Tag: Mystery

Two Films re: #MeToo: “The Assistant” (2019) & “She Said” (2022)

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The Assistant (2019) starring Julia Garner & Matthew Macfadyen

Follows one day in the life of Jane (Julia Garner), a recent college graduate/aspiring film producer, who recently landed her dream job as a junior assistant to a powerful entertainment mogul. Her day is much like any other assistant’s – making coffee, changing the paper in the copy machine, ordering lunch, arranging travel, taking phone messages, onboarding a new hire, etc. But as Jane follows her daily routine, she, and we, grow increasingly aware of the abuse that insidiously colors every aspect of her work day, an accumulation of degradations against which Jane decides to take a stand, only to discover the true depth of the system into which she has entered. -Synopsis (Bleecker Street)

We have a V toxic working environment here in this indie film- yikes! The boss (modelled on Harvey Weinstein) is a bully who can reduce Jane and his two male assistants (Jon Orsini; Noah Robbins) to shaking messes. The boss (unseen) barks on the phone at Jane, after she has had a perfectly reasonable phone convo w/ his wife. Jane is invisible to most of her coworkers; they don’t give her eye-contact (even when she’s talking to them). People barely register her presence when sharing the elevator, most notably an actor (Patrick Wilson); his real-life wife (Dagmara Domenczyk) plays a producer. If you are a sensitive viewer, don’t worry, as there is no violence depicted.

Some viewers called this “a horror movie,” BUT re: the horrors of everyday life. Jane seems to have no allies, so nowhere to turn when things get rough. She even missed her father’s recent birthday. One of the main themes is complacency, as writer/director Kitty Green noted; she is a young filmmaker who comes from the world depicted. Jane is blonde, slim, and pretty, though NOT in the obvious (Hollywood) fashion. A stream of wanna-be actresses arrive in the office. Sienna (model-turned-actress Kristine Froseth), a V young former waitress from Boise, suddenly arrives as a “new assistant.” She is put up in a fancy hotel room, which seems V problematic to Jane. After dropping this woman off, Jane goes to see the company’s HR manager, Mr. Wilcock (Matthew Macfadyen), who is no help at all!

[1] How can something appearing so mundane, everyday, lackluster be so powerful. Outstanding piece of work. Nothing happens but still so much happens. Subtlety reigns supreme.

[2] Here we have the toxic world of white men. Pointless jobs that keep the “machine” rolling, I don’t care if this job is about the movie industry or whatever; this girl’s job is reflected in a million offices around the globe in a million industries.

[3] An old Spielberg trick is to increase tension by keeping the “monster” hidden from view: cue the tanker driver from “Duel” and (for most of the film) the shark from “Jaws.” Here, the boss is felt only as a malevolent force and never seen on screen. It’s an approach that works brilliantly, focusing the emotion on the effect he has on those flamed.

-Excerpts from IMDb reviews

She Said (2022) starring Carey Mulligan & Zoe Kazan

Two-time Academy Award® nominee Carey Mulligan (Promising Young Woman, An Education) and Emmy nominee Zoe Kazan (The Plot Against America, The Big Sick) star as New York Times reporters Megan Twohey and Jodi Kantor, who together broke one of the most important stories in a generation- a story that shattered decades of silence around the subject of sexual assault in Hollywood and impelled a shift in American culture that continues to this day. -Official Synopsis

The movie was shot in the New York Times (NYT) building and is the 1st movie ever to use the real offices. The leads, Mulligan and Kazan, had already been close friends for 14 yrs before being cast; Kazan was a bridesmaid at Mulligan’s 2012 wedding. I’ve been a fan of Mulligan for many years; she can play any type of role. I’ve seen Kazan only in a few light/comedic roles; she gets to show her serious side here (and does a fine job). Ashley Judd, Gwyneth Paltrow, and Judith Godrèche (a French actress from The Man in the Iron Mask), who were important sources for Kantor and Twohey’s investigations into Harvey Weinstein, each play themselves in this film. Paltrow and Godrèche appear as off-camera voices on the phone, but Judd plays herself onscreen. Actress Rose McGowan also appears as an off-screen voice, but chose NOT to play herself (her voice is portrayed by Kelly McQuail). James Austin Johnson (voice of Donald Trump) was in 2021 hired into the cast of SNL mainly to play the role of Trump (after videos of his impersonation went viral).

So to our surprise, Gwyneth Paltrow had a really powerful story of sexual harassment by Harvey Weinstein and of being threatened when her first really important roles were on the line. And early on in the investigation, when almost nobody in Hollywood would talk to us, she did. And she even tried to help us find other women. But she was very scared to go on the record. And it became clear, in the course of the investigation, that Harvey Weinstein was obsessed with the question of whether or not we were speaking to Paltrow. He showed up at a party at her house early. She called us from the bathroom completely panicked. -Twohey and Kantor (in interview on NPR’s Fresh Air, SEPT: 2019)

The German actress-turned-director, Maria Schrader, recently got acclaim for the streaming series Unorthodox (Netflix) and the movie I’m Your Man (2022). It’s difficult to make this subject matter cinematic (as critics on NPR’s Pop Culture Happy Hour podcast noted). There are no assaults (physical violence) depicted here, though we do see the aftermath (emotional toll). If you’re interested in journalism and liked All the President’s Men and Spotlight, then this may be of interest to you. It’s still rare to see supportive men (husbands of Twohey and Kantor) who happily share domestic duties; many working moms appreciated seeing this aspect of the movie. We learn that Twohey was dealing w/ post-partum depression after having her 1st child.

There are two actresses (well-known to those of us who love Austen/British period series/movies) who steal this movie w/ their terrific/emotional performances. In London, we meet Zelda Perkins (Samantha Morton- a Brit), who describes how a non-disclosure agreement (NDA) kept her from taking action against Weinstein’s behavior or even talking about any aspect of it to family members, friends, or even doctors (incl. therapists). IRL Perkins co-founded an organization called Can’t Buy My Silence dedicated to reducing the use/abuse of NDAs. In the coast of England in a small town, we meet Laura Madden (Jennifer Ehle- an American who primarily works in England), a mother of four young kids bravely preparing to undergo a mastectomy.

“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.

Spoiler-Free Review: “The Menu” starring Ralph Fiennes, Anya Taylor-Joy, & Nicholas Hoult

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Painstakingly Prepared. Brilliantly Executed. -A tagline for the movie

A young couple travels to a remote island to eat at an exclusive restaurant where the chef has prepared a lavish menu, with some shocking surprises. -Synopsis

Chef Julian Slowik (Ralph Fiennes- who always does a great job) is at the top of his field; the multi-course meals at his restaurant (located on a small private) island cost $1,500. Elsa (Hong Chau) is the manager (AKA right hand) of the chef. Chau is a Vietnamese-American actress who just received an Oscar nom for Best Supporting Actress for The Whale (2022); she is having success after age 40 (quite rare in Hollywood). A young couple, Tyler (Nicholas Hoult) and Margot (Anya Taylor-Joy), are two of the guests; Tyler is V excited, being a foodie/fan of Chef Slowik. John Leguizamo plays a character called George Díaz, simply credited as “Movie Star.” Leguizamo based his character on former action star, Steven Seagal, whom he called a “horrible human” due to a V bad experience while working w/ him on Executive Decision (1996). The references to Diaz playing a cook in one of his movies may be a nod to Under Siege (1992), where Seagal played a cook- LOL! George is accompanied by his young assistant, Felicity (Aimee Carrero). A well-known food critic, Lillian (Janet McTeer), and her editor, Ted (Paul Edelstein), are among the guests; she’d written V positively re: this restaurant. Three jovial 30-ish Wall Street bros (played by Rob Yang, Arturo Castro, and Mark St. Cyr) want to spend their money and have a new experience. A tense/posh older couple, Richard (Reed Birney) and Anne (Judith Light), round out the group of 12 diners.

Tyler [eating some oysters]: You have to try the mouthfeel of the mignonette.

Margot: Please don’t say mouthfeel.

This movie (which I saw recently on HBO Max) premiered at the Toronto International Film Festival (TIFF) on September 10, 2022. It was released November 18 in the US in 3,211 theaters (the widest release in Searchlight’s history). The director, Mark Mylod, has mainly worked in TV (Succession). One of the screenwriters, Will Tracy, came up w/ the idea of the story while on his honeymoon in Bergen, Norway, when he took a boat to a fancy restaurant on a private island. Tracy realized that diners were stuck (trapped) on the island until the meal was done!

Elsa: Here, we are family. We harvest. We ferment. We slaughter. We marinate. We liquify. We spherify. We gel.

Margot: [to Tyler] They gel?

Elsa: We gel!

There are many references to restaurant Noma (Copenhagen, Denmark), starting from the location, idea, concept, and ending w/ the menu itself. Several of the beach shots were filmed at Driftwood Beach on Jekyll Island (Georgia). The food layouts were prepared by the famed French chef, Dominique Crenn, the ONLY female chef in the US to attain 3 Michelin stars for her restaurant, Atelier Crenn (San Fran). At one point, Chef Slowik insults Richard by calling him “donkey,” a reference to (famous/abusive) chef Gordon Ramsay. The kitchen team were trained to actually create the dishes, broken down station by station, as one would see in a real restaurant.

Chef Slowik [introducing the dessert course]: The s’more. The most offensive assault on the human palate ever contrived.

This is a social satire that makes fun of the uber-wealthy, esp. pretentious foodies and the celeb chefs who cater to their needs. I heard that Triangle of Sadness (2022) deals w/ similar themes. The look is sleek/ultra-modern and cold. It’s moody, atmospheric, and (often) tense. However, some of the occurrences are preposterous! The characters act like those in a horror movie in one scene, then turn goofy in the next one. This movie has been called “silly” by critics/viewers; I think it’s a waste of talent and under-cooked (pardon the pun). I was impressed esp. by Fiennes and Taylor-Joy (who have good chemistry), though some others were under-developed.

[1] This is a movie that plays on something everyone has come across in their lives: obsession. The movie starts out as a seemingly eerie thriller/suspense type movie with weird and unique quirks, but slowly devolves into something much more wild and very obviously takes it too far.

[2] I think I understood what The Menu was trying to convey with its deeper meaning, but I still came up disappointed. Anya Taylor-Joy and the rest of the cast gave great performances, but there was little that really brought the movie together.

[3] The entire cast gives great performances with Ralph Fiennes and Anya Taylor-Joy truly being the standouts as they playoff each other very well. Each character purposely reflected a personality type that, if you ever worked in service, you would encounter and come to know very well.

-Excerpts from IMDb reviews

#Oscars: “Decision to Leave” (2022) starring Park Hae-il & Tang Wei

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From a mountain peak in South Korea, a man plummets to his death. Did he jump, or was he pushed? When detective Hae-joon arrives on the scene, he begins to suspect the dead man’s wife Seo-rae. But as he digs deeper into the investigation, he finds himself trapped in a web of deception and desire. -Official Synopsis

If I cannot avoid it, then I embrace it. –Park Chan-wook (director), when asked re: modern technology in this film

This film (streaming on MUBI) is the official submission of South Korea for the Best International Feature Film category of the 95th Academy Awards in 2023. I’d previously seen The Handmaiden, also directed by Park Chan-wook (who is in a league of his own); here we find a V different (yet also compelling) story. I was curious to see it, as I heard it was a blend of mystery, noir, and (slow burn) romance. The inspo for Decision to Leave was the Swedish crime novel series The Story of a Crime by Maj Sjöwall and Per Wahlöö, which is re: aging police detective Martin Beck and contains social critique. At first, Chan-wook didn’t like the idea of using text messages; he’d considered a period piece (where the characters send hand written letters). When he decided on a modern setting, he put in a smart watch, voice recordings, and translation apps. Chan-wook used cell phone POV shots to show that the characters are NOT only looking at the screens, BUT to give a sense that they’re looking at the other person.

I envisioned it to be slow and gradual, but the actor [Hae-il] held the look for a moment too long before asking for the pattern to unlock her cell phone. -Chan-wook, when asked re: the possible “love at first sight” element

Jan Hae-joon (Park Hae-il) is an experienced cop in the big city of Busan; he’s in middle-age, wears custom-tailored suits, BUT can also run/fight better than some of the younger men. He’s a “dignified” man who is perhaps TOO invested in his work; one reviewer was reminded of Det. Vincent Hanna in Michael Mann’s Heat. Like many modern marrieds in South Korea (as my friend explained after her recent trip to Seoul), he and his wife (a scientist) live/work in separate cities, so see each other on weekends. The femme fatale is Song Seo-rae (Tang Wei, co-star of Lust, Caution), who reminded me of those beautiful/mysterious women of classic Hollywood. Both of the leads are able to portray vulnerability so well! It’s obvious that some of the authorities are suspicious of Seo-rae b/c she is Chinese (a foreigner) and much younger than her wealthy/powerful husband. There is a younger cop partnered w/ Hae-joon who provides comedy, as he has a LOT to learn and improve upon in his work.

This film is esp. well-edited and creatively shot, as many critics noted. There is much natural beauty to admire, going from city to mountains and- finally- the sea. There is no doubt that these filmmakers have an unique take, as they embrace, yet also subvert, the tropes of the crime drama. I esp. enjoyed the (gentle) romantic scenes in the 2nd act; Chan-wook said he was inspired by David Lean’s Brief Encounter. Many viewers were reminded of Hitchcock’s Vertigo, though the director said that wasn’t an influence.

Quick Reviews of Three Noir Films

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Impact (1949) starring Brian Donlevy, Ella Raines, Charles Coburn, & Helen Walker

A unfaithful wife plots with her lover to kill her husband, but the lover is accidentally killed instead. The husband stays in hiding and lets his wife be charged with conspiracy.

This is a B-movie w/ a lead actor (Donlevy) who usually plays the 2nd lead. Walker is the cold-hearted femme fatale in the big city; Raines is the charming small-town widow/businesswoman (good girl). Raines is esp. lovely, even wearing overalls! As usual, Coburn does a fine job; here he plays a wise (yet also kindly) cop. There are a LOT of twists and turns that keep it interesting. I was reminded of Out of the Past in the country life scenes. If you want to take a deeper dive into noir, then check this out.

Niagara (1953) starring Marilyn Monroe, Joseph Cotten, & Jean Peters

As two couples are visiting Niagara Falls, tensions between one wife and her husband reach the level of murder.

This is a rare (technicolor) noir which highlights Niagara Falls and Monroe- two gorgeous sights (no doubt)! Two V different types of marrieds staying at a mobile lodge in Canada get to know each other… and vacay drama ensues! There are many close-ups on Monroe’s face (always w/ glam makeup), her figure, and signature walk- the typical “male gaze” comes to mind. Monroe does a good job, as does Cotten as her troubled/PTSD-affected war vet husband. Peters is beautiful also, BUT she gets the “girl next door” role and some action scenes. Unfortunately, Casey Adams (more known for his light/TV roles) acts like he’s in a totally different movie! If you’re a fan of Monroe and like suspense/psychological dramas (such as Hitchcock), then I esp. recommend this movie.

Elevator to the Gallows (1958) starring Jeanne Moreau & Maurice Ronet

A self-assured businessman murders his employer, the husband of his mistress, which unintentionally provokes an ill-fated chain of events.

This film ushered in the French new wave; it was directed by Louis Malle (who was ONLY 24 y.o.) I’m a fan of his 1992 erotic thriller- Damage (starring Jeremy Irons and Juliette Binoche). The music was composed by an American jazz great- Miles Davis. Malle shot Moreau (before fame) in close-up and natural light (often w/o make-up). The scene of Moreau walking down the Champs Elysees at night was shot using fast film in a camera mounted on a baby carriage; it used ONLY natural light from the street and store windows. Check it out if you’re in the mood for something different.