.  I also found Powell's performance to be strangely uneven (he is usually much more charismatic, especially in Hit Man) and, in my opinion, he doesn't quite pull off the wisecracking antihero.  This is definitely not the worst movie I have seen this year (that would be Magic Farm) but I was a little bit disappointed.

Note:  The funniest part of this movie is The Americanos, a trashy reality show that is also shown by the network, featuring matriarch Amoré Americano (Debi Mazar), Ariané Americano (Cat Cohen), Antoné Americano (Noah Ritter), and Adriané Americano (Emma Sidi).  It is very obviously a reference to the Kardashians and I laughed out loud every time it was shown.

Now You See Me: Now You Don't

Last night my nephew and I went to see Now You See Me: Now You Don't (he is a big fan of this franchise) and it was a really fun movie to see with a big crowd on a Saturday night.  The Four Horseman, including J. Daniel Atlas (Jesse Eisenberg), Merritt McKinney (Woody Harrelson), Jack Wilder (Dave Franco), and Henley Reeves (Isla Fisher), reunite after twelve years for an underground magic show during which they expose a corrupt cryptocurrency trader only to reveal that they are actually three young magicians, Bosco (Dominic Sessa), June (Ariana Greenblatt), and Charlie (Justice Smith), who are impersonating the Horsemen.  However, Daniel is in the audience and he recruits them to help him with the heist of "The Heart," the world's largest diamond owned by Veronika Vanderberg (Rosamund Pike), at the behest of the mysterious Eye.  After stealing the diamond, they are aided in their escape by the three other estranged Horsemen who claim that they were also recruited by the Eye.  They eventually learn the real reason for the heist and this leads to a confrontation with Vanderberg that proves to be another illusion.  I really enjoyed the elaborate scenes involving magic, especially a sequence in which they all perform magic tricks and sleights of hand in order to outdo each other and when they use the illusory rooms in a chateau owned by the Eye in order to elude the police (I loved the Ames room which plays with perspectives and the Infinity room which uses mirrors to create an endless space).  I also enjoyed a fun action scene in which Bosco steals a Formula 1 car in order to create a distraction and I loved the hilarious interactions between the older and younger generations (the bickering between Bosco and Daniel is especially funny but I also laughed when June opens a lock after Jack is unable to figure it out).  As with the other movies in this series, there are lots of plot twists (my nephew figured out a big one way before I did!) including one which could lead to another sequel.  I enjoyed this and would definitely recommend it to fans of the first two.

Die My Love

I loved You Were Never Really Here (it was my favorite film at Sundance in 2018) so I was very eager to see Lynne Ramsay's latest, Die My Love, at the Broadway last night and I was blown away by Jennifer Lawrence's committed performance.  Jackson (Robert Pattinson) and Grace (Lawrence) relocate from New York City to a small town in rural Montana after he inherits his uncle's rundown farmhouse.  A static opening shot from within the house makes it obvious that he is more excited about the move than she is.  After she gives birth and he takes a job working out of town for long periods of time, she is isolated, bored, and unable to write (her profession).  She is also extremely frustrated by the lack of physical intimacy with Jackson since the birth of the baby, especially when she comes to suspect that he is sleeping with other women on the road, and she begins acting more and more erratically (she literally claws at the walls).  Jackson becomes increasingly desperate to help her get better but he is largely ineffective (the more he tries to "fix her" the worse her behavior becomes) and she ultimately feels like he doesn't see her which signals the end of their relationship.  What I really liked about this movie is the immersive way that Grace's descent into madness is portrayed.  It is visceral and disjointed and it is often difficult to determine if what is happening is real or just inside her head (especially the frequent appearance of man on a motorcycle played by LaKeith Stanfield).  I have seen this criticized for lacking character development but, in my opinion, that is exactly the point because Grace does not have an identity beyond the one created for her by Jackson (so much of what she does is only inappropriate because Jackson thinks it is) and she eventually loses herself.  I have also seen criticism for the repetition of the same dynamic between Jackson and Grace over and over but, as someone who suffers from depression, it felt very authentic to me because these episodes often become a never ending spiral in which you become trapped.  Lawrence gives an absolutely brilliant physical performance, the best of her career, that perfectly captures Grace's unpredictability.  From one moment to the next I never knew what she was going to do or how she was going to respond and I loved the scenes in which Grace reacts to people without a filter (especially the cashier).  Pattinson does a great job portraying Jackson's early indifference and later desperation and I enjoyed Sissy Spacek as Pam, Jackson's mother, because she is an interesting foil to Grace (she is the only character who sees what is really happening to her).  I loved the use of a 4:3 aspect ratio to show Grace's claustrophobia as well as an incredibly chaotic soundtrack to represent Grace's state of mind (the scene with Toni Basil's "Hey Mickey" on repeat is hilarious).  I really liked this but a lot of people might find it difficult to watch.

Note:  I have always wanted to tell cashiers to stop talking to me!

Back to the Future

Back to the Future is back in the theaters to celebrate its 40th Anniversary (what?) and I had so much fun seeing it on the big screen again yesterday.  Marty McFly (Michael J. Fox) meets his eccentric friend Emmett "Doc" Brown (Christopher Lloyd) to test his latest invention, a time machine made out of a DeLorean powered by plutonium.  However, they are interrupted by Libyan terrorists who are not happy about having their plutonium stolen and Marty is forced to flee in the time machine which takes him to 1955.  He eventually finds Doc but he also inadvertently disrupts the meeting between his parents, Lorraine (Lea Thompson) and George (Crispin Glover), which puts his own existence in jeopardy.  Will Marty be able to get his parents back together?  Will Doc be able to get him back to 1985?  I think the action really holds up well after forty years, especially when Marty is pursued by the Libyans before he travels to 1955, when he is chased on an improvised skateboard through the town square by Biff (Thomas F. Wilson), and the incredibly tense sequence when he and Doc try to harness the electricity from a storm to power the DeLorean back to the future.  I love all of the subtle humor, particularly when the teacher judging the battle of the bands (Huey Lewis) says the song that Marty performs ("The Power of Love" by Huey Lewis and the News) is too loud, when the Twin Pines Mall is renamed the Lone Pine Mall after he hits a pine tree in 1955, when he crash lands into a barn and the owners think he is an alien in a space ship (and when he uses this to his advantage to get George to ask Lorraine to the dance), when everyone thinks he is a sailor because of his puffer vest, when Doc refuses to believe that he is from the future after he tells him that the actor Ronald Reagan is president, when Lorraine pursues him after telling him that his girlfriend Elizabeth (Claudia Wells) is too forward, and when he performs "Johnny B. Goode" in front of Chuck Berry's cousin.  I also love the message that you can do anything you set your mind to (which Marty, who is scared to take a chance on his music, realizes after telling George to take a chance on his writing).  Finally, Fox is incredibly appealing as Marty and I can't think of anyone better than Lloyd to play a mad scientist!  I don't know how much longer this will be in theaters but, if you grew up in the 1980s, seeing this on the big screen again is a must!

Note:  My only criticism is that we are ten years past 2015 (the time Doc travels to at the end of the movie) and we still do not have flying cars!

Predator: Badlands

I am just a casual fan of the Predator franchise (the first movie scared the crap out of me when I watched it for the first time on cable while babysitting my sisters) but I was excited for Predator: Badlands because a movie from the perspective of the predator was very intriguing to me.  My nephew and I went to an early access screening last night and I really liked it!  Dek (Dimitrius Schuster-Koloamatangi) is the weakest member of his Yautja warrior clan and, even though his father ordered him to be culled from the tribe, his brother Kwei sacrifices himself so that Dek can have the opportunity to prove himself in battle.  He is sent to the inhospitable planet of Genna to hunt the unkillable apex predator Kalisk but struggles to survive against the deadly native plants and animals he encounters.  He is aided by Thia (Elle Fanning), a damaged synth from Weyland-Yutani Corporation who has her own reasons for hunting the Kalisk, and they eventually join together with a native creature Thia names Bud.  When they finally encounter the Kalisk, they realize that they must fight an even greater threat.  What I loved most about this movie is the relationship that develops between Dek and Thia (Fanning is great in the role).  They initially join forces because they need each other to survive (and this provides for some highly amusing interactions) but, as they go on a journey to find the Kalisk, they also go on a journey of discovery in which both of them defy what they have been taught to make different choices (somehow an alien and an android discover their humanity).  I also really loved the world-building on Genna because the plants and animals are so unique (and so deadly) and I enjoyed seeing Dek learn about this environment in order to use it to his advantage in battle.  Finally, the action sequences are tense and exciting even if some of the gore has been toned down for a PG-13 rating.  Purists may miss the brutality of the original predators but I like the direction this installment takes the franchise and look forward to a possible sequel.  This is a lot of fun and I highly recommend it!

If I Had Legs I'd Kick You

The second movie in my double feature at the Broadway with my nephew last night was If I Had Legs I'd Kick You.  I was really excited for this because it got a lot of buzz at Sundance this year but I found it absolutely exhausting to watch.  Linda (Rose Byrne) is a therapist dealing with her daughter's mysterious illness, which requires the use of a feeding tube, and the collapse of the ceiling in her apartment, caused by a broken water pipe (both of which are symbolized by a tunnel through which she travels during hallucinations).  Her husband Charles (Christian Slater) is away on a two-month work trip and, not only does he provide very little support, he chastises her for her inability to cope with their daughter and the repairs in their apartment.  Her therapist (Conan O'Brien) is very cold and distant and becomes exasperated with her escalating erratic behavior.  Her daughter's doctor (Mary Bronstein) takes great pains to reassure her that she is not to blame for her daughter's condition but is extremely judgmental about her daughter's lack of progress.  Her client (Danielle Macdonald), who is suffering from postpartum depression, abandons her baby in her office and this mirrors her own anxieties about being a mother.  She finds release with a neighbor (A$AP Rocky) who enables her drug use but eventually seeks another form of release.  This has a very important message about the unrealistic expectations placed on mothers and the lack of support available to them when things become overwhelming but it is definitely difficult to sit through because the camera work and sound design mimic what it feels like to experience a full psychotic breakdown.  I also had very mixed emotions because the audience is clearly meant to sympathize with Linda but I found her to be a very unsympathetic character (this is probably the point).  Byrne gives a bravura performance (she won the Silver Bear for Best Leading Performance at the Berlin Film Festival this year) and I was also impressed with O'Brien in a more dramatic role.  This is the kind of movie that I think I should like more than I actually do but I wouldn't recommend it.

Bugonia

I am a huge fan of Yorgos Lanthimos so I have been eagerly anticipating his latest movie, Bugonia, for what seems like forever.  My nephew and I saw it last night at the Broadway (with a huge crowd) as the first in a double feature and we both loved it!  Conspiracy theorist Teddy Gatz (Jesse Plemons) has become convinced that an alien species, known as the Andromedans, has infiltrated the Earth and is actively destroying the environment, especially the honeybees, and forcing the population into subservience.  He coerces his intellectually disabled cousin Don (Aidan Delbis) into helping him with his plan to kidnap Michelle Fuller (Emma Stone), the CEO of the pharmaceutical company Auxolith who Teddy believes is an Andromedan, so that she can negotiate a meeting between him and the Emperor during the upcoming lunar eclipse.  They immobilize her (in a hilarious sequence), shave her head and cover her skin with an antihistamine cream to prevent her from sending a distress signal to other Andromedans, and then imprison her in their basement.  When she wakes up, Michelle denies being an alien, demands to be released, and then bargains with her captors.  However, in the course of their negotiations, it is revealed that Teddy works for Auxolith and that his mother Sandy (an unrecognizable Alicia Silverstone) was a test subject for one of Auxolith's experimental drugs and is now in a coma.  Absolute mayhem ensues with a bonkers third act that had me questioning everything that came before!  Both Plemons and Stone give phenomenal performances.  It is implied that Teddy has been the victim of trauma all of his life and has been desperately searching for something or someone to blame for all of his losses.  Plemons imbues him with a sadness that makes him sympathetic despite that fact that what he is doing is wrong.  Stone is cold and arrogant as an unethical CEO who is only concerned with the bottom line but yet you also sympathize with her because of her mistreatment.  The movie is at its best when the two of them interact, especially their conversation about bees, because they are both absolutely convinced that their version of the truth is correct in an age when it has become increasingly difficult to ascertain the truth (it is sometimes uncomfortable to watch).  There are many other thought-provoking themes to unpack (most notably environmentalism, capitalism, and trauma) but I think the message about misinformation is the most powerful.  This movie is definitely a wild ride (with all of the black comedy you have come to expect from Lanthimos) but I will be thinking about it for a long time to come and I highly recommend it.

It Was Just An Accident

I saw It Was Just An Accident, which won the Palme d'Or at Cannes this year, as the second movie in my double feature at the Broadway yesterday and it is brilliant!  After a man wearing a prosthetic leg hits and kills a dog while driving late at night, he brings his damaged car to a factory where Vahid (Vahid Mobasseri) is working to ask for help.  Vahid hears the distinct squeaking sound of the man's leg as he walks and immediately recognizes him as Eghbal (Ebrahim Azizi), the sadistic guard who tormented him in an Iranian prison.  The next day he follows him in a borrowed van, kidnaps him, and attempts to bury him alive in the desert but he isn't certain that he has the right man because he was blindfolded the whole time he was in prison.  In order to make a correct identification, he locates other former prisoners, including Shiva (Mariam Afshari), a photographer, Golrokh (Hadis Pakbaten), a bride having her wedding portraits taken with her fiance Ali (Majid Panahi), and Hamid (Mohamad Ali Elyasmehr), Shiva's volatile former partner, for confirmation.  Hamid eventually identifies him but chaos ensues (which provides a bit of comic relief in this tension-filled drama) as they argue over what to do.  Hamid advocates for killing him immediately, Shiva does not want to become like him by resorting to violence, Vahid wants him to confess and be judged before they take action, and Goli is too traumatized by seeing him again to make a rational decision.  This ultimately leads to a powerful confrontation between Eghbal and his captors with an ending that gave me chills.  Writer/Director Jafar Panahi was himself once a political prisoner who was mistreated by his captors and you can definitely feel the weight of his own moral dilemma about justice and revenge in the disparate reactions of his characters.  I found it to be incredibly thought-provoking and moving but also really funny as their journey to retribution becomes increasingly more absurd (which is an interesting commentary on taking matters of this nature into your own hands).  All of the performances, from a largely unknown cast, are riveting but I was particularly struck by Afshari's portrayal of Shiva's character arc as a woman who simply wants to move on with her life but finds that she can't (her rage-filled monologue gave me goosebumps).  This is one of the best movies I've seen this year and I highly recommend it.

Nouvelle Vague

Yesterday I spent most of the afternoon at the Broadway watching two movies with subtitles and it was definitely a great way to spend the day!  I started with Nouvelle Vague which is an amusing look at the making of Breathless, one of the most influential examples of the French New Wave movement in cinema, and I really enjoyed it. It is 1959 and Jean-Luc Godard (Guillaume Marbeck) is the only film critic at the Cahiers du Cinema magazine who hasn't made his own film.  He convinces a reluctant Georges de Beauregard (Bruno Dreyfurst) to produce his debut based on a treatment written by Francois Truffaut (Adrien Rouyard) after the latter's success with The 400 Blows at Cannes, coerces his friend Jean-Paul Belmondo (Aubry Dullin) to star as the gangster, enlists Francois Moreuil (Paolo Luka Noe) to help him get his wife, Hollywood actress Jean Seberg (Zoey Deutch), to star as the American student, and hires war photographer Raoul Coutard (Matthieu Penchinat) to shoot it.  Godard wants the film to be as spontaneous and naturalistic as he can make it so he is rarely prepared with a completed script and only shoots when he is feeling inspired.  He insists on hand-held camera work and finds unusual ways to film scenes from different perspectives (this includes putting Coutard inside a mail cart).  He also forms an adversarial relationship with his actors to get the performances he wants.  As a result, the shoot is fraught with tension.  Beauregard is exasperated with all of the delays, Belmondo is worried that he will never work again, and Seberg is furious with her husband for convincing her to take the role and threatens to quit every day.  Everyone involved is certain that it will be the worst film of the year after a private screening but an epilogue describes its lasting impact on the French New Wave and subsequent cinematic movements.  What I enjoyed most is how Richard Linklater replicates Godard's style with grainy black and white film, a 4:3 aspect ratio, hand-held camera work, and multiple jump cuts.  I also loved the use of static shots with names listed below to introduce all of the notable players in the French New Wave (some of whom only appear for a few minutes) because it is almost as if Linklater is giving the audience a primer in film history.  All of the actors have an eerie resemblance to the real-life characters they play and I was especially impressed with the performances from Deutch (I loved her pixie cut) and Marbeck (he looks so cool in Godard's signature sunglasses).  There are lots of fun film references (at one point I was giggling out loud) and I highly recommend this to cinephiles.

Note:  Strangely enough, I became a fan of the French New Wave after seeing Close Encounters of the Third Kind.  I was fascinated by the character Claude Lacombe (I don't know why) and, when my dad told me that he was played by the famous director Francois Truffault, I immediately conspired to see The 400 Blows.

Frankenstein

I love the novel Frankenstein by Mary Shelley (it, along with Hamlet, was one of my favorite pieces of literature to teach) so the new adaptation by Guillermo del Toro was one of my most anticipated movies this year.  I went to see it with my nephew, and a huge crowd, at the Broadway last night and I loved it!  I loved everything about it!  Baron Victor Frankenstein (Oscar Isaac) encounters a mysterious Creature (Jacob Elordi) after taking refuge on a ship, under the command of Captain Anderson (Lars Mikkelsen), that is trapped in ice whilst on an expedition to the North Pole.  When Frankenstein hears that Anderson is willing to continue to the North Pole no matter the cost to his crew, he fears that he shares his same madness and recounts his story to him as a cautionary tale.  He tells of his obsession to overcome death after his beloved mother died in childbirth, his expulsion from the Royal College of Surgeons for experimenting on corpses, his patronage from Heinrich Harlander (Christoph Waltz) which funds his experiments in an abandoned water tower, his unrequited love for Harlander's niece Elizabeth (Mia Goth) who is also engaged to his brother William (Felix Kammerer), his success in reanimating a corpse created from the bodies of soldiers killed in the Crimean War, his disappointment with the Creature's seeming lack of intelligence, and his attempt to kill the Creature by setting the tower on fire.  The Creature then describes his mistreatment at the hands of Frankenstein who sees him as a monster, his bond with Elizabeth who sees his purity of heart, his escape from the fire at the tower, his terror at being lost and alone in the woods, his interactions with a blind man (David Bradley) who befriends him and teaches him to speak and read, his search for answers about his creation, and then his search for the creator who doomed him to a life of isolation.  After Frankenstein and his Creature have a final reckoning, Anderson decides to abandon his reckless pursuit and return home.  I am usually a purist when it comes to adaptations of literature but I think the changes from the novel add to the narrative rather than detract from it and I especially loved the more sympathetic depiction of the Creature.  I was impressed by the performances from Isaac, as a man consumed by his obsession, and Goth, as the moral compass of the story, but I was absolutely blown away by Elordi.  I loved his physicality as a being with an imposing stature but the development of a newborn as well as his haunting portrayal of both innocence and rage.  I also really enjoyed all of the Gothic elements in the production design (the visuals are gorgeous and I particularly loved the use of fallen angels as a motif) and the Baroque-inspired score by Alexandre Desplat (one of my favorite movie composers).  I've always loved the story but I found this adaptation to be incredibly moving and I highly recommend it (I'm sure it will be among my favorite movies of the year).  It will be available to stream on Netflix beginning November 7 and I cannot wait to watch it again.

The Mastermind

The next movie in the double feature with my nephew at the Broadway last night was The Mastermind.  I am a fan of Kelly Reichardt's brooding and contemplative character studies and I think the protagonist of this movie might be her most intriguing one yet.  James Blaine "J.B." Mooney (Josh O'Connor) is an unemployed former art student who is supported by his wife Terri (Alana Haim) and his wealthy, but disapproving, parents Sarah (Hope Davis) and William (Bill Camp) in the suburban town of Framingham, Massachusetts where his father serves as the local judge.  It is 1970 and the Vietnam War continues on but J.B. is seemingly unaffected by it and the attendant protests all around him (there are many references to both in the background of the action).  He meticulously plans a robbery in broad daylight of four paintings by Arthur Dove from the local art museum with Guy Hickey (Eli Gelb), Larry Duffy (Cole Doman), and Ronnie Gibson (Javion Allen) and, even though the heist is initially successful, everything that can go wrong does go wrong and J.B. is ill-equipped to deal with the fallout.  He ends up on the run where help is either not forthcoming, from his art school friends Fred and Maude (John Magaro and Gaby Hoffman, respectively) or his long-suffering wife, or not available until he is finally held accountable for his actions for maybe the first time in his life.  This is definitely more character-driven than plot-driven because the action in the second half is incredibly slow, almost maddeningly so, with lots of static shots of J.B. trying to figure out what to do which seem to go on much longer than necessary.  How J.B. responds is much more important that what he responds to and this is ultimately very effective but I admit that I got a bit fidgety.  However, I found the narrative to be very thought-provoking because, in my opinion, J.B. is a symbol for an America that lost its way prosecuting a war it could not win.  I also loved the 1970s aesthetic in the production design, costumes, and cinematography, the Jazz-inspired score, and the understated performance from O'Connor (he excels at playing rumpled anti-heroes).  I recommend this to fans of Reichardt but others might find it boring.

Note:  The first movie in our double feature appealed specifically to me and this one appealed specifically to my nephew!

Blue Moon

Last night my nephew and I had another double feature at the Broadway (they are becoming a regular occurrence for us).  We started with Blue Moon and, even though I really liked it, I can definitely see why others might not.  Before Richard Rodgers (Andrew Scott) worked with Oscar Hammerstein II (Simon Delaney), he had a successful 24-year partnership with Lorenz Hart (Ethan Hawke) before the latter's self-destructive behavior forced a split.  During the opening night performance of Oklahoma!, the first collaboration between Rodgers and Hammerstein, Hart slips away to Sardi's restaurant to commiserate with Eddie (Bobby Cannavale) the bartender and Morty (Jonah Lees) the piano player.  He is openly critical of Oklahoma! (my favorite comment is that it will be performed by high schools until the end of time because it is so inoffensive) but he knows that it will be a bigger hit than any of his shows with Rodgers so he can barely bring himself to congratulate him when he arrives for the afterparty.  When Hart proposes a new project for the two of them to work on, Rodgers remains skeptical about his depression and alcoholism.  His spirits are momentarily lifted at the arrival of Elizabeth Weiland (Margaret Qualley), his 20-year-old protege, because he has unrequited feelings for her and is hoping to impress her with his connections to the Broadway world.  When she abandons him to attend another party with Rodgers, it is a confirmation of both his personal and professional failings but he hides his heartbreak and continues regaling Eddie and Morty with yet another story.  This features a lot of dialogue (Broadway fans will find many fun references) and takes place in one location in real time (almost like a chamber play) so it is very slow but I found it surprisingly compelling because of Hawke's brilliant and transformative performance as the talented but tormented songwriter.  You can always see the pain behind the bravado (although it is distracting to see the balding wig that he wears) and I was impressed by his physicality as a man who is embarrassed by his short stature.  Scott is also outstanding (he won the Silver Bear for Best Supporting Performance at the Berlin Film Festival), especially in a highly charged scene where Rodgers expresses both his gratitude for and frustration with Hart.  Qualley does a great job but she sometimes feels very out of place, in my opinion, because she is so anachronistic in this time period.  As a fan of Broadway musicals, I really enjoyed this but I don't think the stellar performances will be enough to make this appealing for those who do not share a similar interest.

Nuremberg

Last night my nephew and I were able to attend an early screening of Nuremberg which included a livestreamed Q&A with Russell Crowe and the director James Vanderbilt.  It is very compelling and, unfortunately, very timely.  After the surrender of Hermann Goring (Crowe), the Allies disagree over how to bring him and the other captured Nazi leaders to justice.  The Soviets propose a show trial with a predetermined outcome while the British advocate for summary executions.  U.S. Supreme Court Justice Robert H. Jackson (Michael Shannon) wants to punish them but he also wants to show the world irrefutable evidence of what the Nazis did so he proposes a public military tribunal conducted by the Americans, British, French, and Soviets in Nuremberg, the site of many Nazi rallies.  Dr. Douglas Kelley (Rami Malek), a military psychiatrist, is brought to the prison to determine if the defendants are competent to stand trial and he engages in a thrilling battle of wits with Goring.  However, as Kelley spends more and more time with Goring, his opinion of him becomes increasingly sympathetic, especially after he delivers letters to Goring's wife Emmy (Lotte Verbeek) and daughter Edda (Fleur Bremmer), until the true nature of what occurred in the concentration camps is revealed during the trial.  This prompts him to disclose privileged information to Jackson to help him incriminate Goring on the stand.  This movie is riveting and my attention never wavered during the entire two and a half hour runtime.  There are several moments that I found to be incredibly powerful, including a scene when a translator played by Leo Woodall tries to convince Kelley to help Jackson by saying that the atrocities committed by the Nazis happened because people stood by and did nothing and a scene when Kelley is promoting his book about the trials and says that what happened in Nazi Germany will happen again because people abandon their humanity in the pursuit of power, and I think this is definitely a movie that everyone should see right now.  The supporting cast is outstanding, particularly Woodall (as Sgt. Howie Triest) who gives the aforementioned emotional monologue about being an advocate for the Jews who died, John Slattery (as Col. Burton Andrus) who provides a bit of levity as the no-nonsense commandant of the prison, and Richard E. Grant (as the British prosecutor Sir David Maxwell-Fyfe) who has a stand-up-and-cheer moment during the trial.  Malek, Crowe, and Shannon give brilliant performances (I think it is the best of Malek's career) and their interactions are explosive, especially when Jackson reminds Kelley of the importance of what they are doing in the ruins of the Nazi parade grounds, when Kelley confronts Goring about the concentration camps, and when Jackson interrogates Goring on the stand.  Crowe mentioned in the Q&A that they were able to film the trial scene in one day because he and Shannon are from Krypton (an amusing reference to their characters from Man of Steel).  I loved the verisimilitude in the production design (most notably the accuracy in the recreation of the courtroom), because it allows for the seamless integration of real footage (the film showing the actual liberation of the camps is incredibly harrowing to watch), and in the costumes (Goring is known for wearing light blue uniforms of his own design).  This is a thrilling and entertaining movie but it is also an important one and I highly recommend it.