Month: March 2024

“Leave the World Behind” (2023) starring Julia Roberts, Mahershala Ali, & Ethan Hawke

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There’s No Going Back to Normal. -Tagline for the movie

Amanda (Julia Roberts) and Clay (Ethan Hawke) Sandford leave the hustle of NYC (Brooklyn) for a quiet/ Long Island vacay w/ their 2 teen kids: 17 y.o. Archie (Charlie Evans- a 19 y.o. Aussie actor/musician) and 13 y.o. Rose (Farrah Mackenzie- now 19 y.o.) Their trip is interrupted by the arrival of a middle-aged man, G.H Scott (Mahershala Ali), and his 20-ish daughter, Ruth (Myaha’la), who own this luxury rental house. The Scotts (dressed to the nines for the Bronx Symphony) decided to leave the city when a blackout occurred. When the internet, TV, and radio stop working, as well as the landline, there is no way of finding out what is exactly happening! Loud sonic booms shatter the peace, animals start to migrate to weird places, and the physical/mental health of both families begins to disintegrate. As the renters are white and the owners are Black, issues of race clash and become distractions to the more disturbing events happening around them.

Amanda: Well, when I couldn’t fall back asleep this morning, I came over here. To watch the sunrise. And I saw all these people starting their day with such tenacity. Such verve. All in an effort to… make something of themselves. Make something of our world. I felt so lucky to be a part of that. But then, I remembered… what the world is actually like. And I came to a more accurate realization. I f*****g hate people.

My parents really valued assimilation. They were leaving a political system that had failed, and there was no desire on the part of either of my parents to look back with any rose-colored perspective. We were there to be American. They were extremely clear about that. I was raised like any other white kid in any other nice house in any other fancy American suburb. -Rumaan Alam (author of the source novel Leave the World Behind) in Vulture: September 15, 2020.

With Amanda, we get to dissect white entitlement, and I thought, What a fascinating challenge for America’s sweetheart [Julia Roberts] to examine that privilege. -Sam Esmail (director/screenwriter) in Vulture: September 15, 2020.

Yup, you heard right- former prez Barack Obama and his wife, Michelle, are producers on this movie! Netflix won a bidding war for the rights to the novel by Rumaan Alam (a queer/Bangladeshi-American writer) in July 2020. Alam and his husband (photographer David Land) are raising two Black sons in Brooklyn; he has written re: adoptive fatherhood in NYT. Sam Esmail (best known for Mr. Robot) was attached to write/direct the movie; he is Egyptian-American. This is the 3rd collab btwn. Esmail and Roberts after Gaslit (2022) and S1 of Homecoming (2018). Leave the World Behind had its world premiere at the AFI Fest on October 25, 2023. It was released (select theaters) on November 22nd, then hit Netflix on December 8th.

G. H. Scott: A conspiracy theory about a shadowy group of people running the world is far too lazy of an explanation… especially when the truth is much scarier.

Amanda: What is the truth?

G. H. Scott: No one is in control. No one is pulling the strings.

The central Q posed here: What has modern life made of us? We are focused on tech and ourselves, so perhaps are losing what makes us human. There is plenty of meta commentary in this movie; for EX: Roberts’ character’s daughter, Rose, is obsessed w/ Friends (1994). The girl becomes V anxious when unable to stream the series finale. Many viewers (esp. near by age) will recall that Roberts was a guest star in one ep of the hit comedy series; she also dated Matthew Perry. Rose doesn’t get much empathy from Archie, who is the typical down-beat/self-concerned boy. Some viewers commented on his resemblance to a young Adam Driver: tall, pale, slim, w/ long-ish dark hair. I had somewhat high hopes for this movie, as the cast is good and the premise is intriguing. Several viewers noted that Hawke is playing a version of himself, which I felt also. This movie is TOO long (2 hrs. 18 mins) and lacks pacing (momentum); there are a few scenes w/ good tension.

[1] I think the movie was timely. COVID accelerated our isolation with everyone living in their own realities of happiness. I recommend watching this movie and thinking about how our world is rapidly changing. How many of us would be perfectly happy living in our bunkers of our own making with our own devices watching our own shows not needing to pay attention to the outside world? The movie takes it to the extreme with bombs dropping right outside, but I thought the point was powerful.

[2] It’s supposed to be a deep, political exploration of what would happen to the average citizen if America were to be destabilized. And the answer is: they’d sit around and wander around and generally mope around. That’s very boring. Nothing about this movie hits. Nothing about this movie hits any of the right notes. I want my time back!

[3] And if 2023 has shown us anything, it’s revealed to more and more people that maybe we’re just cogs turning in a vast machine that we can’t possibly understand. There are forces shaping the world that are bigger than our individual capacities, and maybe too complex for us to collectively confront. We lack a common cause. Because we often can’t even agree on what the problem is. And where we can and do see problems we only see the surface problems. We band-aid things, and we swat flies. But we’re not building the solutions that we need to build a better future.

-Excerpts from IMDb reviews

Spoiler-Free Review: “The Lesson” (2023) starring Richard E. Grant, Julie Delpy, & Daryl McCormack

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This indie movie (filmed mostly in Germany during the COVID-19 pandemic) is the 1st feature of director Alice Troughton; she directed TV shows in the UK and US. An Oxford grad/aspiring young writer, Liam Somers (Daryl McCormack), takes a tutoring position at the quiet/beautiful country estate of a famous novelist, J.M. Sinclair (Richard E. Grant). The teen son of this writer, Bertie (Stephen McMillan), desperately wants to attend Oxford; he was recently short-listed to the school (NOT accepted yet). Bertie’s mom is an artist, Helene (Julie Delpy); she’s the parent Liam will report to re: his progress. Liam is sometimes invited to have dinner w/ the family; he soon realizes that the estate holds dark secrets.

This ones for us literary nerds, former (or current) teachers, and/or fans of neo noir. The Lesson had its premiere at the Tribeca film fest (co-founded by Robert DeNiro). One of my Bangladeshi friends went into film production; she had an internship w/ this organization about 15 yrs ago. As many viewers/critics noted, Grant does a great job here; this role is meatier than the one in Saltburn (2023). It’s V cool to see Delpy (who is aging gracefully) in a role outside of indie filmmaker Richard Linklater’s Before trilogy. The French actress gets to show a different side to her acting.

Irish actors (incl. Oscar-winner Cillian Murphy, Barry Keoghan, and Paul Mescal) are getting a LOT of press lately; McCormack (now 31) is coming up right behind those critically acclaimed stars. After barely missing out on a role in Star Wars: The Force Awakens, he starred opposite Emma Thompson in Good Luck to You, Leo Grande (2022). The actor had to be quite vulnerable, incl. being unclothed in most scenes; he did a terrific job going toe-to-toe w/ a screen veteran. In 2023, McCormack was nominated for the EE BAFTA Rising Star Award, along w/ Naomi Ackie, Shelia Atim, Emma Mackey, and Aimee Lou Wood. I think he has a good chance of breaking into Hollywood; he is tall (6’2″), w/ large hazel eyes, and a lean (yet still muscular) physique. McCormack has dual UK-US citizenship, as his mother (who raised him) is white/Irish and father is Black American (from Baltimore, MD).


[1] I found “The Lesson” an engaging mystery.

[2] The performances here are some of the very best of 2023.

[3] Writer Alex MacKeith never lets go of the notion that writing as a profession or art can send writers down a dark path. […]

Isobel Waller-Bridge’s score tinkles enough to suggest tranquility or at least art films in general. Anna Patarakina’s cinematography captures languid summers at wealthy estates.

-Excerpts from IMDb reviews

“The Squid and the Whale” (2005) starring Jeff Daniels, Laura Linney, Jesse Eisenberg, & Owen Kline

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In 1986 in Brooklyn, we meet the (dysfunctional/intellectual) Berkman family headed by prof/writer, Bernard (Jeff Daniels- then aged 50), and his wife/writer, Joan (Laura Linney- aged 40), who’ve recently decided to separate. Bernard is bitter, cheap, and arrogant; he has no time for “philistines” (ppl who don’t read the type of books/watch the movies he likes). Bernard published a successful novel in his 20s, BUT is having a tough time getting his recent work published. Joan (who has been unfaithful) is finally finding success as a writer; she has grown tired of her husband’s ways. Their sons- 17 y.o. Walt (Jesse Eisenberg) and 12 y.o. Frank (Owen Kline- son of Kevin Kline and Phoebe Cates)- take sides in the divorce. Walt leaves w/ Bernard for an apt in another neighborhood; he takes on his father’s opinions/style/values. The more quiet/introverted Frank stays w/ Joan in the family’s townhouse. It turns out that BOTH kids feel the separation deeply and start behaving uncharacteristically.

This indie (made 10 yrs. after Baumbach’s 1st feature) was screened at Sundance; it received 3 Golden Globe noms and a best screenplay Oscar nom. The budget for this indie film was around $1.5M – wow! Director/screenwriter, Noah Baumbach (at age 36), took inspo from docs, the French New Wave, Scorsese’s early films, and work of John Cassavetes. Several viewers (fans/critics) refer to this film as “the prequel to Marriage Story.” The boy protagonist of The Squid and the Whale– Walt (whose POV we see from)- could be viewed as the precursor to the adult Charlie of Marriage Story. Both characters are dealing w/ divorce in their respective families. Linney was given the script by Eric Stoltz in 2000, while they were filming The House of Mirth; she agreed to do the film immediately! Many of Bernard’s grad students are portrayed by Baumbach’s IRL friends; his father and younger brother also appear in the film.

My mom saw this movie quite a while ago and was impressed by it; she liked the fresh dialogue and thought the characters were unique. I know Daniels mainly from HBO’s The Newsroom and some (V thoughtful) interviews he has given on the craft/business of acting. Here, the veteran actor creates an unexpected version of “toxic masculinity,” as Bernard uses his brain (words) to manipulate those around him, rather than brawn (physical violence). The role of Walt suits Eisenberg (21 y.o. at the time of filming) to a tee; this was a few yrs. before he got the lead in The Social Network (2010).

[1] He [Bernard] has become a bitter, unfocused, pompous ass of a person, father, husband and professor. The inability to recapture the magic of his early writing success has caused him to look down on all other writers… whether they be Fitzgerald or his own wife. This is Daniels’ best work ever on screen and is at once, painful and a joy to behold.

Laura Linney plays his wife as a woman who loves her kids unequivocally and has a zest for life that her downbeat husband no longer shares. Her new found success as a writer sets her off on a trail of confidence and joy, all the while understanding that her family still needs her very much.

The kids really take the film to the next level. Jesse Eisenberg (brilliant in Roger Dodger) and Owen Kline (son of Kevin Kline and Phoebe Cates) are both scene stealers as they struggle in their own distinct ways with their separated parents and their continuance through adolescence.

[2] A word about the humor: don’t expect any big gags. In fact, in the interview Noah talks about how he had to tell the actors not to read their lines as if they’re funny. He didn’t intend it to be a comedy, but still (owing largely to the fantastic deadpan performances by Jeff Daniels & Jesse Eisenberg) you might find yourself cracking up at how plain bizarre everything is.

-Excerpts from IMDb reviews

Two Films of Emma Seligman: “Shiva Baby” (2020) & “Bottoms” (2023)

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Shiva Baby (2020)

Debbie: I thought you were done experimenting.
Danielle: You think everyone that’s bi is experimenting. You don’t know anything. You have zero gaydar.
Debbie: Excuse me, kid! I lived through New York in the 80s! My gaydar is strong as a bull!

What are the “kids” doing these days, do y’all sometimes wonder? Well, some of them are subverting audience expectations and creating fresh/genre-defying work. This movie (which I saw on Max earlier in the pandemic) was adapted from writer/director Emma Seligman’s short film, Shiva Baby (2018), also starring her former NYU classmate/close friend Rachel Sennott (who was raised Catholic). “Shiva” is Hebrew and means “seven;” the film’s run time is 77 mins. Except for some producers, all essential crew here are women. Unfortunately for Sennott, she had a supporting role in the (hot mess) Max series The Idol. Then she swung back w/ the teen comedy Bottoms (streaming on Amazon Prime).

Danielle (Sennott) is a petite/curly-haired 23 y.o. student who also works as a “sugar baby”; this is unknown to her friends/family. In the 1st scene, she’s getting dressed in the (modern/spacious) NYC apt. of a cute/30-something man. Danielle needs to get her payment from this man (her client), BUT he grabs her for a hug and starts asking about her life. She is in a BIT of a rush, as she has a social obligation in her neighborhood (on Long Island)- a shiva for a deceased/older woman. In a podcast interview, Seligman (a bisexual/Jewish woman) commented that several classmates/friends had worked IRL as sugar babies in college; she tried it briefly herself.

Max: [to Danielle] You’re studying business?
Joel: [laughs] No, not business.
Debbie: No, no, she’s studying gender.
Danielle: The business of gender. It’s like gender business.
Joel: She does this fantastic program where you kind of design your own major. It’s a little complex when it comes to finding employment, but she’s doing terrifically.

Danielle’s mom, Debbie, is played by Polly Draper (who some mature viewers may recognize from thirtysomething); her dad is played by character actor Fred Melamed. Danielle’s ex-gf, Maya (Molly Gordon), soon arrives at this event; Maya is in law school (so held in high regard by their elders). When Max (Danny Defarrari), Kim (Diana Agron from Glee), and their baby arrive, many gather around them to admire the cute baby. Maya comments on Kim’s looks (blonde/conventionally attractive); she is also known as a successful businesswoman. From across the room, Danielle is shocked- Max is her “sugar daddy” (who we saw in the opener)! The tension (and humor) comes from the social situations which Danielle must navigate; ppl are curious re: her education, future career, and love life. The acting in the movie is quite good, incl. from the bit players.

[1] With its claustrophobic atmosphere, creepy soundtrack and uncomfortably relatable cringe, the picture basically feels like a panic attack on screen. In many ways, it actually tells its tales using tropes of the horror genre. 

[2] We need Emma Seligman to direct a thriller/horror movie…like tomorrow.

[3] She faithfully delivers just the sort of fun ethnic romp which, only a few short years ago, would have been the exclusive territory of a “name” writer or director.

-Excerpts from IMDb reviews

Bottoms (2023)

Principal Meyers: [over intercom] Could the ugly, untalented gays please report to the principal’s office?

Two unpopular/queer HS seniors, RJ (Rachel Sennott) and Josie (Ayo Edebiri: seen in The Bear on Hulu), start a “fight club” to spend time w/ the “hot girls” they have crushes on before graduation. RJ and Josie have been friends for many yrs, though they have different personalities. Their friend Hazel (Ruby Cruz) is the 3rd wheel; she’s actually excited to learn self-defense/have a “safe space.” Some of you will recognize Kaia Gerber (looks V similar to her former supermodel mom- Cindy Crawford); she plays a cheerleader named Brittany (RJ’s crush). Havana Rose Liu plays Isabel (the most popular cheerleader); she’s Josie’s crush/gf to the star quarterback, Jeff (Nicholas Galitzine). A real NFL player, Marshawn Lynch, plays Mr. G (a history teacher); he does a good job for a non-actor. Lynch wanted to take on this role; he has a queer sister IRL.

Isabel [to Josie]: I really value when people use violence for me, it’s actually one of my love languages.

Do you like (or like making fun of) teen movies? If so, then check out this wacky comedy/satire! You’ll have to keep an open mind here; it’s quite different from Shiva Baby. Edebiri (whose parents are immigrants from Jamaica and Nigeria) is also close friends/former classmates w/ Sennott and Seligman. While attending NYU’s Tisch School of the Arts, they ALL discovered their preference for the comedy genre. They started to create their own work, rather than focusing on “classics” (which was common at Tisch). Edebiri (now 27 y.o.) has gotten many awards these past 2 yrs for The Bear. I’d file this under movies that I can appreciate, though it wasn’t specifically tailored to me. High school is a tough time for most ppl I’ve met; perhaps it’s natural to make fun of it!

[1] Every single person here seems to be having the time of their lives. It reminded me a bit of the energy in Barbie, only this one is — in the best possible sense — a lot more unhinged.

Its influences are many, as I said (one of its more “early 2000s” elements is the Avril Lavigne needle drop, which is up there with the Bonnie Tyler sequence as one of the most glorious and hilarious moments in the movie), but this is a film that does something truly special with its homages and love letters.

[2] It’s over-the-top satire, sure, I get that, and I even get what this movie tries to poke fun at, but I just found myself being unable to enjoy or even connect with this particular style of annoying teenage humour. I don’t know if this is a generational thing or a cultural thing… it could be both. All I know is that it just wasn’t for me.

[3] The film is done in quite a bizarre way. It’s set in the present but everyone dresses like the ’70s and there are no smart phones. Also, there are almost no adults in the film, and the few that there are are absolute monsters. If there’s a school assembly the students are just running it, for example. You get used to it after a while but I can’t remember another film like it in that sense.

The film is at its best when it is just trying to be wacky and funny. There’s a period in the middle where some conflict arises and the film gets bogged down briefly.

[4] This movie is an acquired taste. At first, I thought it was just silly. Then I thought it was extremely silly. Eventually I laughed my butt off. There is no scene that they don’t take over the top. Whether they are mocking teen movies or parodying David Fincher or using Marshawn Lynch to comment on feminism, the entire cast completely goes for it.

-Excerpts from IMDb reviews