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.
~~~
Showing posts with label thriller. Show all posts
Showing posts with label thriller. Show all posts
Thursday, February 20, 2020
Saturday, February 01, 2020
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.
~~~
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 ...
~~~
Friday, October 18, 2019
Joker
Today I saw Joker, starring Joaquin Phoenix and Robert De Niro.
Arthur (Phoenix) is a working-class clown who likes to make children laugh, cares tenderly for his elderly mother (Frances Conroy) and harbors an innocent crush on his attractive neighbor (Zazie Beetz). By all accounts, Arthur is a nice person just trying to life his life.
When he's attacked by some kids who steal the sign he's holding as part of his job, then beaten up by the same crowd when he attempts to retrieve it, it's easy to brim with sadness for him. Through a brief glimpse into one of his therapy sessions, we learn he's on a cocktail of drugs to aid in his mental health and that he dreams of being a stand-up comedian.
Arthur is also obsessed with a Johnny Carson-like talk show hosted by Murray Franklin (De Niro) and watches faithfully. He finally gets the chance to perform at a local comedy club and it doesn't go so well, but Franklin picks up clips from the disaster and uses them on his program, which leads to an invitation for Arthur to appear.
Meanwhile, a colleague gives Arthur a gun for protection, which he graciously accepts. You don't have to be a mathematician to realize that a mentally ill, constantly bullied man with a firearm is a bad idea ... but that's as far as I can go without spoiling.
I must say this, however: Joaquin Phoenix is nothing short of phenomenal in the role. Every expression, every ounce of pain Arthur experiences seeps from his pores onto the screen. When he aches, you ache for him, and when he rages; well—you sort of can't help but rage along with him.
It's truly an intense character study into the deterioration of the human spirit. Someone who could've had a shot at leading a decent life, but got kicked around too many times, and that coupled with other factors creates a monster, somewhat literally. The narrative got so intense I almost couldn't breathe, so I stepped into the lobby to take a moment. I can't remember the last time I film got to me in the same way.
Joker is tragic to claustrophobic proportions and more disturbing than it would be otherwise if our world wasn't presently so cruel.
Incredibly well done.
~~~
Arthur (Phoenix) is a working-class clown who likes to make children laugh, cares tenderly for his elderly mother (Frances Conroy) and harbors an innocent crush on his attractive neighbor (Zazie Beetz). By all accounts, Arthur is a nice person just trying to life his life.
When he's attacked by some kids who steal the sign he's holding as part of his job, then beaten up by the same crowd when he attempts to retrieve it, it's easy to brim with sadness for him. Through a brief glimpse into one of his therapy sessions, we learn he's on a cocktail of drugs to aid in his mental health and that he dreams of being a stand-up comedian.
Arthur is also obsessed with a Johnny Carson-like talk show hosted by Murray Franklin (De Niro) and watches faithfully. He finally gets the chance to perform at a local comedy club and it doesn't go so well, but Franklin picks up clips from the disaster and uses them on his program, which leads to an invitation for Arthur to appear.
Meanwhile, a colleague gives Arthur a gun for protection, which he graciously accepts. You don't have to be a mathematician to realize that a mentally ill, constantly bullied man with a firearm is a bad idea ... but that's as far as I can go without spoiling.
I must say this, however: Joaquin Phoenix is nothing short of phenomenal in the role. Every expression, every ounce of pain Arthur experiences seeps from his pores onto the screen. When he aches, you ache for him, and when he rages; well—you sort of can't help but rage along with him.
It's truly an intense character study into the deterioration of the human spirit. Someone who could've had a shot at leading a decent life, but got kicked around too many times, and that coupled with other factors creates a monster, somewhat literally. The narrative got so intense I almost couldn't breathe, so I stepped into the lobby to take a moment. I can't remember the last time I film got to me in the same way.
Joker is tragic to claustrophobic proportions and more disturbing than it would be otherwise if our world wasn't presently so cruel.
Incredibly well done.
~~~
Thursday, October 17, 2019
Countdown
Tonight I screened Countdown, starring Elizabeth Lail and Peter Facinelli.
A group of friends dare each other at a party to download an app that supposedly reveals your time of death and the person with the soonest fate has to drink the remaining drinks. Silly, right? Sure it is ... until that individual dies at the precise time that app said she would (and no, not from alcohol poisoning).
A story for modern times, for sure—with all of the tech nerd cheap shots they can fit–that examines our obsession with Smartphones and attempts to provide some jumps and scares in the meantime.
After one of her patients passes away, also at the time the app says he would, Quinn (Lail), a new nurse, downloads the app to her phone. She's alarmed when the time of death is just a few days away and begins seeing and hearing things that make her think there's more to it. She does what any sane person would do and attempts to delete the app from her phone, but that proves to be impossible.
She soon meets another app "victim" and they become friends, seeking ways to rid themselves of their certain fates. They enlist the help of an almost cartoonish young priest who is new to the demon-fighting trade and the film turns from wannabe-thriller to unsuccessful screwball comedy.
Did I mention there's a whole #MeToo side story in there too? I was excited to see Peter Facinelli emerge as the slimy doctor (I always loved him in a similar role on Nurse Jackie), but really as a fine actor, he deserved more.
Overall, this wasn't terribly scary, didn't ever really solve why the deaths were happening (what motivated the "demons") and gratuitously set up the sequel at the end. Thanks, but I'll pass.
~~~
A group of friends dare each other at a party to download an app that supposedly reveals your time of death and the person with the soonest fate has to drink the remaining drinks. Silly, right? Sure it is ... until that individual dies at the precise time that app said she would (and no, not from alcohol poisoning).
A story for modern times, for sure—with all of the tech nerd cheap shots they can fit–that examines our obsession with Smartphones and attempts to provide some jumps and scares in the meantime.
After one of her patients passes away, also at the time the app says he would, Quinn (Lail), a new nurse, downloads the app to her phone. She's alarmed when the time of death is just a few days away and begins seeing and hearing things that make her think there's more to it. She does what any sane person would do and attempts to delete the app from her phone, but that proves to be impossible.
She soon meets another app "victim" and they become friends, seeking ways to rid themselves of their certain fates. They enlist the help of an almost cartoonish young priest who is new to the demon-fighting trade and the film turns from wannabe-thriller to unsuccessful screwball comedy.
Did I mention there's a whole #MeToo side story in there too? I was excited to see Peter Facinelli emerge as the slimy doctor (I always loved him in a similar role on Nurse Jackie), but really as a fine actor, he deserved more.
Overall, this wasn't terribly scary, didn't ever really solve why the deaths were happening (what motivated the "demons") and gratuitously set up the sequel at the end. Thanks, but I'll pass.
~~~
Wednesday, November 07, 2018
Widows
Tonight I screened Widows, starring Viola Davis and Elizabeth Debicki.
Veronica (Davis) is married to Harry (Liam Neeson), who is a criminal. He orchestrates a heist that goes horribly wrong and his whole crew is killed as a result. When the dirty politician he did business with comes to collect his debt, Veronica is forced to take matters into her own hands.
She enlists the help of her fellow widows from the heist crew to assist her in carrying out a final "job" using meticulous instructions left behind by her husband. Alice (Debicki) and Linda (Michelle Rodriguez) are hesitant at first, but are also desperate to stay afloat financially, so they agree to the plan. Amidst the back-and-forth are several (unnecessary) supporting characters that don't do much except chew scenery (Colin Farrell and Daniel Kaluuya). There are crooked representatives, white collar men who pay for escorts, saintly drivers, innocent children—you name it, the gang's all here.
Of course Davis can carry any film, no matter how flawed. She's extraordinary alternating between grieving wife, angry widow, badass leader-of-the-pack and fierce opponent. Just to sit and watch her work is worth the price of admission. And there are many clever twists that were fun to absorb although the overall story had too much going on to be truly effective.
I'd say if you just want a ride that bumps and crashes and moves at a fast pace, you may leave satisfied, but if you're craving substance or something more clever than your average thriller you may be disappointed.
~~~
Veronica (Davis) is married to Harry (Liam Neeson), who is a criminal. He orchestrates a heist that goes horribly wrong and his whole crew is killed as a result. When the dirty politician he did business with comes to collect his debt, Veronica is forced to take matters into her own hands.
She enlists the help of her fellow widows from the heist crew to assist her in carrying out a final "job" using meticulous instructions left behind by her husband. Alice (Debicki) and Linda (Michelle Rodriguez) are hesitant at first, but are also desperate to stay afloat financially, so they agree to the plan. Amidst the back-and-forth are several (unnecessary) supporting characters that don't do much except chew scenery (Colin Farrell and Daniel Kaluuya). There are crooked representatives, white collar men who pay for escorts, saintly drivers, innocent children—you name it, the gang's all here.
Of course Davis can carry any film, no matter how flawed. She's extraordinary alternating between grieving wife, angry widow, badass leader-of-the-pack and fierce opponent. Just to sit and watch her work is worth the price of admission. And there are many clever twists that were fun to absorb although the overall story had too much going on to be truly effective.
I'd say if you just want a ride that bumps and crashes and moves at a fast pace, you may leave satisfied, but if you're craving substance or something more clever than your average thriller you may be disappointed.
~~~
Saturday, April 21, 2018
Beirut
Last night I saw Beirut, starring Jon Hamm and Rosamund Pike.
Mason (Hamm) is an alcoholic former diplomat who previously made a life in Beirut. It's been ten years since he lost his love in a night of gunfire. He returned to America shortly thereafter and has never looked back.
Unfortunately, his country needs him and summons him to return to the "scene of the crime" because his closest colleague/friend has been taken hostage and the kidnappers only want Mason to negotiate. Reluctantly he returns to the horrors he left and thus begins a game of cat and mouse between the Americans (amongst each other) and the terrorists.
Really, it's a pretty straightforward story, with good guys and bad guys and damaged guys who fall somewhere in between. Though Mason and his chauffeur Sandy (Pike) spend a lot of time together, sparks never fly for them, which seems like a missed opportunity for an otherwise one-dimensional plot.
The reason to see this is Hamm, who looks more like Don Draper than his real self, and melts comfortably back into the drunken/angry/smart hero role. He's great.
As for the story, well, if you lived during the 1980s, it will conjure up bad flashbacks of depressing evening news broadcasts showing violence and death that seemed to have no end.
If only we'd come farther since then, this would be easier to stomach.
~~~
Mason (Hamm) is an alcoholic former diplomat who previously made a life in Beirut. It's been ten years since he lost his love in a night of gunfire. He returned to America shortly thereafter and has never looked back.
Unfortunately, his country needs him and summons him to return to the "scene of the crime" because his closest colleague/friend has been taken hostage and the kidnappers only want Mason to negotiate. Reluctantly he returns to the horrors he left and thus begins a game of cat and mouse between the Americans (amongst each other) and the terrorists.
Really, it's a pretty straightforward story, with good guys and bad guys and damaged guys who fall somewhere in between. Though Mason and his chauffeur Sandy (Pike) spend a lot of time together, sparks never fly for them, which seems like a missed opportunity for an otherwise one-dimensional plot.
The reason to see this is Hamm, who looks more like Don Draper than his real self, and melts comfortably back into the drunken/angry/smart hero role. He's great.
As for the story, well, if you lived during the 1980s, it will conjure up bad flashbacks of depressing evening news broadcasts showing violence and death that seemed to have no end.
If only we'd come farther since then, this would be easier to stomach.
~~~
Friday, April 06, 2018
A Quiet Place
Last night I saw A Quiet Place, starring real-life spouses Emily Blunt and John Krasinski. John also directed the film.
Lee (Krasinski) and Eveyln (Blunt) are normal parents—they have strict rules for their children to follow, they work hard to protect and provide for them. But this family has it a bit harder. They live in a time of crises where the earth has been invaded by alien creatures who hunt sound. This means if they make noise, they die.
For adults, maintaining silence isn't too difficult, but for kids, it's a lot harder. Also, their eldest, Regan (Millicent Simmonds), is deaf. On one hand, at least the entire family can communicate by sign language; on the other hand, Regan can't hear danger coming.
You may think an entire film shot mostly in silence could be boring, but this is the absolute opposite of that. The story is at times sweet, terrifying, heartwarming and heart-wrenching. Above all else, it's tense.
Think of living your life in your most adrenaline-fueled, anxious, on-guard state and that's what these folks are forced to do every minute of every day.
They carry on, we assume only for love, because life is pretty difficult. Think about all the activities that make noise—laughing, crying, making love, cooking, making music ... the list goes on.
Of course they have little ways of enjoying sound ... nature, headphones, etc. but to overcome human instinct is a battle that should never have to be fought.
I held my breath throughout most of this film because they were such nice people I wanted them to make it. It should also be noted that the entire cast is phenomenal, acting 90% of their roles through facial expressions.
Also refreshing: what you think might happen doesn't. On more than one occasion.
I can't wait to see what Director Krasinski does next.
~~~
Lee (Krasinski) and Eveyln (Blunt) are normal parents—they have strict rules for their children to follow, they work hard to protect and provide for them. But this family has it a bit harder. They live in a time of crises where the earth has been invaded by alien creatures who hunt sound. This means if they make noise, they die.
For adults, maintaining silence isn't too difficult, but for kids, it's a lot harder. Also, their eldest, Regan (Millicent Simmonds), is deaf. On one hand, at least the entire family can communicate by sign language; on the other hand, Regan can't hear danger coming.
You may think an entire film shot mostly in silence could be boring, but this is the absolute opposite of that. The story is at times sweet, terrifying, heartwarming and heart-wrenching. Above all else, it's tense.
Think of living your life in your most adrenaline-fueled, anxious, on-guard state and that's what these folks are forced to do every minute of every day.
They carry on, we assume only for love, because life is pretty difficult. Think about all the activities that make noise—laughing, crying, making love, cooking, making music ... the list goes on.
Of course they have little ways of enjoying sound ... nature, headphones, etc. but to overcome human instinct is a battle that should never have to be fought.
I held my breath throughout most of this film because they were such nice people I wanted them to make it. It should also be noted that the entire cast is phenomenal, acting 90% of their roles through facial expressions.
Also refreshing: what you think might happen doesn't. On more than one occasion.
I can't wait to see what Director Krasinski does next.
~~~
Tuesday, February 13, 2018
Fifty Shades Freed
On Sunday I saw Fifty Shades Freed, starring Dakota Johnson and Jamie Dornan.
In this third (excruciating) installment of the most popular worst trilogy ever made, Anastasia (Johnson) is married to Christian (Dornan) and has to navigate their new life, which includes taking an extravagant honeymoon to France; preparing a new mansion/love nest; 'working' as a book editor and fending off the attacks of her disgruntled former boss (who harbors a secret that involves her husband).
Before you question why I even sat through this, let me provide you two reasons:
1) The films are set in Seattle, near where I live and work, so I enjoy seeing "home" on the screen.
2) My friend's birthday is this week and she planned a girls' night around the film to celebrate.
See—I had no choice. But no, this wasn't good.
Was it fun to hoot and holler at during the saucy scenes? Sure. Was it great to see beautiful scenes of France and Washington? Absolutely.
But dear God, that dialog couldn't be worse. Honestly, Ms. Johnson and Mr. Dornan should get some kind of award just for keeping a straight face during what are supposed to be "dramatic" scenes. They are amazing.
And for pure visual pleasure, I still think we should have had more of Christian than Anastasia, but that's not how it played out.
At least in a few moments Anastasia truly exerted her girl power and took control of her situations.
Small consolation for such a dud.
~~~
In this third (excruciating) installment of the most popular worst trilogy ever made, Anastasia (Johnson) is married to Christian (Dornan) and has to navigate their new life, which includes taking an extravagant honeymoon to France; preparing a new mansion/love nest; 'working' as a book editor and fending off the attacks of her disgruntled former boss (who harbors a secret that involves her husband).
Before you question why I even sat through this, let me provide you two reasons:
1) The films are set in Seattle, near where I live and work, so I enjoy seeing "home" on the screen.
2) My friend's birthday is this week and she planned a girls' night around the film to celebrate.
See—I had no choice. But no, this wasn't good.
Was it fun to hoot and holler at during the saucy scenes? Sure. Was it great to see beautiful scenes of France and Washington? Absolutely.
But dear God, that dialog couldn't be worse. Honestly, Ms. Johnson and Mr. Dornan should get some kind of award just for keeping a straight face during what are supposed to be "dramatic" scenes. They are amazing.
And for pure visual pleasure, I still think we should have had more of Christian than Anastasia, but that's not how it played out.
At least in a few moments Anastasia truly exerted her girl power and took control of her situations.
Small consolation for such a dud.
~~~
Sunday, February 04, 2018
Winchester
This morning I saw Winchester, starring Helen Mirren and Jason Clarke.
Sarah Winchester (Mirren) is a grieving widow who uprooted her east coast life to (literally) rebuild in San Jose, California. She is continually (as in, 24-hrs. a day, 7 days a week) constructing more rooms for her mansion to satisfy the spirits of those killed with the firearms her husband's company manufactured. The year is 1906 and the company (which she partially inherited following her husband's death) would like to get rid of her. Dr. Price (Clarke) is sent to stay with her and prove she's mentally unfit.
Clarke is a favorite of mine from his Brotherhood days, and it goes without saying that Mirren is always perfection. But this film was a huge disappointment despite their best efforts to save a weak script.
Aside from the possessed grand-nephew and some "gotcha" ghoulish appearances, this doesn't feel much like a horror film, or even a thriller. Furthermore, the actual property (which, full disclosure: I have visited) is incredibly captivating, but most of what we see of it here are dark hallways, nails spitting out of walls and slammed doors. I was also let down by the San Francisco earthquake scene, expecting far more supernatural elements at play.
Though many of the facts are correct in the film (the house was severely damaged in the quake of 1906; Sarah did continually build; niece Marion really existed) the fictional story they created to harness the essence of the Winchester history falls flat.
As I sat and watched, I imagined how I would have re-written it (perhaps cold open with a seance; maybe bring to life the wheelbarrow man ghost that supposedly haunts the house present-day; show a present-day tour and flashback). So many possibilities—and the fact I had time to concoct them as I sat there means my boredom was high.
You'd be better off watching a documentary about the property. Those actually have the power to spook you.
~~~
Sarah Winchester (Mirren) is a grieving widow who uprooted her east coast life to (literally) rebuild in San Jose, California. She is continually (as in, 24-hrs. a day, 7 days a week) constructing more rooms for her mansion to satisfy the spirits of those killed with the firearms her husband's company manufactured. The year is 1906 and the company (which she partially inherited following her husband's death) would like to get rid of her. Dr. Price (Clarke) is sent to stay with her and prove she's mentally unfit.
Clarke is a favorite of mine from his Brotherhood days, and it goes without saying that Mirren is always perfection. But this film was a huge disappointment despite their best efforts to save a weak script.
Aside from the possessed grand-nephew and some "gotcha" ghoulish appearances, this doesn't feel much like a horror film, or even a thriller. Furthermore, the actual property (which, full disclosure: I have visited) is incredibly captivating, but most of what we see of it here are dark hallways, nails spitting out of walls and slammed doors. I was also let down by the San Francisco earthquake scene, expecting far more supernatural elements at play.
Though many of the facts are correct in the film (the house was severely damaged in the quake of 1906; Sarah did continually build; niece Marion really existed) the fictional story they created to harness the essence of the Winchester history falls flat.
As I sat and watched, I imagined how I would have re-written it (perhaps cold open with a seance; maybe bring to life the wheelbarrow man ghost that supposedly haunts the house present-day; show a present-day tour and flashback). So many possibilities—and the fact I had time to concoct them as I sat there means my boredom was high.
You'd be better off watching a documentary about the property. Those actually have the power to spook you.
~~~
Thursday, December 28, 2017
All the Money in the World
Yesterday I saw All the Money in the World, starring Christopher Plummer and Michelle Williams.
The film is based on the true story of Paul Getty's kidnapping in 1973. Getty (Charlie Plummer) was of course the grandson of JP Getty (Christopher Plummer), the billionaire oil tycoon.
Gail Getty (Michelle Williams) receives a call one day that her son Paul has been abducted and the kidnappers are demanding a ransom of $17 million. Though she's not in contact with her drug-addicted ex-husband, she does appeal to his wealthy father for the money, which he flatly refuses, suspecting Paul staged the kidnapping himself to extort cash from him.
As the weeks go on, it's evident the abduction is real, but Getty still can't be convinced and getting tired of waiting, the captors sell him to another group of criminals who aren't as nice (the first group let him listen to the radio, fed him relatively well, etc.)—everything escalates and a violent action is taken to prove they're serious.
It's only then that the victim's grandfather considers the situation 'real' and decides to help ... with conditions.
The film is heart-pounding suspenseful, even if you know the outcome. To say the acting is good would be an understatement, especially considering that this film was "in the can" so to speak when Kevin Spacey's controversy emerged and director Ridley Scott decided to replace him with Christopher Plummer.
How they seamlessly re-shot all of the senior Getty's scenes and edited them into the final print in time for their original release date is baffling to me, but they did. And they did it well.
No one would ever know that Plummer came in on the fly or that any of the scenes were filmed out of sync with the rest. It's flawless and the story is so strong, you forget about the "replacement" about 5 minutes in.
I loved this movie because it's a good movie, but I recommend it with twice as much emphasis because of the circumstance.
~~~
The film is based on the true story of Paul Getty's kidnapping in 1973. Getty (Charlie Plummer) was of course the grandson of JP Getty (Christopher Plummer), the billionaire oil tycoon.
Gail Getty (Michelle Williams) receives a call one day that her son Paul has been abducted and the kidnappers are demanding a ransom of $17 million. Though she's not in contact with her drug-addicted ex-husband, she does appeal to his wealthy father for the money, which he flatly refuses, suspecting Paul staged the kidnapping himself to extort cash from him.
As the weeks go on, it's evident the abduction is real, but Getty still can't be convinced and getting tired of waiting, the captors sell him to another group of criminals who aren't as nice (the first group let him listen to the radio, fed him relatively well, etc.)—everything escalates and a violent action is taken to prove they're serious.
It's only then that the victim's grandfather considers the situation 'real' and decides to help ... with conditions.
The film is heart-pounding suspenseful, even if you know the outcome. To say the acting is good would be an understatement, especially considering that this film was "in the can" so to speak when Kevin Spacey's controversy emerged and director Ridley Scott decided to replace him with Christopher Plummer.
How they seamlessly re-shot all of the senior Getty's scenes and edited them into the final print in time for their original release date is baffling to me, but they did. And they did it well.
No one would ever know that Plummer came in on the fly or that any of the scenes were filmed out of sync with the rest. It's flawless and the story is so strong, you forget about the "replacement" about 5 minutes in.
I loved this movie because it's a good movie, but I recommend it with twice as much emphasis because of the circumstance.
~~~
Wednesday, June 28, 2017
Baby Driver
Tonight I saw Baby Driver, starring Ansel Elgort and Jon Hamm.
Baby (Elgort) isn't your average getaway car driver. He's young. He's distracted (by music of his own choosing). He's got a seemingly endless supply of sunglasses.
He's not meant for a life of crime.
This story, really mostly about him, is a ride in itself—a genre-bending, hilarious, tragic, sentimental, endearing, tense thriller that doesn't give you much of a chance to breathe between scenes.
Baby's boss, Doc (Kevin Spacey), promises him he can leave the life once he's settled a debt that's unbeknownst to us. He achieves this in a heart-thumping heist scene and calmly returns home, where he cares for Joseph (CJ Jones), an elderly deaf man, in a run-down apartment. He also gets friendly with waitress Debora, who works at a nearby diner.
All along, Baby has a continuous soundtrack playing in his ears. The excuse given is tinnitus, but his knack for making music from his secretly taped conversations leads us to believe there could be more to it.
He gets to know many of the criminals he drives for along the way. Smoldering Buddy (Hamm), evil Bats (Jamie Foxx) and others. They are suspect of his youth and his earbuds and his incredible skill at operating motor vehicles.
There are too many twists and turns to properly take the story any further without spoiling, so I'll leave it there and simply say: Edgar Wright has outdone himself.
I'm a fan of his other work (Shaun of the Dead probably the most recognizable), but this is better. It's smarter. Sharper. Faster.
Above all else, it has rhythm. Since the storytelling is woven through music that our protagonist selects for his various moods and jobs, the film radiates with a series of songs that wouldn't feel out of place in the world of Tarantino. And yes, there's violence. And some language too.
But it remarkably doesn't feel gratuitous, and the Georgia accent on our hero makes him all that more appealing. There's even a love story for the romantics to fall for.
I may have to see it again.
~~~
Baby (Elgort) isn't your average getaway car driver. He's young. He's distracted (by music of his own choosing). He's got a seemingly endless supply of sunglasses.
He's not meant for a life of crime.
This story, really mostly about him, is a ride in itself—a genre-bending, hilarious, tragic, sentimental, endearing, tense thriller that doesn't give you much of a chance to breathe between scenes.
Baby's boss, Doc (Kevin Spacey), promises him he can leave the life once he's settled a debt that's unbeknownst to us. He achieves this in a heart-thumping heist scene and calmly returns home, where he cares for Joseph (CJ Jones), an elderly deaf man, in a run-down apartment. He also gets friendly with waitress Debora, who works at a nearby diner.
All along, Baby has a continuous soundtrack playing in his ears. The excuse given is tinnitus, but his knack for making music from his secretly taped conversations leads us to believe there could be more to it.
He gets to know many of the criminals he drives for along the way. Smoldering Buddy (Hamm), evil Bats (Jamie Foxx) and others. They are suspect of his youth and his earbuds and his incredible skill at operating motor vehicles.
There are too many twists and turns to properly take the story any further without spoiling, so I'll leave it there and simply say: Edgar Wright has outdone himself.
I'm a fan of his other work (Shaun of the Dead probably the most recognizable), but this is better. It's smarter. Sharper. Faster.
Above all else, it has rhythm. Since the storytelling is woven through music that our protagonist selects for his various moods and jobs, the film radiates with a series of songs that wouldn't feel out of place in the world of Tarantino. And yes, there's violence. And some language too.
But it remarkably doesn't feel gratuitous, and the Georgia accent on our hero makes him all that more appealing. There's even a love story for the romantics to fall for.
I may have to see it again.
~~~
Sunday, May 21, 2017
SIFF Sighting: THE UNKNOWN GIRL (Thriller, Belgium)
When a woman becomes obsessed with a young girl's death, her preoccupation with the event gets her into trouble.
Their gift for capturing life as it is—getting interrupted while cooking, answering someone too quickly—is unparalleled and it shines here.
Don't let the slow pace discourage you from seeing it. The end is worth the wait.
~~
The Unknown Girl screened at the 43rd Annual Seattle International Film Festival.
Thursday, March 30, 2017
Personal Shopper
Tonight I saw Personal Shopper starring Kristen Stewart.
Maureen (Stewart) is a personal shopper for a difficult, high-profile star in Paris. Though Maureen is American, she remains in France because her twin brother died there months ago, and they had a pact for whomever went first to send the other a message from beyond the grave. Did I mention they're both mediums?
She is growing impatient because odd things are happening (ghouls chase her when she's alone in the dark, faucets turn on, etc.) but she doesn't think any of them are her brother. Couple this with the fact that she's getting mysterious text messages from an unknown source (and for some reason, faithfully answering them) and we're left with a lot of unanswered questions.
Though I wanted to know what was driving the mysterious text message-sender, and I desperately wished for Maureen to hear from her suddenly gone brother, I didn't have patience for the pace or the meandering extra storyline and characters that may or may not have had anything to do with those elements.
If a script is going to be as provocative as this one, if the ends aren't going to be tied up, at least a few solid theories should be presented.
Instead of wanting more, I was really wanting it to end. Thankfully it did.
~~~
Maureen (Stewart) is a personal shopper for a difficult, high-profile star in Paris. Though Maureen is American, she remains in France because her twin brother died there months ago, and they had a pact for whomever went first to send the other a message from beyond the grave. Did I mention they're both mediums?
She is growing impatient because odd things are happening (ghouls chase her when she's alone in the dark, faucets turn on, etc.) but she doesn't think any of them are her brother. Couple this with the fact that she's getting mysterious text messages from an unknown source (and for some reason, faithfully answering them) and we're left with a lot of unanswered questions.
Though I wanted to know what was driving the mysterious text message-sender, and I desperately wished for Maureen to hear from her suddenly gone brother, I didn't have patience for the pace or the meandering extra storyline and characters that may or may not have had anything to do with those elements.
If a script is going to be as provocative as this one, if the ends aren't going to be tied up, at least a few solid theories should be presented.
Instead of wanting more, I was really wanting it to end. Thankfully it did.
~~~
Friday, March 03, 2017
Get Out
Tonight I saw Get Out, starring Daniel Kaluuya and Allison Williams.
Rose (Williams) is excited to take her new boyfriend Chris (Kaluuya) home to meet her parents. They live on a lake a few hours from the city. Chris is nervous for their reaction because he's black and Rose is white, but she tells him not to worry—her parents aren't racist; just annoying.
The couple hits a deer on their way to the homestead and a cop comes to their aid. He asks to see Chris's identification, though Rose was driving when the accident happened. She defends Chris and the cop sends them on their way.
When they arrive at Rose's home, her parents are warm and welcoming, if not a little awkward. Chris is trying to stop smoking, so Rose's father (Bradley Whitford) suggests that his wife Missy (Catherine Keener), hypnotize the habit out of him. She's a gifted psychiatrist and has been successful with that in the past. Chris politely declines.
The first night there, Chris has trouble sleeping so he goes outside to get some air. There he has an odd encounter with "the help" (also black) and hurries back inside. Missy invites him to share a cup of tea with her and things get weird.
That's all I can say without spoiling the many twists and turns that follow. And boy, do they follow!
You may think you have the main "gotcha" revelation figured out, but you don't. Trust me, I thought I did too.
All I can say is, I was gripping my seat, my fellow theater-goers were gasping and screaming and I can't wait to go back for a repeat viewing to catch all the clues I missed about the reveal.
A satisfying, fun ride.
~~~
Rose (Williams) is excited to take her new boyfriend Chris (Kaluuya) home to meet her parents. They live on a lake a few hours from the city. Chris is nervous for their reaction because he's black and Rose is white, but she tells him not to worry—her parents aren't racist; just annoying.
The couple hits a deer on their way to the homestead and a cop comes to their aid. He asks to see Chris's identification, though Rose was driving when the accident happened. She defends Chris and the cop sends them on their way.
When they arrive at Rose's home, her parents are warm and welcoming, if not a little awkward. Chris is trying to stop smoking, so Rose's father (Bradley Whitford) suggests that his wife Missy (Catherine Keener), hypnotize the habit out of him. She's a gifted psychiatrist and has been successful with that in the past. Chris politely declines.
The first night there, Chris has trouble sleeping so he goes outside to get some air. There he has an odd encounter with "the help" (also black) and hurries back inside. Missy invites him to share a cup of tea with her and things get weird.
That's all I can say without spoiling the many twists and turns that follow. And boy, do they follow!
You may think you have the main "gotcha" revelation figured out, but you don't. Trust me, I thought I did too.
All I can say is, I was gripping my seat, my fellow theater-goers were gasping and screaming and I can't wait to go back for a repeat viewing to catch all the clues I missed about the reveal.
A satisfying, fun ride.
~~~
Friday, October 07, 2016
The Girl on the Train
Tonight I saw The Girl on the Train, starring Emily Blunt and Haley Bennett.
Rachel (Blunt) is a scorned woman, drowning her sorrows in drink following a divorce. Her ex-husband, Tom (Justin Theroux), has moved on and married his mistress. They live together in the house he and Rachel used to share. They have a baby daughter and seem the picture of happiness.
Megan (Bennett) nannies for Tom and his wife, and lives nearby. On the train Rachel takes each day to a job she lost over a year ago, she often watches Megan and her husband Scott on their porch.
One day, Megan goes missing and Rachel is one of the last people to see her. Because of her alcoholism, Rachel suffers blackouts and doesn't remember the events of that night.
Going any further with the plot will spoil many twists, so I'll leave the exploration at that. Though the film does stay true to the book it was based upon, it feels (painfully) slower.
Blunt is convincing as the tragic Rachel, who you alternately sympathize with and want to shake. Her portrait of alcoholism is faithful to sufferers of the disease, and her shock and horror as events unfold is believable. Unfortunately her wonderful acting skills, and the strong performances from the other leads and supporting characters, can't save the movie.
Instead of the page-turning crescendo of activity the book put us through, we're instead watching extended vignettes of Rachel and Megan in their various stages, acting out in whatever ways their characters act out.
Sure, it's powerful to see Rachel flashback to her marriage and let us see what brought her to such self-destruction, and Megan seductively sucking the fingers of one of her sexual partners is about as erotic as it gets for an R-rated movie. But what happened to all the suspense?
I'll just have to return to the pages of the novel to find it.
~~~
Rachel (Blunt) is a scorned woman, drowning her sorrows in drink following a divorce. Her ex-husband, Tom (Justin Theroux), has moved on and married his mistress. They live together in the house he and Rachel used to share. They have a baby daughter and seem the picture of happiness.
Megan (Bennett) nannies for Tom and his wife, and lives nearby. On the train Rachel takes each day to a job she lost over a year ago, she often watches Megan and her husband Scott on their porch.
One day, Megan goes missing and Rachel is one of the last people to see her. Because of her alcoholism, Rachel suffers blackouts and doesn't remember the events of that night.
Going any further with the plot will spoil many twists, so I'll leave the exploration at that. Though the film does stay true to the book it was based upon, it feels (painfully) slower.
Blunt is convincing as the tragic Rachel, who you alternately sympathize with and want to shake. Her portrait of alcoholism is faithful to sufferers of the disease, and her shock and horror as events unfold is believable. Unfortunately her wonderful acting skills, and the strong performances from the other leads and supporting characters, can't save the movie.
Instead of the page-turning crescendo of activity the book put us through, we're instead watching extended vignettes of Rachel and Megan in their various stages, acting out in whatever ways their characters act out.
Sure, it's powerful to see Rachel flashback to her marriage and let us see what brought her to such self-destruction, and Megan seductively sucking the fingers of one of her sexual partners is about as erotic as it gets for an R-rated movie. But what happened to all the suspense?
I'll just have to return to the pages of the novel to find it.
~~~
Sunday, April 17, 2016
Midnight Special
On Monday I saw Midnight Special, starring Michael Shannon and Jaeden Lieberher.
Alton (Lieberher) isn't your everyday kid. He doesn't go to school. He lives on a cult ranch and provides accurate prophecies to his pastor. He also has an aversion to daylight.
When we meet him, he's on the run with his father (Shannon) and his father's childhood friend (Joel Edgerton) because the federal government is trying to take him into custody. At one stop he disables a satellite using just his eyes, causing the destruction of a gas station. This is apparently par for the course, as Dad doesn't seem so much surprised as angry. I couldn't help but think of Drew Barrymore's young Firestarter character when it all unfolded. Emotion = consequences. Just like normal life, but to a crazy degree.
As Alton searches for what the other dimension wants for him, the government remains in pursuit. Kirsten Dunst appears along the way to prove her worth as a nurturing mother. Adam Driver shows up as a borderline annoying cocky agent, way in over his head. He somewhat redeems himself eventually, but I could have done with less screen time from him.
In fact, I could have done with less screen time in general.
The main thing wrong with the film is it's pace: It doesn't really have one. There are moments of intense action and then moments of complete boredom. The fugitives encounter some people who have purpose and a few that don't. One incident that happens early in the film could make some dislike the dad. It was unnecessary—we get that he's loyal to the kid.
Also, Alton's eyes light up many times throughout the film, which had me cycling back in my brain to this '80s video by Bonnie Tyler. I couldn't help it. And if I'm that distracted during a movie in an otherwise peaceful theater, something's wrong.
Conceptually, I loved the idea of the film. A child with a gift that cannot be defined—even by those closest to him—is an interesting problem. The supernatural element only intensifies that challenge, which I enjoyed.
Unfortunately, the gratuitously lengthy journey getting there and the anti-climactic ending, which answered few questions, fell short.
~~~
Alton (Lieberher) isn't your everyday kid. He doesn't go to school. He lives on a cult ranch and provides accurate prophecies to his pastor. He also has an aversion to daylight.
When we meet him, he's on the run with his father (Shannon) and his father's childhood friend (Joel Edgerton) because the federal government is trying to take him into custody. At one stop he disables a satellite using just his eyes, causing the destruction of a gas station. This is apparently par for the course, as Dad doesn't seem so much surprised as angry. I couldn't help but think of Drew Barrymore's young Firestarter character when it all unfolded. Emotion = consequences. Just like normal life, but to a crazy degree.
As Alton searches for what the other dimension wants for him, the government remains in pursuit. Kirsten Dunst appears along the way to prove her worth as a nurturing mother. Adam Driver shows up as a borderline annoying cocky agent, way in over his head. He somewhat redeems himself eventually, but I could have done with less screen time from him.
In fact, I could have done with less screen time in general.
The main thing wrong with the film is it's pace: It doesn't really have one. There are moments of intense action and then moments of complete boredom. The fugitives encounter some people who have purpose and a few that don't. One incident that happens early in the film could make some dislike the dad. It was unnecessary—we get that he's loyal to the kid.
Also, Alton's eyes light up many times throughout the film, which had me cycling back in my brain to this '80s video by Bonnie Tyler. I couldn't help it. And if I'm that distracted during a movie in an otherwise peaceful theater, something's wrong.
Conceptually, I loved the idea of the film. A child with a gift that cannot be defined—even by those closest to him—is an interesting problem. The supernatural element only intensifies that challenge, which I enjoyed.
Unfortunately, the gratuitously lengthy journey getting there and the anti-climactic ending, which answered few questions, fell short.
~~~
Monday, November 24, 2014
John Wick
On Wednesday, I saw John Wick, starring Keanu Reeves and Willem Dafoe.
John (Reeves) is a man of few words. Then again, he doesn't need many. He left a legendary life of crime when he fell in love with his wife, but now she's passed on and he's alone. Oh, so alone.
Until ... a puppy arrives. A gift arranged by his late wife, this little guy (who is painfully cute, but devoid of a name) becomes the light of his life. We see the puppy navigating his new life in the mansion that years of bloodshed built, and we can't help but fall for him too.
Of course, it's all a ploy to get us so emotionally attached to the dog that we won't be able to bear it when he's horrifically killed. What's worse? It's by some painfully dumb bad guys who don't realize this man's best friend belongs to John Wick.
Uh-oh.
That's when things get interesting. They stole Wick's car and killed his dog. Now, he wants revenge.
After unloading an arsenal of weapons that look like something out of a Middle-East military bunker, he begins to make that happen.
With a lot of clever choreography and some token at-the-loud-and-flashy club scenes, his fury is unleashed. Keanu broods a lot.
And it's fun, if you're into that sort of thing.
~~~
John (Reeves) is a man of few words. Then again, he doesn't need many. He left a legendary life of crime when he fell in love with his wife, but now she's passed on and he's alone. Oh, so alone.
Until ... a puppy arrives. A gift arranged by his late wife, this little guy (who is painfully cute, but devoid of a name) becomes the light of his life. We see the puppy navigating his new life in the mansion that years of bloodshed built, and we can't help but fall for him too.
Of course, it's all a ploy to get us so emotionally attached to the dog that we won't be able to bear it when he's horrifically killed. What's worse? It's by some painfully dumb bad guys who don't realize this man's best friend belongs to John Wick.
Uh-oh.
That's when things get interesting. They stole Wick's car and killed his dog. Now, he wants revenge.
After unloading an arsenal of weapons that look like something out of a Middle-East military bunker, he begins to make that happen.
With a lot of clever choreography and some token at-the-loud-and-flashy club scenes, his fury is unleashed. Keanu broods a lot.
And it's fun, if you're into that sort of thing.
~~~
Saturday, November 01, 2014
Before I Go to Sleep
Tonight I saw Before I Go to Sleep, starring Nicole Kidman and Colin Firth.
Chris Lucas (Kidman) wakes up every day remembering nothing about her life for the past 18 years. She's 40, but in her head, she's 22. During the day her husband (Colin Firth) tries to catch her up by placing post-it notes and photos around the house, reminding her of their life, but by the time she retains it all, it's time for bed.
Her amnesia is the result of a traumatic attack she suffered at the hands of a mystery man several years ago. He was never caught or punished due to her lack of recollection about the incident.
Attempting to help her is Dr. Nasch (Mark Strong), who has developed an experimental therapy that has Chris recording a diary on camera each night. He hopes that the ritual will gradually begin to bring things back for her, but decides to remove himself from her case when he becomes too close to her.
Her instincts tell her that there are people in her life who should not be trusted, but determining who causes her great peril.
Kidman is convincing as a confused, disturbed woman trying to piece together her history from conflicting stories and evidence; Firth is effortlessly handsome (as usual) and compassionate as he's forced to repeat the same retelling of his wife's life every day.
I'll have to admit I found this story very depressing until the unexpected twist took hold of the plot and turned it upside down. I didn't see it coming, though I suspect if I went back and watched it again, the clues would all be there staring me in the face.
What started as a quiet drama evolved into a nail-biting thriller with a an ending that gave the characters a well-deserved exploration.
One of the nicest surprises I've had at the cinema in a while.
~~~
Chris Lucas (Kidman) wakes up every day remembering nothing about her life for the past 18 years. She's 40, but in her head, she's 22. During the day her husband (Colin Firth) tries to catch her up by placing post-it notes and photos around the house, reminding her of their life, but by the time she retains it all, it's time for bed.
Her amnesia is the result of a traumatic attack she suffered at the hands of a mystery man several years ago. He was never caught or punished due to her lack of recollection about the incident.
Attempting to help her is Dr. Nasch (Mark Strong), who has developed an experimental therapy that has Chris recording a diary on camera each night. He hopes that the ritual will gradually begin to bring things back for her, but decides to remove himself from her case when he becomes too close to her.
Her instincts tell her that there are people in her life who should not be trusted, but determining who causes her great peril.
Kidman is convincing as a confused, disturbed woman trying to piece together her history from conflicting stories and evidence; Firth is effortlessly handsome (as usual) and compassionate as he's forced to repeat the same retelling of his wife's life every day.
I'll have to admit I found this story very depressing until the unexpected twist took hold of the plot and turned it upside down. I didn't see it coming, though I suspect if I went back and watched it again, the clues would all be there staring me in the face.
What started as a quiet drama evolved into a nail-biting thriller with a an ending that gave the characters a well-deserved exploration.
One of the nicest surprises I've had at the cinema in a while.
~~~
Wednesday, October 29, 2014
Nightcrawler
Tonight I screened Nightcrawler, starring Jake Gyllenhaal and Rene Russo.
Lou Bloom (Gyllenhaal) is an aspiring breaking-news photographer in Los Angeles who covets a relationship with Nina (Russo), a news director at a local station that's suffering in the ratings.
Though he has no formal training, Bloom is confident that he's a quick study, and begins to apprentice professionals already on the job—without their permission. He soon becomes good enough to get some clips on the air and hires a homeless assistant, Rick (Riz Ahmed), who is as desperate for employment as Bloom is for success.
The trouble is, Bloom doesn't seem to have a conscience when it comes to reporting. Ethics aren't what advances a photographer's career, so he focuses on the things that do: bloody crime scenes and accidents in suburbia. His methods cross the line of appropriate and his negotiating tactics, for more money and more recognition, are beyond reproach.
Scene after scene, Gylenhaal impresses us as the dangerous kind of narcissist that can't see beyond his own ego. His hollow smile coupled with his sharp, yet condescending lectures show a level of crazy that we haven't seen before in the actor. Perhaps what's so frightening is that he seems such a natural fit.
Russo matches his level of energy as the boss who will risk everything to keep her job, even if it means rewarding reprehensible behavior.
To add to the fun, the dialogue will make you angry at yourself for partially appreciating Bloom's wit, and oddly (sometimes) even rooting for him to get to the story first. After all, he's working hard for it.
Of course no matter of warped charisma or set of brass balls can excuse the evil that sneaks out when anyone puts humanity second to their own pursuits.
It's just a shame that our society is presently so twisted, none of this seems too far-fetched to be believable.
~~~
Lou Bloom (Gyllenhaal) is an aspiring breaking-news photographer in Los Angeles who covets a relationship with Nina (Russo), a news director at a local station that's suffering in the ratings.
Though he has no formal training, Bloom is confident that he's a quick study, and begins to apprentice professionals already on the job—without their permission. He soon becomes good enough to get some clips on the air and hires a homeless assistant, Rick (Riz Ahmed), who is as desperate for employment as Bloom is for success.
The trouble is, Bloom doesn't seem to have a conscience when it comes to reporting. Ethics aren't what advances a photographer's career, so he focuses on the things that do: bloody crime scenes and accidents in suburbia. His methods cross the line of appropriate and his negotiating tactics, for more money and more recognition, are beyond reproach.
Scene after scene, Gylenhaal impresses us as the dangerous kind of narcissist that can't see beyond his own ego. His hollow smile coupled with his sharp, yet condescending lectures show a level of crazy that we haven't seen before in the actor. Perhaps what's so frightening is that he seems such a natural fit.
Russo matches his level of energy as the boss who will risk everything to keep her job, even if it means rewarding reprehensible behavior.
To add to the fun, the dialogue will make you angry at yourself for partially appreciating Bloom's wit, and oddly (sometimes) even rooting for him to get to the story first. After all, he's working hard for it.
Of course no matter of warped charisma or set of brass balls can excuse the evil that sneaks out when anyone puts humanity second to their own pursuits.
It's just a shame that our society is presently so twisted, none of this seems too far-fetched to be believable.
~~~
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