Sorry for the delay on this Reel Recap, but I hope to review everything I watched in 2019 before the year comes to a close. I didn’t feel that I could condense my thoughts on Jojo Rabbit to one paragraph, so you’ll find that I expanded that review a tad. My final in-depth review of the year will be over 1917, and I intend to share my December Reel Recap before I unveil my Top 10 Films of 2019. The latter two will likely be shared around New Year’s Eve, so I may consider everything I saw this year when finalizing my list. The good news is that I’ll be all caught up and plan on writing my mini-reviews in a more timely manner going forward so I can share my recaps at the end of each month. Otherwise, I’ll continue writing standalone reviews for the films I believe warrant a thorough analysis.
Reel Recap: November 2019
The Elephant Queen - Watched November 2, 2019 (Apple TV+)
Synopsis: Athena will do everything in her power to protect her herd when they are forced to leave their waterhole. This epic journey takes audiences across the African savannah and into the heart of an elephant family.
Runtime: 96 minutes
MPAA Rating: PG (for some thematic material)
Who should see it? Those with an affinity for Elephants and nature documentaries.
The Elephant Queen is a nature documentary co-directed by Mark Deeble and Victoria Stone. I don't often watch nature documentaries since they're usually quite similar. However, elephants are my favorite animal, and this was one of the few features to debut on Apple TV+, so I figured I'd give it a shot. Deeble's extensive background with nature photography proved to be a valuable asset for the production as he lends a visual flair to simple shots of the African savannah. The documentary also captures wholesome and horrifying moments as animals enjoy one another's company while traversing an unforgiving landscape. The Elephant Queen doesn't sugarcoat the harsher realities of this perilous journey, so it's not for the faint of heart either. The stunning imagery, coupled with an engaging narrative constructed around wildlife footage, set The Elephant Queen above the typical National Geographic television special.
Film Assessment: B
Motherless Brooklyn - Watched November 6, 2019
Synopsis: Lionel Essrog is a lonely private detective who doesn't let Tourette's syndrome interfere with his job. Gifted with a few clues and an obsessive mind, Lionel sets out to solve the murder of his mentor and only friend, Frank Mina.
Runtime: 144 minutes
MPAA Rating: R (for language throughout including some sexual references, brief drug use, and violence)
Who should see it? Fans of Edward Norton and Jonathan Lethem's novel.
Edward Norton writes, directs, and stars in his adaptation of Jonathan Lethem's novel Motherless Brooklyn. Though Norton has noble intentions and a star-studded cast at his disposal, I considered Motherless Brooklyn to be a scatterbrained doldrum. The pieces eventually come together as Lionel unravels the truth. Still, each plot thread feels almost entirely unrelated to the others. The A-list actors are squandered in an overstuffed narrative, as they offer sufficient performances, albeit of a lower caliber than their usual work. Though Norton's depiction of a detective with Tourette's syndrome is the element that makes-or-breaks Motherless Brooklyn, and his spastic portrayal unfortunately grated on my nerves. On a more uplifting note, Dick Pope and Daniel Pemberton captivated me with their sumptuous cinematography and musical score, respectively. I also liked Thom Yorke's new song, "Daily Battles." All in all, Motherless Brooklyn is competently made. That said, it could have benefitted from another pass at the script and trip to the editing bay since it seems rather aimless and lengthy for a duration of nearly two-and-a-hours.
Film Assessment: C-
Jojo Rabbit - Watched November 7, 2019
Nominated For: Best Picture, Best Supporting Actress; Scarlett Johansson, Best Adapted Screenplay, Best Film Editing, Best Production Design, and Best Costume Design.
Won: Best Adapted Screenplay.
Synopsis: Jojo is a lonely German boy who discovers that his single mother is hiding a Jewish girl in their attic. Aided only by his imaginary friend - Adolf Hitler - Jojo must confront his blind nationalism as World War II rages on.
Runtime: 108 minutes
MPAA Rating: R (for mature thematic content, some disturbing images, violence, and language)
Who should see it? Fans of satire and Taika Waititi's work.
Written and directed by Taika Waititi, Jojo Rabbit is an anti-hate satire based on Christine Leunens's book Caging Skies. Taika Waititi is an especially unique filmmaker among those working today, so naturally, I was curious to discover how he'd handle such a bizarre premise. With Thor: Ragnarok, I felt Waititi's comedic tendencies impeded on every emotional beat, rendering the severe stakes weightless. Thankfully, that's not the case this time. Waititi deftly balances the extremes of slapstick satire and bleak consequences of Germany's Nazi regime, walking a fine line between the two. Waititi hilariously ridicules Nazis, but he doesn't render them toothless. Through Jojo’s perspective, he strikes a delicate balance. Indoctrinated by Nazi's, Jojo initially has a naive perception of the truth. But as the story unfolds, Jojo realizes the harsh severity of their actions. This is reflected most in the surrounding environment, which begins as wacky and colorful but darkens as the theater of war encroaches, signaling the abrupt tonal shift. Even his imaginary friend Hitler becomes more authentic as Jojo's fascination with the Nazi regime begins to falter.
Film Assessment: A
Last Christmas (2019) - Watched November 10, 2019
Synopsis: Nothing seems to go right for young Kate, a frustrated Londoner who works as an elf in a year-round Christmas shop. But things soon take a turn for the better when she meets Tom. As the city transforms into the most wonderful time of the year, Tom and Kate's growing attraction turns into the best gift of all - a Yuletide romance.
Runtime: 103 minutes
MPAA Rating: PG-13 (for language and sexual content)
Who should see it? Fans of rom-coms and those keen to get in the Christmas spirit.
Based on the hit George Michael Christmas song, Last Christmas is directed by Paul Feig and features a screenplay co-written by Bryony Kimmings and Emma Thompson (who shares story credit with Greg Wise). Though painfully predictable (especially to those who have seen the trailer), Last Christmas is a breezy watch that coasts on the charm of Emilia Clarke, Henry Goulding, Emma Thompson, and Michelle Yeoh. I can think of no better way to summarize my feelings then with a critique to the tune of "Last Christmas": "Last Christmas, it isn't high art. It's a pleasant foray for the holidays. One thing's clear, it's sure to endear. Though it may as well come from Hallmark."
Film Assessment: B-
Pain and Glory - Watched November 13, 2019
Nominated For: Best International Feature Film and Best Actor; Antonio Banderas.
Synopsis: A film director reflects on his life as past and present come crashing down around him.
Runtime: 113 minutes
MPAA Rating: R (for drug use, some graphic nudity and language)
Who should see it? Adults fans of Antonio Banderas who either speak Spanish or don't mind reading subtitles.
Written and directed by Pedro Almodóvar, Pain and Glory is a contemplative reflection on the nature of art and life. As Salvador Mallo reconciles his past, audiences get a glimpse of his upbringing, and what follows is an intimate exploration of his identity. While I felt the film was very well-crafted, it never fully resonated with me. There were periods where the story came to a screeching halt, and I thought it could have flowed better between past and present. Otherwise, Antonio Banderas delivers a brilliantly subdued performance. He lends an excellent portrayal of an artist at odds with his own work. Banderas won the Best Actor award at the Canne's Film Festival for this role and has since continued to be a prominent, well-deserved player in a competitive Best Actor field this awards season. Among the supporting cast, Penélope Cruz, Asier Etxeandia, Leonardo Sbaraglia, Asier Flores, and Julieta Serrano are also impressionable. Almodóvar's latest film is restrained and meditative, creatively channeling pain into glory.
Film Assessment: B
A Hidden Life - Watched November 15, 2019 (Houston Cinema Arts Festival)
Synopsis: The Austrian Blessed Franz Jägerstätter refuses to fight for the Nazis in World War II.
Runtime: 173 minutes
MPAA Rating: PG-13 (for thematic material including violent images)
Who should see it? Fans of Terrence Malick willing to endure the nearly three-hour runtime.
Terrence Malick's A Hidden Life is based on the real story of a conscientious objector, Franz Jägerstätter. The filmmaking alone is exquisite as Malick wonderfully conveys the serene nature of a peaceful existence only to contrast that idyllic bliss with the horrors of isolated imprisonment under the Nazi regime. Cinematographer Jörg Widmer captures lush landscapes and intimate interactions with a fisheye lens while a poignant musical score composed by James Newton Howard also underscores the expansive natural surroundings and a profound human connection. Of which it's worth noting, August Diehl and Valerie Pachner have remarkably genuine chemistry. Serving as Malick's foundation, the two lend exceptional performances and demonstrate immense range as they're tested to the brink of their humanity. And the story itself is incredibly inspiring as a testament to the human spirit's resolve. Malick presents viewers with the conundrum of whether it's more honorable to walk the path with least resistance in the interest of safety or stand for your ideals and face the consequences. All that said, A Hidden Life is far too long. It could easily be abbreviated, considering Fox Searchlight practically condensed the entire film into a two-minute trailer already.
Film Assessment: B+
Ford v Ferrari - Watched November 16, 2019
Nominated For: Best Picture, Best Film Editing, Best Sound Editing, and Best Sound Mixing.
Won: Best Film Editing and Best Sound Editing.
Synopsis: American automotive designer Carroll Shelby and fearless British race car driver Ken Miles battle corporate interference, the laws of physics, and their own personal demons to build a revolutionary vehicle for the Ford Motor Co. Together, they plan to compete against the race cars of Enzo Ferrari at the 24 Hours of Le Mans in France in 1966.
Runtime: 152 minutes
MPAA Rating: PG-13 (for some language and peril)
Who should see it? Car enthusiasts and those interested in films about friendship and American ingenuity.
Directed by James Mangold, Ford v Ferrari tells the true story of Ford’s bid to engineer a vehicle capable of winning the 24 Hours of Le Mans race. The end result is a robust crowdpleaser about teamwork, creative freedom, and good old fashioned American ingenuity. Ford v Ferrari is the type of movie that doesn't get made too often. Similarly to Once Upon A Time... In Hollywood, Ford v Ferrari is entertaining on the surface level and offers abundant subtext for those willing to look deeper. Mangold surprisingly provides plenty of meta-commentary on the nature of filmmaking within the studio system through the lens of car manufacturing. Still, it tackles a wide variety of other topics in a feel-good manner as well. Matt Damon and Christian Bale are strong co-leads with a unique rapport, though Bale has the flashier role of the two. The supporting cast bode well, but occasionally resemble one-note caricatures rather than fleshed-out individuals. Standouts for me were Tracy Letts, Caitriona Balfe, and Noah Jupe. Without a doubt, Ford v Ferrari's main draw is its exhilarating racing sequences. Boasting stunning cinematography and roaring sound design, Mangold immerses audiences in the thick of it and rarely lets up. However, the company's inner workings aren't nearly as engaging. Though necessary to set the stage and establish key plot details, the behind-the-scenes semantics can never compare to the thrill of getting behind the wheel. In spite of a standard script and predictable plotting, the technical bravado and ace performances ensure Ford v Ferrari made it across the finish line in spectacular fashion!
Film Assessment: B+
Harriet - Watched November 17, 2019
Nominated For: Best Actress; Cynthia Erivo and Best Original Song "Stand Up" (written by Cynthia Erivo and Joshuah Brian Campbell).
Synopsis: The extraordinary tale of Harriet Tubman's escape from slavery and transformation into one of America's greatest heroes, whose courage, ingenuity, and tenacity freed hundreds of slaves and changed the course of history.
Runtime: 125 minutes
MPAA Rating: PG-13 (for thematic content throughout, violent material and language including racial epithets)
Who should see it? Those interested in Harriet Tubman.
Harriet is directed by Kasi Lemmons and with a screenplay co-written by Lemmons and Gregory Allen Howard. By all means, it's a conventional biopic that contains the story beats of nearly every other slave movie. The empowerment angle and aspect of Tubman's faith were admirable inclusions, but again, neither of these elements is particularly radical. Additionally, some inclusions caused me to question the historical accuracy of certain scenes. I don't mind creative flourishes, but there were a few head-scratchers nonetheless. Cynthia Erivo's depiction of Harriet Tubman undoubtedly saves the production, exemplifying courage, confidence, and vulnerability in the titular role. Aside from Erivo, I doubt Harriet will be remembered for much else, which is a shame considering the significance of its subject.
Film Assessment: B-
Portrait of A Lady On Fire - Watched November 18, 2019 (HCAF)
Synopsis: On an isolated island in Brittany at the end of the eighteenth century, the young daughter of a French countess develops a mutual attraction to the female artist commissioned to paint her wedding portrait.
Runtime: 121 minutes
MPAA Rating: R (for some nudity and sexuality)
Who should see it? Adults who don't mind reading subtitles and are receptive to stories about same-sex couples.
Written and directed by French filmmaker Céline Sciamma, Portrait of a Lady on Fire has set the festival circuit ablaze with widespread critical acclaim. Sciamma's narrative unfolds at a slow burn with hushed intensity and ample attention to detail. There's a rewarding payoff to the slightest details, and Claire Mathon's cinematography is utterly breathtaking to behold. Co-leading the picture in the roles of Marianne and Héloïse, Noémie Merlant and Adèle Haenel are both exceptional. The intimacy and attraction that slowly builds between the two feels very sincere, as their sparks radiate off the screen. However, their forbidden love can't ever fully come to fruition due to the period in which the story is set. That complication dramatically enhances the potency of their relationship. Sciamma shows her hand early by framing the film as a recollection from Marianne. Hence, viewers know from the beginning that separation is inevitable. Nevertheless, Sciamma fabricates an intoxicating romance, so the unfortunate parting is no less heart-wrenching.
Runtime: 121 minutes
MPAA Rating: R (for some nudity and sexuality)
Who should see it? Adults who don't mind reading subtitles and are receptive to stories about same-sex couples.
Written and directed by French filmmaker Céline Sciamma, Portrait of a Lady on Fire has set the festival circuit ablaze with widespread critical acclaim. Sciamma's narrative unfolds at a slow burn with hushed intensity and ample attention to detail. There's a rewarding payoff to the slightest details, and Claire Mathon's cinematography is utterly breathtaking to behold. Co-leading the picture in the roles of Marianne and Héloïse, Noémie Merlant and Adèle Haenel are both exceptional. The intimacy and attraction that slowly builds between the two feels very sincere, as their sparks radiate off the screen. However, their forbidden love can't ever fully come to fruition due to the period in which the story is set. That complication dramatically enhances the potency of their relationship. Sciamma shows her hand early by framing the film as a recollection from Marianne. Hence, viewers know from the beginning that separation is inevitable. Nevertheless, Sciamma fabricates an intoxicating romance, so the unfortunate parting is no less heart-wrenching.
Film Assessment: A+
Honey Boy - Watched November 27, 2019
Synopsis: A young actor tries to reconcile with his father after surviving a turbulent childhood.
Runtime: 94 minutes
MPAA Rating: R (for pervasive language, some sexual material, and drug use)
Who should see it? Those interested in an autobiographical account of Shia LaBeouf's upbringing.
Written by Shia LaBeouf as an autobiographical account of his life, Honey Boy is directed by Alma Har'el and sees LaBeouf portray a fictionalized version of his own father. Autobiographical work can be too self-glorifying or too self-deprecating, but LaBeouf's recollections seem devastatingly honest. LaBeouf's not interested in excusing or justifying his unruly behavior. This retelling is personal and therapeutic for LaBeouf as he reconciles a troubled past. Noah Jupe, Lucas Hedges, and Shia LaBeouf are all sensational, channeling raw emotion in their most vulnerable moments. LaBeouf's catharsis is hard to watch at times, but crucial for truly understanding who he is and all he's endured.
Film Assessment: B+
Queen & Slim - Watched November 29, 2019
Synopsis: A couple's first date takes an unexpected turn when a police officer pulls them over.
Runtime: 131 minutes
MPAA Rating: PG-13 (for violence, some strong sexuality, nudity, pervasive language, and brief drug use)
Who should see it? Those who were intrigued by the trailer.
Serving as Melina Matsoukas' feature debut, Queen & Slim features a script from Lena Waithe and also attributes a story credit to James Frey. While well-intentioned, Queen & Slim's handling of the police brutality subject is very heavy-handed. The heightened escalations that occur in the film often register as inauthentic since the circumstances are absurdly over-exaggerated for the sake of the film's argument. The setup is compelling, and the concept is interesting. Still, it rarely feels like the characters are in real danger during their time on the run. The duo encounters complications but easily maneuver around them. Whenever they take a genuine risk, there are no consequences or a sense of urgency. The eventual resolution to this reoccurring issue came far too late for me. There are also a few sequences in the film which are tonally confused in their presentation, editing together two perfectly fine scenes in a jumbled manner. Hence, the result feels awkward and out-of-place. Granted, Daniel Kaluuya and Jodie Turner-Smith are excellent in it, albeit with little chemistry between the two. Otherwise, I liked Tat Radcliffe's cinematography. Queen & Slim is ripe with potential but wound up a mixed bag in execution. Though, the good slightly outweighed the bad for me.
Film Assessment: B-
The Good Liar - Watched November 30, 2019
Synopsis: Consummate con man Roy Courtnay has set his sights on his next mark: the recently widowed Betty McLeish, worth millions. But this time, a simple swindle escalates into a cat-and-mouse game with the ultimate stakes.
Runtime: 109 minutes
MPAA Rating: R (for some strong violence, language, and brief nudity)
Who should see it? Adult fans of thrillers, Ian McKellen, and Helen Mirren.
Based on Nicholas Searle's novel, The Good Liar is directed by Bill Condon and written by Jeffrey Hatcher. Its twists are anything but predictable, and it's relatively engaging once it gets going. Ian McKellen and Helen Mirren are delightful and play nicely off one another, as per usual. It's nothing extraordinary, but worth watching from home.
Film Assessment: B-
The Report - Watched November 30, 2019 (Prime Video)
Synopsis: Idealistic Senate staffer Daniel J. Jones, tasked by his boss to lead an investigation into the CIA's post 9/11 Detention and Interrogation Program, uncovers shocking secrets.
Runtime: 119 minutes
MPAA Rating: R (for some scenes of inhumane treatment and torture, and language)
Who should see it? Adult fans of procedural dramas.
Written and directed by Scott Z. Burns, The Report brings light to a troubling aspect of more recent American history. As the Senate pursues a paper trail, Burns wisely chose to depict the torture techniques in question to enliven things and better convey the inhumane and unreliable nature of this form of interrogation. Adam Driver has quickly become one of my favorite actors working today. Here, he’s concentrated but exudes a quiet intensity that comes to fruition in one critical emotional outburst. The subject matter of The Report is consistently gripping due to its desire to unfurl the truth, even when the research and impassioned Senate discussions may not be. Burns is keenly aware that the political jargon and procedure may deter viewers, so he uses that to his advantage. The length of time required to carry out the investigation, as well as the limitations imposed by the bureaucracy, are downright aggravating, as they should be.
No comments:
Post a Comment