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