Best of 2019

— Here are my twenty favorite films from 2019, including two I haven't seen yet but feel pretty confident they won't disappoint me. I've boldfaced my five favorites:

• "Ad Astra"
• "Booksmart"
• "The Farewell"
• ”A Hidden Life"
• "The Irishman”
• "Jojo Rabbit"
• "Knives Out"
• ”The Last Black Man in San Francisco"
• "The Lighthouse"
• "Little Women"
• "Marriage Story"
• "The Mustang"
• "1917"
• "Once Upon a Time…in Hollywood"
• ”Pain and Glory"
• ”Parasite"
• "The Peanut Butter Falcon"
• ”Richard Jewell"
• ”The Souvenir"
• ”The Two Popes"

Five other films just missed the list:

• ”Bombshell"
• ”Judy"
• ”Midsommar"
• "Uncut Gems"
• "Us"

Had I included documentaries and quasi-documentaries, six would have been in or almost in the list:

• ”American Factory"
• ”Apollo 11"
• ”The Biggest Little Farm"
• ”Knock Down the House"
• ”Linda Ronstadt: The Sound of My Voice”
• ”One Child Nation”

The Aeronauts

— One of those films where likable actors make you think you’re in for something better. Eddie Redmayne plays a scientist who dreams of making meteorology a legitimate field and Felicity Jones plays the widowed, idealistic aeronaut, eager to soar upwards instead of following the path traditionally mapped out for Victorian women. The two end up in a hot air balloon for most of the CGI-heavy film, becoming gaga over their environment and each other, as they journey higher than anyone had been before and figure out "you don't change the world simply by looking at it; you change it through the way you choose to live in it." It’s pleasant enough, but nothing special. [Amazon Prime streaming.]

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[2019. 100 min. Directed by Tom Harper. Starring Felicity Jones, Eddie Redmayne, and Himesh Patel.]
https://www.rogerebert.com/reviews/the-aeronauts-movie-review-2019

Little Women

— Greta Gerwig’s “Little Women” is filled with all the positive values of sacrifice, generosity, love, honesty, forgiveness, etc., we’ve come to associate with Alcott’s novel about four, free-spirited sisters coming of age in an age when those who married well, did well. This version dwells on gender inequality a little more than I remember from previous versions, but I may only now have begun to question if there was more to the rebellion seen in behaviors I previously thought of as just part of being a “tomboy.” The messages conveyed are positive, the acting first rate, and the cinematography is gorgeous. This is good film and one you’ll enjoy.
     I saw it the day after seeing “Uncut Gems” and was struck that two such vastly different films were both released on Christmas Day, wondering just how diverse the Christmas Day market is.
     I was lucky enough to see "Little Women" from a 35mm print where black is black and every color seems more vivid, something we’ve forgotten in the digital age where cheaper production has encouraged new voices and wider distribution, but at a cost to viewers since the large majority of theaters just don't seem to have projectors with resolutions that can hold a candle to film.

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[2019. 134 min. Directed by Greta Gerwig. Starring Saoirse Ronan, Emma Watson, Florence Pugh, Eliza Scanlen, Laura Dern, and Timothee Chalamet.]
https://www.rogerebert.com/reviews/little-women-movie-review-2019

Atlantics

— [Netflix streaming.]

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[2019. 106 min. Directed by Mati Diop. Starring Mame Bineta Sane, Amadou Mbow, and Traore.]
https://www.rogerebert.com/reviews/atlantics-movie-review-2019

Uncut Gems

— Adam Sandler deserves the rave reviews he’s been getting for this film but, after watching it, I was exhausted and felt like I needed a shower. It’s a throwback to 1970’s filmmaking, with that gritty New York edge where everyone’s moving quickly, shouting, and cursing. Sandler’s character is a brash, Jewish, jewelry store owner who is always just seconds away from being discovered for juggling too many promises with too little to back them up. His gambling habit and poor luck leave him constantly trying to keep a step ahead and not always succeeding. It’s a film with flawed and not very likable people living in a world you remember in black and white even if it’s a color film. It’s harsh and chaotic with lots of quick cuts, close-ups, and multiple conversations on vying for your attention, spiraling toward a conclusion that only seems expected after the fact. The film depends on Sandler, but the Safdie brothers make sure everything else fits too. I wouldn’t say I “liked” the film, but I admired it. It’s worth mentioning that Martin Scorsese is an executive producer.

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[2019. 135 min. Directed by Benny Safdie and Josh Safdie. Starring Adam Sandler, Julia Fox, and Kevin Garnett.]
https://www.rogerebert.com/reviews/uncut-gems-movie-review-2019

Bombshell

— With Charlize Theron, Nicole Kidman, and Margot Robbie, you get a film where the actors put their all into the characters and, in this case, those characters are Megyn Kelly, and Gretchen Carlson, along with Kayla Pospisil, a fictional Fox employee. The three women become the focus of this based-on-fact telling of Fox founder Roger Ailes’ fall after being exposed as a sexual harasser. The story is a good one, and one of the first of the news and entertainment industry scandals, but there’s something a little off about the film. It’s a wonderful script with some of the same feel as “The Big Short,” a film co-written by the screenwriter of “Bombshell.” Unfortunately, “Bombshell” probably needs fewer attempts at humor and less narration. After all, this is a cast that’s more than up to conveying a dramatic moment. Sadly, the women are also left a little too removed from the audience so they come off as somewhat unfeeling, instead of giving us a deeper look into their hearts. These aren’t terrible things, but enough to keep “Bombshell” off my “top 20 of 2019” list. It’s still well worth seeing and it’s a good film, just a little disappointing given the talent and the story.

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[2019. 108 min. Directed by Jay Roach. Starring Charlize Theron, Nicole Kidman, Margot Robbie, and John Lithgow.]
https://www.rogerebert.com/reviews/bombshell-movie-review-2019

Star Wars: The Rise of Skywalker

— There’s a reason they’ve been churning out Star Wars episodes for forty years and it’s not just because the CGI is good and the weird creatures and droids are cute. Above all, they give you characters you care about and a good story. “The Rise of Skywalker” is about what I expected—fantasy, fun, and basic values making me feel like I'm settling into a comfortable easy chair. I’m not so heavily invested in everyone’s lineage that backstory-building side trips are important to me, but in Star Wars-land, such forays are still interesting and help push people back and forth between the light and dark sides of the “Force,” often thanks to memories more vivid than any I’ve ever had as well as “Force Ghosts” popping up when they're needed the most. Every two or three years, when a new one arrives in theaters, I find myself enveloped in the world George Lucas originally set into motion, and it’s “real” again for a few hours of immersion. This one is no more exceptional than the last one, but that’s not a bad thing. Oh, and it's kind of a nice nod to its beginnings that the first two credits go to Carrie Fisher and Mark Hamill.

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[2019. 141 min. Directed by J.J. Abrams. Starring Daisy Ridley, Adam Driver, John Boyega, Oscar Isaac, and Anthony Daniels.]
https://www.rogerebert.com/reviews/star-wars-the-rise-of-skywalker-movie-review-2019

The Two Popes

— This is an unexpectedly thoughtful film, although I’m not sure how an individual viewer’s Catholic bias might affect their take on the story. For me, it’s an interesting look inside a corner of the Vatican, as well as the differing theological core the two men—Popes Benedict XVI and Francis—have. A clever script and outstanding acting hold center stage, and without them we wouldn’t get a picture of the seemingly unlikely growth of their relationship, their passion and concern for their flock, or their own personal fallibility. It’s certainly fictionalized, but it’s hard to know how close it comes to the flavor of their actual relationship. The scholarly sparring between conservative and liberal is engaging and, as they begin to understand each other, their opposing views give way to common ground. It’s an excellent film and, if I had to fault it in any way, I’d say the subtitles, when Italian or Latin is spoken, are sometimes difficult to read and probably very difficult if viewing on a personal device. [Netflix streaming.]

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[2019. 125 min. Directed by Fernando Meirelles. Starring Jonathan Pryce and Anthony Hopkins.]
https://www.rogerebert.com/reviews/the-two-popes-movie-review-2019

6 Underground

— If you can make it through the first 15 interminable minutes of car chase, and then a bit of back and forth in time to introduce the idea, it becomes a perfectly mediocre action film. The story is okay, with Ryan Reynolds displaying his signature sarcastic cuteness. There’s a little gratuitous blood-letting every half hour or so, in case you’ve grown immune to the frenzied, Michael Bay pace and, in the end, a group of antisocial, self-appointed agents succeeds is staging the overthrow of a government while getting in touch with their softer selves. Sigh. There are plenty of spy films that do a much better job than this tired one. [Netflix streaming.]

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[2019. 127 min. Directed by Michael Bay. Starring Ryan Reynolds, Melanie Laurent, Manuel Garcia-Rulfo, Ben Hardy, Adria Arjona, and Dave Franco.]
https://www.rogerebert.com/reviews/6-underground-movie-review-2019

The Report

— “The Report” is a low-key, slowly building depiction of Daniel J. Jones’ 5-year, post-911 investigative efforts after Senator Diane Feinstein put him in charge of a Senate Intelligence Committee to evaluate the implementation of Enhanced Interrogation Techniques. What evolves is an interesting look at the questions of ends justifying means, at the pressures elected politicians face, at the line whistleblowers walk between patriot and traitor, at the dangers inherent in losing control, at the value of separation of powers, and at the responsibility of government to exemplify the nation’s values. The film lacks some pizzazz, and there are scenes depicting torture that, while brief, are still difficult to accept. It ends, not exactly with a patriotic flourish, and not exactly with the resolution we might want, but more softly and probably with a more realistic reveal. The film has it’s flaws, but Adam Driver does a fine job at Jones and Annette Bening does an outstanding job as Feinstein. I watched on a snowy day and it was a fine way to avoid the weather. [Amazon Prime streaming.]

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[2019. 119 min. Written and directed by Scott Z. Burns. Starring Adam Driver, Annette Bening, and Jon Hamm.]
https://www.rogerebert.com/reviews/the-report-movie-review-2019

Richard Jewell

— Eastwood does straight-forward films and I like that. He knows how to let characters develop and events unfold without rushing back and forth in time, and he ends up with films that are paced well. It’s just good film making and, with films like “Richard Jewell,” layered in such a way that at the end, there are lots of issues for viewers to consider. Jewell is something of a common man and certainly no hero, but he comes with many characteristics too many people make fun of—he’s overweight and has few friends, he wants to be a policemen and just doesn’t seem to have what it takes, he still lives with his mother, and the list goes on, but he means well and tries hard. The problem, of course, is that the story picks up not as he is bullied on the playground, but as an adult and by the FBI and the press. Jewell’s life is forever changed, not by truth, but by reporting and ethics gone awry. The film tells the story of Jewell and his mother and the whirlwind that swept around them when it shouldn’t have. By the end it’s hard not to think about the shift away from news reporting to opinion pieces, and away from factual pieces to those filled with suggestion and supposition, and to wonder how much worse it could have been today with social media mobs dispersing half-truths and adverse emojis. Mixed with that is the government’s treatment of Jewell, and their total disregard for his rights, and to wonder how much worse it would have been today, knowing the direction our government has taken. It’s hard to see the film, even knowing the story’s been fictionalized with aspects included that never happened and with gaps filled in for the sake of continuity, and not be a little appalled by what happened then and a lot worried about what could happen now. It’s a good film and worth seeing despite issues raised by its depiction of the journalist who broke the story.

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[2019. 129 min. Directed by Clint Eastwood. Starring Paul Walter Hauser, Sam Rockwell, Jon Hamm, Olivia Wilde, and Kathy Bates.]
https://www.rogerebert.com/reviews/richard-jewell-movie-review-2019

Dolemite Is My Name

— I avoided this film for a while, sensing something inherently worrisome in the title. Eddie Murphy shines as Rudy Ray Moore and, pretty quickly, squelched my fears. I felt a slight twinge at the very beginning when his initial narration reminded me of his SNL Buh Wheat character, but that was just a flash and shifted once things got rolling. Moore is a failed singer/comic who ends up adopting a foul-mouthed, sex-crazed stand-up character called “Dolemite” and, eventually, makes his own, low-budget Dolemite film in the 1970’s Blaxploitation genre, believing the only things his audience wants in a film are comedy, nudity, and kung-fu. The thing that’s interesting is that Murphy resists taking the character to that of a caricature, and the more realistic view makes our view of Blaxploitation a little more difficult 40 years later. Looking at Moore, we’re struck by his focus and his ability to follow his dream and excite others to get on board with him. But we know Blaxploitation films tended to portray black people in unflattering rolls—pimps, drug dealers, prostitutes—and to keep a separation between blacks and whites, but audiences also saw more black people on the screen including some who were heroes or antiheroes (Superfly, Shaft). You have to wonder how the films affected black audiences. Did they mostly cause them to see their futures as pimps and drug dealers, or catch the black power vibe and believe they could be heroes. Did the films only fuel the flames of bigotry for white audiences, or at least introduce them to a world that isn’t only white? “Dolemite” is not a great film even if Murphy’s part in it is great, but the introspection viewer's have can’t help but make us see the past a little differently and maybe broaden our understanding of what we are today. [Netflix streaming.]

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[2019. 117 min. Directed by Craig Brewer, Starring Eddie Murphy, Keegan-Michael Key, and Mike Epps.]
https://www.rogerebert.com/reviews/dolemite-is-my-name-2019

Marriage Story

— This feels like a very personal look at a breakup from the perspective of each person’s individual pain, confusion, and evolution, more than from a couple’s perspective. Although there are a few scenes of loud anger and a couple of very sharkish attorneys stirring the pot (Laura Dern is perfect), for the most part its more an implosion than an explosion for a couple who at their core want to find the best path for their son and their individual souls so they can build new lives on the other side of marriage, after coping with the tidal wave of divorce that seems to take on a life of its own. Adam Driver and Scarlett Johansson are exceptional, making it easy to feel their pain and confusion, and making it a film well worth seeing. [Netflix streaming.]

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[2019. 136 min. Written and directed by Noah Baumbach. Stqarring Adam Driver, Scarlett Johansson, Laura Dern, Ray Liotta, Alan Alda, and Azhy Robertson.]
https://www.rogerebert.com/reviews/marriage-story-2019

The Irishman

— I finally carved out three and a half hours to watch “The Irishman” and see if all the hubbub’s deserved. It is. Scorsese and his acting pals pulled off an extraordinary film, albeit a lengthy one, focused on a mob hit man’s look back at his life. There’s not much wrong with the basics—Scorsese sets a perfect mood throughout, the tale is interesting and written well, and the acting is amazing—but haven't we already seen plenty of top tier mob films? A few things set this one apart, making it even more worth seeing. On a technical side, the use of CGI for reverse aging is something new and incredible. Flashbacks going back as many as thirty years are probably half the film, and De Niro, Pacino, and Pesci are miraculously transformed as need be. Even better, you can detect slight changes in things like posture, quickness, or excitability depending on the age they're portraying, attesting to their skills as actors and to Scorsese’s remarkable direction. Looking at the story, although the historical events occurring in the background and affecting the action seem to drive the plot, the film is really about the relationships of the three primary characters, about a long-term friendship and ultimate betrayal. There's a dreamlike quality to the film, but with matter-of-fact recollections that, taken together, form a portrait of each person that could only exist when an entire life is considered. I would have liked the film to be quite a bit shorter, but I can see how it ended up being so long, understanding a shift that’s happening as a result of streaming, allowing directors to edit a film to the length they believe is best, not based on theater or television time constraints. It's one of those films where all the pieces fit together perfectly and, at the end, you sit back and say "aah" with a satisfied grin on your face as the credits roll. Some people avoid gangster films, but if you don’t, this is “must see” material. [Netflix streaming.]

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[2019. 209 min. Directed by Martin Scorsese. Starring Robert De Niro, Al Pacino, Joe Pesci, Harvey Keitel, Ray Romano, and Bobby Cannavale.]
https://www.theguardian.com/film/2019/nov/10/the-irishman-review-martin-scorsese-robert-de-niro-al-pacino-joe-pesci-netflix

Pain and Glory (Dolor y Gloria)

— This is a very good film and a reminder just how talented Pedro Almodovar is. It’s the story of a fairly famous, aging film director whose physical and psychological ailments have sidelined him from writing and directing. Feeling alone and depressed, and with too much time on his hands, he looks not just at his present but at his life as an entirety. I can’t think of a film that's done a better job of letting past and present exist together, and of easily moving from one to the other. It’s a soft-edged bit of memory, but vivid as well thanks to some gorgeous cinematography and set design. Because it does slip across decades, there’s some shifting of perceived reality going on and the potential to question past decisions, to wonder if the person you are in the present is the result of the path taken in the past, or if you are simply the only person you could be. For those who still think of an endless road ahead, it may be a less satisfying journey, but those who have looked back at all the pivotal and often painful times in their lives and gathered emotional strength by putting the experiences behind them and yet valuing the experiences as part of them, will appreciate the tone and fluid nature of time that comes through in the story. Antonio Banderas’ nuanced portrayal of the main character deserves special note as well.

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[2019. 113 min. Written and directed by Pedro Almodovar. Starring Antonio Banderas, Asier Etxeandia, Leonard Sbaraglia, and Penelope Cruz.]
https://www.rogerebert.com/reviews/pain-and-glory-2019

Ford v Ferrari

— I’m not a racing fanatic, but I still enjoyed this film. Luckily, I’m also not an auto mechanic or racing historian since there’s evidently plenty of fiction to go with the facts in the telling of Ford going up against Ferrari and winning at Le Mans in 1966. Whatever’s true and not, the film’s a tad slow setting the stage but once it gets going, it moves along with about the right mix of racing footage, emotion, and conflict. It’s interesting to see the motivation attributed to Henry Ford II’s decision to throw as much money as it took toward the project, as well as the internal politics at Ford, all the while painting a more righteous picture of Carroll Shelby and his somewhat combative friend, driver Ken Miles. It ends up more a look at the character of the men involved in the battle than of the event itself…and that’s a good thing, particularly when two very competent actors are playing Shelby (Matt Damon) and Miles (Christian Bale).

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[2019. 152 min. Directed by James Mangold. Starring Matt Damon, Christian Bale, Jon Bernthal, Caitriona Balfe, and Josh Lucas.]
https://www.rogerebert.com/reviews/ford-v-ferrari-movie-review-2019

Knives Out

— If you like a good “whodunit,” this is for you. It’s a wonderful plot woven with a deft hand, and a pretty remarkable cast that includes the likes of Daniel Craig, Chris Evans, Jamie Lee Curtis, Michael Shannon, Don Johnson, Toni Collette, and Christopher Plummer. No need to look for layers of meaning here, just sit back and enjoy the twists and turns as all becomes revealed. I had fun watching it and was happy for a well-done diversion.

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[2019. 130 min. Written and directed by Rian Johnson. Starring Daniel Craig, Chris Evans, Ana de Armas, Jamie Lee Curtis, Michael Shannon, Don Johnson, Toni Collette, LaKeith Stanfied, and Christopher Plummer.]
https://www.rogerebert.com/reviews/knives-out-2019

A Beautiful Day in the Neighborhood

— This is a perfectly lovely film, but disappointing too since it wasn’t exactly about Mr. Rogers. Don’t get me wrong, Tom Hanks is wonderful as Fred Rogers and both on-air and off-air moments featuring him are a joy, but the main character is really Lloyd Vogel, a writer for “Esquire” whose interviews with Mr. Rogers bring to the surface long-smoldering feelings for his father, and a friendship evolves as Vogel comes to terms with his feelings, learns to forgive, and to move forward. It’s a fine story and worth seeing but, if you really want to experience the man whose kindness and love changed a generation, find a way to see “Won’t You Be My Neighbor,” Morgan Neville’s wonderful 2018 documentary that reminds us how important honesty, civility, and gentleness can be.

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[2019. 108 min. Directed by Marielle Heller. Starring Tom Hanks, Matthew Rhys, Chris Cooper, and Susan Kelechi Watson.]
https://www.rogerebert.com/reviews/a-beautiful-day-in-the-neighborhood-movie-review-2019

Parasite (Gisaengchung)

— “Parasite” is one of those films that’s probably better when you don’t know much about it. It’s been called a “dark satire of class divide” and a “South Korean class warfare thriller,” both good descriptions. One family ingeniously scams another, offering ample room for some dark humor, with enough deception to keep everyone on their toes, actors and audience alike. The audience is easily sucked in, becoming enthralled with the characters’ overlapping lives as the story evolves and the plot twists and turns. When its over, you know you’ve seen a witty and caustic film that is perfectly crafted by a masterful director. You also realize you’ve seen wealth and poverty from different angles, but still don’t know who the “parasite” really is.

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[2019. 132 min. Directed by Bong Joon Ho. Starring Kang-ho Song, Sun-kyun Lee, Yeo-jeong Jo, and Woo-sik Choi.]
https://www.rogerebert.com/reviews/parasite-movie-review-2019

The Good Liar

— Even with two talented actors like Helen Mirren and Ian McKellen, it’s possible to make a disappointing film, and that’s exactly what “The Good Liar” is—disappointing. The story itself has plenty of twists and turns, but the script gives away most of the surprise during the long, dull, first half. Then, when it does end after thankfully picking up the pace for the last half hour, it offers a rationale for the actions that seems so random you can’t help but wonder if there are other versions playing in other theaters, each with another rationale for the characters’ actions, and maybe one of them actually meshing with what came before. In spite of itself, it’s still fun to watch Mirren and McKellen charm, spar, tease, flirt, and connive, but sad as well, to think that two such talents can’t find better scripts than this.

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[2019. 109 min. Directed by Bill Condon. Starring Helen Mirren, Ian McKellen, Russell Tovey, and Jim Carter.]
https://www.rogerebert.com/reviews/the-good-liar-movie-review-2019

Jojo Rabbit

— I’ve seen a lot of coming of age films but “Jojo Rabbit” is one of a kind. It’s a satirical black comedy set in Germany toward the end of World War II. Jojo is a very Aryan-looking ten-year-old boy who’s steeped in Nazi propaganda and has Adolph Hitler for an imaginary friend. He may dream of becoming a soldier for der Fuhrer, but he’s small and not particularly athletic, doesn’t really have the heart for a kill, and teased more than respected by other boys. When he discovers a Jewish girl hiding in his mother’s attic, he faces a turning point that will affect how he views himself and the world around him. The storyline unfolds with the war and resistance always in the background, along with innocence lost and stolen, and the conflict between propaganda and truth. There’s an uneasiness as the film tries to balance both sides of many emotions, usually successfully. The path it takes tiptoes through some pretty dark patches of humor, but even as you're laughing it manages to tug at your heart as well, and it’s that roller coaster of feelings that makes the film work. I think it is well worth seeing, but if you don’t like it, you’ll probably hate it.

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[2019. 108 min. Directed by Taika Waititi. Starring Roman Griffin Davis, Thomasin McKenzie, Scarlett Johansson, Taika Waititi, Sam Rockwell, and Rebel Wilson.]
https://www.rogerebert.com/reviews/jojo-rabbit-movie-review-2019

Late Night

— Amazon Prime’s pricey Sundance acquisition of the Nisha Ganatra film flopped in theatres but I’m not sure why. Emma Thompson is, well, Emma Thompson, who easily and convincingly plays a legendary late night talk show host about to lose her show, a storyline that could end up being smart and funny or just schmaltzy and tired. It ends up being pretty good while being “feel good” too. Quick dialog and humor with a feminist subtext are served up well thanks to Thompson’s acerbic manner and her protege’s ability to bring out a more tender, but by no means less impressive, side. It’s not quite as tightly crafted as “Devil Wears Prada,” but it’s hard not to see similarities. I think it’s theatrical failure may reflect more on Amazon than on the film since it’s one of the first Amazon films distributed by Amazon—successes like “The Big Sick” and “Manchester by the Sea” were released by third parties before Amazon formed their own distribution arm. [Amazon Prime streaming.]

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[2019. 102 min. Directed by Nisha Ganatra. Starring Emma Thompson, Mindy Kaling, John Lithgow, and Hugh Dancy.]
https://www.rogerebert.com/reviews/late-night-2019

Game Change

— A great look at the McCain/Palin campaign that appears to refrain from much embellishment. In fact, much of its charm is Julianne Moore’s incredibly nuanced portrayal of Palin, reminding us of Palin’s frailties in human terms so we can see her as a person and not just as the character Tina Fey created. I imagine when it was made the film was even more disturbing for the role the internet had begun to play in presidential politics, but before it was elevated to 2016 levels. Even if you remember the events well, you’ll enjoy this look behind-the-scenes.

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[2012. 118 minutes. Directed by Jay Roach. Starring Julianne Moore, Ed Harris, Woody Harrelson, and Nicolle Wallace.]
https://www.rogerebert.com/reviews/game-change

Harriet

— “Harriet” is nicely packaged tale, particularly for those who don’t know much about Harriet Tubman’s place in American History. It tells the story well, even if somewhat traditionally and without some of the revulsion associated with the treatment of slaves that other films may include. It also seems to attribute some of Harriet’s success in bringing so many slaves to freedom to an ability—or a belief that she had the ability—to be guided by God. I’m always a little uncomfortable by such things, even if it is the history that’s been passed down. That aside, the film is easy to watch, has decent acting and pacing, and competent direction. If it’s mostly factual, and I have no reason to suspect it is not, it’s a nice addition to a growing list of decent history films and biopics focusing on black stories.

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[2019. 125 minutes. Directed by Kasi Lemmons. Starring Cynthia Erivo, Leslie Odam Jr., Joe Alwyn, and Clark Peters.]
https://www.rogerebert.com/reviews/harriet-movie-review-2019

The Lighthouse

— “The Lighthouse” is the sort of film where you think you see symbolism, angst, and arty camera angles at every turn. It certainly has the feel down—a desolate island with only two temporary inhabitants, harsh black and white images, a constant din of foghorns, winds, thunder and sheets of rain almost always in the background, and a nearly square aspect ratio making every scene cramped and uncomfortable. Adding a bit of confusion to it all, you’re kept a little off kilter, never quite sure if it’s a horror film, a psychological thriller, a journey of survival, a dream, or nightmare, but whatever it is, the tormented characters also provide a few chuckles. Willem Dafoe and Robert Pattinson are excellent as the dueling couple, a seasoned lighthouse keeper and his trainee, isolated and with ever-changing roles as powerful or powerless, lover or loved, broken or healing, sane or mad. There’s an undeniable fascination with the story and the actors, and with the day to day transformation they experience, The film is very carefully presented and, although the ending is anticlimactic, the journey is worth it. Besides, who doesn't love a film with a mermaid, a giant squid, and angry seagulls?

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[2019. 109 minutes. Directed by Robert Eggers. Starring Willem Dafoe and Robert Pattinson.]
https://www.rogerebert.com/reviews/the-lighthouse-movie-review-2019

Holiday in the Wild

— Pretty mindless entertainment that's a bit better than typical fluff. [Netflix streaming.]

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[2019. 105 min. Directed by Ernie Barbarash. Starring Rob Lowe and Kristin Davis.]
https://www.theguardian.com/film/2019/nov/01/holiday-in-the-wild-netflix-kristin-davis

David Crosby: Remember My Name

— This is a fascinating and intimate look back on David Crosby’s life, acting almost as a final letter to everyone from his past. Viewers are treated to a very personal glimpse of a man who’s been inducted in the Rock ‘n’ Roll Hall of Fame twice, once for his work with the Byrds and once as part of Crosby, Stills, and Nash, but whose prickly personality and years using heroine and cocaine took their toll on him and everyone around him. He admits almost matter-of-factly that not one of his former band members will even speak to him to this day. Cameron Crowe does the interviewing, but Crosby seems ready to talk, spilling out details about his life and associations like a seasoned storyteller. In a way, the film is almost an obituary and it puts viewers in an awkward situation, for it seems absolution is unlikely even in the face of confession.

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[2019. 95 min. Directed by A.J. Eaton. Featuring David Crosby, Jackson Browne, Jan Crosby, Cameron Crowe, Henry Diltz, Roger McGuinn, Graham Nash, Stephen Stills, and Neil Young.]
https://www.rogerebert.com/reviews/david-crosby-remember-my-name-2019

Zombieland: Double Tap

— This was fun! When you see an off-beat film with this kind of cast (Woody Harrelson, Jesse Eisenberg, Emma Stone, and Abigail Breslin are back from the original film), you can pretty much assume it’s going to have something going for it…or be a complete bust. I’m not a Zombie enthusiast but I gave this film a gander and was taken in by the sharp script, humor, ridiculousness, and goofiness of it all. I thought it was funny and quirky, with irreverent, blood-splattering overtones. I didn’t see the original “Zombieland” so this was a new experience for me; for those who already had the fun when “Zombieland” was released in 2009, this may seem tired or unnecessary, but not to me. Enjoy it if you’re so inclined.

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[2019. 99 min. Directed by Ruben Fleischer. Starring Woody Harrelson, Jesse Eisenberg, Emma Stone, Abigail Breslin, Zoey Deutch, Avan Jogia, Rosario Dawson, and Luke Wilson.]
https://www.nytimes.com/2019/10/16/movies/zombieland-double-tap-review.html

Judy

— I wasn’t sure what to expect given the mixed feelings people have over Zellweger’s “Judy.” It helps to know you’re looking at an impression of a relatively short period in Garland’s life, and a period where life had already taken it’s toll. Zellweger’s talents shine and, instead of “becoming” Garland in the sense that some actor’s might, she assumes many of her attributes—her frailties, her demeanor, her edginess, and her charisma—allowing the viewer to believe they’re seeing someone other than Zellweger, someone embodying Garland’s soul. Of course, Zellweger’s singing voice doesn’t have the range of Garland’s, but she does a good job of infusing the emotion and tenor of Garland into the songs. I found the film a little slow moving at first, when flashbacks of Garland’s childhood emphasize the damage done under the iron hand of Louis B. Mayer and the studio system, probably resulting in Garland always being “on stage,” even later in life, instead of finding a way to share her public persona with a private one away from the spotlight. It’s not a perfect film and Garland aficionados may find fault, but in the end it took hold of my heart.

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[2019. 118 min. Directed by Rupert Goold. Starring Renée Zellweger, Jessie Buckley, and Finn Wittrock.]
https://www.rogerebert.com/reviews/judy-movie-review-2019

Joker

— After all the hype, “Joker” just wasn’t very interesting. The infamous joker’s backstory ends up being visually somewhat stunning but that’s not nearly enough to make up for the excruciatingly slow cadence of the film. While Joaquin Phoenix may be good, it feels like someone’s strapped you in a chair in some basement studio to witness private method acting lessons that are a little too dramatic. The film goes on and on and on and, honestly, there’s no way to have any sympathy for the character or, for that matter, to have much interest in anything except how quickly the film will end. I know there’s talk of it’s potential to incite violence but it was so dull that I nearly nodded off.

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[2019. 121 min. Directed by Todd Phillips. Starring Joaquin Phoenix, Robert De Niro, Frances Conroy, and Zazie Beetz.]
https://www.rogerebert.com/reviews/joker-movie-review-2019

Linda Ronstadt: The Sound of My Voice

— As a documentary, this is interesting enough but, were it not for Ronstadt's aura, it would be a little routine and its picking and choosing of facts occasionally bothersome, so go to it to be reminded of the music and of a great singer. Back in the ‘70s, I loved Ronstadt and her music gave me a boost and helped me escape. At the time I didn’t fully understand how talented she was and I was clueless of the path she was blazing for women and of the camaraderie she had with some of her contemporaries; I didn’t really know who was playing guitar or keyboard or drums for her (Glenn Frey and Don Henley for example), or who was producing her records (Peter Asher as an example). I did know she was all over the place musically, dabbling successfully in one genre after another, but to me, she was just wonderful to have belting tunes from the car speakers of a friend's Trans Am. The film brought her music wafting back as I sat in the theater, enjoying it again and feeling its energy and emotion, reminding me of those times and just how good she was, while occasional anecdotes from other greats separated songs and other narration. When the film was done, I couldn’t help but be amazed by her legacy and wonder why I hadn’t already had her among a select group of musical luminaries—there’s no denying her place in rock, pop, country, blues, jazz, and traditional Mexican musical history. I also left the theater with an admiration for Ronstadt today, for how she acknowledges that dealing with death is the easy part of Parkinson's, but adjusting to an altered life, to finding ways to have meaning and joy before death is the challenge. If the film paints anything of a true picture, Ronstadt’s finding new ways. She still has joy in her eyes and her music still brings joy to those who hear it. I’m not sure if it’s a great documentary, but it plays so well into my life story so I loved it.

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[2019. 95 min. Directed by Rob Epstein and Jeffrey Friedman. Featuring Linda Ronstadt, Bonnie Raitt, Dolly Parton, Emmylou Harris, Jackson Browne, Maria Muldaur, Don Henley, David Geffen, Cameron Crowe, and Aaron Neville.]
https://www.rogerebert.com/reviews/linda-ronstadt-the-sound-of-my-voice-movie-review-2019

Ad Astra

— It’s too bad we started thinking of Brad Pitt as a pretty boy since he’s been far more than an adequate actor since about 2006. “Ad Astra” is almost entirely Pitt’s film and he carries it easily. The story takes place in the near future and Pitt’s character, Roy, is the son of a space-pioneering father who, years earlier, traveled farther in space than anyone else, looking for other intelligent life until the earth suddenly lost contact with him and he became the stuff of legend. Roy has followed in his famous father’s footsteps and is a poster boy for the space program, having buried his feelings and compartmentalized his life to the point that he calmly faces any crisis and his pulse never exceeds 80 bpm. He seems immune to emotion and ready for any challenge so, when he’s sent to find his father’s ship, thinking it’s the secret behind a mysterious pulsing that threatens the Earth’s existence, he calmly dons his spacesuit and heads to Neptune in search of his father. The parallels between Roy’s journey and Kurtz’s in Heart of Darkness/Apocalypse Now are hard to ignore, as are nods to other films that look at our place in the universe. Roy’s journey is one of resolution, of coming to terms with the past, and of realizing you can miss what’s right in front of you if you spend too much time concentrating on the future. The film is gorgeous, like the best of the space exploration genre, and Roy’s evolution is thoughtfully presented. There are minor issues, particularly with the ending which I would have preferred to be a little less tidy, but it’s still one of the best films I’ve seen in a while.

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[2019. 123 min. Directed by James Gray. Starring Brad Pitt, Tommy Lee Jones, and Ruth Negga.]
https://www.rogerebert.com/reviews/ad-astra-movie-review-2019

Downton Abbey

— There’s something comfortable about this film and fans of the television show won’t be disappointed by the familiar cast, suddenly in overdrive when it’s announced that King George and Queen Mary will be spending a night at Downton during their trip through Yorkshire. It’s a life from a different time, and the upstairs aristocrats, well-meaning and kindly, seem forever dressed in linens and velvets, planning parties and fretting over inheritances. Downstairs even the furnace repairman wears a jacket and tie, and the staff struggles with menus and etiquette, keeping a stiff back and a sense of pride in their lives. Witnessing the goings-on, both upstairs and down, is all great fun—watching their romances, mysteries, secrets, and struggles is something of a guilty pleasure. The film is nicely self-contained and the cast glides easily through the story with dignity and wit. If this is your kind of thing, you’ll enjoy it. I did.

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[2019. 122 min. Directed by Michael Engler. Starring Hugh Bonneville, Michelle Dockery, Tuppence Middleton, Maggie Smith, Matthew Goode, Elizabeth McGovern, Laura Carmichael, Allen Leech, Jim Carter, Brendan Coyle, Phyllis Logan, Lesley Nicol, and Sophie McShera.]
https://www.rogerebert.com/reviews/downton-abbey-movie-review-2019

Angel Has Fallen

— By the third installment in what’s not so much a trilogy as a three-time retelling, there’s not much surprise in the story. In a way, it’s a Hallmark film for “bros.” The protagonist is macho and stoic, estranged from the father who left when he was young, skilled in all forms of combat, double-crossed by his friend, and chased by every law agency there is while his attractive wife stands by him. Let's face it, this guy needs some serious counseling if he survives! There’s plenty of action and combat, made a little odd since there’s a bit of an anti-war message in the film along with many nods to current events. In the end, it does manage to tug at your patriotic heartstrings, in spite of the fact that you feel manipulated for going along with something so distasteful.

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[2019. 121 min. Directed by Ric Roma Waugh. Starring Gerard Butler, Frederick Schmidt, Danny Huston, Morgan Freeman, and Nick Nolte.]
https://www.rogerebert.com/reviews/angel-has-fallen-movie-review-2019

Falling Inn Love

— There are some romcoms you know you’ve seen before thanks to the Hallmark Channel's endless stream of new versions of four or five basic stories. Netflix’s “Falling Inn Love” is one of those films. A woman with a demanding professional life ends up owning a small town inn so she leaves the big city to start a new life. Absent construction skills and rural coping skills, she ends up having no choice but to enlist the help of a hunky but irritating man. Hilarity and eventually love ensue, resulting in happiness every after. The myth is perpetuated. A woman finds her man and everyone realizes the big city can’t compare with small town values. "Been there, done that"...and I still watched. [Netflix streaming.]

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[2019. 98 min. Directed by Rober Kumble. Starring Christina Milian, Adam Demos, and Jeffrey Bowyer-Chapman.]
https://www.rogerebert.com/reviews/falling-inn-love-2019