REVIEW: “Lady Bird”

December 12, 2017 by Keith Garlington

Over the years Greta Gerwig has shown herself to be much more than simply Noah Baumbach’s muse. That unfair moniker does a disservice to her talents and accomplishments as an actress and co-writer. With her new film “Lady Bird” she can now add director to that list.

Speaking of unfair, for some “Lady Bird” is burdened by expectations it can’t possible meet. Adoring fans have been passionately shouting its praises since it debuted in September at the Telluride Film Festival. “Lady Bird” made news headlines everywhere after Rotten Tomatoes declared it to be the “Best Reviewed Movie of All Time”. No pressure.

I’ve got good news for those who can go see “Lady Bird” openly and unaffected by the hype. It’s a good movie. It has some issues which I’ll get into, but ultimately it reveals yet another side of Gerwig, this time completely behind the camera. “Lady Bird” shows her to be much more attuned to the art of filmmaking than many first-time directors. She’s nimble and assured of what she wants from each scene and the film benefits from her understanding and confidence.

Gerwig began writing the script years ago (the full writing credit is hers) under the name “Mothers and Daughters”. The story’s framework is inspired by her own life growing up in Sacramento, attending a Catholic High School, and desperately longing to leave for the east coast. That is also the film’s main character, Christine “Lady Bird” McPherson. She’s played by Saoirse Ronan, an Oscar nominee for “Brooklyn” and the perfect canvas for this movie both physically and expressively.

Gerwig’s coming-of-age story is unique in that its interests are internal and personal. Its narrative centerpiece isn’t the tired ‘girl likes boy, girl gets boy’ plot line. Similar to Richard Linklater’s “Boyhood”, “Lady Bird” deals more with the experience of life and the various elements outside of this young girl’s control that shape her experience. Lady Bird navigates these sometimes turbulent waters while seeking out her own identity and trying to define “her best self”.

Ronan personifies Gerwig’s vision in what could be called a case study of adolescence (and not the Hollywood version). She effortlessly moves from fireball to introvert and few can sell insecurity quite like Ronan. It’s realized through her many interactions including with her best friend (played in just the right tone by Beanie Feldstein). Mostly it’s in the scenes with her family particularly her deeply caring but passive-aggressive mother. She’s played by Laurie Metcalf who delivers one of the year’s best supporting performances.

Ronan and Metcalf have a staggering chemistry and Gerwig utilizes it in every scene they share. You could say this is a mother who loves her daughter to a fault. She’s a remarkably true yet complex person who one character describes as “warm but also kinda scary”. Lady Bird rebels in her own quirky way but you also see the longing she has for her mother’s acceptance. Look no further than the movie’s superb opening scene. Gerwig’s dialogue for the two is so precise and their relationship forms the emotional backbone of the entire film.

As good as the writing often is there are a couple of characters who feel surprisingly conventional. One is the Danny character, well played by Lucas Hedges, but hampered by the tidy and predictable thread that runs throughout his story. Also there is Lady Bird’s father played by Tracy Letts. His daddy archetype has been seen from “Sixteen Candles” to “Brave”. Don’t get me wrong, Letts is fantastic and contributes to some of the film’s best scenes. But his father character feels too familiar and easy to read which is surprising in a movie rich with wonderfully-conceived characters.

In a fabulous interview with Rolling Stone, Gerwig said “I just don’t feel like I’ve seen very many movies about 17-year-old girls where the question is not, ‘Will she find the right guy’ or ‘Will he find her?’ The question should be: ‘Is she going to occupy her personhood?’ Because I think we’re very unused to seeing female characters, particularly young female characters, as people.” This approach from Gerwig is what makes “Lady Bird” such a good movie. Its 2002 post-911 setting feels relevant, its portrait of adolescence feels genuine and personal, and its pitch-perfect and bittersweet final shot lands just right. I can understand the adoration especially from women who see reflections of their own mother/daughter relationships. The film has that kind of powerful resonance, but also expect to enjoy some good laughs along the way.

VERDICT – 4 STARS

REVIEW: “Thor: Ragnarok”

December 10, 2017 by Keith Garlington

Marvel Studios seems so have found a soft spot with many critics. Unlike their DC competition, Marvel movies are generally well received by critics who (as I gabbed about in my “Justice League” review) appreciate the MCU’s willingness to be a bit more lighthearted and poke fun at itself. Never has that been more true than with “Thor: Ragnarok”.

With a Rotten Tomatoes score of 92% and over $820 million in the box office bank (so far), Thor’s third solo film and seventeenth installment in Marvel’s cinematic universe has been yet another critical and commercial success. But what made is such a treat for many critics is part of what held me back.

Easily the most intriguing thing about “Thor: Ragnarok” was the choice of director. Taika Waititi has made two of my favorite straight comedies of the past several years. “What We Do in the Shadows” and “Hunt for the Wilderpeople” showcased Waititi’s hyper-quirky brand of humor. Handing him the reins of a Marvel franchise film was guaranteeing something different.

The story begins with Thor (Chris Hemsworth) held captive by the flaming demon Surtur. Thor learns that his father Odin (Anthony Hopkins) has left his throne and Surtur plans to fulfill the Ragnarok prophecy and destroy Asgard. The God of Thunder will have none of that. Waititi wastes no time showing his comic intentions. This quick opening sequence summarizes the balance the entire film wants to maintain – wacky humor and superhero action.

For the remainder of the first act the story hurriedly hops from one plot point to the next. Thinking he has prevented Ragnarok, Thor returns to Asgard and soon learns the true threat to the realm is none other than Cate Blanchett. She plays Hela, the Goddess of Death and Odom’s long-lost firstborn who returns to Asgard to take the throne and wake her army of the dead. Her intent is the same as most MCU baddies – power, world domination, the usual. But Blanchett is wickedly fun, a bit dry at times but a hoot.

Hela wins round one and Thor finds himself stranded on a trashy planet ran by Jeff Goldblum’s Grandmaster. No one else in the film can match Goldblum whose performance is both bizarre and hysterical. Waititi urged Goldblum to improvise and the actor runs with it without the slightest restraint. I can see some audience members bewildered by what he’s doing. I found him to be an absolute scene stealer.

Adding to the fun is the return of the mischievous Loki (Tom Hiddleston). We also get an overly chatty Hulk played partly by Mark Ruffalo and partly by a lot of green CGI. Idris Elba also returns as Heimdall, Asgard’s guardian sentry. The biggest new addition is Tessa Thompson who plays a hard-as-nails bounty hunter with a complicated past. Thompson adds plenty of energy even though she occasionally overplays the hard-drinking scoundrel type.

Waititi and company put together a lot of big action, but the film plays more as a comedy which means plenty of funny moments. But his treatment of Thor clashes with the past Marvel movies. From his first film Thor has been a bit of a lug. “Ragnarok” portrays him as more of a wisecracking dimwit. There are scenes where he steps outside of that box and reminds us of why he’s one of Marvel’s powerhouses. But after this movie it will be hard for some to see him as much more than a goof. The same could be said with Hulk. The film makes some weird moves with him and it will be interesting to see how it effects the character going forward.

Those not interested in continuity or source material won’t have any problems with “Thor: Ragnarok”. That’s probably the best way to approach it. For me, despite having some truly great aspects, something felt off. I can’t deny the film’s charm and there are some genuinely funny scenes. By no means is it a difficult watch. But I find its skittish first act and some questionable character handling is still gnawing at me.

VERDICT – 3 STARS

REVIEW: “Columbus”

December 7, 2017 by Keith Garlington

A mere 40 miles south of Indianapolis is the quirky city of Columbus, Indiana. In many ways Columbus is like any other modestly populated city – it has its schools, churches, and key industries as its financial backbone. But this city of 45,000 people sports one unique distinction. It is the home for an amazing variety of modernist art and architecture.

This provides the setting for the aptly titled film “Columbus” – the impressive debut feature from Kogonada. Known only by his first name, the Korean-born Kogonada previously worked as a video essayist spotlighting legendary auteurs from cinema’s rich history. A quick gander at his website reveals not just an understanding of his subjects (Bresson, Godard, Kubrick just to name a few) but also a genuine passion for their visions and techniques.

Kogonada brings that knowledge and affection to “Columbus” which he directed, wrote and edited. His appreciation for the city’s architectural heritage is just as evident and it’s captured in nearly every frame. Whether Kogonada is shooting Columbus City Hall, North Christian Church, Irwin Union Bank, or the Robert Stewart Bridge, he and cinematographer Elisha Christian use each modernist structure to subtly establish personality and emotion.

But this isn’t simply a Travel Channel city tour. Kogonada’s use of architecture is full of purpose, but the heart of the film is found in the two main characters – two polar opposites bruised by their own personal circumstances. Casey (Haley Lu Richardson) is a Columbus native and recent high school graduate who works at the local library. She’s bright and ambitious but her dreams are tossed aside because of her obligations to her troubled mother (Michelle Forbes). Jin (John Cho) works as a literature translator in Korea but is called to Columbus after his estranged father falls into a coma.

Clearly influenced by Linklater’s “Before” trilogy and with the minimalist strokes of a Jarmusch film, the story has these two strangers meet and a relationship is slowly formed. Similar to Jesse and Celine in “Before Sunrise”, Casey and Jin are cracked open through a series of conversations that occur as the two stroll across Columbus. Between their musings on Saarinen, Pei, and Weese are the more personal and revealing exchanges that gradually endear them more to each other and to us.

While the framework may not sound highly original, the film avoids all of the traditional story beats you might expect. It’s sometimes tempting to allow our expectations to get ahead of a story, but Kogonada doesn’t leave much room for that. There is always a hint of uncertainty with these two characters and their unique relationship. This leaves the audience guessing.

One thing that differentiates “Columbus” from the “Before” films are the scenes when Casey and Jin are apart. More than mere filler, these moments give form to the conversations the two have together. We get a better understanding of Casey through her modest and worrisome home life with her mom or her discussions with her neurotic friend and co-worker Gabriel (nicely played by Rory Culkin). For Jin its the quiet alone time wrestling with how he should be feeling or reflections with his father’s longtime assistant (Parker Posey). These scenes are elegantly composed and never feel false or contrived.

But the most potent ingredients are the two lead performances. Cho is a natural at subtlety – somber, reserved and authentic at every turn. But it’s Richardson who steps out as a true revelation. She’s an incredibly expressive actress and we never see her overplay a scene or oversell an emotion. She conveys an effortless charm and sincerity that instantly captures our sympathies. It’s an eye-opening performance.

There is a soulful longing in both Casey and Jin – two hurting people from very different places forced to put their lives on the back burner. In one scene Kogonada has them wrestle with the question – is there a healing power to architecture? What seems like an absurdity may not be so far-fetched. It’s architecture that first connects these two wounded souls and it lingers in the background during each of their conversations.

Perhaps Kogonada’s camera answers that question for us. There is a therapeutic quality to his perspectives. His camera rarely moves and he communicates plenty through every carefully composed shot. And while “Columbus” highlights the allure of architecture, it just as much showcases the fine art of cinema in what is one of the most striking debuts in decades. Kogonada is a filmmaker to watch.

VERDICT – 4.5 STARS

Relay Race – The 10 Best Christmas Movies

December 6, 2017 by Keith Garlington

As I was visiting the site of one of my favorite long-time movie bloggers Nostra (My Filmviews) I noticed he had revived a cool feature of his – the movie relay race. And then another respected long-time movie blogging buddy Mark (Marked Movies) had joined it and tagged me as next in line. There is no way I could pass that up especially considering the topic – Christmas movies. You can see Nostra’s original lineup HERE and below you can see the current lineup following Mark’s addition and subtraction.

Not sure how it all works? Here’s a rundown from Nostra himself:

The rules are, just like the past relay races, very simple: The list has 10 Christmas movies (in random order) and when the baton is handed over to a new blogger, he or she has to remove one title of the list (with an explanation why) and add one new title. Once that is done a new blogger is contacted who will take the baton and run with it, doing the same (you can reinstate a title which has been previously removed). As Christmas is in three weeks I want to ask you to publish your entry as quickly as possible to make sure the list changes as much as possible before the 25th of December. Add the logo of this relay race to your post and also add links to those who came before you making it easy for everyone to find all the entries.

So here is the list of the 10 Best Christmas Movies as it stands now:

HOME ALONE

There are a number of Christmas films that I actually watch annually and Home Alone has been one of my favorites for years. This film, written by John Hughes, has all the elements to amuse and get you in the mood Christmas. And Joe Pesci and Daniel Stern are of course hilarious when the “Wet bandits” Harry and Marv.

ELF

The film is almost fifteen years old, but the timeless story of a grown man who grew up among the elves and heads to New York, looking for his father, still is very funny and entertaining. Will Ferrell is the perfect “man child” and the short animated parts are a pleasure to watch. A real Christmas classic.

A MUPPET CHRISTMAS CAROL

Although Charles Dickens story has been translated to film many times, this version is still my personal favorite. A film with a lot of atmosphere and the warmth of the Muppets.

DIE HARD

Every year people argue whether or not Die Hard can be labeled a Christmas film. Yet it is very simple: Although there is a lot of action, the story takes place around Christmas. And Bruce Willis might play his best role ever.

BAD SANTA

Almost everything that Christmas should not be and therefore wrong at the same time, but fun.

GREMLINS

Although you might not associate this horror comedy with Christmas immediately, this film is set during this period and the gremlins even sing Christmas songs. A title that can not be missed.

IT’S A WONDERFUL LIFE

It’s a Wonderful Life is a movie which is watched by lots of people every year. Rightly so, because it is a beautiful film that fits the Christmas period.

MIRACLE ON 34TH STREET

Another title that I have to think about immediately during this period. Although the opinions are divided which two of the two versions is the best.

ARTHUR CHRISTMAS

The clumsy son of Santa, Arthur, has to make sure that a forgotten package is delivered on time, doing this together with his grandfather. A very nice film from Aardman studios (also responsible for the Wallace & Gromit films).

EYES WIDE SHUT (Mark’s addition)

I’m using the same argument here that many Die Hard fans cling to. The story is set during the festive season and, in actual fact, most if not all scenes are introduced by depicting a Christmas tree. It’s fair to say, that it’s dark psychological mystery isn’t exactly in tune with the Christmas cheer but if Die Hard can be tenuously linked to this joyful season then so can Kubrick’s masterpiece.

Deciding what to remove was a painful task. I first considered tossing out “Miracle on 34th Street” and replacing it with the 1947 original which I feel is the true treasure of the three versions. But ultimately it came down to a film I genuinely can’t stand. Therefore bye-bye “BAD SANTA“!

What am I replacing it with?

A CHRISTMAS STORY

Few films have defined my Christmas movie watching like Bob Clark’s delightful “A Christmas Story”. Sure, I gets overplayed during the season, but it is such a fabulous concoction filled with humor and heart. So many memorable scenes, so many memorable lines, so many memorable characters. This one simply has to be here.

So now I pass the yuletide baton to my friend Ruth over at Flixchatter!

REVIEW: “Mudbound”

November 30, 2017 by Keith Garlington

Over the last few years there have been several prominent movies dealing with the issue of slavery or the racial aftermath that reverberated for decades. Movies like “12 Years a Slave”, “Selma”, and “The Birth of a Nation” each had their strong points, but also fell victim to certain creative and narrative choices of their directors.

Enter “Mudbound” from director and co-writer Dee Rees. “Mudbound”, based on Hillary Jordan’s 2008 debut novel, is a period drama set in the Mississippi Delta during the 1940s. The story deals with a variety of potent issues – racism, poverty, and PTSD just to name a few. Rees’ adaptation gives them all form through an intensely honest and clear-eyed perspective.

Rees anchors her film in the right place – with her characters. “Mudbound” is essentially the story of two families. Henry McAllan (Jason Clarke) marries Laura (Carey Mulligan) in 1939 and soon moves her, their two daughters, and his racist father (Jonathan Banks) to a Mississippi farm he abruptly purchased. Hap Jackson (Rob Morgan giving some of the year’s finest supporting work) is a tenant farmer whose family has worked Henry’s newly acquired land since his grandfather was a slave. Hap dreams of owning his own farm but always puts the aspirations of his kids ahead of his own.

Both families are compelling but in dramatically different ways. Each face the brunt of harsh deep south poverty and both face it the best way they know how. But their struggles and circumstances couldn’t be more different both inside and outside of their homes. And despite their mutual see-through pleasantries and respect, the sting of a morally corrupt social order is felt in nearly every conversation the two families share.

But there is one earnest thread that connects them. It comes in the form of Henry’s younger brother Jamie (Garrett Hedlund) and Hap’s oldest son Ronsel (Jason Mitchell). Both young men return to Mississippi after fighting in Europe during the final days of World War II. They both are scarred from the war and find solace in their new friendship which bucks the gross social norms of their small town. While their relationship offers a little light in a period of darkness, it potentially sets in motion trouble that will ripple through both families.

Another key element is the setting which Rees portrays with gritty realism. There is no luscious coat of studio paint. The land isn’t glamorized through cinematographer Rachel Morrison’s camera. Instead the beauty is in the authenticity and how the characters perceive it. It’s a fittingly unpolished presentation of a land aching almost as much as the people tending it.

Not all the visuals are as impressive. The action scenes featuring Jamie as a pilot aren’t very convincing and clearly didn’t get much attention. But this is such a minor complaint considering Rees and company nail the important stuff – the characters. “Mudbound” digs deep into their individual psyches often giving them their own moments of narration to express their feelings and perspectives. It’s a risky narrative technique but Rees weaves it seamlessly throughout the story.

And then you have the acting featuring an entire cast in top form. I mentioned Ron Morgan but there is also Mary J. Blige who gives an eye-opening performance as Hap’s wife Florence. Mulligan, Clarke, and Hedlund each fall right into their characters and the period, and there is a particularly vile (and that’s a compliment) performance from Banks.

“Mudbound” debuted on Netflix with practically no theater release to speak of (minus a handful of screens). Some speculate this could hurt the film come Oscar time. I hope that’s not the case. This film deserves to be in the conversation. It’s a difficult movie but an honest one that isn’t afraid to examine the stains of our past earnestly and without manipulation. It’s handling of poverty, hardship, self-destruction and family dysfunction also wields a piercing edge. It all works together in a deeply penetrating harmony and with striking authenticity that pulls you into this troubled period and never lets you go.

VERDICT – 4.5 STARS

REVIEW: “Walking Out”

November 24, 2017 by Keith Garlington

“How was your year”? It’s the first question Cal has for David his teenaged son who just flew in for a winter hunting trip. It’s the first of many signs revealing a disconnect between father and son who rarely see each other following Cal’s divorce from David’s mother. David lives with her in Texas. Cal lives in a secluded cabin in the mountains of Montana.

Twin brothers Alex and Andrew Smith directed and wrote the screenplay for “Walking Out”, an adapatation of a David Quammen short story. You could say it is a poignant family drama masquerading as a survival thriller. This story of a hunting trip gone bad certainly has all the elements tense survival tale. But even during those moments it’s the unfolding family dynamic that gives it all such meaning.

Cal is played by Matt Bomer, an unexpectedly nice fit. There’s a lot we aren’t told about Cal. Why does he live like a hermit? What does he do for a living? Why did he and David’s mom divorce? What little bit we know is picked out of conversations with David and occasional flashbacks to when Cal hunted with his dad (played by Bill Pullman).

David is wonderfully played by Josh Wiggins. It’s such a genuine performance and a genuine character. David would much rather play on his cell phone than trod through the snowy wilderness. He’s a kid any viewer could recognize – awkward and a bit aloof. He is certainly out of his element in Montana. But at the same time he wants to be please his father and be close to him.

The chemistry between Bomer and Wiggins is a big reason this film works. For nearly half of the film the two make their way to the remote hunting grounds high up in the mountains. During this time we see both the compassion and contention that defines their relationship. But when the inevitable happens and something goes terribly wrong we see a necessary evolution of their relationship.

“Walking Out” offers an interesting exploration of the father/son dynamic. For example it plays with the idea of sons becoming their father. We see it in how during the hunt Cal assumes the role of his father (who we see during the flashback sequences). And after the incident we see David doing something similar and becoming more like his father. This is one of several themes the Smith brothers play around with. There’s nothing deeply profound, but interesting nonetheless.

The film’s title makes the impending peril obvious, but the buildup of the two main characters and their strained relationship gives form to the danger once it hits. The mountainous wilderness is shot in a way that makes it both menacing and breathtaking. The further they get from civilization the more beautiful and treacherous the land becomes. It becomes a powerful supporting character and a perfect setting for this modest yet satisfying picture.