Category: 2016-2017

“Hail, Caesar!” (2016) starring Josh Brolin, George Clooney, Alden Ehrenreich, Ralph Fiennes, Scarlett Johansson, Tilda Swinton, & Channing Tatum

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This movie follows a day in the life of Eddie Mannix (Josh Brolin), a Hollywood “fixer” in the ’50s; he cleans up messes made by actors under contract at Capitol Pictures. When the movie studio’s biggest star, Baird Whitlock (George Clooney) disappears, Mannix has to deal w/ more than just the fix. This movie was written/directed by Joel and Ethan Coen; the brothers had been brainstorming the story for a decade, BUT never wrote anything. After Clooney (known for his practical jokes) announced Hail, Caesar! as his next project at a press conference, the Coens (who received a LOT of publicity), decided to make the film for real! There was real studio exec (E.J. Mannix) who worked as a producer/fixer at MGM. One of his contributions to motion picture history is a ledger w/ the budget and income of every film made at MGM from 1924-1962.

[Eddie has gathered several clergymen to get their opinions on how the issue of God should be handled in the Hail Caesar! movie]

Protestant Minister: God loves everyone!

Catholic Priest: God is love!

Eastern Orthodox Priest: God is who he is.

Rabbi: This is special? Who isn’t who he is?

Catholic Priest: But, how should God be rendered in a motion picture?

Rabbi: God isn’t in the motion picture!

Hail, Caesar! (the movie w/in this movie) paid several tributes to Ben-Hur (1959); one scene shows Baird (playing a Roman general; based on actor Victor Mature) becoming speechless at the sight of Jesus. DeeAnna Moran (Scarlett Johansson) is loosely based on swimmer turned actress, Esther Williams, who starred in musicals for MGM w/ elaborate sets, synchronized swimming, and high diving. To prep for playing Hobie Doyle (based on Will Rogers), Alden Ehrenreich learned horseback riding, rope tricks, gun twirling, and guitar- wow! The actor felt twirling the spaghetti (to mimic a lasso) was the hardest part; Hobie does that on his date w/ Carlotta Valdez (Veronica Osario- a Venezuelan-American actress). As Hitchcock fans will notice, Carlotta Valdez is also the name of a historical character mentioned in Vertigo (1958). Carlotta is based on Brazilian singer/dancer/Bdwy actress, Carmen Miranda (AKA “The Brazilian Bombshell” or “The Chiquita Banana”). Twin sisters/celeb columnists, Thora and Thessaly Thacker (Tilda Swinton), may be based on Ann Landers and her twin sister, Abigail Van Buren (AKA Dear Abby).

Hobie Doyle [repeating the line]: Would that it were so simple?

I’d recommend this to fans of classic films (like me), though it’s NOT a cohesive movie as a whole, it has several FAB scenes! As a fan of the Coens’ work commented: “They travel from universe to universe remaining true to themselves.” The scene btwn Ehrenreich (the standout among the large ensemble cast) and Ralph Fiennes (who plays British director Laurence Laurentz) is hilarious! The tap dance w/ Channing Tatum is a LOT of fun; he looks light on his feet and graceful. I’m sure many viewers will be surprised! Clooney is NOT afraid to portray the pathetic side of some Hollywood stars. If you are looking for LOL moments, those are few; there is plenty to smile (or chuckle) at.

[1] Quirky and lingering, that’s the Coen brothers way […]

…if you’re obsessed with cinema (I know I am), intrigued by the ins and outs of Hollywoodland lingo, and want to revel in the Coen brothers strutting their movie within a movie pedigree, then Hail, Caesar! will cure your wintry blues. All I gotta say is “hail” yes!

[2] It was as if the Coen Brothers simply said “let’s do a film for ourselves…who cares whether or not the public enjoys it or not!”. I appreciated it myself…but I am also not the average film-goer. As for the average viewer, the film makes allusions to many events in the history of Hollywood… but if you aren’t aware of these events or rumors, you’ll not understand or appreciate much of the film.

-Excerpts from IMDb reviews

“10 Cloverfield Lane” (2016) starring John Goodman, Mary Elizabeth Winstead, & John Gallagher, Jr.

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After getting into a car accident, Michelle (Mary Elizabeth Winstead), awakens to find herself in an underground bunker w/ two men- Howard (John Goodman) and Emmett (John Gallagher, Jr). Howard offers her crutches to help move (w/ her leg injury from the crash); he tells her to “get good on those” before leaving. She is told that there has been an attack and the outside world is poisoned! However, Howard’s intentions soon become questionable. Michelle wonders: Is it better in here or try top get outside?

Howard: People are strange creatures. You can’t always convince them that safety is in their best interest.

I came across this film recently while browsing; I think it’s still streaming for free. I’m NOT an expert on modern horror; these movies are often shot quickly w/ low budgets. Teens/20s viewers seem to watch these more in theaters, from what I’ve observed/heard. There are some classic horror films which I still haven’t seen. I was impressed w/ the pacing (editing) and direction of this movie. Dan Trachtenberg, who now mainly works in TV, earned a Directors Guild of America Award (DGA) nom for Outstanding Directing – First-Time Feature Film. The screenplay was written by Josh Campbell, Matt Stueken, and Damien Chazelle (who most recently directed Babylon).

Emmett: We’re here. We’re alive. That means something… It’s gotta.

We know Goodman (a veteran character actor) is always good in every role; he creates an (unexpected) villain. I’d seen Gallagher, Jr. (who also has a career in folk music) in The Newsroom; he plays a farm boy-next-door who regrets missing out on college. Michelle and Emmett (a good guy) form a friendship bond, which Howard is angered (and perhaps threatened) by. I learned that different tonal versions of most scenes were shot (from light/humorous to angry), so filmmakers could find the right mix in the end. I enjoyed the story a LOT until the ending- it wasn’t what I expected at all!

[1] It’s incredibly compelling mainly because of its intense focus on character, while it’s the several subtle twists and turns that keep us on the edge of our seat as our reading of the situation (always seen through the lens of the protagonist) continues to organically change.

[2] There are little if any horror elements in this movie. […] Those of you looking for a tense, slow building atmosphere are going to love this one! This is primarily a mystery movie.

[3] This film done everything right in terms of keeping you on edge, building tension and keeping you guessing. You feel just as confused and vulnerable as the protagonist and have no idea where everything is leading. But then, out of nowhere, it suddenly takes a sharp turn down towards WTF-ville and completely kills everything that it worked hard to build over the duration of the film.

-Excerpts from IMDb reviews

“The Handmaiden” (2016) directed by Park Chan-wook

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Are you a fan of erotic thrillers (which were prominent in the ’80s-’90s)? Though this is a historical drama, you’ll find elements of the erotic thriller genre. As you may’ve noticed from ads/trailers, there is a love triangle (yet w/ an unexpected twist). This is one of those films where the less you know going in, the better! It is truly unlike anything I’ve seen before; some viewers said they needed to watch it 2x to get everything that’s going on. The story is divided into 3 chapters w/ each told from a different character’s POV. The film may be 2.5 hrs. long, BUT I hardly moved from my seat! The themes are quite relevant to our world: greed (lust for money), gender/sexual repression, women’s desire, and the (potential) dangers of porn. The Handmaiden was selected to compete for the Palme d’Or at Cannes (2016). It was released in South Korea on June 1st 2016, to critical acclaim and grossed $38M worldwide. At the 71st BAFTAs, it won Best Film Not in the English Language.

This movie is inspired by the novel Fingersmith by Sarah Waters (2002) which is set in London during the 19th C. The Handmaiden is set in Korea in the 1930s under Japanese colonial rule. Before filming, Park Chan-wook (an auteur w/ an eye for beauty) sent the completed script to Waters for comments. She liked the script, though felt that it is more appropriate to say that the film was ”inspired by” her novel. The film title in Korean (Ah-ga-ssi) means The Lady, referring to Lady Hideko (Kim Min-hee); the English/international title is The Handmaiden, referring to Sook-hee (Kim Tae-ri). Both Japanese and Korean were spoken by the (mainly Korean) cast. Before shooting, the Korean actors were all assigned Japanese teachers to study the script and learn to speak Japanese. For the theatrical release, the subtitles were color coded to differentiate the two Asian languages spoken in the film: white subtitles were used for Korean, while yellow subtitles were used for Japanese.

[1] What the film does with this basic plot is enjoyable and engaging. The narrative is solid, holds the interest without effort, and is very well paced and structured. […]

The direction, production values, and general pacing of the film, all work together to give it a beautiful appearance and tone. It is quite sensuous to watch, with such great colors, sets, costumes, and designs.

[2] Adapting Sarah Waters’ Fingersmith, a Victorian tale awash with all manner of Dickensian motifs, Park spins an engrossing tale that ebbs and flows with a Hitchcockian suspense; it withholds as much as it discloses; it is an erotic tale that beats with raw fervour.

[3] If the plot and the direction weren’t amazing enough, the movie is as beautiful as they come. From the darkest moment, the most violent, to the most intimate, beauty transpires in every frame, and every scene comes to life and threatens to pop and break free from the screen.

-Excerpts from IMDb reviews

“The Kindness of Strangers” (2019) starring Zoe Kazan, Andrea Riseborough, Tahar Rahim, Caleb Landry Jones, Jay Baruchel, & Bill Nighy

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Clara (Zoe Kazan- an American) and her two young sons (Anthony and Jude) drive from their small town to NYC. Alice (Andrea Riseborough- a Brit) runs a forgiveness support group out of a church; Marc (Tahar Rahim- a Frenchman w/ Algerian heritage) and his lawyer/friend, John Peter (Jay Baruchel- a Canadian), are recent members. While searching for food at a Russian restaurant (The Winter Palace), Clara meets Marc, who has been given the chance to revitalize the eatery by the owner, Tim (Bill Nighy- a Brit/also served as a producer). After their car is towed away, Clara’s family meets Alice (an ER nurse), who gets them into a shelter. A young/jobless man, Jeff (Caleb Landy Jones- an American), comes upon this shelter and becomes a volunteer.

The title of this indie film (free on several streaming platforms) comes from the Tennessee Williams’s play A Streetcar Named Desire. Blanche Dubois declares “I have always depended on the kindness of strangers” at the finale. The play was adapted into a movie directed by Elia Kazan, the grandfather of Zoe. The writer/director of The Kindness of Strangers is a Danish woman, Lone Scherfig; she directed a (must-see) drama- An Education (2009)- starring Carey Mulligan and Peter Sarsgaard. One reviewer was reminded of Frank Capra (a 1st gen Italian-American); this filmmaker’s movies carried positive messages and focused on the shared humanity of Americans. This film (which premiered at the Berlin Film Festival) was shot in NYC, Canada (Ontario), and Denmark.

The Kindness of Strangers has an understated quality, though there are some serious issues explored, incl. domestic abuse, unemployment, homelessness, lack of family/community support, and loneliness. Though the speed of life in NYC is fast, the pacing here allows us to notice each character of the fine international/ensemble cast. Kazan (who may be more known for rom coms) does V well w/ drama here; your heart just goes out to her character! Rahim is NOT only handsome/graceful (perhaps b/c he’s French IRL), he has a quiet intensity onscreen (as his character is mostly reserved). I admired the look of the film; the cinematographer is Sebastian Blenkov. Have you noticed that romantic scenes (dir. by women) are usually quite effective/memorable? There is a kiss btwn Kazan and Rahim which is full of emotion and (heartfelt) desire.

[1] Brilliant story, brilliant acting, brilliant directing. […] From the very beginning, it captures you; quite sad at some points, but it just kept getting better.

[2] The success of the movie depends on how Zoe Kazan carries her part and she carries it well. Good movie for anyone who has an interest in human relations.

[3] Homelessness is one thematic layer to a story that investigates kindness as the social glue that matters most and is possibly also the most underrated of dispositions or inclinations, often being seen as weak or oversensitive. Personally, I found it a lovely film, quite moving in places with its acknowledgment that, without kindness and the generosity of strangers, society would fall apart.

-Excerpts from IMDb reviews

“Frank & Lola” (2016) starring Michael Shannon & Imogen Poots

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A psychosexual noir love story, set in Las Vegas and Paris, about love, obsession, sex, betrayal, revenge and, ultimately, the search for redemption. -Synopsis

Frank (Michael Shannon- in his 1st romantic leading role) works as a chef in a classy/high-end restaurant in Vegas. One night, he meets a young student who wants a career in fashion, Lola (Imogen Poots- a petite/blonde British actress). Frank’s (calm/routine) life is changed by Lola, who may NOT be as uncomplicated as she seems! I saw Shannon (6’3″ w/ large/wide-set eyes) a few yrs. ago in the indie drama 99 Homes (starring Andrew Garfield); I was impressed b/c he had such a commanding screen presence. In they stylish Nocturnal Animals, he made a fine impression as a small-town cop. Shannon is the lead in Midnight Special co-starring Adam Driver (my current fave actor). To add some (needed) lightness/comedy to the story, we have Justin Long. Rosanna Arquette has a small role as Lola’s mother. Michael Nyquist (a famed Swedish actor/fluent French speaker) has an important supporting role; he passed away in 2017. Writer/director Matthew Ross had been trying to make this film for 10 yrs prior to its release in 2016- wow! It was shot in less than one month on location in Vegas and Paris. The film was well-received at Sundance.

Beware, my Lord, of jealousy, it is the green-eyed monster that doth mock the meat it feeds on. -Iago in Othello

I was reminded of the (above) line from my fave Shakespearean tragedy while watching this movie. Like Othello and Desdemona, Frank and Lola are opposites when it comes to age, looks, and personalities. Frank is of a different generation than Lola. They don’t know much about each other before they become involved; Lola is new in town and Frank (w/ a no-nonsense attitude) says he doesn’t fall in love easily. Lola says she was attracted to Frank b/c he’s a “real man.” We realize that Frank has insecurities when it comes to romance, though he is V experienced/confident in his career.

The look (visual style) sometimes reminded me of the movies of director Michael Mann. I liked how the filmmakers shot the Vegas and Paris scenes quite differently. Most of the movie was filmed at night; Vegas is depicted as modern, steely, and cold (isolating). We see some daytime in Paris; the look is softer and warmer (more inviting). Shannon speaks some French, too. If you’re a fan of the noir genre (like me), you may like this movie. As one viewer noted: “rarely do contemporary movies go as deep into the male psyche of obsession as this one.” You can watch it on Netflix.