Anemone

I was thrilled when I learned that Daniel Day-Lewis was coming out of retirement to star in his son's directorial debut, Anemone, and I immediately wanted to see it.  My nephew and I finally had the opportunity at the Broadway last night but, unfortunately, we were both incredibly disappointed.  In fact, the more we talked about it, the more we disliked it.  Ray Stoker (Day-Lewis) was so traumatized by his experiences as a paramilitary officer in Northern Ireland in the 1960s that he left his wife Nessa (Samantha Morton) and infant son Brian to live in self-imposed exile in a remote cottage in the woods.  Now, many years later, Brian (Samuel Bottomley) is struggling after joining the military himself and fears that he will end up just like his father.  Nessa sends Jem (Sean Bean), Ray's estranged brother, to deliver a letter asking him to return and help his son.  Tensions are palpable when Jem arrives because there is a lot of unresolved conflict between the brothers, most notably the fact that Jem is now married to Nessa and has raised Brian, but Ray eventually achieves a reconciliation with his brother and the possibility of one with his son.  Day-Lewis is a compelling presence (and often a terrifying one) on screen during the many scenes of protracted silence but it is in two very powerful monologues, especially the one in which he finally reveals the incident that psychologically scarred him, that he really proves why he is one of the greatest actors of his generation.  Bean and Morton are also outstanding actors but they are not given much to do beyond reacting with stoicism or concern, respectively.  The cinematography featuring the surrounding landscape is beautiful and atmospheric but there are also lots of intricately composed shots that range from vaguely symbolic (I had no idea what many of them were meant to represent, especially the supernatural elements) to utterly pretentious.  Finally, even though the story is slight, the pacing is still extremely sluggish (at least 30 minutes could have been removed from the runtime) and it becomes very boring tedious watching similar scenes over and over again. I really wanted to like this because I am a big fan of Day-Lewis but I wouldn't recommend it.

TRON: Ares

Last night my nephew and I went to an early access screening of TRON: Ares in IMAX and I had so much fun watching it!  Julian Dillinger (Evan Peters), the CEO of Dillinger Systems, and Eve Kim (Greta Lee), the CEO of ENCOM, both have access to a generative laser that can reproduce digital structures in the real word.  Dillinger wants to militarize this technology, much to the dismay of his mother Elisabeth (Gillian Anderson) who wants to regain control of the company, and creates a highly sophisticated program known as Ares (Jared Leto) that can be used in battle while Kim wants to use it to solve world hunger and creates an orange tree.  However, the technology is in the early stages and anything created with it degenerates in 29 minutes.  Kim eventually finds a Permanence Code created by Kevin Flynn (Jeff Bridges), the former CEO of ENCOM, and Dillinger will do anything to get it from her.  He sends Ares and another program named Athena (Jodie Turner-Smith) to the real world to capture the code but, when Kim destroys it, they bring her to the grid to extract it from her memory.  Complications ensue when Ares decides to ignore his directive and protect Kim and when Athena decides to do whatever is necessary to complete it.  When I walked into the theater, I was hoping for mind-blowing visuals, an epic score, a story that made sense, and a performance from Leto that wasn't too weird and I definitely got all of that!  We saw this in 3D and I absolutely loved all of the dynamic chase sequences, especially when Ares and Athena are trying to capture Kim in the real world and when Ares and Kim are trying to evade Athena in the digital world because the trails of light are absolutely dazzling, and the final confrontation between Ares and Athena because it is so striking to see the competing red and blue lights on their suits.  I also loved that when Dillinger hacks into the ENCOM server it is portrayed by having Ares and the rest of the programs physically break in to the digital structure.  I am a huge fan of Nine Inch Nails and the score is so propulsive that I could hardly take a breath.  I think the techno-synth music really emphasizes the tension between the digital world and the real world.  The story is so much better than I was expecting and I found the comparisons to Frankenstein, particularly when Ares rebels against his creator and discovers his humanity, to be very thought-provoking.  Finally, I really enjoyed the performances from everyone in the cast, especially Lee.  Leto is not my favorite actor but his surprisingly restrained delivery really works for the character and it often provides a bit of comic relief as Ares learns about the real world (I loved the running bit about his love for Depeche Mode).  This was everything I hoped it would be and I had an absolute blast watching it with my nephew!  I recommend it to fans of the franchise.

Good Boy

The second movie in my double feature at the Broadway last night was Good Boy and I loved the message about the loyalty of dogs.  Todd (Shane Jensen) is suffering from chronic lung disease when he decides to move from New York City to the isolated house in the woods where his grandfather (Larry Fessenden) died and where his grandfather's dog Bandit (Max) disappeared.  When he arrives, his dog Indy (himself) immediately senses a presence and repeatedly tries to warn Todd about the danger.  As Todd's health worsens and his behavior becomes more erratic, especially towards Indy and his sister Vera (Arielle Friedman) who frequently calls to check on him, the presence becomes more malevolent and manifests itself as shadows, unexplained noises, the ghosts of Todd's grandfather and Bandit, and, eventually, a dark entity that stalks and then tries to consume Todd.  Indy must go to extraordinary lengths to protect him.  The story is told entirely from Indy's POV and this is an incredibly clever premise because, as someone who has spent a lot of time around dogs, I know that they can intuit things that their human owners cannot.  It is also quite ingenious because a dog is not necessarily a reliable narrator which allows the audience to interpret the goings-on in several different ways (I choose to see the presence as a metaphor for illness).  It is really scary at times (at one point I jumped out of my seat), with clever cinematography and atmospheric lighting that uses reflections and shadows very effectively as well as an incredibly unnerving sound design, but it is also very emotional because of how Indy's unconditional love for Todd is portrayed.  Finally, Indy gives a fantastic performance (I think he is a better actor than his human co-stars) that is very compelling.  I definitely recommend this to fans of horror (and dogs).

The Smashing Machine

Last night I went to the Broadway for a double feature (there are so many movies I want to see in October).  I started with The Smashing Machine because I love inspirational sports movies and I was really intrigued by Dwayne Johnson's physical transformation in the trailer.  Unfortunately, I found it very underwhelming despite an outstanding performance from Johnson.  Mark Kerr (Johnson) is an incredibly successful UFC fighter who has never lost a match but, for financial reasons, he also fights in the Pride Fighting Championships in Japan.  When he loses a fight against Igor Vovchanchyn (Oleksandr Usyk) in a controversial decision, he spirals into depression which is exacerbated by his worsening dependence on prescription and illegal drugs.  When he overdoses, his best friend and fellow fighter Mark Coleman (Ryan Bader) convinces him to enter rehab.  He gets sober and begins training at a camp run by fellow fighter Bas Rutten (himself) in order to redeem himself at the next tournament in Japan but his dysfunctional relationship with his girlfriend Dawn Staples (Emily Blunt) threatens his comeback.  Johnson completely disappears into this role (I thought it was the hair but he is still unrecognizable when his character shaves his head before a match) and gives the best performance of his career.  In the scene after his first loss in Japan you can see the coiled rage in his body as the camera follows him walking to the locker room and then you can see him release it when he breaks down crying once he is alone.  It is a very powerful moment and Johnson conveys everything that Kerr is feeling without any dialogue.  I also really liked the way the fighting scenes were filmed because we see most of the action through the ropes from the POV of a spectator.  However, I found the narrative itself to be somewhat pointless.  This is a mild spoiler so you may want to stop reading but the first act sets up a revenge match between Kerr and Vovchanchyn since the latter won on an illegal move and the second act sets up a match between close friends Kerr and Coleman (either would have created interest and tension) but neither of these matches happen.  The filmmakers also take great pains to portray Staples as toxic and there is an incredibly satisfying moment when Kerr finally realizes it but an end title says that they eventually reconcile and marry which lessens the impact of that scene.  I understand that the filmmakers wanted to highlight a fighter who impacted the future of his sport without a lot of recognition but, in my opinion, Kerr is not a compelling enough subject for a movie.  I recommend giving this a miss.

Laufey at the Delta Center

I recently discovered Laufey and now I am completely obsessed with her music because she has such a unique sound that blends jazz, pop, and classical elements.  I love her voice because it is so expressive and her orchestrations because they are incredibly lush.  I found out about her concert at the Delta Center quite by accident and was thrilled when I was able to get a ticket at the last minute.  The show was last night and it was incredible!  It is very theatrical with an elaborate set that is a cross between a fairy tale castle and a Busby Berkeley musical with a curved runway to a secondary stage shaped like a clock complete with moving hands and the glamorous costumes are inspired by the Golden Age of Hollywood.  The show is divided into five different thematic acts with an introduction on the screen reminiscent of a silent movie and an encore featuring a surprise song specific to each city.  The first act is inspired by romance and fantasy and Laufey wore a sparkly gown with a tulle skirt while performing "Clockwork," "Lover Girl" with the requisite claps from the audience, "Dreamer," "Falling Behind," "Silver Lining" (my favorite Laufey song), "Bored," and "Too Little, Too Late."  The second act is meant to mimic an intimate jazz club so she moved to the secondary stage wearing a 1920s-inspired beaded dress.  She performed a cover of "Seems Like Old Times" and then sultry versions of her songs "Valentine," "Fragile," "While You Were Sleeping," and "Let You Break My Heart Again" with a trio of musicians. The third act is billed as an enchanting interlude and included "Carousel" "Forget-Me-Not," and "Cuckoo Ballet" (featuring ballet dancers in tutus) with whimsical images on the screens.  The fourth act represents vulnerability and heartbreak and she performed "Mr. Eclectic," "Castle in Hollywood," "Promise," "Goddess," "Tough Luck," "Snow White," and "From the Start" (another favorite) in a costume with lots of sequins and fringe inspired by the Ziegfeld Follies.  The fifth act is about self-acceptance and growth so she performed a dramatic version of "Sabotage."  She returned to the secondary stage for the encore and the surprise song was "Street By Street" (she told the crowd that she picked this song specifically for Salt Lake City because she performed her first live show here and she was so surprised that people actually knew the words to it) followed by an emotional performance of "Letter to My 13 Year Old Self."  She sounded amazing live (I would love to hear her in a venue like Abravanel Hall with a full orchestra backing her) and played guitar, piano, and even the cello (during the instrumental "Cuckoo Ballet").  Her interactions with the large and enthusiastic crowd were charming and she was incredibly appreciative of them singing along to every word.  She even commented on the many Laufey-themed costumes (I did not get the memo about wearing bows and felt crowns).  I thoroughly enjoyed this concert and I am so glad that I was able to go!

Note:  Suki Waterhouse was the opening act.  I didn't know anything about her (beyond being Robert Pattinson's girlfriend) or her music but I really liked her set.