REVIEW: “Waiting for Anya” (2020)

ANYAposterThe World War 2 drama “Waiting for Anya” comes from a 1990 British children’s novel written by Michael Morpurgo (who also penned “War Horse”). It follows a happy young shepherd boy who is forced to grow up too soon after the ripple effect of the war makes its way to his quiet village. Directed and co-written by Ben Cookson, this film adaptation has young people in mind, so those expecting an visceral and detailed study on the horrors of the Holocaust could be disappointed.

The story is set in the mountain village of Lescun in the southern most region of France. It’s 1942 and as the Nazis occupy Paris and began rounding up Jews throughout the north, the more isolated south go about their daily routines, unaffected by the war or its atrocities. Cookson’s camera relishes in the beauty of the Pyrenees, painting an idyllic portrait of country living. But as many of the villagers carry on life-as-usual, little do they know the war has already touched their community.

Our point-of-view comes through the tender observations of Jo (played by Noah Schnapp of “Stranger Things”). He has been given the responsibility of tending his family’s sheep after his father (Gilles Marini), a French soldier, is captured by the Germans and thrown into a POW camp. After a scary brush with a black bear, Jo runs into a kind but mysterious stranger named Benjamin (Frederick Schmidt).

Jo learns that Benjamin is a Jew who escaped from a train bound for a concentration camp with his young daughter Anya. The two were separated and Benjamin now hides out on a remote farm helping his widowed mother-in-law Horcada (Anjelica Huston) smuggle Jewish children across the border into Spain. His hopes are that one day his daughter will be among the children sent their way.

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Photo Courtesy of Vertical Entertainment

As Germany gets wind of Jews being moved across the border, they dispatch a small platoon of soldiers who occupy the village and begin patrolling the nearby mountain paths. Obviously this threatens Benjamin and the children he is tasked with leading to safety. It also brings the realities of war to Jo’s front door in a way that changes his life forever.

In addition to Oscar-winner Huston several other familiar faces show up adding to the collection of good performances. The always reliable Jean Reno plays Jo’s percipient and seasoned grandfather while Thomas Kretschmann plays a German officer with some semblance of a conscience following his own personal family tragedy. But it comes down to Schnapp and his ability to sell us on his character. While there are times where he could inject more emotion, as a whole he provides us a solid anchor.

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Photo Courtesy of Vertical Entertainment

On its surface “Waiting for Anya” is an heartfelt and well-meaning wartime drama. At its core it is a study of humanity as seen through a pair of young eyes. It’s about growing up, finding courage, and doing the right thing in the face of unspeakable evil. The story begins with a terrified shepherd boy running from a bear and leaving his helpless sheep behind. It’s a rather obvious but earnest metaphor for what he becomes – a courageous young man who risks his life to help the helpless.

When it comes to the Holocaust there have been few age-appropriate film examinations for young viewers. “Waiting for Anya” helps fill that void. Some are sure to see the film as too sanitized and not harsh enough in its depictions. But Cookson tells a very specific story that doesn’t need to visually emphasize the horrors. Instead their effects are felt through a story which may sag a little in the middle but ultimately pays off.

VERDICT – 3.5 STARS

3-5-stars

First Glance: “The French Dispatch”

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Any (and I do mean ANY) time a Wes Anderson movie is announced I’m instantly onboard; curious, enthused, and anxious for any glimpse into what the brilliantly idiosyncratic filmmaker is up to. The unique style, the daffy humor, the feast of striking eye candy is all guaranteed. And while I know Anderson isn’t everyone’s cup of tea, I find his movies to be delightful.

Which brings us to the long awaited first look at “The French Dispatch”, Anderson’s tenth film and yet another another star-studded affair. As with his others, Anderson writes and directs this story of an American journalist based in a fictional French city who creates a magazine called The French Dispatch. It seems as if the film focuses on the three short stories published in the Dispatch‘s final issue.

The trailer reveals what looks like a Wes Anderson movie on steroids. It’s all but impossible to discern what all is shown and it’s main emphasis seems to be on the peculiar filmmaking style Anderson has become known for. I do wish the trailer wasn’t quite so hyperactive. On the other hand, I absolutely love it.

“The French Dispatch” is set to release July 24th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Harriet” (2019)

HarrietPOSTERIt was in 1849 that Harriet Tubman escaped slavery in Maryland, fleeing 100 miles to the relatively safe city of Philadelphia. She was just 27 years-old. But instead of staying put Tubman returned thirteen times, rescuing approximately 70 slaves including members of her own family. And that’s just a part of her inspiring life story. So how is it she’s just now getting the big screen treatment?

“Harriet” is the long overdue biopic of the slave turned abolitionist who became the most well known conductor on the Underground Railroad. The film comes from director Kasi Lemmons who co-wrote the screenplay with Gregory Allen Howard. The powerful and resonant historical truths behind Tubman’s life energizes the film both dramatically and emotionally even though the movie often travels down more conventional paths.

The film opens in Maryland where young newly married Harriet (then going by her real name Araminta “Minty” Ross) is living as a slave with her parents and siblings. The movie chronicles her eventual break for freedom and 100-mile trek to Philadelphia where she meets abolitionist William Still (Leslie Odom, Jr.). Soon she makes the first of several trips back to lead other slaves, including her family, to freedom.

Some have called “Harriet” a star-making vehicle for Cynthia Erivo and they’re not wrong. The British actress, singer, songwriter broke out in 2019 in “Bad Times at the El Royale” and she was the best thing in “Widows”. Here she is given her meatiest role yet and once again proves herself to be among the most exciting new actresses on the big screen. In “Harriet” her role demands a certainly physicality which she nails. But it’s her emotional range that stands out even when the material spins its wheels.

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Photo: Focus Features

Sadly too much of “Harriet” seems rooted out of Hollywood and built upon a more modern day sensibility. Often the historical account is tossed aside for a more contemporary crowd moment. Take a scene where Harriet takes a bite out of a room full of fellow abolitionists. Included in the group is none other than Frederick Douglass who is given the third degree for being out of touch with the plight of slaves down south. The entire scene feels false.

Even Harriet’s visions, which are historically accurate, are not presented in a convincing way. These scenes make her more like an empowered biblical prophet than the Harriet Tubman from history books. Throw in a dab of fairly generic chase scenes and a bland, one-dimensional slave owner antagonist (Joe Alwyn) and you have your conventional Hollywood stew.

Yet shining through the haze of studio formula is Erivo who puts the entire movie on her back. Her performance captures the spirit of Harriet Tubman which has shamefully been missing from the big screen. This may not be the definitive Tubman biopic she deserves but the movie honors this important historical figure and hopefully will inspire people to look deeper into her true life story and incredible accomplishments.

VERDICT – 3 STARS

3-stars

REVIEW: “Dolittle” (2020)

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On one hand “Dolittle” seemed like the kind of family movie primed for success. It was based on a once beloved children’s book series. It featured talking animals, a grand adventure, an enormous and talented cast, along with a popular lead actor known for his charisma and wit. On the other hand there were causes for concern – numerous delays and development woes, a so-so first trailer, and of course the dreaded January release date.

It turns out the box office wasn’t kind to “Dolittle”. It fell well short of its break-even estimates. Critic reactions haven’t been much better (it currently sits at an abysmal 15% on Rotten Tomatoes). So the movie along with its $175 million budget sank fast as did its obvious franchise aspirations.

It’s a shame because the very idea of Dr. Dolittle is the kind of childlike fantasy that almost any youngster can latch onto. History proves it. Creator Hugh Lofting wrote over twenty books and short stories based on the animal loving eccentric. There have been stage musicals, a radio series, television shows, and movie adaptations. But this latest effort from director Stephen Gaghan never seems sure-footed in its vision or execution.

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Photo: Universal Pictures

Robert Downey, Jr. stars and it’s hard to tell just how engaged he really is. He soaks his dialogue in a funky Welsh/Scottish accent that you eventually get used to despite it never sounding quite right. Set in the mid-19th century, the movie starts with the good doctor in full recluse mode: shaggy, unkept, and brokenhearted following the death of the love his life Lily. Unable to cope, he has shut himself off from humanity, choosing to stay confined in his walled-in estate/animal sanctuary. Fluent in every form of animal-speak, Dolittle chooses to spend his time with his furry, feathered and four-legged friends rather than those pesky humans.

His closed-off existence is rattled when two young teens seek his help for much different reasons. A tenderhearted local boy Stubbins (Harry Collett) brings a squirrel in desperate need of medical attention. The cause – Stubbins accidentally shot it himself. Lady Rose (Carmel Laniado), an emissary from the gravely ill Queen Victoria (Jessie Buckley), brings a message summoning Dolittle to the dying royal’s bedside. The Doctor reluctantly agrees and after examining his Majesty surmises that the only cure comes from the fruit of the mysterious far-away Eden Tree. But finding it will be no easy task.

So Dolittle sets sail to find the tree but first he rounds up his amazing zoo crew voiced by a star-studded group of Academy Award winners, comedians, wrestlers, and singers. Emma Thompson plays a Macaw, Rami Malek a gorilla, Kumail Nanjiani an ostrich (my favorite), Octavia Spenser a duck, Tom Holland a studious dog, John Cena a polar bear, Marion Cotillard a fox, Selena Gomez a giraffe, and so on. And tagging along against the Doc’s wishes, young Stubbins who is determined do be Dolittle’s new apprentice.

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Photo: Universal Pictures

Hot on their heels is Dr. Blair Müdfly, an old rival of Dolittle with a vested interest in the Queen’s condition. He’s played by a wildly over-the-top Michael Sheen who does provide a much needed laugh or two. He’s rarely funny as a result of the material. It’s comes mostly from simply watching Sheen and his wacky, neurotic delivery. It certainly provides more laughs than the animal banter (which we get a TON of). Outside of Nanjiani, whose laidback pessimism lands well, none of chatter leaves much of an impression. The voice work is good, the dialogue – not so much.

“Dolittle” isn’t a total disaster. Downey, Jr. has an infectious manic energy and the actor’s inherent likability is an asset. The CGI is generally well done including the many animals and the locations. And later we get Antonio Banderas as an evil Jack Sparrow-like king along with his ferocious tiger played by Ralph Fiennes. How could that be bad? But none of it can make up for for the movie’s biggest issue – its lack of any emotional resonance. You can count on one hand (and have fingers to spare) how many times the movie actually shows some form of feeling.

The similarities between “Dolittle” and the original 1967 movie adaption are striking. That film starred Rex Harrison in what was (as with Downey, Jr.) a peculiar choice for him. Its plethora of production issues have been well-documented plus it too ended up taking a beating at the box office. While “Dolittle” might be a slightly better movie than Harrison’s mess, it’s still hard not to see this as a sad case of history repeating itself.

VERDICT – 2.5 STARS

2-5-stars

REVIEW: “Greener Grass” (2019)

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The opening scene of Jocelyn DeBoer and Dawn Luebbe’s “Greener Grass” gives you a good indication of what you’re in for. Suburban frenemies Jill (DeBoer) and Lisa (Luebbe) sit in the bleachers watching their kids play soccer. Jill holds her newborn daughter as Lisa gushes over how cute she is. “You can have her! She’s great.” Jill cheeps as if offering her a stick of gum. After all, it’s the polite thing to do, right? Just as jolting, Lisa actually accepts but with a slight hesitation. “I’ve been her mom since birth,” Jill assures her. “She just has to get used to you.”

That’s a good taste test for the kind of surrealist nuttiness “Greener Grass” throws at you. It’s an utterly batty satire of suburban life and soccer mom culture. At the same time it takes some sharp pokes at competitive parenting and some hilarious jabs at postmodernist absurdity. But most surprising is its bite which doesn’t really come into focus until the final 15 minutes or so.

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DeBoer and Luebbe are not only co-stars, but co-writers and co-directors. In their unhinged suburbia everything (and I do mean everything) is about appearances. For these characters living itself is a performance art and the entire neighborhood is vying for the better performance. It’s a place where everyone drives golf carts instead of cars, have braces on already perfect teeth, and where underwear can pass as a neck scarf. Even wackier, a kid can turn into a Golden Retriever and a mother can give birth to a soccer ball no questions asked.

Amid the steady haze of disingenuous smiles, passive-aggressive politeness and pastel fashion is an almost relentless barrage of gags and scenes that resemble comedy sketches. It also has its share of confounding plot twists, but you just go with them mainly because of the crazy foundation that has already be laid. From the very start the movie makes clear that ‘anything goes’ so we’re pretty much prepped for whatever DeBoer and Luebbe throws at us.

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Topping it off are some game comic performances from a cast firmly committed to the goofy premise. DeBoer and Luebbe have a hysterical chemistry, playing off each other with deadpan precision. Beck Bennett and Neil Casey are hoots playing their husbands – submissive, spacey and firmly rooted in the movie’s absurdism.

“Greener Grass” runs the risk of being too over-the-top for some. And if you aren’t into its unique and persistent sense of humor, this is a movie that will probably test your patience. There’s not much in terms of plot, but it moves at a snappy pace and features much of what I look for in good satire. I laughed a lot following these shallow, dim-witted rivals amid a sea of suburban superficiality. And after hearing of a movie-loving friend’s experience, now I want to show it to other people just to see how weirded out they get.

VERDICT – 4 STARS

4-stars

Random Thoughts: The 2020 Oscars

 

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Can you believe Oscar season has come and gone? The last big show reflecting on a great 2019 movie year took place last night at the Dolby Theater in Hollywood. This year was one of the better years for nominees which made watching even more fun. Sure there were snubs and oversights but there always are. But 2020’s batch of nominees were a fantastic improvement from recent years.

So how did the show go? Who won and who didn’t? Did they get more right than wrong? As always here are a few Random Thoughts from the 2020 Academy Awards.

  • This was the second year without a host but that really didn’t save any time. They ended up throwing in several weird things like people presenting presenters and out-of-the-blue musical numbers that chewed up a lot of air.
  • The show did feature the non-hosts combo of Steve Martin and Chris Rock. While I kinda like the no hosts format those two were really fun.
  • There was so much online negativity going into this year’s show (the bulk of it undeserved). Overall the Academy not only chose some good nominees but many of their winners were so deserving.
  • “The Irishman” was the only film out of the 9 Best Picture nominees not to get a single Oscar. Each of the other 8 got something. Not a big surprise but a shame.
  • What a night for “Parasite”. It takes home the big prize – Best Picture. There was so much shock and awe on social media but this was a two-picture race and “Parasite” had been surging. It was a surprise but not a huge one.

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  • That wasn’t the only big win for “Parasite”. It also took home Best Director, Best International Film, and Best Original Screenplay. All well deserved.
  • Was Spike Lee saying “Pong Joon-Ho”?
  • Speaking of “Parasite”, it made quite a bit of history. It is the first Korean film to win Best Foreign Language/International Film. Even bigger, it became the first foreign language film ever to win Best Picture.
  • “1917” didn’t fare quite as well. The visceral World War I movie did pick up three Oscars for cinematography, sound mixing, and special effects. But the one-time front-runner didn’t win any of the bigger prizes.
  • Boy the Academy’s theme for the night was glaringly obvious – girl power. But applauding themselves as forward thinkers and taking shots at the Oscars does nothing if they’re dead silent the rest of the year. Just sayin’.
  • Consider this my obligatory mention of “A Hidden Life”. It was the best film of the year and should have been represented. There, I said it.
  • “American Factory” wins Best Documentary and I can’t help but wonder if it got an Obama bump. It’s a pretty good doc but “Honeyland” and “For Sama” were considerably better. And don’t get me started on the glaring omission of “Apollo 11”.
  • There was practically no drama in any of the acting categories this year. All four winners have pretty much swept the awards season.
  • Brad Pitt takes home the Oscar for Supporting Actor to no one’s surprise. It was the right choice and Pitt was great in “Once Upon a Time in Hollywood”.
  • Speaking of Pitt, he had been killing it with all of his speeches but last night he looked tired and very “blah”.
  • Laura Dern wins Supporting Actress for “Marriage Story”. It’s the only Oscar the film would win on the night. And what a tender moment thanking her parents.

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  • I loved the video montage celebrating music in movies. So many great films and songs represented. But then Eminem came out.
  • I don’t want to be hard on the Eminem thing. I could have done without it, but a lot of people enjoyed it so…..
  • Speaking of music, Cynthia Erivo was terrific singing her Oscar-nominated “Stand Up”. Too bad the Oscar went to Elton John who sang a song that sounded like every other tune of his.
  • How about Taika Waititi winning Adapted Screenplay for “Jojo Rabbit”? I really thought Greta Gerwig would take this category for “Little Women” but I have no problems with Taika.
  • Back to Bong Joon-Ho, what an incredibly nice moment during his acceptance speech for Best Director. He honored Martin Scorsese actually bringing tears to the eyes of his fellow nominee.
  • Joaquin Phoenix took home the Best Actor Oscar for his brilliant turn in “Joker”. It was a mind-blowing performance and unquestionably the right choice.
  • And then Phoenix proceeded to give the worst speech of the night. It was a weird, never-ending ramble about the state of humanity and the injustices of cow’s milk. Even the courteous but dead-silent crowd seemed bewildered. It’s a shame because you could see he was genuinely moved by his win. I wish he would have actually talked about the movie.
  • Contrast that with Hildur Gudnadóttir who won Best Score for “Joker” against such legends as John Williams and Randy Newman. Her music was essential to the film, but just as great was her humble, deeply moving speech. Maybe the best of the night.
  • Not a great night for Netflix. The streaming giant entered with a whopping 24 nominations. It left with only two awards. Is the Academy still reluctant to award a streaming platform? I don’t know. Maybe it was simply a tough field this year.

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  • “Cats” had a presence at the Oscars as James Corden and Rebel Wilson came out in full Cat attire stating how they understand the value of good special effects. It was a short but hilarious bit.
  • I’ve always appreciated the In Memoriam tributes but how can the Academy keep botching it with terrible omissions and goof-ups. This year saw they completely leaving out Luke Perry, Michael J. Pollard, Tim Conway, and Sid Haig. Sigh…
  • Rene Zellweger wins for Best Actress. While “Judy” wasn’t a top-notch movie her performance was very worthy. Her speech started off nice but went on and on and on and on….
  • “Ford v Ferrari” quietly won two Oscars last night. It won for Best Editing and Best Sound Editing. That’s some good editing.
  • I got a kick out of Julia Louis-Dreyfus and Will Ferrell presenting for Cinematography and Editing. Both were very funny and played off each other very well. Still doesn’t get me excited for their strange “Force Majeure” remake this weekend but I’ll still see it.

And those are a few Random Thoughts about this year’s Academy Awards. What did you think of the winners, the losers, and the show in general. Please let me know in the comments section below. Lets do it again next year.