Category: 2019-2020

New Year, New Reviews: “Bombshell” & “Little Women”

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Bombshell (2019) starring Charlize Theron, Nicole Kidman, Margot Robbie, John Lithgow, & Kate McKinnon

There are some fine performances here, esp. from Theron (in role of lawyer- turned-journo Megyn Kelly) and Lithgow (Roger Ailes); they are also transformed through prosthetics, wigs, makeup, etc. Kidman (Gretchen Carlson) was the most easy to empathize w/ (IMO); I wished she was had a bigger role. I have to admit that Kidman is having a great resurgence these past few yrs; I didn’t appreciate her skills (when I was younger). Robbie (I’m slowly warming up to her acting) plays a fictional character who is eager to get onscreen work. McKinnon (from SNL fame) becomes friends w/ her; they have some nice chemistry. As a whole, I was NOT blown away by this film (which may remind you of the works of Adam McKay, director of Vice). There are MANY cameos in to enjoy- I won’t give it away; after all, there are VERY serious themes to explore! If you follow the news/politics, then you should check it out ASAP! Otherwise, wait for it to come to streaming.

Little Women (2019) starring Saoirse Ronan, Emma Watson, Timothee Chalamet, Florence Pugh, Laura Dern, & Meryl Streep

The new adaptation (directed by Greta Gerwig) is VERY good- I went to free screening w/ several friends the week before it was released (on Christmas Day). I’ve seen the major film adaptations- ‘30s, late ‘40s, and ‘90s (my family loved that one). There are a few odd choices w/ the casting, as you will see. This film has unique takes- it plays w/ time (starting from the middle of the book and going back, then forward); has more nuanced characterization of smaller characters; and Chalamet (who I really enjoyed) has a fresh take on Laurie (the boy who wants to belong to the March family in some way). Chalamet, who some feel is getting TOO many meaty roles, gives Laurie a light/humorous bent (one critic compared his movements to Chaplin). I loved Christian Bale’s take on Laurie- it will always be my fave. I thought Ronan made a great Jo; I thought the writing, then trying to publish, scenes were great additions. Pugh (who is a fresh face to me) does a great job as Amy, who is usually the sister people love to hate. Amy’s scene re: the practical side of marriage stands out in my mind. The scenery, clothing (some of which was styled by the actors), and music are great- as expected. I consider this a MUST-SEE for fans of the book or the previous movies!

SPOILER-FREE Review: Portrait of a Lady on Fire (2019)

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This French film (in limited release in the U.S.) was runner-up at the 2019 Cannes Film Festival; the South Korean film- Parasite- was the winner. It is written/directed by a woman (Celine Sciamma) and focuses on the love between two women living in 18th century France- an independent/well-traveled painter, Marianne (Noemie Merlant), and a noblewoman educated in a convent, Heloise (Adele Haenel). It also has much to say about being a female artist, as well as the power of bonds formed between women (as friends across social classes). Through research, Sciamma discovered that there were hundreds of women who not only posed as models- they were also painters in this time period.

Marianne travels to the remote island of Brittany where she has been hired by La Comtesse (model turned actress Valeria Golino- now in her mid-50s) to paint a portrait. The subject will be her daughter, Heloise, who is betrothed to a nobleman in Italy; this stranger will marry her if he likes the picture. This was commonly done in this time; in S3 E6 of The Tudors (Search for a New Queen), Henry VIII has Hans Holbein- the most famous portrait artist of that time- paint a potential spouse, Anne of Cleves. There was a painter who came before Marianne, but his work was unfinished; Heloise refused to pose. La Comtesse says that the work must be done in secret; Heloise is told that Marianne is a companion for walks. Marianne settles into a small parlor on the first floor w/ her supplies; she learns a bit more about the situation from a young maid in the household, Sophie (Luana Bajrami).

This is an unique film that has been loved by many critics; the theater was mostly filled when my friend and I saw it last weekend. Time is taken to build up the characters and move the story forward; it has a powerful payoff. I was surprised to be feeling emotional in the last act; I’ve seen many films, but not quite like this! There is no musical score, aside from one song. As several critics noted, every shot looks like a painting. The co-leads seem to be opposites, at first, w/ Marianne as the dominant (more interesting) character. In time, they are seen as equals; both are strong-willed individuals who chafe against the limitations placed upon them. The actors have terrific chemistry together! The love scenes are done in a sensitive manner; this is the (rare) female gaze in cinema. There is also much natural beauty to admire- ocean waves, towering cliffs, and untouched beaches.

SPOILER-FREE Review: Parasite (2019) directed by Boon Joon-ho

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A struggling family in Seoul, South Korea scheme to enter an upper-class/well-connected household in this genre-bending thriller from director Bong Joon-ho (Okja; Snowpiercer). As a young boy, Boon saw a (censored) version of Alfred Hitchcock’s Psycho, and was “overwhelmed” by the music and structure of the house (behind the Bates Motel). Parasite is the first Asian film to win the Palme d’Or at Cannes. It was described by Bong as “a comedy without clowns and a tragedy without villains.”

Ki-taek (Song Kang-ho) is an unemployed family man and head of the Kim family, which includes wife Chung-sook (Chang Hyae-jin), a 20-something artistic daughter Ki-jung (Park So-dam), and idealistic college-aged son Ki-woo (Choi Woo-shik). One day, a former school friend of Ki-woo’s drops by w/ a gift (and possible job opportunity). While Min is studying abroad, he wants Ki-woo (who he trusts) to take over as the English tutor for a teen girl, Da-hye. At first, Ki-woo is hesitant; Min explains that it’s fine since he has a recommendation. The Parks live in a mansion which wouldn’t be out of place in southern California. The coldly handsome father (Sun-kyun Lee) has studied abroad and works in his own tech company. Da-hye has an 8 y.o. brother, Da-song, who loves anything connected to the Boy Scouts. The mother (Yeo-jeong Jo), though still youthful and pretty, is also “simple” (gullible).

There are quick changes in tone, as the audience is taken on a journey from the Kim’s crowded sub-basement apt. to the Park’s spacious house (designed by an internationally-known architect). The musical score fits seamlessly w/ the movie; Boon recommended baroque music and works of Bernard Herrmann (one of Hollywood’s finest composers) to his own composer. It’s not only clever, it’s also suspenseful, scary, and darkly funny w/ pointed social commentary. Though all the main 10 characters get their time to shine, the heart of this tale is Woo-shik, a youthful 29 y.o. w/ a slim build who grew up partly in Toronto. The audience I saw it w/ definitely was rooting for him, esp. during the (wild) third act. The crux of this story is the relationship between the son and father (the director noted); Song Kang-ho (who is a star in his native land) gets the chance to show many different sides to being a man getting by somehow in today’s society. This is a must-see, even if you don’t get hyped for scary films! I had passes to a free screening at Landmark E St the night before opening.

The Farewell (2019) starring Awkwafina

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[1] This movie is very touching, and it is broader than just culture by itself. It also talks about individual identity and family responsibility, life and death, and the human experience.

[2] Lulu Wang has written an absolutely beautiful and personal film and has clearly poured her heart out into it. Her dialogue is funny, human, and poetic. 

[3] This story is absolutely deserving of an audience, and combines together through a beautiful lens a clashing of Western & Eastern philosophies of life that really should be examined.

[4] …one film that as you watch entertains you with thought, and fun laughs and has the drama of pain and emotion all wrapped up in one. It has themes of trust, love, and most of all secrets something that all families can relate to. 

-Excerpts from IMBD reviews

Writer/director Lulu Wang’s indie film centers on Billi (Awkwafina- a rapper/actress from Queens raised by her grandmother), a 31 year-old aspiring writer (also living in Queens, NY). She discovers that her Nai Nai (“grandma” in Mandarin) is dying of Stage 4 lung cancer. The extended family has decided not to reveal this to Nai Nai (which is common in China and perhaps a few other Asian cultures). Billi’s father, Haiyan (Tzi Ma- a prolific Chinese-American character actor) and his older brother construct a story: the family will say goodbye when they return to China for the wedding of Haibin’s son, Hao Hao and his Japanese bride, Aiko. For an Americanized, individualistic, and independent woman like Billi, this lie seems wrong.

Awkwafina does very well in her role; you almost forget that she started out in comedy. (FYI: She was cast in this role before her breakout roles in Crazy Rich Asians and Ocean’s 8.) Billi obviously loved her grandma; she calls Nai Nai daily just to talk from NYC. Several film critics have pointed out that the actress has the (rare) ability to do much while seeming to do little. Just notice her posture, sighs, and expressions. Her mother, Lu Jian (Diana Lin- a Chinese-Australian actress) warns Billi that she must participate in the lie. This is tough for Billi, who wears her emotions on her sleeve. Nai Nai (Shuzhen Zhao- a very popular actress in China) is a well-rounded character, full of life, jokes, and joy.

As a (Jewish) viewer of this film noted on IMDB, it follows in the tradition of Taiwanese filmmaker Ang Lee’s The Wedding Banquet (1993) and Eat Drink Man Woman (1994). Though these three movies center on East Asians, they have universal themes and will appeal to diverse audiences. The parents (or older generations) get their share of screen time and are fully-fleshed out characters.

It was very difficult for Wang to get funding; after all, the film has an all Asian cast, is mostly subtitled, and she had only directed one feature film before. Even one of the potential Chinese investors said it’d be “more interesting” if she added a white guy (“real American”) character for Billi to bring home- WOW! After Wang appeared on NPR discussing her problem, an experienced producer (Chris Weitz) reached out to her. His credits incl. About a Boy (2002), The Golden Compass (2007), and Rogue One: A Star Wars Story (2016).

Blinded by the Light (2019) directed by Gurinder Chadha

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Gurinder Chadha (a British Asian Sikh journo turned filmmaker) made a big splash w/ the 2002 indie film, Bend it Like Beckham, starring Parminder Nagra (a theater actress who US audiences watched on ER) and a teen Keira Knightley (who became a worldwide success). At first, Chadha (now a mom of twins w/ her writing partner/husband Paul Mayeda Berges), felt that Blinded was too similar to her previous film. After Brexit happened, she was determined to tell the story (based on the life of a journo of Pakistani/Muslim heritage Sarfraz Manzoor). The movie was approved by Bruce Springsteen two years ago; after a private screening, The Boss told Chadha: “I love it. Don’t change a thing.”

Javed (Viveik Kalra) is a 16 y.o. living in ’80s Luton, England; it’s not a good time to be Pakistani, Muslim, or a dreamer who wants more than what’s planned by his parents. Margaret Thatcher is Prime Minister. The National Front (NF) supporters spray hateful graffiti on mosques and homes, including in Javed’s working-class neighborhood. Though he (secretly) wants to be a writer, his immigrant father- Malik (Kulvinder Ghir from Goodness Gracious Me)- wants him to be a doctor, engineer, or estate agent. Jobs are scarce in this town; money is tight in the family; the parents are anxious re: upcoming wedding of Javed’s older sister. Javed and his mom give their earnings to Malik; this was a surprise to many people in my screening.

Javed has been keeping journals for many years; he also writes songs for his best friend/neighbor Matt’s (Dean Charles Chapman from Game of Thrones) band. Things start to change between the long-time pals when Matt gets his first girlfriend and Javed goes into the sixth form (in preparation for university). Javed’s new English teacher, Ms. Clay (Hayley Atwell), sees potential in his work. She explains that he has an unique voice. Another British Asian kid in school, Roops (Aaron Phagura), introduces Javed to the music of Springsteen. Roops is based on the (real-life) best friend of Manzoor, who also co-wrote the screenplay. Javed falls in love w/ this American rock music (which was fading from popularity- FYI), feeling that Bruce is singing about his life!

Suddenly, Javed’s father is laid off from the factory job he’s had for 16 years. From the nightly news clips, we see that many people in factory/industrial towns are out of work. His mother, Noor (Meera Ganatra), has to take in more sewing to support the family; she works well into the night w/o complaint. Even Javed tries to go back to the bread factory where we worked the last summer, but there are no jobs. About half-way through the film, we get a (touching/sensitive) scene between Malik and Noor. I don’t think another filmmaker would have done it as well as Chadha. The parents would’ve remained more stereotypical, one-note, and unchanging. One critic esp. liked how they showed how much Malik cared for his fellow Pakistanis and mosque.

Javed’s younger sister, Shazia (Nikita Mehta), doesn’t understand why he’s so into Springsteen. We later learn that Shazia has a bit of a rebellious side also; she goes to “daytimers” (parties featuring bhangra music w/ fellow British Asian students). I had never heard of these events before- they look fun! Though this story is centered on a boy and his dad, it’s great to see a bit into a girl’s life.

One of the girl’s in Javed’s English class, Eliza (Nell Williams), is an activist who is impressed by his writing and personality. We eventually learn that she’s from a wealthy Tory (politically conservative) family. Her parents comment that Eliza dates boys who are “controversial” in the scene where Javed goes to their house. Aside from his obsession w/ Bruce, Javed is “a good, straight arrow kid” (as a film critic noted), so there isn’t much for her parents to worry about.

There is more to this (optimistic) story; you should check it out if it’s playing nearby. It doesn’t shy away from (in your face; period accurate) racism. FYI: People in my screening were shocked by a few scenes. A desi man in my audience commented after the film: “I grew up in Birmingham; it’s pretty accurate.” There is lot to like about this film, but it’s not perfect. The musical scenes may put some people off; a few viewers in my audience and critics considered them “cheesy” or “cringey.” They didn’t always fit well w/in the story; I was expecting them to be more naturalistic. FYI: 19 different Springsteen songs were featured through the film- WOW!