'Jackie' Review

Nominated For: Best Actress; Natalie Portman, Best Costume Design, and Best Original Score.

Jackie is a traditional bio-pic offering a glimpse into a window of former First Lady Jacqueline Kennedy's life as she must struggle to raise children, stay strong in the faith, and define the legacy of husband and President John F. Kennedy immediately following his assassination. Chilean filmmaker Pablo Larraín directs the biographical drama, providing the entire feature with the look of the '60s period it's set. Larraín and cinematographer Stéphane Fontaine shot the picture with old-school Super 16 cameras to authenticate the look of vintage camerawork and capture the aesthetic of actual archival footage. 

In the technical stockade, Mica Levi's moving musical compositions work wonders paired with editor Sebastián Sepúlveda's well-woven sequences and Fontaine's distinguished images of the exceptional performances, timely costumes, and picturesque production design. Perhaps the most undervalued asset put forth by Jackie is its screenplay, penned by Noah Oppenheim. Oppenheim sets Jackie apart from her husband, establishing that she was her own entity by focusing on her time after his death. Jackie's shown both at her highest and lowest emotionally, and the range required to display that is simply remarkable.

However, I think one of the most interesting facets of information provided by Oppenheim's script was Jackie's value of public perception. She doesn't just want to be looked upon kindly herself, she wants her husband's legacy to stand apart among the presidential portraits. The way she plans the subtle details of his funeral procession to mirror Lincoln's is undeniably intriguing.

As for Jackie herself, Natalie Portman dives head-first into delivering an outstanding performance that both respects Jackie Kennedy in addition to ensuring an accurate portrayal. Portman not only musters an excellent accent but also convincingly captures the psychological and emotional anguish Jackie Kennedy suffered resulting from JFK's assassination. The supporting cast includes renowned actors Peter Sarsgaard, Greta Gerwig, John Carroll Lynch, Beth Grant, John Hurt, Billy Crudup, and Caspar Phillison in crucial bit roles, but your focus remains affixed upon Portman, who consistently commands your attention.

In summary, Jackie functions as a fascinating character study and a powerful performance piece for Natalie Portman in addition to being a generally well-constructed period piece bio-pic that highlights capable direction and plenty of noteworthy technical elements ranging from illustrious scenery to the beautiful underlying musical accompaniment.

Film Assessment: B

'The Founder' Review

The Founder tells the true story of how McDonald's evolved from a local brothers' burger joint to the sprawling fast food conglomerate we're familiar with today. Don't be mistaken and let the title of the film mislead you into believing that you will be watching the story of how McDonald's was founded (It's touched upon but not the plot you'll be following). Unlike most true stories adapted to film, this tale is neither inspirational, uplifting, or in any way impactful on history but provides insight into the meteoric rise of the Golden-Arches. 

The Founder is directed by John Lee Hancock, whom you may recognize as the director of The Blind Side and Saving Mr. Banks. Hancock's direction is laid back and ironically streamlined like fast food places today. The set's are well constructed to evoke '50s aesthetic and that's fine and dandy but the cinematography's uninspired, the editing's dull, and there's simply nothing of interest outside some elements found in Robert Siegel's script and the fantastic ensemble. 

Robert Siegel does a fine job skimming through McDonald's ascension but doesn't leave a lot of room for the film to serve as a functional character study. Siegel's screenplay is most fascinating when dealing with Ray Kroc's struggle between seizing the abundant opportunities presented by franchising McDonald's or abiding by courteous business ethics. Siegel lays out Kroc's intentions and motives so the audience understands why he chose to capitalize on someone else's idea but it doesn't make his actions any less despicable. 

In fact, Ray Kroc's almost the villain of the piece and Keaton really sinks his teeth into portraying the sleaziest businessman imaginable. Michael Keaton's been through a career resurgence of late, starring in the two most recent consecutive Best Picture winners (Birdman and Spotlight) and I'm sure he was hoping The Founder could complete a trifecta but alas The Founder was shut out by the Academy so that won't be happening. 

Nick Offerman and John Carroll Lynch play the down-to-earth McDonald brothers, Dick and Mac, offering two distinct personas to the mix; Offerman's straightlaced and doubtful in Kroc while Lynch's sociable and optimistic. It's their struggle with Kroc for the company they started their and the changing dynamic opposite Keaton that will pull the most interest as Kroc's actions only serve as a stepping stone to eventual control of the entire corporation. Laura Dern unfortunately is relegated to a small supporting role as Kroc's first wife Ethel, barely registering with the viewer due to lack of screen-time, yet she still manages to garner pity due to being virtually ignored by Kroc. 

In summary, The Founder follows the tried and true biopic formula to cook up a serviceable story, just not quite an entertaining one. Did I find the film interesting? Sure, but similar to McDonald's today The Founder left a strange taste in my mouth and I'm not quite sure I can say I was loving it. 

Film Assessment: C