Hamnet

Jessie Buckley! Bravura performance! Awards worthy!

Hamnet (not a typo) is slow, dark and moody. But, like the words you sometimes see posted next to online videos, “wait for the end!” Not to spoil things, but the third act of this new movie serves up a nice payoff.

Agnes (Buckley) is an earth mother, a free spirit type of woman. A birder. She even has a glove she wears to keep talons from piercing her arm. She runs through the woods.

Will (Paul Mescal) spots her, they hook up, marry and have three kids. Two girls and a boy, Hamnet. They live in a woodsy idyll with family close by. Emily Watson appears as Will’s mom Mary. Will, by the way, is Will Shakespeare.

Childbirth is not always easy, even in our modern times. 440 or so years ago, it was a real challenge, especially so for Agnes. And then, to lose her beautiful boy… 

Well, speaking as one who knows, the loss of a child, at any age, brings a pain that is unfathomable. The hurt is palpable, emotionally and even physically. 

Agnes grieves. Will grieves. Following the death of their young son Hamnet, Will goes back to London where he writes and stages his classic tragedy, Hamlet.

The depiction of the Globe Theater in the film is impressive. The real Globe exists in London but was deemed not appropriate for Hamnet. The one is the movie was built especially for the film. But it gives a good feel for the intimacy of the Globe, back in the day.

Interestingly, the man who plays Hamlet (in the stage play) is Noah Jupe who is the older brother of Jacobi Jupe who plays young Hamnet. 

Hamnet is being marketed as a mass appeal type of movie but it does still have a tinge of artsy-fartsy. Yes, it delivers an emotional punch and yes, the acting is superb. It has its sweet, light moments. But the feel is that this is an “important” film, which is something you should know going in. 

Hamnet is one of the answers to the question: Why don’t they make movies for grownups anymore? Well, they do. And this is a movie for grownups. (AARP recently published its annual list of “Movies for Grownups” and Hamnet is included.)

Hamnet is directed by Chloe Zhao who co-wrote the script with Maggie O’Farrell who wrote the novel that the movie is based on. Hamnet is rated PG-13. 

Conclave

Conclave is an excellent movie, one of the year’s best. Compelling story, stellar cast, deft directing. It’s a winner, a “must see.” But… be careful!

There are people who will reveal certain key plot points. And not just on social media platforms. Because Conclave is a story about the election of a pope, some Catholics—church leaders and church members—may not care for the less-than-flattering depictions of certain cardinals.

Conclave is fiction but it considers the real life conflicts within the Catholic religion between its progressive and conservative elements. The election of a new pope is a political process with similarities to governmental elections: divisions into factions, surprise disclosures, accusations and denials, downright dishonesty. 

Cardinal Lawrence (Ralph Fiennes) is tasked with leading the election process. It’s a portrayal that will net him awards. Fiennes was Oscar nominated for The English Patient and Schindler’s List. This may be the one that gets him the trophy.

His speech to his fellow cardinals at the conclave just before the first balloting is a classic scene that he nails beautifully. As revealed in the trailer, he says, “If there was only certainty, and no doubt, there would be no mystery. And, therefore, no need for faith.” Not sure if the source of this monologue is the screenwriter Peter Staughan or book author Robert Harris but it is impactful.

Others who play key roles are Cardinal Bellini (Stanley Tucci), Cardinal Tremblay (John Lithgow), Italian Cardinal Tedesco (Sergio Castellito), African Cardinal Adeyemi (Lucian Msamati), Cardinal Benitez (Carlos Diehz), and Sister Agnes (Isabelli Rossellini). Also, as Lawrence’s assistant O’Malley, Brian F. O’Byrne. Quite a lineup and they all get to shine.

Conclave is in some ways an old-fashioned movie. No nudity, no sex. No profanity. No superheroes. A story that unfolds in chronological order without flashbacks. A killer soundtrack from Volker Bertelmann that amplifies the tension and suspense. And multiple memorable visuals from director Edward Berger and his crew.

The warning posted at the top of this review bears repeating. Beware of spoilers. Conclave will generate conversation and beans are likely to be spilled. Be cautious where you click.

How will Conclave play among Catholics? My guess is that reactions will cover a wide spectrum from warm embrace to dismissive putdown. On one hand, it’s a deep and illuminating dive into the pope choosing process that may be appreciated by some church members. On the other hand, it deals with backstage maneuvers in church headquarters that some folks just don’t care to know about. The responses could get interesting. Stay tuned.

Conclave is rated PG.

It Ends With Us

It Ends With Us, the new film adapted from Colleen Hoover’s 2016 best selling novel, is a cautionary tale. For some, it may even be instructive.

The “it” in the title is the cycle of spousal abuse which sometimes continues through generations. The movie does have many light moments and some semi-steamy romance but there’s also a dark undercurrent. 

Lily Bloom (Blake Lively) is a thirtysomething Bostonian who returns home to Maine after her father’s death. At his funeral when she is asked to say a few words about him, she has nothing. Why? It is soon revealed that her father was physically abusive to her mom.

Lily meets Ryle Kincaid (Justin Baldoni) a Boston surgeon and a slowly simmering romance ensues. Lily gets signs that Ryle has a temper. In fact the first thing she sees him do is kick a chair in anger. 

Lily opens a flower shop and her first employee Allyssa (Jenny Slate) just happens to be Ryle’s sister who shares insight into her brother’s behavior.

Meanwhile, Lily’s old boyfriend from her hometown Atlas (Brandon Sklenar) reappears in her life when she and Ryle dine in his (Atlas’s) new restaurant. When Lily shows up later at Atlas’s joint with a bit of a shiner, the result of an overreaction by Ryle to a kitchen disaster, Atlas confronts Ryle. When Ryle later discovers that Atlas has given her his phone number in case of trouble, he gets upset again.

Lily has flashbacks to life back in Maine and the tension in her household. She also recalls her early times with Atlas. Young Lily (Isabela Ferrer) and young Atlas (Alex Neustaedter) also experience her dad’s volatile temper.

It Ends With Us maintains a simmering level of tension from start to finish. Lily’s mom tells her daughter that she loved her husband despite his abuse. Lily offers Ryle forgiveness for his transgressions. But how far will that go? What role will Atlas play in her encounters with him now that they are both adults? 

Blake Lively carries the film in a role that has her portrayal of Lily cover a spectrum of character types ranging from a sexy babe to a hustling business owner to an assertive woman who takes control of her life. She’s good!

Coleen Hoover has said that the story is based on the relationship of her mother and father. And that it was hard for her to write. Its success has spawned a sequel book and helped make Hoover a fan favorite.

A best-selling novel that generates a lot conversation should deliver a built-in audience for the film version. But since more people see movies than read books, the word-of-mouth opinions from early movie goers will determine if It Ends With Us has legs. I’m guessing it will. 

Rated R. Directed by the guy who plays Ryle, Justin Baldoni.

Oppenheimer

It’s too early to pencil in Oscar winners’ names but it’s easy to imagine Oppenheimer pulling down a few next March. Starting with Christopher Nolan who wrote and directed this epic film. Is it his best film to date? Maybe. Among his top three, for sure.

Two weird trends this summer: baseball games have gotten shorter and movies have gotten longer. Oppenheimer is a three hour movie but screenwriter Nolan delivers huge amounts of narrative in those 180 minutes. And director Nolan maintains a fierce pace with multiple time jumps to tell that story. A clever device he employs is purposeful shifts between color and black-and-white sequences.

What about Cillian Murphy as Robert Oppenheimer? He’s been great in smaller movie roles and in the TV series Peaky Blinders. Although Murphy’s is not a household name, Nolan made a wise choice in giving Murphy the mantle of carrying this film. Not unlike the way the U.S. Army’s Leslie Groves (Matt Damon) chooses Oppenheimer to run the Manhattan Project despite the physicist’s baggage. 

Part of that baggage is his alcoholic wife Kitty (Emily Blunt) who is a Communist. As is Robert’s brother Frank (Dylan Arnold). A needy lover, Jean Tatlock (Florence Pugh), also has red connections. Is Oppenheimer himself a Communist sympathizer? He contributed to revolutionaries in Spain. He tried to organize a faculty union at Cal. But his work as a physicist makes him the right man to head the development of the atomic bomb at Los Alamos.

The role of Lewis Strauss includes some of the best Oscar-bait dialogue since Jack Nicholson took the trophy with his “you can’t handle the truth” speech in A Few Good Men (which took Best Picture in 1992.) Robert Downey Jr. is up to the task of portraying a complex individual who is less well-known than the film’s title character. 

Much of Strauss’s screen time revolves around hearings for his nomination to be U.S. Commerce Secretary during Ike’s second term. He also recruited Oppenheimer at Princeton and later was head of the Atomic Energy Commission. 

Jason Clarke as AEC attorney Roger Robb has another role that  allows for some scenery chewing. His confrontations with Oppenheimer and others during an inquiry into Oppenheimer’s fitness for continued security clearance are forceful and direct.

Among the films large cast, players include Kenneth Branagh, Alden Ehrenreich, James D’Arcy, Matthew Modine, Josh Hartnett, Casey Affleck, Dean DeHaan and Rami Malek. Tom Conti appears as Albert Einstein and Gary Oldman portrays Harry Truman.

Sound plays a major role in Oppenheimer. The dynamic range between ear-splitting loudness and calming silence is finessed beautifully by Nolan and the film’s sound crew. Expect a few awards nods to the craftspersons who make the movie sound good. Ludwig Goransson’s music provides momentum and adds to the intensity of numerous scenes. 

Because of Vladimir Putin’s invasion of Ukraine and saber rattling by both the U.S. and Russia, Oppenheimer is not just entertainment but also a timely movie. Although the film is a dramatization of real events, there’s a foundation of truth here that provides useful information for all Americans, especially younger citizens. 

Twenty-first century perspectives have revised our views of much of our nation’s history including our participation in wars. The paradox of the atom bomb’s being a good thing (ending hostilities with Japan) and a horrible thing (killing thousands of civilians) is one that has been and will be constantly examined. Oppenheimer is now part of that discussion. 

The movie is likely to make Cillian Murphy a genuine star for his strong performance. If you’re going to be onscreen for that much of a movie, you’d better be good. He is. Will he receive awards consideration? Bet on it.

Oppenheimer will bring fresh individual accolades to Nolan and Downey, among others. And the film itself is a likely Best Picture nominee. It is, as they say, a MAJOR motion picture!

Ad Astra

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Is Ad Astra more than just another entertaining space drama? Not really. But if you want to layer some special meaning onto the story, that’s your privilege as a moviegoer.

Many males have complex relationships with their dads. This has been addressed in movies ranging from The Empire Strikes Back to Field Of Dreams to the under appreciated 2014 film The Judge. In this sci-fi tale set in the not-that-distant future, a son’s feelings about his father are a key element in the son’s psyche.

Roy McBride (Brad Pitt) is an astronaut whose dad Clifford McBride (Tommy Lee Jones), also an astronaut, led a mission to the outer rim of our solar system and has not been heard from in decades. Power surges that threaten human survival have been linked to this distant outpost just off Neptune.

Roy is directed by leaders here on Earth to go there and fix the situation. He is directed to “fly commercial” to the moon before heading to a station on Mars. Along the way, he gets intel about his dad from a crusty Colonel Pruitt (Donald Sutherland).

Throughout the movie, Roy’s psychological fitness is periodically checked by AI devices. Many of Roy’s inner thoughts are shared via Pitt voiceovers.

On Mars, an evaluation of Roy’s mental state and his emotional attempt to communicate with his dad cause officials to scrub his further participation in the effort to mitigate the Neptune crisis. But he goes rogue and flies off to check on dad.

Ad Astra is filled with amazing effects and images but writer/director James Gray incorporates them in a way that’s not as flashy as those in some space flicks. His futuristic visions seem more matter-of-fact than included for jaw-dropping spectacle. (Or maybe I’ve just seen several space movies in recent years and my personal “wow” level has been recalibrated.)

Brad Pitt brings his usual A game to the screen and shows his range via a character who is wildly different from the one that will likely net him an Oscar nomination. (The expected nod would be for his Cliff Booth in Once Upon A Time In Hollywood. But sometimes awards voters cast a vote for cumulative efforts so his work here can only add to his chances of a win.)

Also in the film are Ruth Negga as a Mars base staffer and Liv Tyler as Roy’s wife Eve.

Ad Astra is a film to be enjoyed for what it is. If you want to read more into it than is made clear in the narrative, go right ahead.

 

 

 

 

Once Upon A Time In Hollywood

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Quentin Tarantino delivers one of the most entertaining movies I’ve seen in a long time with Once Upon A Time In Hollywood. Speaking of long times, the film runs 2:45 but is worth almost every minute of it.

SPOILER ALERT! There are NO SPOILERS in this review. But beware of social media content, word-of-mouth and even unscrupulous reviewers who might tell too much about this buzzworthy movie.

Los Angeles, 1969. Or, as iconic radio station 93/KHJ calls it, Boss Angeles. The city looks great as classic cars tuned to AM radios playing classic pop tunes drive down boulevards with theater marquees touting late-60s movies.

Rick Dalton (Leonardo DiCaprio) is a TV/movie star whose career is at a turning point. Cliff Booth (Brad Pitt) is his stuntman and buddy. Leo is terrific. Brad is also at his charming best. Both actors benefit from being gifted with great roles and story lines from QT.

Dalton has a gorgeous home in the hills above Benedict Canyon. Booth lives in a trailer in the valley. The home just above Dalton’s is rented by Sharon Tate (Margot Robbie) and Roman Polanski (Rafal Zawierucha).

In February 1969, Hollywood dealmaker Marvin Schwarzs (Al Pacino) suggests to Dalton that he go to Italy and make movies there that could reignite his fading star. He does. The film then skips ahead to August 1969 when Dalton returns to LA for the film’s climax.

Once Upon A Time In Hollywood contains scene after scene that bring true movie fan pleasure. Cliff’s fight with Bruce Lee (Mike Moh). Rick’s conversation with child actor Trudi (Julia Butters). Sharon’s watching herself on screen with a movie house audience. The clips from Rick’s TV show Bounty Law and his movies. A party at the Playboy Mansion where Steve McQueen (Damian Lewis) explains the relationship between Tate, Polanski and Jay Sebring (Emile Hirsch).

Other performances in the film that merit mention: Kurt Russell as stuntman Randy (he’s also the film’s narrator), Margaret Qualley as hippie chick and Manson family member Pussycat, Nicholas Hammond as Sam Wanamaker and Dakota Fanning as Squeaky Fromme.

Gotta love the soundtrack! Treat Her Right by Roy Head, Good Thing by Paul Revere and the Raiders, Brother Love’s Traveling Salvation Show by Neil Diamond, Snoopy Versus The Red Baron by the Royal Guardsmen, Hush by Deep Purple, Ramblin’ Gamblin’ Man by Bob Seger, among many others.

Once Upon A Time In Hollywood is an absolute treat that should not be missed. Thank you, QT. Thank you, Leo.

Vice

Vice

Bale. Christian Bale. He’s the reason to see Vice.

The chameleon/actor portrays former U.S. Vice-President Dick Cheney. And, although Bale doesn’t really resemble the ex-veep, his transformation is pretty amazing. Not just Bale’s weight gain but also his accurate mimicry of Cheney’s speech patterns and Cheney’s penchant for talking out of the side of his mouth.

Cheney’s story as told in Vice is not a flattering one. Though not quite “gonzo journalism” a la Hunter S. Thompson, this “sort of” biopic has a lot of what David Letterman used to call “writer’s embellishment.” Yes, there is a framework of true facts here but parts of this narrative are bent to poke holes in Cheney’s legacy and deliver laughs. And, yes, Vice is funny!

Writer/director Adam McKay presents Cheney as a guy with little direction until his wife Lynne (Amy Adams) sets him straight. He’s a bit of a bumbling conniver when he gets to Washington and soon goes to work to establish his own sphere of influence.

(Cheney’s career included tenures as a White House Chief of Staff, a U.S. Representative, Secretary of Defense and Vice-President, so he must have demonstrated at least a modicum of competence.)

As with The Big Short, his previous comedy rooted in fact, McKay tries to simplify a complicated story that has many nooks and crannies. Should America blame Cheney for everything that has gone wrong with our nation’s involvement in Middle Eastern politics this century? McKay would have you believe that Cheney should shoulder much of the blame.

Admirably, Cheney is shown to be sympathetic and loving when his daughter Mary (Alison Pill) comes out to her parents as gay. (Lynne is not so understanding.)

Other key players in the film include Donald Rumsfeld (Steve Carell) and George W. Bush (Sam Rockwell). They are sources of some of the funnier moments.

I called The Big Short a failure in my review of the film in 2015. Click HERE to read it. Like Vice it was wickedly funny but as an explainer for what happened to cause the financial crisis, it fell short. Vice, on the other hand, is focused and proceeds in a linear manner with few course changes. It tells its tale well, however with a liberal bent (which McKay acknowledges in a hilarious coda).

See it. Enjoy it. Don’t take it as gospel.

 

 

The Old Man And The Gun

Redford

The Old Man And The Gun has all those classic indy film elements: quirky characters, quirky plot, a few slow periods where little happens, a mediocre song and a general low budget look.

But this one also has Robert Redford! He may have lost some speed on his fastball, but he still cuts an impressive figure on a movie screen. And he is fun to watch in this one. (Redford just turned 82 in August, FYI.)

Forrest Tucker (Redford) was a real life bank robber. (Not to be confused with the “F Troop” actor.) For Tucker, robbing banks is a bit of a sport. He’s polite to bank staff (and to the authorities who arrest him), not like the fearsome trigger-happy criminals often seen in films and on TV.

As he flees the film’s opening heist, Tucker stops to help a woman whose truck is broken down on the side of the road. He invites her to join him for a bite. So begins his relationship with Jewel (Sissy Spacek). She is charmed and they begin to get together often for apparently non-carnal reasons.

Casey Affleck mumbles his way through his role as Dallas police detective John Hunt. After the feds take over the pursuit of Tucker, Hunt sniffs out Tucker’s backstory, which features a life of crime and incarceration. Also in the cast are Tucker’s sometime accomplices played by Danny Glover and Tom Waits.

For a movie about a bank robber, with car chases and other tense situations, The Old Man And The Gun is relatively light entertainment. Redford’s smiles and chuckles play a big part in softening the feel of the film.

David Lowery is the movie’s writer/director. He did an interesting crime drama I enjoyed (also featuring Affleck’s mumbles) in 2013 with the puzzling title Ain’t Them Bodies Saints.

Supposedly this is to be Redford’s last movie. But, as with many music acts who’ve had farewell tours and then later reappeared on stage, there’s a Bond title that applies here: Never Say Never Again. Whether he returns to the screen again or doesn’t, it’s good to have one of one of filmdom’s greats back in a starring role right now.

 

A Star Is Born (2018)

A Star Is Born

The surprising thing about the new A Star Is Born is how fresh it feels. It is a thrice-told tale, but this version does not scream: “retread.” The film’s stars and (especially) its music energize the storytelling and make A Star Is Born truly satisfying.

Even moviegoers who have zero familiarity with the previous iterations of this plot can guess early on where it’s going. Jackson Maine (Bradley Cooper) is a big rock star with booze and pill addictions. Ally (Lady Gaga) is a food service employee who sings for kicks in the gay bar where Maine just happens to stop in for a drink.

He gives her a leg up into the music biz and, as they fall in love, their careers move in separate directions: one up, one down.

If you had doubts that Lady Gaga could handle the female lead, well, those doubts were mistaken. She has two killer musical numbers that bookend the film and several other songs in the film, including duets with Cooper. And… her acting beyond the music is solid. This film marks the birth of her movie stardom.

Cooper is an Oscar-winning actor but his musical chops are also impressive. He wears many hats here: he directed the film and is one of three credited screenwriters. His speaking voice in the film is deeper than in his prior films. It accurately sounds like that of a man who has been a lifelong boozer.

Daddy issues play a role in this A Star Is Born. Maine’s dad—also a heavy drinker—died when Jackson was 13. His older brother Bobby (Sam Elliott) helped raise him, got him into performing and still works to keep the younger brother in line. Their relationship is not just brotherly but also a bit father/son.

Ally’s dad Lorenzo (Andrew Dice Clay) points out that talent alone is not enough to be successful in showbiz, that looks matter. He says this to soften her disappointment as her musical aspirations stall. But when Maine offers her the chance to join him on tour, her dad encourages to go for it.

Along with the inspired casting of Clay, director Cooper brings Dave Chappelle to the role of Maine’s old chum who rescues him after a binge.

Sometimes the early positive buzz on a movie, often fueled by those who attend the late summer film festivals, fizzles when the movie finally appears on local screens. A Star Is Born (2018) lives up to the buzz. Strong box office is a sure bet. And this may become one that gets repeat viewings.

 

A Late Quartet

A movie about a string quartet? How tedious could that be? In the case of “A Late Quartet,” not tedious at all—this is a lively, energetic movie about a talented group of musicians, performed by a talented group of actors.

You don’t have to be a Beethoven fan to appreciate “A Late Quartet.” There’s plenty of music, but the story is more about the musicians and their passions, musical and otherwise.

Christopher Walken is a recently widowed cello player who is diagnosed with early stage Parkinson’s disease. Phillip Seymour Hoffman is a violinist who is married to the quartet’s viola player, played by Catherine Keener. Ukraine native Mark Ivanir is the intense first-chair violinist who wants every note played perfectly.

But musicians do not always play every note perfectly. Christopher Walken’s character has a wonderful scene in the film in which he relates a tale about an encounter with violin great Pablo Casals. The point of his anecdote is that a live performance of music reveals personal interpretation.

The quartet has been together for nearly a quarter century when we meet them. The group is upset first by their cellist’s Parkinson’s, then by Hoffman’s character’s desire to make a change to the group. Then come marital issues between the couple and an upsetting romantic choice by the first chair.

Along with the quartet, a beautiful young actress with the unfortunate name Imogen Poots gives a nice performance as the aspiring violinist daughter of the couple.

Director Yaron Zilberman (such an unknown that he doesn’t even have a Wikipedia page) who co-wrote the original script, does an excellent job of making these actors appear to be real musicians. (At least to my non-musician eyes.)

Yes, the story is a bit soap opera-ish, but the cast is strong and the music enjoyable. While “A Late Quartet” is unlikely to move beyond art houses, don’t let Beethoven scare you away from a good movie.