The Revenant

Tonight I saw The Revenant, starring Leonardo DiCaprio and Tom Hardy.

Hugh Glass (DiCaprio) is a fur trapper in the early 1800s (and yes, this character is based on a real person and a real incident, though many of the characters are fictional). He's on an expedition along the Missouri River when he's mauled by a grizzly bear. He survives the violent attack, but can barely move. And winter is coming—so instead of the entire group putting themselves in further danger, they offer cash rewards to those willing to stay behind and either nurse him back to health or give him a proper burial when the day comes. Two men, plus the man's son, volunteer for the duty and the rest leave.

After days of no improvement, one of the men, John Fitzgerald (Hardy) gets anxious and wants to put Glass out of his misery. He's not ready to go and his son attempts to save him. Fitzgerald kills the son and convinces the other man to leave Glass for dead. He even takes his gun.

But Hugh doesn't die. His resolve for revenge against Fitzgerald fuels his will to live and the next 2+ hours are spent battling tribes, nature and his own rotting flesh. Just watching him shiver in the snow is enough to put an extra layer on in the theater. In fact, with the exception of the tender moments Hugh shares with his son, the ghost of his son's mother, the ghost of his son and a friend he makes along the way, there's not much about this film that's pleasant.

It's brilliant, though.

From the stunning cinematography to the horrific, so-real-it-makes-you-squirm bear scene to DiCaprio's almost mute performance that somehow exhibits more emotion than anything we've seen on film this year, it's a triumph.

Visceral, painful, frightening, satisfying, terrifying—all of those things. And if Leo doesn't win the Oscar this year, I will lose all faith in the Academy.

~~~

Carol

This morning I saw Carol, starring Cate Blanchett and Rooney Mara.

There's a chronic ache one endures when love is unrequited. A pain detected by others only when looking deep into the afflicted's eyes. Carol (Blanchett), the subject of this film, feels this pain. She is on the verge of divorcing her husband Harge (Kyle Chandler) and is smitten with a young shop girl she met while searching for her daughter's Christmas gift.

As fate would have it, Carol accidentally left her gloves behind at the department store when purchasing said gift, so the shop girl, Therese (Mara) has them sent back to her. To show her gratitude for the gesture, she treats Therese to a fancy lunch and a new friendship is formed.

Meanwhile, Therese is somewhat confused about where she wants life to take her. She has a solid job at the store, but her passion is photography. She has a devoted boyfriend, but another friend likes her and also wants to be with her. Therese has little interest in either of them.

As Carol progresses with her separation, an ex-girlfriend, Abby (Sarah Paulson), helps her deal. But her association with Abby makes Harge believe she's going back to her—though she's not—so he begins proceedings to keep Carol from seeing their daughter. This drives Carol to quickly seek comfort in Therese's friendship and explore where it will go.

Did I mention it's the early 50s? And it's not okay to be an 'out' lesbian in the early 50s?

The whole film centers around this repression, despite the fact Carol seems very comfortable in who she is and makes no apologies for her feelings. It's one of those films where very little happens, yet everything does change.

If you're looking for a fast-paced love story, this is not the film for you, but if you have the cinema patience for quiet scenes, sexual frustration and longing looks, you may find yourself satisfied by its undercurrent.

Cate Blanchett is fantastic as always, as the cold, yet compassionate Carol. Mara didn't impress me as much with her deer-in-headlights glances and wooden dialog delivery, but Kyle Chandler playing against type as a jackass was fun to see.

I'm glad I checked this one off my list, even if it's not as flashy as competing films in this year's Oscar race.

~~~

Joy

Last night I saw Joy, starring Jennifer Lawrence and Robert De Niro.

Joy Mangano (Lawrence) is an inventor, entrepreneur and multimillionaire—but it took a lot of work for her to get there.

As a single mom in the late 80s, Mangano was always thinking up ways to make life a little easier. One of those ideas led to her invention of the Miracle Mop; at the time, a revolutionary cleaning device that was self-wringing and machine washable. This film tells the story (loosely) of how she was able to sell her idea to the right entity despite a difficult dysfunctional family and no prior business experience.

Jennifer Lawrence (though a bit young to be playing Joy) dazzles as the headstrong woman who seems to solve all of her family's problems. She has a depressed mother living downstairs and a friendly ex-husband in the basement as she raises her two kids, juggles a crazy sister and works full time. But she manages to do it all as she invents what will become her breakthrough product.

De Niro plays her father Rudy just as you'd expect him to; forcefully, lovingly, borderline annoyingly. Of course, he's perfect. But unfortunately, the film isn't.

Each step taken, each word spoken, each concentrated look delivered is far too exaggerated. The camera whizzes around each scene like a drunk cocktail party guest while us audience members spend more time looking at Lawrence's hair than thinking about the developing plot.

Sure, there are brief "miracle" moments, like every time Bradley Cooper shows up as Joy's business contact. And the story itself (especially for women) is inspiring because the real-life woman went on to be an even greater success (and yes, the Miracle Mop is being re-released with a new spin TOMORROW, so she's obviously still entrepreneurial-minded).

But unlike the sincerity of director David O'Russell's other hits like Silver Linings Playbook, the heart was missing from Joy, leaving us bleached of emotion.

~~~

The Big Short

Tonight I saw The Big Short, starring Christian Bale and Steve Carell.

The housing bubble was building for years, but no one saw it coming. No one, that is, except for a few industry outliers who found a way to bet on it.

Michael Burry (Bale) was a hedge fund manager who simply did the math. He was someone who looked for cracks in the system and understood numbers on a primal level. He called it years before it happened and he was right.

Mark Baum (Carell) is a money manager furious with the world. He's just lost his brother to suicide and as he works through that tragedy in therapy, he discovers that his job in the financial industry has a lot to do with who he has become. Baum listens to the right person and also believes the bubble will burst. He invests wisely as a result.

Financial stories are not typically compelling, but told here in talking-to-the-camera fashion (which shouldn't work, but for some reason does) it becomes riveting. It's flashy and fast and full of f-bombs, but I promise if you see it, you won't get bored.

Bale is so faithful to the actual man he's portraying, he actually borrowed his clothes for the film. And Carell, a comic genius with the skill to bring heavy drama at a moment's notice, also does not disappoint.

The Oscars may come calling for these actors—perhaps even the movie itself. I wouldn't be surprised or sad if they did.

~~~

Concussion

Today I saw Concussion, starring Will Smith and Albert Brooks.

The NFL is a huge, successful organization based on America's Favorite sport. The more interested the public becomes about football, the more money the institution makes, so it's in their best interest to deliver high-intensity, exciting games.

Years ago, Dr. Bennet Omalu (Smith), a leading neuropathologist in Pittsburgh recognized a brain pattern in former NFL players who had passed. He pursued and personally funded the study of this pattern, as he'd never seen it before, and determined that it was caused by repeated blows to the head. Concussions.

The condition, Chronic Traumatic Encephalopathy (CTE), causes its victims devastating symptoms such as dementia, depression, paranoia and memory loss. Many of those who were labeled with the affliction after death had committed suicide.

This film tells the story of how Dr. Omalu discovered CTE, and the resistance he met from the NFL once he went public with his findings. Though he had nothing against the sport, he did hope they would acknowledge the dangers their players are put in each time they take to the field. They refused to—and to say any more would spoil the film.

So, for non-sports folks like myself: Why should you see this?

Smith's performance, for one, is nothing short of impressive. He disappears into the accent and you forget you're watching The Fresh Prince.

The visceral way in which the filmmakers tell the story is (although gory) very powerful, as you truly grasp the science behind what's going on because they show it to you.

And, well, if you are a football fan... you should see this too. And then think about all of the money you're pouring into an institution that would rather profit from the talent they hire than preserve the health and sanity of those very individuals.

~~~

The Danish Girl

This morning I saw The Danish Girl, starring Eddie Redmayne and Alicia Vikander.

Einar Wegener (Redmayne) and his wife Gerda (Vikander) were a happy couple living a Bohemian life in Denmark in the 1920s. Both gifted painters, they shared a deep bond of not only love, but art.

One day, Gerda was in need of a live, female model for one of her paintings and her husband stood in for the absent woman. This act changed both of their lives significantly.

Einar discovered a special feeling when he put on the woman's stockings, and volunteered to continue acting as a female model whenever his wife was in need. This soon became a game for both of them—him developing an alter ego, Lili, and making appearances at events and parties around town.

Gerda was surprisingly supportive of this ruse and even encouraged it. Her paintings of Lili were very successful in the industry and Einar was happier when he was behaving like a girl.

Of course, over time, Einar decided he could no longer be Einar. He truly felt inside that he was a woman and the only moments where he felt comfortable were those he had acting as Lili. Gerda accepted this eventuality and they moved to Paris, preserving their unconventional marriage throughout his quest to fully transition to female.

A few years later they met a doctor that said he could perform a series of operations to make Lili fully female and Eniar was enthusiastic about having them. Gerda stood by his/her side for the duration.

This film does an incredible job, through the genius of Eddie Redmayne, of exposing how it may feel for transgender persons discovering their true selves. There are many long looks in the mirror; several examinations of one's own human body; countless instances of touching the sensual fabric of women's apparel. Though none of us who aren't transgender could ever truly 'know how it feels' to be trapped in the wrong body, this film gives us at least a compass that directs us toward the feelings of those who do. Redmayne shows total discomfort in his own skin, and the discovery of his new self is frankly ... inspiring.

As the first person to have gender reassignment surgery, Elbe remains a hero to the transgender community to this day. Gerda did eventually divorce Einar and remarry, but stayed by Lili's side to the end.

The pair's story is told beautifully here, with award-bait performances and classy writing, capturing the right notes for today's progressive world.

~~~

The Hunger Games: Mockingjay – Part 2

This morning I saw The Hunger Games: Mockingjay – Part 2, starring Jennifer Lawrence and Josh Hutcherson.

I'm a big fan of The Hunger Games book series, and I loved the first two film adaptations, but the Mockingjay installments unfortunately leave a lot to be desired.

In this final curtain call, the boy who stole the heart of Katniss (Lawrence), Peeta (Hutcherson), has been brainwashed by the Big Bad Government and instead of wanting to live out his days with her, he wants to kill her. Of course, she still wants him and realizes that he doesn't have control of his mind.

He eventually comes back to the correct side of the war ... kinda. He has spontaneous, violent outbursts aimed at her from time to time, but for the most part behaves himself. They, along with their team of allies, set out to take back the world (and kill President Snow).

Donald Sutherland, as the hated leader, seems to be having a grand time in this one; less evil and more 'mad scientist' in spirit. It would be hard for anyone to think of him claiming victory when he's so jovial and Katniss is so serious.

So—what's wrong with the film?

#1 The pace. It's painfully slow for the first hour. I actually went and got a cup of coffee and when I came back they were still on the same scene.

#2 Wasted talent. Jennifer Lawrence is a gifted, sparkling superstar. She doesn't have much to do here except look sad. Look mad. Look tired.

#3 Anticlimactic action. Of course we know what's coming, but that's not what ruins it. The battle scenes just don't have the magic of the first two films. They're silly.

So—is there any reason to see it?

If you're a completist like me, it's your civic duty to sit through it. Also, it's Philip Seymour Hoffman's last film and just his mere presence—alive and breathing brilliance—is a gift.

~~~

Spotlight

This morning I saw Spotlight, starring Mark Ruffalo and Michael Keaton.

When Marty Baron (Liev Schreiber) arrived at The Boston Globe, he thought it could do better. He urged his "Spotlight" team of investigative reporters to pursue a story about a priest accused of multiple counts of sexual abuse. They were hesitant because of their relationship with the church and the fact that the majority of their readership was Catholic. He told them to do it anyway.

Reporter Mike Rezendes (Ruffalo) enthusiastically accepted the challenge. He visits the lawyer that represents several of the church's victims and quickly realizes that they're only scratching the surface. His boss, Robby (Keaton), is supportive, but cautious.

As the investigation continues, they are met with several roadblocks: the interference of the church; the lack of cooperation from a key lawyer; records that are sealed. They work day in and day out to overcome these obstacles, getting to a place where they're almost ready to reveal their findings and then 9/11 happens. The exposé has to be put on hold.

Of course, those who remember the headlines in early 2002 know that they did in fact get to tell their story, and it did instigate a shake-up in the Catholic church.

Though I remember the articles and knew the ending before going in, I was glued to my seat for the duration of the film, riveted by every scene. Like the legendary All the President's Men, following the footsteps of the reporters in what feels like real time really gets the blood pumping. With each new fact they reveal, you wonder what will come next and who or what will stand in their way from sharing it.

The acting is superb—especially Ruffalo, who is so believable as a quirky East Boston journalist, it's hard to remember he was ever The Hulk.

I'll be stunned if this isn't an Oscar favorite come awards season.

~~~

Trumbo

Today I saw Trumbo, starring Bryan Cranston and Diane Lane.

Dalton Trumbo (Cranston) was a successful screenwriter until his politics got in the way. A man of integrity, he stood by his beliefs instead of his riches and was ultimately blacklisted for being a communist.

After a brief sentence in prison, Trumbo had to find a way to feed his family so he returned to his only true skill: writing. He wrote screenplays like Roman Holiday under a pen name and countless other less prestigious titles. He never stopped writing and he also helped other blacklisted friends find 'underground' work.

Though it's a simple, well-documented true story, Cranston injects the late writer with such life it's almost as if he's still with us today. Always a pleasure to watch, Diane Lane is also perfect as his loyal wife, Cleo. The supporting cast is unsurprisingly impressive as well; among them: Helen Mirren, Elle Fanning, Louis C.K. and John Goodman.

So, why should anyone that's not obsessed with writers or communists go see this? Because at the end of the day it's about the very timely topic of endangered civil liberties. The decisions we're making as Americans today will determine our country's future. Films like this remind us that making the wrong decisions can be of great moral cost.

~~~

Brooklyn

Tonight I saw Brooklyn, starring Saoirse Ronan and Emory Cohen.

Ailish (Ronan) is a girl who feels she doesn't have a future in Ireland. With the help of her sister and the church, she gets a Visa to work in America and sets sail on the long, lonely journey.

Once she arrives in Brooklyn, New York, she doesn't immediately fit in—she's too shy at the department store where she works, she's too innocent to be part of the girls' club in her boarding house, and she's too plain to get noticed by any Irish fellows.

After a devastating spell of homesickness, a kind priest enrolls her in night school and she begins to come out of her shell, attending the local dances. It's there she meets Tony (Cohen), an Italian plumber with eyes only for her.

They fall in love easily and enjoy the bliss of mutual infatuation until tragedy strikes back in Ireland and Ailish is forced to choose between her life in the U.S. and home in County Wexford.

As someone obsessed with Irish culture, I perhaps had expectations that were too high for this film. I thought we'd see more of Ireland, get to know Ailish's family a bit better and learn why she was so set on making a new life across the pond. Instead, after the initial scenes, we only catch glimpses of her former life and become quite attached to her new one.

Though the acting is superb all around, I can't say I felt much pain for any of the characters. Though sad and bad things do happen, when we arrive at them we're still just observers; not invested.

I was pleased with the ending, so that's something to applaud, and the story undoubtedly mirrors many true-life situations of that era and those cultures. Go see it if you're in the mood for something simple, wrapped up in a nice bow.

~~~

Room

Tonight I saw Room, starring Brie Larson and Jacob Tremblay.

Joy (Larson) was a victim of a kidnapping when she was a teenager. She's been kept prisoner by her captor ever since, and produced a son, Jack (Tremblay), with him.

When we meet Joy and Jack, it's Jack's 5th birthday and the pair are celebrating by baking a cake from scratch. Jack is disappointed there are no candles to blow out, but his mother explains that she can only ask for so much.

After a series of "visits" from the captor, Joy decides it's time to try to make a move to escape, and Jack will have to be her ticket out. That's as much as I can tell you without spoiling the film. So, instead, I'll talk about the brilliant performances from Brie Larson, who is a certain bet for an Oscar nod, and Jacob Tremblay, who may just score a nomination of his own.

Brie as Joy perfectly exemplifies a tortured soul, though she doesn't let her son see it. She compartmentalizes like anyone who has been traumatized and saves her grief for the future, when she's emotionally allowed to show it.

The young Jacob Tremblay displays an equal mix of innocence and anger about his situation as Jack. The moment Joy tells him that there is indeed a world like the one they see on their television is something sure to be studied by future child actors.

The supporting characters are minimal but impactful—Joan Allen as Grandma and William H. Macy as Grandpa. The guilty parents who couldn't protect their own.

The screenplay is also to credit for such a realistic, awful sequence of events. Anyone who has watched television interviews with real-life survivors of such horrors only gets a glimpse of the layers of emotion they're working through when the bright interview lights are shining upon them. Here the writer peels back those layers and lets us experience each one.

I'm not ashamed to say that I sobbed uncontrollably more than once during this film. I hope it gets the recognition it deserves come awards season.

~~~

The Martian

This morning I saw The Martian, starring Matt Damon and Chiwetel Ejiofor.

There is a NASA mission to Mars that gets interrupted by a terrible sandstorm. Because of the severity of the weather, the commander of the ship, Melissa (Jessica Chastain), chooses to have the team abort the mission. As the evacuation begins, the botanist on board, Mark (Damon), gets hit with debris and is presumed dead. The other astronauts safely continue their mission, mourning his loss.

But he didn't die. He was injured and knocked out, but very much alive.

And there we begin ... the nerve-wracking 2+ hours of seeing if he can successfully grow food, navigate unpreventable disasters, make contact with NASA and keep his sanity. It's a tough ride, but one we've been on before.

Reminiscent of films like Gravity and Moon, the film centers around the solitude of the main character, but at least here we have a balance of scenes with the folks back home. Chiwetel Ejiofor delivers a fantastic performance as the Mars head-honcho, though Kristen Wiig, as an essential NASA employee seems displaced. Damon is predictably solid, as is the always-badass Chastain.

Sure, it's interesting to watch the scientific process for how to make food if you're ever stranded on a deserted planet. It's undoubtedly enjoyable to see the kinship amongst astronauts rivaling that of soldiers at war. But what keeps it from being a "great" American film is the crime of formula.

We know what's going to happen every step of the way, even if we're not sure how they're going to get there.

The characters were likeable, the situation of the initial accident very believable, but the outcome was terribly predictable.

Go see it if you want a fun ride, but not if you're seeking something new.

~~~

Steve Jobs

Two weeks ago I saw Steve Jobs, starring Michael Fassbender and Kate Winslet.

I fully admit that I've always been "a Mac." My first computer was a Strawberry Fields-colored iMac and every computer I've since owned has also been a Mac. I'm a very satisfied customer. I'm also faithful to Apple—owning both iPods and iPhones in my time. Again, having no regrets.

So perhaps I went into this film with a bias in favor of its subject.

That really shouldn't matter because I'll be the first to say it's not a perfect film. The main thing that bugged me was the fact that they really didn't care to stick too close to the truth. The entire film is structured around launches that were important in the tech legend's career, yet most of the situations surrounding them (with the exception of the public-facing moments) never happened. True, Jobs (Fassbender) had a rocky relationship with his daughter Lisa. True, his marketing maven Joanna (Winslet) was one of the few people who could call him on his BS. Not true, business partner Steve Wozniak (Seth Rogan) approached him before each launch and argued in public.

There are other sentimental details that were all the work of screenwriter Aaron Sorkin, but I won't mention them here in case you'd like to immerse yourself in the fake magic.

All of that aside, of course the acting is phenomenal. Fassbender and Winslet should do more films together because their chemistry crackles. The writing style is classic Sorkin, meaning it's never boring and always more fast-paced than most people have time to project. It's fun to watch, regardless of what you thought of the man or the myth.

It will come as no surprise that I regard Jobs as a genius, and greatly respect his legacy. Perhaps I'll have to wait for a documentary to see the perspective I'm craving.

~~~

Bridge of Spies

Tonight I saw Bridge of Spies, starring Tom Hanks and Mark Rylance.

In 1957, Rudolf Abel (Rylance) was charged with being a Soviet spy in the United States. His reluctant defense lawyer, James B. Donovan (Hanks), grew fond of him as he worked on the case and fought to give him a fair trial.

Unfortunately, Donovan was unsuccessful and Abel went to prison. Three years after Abel was arrested, a U.S. pilot named Francis Powers (Austin Stowell) was captured in the Soviet Union after his U2 spy plane was shot down (yes, I squeed when they mentioned "U2"). Donovan suggested perhaps the two could be exchanged. The story we see in the film here is that of how Abel was used as a pawn ... and Donovan became the U.S.'s default chess player.

It's admirable how close the film stays to the real events (there are only a few instances of fiction or exaggeration), and goes without saying that the cast is phenomenal. Hanks is sincere, Rylance is endearing, and supporting cast members like Amy Ryan and Eve Hewson add a dose of authenticity to the family unit to prevent this from being "just another spy movie."

Though the true events are easy to snuff out online (and spoil the ending), the last third of the movie is no less heart-pounding as a result. The movie has suspense, heart, drama and a bit of humor.

Very warm for a Cold War subject.

~~~

Crimson Peak

This morning I saw Crimson Peak, starring Mia Wasikowska and Jessica Chastain.

Edith (Wasikowska) is a girl of privilege, close to her wealthy father, hoping to be a published author someday. She's a feminist before her time (this being the year 1900), who ironically chooses to follow her heart instead of her head when a handsome suitor comes calling, despite the fact she resents having to include a love story in her manuscript because she's female.

That suitor is Thomas Sharpe (Tom Hiddleston), a baronet from England who's struggling to find investors for his steam drill. He hopes Edith's father will come on board, but instead gets met with more rejection. In fact, Edith's father dislikes him so much, he pays him off—on the condition that he leave Edith alone.

Thomas complies, breaks Edith's heart, and sets back to England with his wicked sister Lucille (Chastain). But tragedy soon strikes and Edith no longer answers to the good judgment of her father. She's free to follow Thomas to England, and that she does, soon marrying him and moving into the creepy castle he and his sister have all to themselves.

Things are not as they seem, though, as Edith soon finds out. Her sister-in-law won't part with the keys to the home, and weird visions occur when she's alone. She also doesn't feel so well in her new surroundings, her body growing weaker each day.

This is where the movie starts revealing its secrets and feels like classic Guillermo del Toro.

The horrific images come wrapped in sadness; their visual components so stunning you can't look away. The characters aren't merely one-note horror devices, they're complex, tragic figures who demand you at least care about how they came to be the way they are. And care we do.

We want to believe in the love Thomas has for Edith. We want to believe all of the bad in the home stems from Lucille. We want to believe the doctor back home hasn't forgotten her.

The thrilling ending has a twist this reviewer didn't see coming, and though parts of it were very gory (especially the sound effects), it has a satisfying close.

Perfect subject matter for the Halloween season, delivered with beautiful art direction and a clever screenplay.

Grab a cup of British tea and have fun with it.

~~~

The Visit

Tonight I saw The Visit, starring Olivia DeJonge and Deanna Dunagan.

Becca (DeJonge) and her brother Tyler (Ed Oxenbould) have never met their grandparents. Their mother left their house long ago when she fell in love with their father and never went back. Now, years after their father abandoned them, they want to meet their grandkids.

Reluctantly, Mom (Kathryn Hahn) agrees to let them go for a visit while she and her new boyfriend take off on a luxury cruise.

A train ride later, the kids are romping around the house where their mother grew up, asking Nana (Dunagan) and Pop Pop (Peter McRobbie) about their mother when she was young. It's an understandably sore subject, but is that the only reason they're being cagey?

I can't say more without spoiling (yes, there's a classic Shyamalan twist at the end that I figured out early on), but I will say that this movie was legitimately scary/disturbing. The kids do a great job (though Oxenbould's lisp gets annoying) of not being too exaggerated in their fears, and some clever dialogue helps make it more believable (when you hear "Katy Perry" you'll know what I mean).

Though I'm over the whole, "I'll set up a camera and we'll see what scary footage we get" trick, the elderly grandparents are a pair I'd never want to stay with under any circumstances.

What makes the film more effective is the genuine sentimentality that this broken family displays. Adults were hurt, and in the process kids got hurt, and that's never okay. Their care for one another helps us care about their well-being.

If you need a this-could-really-happen sort of terror this Halloween season, you could do worse than this film.

~~~

He Named Me Malala

Today I saw the documentary, He Named Me Malala, directed by Davis Guggenheim.

Malala Yousafzai is a normal teenager. Though she occasionally has to remind reporters of this fact, she doesn't seem too annoyed that they tend to forget. Of course aside from being a teenager she's also a global activist, the survivor of a personal Taliban attack and a Nobel Peace Prize Winner.

She hangs out with Bono and Hilary Clinton and Queen Elizabeth from time to time, but she also does hours of homework each night by choice, hard as it is for her youngest (incredibly adorable) brother to process. Her mother is having a tough time adjusting to life in England, and her other "laziest" brother likes to poke fun at her. She's a daddy's girl at heart. Yeah, that's Malala's life.

A crusader for women's rights (as she was just becoming a woman herself), Malala fought for the right for girls to attend school in her native Pakistan. She lived an idyllic life with her family, a mountain pass separating them from the main city, before the Taliban came along. Once the arrived, she didn't feel she should have to sacrifice her education to honor their beliefs, so she kept going to school. One day when she was riding home from school on the bus with her friends, the Taliban shot her (and a few of her pals). Since the main bullet went into her head, it was thought she wouldn't survive, but she fought, and the world's faithful prayed, and she emerged with an even stronger resolve.

Though the left side of her face doesn't quite work as well as it used to (including hearing out of that ear), and she spent days in a coma as a result of the shooting, she has no anger for her attacker. Her father says it wasn't one person who shot her, it was "ideology."

To say that Malala is an inspiration would be an understatement. Many who endure such trauma simply retreat to quiet lives, never to be seen again. She did the opposite—she got better, and she kept fighting.

Award-winning filmmaker Davis Guggenheim captures her spirit beautifully in one-to-one interviews and visits with her entire family. There are also gorgeous, animated versions of some of the stories from her past as well as actual footage of the days following her attack.

Whether she's meeting with Syrian refugees or giving inspirational speeches to heads of state, the compassion and strength of this miracle girl shines through.

I only hope there's a sequel so we can see what she does next.

~~~

Black Mass

On Saturday I saw Black Mass, starring Johnny Depp and Joel Edgerton.

Jimmy "Whitey" Bulger (Depp) loved his mother deeply. He was kind to old ladies. He was a doting father. He even took care of an abandoned cat in the neighborhood.

All of those things are true, as is the fact he was a malicious killer who terrorized the streets of Boston in the '70s and '80s as an Irish mob boss. This film tells of his decades evading justice as he used a childhood friend in the FBI to cover for him.

Spoiler alert: They're both now ending their days in prison.

Before they were caught, they each had a good run, though. Jimmy, defending his beloved Southie territory using whatever means necessary, and John Connolly (Joel Edgerton) climbing the ranks of the FBI by claiming Jimmy was a big-time informant.

Depp is icy cold as the brooding Bulger, always calm and collected even in the most gruesome times of violence. Edgerton is obnoxious and twitchy—apparently incredibly accurate—in his portrayal of Connolly, who in a weird, warped way always idolized Bulger. The attacks are frequent and the blood flows freely, but if you can anticipate when to look away, the other aspects of the movie will keep you glued to the screen.

In addition to the two leads, Benedict Cumberbatch, Kevin Bacon, Julianne Nicholson and Dakota Johnson all do a fine job in their supporting roles, but the real stand-out for me was Peter Sarsgaard as cocaine addict Brian Halloran. His brief time on screen was so memorable, he was who we were talking about as we left the theater.

The movie (and its real-life horrors) will stay with you for hours, maybe days after you see it. If you're tough enough to see this, be sure to stay to the very end where they show footage of the real criminals.

It's comforting to know that many of the people involved were in fact brought to justice, but the magnitude of the crimes still haunt.

~~~

Amy

Tonight I saw the documentary Amy, about the life and death of singer Amy Winehouse.

We only said goodbye with words
I died a hundred times
You go back to her
And I go back to black 

I always loved the music of Amy Winehouse. Her lyrics stung the way the best lines of prose attack you—her voice a rare seduction in a sea of trendy, chirpy female voices. She epitomized sexy jazz.

Unfortunately, like so many musicians before her, she died at the young age of 27. This film, crafted together like a scrapbook of home movies by director Asif Kapadia, chronicles her life.

We see a young girl emerge rebellious from her parents' separation (she was 9 when they split), an undeniable gift for music cultivated and a dangerous substance addiction present throughout. At the end of the day she was a junkie. An incredibly talented genius, but still a junkie.

The love of her life was her husband Blake, and the film implies he made a great effort to keep her high (he, also a junkie). Couple that with a battle against bulimia and the pressures of intense international fame and you have a recipe for disaster.

The film captures her spirit well: a painfully shy, wounded little girl mixed with a bold, raw, authentic woman. It's sweet to watch her rise to stardom in the early days when she hadn't yet disappeared into addiction; gut-wrenching to see her staggering around the stage near the end, not fully knowing where she was.

The whole story is simply sad but at least she left us the legacy of her beautiful voice, and now, though this moving portrait of her years, we can see perhaps why she left us the way she did.

~~~

Trainwrecked

In July, I saw Trainwrecked, starring Amy Schumer and Bill Hader. Unfortunately, I didn't write a review for it at the time. But I loved it.