Tag: Identity

“The Gift” (2015) starring Jason Bateman, Rebecca Hall, & Joel Edgerton

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The Past Will Be Your Present. -Tagline for the movie

Simon (Jason Bateman) and Robyn (Rebecca Hall) are a young married couple whose life is going just as planned until a chance encounter with an acquaintance from Simon’s high school sends their world into a harrowing tailspin. Simon doesn’t recognize Gordo (Joel Edgerton) at first, but after a series of uninvited encounters and mysterious gifts prove troubling, a horrifying secret from the past is uncovered after more than 20 years. As Robyn learns the unsettling truth about what happened between Simon and Gordo, she starts to question: how well do we really know the people closest to us, and are past bygones ever really bygones? -Synopsis (STX)

This is the 1st film written/directed/produced by Aussie actor Joel Edgerton; I hadn’t seen much of his work before. As he wanted to focus on directing, Edgerton filmed his scenes as Gordo after 2 wks of shooting and completed them in 7 days. He had his hair dyed reddish-brown and wore brown contacts; he naturally has brown hair and blue eyes. This is a 3-hander w/ Edgerton, Bateman (who grew up acting), and Hall (an under-rated British actress from many indies). The cast fit their roles V well; Bateman is known as an easygoing/likeable guy (who the audience will want to root for), while Hall is able to convey strength and vulnerability (w/o saying much).

I’ve been bullied and I’ve also been the bully. –Joel Edgerton (filmmaker) on the theme of the movie

Simon and Gordo grew up near this town in SoCal; Simon and Robyn recently moved into a mid-century modern house (w/ a LOT of glass). Simon has a new job at a big architectural firm; Robyn works from home as an interior designer. They seem to have a loving/strong marriage and want to have kids soon. Edgerton (who has a smaller role than Bateman and Hall) plays Gordo as a socially awkward striver eager to please. He leaves several gifts for the couple; secrets are eventually revealed re: Gordo’s connection to Simon. Bateman gets to stretch himself (show his range) here, esp. in the final act. This is a rare thriller that has (unexpected) thrills, even IF you’re a fan/know this genre well. It is best to go in NOT knowing much; this story will keep you on the edge of your seat (w/ its clever direction).

“American Fiction” (2023) starring Jeffrey Wright, Tracee Ellis Ross, Erika Alexander, Leslie Uggams, & Sterling K. Brown

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SPOILER ALERT: Don’t read this post if you haven’t seen, or don’t want to know, details from the movie American Fiction (now playing in theaters).

Cord Jefferson’s hilarious directorial debut confronts our culture’s obsession with reducing people to outrageous stereotypes. Jeffrey Wright stars as Monk, a frustrated novelist who’s fed up with the establishment profiting from “Black” entertainment that relies on tired and offensive tropes. To prove his point, Monk uses a pen name to write his own outlandish “Black” book–that propels him into the heart of hypocrisy and the madness he claims to disdain. -Synopsis (MGM/Orion Pictures)

I heard about this indie via TIFF coverage (on pods and YT); it’s based on a novel titled Erasure by Percival Everett. I was V interested to see it after learning that the screenwriter/director grew up in Tucson, AZ (as I did). Cord Jefferson (42 y.o.) worked as a journo for about 8 yrs. before getting into TV; he wrote for Master of None, The Good Place, and Watchmen. This movie (made for less than $10M) was in limited release in DEC 2023; I saw it in mid-JAN 2024 (at AFI) w/ a large/diverse audience. Unlike most (mainstream) films, the main cast is in middle-age (40 and up)- how refreshing! American Fiction is BOTH a comedy and a drama; the literary/publishing story is played for laughs, while the domestic/family story MAY make you cry. This is a must-see film for ppl who want something emotional, funny, and thoughtful!

Agnes Ellison: Geniuses are loners because they can’t connect with the rest of us.

I walked on the set and I felt like we all belonged. When you work with fabulous people, it raises the bar, because you have to meet it. -Leslie Uggams, actress (CBS Sunday Morning, 2/4/24)

Monk (Wright- who was born/raised in DC) isn’t always a likeable protagonist; he’s a BIT of a snobby prof who is distant from his family and frustrated w/ his level of success. Monk has the kind of wit that could push others away; he also has a reliance on alcohol. His younger sister, Lisa (Tracee Ellis Ross), is a Boston-based OBGYN (like their father); she looks after their 80 y.o. widowed mom, Agnes (Leslie Uggams). As a teen, Uggams appeared on a variety show; she had a prominent role in the original Roots miniseries. It’s quite a shock when Lisa (suddenly) dies of a heart attack in the 1st act! Monk’s younger brother, Clifford (Sterling K. Brown), is a Tucson-based plastic surgeon who is embracing his (new) life as a gay man. Brown is often seen shirtless (or w/ shirt unbuttoned) to show off his FAB abs! Cliff calls Monk out on his attitude/behaviors, as perhaps ONLY a sibling can do.

Coraline: [to Monk] Not being able to relate to people isn’t a badge of honor.

I was just thinking about kissing him [Wright] everyday. He’d be at the craft services table and I’d mosey up and say: “our scene is coming up,” and he’d go [rolls eyes] “oh boy.” I was like “oh get ready, dude.” -Erika Alexander, actress (CBS Sunday Morning, 2/4/24)

This film reveals that life (incl. the potential for romance) doesn’t end at age 40! At the beach house, Monk connects w/ a neighbor/defense lawyer, Coraline (Erika Alexander); viewers my age may know her from the hit comedy series Living Single (which starred Queen Latifah). Coraline is a V smart/confident woman; she asks Monk on a date first! The Ellison family’s long-time cook, Lorraine (Myra Lucretia Clark), is considered part if the family. Lorraine gets a sweet love story w/ a local cop, Maynard (Raymond Anthony Thomas).

Why aren’t Black professors depicted in books and films as frequently as Black drug addicts, or Black rappers, or Black slaves? Why is it that white people with the power to greenlight films, books, and TV shows have such a limited view of what Black lives should look like? -Cord Jefferson, writer/director

Sintara Golden (Issa Rae) is a young literary star; she writes (urban) books that Monk disdains. His literary agent, Arthur (John Ortiz), sends out Monk’s (joke) book to a big publishing house that rejected his (serious) book. Monk decides to take the $500K deal for his book after learning how expensive senior/assisted-living housing can be. Agnes is in the early stage of Alzheimer’s disease; she will need constant care and attention.

“Saltburn” (2023) starring Barry Keoghan, Jacob Elordi, Rosamund Pike, Richard E. Grant, & Archie Madekwe

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SPOILER ALERT: Don’t read this post if you haven’t seen, or don’t want to know, details from the movie Saltburn (streaming on Amazon Prime).

Struggling to find his place at Oxford University, student Oliver Quick (Barry Keoghan) finds himself drawn into the world of the charming and aristocratic Felix Catton (Jacob Elordi), who invites him to Saltburn, his eccentric family’s sprawling estate, for a summer never to be forgotten. -Synopsis

Woo boy- what can I say re: this (unhinged) British/indie movie!? Yikes, it’s hard to put into words suitable for all ages of readers! I was curious b/c I’m a big fan of The Talented Mr. Ripley (1999) starring Matt Damon, Jude Law, and Gwyneth Paltrow. I have NOT yet seen the two miniseries of Brideshead Revisited (1981; 2008). After I watched Saltburn (written/directed by Emerald Fennell), I was a BIT surprised that it was free on Amazon Prime. Speaking of shock value, yeah- there are several scenes which were unexpected (rarely depicted in movies)! We’ll never look at bathwater the same way…

Barry Keoghan is trying to create a role out of the disparate parts of other ones (Norman Bates, Tom Ripley, Patrick Bateman), yet doesn’t get all the way there. He couldn’t have. There is no “there.” -Wesley Morris (New York Times)

The cast is made up of (mostly) fine/experienced actors, BUT w/ such poor writing/shallow character development, there isn’t much they can do. Keoghan (an Irish character actor) doesn’t disappoint; it’s TOO bad that this was his 1st leading role. Oliver speaks w/ a Liverpool accent; it is revealed that he comes from a comfortable middle-class family. Elordi (an Aussie who recently played Elvis in Priscilla) has potential; I hadn’t seen his acting before. There are a LOT of shots which linger over his handsome face and tall/lean body; I thought this was overkill (hey, I’m NOT a teenage girl). Felix’s parents, James (Richard E. Grant) and Elspeth (Rosamund Pike) are removed from their feelings and say whatever they want- it’s just absurd. Some critics (incl. POC) weren’t pleased w/ the way Felix’s cousin, Farleigh (Archie Madekwe), was depicted. Taking it back to the Ripley comparison, Farleigh (w/ a Black/American father and white/English mother) reminded me of Freddie Miles (Phillip Seymour Hoffman), as he is one of the few characters suspicious of Oliver’s motives. Just when things could get interesting, Farleigh is removed from the story! Oliver’s socially awkward/Math major friend, Michael, is played by Ewan Mitchell (one of the young stars of House of the Dragon).

This is a V glaring case of style over substance; I noted this before re: other (modern) media. As the time period is 2006/2007 (when Fennell was in college), we see looks which were popular then, incl. pierced eyebrows, bleached (damaged) blonde hair, long belts, etc. The real location for Saltburn is Drayton House in the village of Lowick in North Hampshire; it was built around 1300. Fennell stated she considers this “a vampire movie,” even though the story does not have supernatural elements. Oliver refers to himself as a vampire in the (now infamous) garden scene w/ Felix’s younger sister, Annabel (Sadie Soverall).

[1] For me, unfortunately its third act is probably its most memorable feature because it requires an enormous suspension of disbelief.

[2] The twists – I saw all of them coming, most are heavily contrived, and none felt shocking in the slightest. […] Saltburn is a seriously dull watch, the humour is barely present at all. I would have turned off after about an hour, but having got that far I stayed in hope of a clever ending. Nothing clever here, in fact, rather than clever they went for nonsensical.

[3] …the issue of character: no one in the film is a real person: all of them are pawns to serve the grand plot which, when dissected, falls apart. These aren’t people; they’re vehicles for the screenwriter (director, producer, etc.) to show off an interesting, but ultimately flawed story.

[4] Saltburn is a film that promises much, but delivers little. Despite its grand setting and talented cast, it fails to provide a compelling narrative or engaging characters. It’s a film that tries to be a critique of the English aristocracy and a psychological thriller, but falls short on both counts.

[5] The suspenseful bits aren’t suspenseful. The funny bits aren’t funny and the sexy bits aren’t sexy.

-Excerpts from IMDb reviews

“The Killing of a Sacred Deer”(2017) starring Collin Farrell, Nicole Kidman, & Barry Keoghan

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After the untimely death of 16 y.o. Martin’s (Barry Keoghan), father on the operating table, a bond forms btwn him and the cardiothoracic surgeon, Dr. Steven Murphy (Collin Farrell). Martin gets an expensive watch, then an invitation for dinner w/ the family in Stephen’s spacious/suburban home. The (humble/shy) teen quickly wins the approval of Steven’s wife/eye doctor, Anna (Nicole Kidman), and their 2 kids: 13 y.o. Kim (Raffey Cassidy) and 11 y.o. Bob (Sunny Suljic). Soon, Martin invites Stephen to come to his home and meet his widowed/lonely mother (Alicia Silverstone). Unexpectedly, the sins of the father come back to affect the entire Murphy family!

This is a modern take on a Greek myth; the movie’s title comes from the ending of the tragedy Iphigenia in Aulis by Euripides. It’s a (lesser-known) Greek myth; in JHS, I got V interested in Greek mythology when we studied it in English class. Before Greek director/writer, Yorgos Lanthimos, became famous/Oscar-nominated for The Favourite (2018), he made this domestic drama/horror/mystery. Despite it’s V dark events/serious themes, much of the movie is shot on sunny days or in bright lighting. The film was shot on location in Cincinnati, Ohio (which is NOT often shown in media). Farrell starts off attempting to do a Midwestern accent, BUT then it falls off half-way through the movie. Kidman does a better job; she played a LOT of Americans in her career. Keoghan does a good job w/ the American accent; I think he slipped once. When Martin talks re: his father’s favorite film, the actor’s natural/Irish accent can be heard on the word “father.”

This is one of those films where you ask yourself: “Whoa, what did I just watch!?” It’s definitely for those looking for fun/escapist entertainment! It’s also NOT for more sensitive viewers, such as those who dislike seeing blood, violence, etc. The characters speak in a stilted manner, which is NOT quite naturalistic; their responses are often weird/unexpected (from what we’d expect in everyday society). Steven has bought into his own self-importance/power; he needs to be in control (in and out of surgery). Anna is able to stand up to Steven; she is NOT a pushover in this story. This was a “breakout” role for Keoghan (at just 24 y.o.) The actor makes himself appear younger/smaller (baggy clothes/stooping down) and takes on a (sad-eyed/down-trodden) physicality for Martin. At first, the audience feels sorry for Martin; he maybe just needs attention/guidance. Then, we start to wonder IF something is unstable about his personality. What are Martin’s true motives?

[1] Because this is such a primal story, it could be the most powerful and disturbing film of the year. The characters speak in a kind of dead tone, usually on banal matters (like how waterproof a watch is). The music alternates eerie silences with harsh nerve-wracking strings and drums. Shots of surgery and blood churn the stomach. The widescreen settings have an amphitheatrical stretch. Alone among recent films, it sends you out in catharsis — “calm of mind, all passion spent.” This film releases you, drained.

A man’s misdeed brings down a curse upon his entire house that only his own immense sacrifice can expiate. That’s the Greek tragedy, beside which our mundane stories of simple guilt, rationalization, mercy, forgiveness, and even human justice — the business of cops and courts — dwindle into insignificance.

[2] From the very first scene, to where your mind goes in regard to the sexual nature of the relationships, to the inappropriate or generally eyebrow-raising topics of discussion between some of the characters, this film is MEANT to BE “creepy” and to make the viewer FEEL odd, off – and even dirty.

Much of the creepy-factor, if you will, comes PRECISELY FROM the amazing way in which most of these talented actors made these characters come across as disturbing, unappealing, ALMOST like most of us, ALMOST worth sympathizing with, but not quite. It would have lost much as a film of this nature had the acting been that of a normal or run-of-the-mill family). Again, EVERYTHING, from the topics of conversations, to their postures, to their almost detached delivery, was purposeful and meant to lend to the eeriness of the film and the discomfort of the viewer.

-Excerpts from IMDb reviews

“Past Lives” (2023) starring Greta Lee, Teo Yoo, & John Magaro

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SPOILER ALERT: Don’t read this post if you haven’t seen, or don’t want to know, details from the movie Past Lives (available to rent/buy on VOD).

Na Young (AKA Nora) and Hae Sung, two deeply connected childhood friends, are wrested apart when Nora’s family emigrates from South Korea to Canada. Twenty-four years later, they’re reunited in NYC for one fateful week as they confront notions of love and destiny. -Synopsis

As fans of HBO’s Girls (2012-2017) may recall, Greta Lee played Soojin (an artist’s asst/frenemy of Marnie) in 4 eps (S2-S3). Adam Driver (Adam Sackler on Girls) and Lee were photographed chatting at the Gotham Awards after-party last Fall in NYC. They’re both 40, have worked in NYC theaters, and played younger characters. Past Lives is a beautiful (inside and out) indie drama written/directed by Celine Song (a 1st time director). This film (produced by A24) won the National Society of Film Critics Best Picture award. Like Nora (Lee), Song moved w/ her parents from Korea to Canada; her father was a filmmaker. She later settled in the US, worked as a playwright, and married a Jewish/American writer- Justin Kuritzkes. This story is based on Song’s real life, BUT w/ “dramatic moments added” (as she explained).

Arthur [to Nora]:  You dream in a language I can’t understand. It’s like there’s this whole place inside you I can’t go.

In a profile of Lee in the NYT on May 30, 2023, Song said she tried to keep the 2 leads separated (as much as possible) to help the scenes when Nora and Hae Sung finally meet in person after a long separation. This film is in BOTH Korean and English; director Bong Joon Ho’s American interpreter helped Lee improve her skills in Korean. Yoo (42 y.o.) speaks fluent English, along w/ 3 other languages; he was born/raised in Germany and studied in the US (Lee Strasberg Inst). Song also did not let Yoo and John Magaro (Arthur- Nora’s husband) meet before shooting. When Hae Sung and Arthur meet each other for the 1st time, it’s the same for the actors. The shot that was eventually in the movie ended up being the 1st take. Magaro (40 y.o.) is mainly an indie movie/theater actor who often plays New Yorkers (w/ a V believable accent). As some critics commented, Arthur understands the appeal seeing how handsome Hae Sung looks.

Nora [to Hae Sung]: Getting married is hard for idealistic people like you.

Nora and Hae Sung (an engineer who is hesitant re: marriage) spend a few days together in NYC; they walk, talk, and visit some tourist attractions. Though they barely hug or touch, we sense some tension (romantic potential). One night, they’re joined by Arthur at an East Village bar. Nora (who sits btwn the 2 men) finds herself in the role of interpreter and intermediary btwn 2 cultures. Unlike many modern movies, Past Lives is restrained, understated, and effectively uses silence. Perhaps most refreshing- it doesn’t play into melodrama and Hollywood stereotypes, esp. w/ the “love triangle.” Some viewers were reminded of Richard Linklater’s Before trilogy (w/ Ethan Hawke and Julie Delpy). I loved this film- and yes- I did cry!

At 40, it’s strange to be called a breakthrough actor. I’ve been doing this for 20 yrs! -Greta Lee

[1] The actors who play the sweethearts as adults, Greta Lee and Teo Yoo, are both exceptional, but it’s Lee who creates the most fascinating character. […]

The movie is also a sensitive look at what it feels like to be an immigrant, torn between two cultures, and not sure whether the nostalgia you feel is what you really want or just the allure of the familiar.

[2] Such a touching film, but at the same time, never cloying, because the script and direction from Celine Song were so wonderfully restrained. […] The characters were beautifully drawn and didn’t devolve into cliches, an example of which was the husband who gave a master class in being understanding and supportive. Beautiful cinematography too. Definitely one to see.

[3] A simple plot becomes a richly complex story of lost love, sought closure, and found purpose; and it’s all due to Celine Song having the proper understanding of when to allow silence to speak.

Yet despite the frequent bouts of silence, not a moment feels wasted. Every shot and sentence is meticulously edited to give us exactly what we need to feel each moment with its full emotional power.

-Excerpts from IMDb reviews