Stuck

Tonight I saw the short film Stuck, starring Steve Blackwood and Sandy Bainum.

"It's not a crime scene, it's a situation!"

George (Blackwood) and Helen (Bainum) want to take their intimacy to the next level, so they order a sex machine to spice things up. It arrives the evening of an important dinner they're hosting for clients ... but they hit a snag when the delivery boy gets stuck in the contraption, rendered unconscious.

The remainder of the film is witnessing the couple as they feverishly try to troubleshoot their way out of this predicament and prepare for their evening. Their banter alternates from manic to borderline sentimental as they explore the possibility of how their guests would react if they knew what was upstairs, while simultaneously brainstorming ways to conceal their issue.

Blackwood's high energy is reminiscent of his character Bart on Days of Our Lives, and Bainum is definitely a match with her expressive actions and speech.

All-in-all a fun, 14-minute romp.

~~~

Ghost

Tonight I saw Ghost, starring Patrick Swayze and Whoopi Goldberg.

The week this film debuted in 1990, I was at the theater, first in line. I loved all the actors, I loved the title and that was all I needed to know to buy the ticket. Luckily, it didn't disappoint. It not only became one of my all-time favorite films, it also took home two Academy Awards (Best Screenplay and Best Supporting Actress for Ms. Goldberg).

I own the film, and have watched it several times since, but haven't seen it in a theater since the year it came out. I was thrilled when a nearby indie theater said they'd present it as part of their Throwback Thursday series and settled into my favorite balcony seat tonight to enjoy it.

In so many ways the film remains timeless—the themes of love, spirituality, good vs. evil and betrayal all resonate as vividly today as they did 30 years ago. There's also many things that are dated—the black computer screens with archaic green text, the landline phones, the clip of The Arsenio Hall Show that plays as the characters watch. None of these details diminished the story for me this many years later, but I could see how someone young seeing it for the first time may deem it "old."

What still gave me goosebumps? The iconic pottery-making love scene set to "Unchained Melody." The first time the subway ghost rages at Sam. The moment Oda Mae surrenders to the ghost and yells "Sam" after he chases her around the table. The first "capture" of a bad soul to the other side.

It's also sheer pleasure to witness the chemistry between Demi Moore and Swayze and between Swayze and Goldberg. I can't begin to picture anyone else in any of their roles because they were so spot on.

Worth mentioning is the fact this film manages to dip in and out of several genres seamlessly: drama, comedy, thriller, horror, supernatural, romance. Ghost has it all, which is why it will continue to delight viewers for decades to come.

~~~

My 2020 Oscar Picks and Predictions

Here are my final picks for tomorrow's ceremony:

WRITING: ORIGINAL SCREENPLAY
Who Will Win: PARASITE
My Pick: ONCE UPON A TIME IN HOLLYWOOD

WRITING: ADAPTED SCREENPLAY
Who Will Win: JOJO RABBIT
My Pick: LITTLE WOMEN

VISUAL EFFECTS
Who Will Win: 1917
My Pick: THE IRISHMAN

SOUND MIXING
Who Will Win: 1917
My Pick: JOKER

SOUND EDITING
Who Will Win: 1917
My Pick: ONCE UPON A TIME IN HOLLYWOOD

SHORT FILM: LIVE ACTION
Who Will Win: THE NEIGHBORS' WINDOW
My Pick: NEFTA FOOTBALL CLUB

SHORT FILM: ANIMATED
Who Will Win: HAIR LOVE
My Pick: HAIR LOVE

PRODUCTION DESIGN
Who Will Win: THE IRISHMAN
My Pick: ONCE UPON A TIME IN HOLLYWOOD

MUSIC (ORIGINAL SONG)
Who Will Win: "(I'm Gonna) Love Me Again" from ROCKETMAN
My Pick: "(I'm Gonna) Love Me Again" from ROCKETMAN

MUSIC (ORIGINAL SCORE)
Who Will Win: 1917
My Pick: JOKER

MAKEUP AND HAIRSTYLING
Who Will Win: BOMBSHELL
My Pick: BOMBSHELL

INTERNATIONAL FEATURE FILM
Who Will Win: PARASITE
My Pick: PARASITE

FILM EDITING
Who Will Win: JOJO RABBIT
My Pick: PARASITE

DOCUMENTARY (SHORT SUBJECT)
Who Will Win: LEARNING TO SKATEBOARD IN A WAR ZONE (IF YOU'RE A GIRL)
My Pick: IN THE ABSENCE

DOCUMENTARY (FEATURE)
Who Will Win: THE CAVE
My Pick: HONEYLAND

DIRECTING
Who Will Win: Sam Mendes for 1917
My Pick: Todd Phillips for JOKER

COSTUME DESIGN
Who Will Win: LITTLE WOMEN
My Pick: LITTLE WOMEN

CINEMATOGRAPHY
Who Will Win: THE IRISHMAN
My Pick: 1917

ANIMATED FEATURE FILM
Who Will Win: TOY STORY 4
My Pick: TOY STORY 4

ACTRESS IN A SUPPORTING ROLE
Who Will Win: Laura Dern for MARRIAGE STORY
My Pick: Kathy Bates for RICHARD JEWELL

ACTOR IN A SUPPORTING ROLE
Who Will Win: Brad Pitt for ONCE UPON A TIME IN HOLLYWOOD
My Pick: Brad Pitt for ONCE UPON A TIME IN HOLLYWOOD

ACTRESS IN A LEADING ROLE
Who Will Win: Renee Zellweger for JUDY
My Pick: Renee Zellweger for JUDY

ACTOR IN A LEADING ROLE
Who Will Win: Joaquin Phoenix for JOKER
My Pick: Joaquin Phoenix for JOKER

BEST PICTURE
Who Will Win: 1917
My Pick: ONCE UPON A TIME IN HOLLYWOOD

~~~

Parasite

On Thursday I saw Parasite, starring Jung Ji-so and Jo Yeo-jeong.

The Kim family is poor; the Park family is rich. The Park family needs assistance running their high class household and the Kim family sees an opportunity. Soon, in devious ways, all four of the Kims are employed by the Parks doing various tasks for them, though they don't disclose they're at all related.

Soon, they've infiltrated their entire world and begin to reap the benefits in healthy salaries and access to the mansion when the Parks are away (i.e. a camping trip).

Inherently, as a girl raised in an Immigrant-led, blue collar home, my gut almost always roots for the lower class in stories such as this ... but not here. The screenplay is so good that the characters are developed in a very complex way, making the Kims less sympathetic than the Parks, who are basically decent people being taken advantage of because they're naive.

After one big event that results in a twist I can't expect anyone saw coming, all hell breaks loose and this goes from being a black comedy to a borderline campy horror film. I couldn't look away, and was definitely entertained, but I never would have put this in a Best Picture category.

So then I wondered what I was 'missing' regarding the hype surrounding this film and the only reason why I expect it's gotten such universal praise is because it's different. It's not a film with a simple formula or predictable outcomes in any way, shape or form. It's inventive, it's fast-paced and it makes you think.

But it's also not the second coming of film.

~~~

Documentary Short Film Nominees (Oscars 2020)

Yesterday I saw all five of the nominated films in the Documentary Short category. I'll present my reviews in the order the films were shown.

LIFE OVERTAKES ME (Sweden, USA)

A mysterious illness is breaking the hearts of refugee parents all across Sweden. This film shows real-life cases of Resignation Syndrome, where children effectively enter into a coma after a series of traumatic events renders their bodies unresponsive. Facing deportation, the parents often have to parent children not afflicted by the ailment and tend to every basic need of those who do while battling for asylum. It's devastating to watch and I found myself hungry for additional answers when it came to an end.

LEARNING TO SKATEBOARD IN A WAR ZONE (IF YOU'RE A GIRL) (USA)

A group of young girls in Afghanistan get to experience school—and learn how to skateboard—in a special program that's empowered thousands. Not only do they gain the practical skills of basic education, but they gain a self-confidence not usual for girls in their community. An inspiring slice of hope for change ... that really goes on a bit too long. Shame about the lack of editing.

IN THE ABSENCE (South Korea)

In the spring of 2014, over 300 lives were lost when the MV Sewol ferry sank in the wake of an incompetent government rescue response. Those who did survive were largely saved by area fishing boats and commercial vessels who arrived and intervened before the Coast Guard showed up. Even worse, among the dead were hundreds of children who were on board for a school trip. This film superbly recalls the order of events of this preventable disaster using archive footage and audio mixed with recounts from survivors and the families of the dead. The strongest of the five, I was thinking about this one long after I left the theater. This is my pick to win.

WALK, RUN, CHA-CHA (USA)

A couple who escaped Vietnam during the war (facing certain death because they were Chinese), makes a new life in Los Angeles, bonded by the love for dance that started their romance when it was forbidden in their former country. We see them learning new moves, practicing for a formal performance and telling the history of their love story—all very endearing, but at times unfortunately a bit slow-paced and repetitive. My least-favorite of the five nominated films this year.

ST. LOUIS SUPERMAN (USA)

A young black man in Missouri, Bruce Franks, Jr., vows to ignite change after the Michael Brown incident happens, having grown up knowing violence first-hand after his young brother was killed in a gunfight being used as a human shield. He runs for office and wins—fighting for a bill that declares gun violence a public health risk. An excellent look at how change may take time, but is absolutely possible.

~~~

Live Action Short Film Nominees (Oscars 2020)

Yesterday I saw all five of the nominated films in the Live Action Short category. I'll present my reviews in the order the films were shown.

A SISTER (Belgium)

We join the film as a woman in peril makes a phone call from the car she's riding in with who appears to be her date. A date that has gone horribly wrong. Next, we see the person receiving the call who tries to make sense of the situation. It's a tense, simmer-beneath-the-surface thriller that we're not sure will turn out the way we hope. I was glued to the edge of my seat.

BROTHERHOOD (Tunisia, Canada, Qatar, Sweden)

A Tunisian family's harmony is disrupted when the eldest son, who has been gone for a long time, returns home to introduce his new pregnant Syrian bride. His father doesn't approve of what he suspects his son has been up to during his hiatus from their community and tensions rise. Perhaps I have dysfunctional oppressive family fatigue, but I didn't feel like there was anything new in this one. My least favorite of the bunch.

THE NEIGHBORS' WINDOW (USA)

A New York family of five is going through the motions of life—Dad works, Mom cares for the kids, they're comfortable financially. One night after the kids are in bed, the couple notices a couple in the building across the way making love with no inhibitions or worries that people may see them (though they have no blinds on their windows). At first they laugh, but then they become borderline obsessed with watching this couple, who appears to have an active sex and social life. Then, something changes and the perspective shifts. Basically, this is a good "grass is always greener" tale that was inspired by a true story. I had no idea I'd cry at the end—but I did.

SARIA (USA)

In March of 2017, 41 children lost their lives in a fire at a safe home in Guatemala. This film recounts the days leading up to the fire, including a riot led by female residents (who suffered sexual abuse and torture at the hands of their caretakers), who briefly escaped only to be captured, beaten and locked back up. In that lock up, a fire broke out and those responsible for guarding the girls didn't unlock the door to let them out, resulting in mass fatalities. This film was especially hard to watch because at the time of the real event, I worked for a Guatemalan company and spent time in the city near where it happened just a month later. The citizens were still raw with grief and searching for answers. Unfortunately, justice has not yet been achieved for the victims; perhaps this terrifying glimpse into what it was probably like will help that.

NEFTA FOOTBALL CLUB (France, Algeria, Tunisia

The final film in the presentation was the only one that provided solid comedy, but for that I was grateful. The story follows two Tunisian brothers who find a donkey wearing headphones. Yes, you read that right—the donkey is listening to tunes on a mountainside, so the boys make the most of the encounter, listening to the music and stealing the contents of the donkey's load to take home to their village. What they do with those contents left me smiling and caused the audience around me to spontaneously clap. The most charming of the five films, this just may be this year's winner.

~~~

1917

On Wednesday I saw 1917, starring George MacKay and Dean-Charles Chapman.

Two Lance Corporals (MacKay and Chapman) in the British army during World War I are sent by their general (Colin Firth, who disappointingly only appears only for a few minutes of the film) across the French countryside to stop an attack that will likely not end well for their people, if executed.

That's it. That's the whole film.

So, yes, despite the gorgeous cinematography and the haunting silences that befall our protagonists, the story drags on and on ... and on.

Only one "unexpected" thing happens along the way, a sure consequence of any war, but before and after that event, we see our share of corpses, explosions and worst of all, rats.

There's nothing enjoyable about this film for someone who's not a die-hard war buff. And there's really nothing that bonded me to either main character (in fact, I got most excited when seeing Firth, and Benedict Cumberbatch, who has a cameo later in the story). I have a feeling I'd have been more entertained by the story told to Director Sam Mendes by his grandfather, which inspired the film.

Of the Best Picture nominees, this doesn't come close to the top for me.

~~~

Jojo Rabbit

Today I saw Jojo Rabbit, starring Roman Griffin Davis and Thomasin McKenzie.

Jojo (Davis) is a 10-year-old boy in Nazi Germany. He is a youth training to fight for Hitler and his mother (Scarlett Johansson) isn't happy about it, but plays along for the sake of survival.

One day, Jojo discovers a young Jewish friend of his dead sister's hiding out in his house—apparently his mother has kept her there for quite a while, but she's never been discovered. He is torn whether or not to report her presence to the Gestapo.

But then he falls in love with her.

Sounds like a sweet story, right? Well, moments of it are, but that's all buried by the bold satire via Jojo's imaginary friend in the form of Adolf himself (Taika Waititi). And the precocious kid that's on-screen for virtually the entire film. Seriously, he's exhausting.

Perhaps it's healthy to explore WWII from a different angle and try to bring an absurd light to the infinite darkness of the Holocaust, but I just couldn't find myself getting on board.

The film was all over the place and because of that I couldn't completely 'feel' for any of the characters, though several were indisputably tragic.

I understand why Johansson got an Oscar nod for her performance in the film, but I'm baffled by it's Best Picture nomination.

~~~

Pain and Glory

Today I saw Pain and Glory, starring Antonio Banderas and Penelope Cruz.

Salvador (Banderas) is an aging film director who is suffering a rapid decline in health. Through a series of events, he looks back on his life—both with fondness and regret—over many of the choices he's made.

I seldom look at the time during Pedro Almodovar films, but I'm sad to say that I did during this one.

Though Banderas is wonderful in the role, it feels like we're watching a dreary loop of his past, which is both easy to anticipate and anticlimactic to experience.

It's easy to see that Almodovar wanted to cover big themes (as he usually tends to do), addressing desire, betrayal, death, etc. but he approaches it with a frustratingly slow pace, which does no favors for the audience's attention span.

The pockets of humor were well-executed, but too far and few between to keep the overall vibe light enough.

A disappointing result from such a talented team of filmmakers.

~~~

Just Mercy

On Friday, I saw Just Mercy, starring Jamie Foxx and Michael B. Jordan.

Walter McMillian (Foxx) is a black man, living in Alabama, running his own business clearing out trees and brush around town. He has a family, a clean record and is well-liked in his community. One day in 1986, a white girl is murdered at a local dry cleaning store. There are no obvious suspects, but after six months, they bring McMillian in and accuse him of the crime, mostly because he once had an affair with a white woman. They have no evidence to support their theory, yet he is convicted and lands on death row.

His saving grace is Bryan Stevenson (Jordan), a recent east coast transplant who is dedicated to helping those wrongly convicted with their legal cases.

In the film, Foxx portrays McMillian as calm, rational, patient and (justifiably) angry. He doesn't have a lot of faith when Stevenson materializes because he's been let down so many times in the past, but you can feel him wanting to trust; wanting to have hope in someone. Alternately, Stevenson can't believe just how unfairly McMillian and several others in the system have been treated and vows to vindicate them. Jordan conveys a determined, if at times naive, man driven to succeed.

Though the reality of what I was watching was hard to take (because the story is true and the film is accurate in its retelling), I enjoyed it thoroughly. The performances drew me right in as if I was a member of that community, watching for the sidelines, praying for justice.

The wins have you wanting to cheer and the losses will make you weep, but you won't look at your watch once, and if you stay through the credits you get to see photos and updates about all of the featured characters.

~~~

Labyrinth

Yesterday I saw Labyrinth, starring Jennifer Connelly and David Bowie.

Sarah (Connelly) is a teenager annoyed with the responsibility of babysitting for her infant brother. In a fit of anger, she wishes that the goblins would take him and they do. Soon the baby is being bounced around by the Goblin King (Bowie) and Sarah must navigate a complicated labyrinth to retrieve him.

Seeing this film on the big screen for the first time since the '80s was a real treat—the world created within the maze Sarah is sent through pulses with personality (and music) as she encounters each character. They're all the more effective when larger than life.

Jim Henson's puppetry work was underrated at the time, but thankfully the film's cult status has erased the initial negativity and made the film beloved as it so rightly deserves.

The print was shown in honor of Bowie's birthday this week and though we lost him four years ago next week, I doubt the world will ever be over his passing (I know I'm not). Still, it's a joy to watch him in his vibrant years, prancing about in a Tina Turner-like wig and capturing just the right amount of weird to be intriguing.

A welcome story to revisit on many levels.

~~~

My Top 10s of 2019

FILM

1. Once Upon a Time in Hollywood
2. Joker
3. Mystify: Michael Hutchence
4. Toy Story 4
5. Women of the Wild Buffalo
6. Knives Out
7. Harriet
8. The Biggest Little Farm
9. A Beautiful Day in the Neighborhood
10. Little Women

Honorable Mention: Bombshell, Richard Jewell, Pavarotti

TELEVISION

1. Killing Eve
2. Catastrophe
3. 9-1-1
4. The Handmaid's Tale
5. This is Us
6. Grace and Frankie
7. 90-Day Fiancé
8. Doc Martin
9. Queen Sugar
10. Dead to Me

Honorable Mention: Stranger Things, Outlander, You, Harlots, Famously Afraid

~~~

Little Women

Yesterday I saw Little Women, starring Saiorse Ronan and Florence Pugh.

It's a beloved book, but one I'll confess I always found a tad boring. That said, this film isn't boring and provides a more faithful adaptation than most that have come before it.

Greta Gerwig's casting of Ronan as the star sister, Jo, couldn't have been more spot on—the Irish actress has just enough spunk to inspire and not enough glamour to be unbelievable. Pugh as her rival sister Amy is also strong, capturing just the right amount of allure and arrogance.

I also enjoyed the performance by Laura Dern, who plays the Little Women's mother. She's warm and lively and everything she'd need to be to navigate parenting four such unique girls.

As we watch the ladies fall in and out of love, follow their passions and explore each of their unique gifts, we're reminded of author Louisa May Alcott's era when it wasn't a given women would get to 'be' what they desired. Not that it's even necessarily true now, but less so then, which is what makes their paths as writers, painters, actresses and musicians all the more miraculous.

If you loved the book, chances are you'll love this retelling. If you didn't love the book, like me you may still enjoy their charming journey.

There are worse ways to spend two hours and fifteen minutes.

~~~

Judy

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.

~~~

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.

~~~

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.

~~~

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.

~~~

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.

~~~

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 ...

~~~

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.

~~~