Father Mother Sister Brother

I am a huge fan of Jim Jarmusch as a director and Adam Driver as an actor (their first collaboration, Paterson, is one of my very favorite comfort watches) so I was excited to see Father Mother Sister Brother at the Broadway with my nephew last night.  I thoroughly enjoyed this gentle exploration of complicated family relationships.  Siblings Jeff (Driver) and Emily (Mayim Bialik) travel to visit their eccentric and reclusive father (Tom Waits) because they believe he is lonely and are worried about how he is supporting himself after the death of their mother.  It is revealed that Jeff has been secretly helping his father financially, perhaps to the detriment of his own marriage which is now over, but his father's situation may not be what it seems.  Sisters Timothea (Cate Blanchett) and Lileth (Vicky Krieps) arrive for their annual visit to have afternoon tea with their mother (Charlotte Rampling).  Their interactions, which appear overly polite and genteel on the surface, are fraught with tension because they are all hiding the true circumstances of their lives.  Twins Skye (Indya Moore) and Billy (Luka Sabbat) reunite after the mysterious death of their parents to go though their apartment and are surprised by some of their belongings.  All three narratives in this anthology have a similar theme about loving a family member without really knowing them but there are also quite a few recurring motifs that connect them (I was especially struck by all of the long awkward silences because I think that this is something most people have experienced with family members).  Jarmusch is known for his observational storytelling and this might be his most subtle (and most affecting) film yet.  I particularly loved the changing landscape outside of father's window, the overhead views of mother's flawless tea table, and the use of mirrors in the twins's apartment because these perfectly composed shots show the audience, rather than tell them, that things are not necessarily how they appear.  I also loved all of the performances because every actor uses minute changes in body language and facial expressions to convey what their character is feeling instead of dialogue and I found this to be riveting (Blanchett is absolutely heartbreaking when Timothea tries to compose herself in a bathroom mirror).  This might not be for everyone but I loved it and recommend it to fans of the director.

Tchaikovsky's Symphony No. 1 & Mozart with Awadagin Pratt

My favorite composers are Tchaikovsky, Rachmaninoff, and Mozart so I was thrilled to attend a Utah Symphony concert featuring all three of them last night.  The orchestra, under the baton of newly appointed Principal Guest Conductor Delyana Lazarova, began with Fantasy for Orchestra "The Rock" by Sergei Rachmaninoff.  This is a tone poem based on the short story "Along the Way" by Anton Chekhov which tells of a chance meeting between a young girl and a troubled older man who have both stopped at an inn seeking refuge from a winter storm.  The man spends the evening recounting stories from his life which reveal all of his regrets and the young girl pities him but, when the morning comes, she continues on her journey leaving him standing in the snow staring after her.  I loved the ominous motif played by the lower strings to introduce the old man, the light and airy melody played by the flute to represent the young girl, and the melancholy march played by the brass to depict the old man's sobs of desperation as she leaves him.  Next, the orchestra was joined by Awadagin Pratt for Piano Concerto No. 23 by Wolfgang Amadeus Mozart.  Pratt was very charismatic and entertaining the last time he appeared with the Utah Symphony so I was looking forward to seeing him again.  He is very creative and agile so I enjoyed watching his fingers fly up and down the keyboard, especially during the third movement.  This piece, like most of Mozart's work, is incredibly beautiful and lyrical but I particularly love the second movement because it is much more poignant with almost mournful themes played by the piano along with the clarinet, flute, and bassoon.  After the intermission, the concert concluded with Symphony No. 1 "Winter Daydreams" by Pyotr Ilyich Tchaikovsky.  I had never heard this piece before but, to me, it was quintessentially Russian and I loved the inclusion of folk songs.  The first movement evokes a sleigh ride through the snow and I really enjoyed the melody played by the flute and bassoon which is then further developed by the clarinet (in my mind I could see the horses galloping as I listened).  The second movement calls to mind the vast loneliness of the countryside and I loved the stately theme played by the horns.  The third movement is playful and unpredictable (the timpani near the end was my favorite) while the final movement is almost triumphant after a somber melody played by the bassoons is followed by boisterous themes played by the entire orchestra and a dazzling conclusion featuring timpani, cymbals, and brass!  I feel like this concert was programmed just for me with all of my favorite composers (it was just missing Sibelius!) and I loved every minute!  I highly recommend getting a ticket to tonight's performance (go here).

No Other Choice

Last night my nephew and I saw No Other Choice at the Broadway and we both loved this hilarious dark comedy!  Yoo Man-su (Lee Byung-hun) is living an affluent lifestyle with his wife Lee Mi-ri (Son Ye-jin), teenage son Yoo Si-won (Kim Woo-seung), and neurodivergent daughter Yoo Ri-won (Choi So-yul) until he is fired from his job at Solar Paper after an American company buys it out.  He assures his wife that he will find another job within three months but after more than a year of unemployment she gets a job as a dental hygienist and the family is forced to cut back on all of their activities, including cello lessons for their daughter who is considered a prodigy, put their house on the market, and re-home their two beloved dogs.  Man-su finally gets an interview with Moon Paper but he is devastated when the job is given to Choi Seon-chul (Park Hee-soon) so he attempts to kill him.  However, when he realizes that the job might not go to him even if Seon-chul is removed, Man-su forms an ingenious plan to find all of the other more qualified candidates and plots to kill them, as well.  Absolute mayhem ensues but Man-su believes that he has no other choice.  I laughed out loud at all of Man-su's bumbling attempts to get rid of the competition, especially a long drawn-out sequence with his rival Goo Beom-mo (Lee Sung-min), but it is even more compelling to watch him get better and better at it.  I absolutely loved Lee Byung-hun's brilliant performance because he nails the physical comedy but he also imbues the character with a desperation that is palpable.  I also enjoyed Kim Woo-seung's multilayered performance, especially the moving scene in which she comes to the conclusion that her husband had no other choice but to do what he did.  As funny as this is, it is also a biting satire condemning corporations for discarding loyal workers, particularly in favor of automation, in the pursuit of a better bottom line and I found the commentary on late stage capitalism to be very thought-provoking.  Finally, the color palette, the dynamic camerawork, and intriguing transitions between scenes make this a visually striking movie.  I highly recommend it!

We Bury the Dead

I am a big fan of Daisy Ridley so I was excited to see her new movie We Bury the Dead last night.  While it does have some unsettling sequences involving zombies, I really liked the exploration of grief and things left unresolved when a loved one dies even more.  After a catastrophic military experiment conducted by the U.S. leaves the entire population of Tasmania dead in an instant, volunteers are needed to help retrieve and bury all of the bodies.  There are rumors that some of the dead are waking up so Ava (Ridley) volunteers hoping to find her husband Mitch (Matt Whelan), who was on a work retreat at a resort on the southern tip of the island, because they parted on bad terms.  She enlists the help of Clay (Brenton Thwaites), another member of the body retrieval team, and has a sinister encounter with Riley (Mark Coles Smith), an officer in the Australian Army, as she makes the dangerous journey to the resort while flashbacks detail her deteriorating relationship with Mitch.  She eventually finds Mitch's body but realizes that she must make peace with herself rather than with him.  This is a new and interesting take on the zombie genre because the ones who wake up are those who have unfinished business and I especially loved a scene in which a father wakes up in order to bury his family.  It is a meditative character study rather than an action thriller but the design of the zombies is incredibly unnerving, especially the disconcerting sounds they make as they become reanimated, and there are some tense moments when Ava encounters several of the zombies (as well as some moving moments with a few of them).  Ridley gives a haunting performance (she is often the only one on screen) because she is able to effectively convey so many different emotions with just a nuanced change in expression.  There are a few odd tonal shifts throughout but I enjoyed this and definitely recommend seeking it out (it seems to be flying under the radar because I could only find one theater screening it near me).

Note:  It seems like all of the best post-apocalyptic movies are set in Australia (especially the Mad Max franchise).

Marty Supreme

There has been so much hype for Marty Supreme but I did not share everyone's enthusiasm for it.  I reluctantly agreed to see it last night at the Broadway with my nephew (who did share everyone's enthusiasm) and I was very surprised by how much I liked it.  Marty Mauser (Timothee Chalamet) is a fast-talking hustler who wants to be the world's best table tennis player even though the U.S. does not support the sport and he must resort to performing half-time shows for the Harlem Globetrotters with the reigning champion Bela Kletzki (Geza Rohrig).  He finds a way to get to a competition in London where he easily defeats Bela but is humiliated by Koto Endo (Koto Kawaguchi), a player from Japan, in the finals and incurs a fine from the International Table Tennis Association for running up a bill at the Ritz Hotel.  Back home, he is desperate to get the money to pay his fine and get to Tokyo for the World Championships and a chance at a rematch with Endo.  However, he has a series of misadventures with his uncle Murray (Larry "Ratso" Sloman), his childhood friend Rachel (Odessa A'zion), Rachel's husband Ira (Emory Cohen), his friend Wally (Tyler, the Creator), a mobster (Abel Ferrara) and his dog, a homicidal farmer (Penn Gillette), a would-be business partner (Luke Manley), a retired actress hoping to make a comeback (Gwyneth Paltrow), and her businessman husband (Kevin O'Leary).  Marty eventually makes it to Tokyo but he finally learns what is most important.  I was hesitant to see this because I found the character to be very abrasive in the trailers but I actually really enjoyed Marty's arc.  I also didn't think table tennis would be a very compelling subject but, even though it does feature in the narrative, most of the movie involves all of the increasingly absurd situations Marty finds himself in as he tries to get the money he needs and the action moves at a frenetic pace (I was never bored during the long runtime).  Chalamet has been getting a lot of attention for his performance and, while he does do a great job disappearing into the role, I don't think it is the best one this year (Michael B. Jordan is much more impressive in Sinners) nor do I think it is even his best (he blew me away in Dune: Part Two).  I liked this a lot more than I thought I would but I definitely prefer both Good Time and Uncut Gems (they are similar to this but the stakes are much higher for the characters) from the Safdie brothers.

Note:  This is set in the 1950s and features meticulous period verisimilitude in the production design and costumes so I found all of the 1980s music to be a strange choice.