REVIEW: “Mank” (2020)

December 4, 2020 by Keith Garlington

In 1939 24-year-old hotshot wunderkind Orson Welles was heavily courted by a struggling RKO Pictures. The studio signed Welles to a two-picture deal and gave him complete creative control including final cut privilege, something unheard of in the studio era. Welles began putting the idea together for what would become “Citizen Kane”. To help with the script Welles hired Herman J. Mankiewicz, a boozy, self-destructive and self-defined loose cannon believed by many in Hollywood to be washed up. Mankiewicz ended up winning an Academy Award for what many argue is the greatest film ever made.

In David Fincher’s “Mank” the acclaimed filmmaker both celebrates and admonishes Hollywood’s Golden Age through the character of Herman Mankiewicz, honing in on his time wrestling with his version of the “Citizen Kane” script. Fincher uses the same time-hopping techniques as Welles’ 1941 classic to visit key moments from Mankiewicz’s past which helped inspire and form pivotal elements of “Kane’s” story. “Mank” was originally conceived by David Fincher’s late father Jack Fincher who was inspired by Pauline Kael’s 50,000 word essay “Raising Kane” published in 1971.

Image Courtesy of Netflix

The opening shot feels plucked straight out of old Hollywood. It’s 1940. Two cars speed down a dusty California highway on their way to North Verde Ranch near Victorville. There Herman Mankiewicz (Gary Oldman), bed-ridden with a broken leg following a car accident, sets up shop. He is given sixty days (originally 90 until Welles cut off a month) to complete his draft under the supervision of John Houseman (Sam Troughton). Helping is Rita Alexander (Lily Collins), a lightning fast British stenographer with a boatload of patience and a husband serving in the war effort overseas.

Fincher never stays in one place very long. The scenes at the ranch are frequently broken up with rapid-fire flashbacks that can be disorienting until you get a grasp on what the director is going for. We get a scene from 1930 where Mank (as Mankiewicz is affectionately called) meets and impresses newspaper mogul William Randolph Hearst (Charles Dance), the inspiration for the Charles Foster Kane character. He also meets Hearst’s carefree and endearing mistress Marion Davies (Amanda Seyfried), a young actress who immediately takes a liking to Mank. In many ways their relationship is the heart of the film and its a really good turn from Seyfried.

Later Fincher takes us back in time to Paramount Studios to witness a hilarious brainstorm session in the writer’s room. Then we swing by MGM where blustering studio head Louis B. Mayer (Arliss Howard) waxes not-so-eloquently about his movie philosophy before duping a group a employees with a ‘times are hard‘ speech. Fincher makes several of these studio stops through flashbacks landing some firm shots at their top-heavy structure but also admiring their vibrant creative energy. Each studio scene is richly textured, full of period detail and ambiance, and exquisitely captured through Eric Messerschmidt’s black-and-white cinematography.

More flashbacks show Mank giving himself over to booze and self-loathing, steadily losing his goodwill with studio heads and straining close relationships. Look no further than his exasperated wife Sara who is played by a terrific Tuppence Middleton working at just the right temperature. And then you have his unique friendship with the powerful Hearst which in many ways makes his eventual “Kane” script feel like something of a betrayal on top of being controversy. History tells us Hearst was enraged by “Citizen Kane”. Mankiewicz’s friendship with the mogul soured and Mank was tossed from Hearst’s social circles.

Image Courtesy of Netflix

Fincher also uses Mank’s eyes to observe the 1934 California gubernatorial race between socialist Upton Sinclair and the conservative Republican incumbent Frank Merriam. Again we see many nuggets that not only influenced aspects of “Citizen Kane” but that also cut with a sharp present-day relevance. Backdoor politics, yellow journalism – its all here. Eventually everything meets at a combustible dinner party scene where Mank’s off-putting drunken monologue screeches things to a halt. It’s a big performance moment for Oldman who throughout the film captures every facet of Mankiewicz’s brilliant yet self-defeating personality. But the scene draws out too long and is too showy even for a movie as showy as this one.

“Mank” offers a very particular point-of-view on the longstanding debate over who wrote “Citizen Kane”. Much like Kael’s controversial and since discredited essay, Fincher is clearly sympathetic towards Herman Mankiewicz. He highlights Mank’s work while Orson Welles (portrayed by Tom Burke) mostly exists on the periphery of his story. But Fincher wisely doesn’t discount Welles’ contribution and ultimately his film is about more than just authorship. It’s an ambitious ode to a bygone Hollywood era. It’s a story about damaged genius and self-destruction. Above all it’s an applause-worthy celebration of the art of cinema – a visual and performance-rich delight. I was amazed yet unsure of it after one viewing. I was captivated and convinced after a second. “Mank” premieres today on Netflix.

VERDICT – 4.5 STARS

First Glance: “The Dig”

December 3, 2020 by Keith Garlington

Carrie Mulligan, Ralph Fiennes, and Lily James? I’m sold. The trio star in the upcoming Netflix drama “The Dig”, an adaptation of John Preston’s 2007 novel. The filmed is helmed by Australian director Simon Stone from a script by screenwriter and playwright Moira Buffini. It was originally set to star Nicole Kidman, but she left the project and was replaced by Mulligan. I like that change.

“The Dig” reimagines the 1939 excavation of Sutton Hoo in Suffolk, England. With World War II boiling in the background, Mulligan plays a widow who hires an amateur archaeologist (played by Fiennes) to excavate Anglo-Saxon burial grounds on her property. They end up making a historic attention-getting discovery that scratches a scab from the country’s past. I really like the look of this. The cast, the story, the set design. I’m onboard.

“The Dig” is set for a limited theater release January 15, 2021 before releasing on Netflix January 29th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Godmothered” (2020)

December 3, 2020 by Keith Garlington

Only in a magical place called Motherland can aspiring fairy godmothers learn to plow their trade. And only in Motherland will you find June Squibb as the resident DJ proclaiming “It’s time to party like it’s 1699.” Actually there are a lot of amusing touches like that all through Disney’s upcoming family film “Godmothered”.

From director Sharon Maguire and co-writers Kari Granlund and Melissa Stack, “Godmothered” is a light, warm, and big-hearted fantasy comedy with just enough seasonal cheer to please Christmas movie fans. Its playful spirit and some charming performances carry it most of the way. But a very specific lack of originality and a bludgeoning final scene make it fall a little short of being perennial holiday viewing.

Image Courtesy of Disney+

Within minutes you can’t help but see the film’s biggest inspiration/problem. I don’t know how else to say it, but so much of “Godmothered” seems copied straight from 2003’s “Elf”. First is the concept, a kind-hearted outcast soul leaving a magical land to impart happiness and cheer to people who have lost it. A fish-out-of-water lead character visits a big American city for the first time. Sound familiar? Well it gets even more obvious than that. We even get specific gags and plot points shamelessly plucked right out of the Jon Favreau Christmas classic. There’s even a racoon!

Yet despite all that, “Godmothered” has an almost infectious charm much of which comes from it star Jillian Bell. She plays Eleanor, Motherland’s youngest fairy godmother trainee and the school’s only new applicant for decades. Turns out the world has stopped believing in “Happily Ever After” meaning fewer assignments for the godmothers. Because of this Moira (Jane Curtain), the head mistress and a strict enforcer of the outdated godmothering ‘formula’, is prepared to shut down the school and reassign the godmothers to dreaded tooth fairy duty.

Having none of it, Eleanor finds an old letter from 10-year-old McKenzie Walsh that fell through the cracks. Determined to prove the world still needs fairy godmothers, she secretly sets out to find McKenzie and grant her ‘happily ever after’ wish. The trail takes her to Boston where she quickly discovers McKenzie (played by Isla Fisher) is no longer 10-years-old. Instead she’s a cynical single mother of two who lost her husband years earlier and has given up on any chance at true happiness.

Image Courtesy of Disney+

If you’ve seen “Elf” you know exactly where this story goes almost beat for beat. But the movie does bring a few laughs of its own and moments of genuine feeling. Fisher and Bell turn out to be real assets with surprisingly good comic chemistry. Both bring a sense of sincerity to their characters that offer emotional connections amid all of the silly fun. A smattering of good supporting performances fill out the story including the quirky Squib, Santiago Cabrera as McKenzie’s Clark Kent-ish co-worker, and Mary Elizabeth Ellis as McKenzie’s down-to-earth sister.

Still it’s hard to get past the lingering feelings of “I’ve seen this before”. And the film’s message, while handled well most of the way, is slammed home in a cringy, heavy-handed final speech that throws any hint of subtlety and nuance out the window. It’s hard not to like the film’s characters and the team of Fisher and Bell add sparkle and heart to an otherwise wacky premise. If only its lack of originality wasn’t so hard to overlook. “Godmothered” premieres December 4th exclusively on Disney+.

VERDICT – 2.5 STARS

REVIEW: “Soul” (2020)

December 2, 2020 by Keith Garlington

Full disclosure: I’m not what you would call the biggest Pixar fan. To be clear it’s no fault of their own. It’s just that I’ve grown picky when it comes to animation meaning I may not be the best judge of their films or the “genre” in general. I’m not saying there aren’t animated features I love, but I tend to be a little more critical than most and I rarely go into an animated film with a ton of excitement.

Maybe that’s why Pixar’s latest “Soul” was such a welcomed surprise. I didn’t go in with especially high expectations yet it only took a few early scenes for the movie to get its hooks in me. That doesn’t mean there aren’t bumps in the road. Within ten minutes the story takes a less compelling detour, leaving earth for a more cartoony setting where we learn the basic rules of the film’s central story. But soon “Soul” regains its deeply human pulse, planting us back in the vivid, bustling, and character-rich New York City.

Image Courtesy of Disney/Pixar

Jamie Foxx voices Joe Gardner, a substitute middle school band teacher whose only dream is to become a jazz pianist. When he’s offered a full-time position at the school his cynical mother (Phylicia Rashad) is thrilled at the prospect of her son having a steady job. But Joe is reluctant, fearing it may hurt his stalled jazz musician aspirations. Then he gets what could be his big break.

Joe is asked to fill in on piano for popular jazz saxophonist Dorothea Williams (voiced by Angela Bassett). Just like that he believes his life finally has meaning. And just like that he loses it all. While walking home after a brilliant audition an impervious Joe unknowingly dodges all sorts of big city hazards only to plunge down an open manhole.

Image Courtesy of Disney/Pixar

He wakes up as a baby-blue ethereal blob caught in a dark void between life and death where souls are quietly ushered to the bright light glowing in the distance. Realizing the finality of entering the Great Beyond, a frantic Joe scurries away eventually falling into a place called the Great Before where unborn souls are given their personalities before being sent to earth. Following me so far? I hope so because “Soul” is just getting started.

Through a series of exhausting events Joe ends up mentoring a rebellious soul named 22 (Tina Fey) who has no desire to be born. The two form a fun yet combustible duo who (thankfully) find themselves back on earth, inescapably tethered via a comic mishap. It’s here that “Soul” really finds its rhythm and begins doing what Pixar films are know for – balancing spirited animated hijinks with thoughtful themes that can resonate with all ages.

Image Courtesy of Disney/Pixar

“Soul” comes from Peter Docter whose studio resume includes “Monsters, Inc.”, “Up”, and “Inside Out”. But he’s joined by co-director and second-in-command Kemp Powers who also wrote the script for Regina King’s upcoming directorial debut “One Night in Miami”. The impressive pair share writing credits with Mike Jones and together they create a story that hits its marks a lot more than it misses. Meanwhile Pixar’s team of animators turn in some of their best work, specifically during the New York scenes where their lighting, crisp motions, and stunning attention to detail really shines.

“Soul” is a heartfelt story about second chances and finding real purpose in your life. It’s about obsessions, mortality, and finding the true qualities that make each of us tick. The film also marks Pixar’s first feature led predominantly by black characters. “Soul” may not always reach it’s incredibly high ambitions, but I appreciate its willingness to reach high. And with its endearing characters, uplifting positivity, and snappy jazz tunes, it’s hard not to leave feeling warm and alive. “Soul” opens December 25th on Disney +.

VERDICT – 3.5 STARS

First Glance: “The Mauritanian”

December 1, 2020 by Keith Garlington

An eye-catching cast leads the upcoming legal drama “The Mauritanian”. Jodie Foster, Tahar Rahim, Benedict Cumberbatch, Shailene Woodley, and Zachary Levi tell the troubling story of Mohamedou Ould Salahi who languished in the Guantanamo Bay prison camp for 14 years following the 9/11 terrorist attacks. He was held without charge and without a trial. The film is directed by Kevin Macdonald and will finally get its release following several COVID-19 related delays.

The first trailer dropped this morning and it leaves a pretty mixed impression. On one hand it’s filled with lines of stilted made-for-the-screen dialogue. On the other hand there is an undoubtedly rich story to be told and (with the exception of Cumberbatch’s hilariously exaggerated accent) the cast looks up to it. It all comes down to the script and if it can avoid the temptation to preach and let its story do the talking.

“The Mauritanian” currently has a February 19, 2021 release date. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Last Call” (2020)

December 1, 2020 by Keith Garlington

Those familiar with Dylan Thomas would probably agree that the man was an enigma. Both in life and in his untimely demise, Thomas was a hard book to read. Look no further than the numerous biographies, many of which give very different accounts of the Welsh writer and especially of his death on November 9, 1953 in New York City. He was a brilliant but self-destructive wordsmith who fully embraced the ‘doomed poet‘ persona. The new film “Last Call” looks at him through that lens but with some added layers of complexity.

Steven Bernstein writes, directs, and co-produces this intriguing bio-drama that is all about digging into Thomas’ troubled psyche during his last day prior to his death at age 39. It’s said that late that evening Thomas returned to the Chelsea Hotel in New York and declared “I’ve had 18 straight whiskies. I think that’s the record!” Despite eyewitness claims to the contrary, Bernstein’s film spends a lot of time imagining those hours in the White Horse Tavern leading up to his 18th and final drink as the poet slips further down the rabbit hole of depression and intoxication.

Image Courtesy of K Street Pictures

Bernstein doesn’t get caught up sharing the full timeline of Thomas’ life. Instead he breaks up the bar scenes with a batch of flashbacks, flash-forwards, and several alcohol induced fantasies. The leaps back in time provide glimpses of his stormy marriage to Caitlin Thomas (Romola Garai) who he left in England to care for their three kids while he does readings across America. She writes letters that seemingly go unanswered, pleading for him to send back money to help clothe and feed their children. Meanwhile Thomas (played by a mesmerizing Rhys Ifans) wrestles with guilt and his true feelings for his wife.

Bernstein brings several other characters in who offer outside perspective on Thomas’ hard living. John Malkovich plays Dr. Felton who tries to warn Thomas about his out-of-control boozing. Tony Hale plays John Brinnan, a fellow writer and Thomas’ frustrated handler while he’s in New York. Zosia Mamet plays Penny who represents the gaze of adoring coeds Thomas would encounter during nearly every university stop. And Rodrigo Santoro plays Carlos the bartender, an enabler at first but perhaps the only person who truly understands Thomas.

The story arcs for all of the supporting characters revolve around Thomas, highlighting his dominating personality. Yet despite his success and unquenched bravado, there is an abject sadness that even a haze of alcohol can’t conceal. Ifans brilliantly captures both sides of the man through countless self-gratifying monologues that get more dour as the story moves forward.

Image Courtesy of K Street Pictures

Several of Bernstein’s style choices are oddly implemented but work fairly well – the fractured timeline, the strategic cuts between black-and-white and color, the drunken hallucinations that almost feel plucked from another film. It amounts to a strangely unconventional yet satisfying account that disregards the tendencies of most current day big screen biographies.

It will be interesting to watch the reactions to “Last Call”. The movie forces you to get in tune with Thomas’ special brand of verbose communication which mainly consists of eloquent declamations full of self-centered grandeur. Admittedly it can be exhausting watching Thomas suck the air out of every scene. Yet I also found it fascinating in a grim, tragic sense and Ifans owns every scene much like his character owns every room he enters. It’s cemented by rock-solid supporting performances and a director willing to take risks even if they don’t always work the way he hoped. “Last Call” is now showing in select theaters.