Author Archives: Keith Garlington

REVIEW: “Phantom Thread”

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PHANTOMposter

There is a wonderful sensation I experience whenever I’m watching a movie made by a first-rate director. Take a filmmaker like Paul Thomas Anderson whose movies I’m widely mixed on. He is someone who knows his craft and has a firm grasp on how to express his vision. He possesses a clarity of concept and a keen understanding of cinematic storytelling. And even if I’m mixed on whatever movie he is making, I can tell I’m in the hands of someone who knows what they’re doing. I adore that feeling.

Then you have the scintillating joy of watching a great actor at work. Someone like Daniel Day-Lewis, another true master of his craft. He and Anderson first came together for “There Will Be Blood”, a modern American classic and a masterclass on the cinematic form both in front of and behind the camera. They team up again for “Phantom Thread” which Day-Lewis has called his final film. The selfish me hopes that isn’t true, but if it is what a fabulous movie to call your last.

Anderson (once again serving as both writer and director) sets his film among the posh fashion culture of 1950s London. The centerpiece is renowned dressmaker Reynolds Woodcock (Day-Lewis) who along with his sister Cyril (Lesley Manville) has built up a distinguished clientele that includes royalty, heiresses, and various other upper-crusters. Reynolds’ world revolves around his work and he has much more interest in the intricate workings of a fine garment than the rudimentary details of a social life. As with many creative minds, his obsession feeds his genius but it also emotionally isolates him from everyone other than Cyril.

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Things take a turn when Reynolds heads to his country cottage for some much needed time away. He meets a waitress named Alma (Vicky Krieps) at a seaside cafe and is instantly captivated. Krieps is an accomplished actress from Luxembourg who conveys a sneaky beauty and subtle style befitting her character. Her Alma makes an unanticipated crack in Reynolds’ hard shell – something this “confirmed bachelor” has trouble understanding or responding to. For instance when she asks “Why are you not married?” he can only respond “I make dresses.” It’s a genuine reaction from someone whose past muses were nothing more than temporary fixtures.

Reynolds brings Alma back to London and takes her into the House of Woodcock. She quickly learns he governs his Victorian townhouse/studio with an aristocratical fervor. Seamstresses and assistants scurry about following his meticulous instructions and Alma is soon part of the machine. Only Cyril (who he affectionately calls “my old so-and-so”) seems outside of Reynolds’ rule. You could say she is his handler and at times his conscience (and Manville is just terrific). She knows what makes him tick.

The film’s trailer sells us an unlikely romance and Anderson certainly offers that. But tension mounts as Alma desires a closer relationship while Reynolds withdraws back into his shell. It’s here that the director tosses us a curveball and his movie takes an unexpected turn. The less said the better, but suffice it to say Anderson’s aim isn’t a frothy conventional love story. He injects a subtle psychological edge with pinches of black comedy and it all plays out in a gloriously beguiling stew.

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Equally enchanting is the film’s cinematography said to be a result of a “collaborative effort” due to Anderson favorite Robert Elswit being unavailable. The subtle camera movements can be as elegant as the garments Reynolds creates. Look no further than the opening scene where we are given a visual introduction the House of Woodcock. The camera gracefully moves in tune with the sumptuous piano chords of Jonny Greenwood’s score – up a staircase, back down again all with an intoxicating harmony. There is also a steady flow of exquisitely framed shots that offer much to look at and admire while capturing the film’s shifting moods and tones. And of course Mark Bridges’ incredible costume design that should be winning every award it’s eligible for.

The deeper you get into “Phantom Thread” the more there is to absorb. Shades of Hitchcock can be seen from the more obvious “Rebecca” to the more subtle “Psycho”. There are also those rare moments of humor that come at the most unexpected moments. But at its core is a peculiar romance between a reticent yet domineering man and a woman unwilling to play her part in his game. Watching the stunning Daniel Day-Lewis lose himself in another role and an eye-opening Vicky Krieps is an absolute delight. And despite what we think we know about the three central characters, Anderson turns it all on its head.

“Phantom Thread” reveals a dialed-back Paul Thomas Anderson in top form. His writing is spellbinding. His direction is daring and confident. The look of the film is as beautiful as rare Flemish lace. The performances are sublime. Anderson left me hungry to go back and examine every frame, camera movement, and character expression. And remember that wonderful sensation I spoke of earlier? This move stirred those feelings and reminded me of why movies remain my favorite form of storytelling.

VERDICT – 5 STARS

5STAR K&M

5-starss

REVIEW: “The Post”

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Steven Spielberg’s “The Post” is set in an era when the media (generally speaking) wasn’t egregiously compromised by the political pulls of the left or the right. It was a time (more often than today) when principle took precedent over ideology and the media took seriously the role of equally holding all elected officials accountable to the people. There is far less of that today, although I’m not sure Spielberg and company would agree with me.

“The Post” starts in 1965 with war analyst Daniel Ellsberg (Matthew Rhys) discovering government deception concerning Vietnam policy and progress. The story bolts forward a few years with Ellsberg stealing classified documents that reveal years of misinformation by the government dating all the way back to the Truman administration. He leaks the Pentagon Papers to the New York Times who run a front page expose before having their story shut down by a court injunction.

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All of that is setup for the meat of the story which takes place in 1971, Washington D.C. Katharine Graham (Meryl Streep) has inherited The Washington Post newspaper following her husband’s suicide, but serving as its publisher and president has been a tough ride. Not counting her own personal lack of confidence, she’s also forced to navigate several obstacles from insecure board members to investors uncomfortable with a woman running the company. For the bulk of the film Spielberg does a good job tapping into the current red-hot women’s issues. It’s later that he moves from effectively showing us the inequality to spelling it out for us. But more on that later.

Her go-getter editor-in-chief Ben Bradlee (Tom Hanks) knows there is more to uncover so he sends his crack assistant editor Ben Bagdikian (a really good Bob Odenkirk) to track down the New York Times’ source. And when sensitive documents fall into their lap, Katharine must decide whether to let Bradlee print the story risking incarceration and the livelihood of her paper.

Spielberg deftly bounces between Katharine’s personal journey and Bradlee’s newsroom. Both are given plenty of time to unfold and develop. As you would expect, Streep is very good and completely in her element. It isn’t an extraordinary performance, but it’s work from her that we sometimes take for granted. Hanks is a different story. It’s not that he’s bad here. He feels off – as if he’s really stretching to sell us a character that Jason Robards did better (and won an Oscar for) 42 years ago.

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Katharine’s stirring story and the thrilling newsroom drama come together in a tense and powerful meeting of the minds (and wills) which Spielberg unpacks to near perfection. But then something happens in the final fifteen minutes or so. In rapid succession the film begins dropping one corny, contrived ‘movie moment’ after another. Storytelling gives way to speechifying and the movie’s themes (previously explored through the story itself) are propped up by glaringly obvious scenes manufactured to the point of phoniness. And then you have Spielberg often straining to make a connection between the Nixon and Trump administration. Again, the material is there, but Spielberg sometimes feels the need to speak for it.

“The Post” does far more right than wrong. For a good three-quarters of his movie Spielberg brilliantly balanced two very different but equally enthralling stories. And for a while I was seeing it as a wonderful “All the President’s Men” companion piece. It’s just a shame the final act resorts to cheap scenes and sappy speeches that seem directly aimed at Oscar voters. But as his movie had already shown, Spielberg didn’t need all of that and the bulk of the picture is an enthralling experience.

VERDICT – 3.5 STARS

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Best of 2017: Lead Actor

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LEAD actor

Once more, each year I set aside time to highlight what I think are the best performances of the past movie year. In keeping with the upcoming Oscars I have adopted their format and over the last several days I’ve shared my favorite performances for each of the four acting categories. Wrapping it up is Lead Actor. As with the others, it’s a category rich with fabulous performances. Of them all here are my five favorites

#5 – Denzel Washington (“Roman J. Israel, Esq.)

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We’ve come to expect great performances every time Denzel Washington is on screen. But I still find myself consistently amazed by his steady stream of great work. He brings it again with the underappreciated “Roman J. Israel, Esq.” Only Denzel could bring such flavor and personality to a role like this.

#4– J.K. Simmons (“The Bachelors”)

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Speaking of actors who never give a bad performance. J.K. Simmons is always an asset for any movie. He confirms that notion in the underseen indie gem “The Bachelors”. Its not as big or flamboyant at his Oscar-winning turn in “Whiplash”, but his heart-wrenching portrayal of a man smothering under the weight of depression is as true as anything you’ll see from 2017.

#3– Thomas Jane (“1922”)

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I’ve tossed the word “eye-opener” and “surprise” around a few times during these lists but they really fit here. Thomas Jane’s stunning portrayal seems yanked right out of early 20th century middle America. His weathered, tanned face reveals a man who works the earth, but several other touches help give this character life. It could be something as simply as a squint of his eye or a draw of his mouth. It’s seen in his handling of small town period vernacular and his distinctive enunciations. It’s mesmerizing to watch.

#2– Gary Oldman (“Darkest Hour”)

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A good performance from Gary Oldman should surprise no one. He’s played Sid Vicious, Count Dracula, and Lee Harvey Oswald. He’s played a Russian terrorist, a corrupt congressman, and a dirty DEA agent. Of course he nails the portrayal of Winston Churchill. It’s impossible to find Oldman in the performance. He’s that committed. And after years of great work this should be his Oscar-winning turn.

#1 – Daniel Day-Lewis (“Phantom Thread”)

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This is hardly a lifetime achievement pick for his last performance. Instead it’s another showcase for the best actor on the planet. Sure that’s subjective, but Daniel Day-Lewis has consistently proven he is in a league all his own. In “Phantom Thread” he once again teams with Paul Thomas Anderson and the results are stunning. Much like his Daniel Plainview character in “There Will Be Blood”, Day-Lewis digs deep into his role mining every complexity and bringing them to light. It’s a stellar performance and if it is his last, what a way to end a spectacular career.

And that does it for another year. What did I get right and wrong? Let me know in the comments. Let’s do it again next year.

Best of 2017: Lead Actress

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LEAD actress

Each year I set aside time to highlight what I think are the best performances of the past movie year. In keeping with the upcoming Oscars I have adopted their format and for several days I’ll be sharing my favorite performances for each of the four acting categories. Next up is the Lead Actress. It too is a category full of fabulous performances to consider. Of them all here are my five favorites

#5 – Gal Gadot (“Wonder Woman”)

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I think for many people this may be an easy choice to brush off. After all this is a ‘comic book movie’ and the field is so full of incredible and deserving performances. But watching Gal Gadot not simply play a superhero but bring out so many unexpected qualities was a delight. I proudly put her on this list among the year’s best.

#4 – Saoirse Ronan (“Lady Bird”)

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It shocks me that Saoirse Ronan is only #4 on this list. It’s a testament to the sheer strength of this category. It’s certainly no knock on her. Ronan has been so good in so many films, but this may be her best performance. She is so in tune with Greta Gerwig’s writing and perception of character. Any other year she would top this list. She’s that good in “Lady Bird”.

#3 – Sally Hawkins (“Maudie”)

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Yep, you read that right. I’m picking her for her performance in “Maudie” over “The Shape of Water” (although the latter is yet more proof of her incredible talent). I can’t tell you how mesmerized I was by Hawkins portrayal of folk artist Maud Lewis. In a role that could easily ‘go big’, Hawkins keeps everything grounded and authentic. She’s nothing short of captivating.

#2 – Haley Lu Richardson (“Columbus”)

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Of all the performances in 2017 it was Haley Lu Richardson in Kogonada’s “Columbus” who was the biggest revelation. She’s incredible. It’s a soulful, understated performance full of melancholy, charm and sincerity. She’s an incredibly expressive actress and we never see her overplay a scene or oversell an emotion. And there is a longing she is able to convey with the smallest effort. I adore this performance.

#1 – Jessica Chastain (“Molly’s Game”)

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Much like Sally Hawkins, Jessica Chastain had an incredible year. She could have easily made this list for her work in “The Zookeeper’s Wife”. But it was her spectacular performance in Aaron Sorkin’s dialogue-rich “Molly’s Game” that topped them all for me. It goes without saying that Chastain has proven herself to be one of the best actresses working today, but here she is given some meaty material and she knocks it out of the park.

So what do you think. Where did I go right and what did I miss. Please let me know in the comments section. Also, there is only one more category remaining, Lead Actor. See you then.

Best of 2017: Supporting Actor

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It’s day 2 of my look back at what I think are the best performances of the past movie year. In keeping with the upcoming Oscars I have adopted their format and for the next several days I’ll be sharing my favorite performances for each of the four acting categories. Next up is Supporting Actor. It too is a category featuring many fabulous performances to consider. But of them all here are my five favorites:

#5 – Robert Pattinson (“The Lost City of Z”)

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For my money Robert Pattinson has emerged as one of the most exciting young actors in the business. In “The Lost City of Z” he is a bit underutilized but he’s a great compliment to Charlie Hunnam’s character and is superb each time he’s on screen. It may not be the big showy type of performance that often gets this kind of attention, but it’s well worth its place on this list.

#4 – Mark Rylance (“Dunkirk”)

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Christopher Nolan’s “Dunkirk” may not be a film focused on character but that doesn’t mean it has none. The always wonderful Mark Rylance certainly delivered a good one. His depiction of a father, patriotic towards his country and deeply bruised from the war’s effects, is so authentic both physically and emotionally. He’s a great cog in Nolan’s action-packed telling.

#3 – Ethan Hawke (“Maudie”)

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I think it’s easy for Ethan Hawke’s performance in “Maudie” to be overlooked especially since the movie itself has been. That’s unfortunate because Hawke (like the film) is fabulous. Playing alongside Sally Hawkins, the two make a fascinating couple. And while Hawkins is the star, Hawke’s role and performance is pivotal. I loved it.

#2 – Idris Elba (“Molly’s Game”)

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Navigating Aaron Sorkin’s dense, fast-paced dialogue can’t be an easy task, but the writer struck gold with Idris Elba. Elba’s performance is sharp, charming, witty and intense – all qualities his role demands. And his chemistry with Jessica Chastain is undeniable and emphasizes how supporting work can sometimes make or break a movie.

#1 – “Rob Morgan (“Mudbound”)

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In a film filled with good performances none struck me quite like Rob Morgan’s. He’s probably best known for his roles in several Netflix series, but he clearly deserves more attention. In “Mudbound” I found his performance full of conviction, empathy and compassion. He was my favorite character in the film and I found an emotional connection with him that has stuck with me. Give Rob Morgan and “Mudbound” a look.

And there you have my picks for Supporting Actor. What did I hit and what did I miss. Please share your thoughts in the comments. Next up, the Lead categories.

Best of 2017: Supporting Actress

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SUP actress

Each year I set aside time to highlight what I think are the best performances of the past movie year. In keeping with the upcoming Oscars I have adopted their format and for the next several days I’ll be sharing my favorite performances for each of the four acting categories. Ladies first so I’m starting with the Supporting Actress category. Women had a ton of fabulous performances to consider this year which made this tough to narrow down. Nonetheless here are my five favorites:

#5 – Octavia Spencer (“The Shape of Water”)

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You could make an argument that Octavia Spencer could play this role in her sleep. I tend to agree, but that doesn’t make her any less fabulous in Guillermo del Toro’s “The Shape of Water”. There is an incredible natural quality to Spencer’s acting making it a perfect fit for characters like this. The movie certainly benefits from her presence.

#4 – Kirstin Dunst (“The Beguiled”)

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With the many good performances in Sofia Coppola’s “The Beguiled” my mind kept coming back to Kirsten Dunst. It’s a fittingly low-key performance but one that’s hard to read. As the tension amps up in the film’s second half, Dunst is allowed to open up her character a tad more. But through it all she still remains a bit of a mystery.

#3 – Tatiana Maslany (“Stronger”)

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One of the true surprises of the year came from Tatiana Maslany who plays Jake Gyllenhaal’s on again/off again girlfriend in David Gordan Green’s biopic “Stronger”. It would have been easy for Maslany to get lost behind Gyllenhaal’s attention-getting performance but she’s incredibly good and an anchor in many of the movie’s best scenes.

#2 – Mary J. Blige (“Mudbound”)

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Drop this one into the “eye-opening” category. Mary J. Blige kills it in “Mudbound” and it’s great to see her getting some well-deserved attention along the awards circuit. I knew Blige had gotten into acting but I had never seen her work. After her performance as the matriarch of her 1940s Mississippi Delta family, you can expect to see a lot more of her.

#1 – Laurie Metcalf (“Lady Bird”)

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There were several really good performances from women playing ‘complicated’ mothers. Laurie Metcalf’s from “Lady Bird” was easily my favorite. There is a complexity to the character that demands a very careful and precise performance. Metcalf gets it just right and delivers a character who walks the pivotal line between sympathetic and infuriating. Brilliant.

So what do you think? What did I get right and what did I miss. Share your thoughts and picks in the comments section. Supporting Actor is next.