Today I saw Judy, starring Renee Zellweger and Finn Witrock.
Sometimes even the greatest of artists aren't given a fighting chance in this world and that seemed to be the case for actress/singer Judy Garland (Zellweger). On stage since she was 2 1/2, Garland's mother began supplying her with pills to ensure she was fit to perform before the age of 10. Once she was under contract with MGM studios as a child actress, it was reported they continued to supply pills, and further her dependency. This film shows the journey and result of her difficult path through life as an addict.
Garland is struggling financially when we join her on screen here, and is forced to take her two youngest children to their father's house in the middle of the night so they'll have a place to sleep. From here she must face the fact that she has to take the only job currently being offered to her to stay afloat, and that job happens to be a long way from California—in London. Though she loves the English city, she has a tough time leaving her children behind (though the stability is good for them) and continues to self-medicate to get through it all.
Her performances are both triumphant and tragic, and her audiences respond in kind. She's often late for her shows, so terrified to go on stage that she has to physically be pushed onto it to perform and often ends up swearing or storming off before it's over. In one instance, the guests are so angry with her behavior that they begin throwing dinner rolls at her.
In the midst of all of the chaos, she finds a fifth husband in musician Mickey Deans (Witrock), who provides her momentary happiness from the state of her fractured life, but he isn't enough to save her. Just months after her London tour concludes, he finds her dead of an accidental overdose.
The film shows a good representation of how addicts function, even in spite of huge commitments like sold-out concerts. There is a desperation in Zellweger's performance that left me exhausted, but that's a good thing because that's what being around an addict is like.
Zellweger's mannerisms, her voice, her speaking cadence—all very close to the real Garland who we can watch at will in the library of famous performances she left behind.
I was sad to see that most of the sequences in the film are based on truth simply because they're so sad, but perhaps we all need to see how influences, whether they be family or industry, can literally kill someone.
~~~
Sunday, December 29, 2019
Tuesday, December 24, 2019
Bombshell
Today I saw Bombshell, starring Charlize Theron and Nicole Kidman.
The women who brought down Fox News executive Roger Ailes (John Lithgow) weren't always united, but they all shared a common problem in their workplace: him. This film traces the journey of three of those women (two based on real people; one a fictional composite) and what they endured to reveal their truths.
Charlize Theron is almost unrecognizable as she dissolves into the role of Megyn Kelly, arguably the biggest female star that's ever graced the Fox network. Kelly was harassed early in her career by Ailes, but kept quiet until it was evident his behavior had continued and worsened over the years. Theron's performance is what everyone is talking about and they should be for how frighteningly good it is, right down to the sound of her voice and the way she enunciates words. I was never much of a fan of Kelly, but this portrayal of how she handled the situation makes me dislike her a lot less.
Nicole Kidman is also strong as Gretchen Carlson, the woman who began the fight—and finished it by furnishing a series of conversations she'd recorded of Ailes saying vile things to her in the workplace.
Of course the creepy, disgusting source of everyone's pain had to be shown and Lithgow does a fine job of repulsing us with his inappropriate grunts and demands. This old, overweight villain is both terrifying and pathetic in equal measure.
There is a satisfying element in seeing Ailes brought down, but in retrospect, considering how comfortably he got to live out his life (as did/are others who were fired for similar offenses), it's truly bittersweet.
The fast pace of the film thankfully absolves us from seeing all of the horrors this monster inflicted, but reveals enough to remind men that those days are over and we're coming for them if they attempt this behavior going forward.
Girls, take all of the men in your life to see this film—especially your sons.
~~~
The women who brought down Fox News executive Roger Ailes (John Lithgow) weren't always united, but they all shared a common problem in their workplace: him. This film traces the journey of three of those women (two based on real people; one a fictional composite) and what they endured to reveal their truths.
Charlize Theron is almost unrecognizable as she dissolves into the role of Megyn Kelly, arguably the biggest female star that's ever graced the Fox network. Kelly was harassed early in her career by Ailes, but kept quiet until it was evident his behavior had continued and worsened over the years. Theron's performance is what everyone is talking about and they should be for how frighteningly good it is, right down to the sound of her voice and the way she enunciates words. I was never much of a fan of Kelly, but this portrayal of how she handled the situation makes me dislike her a lot less.
Nicole Kidman is also strong as Gretchen Carlson, the woman who began the fight—and finished it by furnishing a series of conversations she'd recorded of Ailes saying vile things to her in the workplace.
Of course the creepy, disgusting source of everyone's pain had to be shown and Lithgow does a fine job of repulsing us with his inappropriate grunts and demands. This old, overweight villain is both terrifying and pathetic in equal measure.
There is a satisfying element in seeing Ailes brought down, but in retrospect, considering how comfortably he got to live out his life (as did/are others who were fired for similar offenses), it's truly bittersweet.
The fast pace of the film thankfully absolves us from seeing all of the horrors this monster inflicted, but reveals enough to remind men that those days are over and we're coming for them if they attempt this behavior going forward.
Girls, take all of the men in your life to see this film—especially your sons.
~~~
Saturday, December 21, 2019
Knives Out
Today I saw Knives Out, starring Ana de Armas and Daniel Craig.
Harlan Thrombey (Christopher Plummer) is a wealthy novelist who is found dead of an apparent suicide. While his family swarms to line up for their inevitable inheritances, investigator Benoit Blanc (Craig) appears on scene with the cops to determine whether or not it was really a suicide.
All along, Marta (de Armas), Thrombey's nurse, has a painful secret she's desperately trying to keep under wraps, and the family's black sheep —who cleverly goes by 'Ransom'—(Chris Evans) is most certainly up to something, but we don't know what.
The film starts out as a straight whodunnit with all of the suspicious parties interviewed separately by law enforcement. After the presentation of a certain scenario, it's obvious what happened, so as an audience member you wonder why the reveal was done so early ... until you realize there is a twist. And then another. And then more after that.
All throughout, crackling dialog laced with hilarious listen-close-or-you'll-miss-them lines pepper the story with a strong dose of humor, making this modern mystery a lot of fun.
The only thing I could have done without was the vomiting. Future viewers: Tere's a lot of that, so be forewarned.
Otherwise, sit back and let the ride take you where it will—you won't be disappointed.
~~~
Harlan Thrombey (Christopher Plummer) is a wealthy novelist who is found dead of an apparent suicide. While his family swarms to line up for their inevitable inheritances, investigator Benoit Blanc (Craig) appears on scene with the cops to determine whether or not it was really a suicide.
All along, Marta (de Armas), Thrombey's nurse, has a painful secret she's desperately trying to keep under wraps, and the family's black sheep —who cleverly goes by 'Ransom'—(Chris Evans) is most certainly up to something, but we don't know what.
The film starts out as a straight whodunnit with all of the suspicious parties interviewed separately by law enforcement. After the presentation of a certain scenario, it's obvious what happened, so as an audience member you wonder why the reveal was done so early ... until you realize there is a twist. And then another. And then more after that.
All throughout, crackling dialog laced with hilarious listen-close-or-you'll-miss-them lines pepper the story with a strong dose of humor, making this modern mystery a lot of fun.
The only thing I could have done without was the vomiting. Future viewers: Tere's a lot of that, so be forewarned.
Otherwise, sit back and let the ride take you where it will—you won't be disappointed.
~~~
Tuesday, December 17, 2019
Ford v Ferrari
Today I saw Ford v Ferrari, starring Christian Bale and Matt Damon.
Caroll Shelby (Damon) is a former race car driver who had to stop racing due to a heart condition. He has been tasked with helping the Ford motor company develop a new race car to beat Ferrari, who insulted them during acquisition negotiations.
Shelby accepts the challenge and brings his friend, British war veteran Ken Miles (Bale), who is an engineer and driver, along with him. The entire film centers around the building of this super-fast vehicle and the race that will determine certain victory for one of the rivals.
Chtristian Bale is predictably superb as a hot-headed, but good-at-heart racer who has a deep passion for his craft. Miles is also a family man who dearly loves his supportive wife Mollie (Catriona Balfe) and adoring son Peter (Noah Jupe).
Damon is predictably solid as Shelby, who wants to do right by his bosses, but usually personally agrees with Miles (though his behavior is sometimes wild).
The story makes the representatives of Ford very unlikeable, especially that of VP Leo Beebe (Josh Lucas), who, though based on the real man, is portrayed as a composite of every slimy corporate white-man-of-privilege any of us have had the displeasure of working with or for, and that's a bit much to take.
With few exceptions the order of events is followed faithfully to the climactic race that determines the winner. And the buildup to that is fun to watch, but the best parts of the film are the moments that examine the genuine friendship between Shelby and Miles and the genuine love between Miles and his family.
I enjoyed the film—mostly because of Bale's performance—but thought it could have been about an hour shorter.
~~~
Caroll Shelby (Damon) is a former race car driver who had to stop racing due to a heart condition. He has been tasked with helping the Ford motor company develop a new race car to beat Ferrari, who insulted them during acquisition negotiations.
Shelby accepts the challenge and brings his friend, British war veteran Ken Miles (Bale), who is an engineer and driver, along with him. The entire film centers around the building of this super-fast vehicle and the race that will determine certain victory for one of the rivals.
Chtristian Bale is predictably superb as a hot-headed, but good-at-heart racer who has a deep passion for his craft. Miles is also a family man who dearly loves his supportive wife Mollie (Catriona Balfe) and adoring son Peter (Noah Jupe).
Damon is predictably solid as Shelby, who wants to do right by his bosses, but usually personally agrees with Miles (though his behavior is sometimes wild).
The story makes the representatives of Ford very unlikeable, especially that of VP Leo Beebe (Josh Lucas), who, though based on the real man, is portrayed as a composite of every slimy corporate white-man-of-privilege any of us have had the displeasure of working with or for, and that's a bit much to take.
With few exceptions the order of events is followed faithfully to the climactic race that determines the winner. And the buildup to that is fun to watch, but the best parts of the film are the moments that examine the genuine friendship between Shelby and Miles and the genuine love between Miles and his family.
I enjoyed the film—mostly because of Bale's performance—but thought it could have been about an hour shorter.
~~~
Saturday, December 14, 2019
Richard Jewell
Yesterday I saw Richard Jewell, starring Paul Walter Hauser and Sam Rockwell.
During the 1996 Olympics in Atlanta, a domestic terrorist detonated a bomb in Centennial Park that killed one person and injured over a hundred others. The reason there was not a larger loss of life was due solely to the actions of a security guard on duty that night, Richard Jewell (Hauser).
At first the media—and the world—celebrated Jewell as the hero he was. He was interviewed by dozens of prominent journalists to tell his story of that night and appeared as a sincere, thoughtful man.
Then, the FBI needed a fall guy, so they decided Jewell was the easiest target. A local newspaper reporter got wind of their suspicions and blew the story up, making Jewell's life a living hell and shifting resources away from finding the true bomber (Eric Rudolph, who was caught years later).
This film tells the story of what was happening behind the scenes to Jewell and his mother (who he lived with). The acting is superb; especially from Rockwell, who portrays the attorney who stood by Jewell and ultimately got him cleared.
Watching it will make you angry, sad and disappointed in the pack mentality that seems to run rampant in our country, but hopefully will restore the reputation of a hero some still mistakenly think was responsible for a horrible act.
Too bad Jewell himself is no longer alive to see it.
~~~
During the 1996 Olympics in Atlanta, a domestic terrorist detonated a bomb in Centennial Park that killed one person and injured over a hundred others. The reason there was not a larger loss of life was due solely to the actions of a security guard on duty that night, Richard Jewell (Hauser).
At first the media—and the world—celebrated Jewell as the hero he was. He was interviewed by dozens of prominent journalists to tell his story of that night and appeared as a sincere, thoughtful man.
Then, the FBI needed a fall guy, so they decided Jewell was the easiest target. A local newspaper reporter got wind of their suspicions and blew the story up, making Jewell's life a living hell and shifting resources away from finding the true bomber (Eric Rudolph, who was caught years later).
This film tells the story of what was happening behind the scenes to Jewell and his mother (who he lived with). The acting is superb; especially from Rockwell, who portrays the attorney who stood by Jewell and ultimately got him cleared.
Watching it will make you angry, sad and disappointed in the pack mentality that seems to run rampant in our country, but hopefully will restore the reputation of a hero some still mistakenly think was responsible for a horrible act.
Too bad Jewell himself is no longer alive to see it.
~~~
Thursday, December 12, 2019
Die Hard
Tonight I saw Die Hard, starring Bruce Willis and Alan Rickman.
John McClane (Willis) is a New York City police officer who travels to Los Angeles to see his family for Christmas. His wife has taken an important job there, and things aren't so great between the couple.
McClane arrives the evening of his wife's company Christmas party and is away from the crowd when a German terrorist group, led by Hans Gruber (Rickman), begins to wreak havoc on the guests. Thus starts a cat-and-mouse game where McClane must save the day because the fumbling law enforcement that's collected outside makes a wrong step at every turn.
This Christmas classic never gets old.
It was thrilling to be able to see it on the big screen at a local indie theater because the crowd was just as into it tonight as they were in 1988. From the quotable one-liners that McClane delivers to the ever-evil posturing of the late Alan Rickman, it was nothing short of a pleasure to re-live. And boy, how it made me miss Rickman.
Until next year ...
~~~
John McClane (Willis) is a New York City police officer who travels to Los Angeles to see his family for Christmas. His wife has taken an important job there, and things aren't so great between the couple.
McClane arrives the evening of his wife's company Christmas party and is away from the crowd when a German terrorist group, led by Hans Gruber (Rickman), begins to wreak havoc on the guests. Thus starts a cat-and-mouse game where McClane must save the day because the fumbling law enforcement that's collected outside makes a wrong step at every turn.
This Christmas classic never gets old.
It was thrilling to be able to see it on the big screen at a local indie theater because the crowd was just as into it tonight as they were in 1988. From the quotable one-liners that McClane delivers to the ever-evil posturing of the late Alan Rickman, it was nothing short of a pleasure to re-live. And boy, how it made me miss Rickman.
Until next year ...
~~~
Wednesday, December 11, 2019
Marriage Story
On Saturday I saw Marriage Story, starring Adam Driver and Scarlett Johansson.
Charlie (Driver) and Nicole (Johansson) are a creative couple in the New York theater world, and they are divorcing. They share one son, whom they both adore, but struggle to work out the details of their new lives, though they mostly want the same things. It's a good exploration how even those with good intentions in situations like this can spiral out of control at the suggestions of others.
Like the characters toward each other, I have mixed emotions about this film.
On one hand, there are several incredible performances to note: Laura Dern, Merritt Weaver, Julie Hagerty and Ray Liotta all come to mind. They're supporting characters, but they're the folks in the film who feel real.
On the other hand, our two leads, Driver and Johansson are of course great actors and their performances here are no exception, but their delivery is nothing short of annoying (and I don't think that's their fault). I realize they're supposed to be stage actors in the film, but every one of their arguments or sad conversations is delivered as a monologue as if they were starring in a play. Instead of the raw, authentic way we see the others.
If only each scene didn't feel like a performance, I would have believed them.
~~~
Charlie (Driver) and Nicole (Johansson) are a creative couple in the New York theater world, and they are divorcing. They share one son, whom they both adore, but struggle to work out the details of their new lives, though they mostly want the same things. It's a good exploration how even those with good intentions in situations like this can spiral out of control at the suggestions of others.
Like the characters toward each other, I have mixed emotions about this film.
On one hand, there are several incredible performances to note: Laura Dern, Merritt Weaver, Julie Hagerty and Ray Liotta all come to mind. They're supporting characters, but they're the folks in the film who feel real.
On the other hand, our two leads, Driver and Johansson are of course great actors and their performances here are no exception, but their delivery is nothing short of annoying (and I don't think that's their fault). I realize they're supposed to be stage actors in the film, but every one of their arguments or sad conversations is delivered as a monologue as if they were starring in a play. Instead of the raw, authentic way we see the others.
If only each scene didn't feel like a performance, I would have believed them.
~~~
Friday, December 06, 2019
Elf
Tonight I saw Elf, starring Will Ferrell and Zooey Deschanel.
The modern holiday classic is always a joy to watch, but I had never seen it on the big screen until tonight. Thank you, Edmonds Theater!
Buddy (Ferrell) is adopted at the North Pole and raised as an elf in Santa's workshop, though his human qualities don't always fit in with his peers. He begins a quest to develop a relationship with his father, Walter (James Caan), and heads to New York City to do so.
There, Buddy is basically a bull in a China shop. He dresses as an elf and disrupts every environment he enters with his childlike behavior and naiveté. Though his father thinks of him as a burden, his stepmother Emily (Mary Steenburgen) and his colleague Jovie (Deschanel) see past his oddball tendencies and realize the sweet spirit that lies beneath.
It's a hilarious character that could only be executed by Ferrell in this way; for underneath the slapstick is a whole lot of heart. That, coupled with his chemistry with Deschanel (who, thankfully for us, gets to share her beautiful voice for a bit in this film) makes for a surprisingly sentimental holiday comedy.
I won't ever tire of this Christmas treat.
~~~
The modern holiday classic is always a joy to watch, but I had never seen it on the big screen until tonight. Thank you, Edmonds Theater!
Buddy (Ferrell) is adopted at the North Pole and raised as an elf in Santa's workshop, though his human qualities don't always fit in with his peers. He begins a quest to develop a relationship with his father, Walter (James Caan), and heads to New York City to do so.
There, Buddy is basically a bull in a China shop. He dresses as an elf and disrupts every environment he enters with his childlike behavior and naiveté. Though his father thinks of him as a burden, his stepmother Emily (Mary Steenburgen) and his colleague Jovie (Deschanel) see past his oddball tendencies and realize the sweet spirit that lies beneath.
It's a hilarious character that could only be executed by Ferrell in this way; for underneath the slapstick is a whole lot of heart. That, coupled with his chemistry with Deschanel (who, thankfully for us, gets to share her beautiful voice for a bit in this film) makes for a surprisingly sentimental holiday comedy.
I won't ever tire of this Christmas treat.
~~~
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