Top 22 of 2018

— Here are my 22 favorite films from 2018:

• "The Ballad of Buster Scruggs"
• "BlacKkKlansman"
• "Boy Erased"
• "Can You Ever Forgive Me?"
• ”Cold War"
• ”Eighth Grade"
• ”The Favourite"
• "First Man"
• ”First Reformed"
• "Green Book"
• "The Hate U Give"
• "Hereditary"
• ”Lean on Pete"
• ”Leave No Trace"
• "A Quiet Place"
• ”Roma"
• ”A Star Is Born"
• ”Vice"
• "Western"
• ”Widows"
• "The Wife"
• "Wildlife"

Had I included documentaries, ”Won’t You Be My Neighbor?” would definitely have made the list, and five more documentaries and quasi-documentaries would also have been in or almost in the list:

• ”McQueen"
• ”The Price of Everything"
• ”RBG"
• ”The Rider"
• ”Three Identical Strangers"

Six other films just missed the list:

• ”Black Panther"
• ”If Beale Street Could Talk"
• "Isle of Dogs"
• ”Mission Impossible—Fallout"
• ”The Old Man & the Gun"
• ”The Sisters Brothers”

Juliet, Naked

— Ethan Hawke often finds parts in smaller, quirky films where his sort of scrappy voice and ability to perfectly underplay a role with a twinkle in his eye always win me over. "Juliet, Naked" [DVD] fits right in and it's a very pleasant experience, focusing on the story line with nicely interwoven, low-key moments to create an interesting romantic dramedy, instead of painfully referencing current events or trying to work on too many allegorical levels. It's a touching, sometimes bittersweet look at life, family, and love with a fairly realistic slant. I liked it a lot.

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[2018. 97 min. Directed by Jesse Peretz. Starring Ethan Hawke, Chris O'Dowd, and Rose Byrne.]
https://www.rogerebert.com/reviews/juliet-naked-2018

Vice

— “Vice” is an incendiary device for liberals, sort of a retelling of what I believe are fairly factual events in a comedic, satirical, pseudo-documentary style using good actors and tried and true propaganda techniques here and there as needed. It’s easy to watch and probably informative for some, but it’s hard to pinpoint the purpose. For a while it’s enough to have our current fears about presidential power reinforced until it sinks in that “alternative facts” and a more authoritarian presidency arrived fifteen years ago. Just as that’s sinking in, you begin to sense the writer-director’s indecisiveness. Should we be horrified or impressed by Cheney’s place in history? Is this a comedy or a drama? (Remember, the director was previously responsible for “Anchorman,” but also for “The Big Short.”) After more than two hours and four decades at a lively pace with a narrator whose link to the story is something of a surprise, it seems the only explanation for why the shift in freedoms happened lies at the feet of a rather emotionless, sharp and righteous man, or with his wife who made him promise to make something of himself before they were married, or with the American people who just weren’t paying attention. Worse, the film ends on a note of disdain for the audience! Although it's easy to cheer or jeer at its conspiratorial nature and it's an interesting viewing experience, its just not focused enough in tone or purpose to be satisfying after viewing.
[1/5/2019 Addendum: The more I talked with other people about this film and the more I thought about it, I decided my somewhat visceral initial reaction was too harsh. I judged it not on what it is but on what I wanted it to be and that’s not fair to any film. It’s a very well done film that’s definitely worth seeing. It’s even better if you leave before the credits roll.]

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[2018. 132 min. Written and directed by Adam McKay. Starring Christian Bale, Amy Adams, Steve Carell, and Sam Rockwell.]
https://www.rogerebert.com/reviews/vice-2018

Mary Queen of Scots

— “Mary Queen of Scots” is a fine film as period dramas go, but not anything extraordinary. It has the lush landscapes and vibrant colors and costumes, as well as a fair share of scheming by treacherous men and sly women. Margo Robbie and Saoirse Ronan do more than an adequate job as Elizabeth and Mary, in spite of a script that spends a lot of time telling us what’s happening instead of letting us see the events. This may be because the film falls into today’s black hole of depicting men as conniving, back-stabbing, buffoons and dandies, in a world where women are sisters with sharp minds and forgiving hearts who would change the world if only the men weren’t in the way. I will say that the film is at its best when focused on the two Queens’ motivations and constraints. What can I say, it may actually be, as one critic suggested, the film for people who didn’t like the less conventional and more outrageous “The Favourite.”

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[2018. 124 min. Directed by Josie Rourke. Starring Saoirse Ronan, Margot Robbie, and Jack Lowden.]
https://www.rogerebert.com/reviews/mary-queen-of-scots-2018

Roma

— Alfonso Cuarón’s “Roma” is a remembrance of his own life growing up in Mexico City in the early ‘70s. Focusing on a middle-class family—a doctor, his biochemist wife who takes care of the home, their four children and two servants—the story is told from the perspective of one of the servants, Cleo, who is also the nanny. It's an interesting story in its own way, but it is the feel of the film that stays with you. The scenes are more like carefully staged tableaux than moving images, in photo-like black and white with clean lines and a crispness that’s hard to describe. None of the characters are really fully formed, or at least we aren’t privy to their past and the experiences that make them what they are, but while being a little unsatisfying, it also adds a murkiness of sort to the feeling of recollection. For a while it seems like nothing more than a beautiful and interesting slice of life but eventually a parallel becomes clear, between the mother’s life and Cleo’s life, where both women are abandoned by their men and need to move forward with their lives. This is an incredible film from an artistic perspective, but I wish we could have lived inside the characters a little more. Even so, it’s a lovingly, carefully crafted work of art. (In theaters and streaming on Netflix.)

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[2018. 135 min. Written and directed by Alfonso Cuarón. Starring Yalitza Aparicio, Marina de Tavira, Diego Cortina Autrey, and Carlos Peralta.]
https://www.rogerebert.com/reviews/roma-2018

The Favourite

— “The Favourite” is a wonderful romp that may not be for everyone. If you liked “The Lobster,” you’ll probably like “The Favourite.” It’s a good deal more bawdy than I expected, maybe even a little vulgar, but it’s deliciously served up by three scheming women—Queen Anne herself, her closest friend, the Duchess of Marlborough, and the duchess’ cousin, Abigail. They are something of a political and erotic triumvirate in a world where women depend on men for titles and status and smart women know how to make use of men…and women. Their stories inside the palace touch on pride, loneliness, defeat, flattery, loss, humiliation, greed, envy, lust, and almost any other emotion imaginable. The film moves at a dizzying speed, then slows to savor a moment, and the person who has the upper hand keeps changing. It’s a world where men throw fruit as some poor, naked schmuck, there for their entertainment, or cheer at indoor goose races for fun. Women use their sexuality matter-of-factly, as just another charm in their arsenal, and the line between the affairs of state and of the heart is faint. The three women—Olivia Colman, Rachel Weisz, and Emma Stone—are outstanding and the pace and editing and music all are perfectly thought out. This is an odd film, but a very good one about the cost of going after power. It’s also one of the best films this year.

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[2018. 119 min. Directed by Yorgos Lanthimos. Starring Olivia Colman, Emma Stone, Rachel Weisz, Robert Harley, Joe Alwyn, and Mark Gatiss.]
https://www.rogerebert.com/reviews/the-favourite-2018

Mary Poppins Returns

— A surprisingly steadfast sequel with a measured blend of whimsy, merriment, nostalgia, and magic, that still isn’t quite right. I went in doubting Disney could pull it off, but a half hour into it I admit I was enjoying myself, realizing what an uncommon experience the original had been. The problem with the new film may be with the music which just doesn’t measure up, and the choreography sometimes is more “Moulin Rouge!” than “Mary Poppins.” I don’t think I’ve seen the original since 1964, but it’s clear the sequel takes care to mimic the story as much as possible; unfortunately, some variation might have been a better choice. The film is technically polished in every way, mostly enjoyable, and has a rousing finish, but it’s just missing the twinkle the original had. I am grateful Emily Blunt was chosen to ever-so-slightly morph Mary into the next generation, although I am less certain about Lin-Manuel Miranda as the lamplighter replacement for Dick Van Dyke’s chimney sweep. Meryl Streep’s song is a stand-out and the cameos by Van Dyke and Angela Lansbury reminded us the old folks still can charm an audience. I got my money’s worth, mostly thanks to Blunt.

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[2018. 120 min. Directed by Rob Marshall. Starring Emily Blunt, Lin-Manuel Miranda, Ben Whishaw, and Emily Mortimer.]
https://www.nytimes.com/2018/11/02/movies/lin-manuel-miranda-mary-poppins-returns.html

Dumplin'

— Another film to premiere on a streaming service (Netflix) with limited theatrical release. Willowdean (Danielle Macdonald) is the plus-sized daughter of Rosie (Jennifer Aniston), a former pageant queen who now runs the Miss Teen Bluebonnet pageant. Willowdean decides to enter the pageant in protest, creating a springboard for forming new bonds and gaining new understandings. Danielle Macdonald is perfect as the rebellious daughter and Aniston’s certainly up to the nuances of her role. There aren’t many surprises in the story, but the film is carefully done, touching on every lesson to be learned with a mix of humor and compassion. In the end, it’s an uplifting comedy that sounds a little sappy and almost is. It’s definitely a cut above the Lifetime and Hallmark channels. The Dolly Parton trope and songs are also an added bonus.

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[2018. 111 min. Directed by Anne Fletcher. Starring Danielle Macdonald, Jennifer Aniston, Odeya Rush, Maddie Baillio, and Bex Taylor-Klaus.]
https://www.rogerebert.com/reviews/dumplin-2018

The Ballad of Buster Scruggs

— Oh my! If you like quirky (I do), this is a film for you. It’s pretty to look at, with western vistas like hand-tinted postcards and characters looking and speaking almost as though they could be in a stage play instead of the western frontier. There’s a bit of Coen Brothers' love in each of the six fables that make up the film, feeling a lot like an homage to the classic western, but a satire too. The humor catches you off guard and sometimes results in a guffaw, sometimes a groan. The acting is polished, the script is crisp, and the direction precise. Some reviewers suggest that, in the current political context, there may be parallels between the unchecked power that exists in each of the fables and our own national situation. Violence in the Coens' west is commonplace and accepted, law is loose and unfettered, and society seems to turn a blind eye as the blood flows. Ignoring any political associations, it’s still an amazing film to watch and react to. I thought it was fun, but not everyone will. It’s also interesting as an example of the new phenomenon where theatrical and streaming release lines are fluid and blurred. [Netflix.]

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[2018. 133 min. Directed by Ethan Coen and Joel Coen. Starring Tim Blake Nelson, Willie Watson, Clancy Brown, James Franco, Stephen Root, Liam Neeson, Harry Melling, Tom Waits, Bill Heck, Zoe Kazan, Jonjo O’Neill, Brendan Gleeson, Saul Rubinek, Tyne Daly, and Chelcie Ross.]
https://www.rogerebert.com/reviews/the-ballad-of-buster-scruggs-2018

Beautiful Boy

— Viewed as an acting exercise, Timothée Chalamet is perfect in “Beautiful Boy” and Steve Carell continues his streak of talented portrayals. Carell is David Sheff, a California journalist whose son, Nic, once filled with promise, is now dealing with meth addiction. It’s a very personal film based on David and Nic’s separate books. Since it is so personal and looks at only one struggle, I was more easily drawn into the helplessness and frustration that are part of the realities of addition for both the addict and their family. This is a good film, showing the evolution of David and Nic’s relationship from one of easy-going, loving, wholesome innocence to isolation, anger, frustration and desperation. The criticism that this depiction fails to represent the large number of persons affected by addiction who come from a demographic that isn’t white and wealthy, and for whom far fewer treatment alternatives are available, may be justified, but this is only one story, not all stories, and addiction can affect anyone, not just people of color or the impoverished or disenfranchised. I liked the film, with its earnestness and its heights and depths, and the questions it raised about my own misconceptions about addiction. A friend of mine referred to it as an "emotional roller coaster" and it is, but it's worth the ride.

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[2018. 120 min. Directed by Felix van Groeningen. Starring Steve Carell, Timothee Chalamet, and Maura Tierney.]
https://www.rogerebert.com/reviews/beautiful-boy-2018

At Eternity’s Gate

— A visually glorious film with Willem Dafoe at his very best, working to convey the elusive essence of Van Gogh’s artistic experience. This is no easy task but director Julian Schnabel goes for it, focusing on the final two and half years of Van Gogh’s life, from meeting Gauguin for the first time just before he leaves Paris for the south of France and it’s crisp light, to his death in 1890. Carefully thought out direction and camerawork are on display at all times, often accompanied by brittle piano chords or violin music instead of dialogue. The camera sometimes seems to be jogging through fields and landscapes, moving at a heightened speed, with its vision blurring in and out of full focus. Through it all, Van Gogh paints and questions about beauty and god and art and eternity swirl around everything. That’s at least half the film and the other half punctuates the nonverbal flow, interspersing it with occasional conversations, actions, or incidents. These are less successful but do manage to harness the experience for viewers. In the end, I liked the film a lot and think it did help me to see what Van Gogh saw, something Van Gogh thought art should do. It was laboriously slow but worth it—if you don't look at the film in its entirety, you’ll get lost in the brushstrokes.

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[2018. 110 min. Directed by Julian Schnabel. Starring Willem Dafoe, Rupert Friend, and Oscar Isaac.]
https://www.rogerebert.com/reviews/at-eternitys-gate-2018

Green Book

— A nicely done film based on a story from 1962. Tony “Lip” Vallelonga needs a job for a couple of months when he’s out of work while his employer is closed for renovation. Tony’s a loud, opinionated, hair-triggered, fist-fighting, prejudiced Italian American, who ends up taking an unlikely but well-paying job as the driver for Dr. Don Shirley, a black pianist embarking on a concert tour in the Jim Crow south. The film follows the evolution of their relationship during an era when a published “Green Book” was necessary to guide travelling blacks so they could find lodging in areas where they weren’t welcome at many hotels and motels. It becomes a glimpse into that era of U.S. history, at the strength of friendship and family, at the value of respect, belonging and acceptance, and of making a difference in your own life and in the lives of others. This is a film for mass consumption so the images aren’t as gritty as you’d see in other films and the story line is less jarring, but that doesn’t negate its value. Viggo Mortensen is incredible as the almost-caricatured Tony and the pace is near perfect. It’s hard not to be reminded of “Driving Miss Daisy” since it’s kind of a working-class version in reverse, and in many ways its similarity also reminds us that friendship can and should be blind to color.

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[2018. 130 min. Directed by Peter Farrelly. Starring Viggo Mortensen, Manhershala Ali, and Linda Cardellini.]
https://www.rogerebert.com/reviews/green-book-2018

Wildlife

— Here’s a 1960’s family that’s more dysfunctional than most, making for a particularly disquieting viewing experience. Jerry’s a brooding, never-satisfied, often out of work piece of kindling to wife Jeanette, a smiling, cheery, ego-stroking companion who is far from happy and wants a better and easier life. Their 14-year-old son Joe witnesses their interactions in a state of confused worry, never certain what lies ahead but always trying to hang on to a family drifting apart. All three of them don’t seem to know how to adapt to current realities, affect the future, or remember no one is alone. Jake Gyllenhaal and Carey Mulligan, as Jerry and Jeanette, are both subtle, adept actors who can convey feelings beneath the surface and there’s a lot going on beneath the surface in this film. There’s also an artful directorial touch, making many of the scenes look more like still photos, perfectly staged and colored. There’s a slow unfolding of the story, moving perhaps at the same pace as the spreading of desperation in the characters’ hearts. It’s hard not to think the intent was to have Jerry and Jeanette somewhat equally represented in the tensions of the film but Gyllenhaal, more than capable of holding his own, is off fighting fires during a large portion of the film, leaving Mulligan’s acting power unharnessed and nearly taking over the film. It’s a good film but a little uneven. In the end, we remember Jeanette’s answer to the question "What happens to the animals out there during a wildfire?"—”They adapt, I suppose. The little ones get confused and burn up. I used to cry about it when I was a little kid. My father said that didn't help anything." And, I suppose, Jerry & Jeanette eventually do adapt. Luckily their son doesn't burn up, but he does grow dealing with a lot more than he should have to.

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[2018. 105 min. Directed by Paul Dano. Starring Jake Gyllenhaal, Carey Mulligan, and Ed Oxenbould.]
https://www.rogerebert.com/reviews/wildlife-2018

Our Souls At Night

— it would be enough to have Redford and Fonda back on the screen, oozing chemistry and making acting look easy, but this is more than just about two Hollywood icons in a Netflix film. When Addie knocks on Louis’ door, seemingly out of the blue, and asks if he’d like to like to sleep with her to deal with their loneliness, for companionship instead of sex, it’s a little shocking. He takes a day to think about it but then agrees to give it a try. Watching the cautious undertaking unfold while the small Colorado towns' residents catch wind of it, is tender and funny. Both of them may not have understood how shocking their arrangement might seem, but in the end, as they experience a kind of reawakening of their own spirits, they’re willing to press the issue and hope the town will adapt. Both Fonda and Redford bring a bit of Western independence to their roles as well as a soft gentleness, a combination that’s endearing. I enjoyed the film a lot, perhaps because of my age, but also because it’s a pretty good little film. [Netflix streaming.]

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[2017. 103 min. Directed by Ritesh Batra. Starring Robert Redford, Jane Fonda, Judy Greer, and Matthias Schoenaerts.]
https://www.rogerebert.com/reviews/our-souls-at-night-2017

Red Sparrow

— Jennifer Lawrence seems to be in a string of misses and “Red Sparrow” fits right in. The story itself works but the script isn’t quite right and the direction is really odd. There are plenty of perverse scenes that could have been great at the hands of Sidney Lumet or Brian De Palma, but Francis Lawrence seems to hold back, flattening the scene and leveling the progression of the film. It helps a film [DVD] that’s over two hours seem even longer than it is. It isn’t all bad and I did keep watching—even dulled it’s still a spy thriller with a bit of an edge!

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[2018. 140 min. Directed by Francis Lawrence. Starring Jennifer Lawrence, Joel Edgerton, Matthias Schoenaerts, and Charlotte Rampling.]
https://www.rogerebert.com/reviews/red-sparrow-2018

Can You Ever Forgive Me?

— The story of Lee Israel, an author of well-written biographies whose work is no longer desired. To make ends meet, she begins forging letters by literary notables and selling them as authentic. Melissa McCarthy’s perfect in the role, abandoning her usual shtick for something less physical and more reserved. Israel’s not a very likable person, preferring to interact with booze and her cat instead of with people. In fact, lonely and alienated, she’s downright prickly, feisty, and ill-tempered, but she knows how to write and the success of her clever forgeries gives her a sense of pride, and highlights her creative skills. Of course, misanthropic as she is, she manages to form a bond with another damaged soul, making for some interesting interactions. It’s a fascinating story but, more importantly, it deals with universal issues, reminding us there’s a bit of quiet desperation in everyone and more that a little in some, that everyone questions their self-worth and, in mid-life, feels they’ve accomplished neither what they expected nor what they should have and, eventually, that there may be value in human interaction. The film also benefits from a palette of comfortable colors and a circa 1990 Manhattan look and vibe, in addition to wonderful music. I'm glad I saw it.

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[2018. 106 min. Directed by Marielle Heller. Starring Melissa McCarthy, Richard E. Grant, and Dolly Wells.]
https://www.rogerebert.com/reviews/can-you-ever-forgive-me-2018

Boy Erased

— This isn’t an easy movie to watch and I wasn’t prepared for it’s wallop. It’s the story of a college-aged Baptist minister’s son whose parents, on learning he may be homosexual, decide to help him with conversion therapy. Lucas Hedges and Russell Crowe are perfect as the son and his father, but it is Nicole Kidman who shines as his mother, walking a shaky line between her husband, her faith, and her son. In the end, the film is as much about love and family as anything, and although it’s an indictment of conversion therapy, the familial kindness somehow softens those realities. No matter what, it’s hard not to wonder why only 14 states have passed laws to ban this horrible, discredited medical practice.

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[2018. 115 min. Directed by Joel Edgerton. Starring Lucas Hedges, Nicole Kidman, Russell Crowe, and Joel Edgerton.]
https://www.rogerebert.com/reviews/boy-erased-2018

Widows

— “Widows” is a very good film and much more than just an all-women heist film. Don’t think “Oceans 8” or many of the usual variety where there tends to be a bit of glitz and glamour, and characters who are all the best in their criminal specialties, often appearing to have a whole lot of fun as an intricate caper unfolds. Instead, almost everyone in “Widows” is somehow enmeshed or embroiled in one form of corruption or another. The “widows” have found themselves dropped in the middle of things when they lose their husbands, pretty much penniless, friendless, and without a parachute, so the heist they plan is driven by fear and need in a gritty world, and isn't just some clever scheme playing out in a classy world where everyone drinks martinis. Yes, the plot is intricate with plenty of twists and turns to keep the audience on its toes, but there’s a look of desperation, not smugness, as the widows with no criminal backgrounds do their best to get up to speed and pull off a complicated robbery. These are thieves with whom viewers can identify, not witty gadabouts and their clever pals. Viola Davis shines, as does almost everyone in the ensemble cast, and the entire fabric of the film is perfect, holding everything together while exploring several issues—political corruption, female empowerment, racial and ethnic issues, class distinctions, etc.—all at play in a corrupt and violent world. It was a treat to see this film, thanks in no small part to Gillian Flynn and the incredibly talented Steve McQueen.

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[2018. 129 min. Written by Gillian Flynn and Steve McQueen. Directed by Steve McQueen. Starring Viola Davis, Michelle Rodriguez, Elizabeth Debicki, Colin Farrell, Daniel Kaluuya, Liam Neeson, and Robert Duvall.]
https://www.rogerebert.com/reviews/widows-2018

The Girl in the Spider’s Web

— Let me say right off “The Girl in the Spider’s Web” is pretty good entertainment, just something of a let down compared to David Fincher’s “Dragon Tattoo” or the 2010 Swedish films based on Stieg Larsson’s “Millennium” series. The fact that the “Spider’s Web” book was commissioned by the Larsson estate and written by David Lagercrantz may have something to do with it and, honestly, wonderful as Claire Foy is, she seems a little more bewildered than vengeful. The story line itself is somewhat more direct than Larsson’s more meticulously convoluted narratives, but there are still enough twists and turns to be satisfying. What’s a little less satisfying is the underdeveloped characters—neither the main antagonist nor the NSA cyber security agent who helps Lisbeth are very interesting, except to move the action along. Luckily we know Lisbeth Salander and Mikael Blomkvist from earlier films but, unfortunately, Mikael doesn't have much to do in this film. In the end, I’d say this is perfectly acceptable entertainment, and that’s enough given the films in popular release the past few months.

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[2018. 117 min. Directed by Fede Alvarez. Starring Claire Foy, Sverrir Gudnason, Lakeith Stanfield, and Sylvia Hoeks.]
https://www.rogerebert.com/reviews/the-girl-in-the-spiders-web-2018

The Leisure Seeker

— Ella and John (Helen Mirren and Donald Sutherland) back their vintage Winnebago out of their driveway, embarking on a road trip without telling anyone. Their adult children are beside themselves, but this is a film with a decidedly “boomer” perspective. John’s a former college Literature teacher who’s suffering from Alzheimer’s disease and Ella's been diagnosed with something terminal, so this is there last stand and they’re choosing to live it on the road instead of in a assisted living facility. It’s a good idea for a film and Mirren and Sutherland are more than up for the task, but while the sentiment may be right, there’s something about the circumstances driving individual scenes that seem too contrived. There are plenty of tender moments but they just don’t move very gracefully toward anything but a prescribed ending. [DVD]

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[2018. 112 min. Directed by Paolo Virzi. Starring Helen Mirren, Donald Sutherland, Christian McKay, and Janel Moloney.]
https://www.aarp.org/entertainment/movies-for-grownups/info-2018/leisure-seeker-movie-review.html

Bohemian Rhapsody

— Queen’s music saves this film from being too long and too uninspired. Beginning with Queen’s standout performance at Live Aid 1985, it quickly jumps back to 1970 when Freddie Mercury is just becoming the lead singer in a band renamed “Queen.” The film dutifully takes us from that beginning to their later success, trying to focus on Mercury’s relationships with his family, his fellow band members, his wife, and his business associates, as he deals with his sexuality and growing fame. Unfortunately, the script needed another re-write or two and the scriptwriter needed to infuse a bit of sensuality in the film about a singer whose sensuality was part of his appeal. As it is, the film’s just dull and that’s hard to believe given how interesting Mercury’s public persona was. Luckily, the music infuses the film in large doses and it has the rhythm and enthusiasm the rest of the film lacks.

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[2018. 134 min. Directed by Bryan Singer. Starring Rami Malek, Lucy Boynton, and Ben Hardy.]
https://www.rogerebert.com/reviews/bohemian-rhapsody-2018

The Sisters Brothers

— This is an interesting film as all good Westerns can be, but it deals in a world of bloodshed and bravado, and sin and salvation. It’s the story of Charlie and Eli Sisters, brothers who work for a man known as the Commodore, tracking and finding those who have stolen from him or done him wrong, and killing those who get in their way. The brothers aren’t much alike, but they fit together well, need each other, and do their jobs well. The Commodore’s hired a detective, John Morris, to find a chemist named Herman Warm, and detain him until he can be delivered to Charlie and Eli who are on their way to meet him. Before they arrive, Morris and Warm realize they make better friends than enemies, forcing Charlie and Eli to track them farther. Once Charlie and Eli have them in cuffs, circumstances arise to make then reconsider the situation and all four men band together, forcing the Commodore to dispatch new men to find them. All four men seem a little too educated and think a little too much about their place in the world and, as the film progresses, so does each man’s understanding of himself, his past, and the future that may be available to him. The acting is fantastic but it took me a bit to get used to the dialogue which seems a little high-brow at first. Once I settled in, its quirkiness seemed more normal and I enjoyed the ride.

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[2018. 121 min. Directed by Jaques Audiard. Starring John C. Reilly, Joaquin Phoenix, Jake Gyllenhaal, and Riz Ahmed.]
https://www.rogerebert.com/reviews/the-sisters-brothers-2018

Roman J. Israel, Esq

— I watched this on DVD and was fascinated by Denzel Washington’s performance—one for which he was nominated for an Academy Award—because he’s everything we’ve come not to expect of his characters. Roman J. Israel is an overweight, sloppy, shuffling, introvert. Unfortunately, it’s hard to know what the rest of the film is. Not exactly a courtroom drama, not fully an ethical dilemma or a legal expose, although it toys with being these things as it flounders. The film has a lot of problems, but Denzel’s performance is good.

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[2017. 122 min. Written and directed by Dan Gilroy. Starring Denzel Washington, Colin Ferrell, and Carmen Ejogo.]
https://www.rogerebert.com/reviews/roman-j-israel-esq-2017

The Old Man and the Gun

— I enjoyed “The Old Man and the Gun," a fairly light film with a great cast, mostly based on a true story, that just requires you to go along for the ride with no need for additional thought or introspection. The film flows well, thanks to some judicious editing and a decent narrative but, as much as anything, thanks to Redford’s charisma which hasn’t dimmed anymore than the twinkle in his eyes over all these years, and still almost overshadows his acting abilities to say nothing of Sissy Spacek’s considerable talent. It may not be his best film, but it’s enough to make anyone wish he hadn’t retired from film acting.

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[2018. 93 min. Directed by David Lowery. Starring Robert Redford, Casey Affleck, Sissy Spacek, and Danny Glover.]
https://www.newyorker.com/culture/the-front-row/review-the-old-man-and-the-gun-is-a-peak-in-robert-redfords-career

The Hate U Give

— I’ve seen my share of films thematically linked to the Black Lives Matter movement and, from my perspective, whether fiction and documentary, most have communicated an anger and righteousness without encouraging much understanding. “The Hate U Give” is different. 16-year-old Starr lives in a black neighborhood but her parents have sent her to a mostly white, privileged high school in an affluent part of town. To fit in, she has adopted two distinct personalities, one for her white high school crowd and the other for her neighborhood friends. When she leaves a party one night with a long-time friend and a policemen stops their car, Starr does everything her father had coached to do if ever stopped but her friend doesn’t and, reaching for his hairbrush, the policeman thinks he’s going for a gun and shoots him. As the only witness to his death, Starr’s ability to put on two separate faces becomes more difficult until, eventually, she becomes her own person. “The Hate U Give” is based on a young adult novel, and it personalizes the story, pulling viewers into Starr’s life and managing to actually give viewers a sense of her journey from striving to fit in to speaking out, from living on the edge to tackling the problem. In the process, privileged, white viewers like me really do get a better sense of what’s going on, but with the anger and frustration directed more at the fact we’ve all ended up at this place. Instead of focusing on blame, viewers can focus on affecting a change. Amandla Stenberg is fantastic and, while the film doesn’t look at every injustice or the full history of institutional racism, it does what films do best and provides a way for viewers to step into the environment, not just view it from afar.

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[2018. 133 min. Directed by George Tillman Jr. Starring Amandla Stenberg, Regina Hall, Russell Hornsby, and Anthony Mackie.]
https://www.nytimes.com/2018/10/03/movies/the-hate-u-give-review-amandla-stenberg.html

First Man

— The story of Neil Armstrong’s path to becoming the first man to walk on the moon, in Damien Chazelle’s hands, is a personal story of the inner thoughts and fears with which Armstrong struggles as much as of the national race to the moon. It’s at its best when dealing with the Gemini and Apollo missions, able to provide a realism that’s often nerve-racking, emphasizing the fragility of our space efforts and our own significance in the larger world. On earth, the film isn’t quite as good when looking at family and friends, perhaps because the cadence just seems a little off. In the end, it does a great job of making us question the costs associated with the space race both on a personal level and as a nation. I liked the film’s look and intent a little more than the film itself.

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[2018. 141 min. Directed by Damien Chazelle. Starring Ryan Gosling, Claire Foy, Jason Clarke, and Pablo Schreiber.]
https://www.rogerebert.com/reviews/first-man-2018

Phoenix

— “Phoenix” wasn’t even on my radar when it was released a few years ago but I’m glad I checked it out on DVD this past weekend. It’s a noir, “doppelganger psychodrama” set in post-WWII Berlin. Nelly makes it out of Auschwitz but with a badly disfigured face and her friend, Lene, gets her to a clinic for reconstructive surgery. Although she could choose any face she wants, she wants her old face back so she can reclaim the life she had before the war when she was a singer and married to pianist Johnny. Lene, who works in the Hall of Records, thinks Johnny betrayed Nelly to the Gestapo to save his own life, and then divorced her during the war. Johnny wants only to erase the past, Nelly wants only to return to it, and Lene wants Nelly to go to Palestine with her where they can start a new and totally different life. At the same time, Germany is quickly rebranding itself, burying the Nazi past in favor of a more democratic future. When Nelly is released from the clinic, she finds Johnny working at the “Phoenix” club but he doesn’t recognize her, or at least not exactly. He senses something familiar, something similar, and later enlists her help to let him transform her into his wife so they can claim and split her estate, now a hefty sum since she is the only survivor in her family. And so it is that Nelly ends up impersonating a stranger impersonating herself, and the pieces are in place for a consideration of identity, love, betrayal, survival, denial, hope, and healing. It’s a beautiful, suspenseful film, and a touching one as well, that could easily have focused on betrayal and the plot to get Nelly’s inheritance. Instead, the focus is squarely on the emotions of the characters as they maneuver in the complicated post-war times. It’s tightly crafted and acted, and ends on a perfect note, literally.

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[2014. 98 min. Directed by Christian Petzold. Starring Nina Hoss, Ronald Zehrfeld, and Nina Kunzendorf.]
https://www.rogerebert.com/reviews/phoenix-2015

A Star Is Born

— This may be the film industry’s “tale as old as time.” It says something about a story that it holds up even when retold for each generation, for it’s quite a feat to make it feel fresh time and time again. Somehow actor and first-time director Bradley Cooper manages to do just that and quite a bit more. Lady Gaga, whose musical talent is already legendary but whose acting depth had yet to be fully challenged, is amazing. Cooper, as the alt-Country superstar who's reached the height of his career, is perfect. They both do their jobs well, one star about to fall while the other is ready for her meteoric rise, but it is the overall tone, the amount of restraint as the story builds, and the believable chemistry between the actors that makes everything work. This version, in a nod to gender relationship changes over recent decades, eliminates the resentment felt by the male leads in previous versions and instead the point of conflict comes from Gaga’s character making it as a pop star instead of remaining true to herself. The first half of the film is almost perfect and, although the second half has a few problems, by then we’re in the palms of their hands, ready to believe and feel the fairy tale. If you like this kind of film, you'll like it.

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[2018. 135 min. Directed by Bradley Cooper. Starring Lady Gaga, Bradley Cooper, Sam Elliott, and Andrew Dice Clay.]
https://www.rogerebert.com/reviews/a-star-is-born-2018

McQueen

— I’m not a haute couture kind of guy and I don’t have a keen interest in the fashion industry but “McQueen” was still worth seeing. It’s a fascinating portrait of Alexander McQueen’s fragile spirit and his creative work told in chapters that chronicle his artistic growth and achievements as his personal demons and struggles also grew. Of particular interest to me was the sheer artistry of his fashion shows and his ability to be so creative while never losing sight of the bottom line and making sure his companies stayed financially stable. There was something truly energizing in his focus on the interaction his shows had with his audience, making the audience one with the artistic experience, not just viewers of a traditional fashion show. Sadly, in the end, he was another creative spirit burning hot and fast and dying too soon.

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[2018. 111 min. Directed by Ian Bonhote and Peter Ettedgul.]
https://www.rogerebert.com/reviews/mcqueen-2018

A Simple Favor

— As comedy-thrillers go, this one’s pretty good. Of course, given what’s playing at the local cineplex this time of year, my bar may be lower than usual. In a way, it’s the kind of film we used to see with some regularity. No political message, no religious undertones, no pivotal point testing the main character’s mettle, no physical or juvenile comedy, not even any whiz-bang special effects. Instead, it’s a light thriller where Stephanie, a gung-ho soccer mom type, and Emily, a glamorous, martini-drinking, big-city working mom, form something of a friendship. Emily asks Stephanie to pick up her son after school when she’s running late at work and promptly disappears. From then on, the plot thickens and it really is one plot twist after another, but it doesn’t get overly complicated, obviously not wanting to confuse the audience, only to keep them guessing. All three actors—Anna Kendrick, Blake Lively, and Henry Golding—are very good, and Paul Feig is admirably restrained, doing a great job of adding a bit of humor every now and then. If you go, you’ll also notice the titles are fun—an obvious throwback to lively film titles from fifty years ago!

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[2018. 117 min. Directed by Paul Feig. Starring Anna Kendrick, Blake Lively, and Henry Golding.]
https://www.rogerebert.com/reviews/a-simple-favor-2018

The Wife

— I was happy to finally see a film for adults after a summer of films, if not marketed toward adolescents, mostly geared toward anyone and everyone. “The Wife” is a slow, intimate reveal of the history and workings of a 40-year marriage that has reached an achievement point. Joe Castleman is awarded the Nobel Prize for literature and he, his wife Joan, and their son head to Stockholm to receive the prize. A series of flashbacks as the trip unfolds gives us a glimpse into the bargains and deceptions made by the couple over the years as they patched together a strained relationship, a family, and a life that all looked pretty good on the surface. It’s not a perfect film, but it’s a fine film made great by Glenn Close's measured performance where pursed lips, a careful glance, or a turn of her head are all it takes to let you know what’s she’s feeling and to convey the emotional toll of years of concessions. I recommend it!

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[2017. 100 min. Directed by Bjorn Runge. Starring Glenn Close, Jonathan Pryce, Christian Slater, and Max Irons.]
https://www.rogerebert.com/reviews/the-wife-2018

Searching

— “Searching” really is a thriller with a different perspective. The story centers on a daughter who’s gone missing and the efforts by her father and a police detective to find her. In the process, her father realizes he didn’t know his daughter very well so he starts a journey through her social media accounts and internet past. Most of the film's visuals become the screens he calls up on his journey and, aside from a few face-to-face meetings, the only real dialog comes in the form of FaceTime conversations, text messages, and archived videos. Add to that Reddit and Facebook and YouCast exchanges and images, and iPhone or laptop screens become the main character. Luckily, it’s done well and takes the viewer through plenty of suspenseful clues and plot twists. John Cho and Debra Messing both do their parts well. I expected a gimmicky film but got a pretty decent mystery/thriller with a unique plot device.

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[2017. 116 min. Directed by Todd Haynes. Starring Oakes Fegley, Julianne Moore, Michelle Williams, and Millicent Simmonds.]
https://www.rogerebert.com/reviews/searching-2018

Wonderstruck

— This is a beautiful film [DVD] with an interesting story of two deaf children, each coming to New York a half century apart. The details are wonderful and the actor now their stuff. It’s a journey to find their place in the world and Todd Haynes adds his customary sensitivity to the film, giving it a glow and a beauty as they characters make their way. With Haynes, I always feel like I’m watching his love story with the film and that may be what makes his films so satisfying. This one seems a little off in the end, but still a joy to watch.

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[2017. 101 min. Written and directed by Woody Allen. Starring Kate Winslet, Justin Timberlake, Jim Belushi, and Juno Temple.]
https://www.rogerebert.com/reviews/wonderstruck-2017

Crazy Rich Asians

— This is the kind of film you have see so you know what all the hubbub’s about. In a way, it’s just another romantic comedy with a Hallmark movie plot—true love triumphs over incredible odds and the girl gets the guy and his immense wealth. The thing is, it’s an all-Asian film with no martial arts and its grossing well by attracting non-Asian audiences. In a medium where Asians have traditionally been underrepresented, it’s a step forward to have a film that seems to transcend races. When you see it, you are seeing a romantic comedy with Asians, not an Asian film. When love, cultures, and classes collide, it helps that the film’s fun, entertaining, sometimes touching, and well done. I won’t be thinking much about this tomorrow, but it was a fun couple of hours watching it and it could be the start of more diverse representation in film going forward.

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[2018. 120 min. Directed by Jon M. Chu. Starring Constance Wu, Henry Golding, and Michelle Yeoh]
https://www.nytimes.com/2018/08/14/movies/crazy-rich-asians-review.html
http://time.com/longform/crazy-rich-asians/