Nocturnal Animals

I'd considered a video post for this film comment so that you could hear the tone in my voice as I spoke about it. I have been told by family members and some of my students that I have a way of sounding that can be harsh and sharp and bitingly dismissive, often without any intention. Well let me say, I have every intention with this review but I thought better than to subject you to the bile of my notes in an auditory fashion and will leave them to your imagination instead. I hated this movie. I hated the characters, I hated the attitude, and I hated that I was so irritated by it. The trailer suggests that this is a thriller with a revenge theme built in. There is a revenge theme in the movie, but the thriller part is all a distraction to show off  creative story telling tools which only makes the movie more irritating.

Director Tom Ford made one movie before this, the well respected "A Single Man". He is apparently best known as a fashion designer. In this movie it shows. The film is full of images that are designed to evoke a reaction. Amy Adam's character Susan, has a house that is all clean lines, grey and black contrasts, and there is almost nothing to suggest that human beings actually live there. It is as if it were put together by a sales stager for Hollywood mansions. The offices she works in look like outtakes from the set of "2001", round rooms with tiered levels all in white. Since she is an art dealer/curator and Ford moves in those circles, maybe he has it right, but the impact is to make the pretentiousness that he seemingly is mocking, feel even more pretentious. If you can get past the opening titles without thinking about how hypocritically artsy they are, maybe you will be able to enjoy this film. I prefer the way Susan sees it, she speaks of her opening that night as being "Shit". You might think that Ford is saying the same thing, but that is not the attitude the camera takes nor is it the viewpoint of the editing. There is nothing subtle about the way this movie is made. Ford even goes so far as to have the word REVENGE, mocked up as a piece of art on display at the offices of Susan's company.

The one aspect of the film that I do admire is the narrative structure of the film. There are three stories being told simultaneously,  and that works to make the connections between them understandable. Jake Gyllenhaal plays two parts, Susan's ex husband Edward and the lead character in the novel that Edward has written, Tony a husband and father. We get plenty of Tony's stopry and if it had been the plot of the film without all of the literary and personal baggage surrounding it, this might have been an effectively dark thriller. Instead, it turns out to be a piece of work designed to be a big "FU" to his ex wife. We barely get any of that story and Ford the scrip[t writer relies on a five minute piece of exposition with Laura Linney, as a way of short cutting that part of the story. It just does not work. Armie Hammer plays Susan's current husband and his moments in the film feel so thin that they might just be some applique that Ford is putting on his dress to try and make it more interesting. Again, it doesn't work.

There were two references that occurred to me as I was watching this movie.The first is "The World According to Besenhaver" a novel within a novel, from the book The World According to Garp". In that book, the violent and revolting story is told as a way of expunging a character's guilt. The author becomes famous for the book but ultimately has very negative feeling about it's success. "Nocturnal Animals" is the title of the book Edward has written and dedicated to his ex-wife. Rather than exorcising his demons, the story allows them to run wild and attempt to punish Susan for her abandonment of their life. In the visualization of the story, Tony's wife and daughter are doppelgangers for  Susan and her own daughter. The anguish and destruction of Tony as a character is Edward vomiting his bile on Susan's consciousness. The second reference that this film evoked in me was to a film called "The Rapture". In that film, a woman who finds redemption in her life in Christianity, has it ripped away from her in the most cosmic manner imaginable. This film has two equally unfulfilling endings, one for the novel and one for the lead character. Having devoted two hours to the film, I felt ripped off by an incomplete resolution to one story and an unsatisfying but at least understandable ending to the other.

The performers are all fine in portraying characters that are flawed, but ultimately those characters are reprehensible. Susan is the shallow and unsatisfied woman her mother predicts she will be. Hammer never establishes any character that would matter. Aaron Taylor-Johnson plays a character that we all might enjoy seeing tortured to death. Gyllenhaal is sympathetic as Edward when he and Susan are together, but as the unseen author of the manuscript, he is a monster. Only Michael Shannon as the fictional Bobby Andes, a West Texas detective with a strong sense of justice elicits any of our sympathy. The film is clever and well shot and acted but it will make you want to take a long hot shower before you go out into civilized society again. The dark characters of Gyllenhaal's movie "Nightcrawler" were also awful, but that movie had something to say about the world and especially the media. This movie is a cruel joke played on an audience who might be expecting a thriller and who are subsequently tortured themselves by having to endure the unpleasantness that passes for art in Mr. Ford's film. 

Manchester By the Sea

Not exactly a feel good film for the Christmas Holiday, but an impressive family film about the ties that bind us and the fact that they do so in multiple ways. There are many, many things to admire about this film, from the sterling performances to the complex way in which the story unfolds and most especially for the ambiguous ending that resolves only an immediate issue but not the deeper needs of the main character. Manchester bu the Sea is a well made film that is worth the pain that you sometimes have to get through to be able to understand the characters.

Casey Affleck has been a solid actor for years. His side kick roles in the Ocean's 11 films show that he can be comedic when called upon, but he also has serious dramatic chops. Earlier this year he was quietly heroic in "The Finest Hours".  In this film he is also quiet, but in a much different style of performance. His character "Lee", has a tragic background that follows him wherever he goes but most especially in his hometown. He is forced to return to "Manchester By the Sea" for another tragic passage in his life, and the confluence of the two events are enough to give anyone a depression that would feel overwhelming. That his character is able to cope to some degree is the one outward sign of inner strength. Affleck doesn't really raise his voice often, he is not bitingly sarcastic but the audience can see that he is masking turmoil which makes it nearly impossible for him to manage the family obligation he finds himself in.

I have not seen director Kenneth Lonergan's second feature but his first was the affecting and slow moving "You Can Count on Me", which came out sixteen years ago. This movie does seem to fit into his sweet-spot, a family drama with imperfect people, taking their time to try and work out their problems.  There are several wordless moments in the film where the actors perform in an almost classic silent film manner. Watching Afflect's face conveys ninety percent of what we need to know in most scenes. There are instances where you can see his self loathing percolating to the surface just before the bubble pops and a moment of catharsis, which is even more damaging to him, takes over. The will it takes to hold things together is substantial. There is plenty of angst to go around but there are also moments of human connection that are heartfelt and sometimes amusing. The contentious relationship Lee has with his nephew Patrick is punctuated by love and off beat humor. Lucas Hedges plays Patrick as a self confident but needy adolescent. Sometimes he needs to be smothered with attention and other times he needs to be left alone. Of course Lee usually chooses wrong, but when he does get it right, there is a sense of hopefulness that lingers long enough to make the story bearable.

The structure of the film is similar to a second film I will be commenting on today. There are contemporary events and then there are several flashbacks that occur in no particular order which trace back the history of our characters. Lee's guilt cannot allow him to move forward but moving forward is what is needed for Patrick. I never found the narrative confusing and the jumps back and forth in the story often set the tone for an upcoming incident in a way that would have required a huge amount of exposition if the story were told differently. This is a film without a clear ending, but it does let us know that the path to the future is not entirely bleak.

There are some secondary characters that intrude on the story and did little to advance the plot such as it is. Patrick's estranged Mother briefly returns to his life but it is a dead end that only shows how essential Lee is to getting things right for Patrick. The uncomfortable lunch that Patrick and his Mother and her new boyfriend share, is an emotional dry well. On the other had, the scenes with Lee's ex-wife, Randi, played by Michelle Williams, are in fact heart breaking. She wants him to find the forgiveness that he cannot give himself and her own spirit is limited because he can't. Every family has bumps in the road, some derail the family entirely, this is a film about two of those kinds of events and how they intertwine. This is a great movie that is hard to experience but has at it's core an honest portrayal of the sort of depression that is based on real life and not just on manufactured emotions as you will sometimes find in other films.

La La Land

A couple of East Coasters, not out of school for a decade, have captured the magic of the Hollywood Dream factory in a way that has not been seen, much less heard, in an eternity. Just as "The Artist" reflected the memory of the early days of the film business before sound came along to change everything, "La La Land" pays tribute to the golden age of musicals while updating them to contemporary days. If you have not already seen this film, and you are sitting there reading these comments, what the hell?  You could use the few minutes this takes to read to stand in line and get your tickets for what is going to be one of the best movie experiences of your year. No spoilers here, this movie is terrific.

Writer director Damien Chazelle and his musical partner Justin Hurwitz have found the heart of a 50's musical in 2016 Los Angeles. Starting with a throwback version of the Summit Entertainment logo and expanding the screen to Cinemascope before any footage is run, we feel like we are in for a real studio experience. The dazzling song and dance number on the Freeway overpass that starts the film is choreographed with vigor and whimsy. Angelenos have been known to leave their cars in a traffic snarl like the one shown here, but never to move rhythmically atop their own vehicles much less those of their fellow Sig-Alert victims(Non-residents will have to look that one up). When the back door of a box truck is thrown up and a latin combo playing jazz infused dance music is already in full swing, you know that this is a fantasy that takes itself with a grain of salt but also with a good deal of conviction. The fact that it is capped off by the usual L.A. driver salute to his fellow travelers just tells you that this is not a form to be locked away in the past.

The clever lyrics to Hurwitz's songs are provided by Benj Pasek and Justin Paul. If you listen carefully you can here both bravado and wistfulness in the same tune. The story concerns two dreamers who find one another with some difficulty in the grind that is trying to make it in the business of this company town. Ryan Gosling is Sebastian, a talented jazz pianist struggling to survive by playing music gigs that are far below his talent. Emma Stone is the aspiring actress who makes a living with her nose pressed right up against the window of her dream, as a barista at the coffee house on the Warner Brothers lot. That setting provides multiple opportunities for this to be both a backstage musical and a more straightforward narrative singing story. The sets sometimes mimic the locations used throughout the film. The choices of which must have been influenced by a dozen other movies with Hollywood history.

Angel's Flight has not been operational for a couple of years and since it's restoration in 1996, it has been closed down on and off a few times. Never mind that this funicular doesn't really operate, this is a movie about lovers in Los Angeles, and we need to believe.  There is of course no way that Stone's character Mia can run across the city from the Westside to South Pasadena to meet Sebastian at the Rialto, or that the Rialto is permanently closed, again, this is a movie where your fantasy counts more than a trivia thing like physics. The sequence in the Griffith Park Observatory plays out like the Gene Kelly envisioned ballet from "That's Entertainment" or "An American in Paris".  In fact at one point in the film, Gosling practically dances with a prop street light, evoking the ghost of Kelly in this film.

Chazelle manages the tricky feat of having his cake and eating it as well. The star crossed love affair both fails and succeeds through the magic of musical story telling. While jazz style music may not at first seem a natural fit for a Hollywood Musical, the director finds a number of ways to make it work. Interestingly enough, there is even a number that betrays Sebastian's ideals and leaves Mia  nonplussed, while still being entertaining and valid. Just like Mia, we are not quite sure how to take the moment, but we are also swept up in it. John Legend stretches whatever acting chops he aspires to as a jazz musician that knows how to make that career work, and he wants to take Sebastian along for the ride.

Two years ago, I made "Whiplash" my favorite film of 2014. Chazelle wrote and directed that film as well and the whole milieu of jazz music came to life in a completely different fashion. That movie was frenetic and shot with a style that seems fitting to the music it emphasized. Even though this movie uses the same kind of music, the direction here is fluid and models the graceful dance moves of people like Kelly, Fred Astaire and Cyd Charisse.  The camera follows our two lovers slowly as they walk across "Suicide Bridge" at night. The slow pan from inside the car,across the Rialto Theater after  it has closed does a subtle but effective job of indicating an important transition in the story. The camera glides and pirouettes just as the actors do in their dance scenes with phantasmagoric images of Los Angeles swirl in the background.

No one will mistake the two leads for professional singers but their voices are pure and sincere and work wonders at achingly evoking the desire on their parts for their dreams to come true. The hundreds of dancers employed in the big numbers and the musicians that play in the clubs and on stage are all excellent. He has only a small part near the end of the film, but Tom Everett Scott reminded me of an adult version of the character that you are most likely to know him from, another jazz enthusiast at that.  The film is a love letter to movie musicals and a great movie musical in itself. It is the opposite of the line that Gosling says at one point, "It's Los Angeles, where they worship everything and value nothing." The movie respects but does not deitize the films of the past and it values every contribution those movies made. "La La Land" is likely to be my favorite film of the year, if you see it and experience it the way I did, I suspect your feelings will be the same.

Moonlight

This is a film that I was driven to see entirely because of the reviews, word of mouth and buzz surrounding it. The subject matter is so out of my wheelhouse as to be in another city not just in another neighborhood. It's not that I am uninterested in stories about diverse cultures, but drug dealing and homosexuality seem like an odd mix, and the last time they were in a film I remember seeing was "Less than Zero", which involved white suburbanites from economically well to do families, and I did not care for it almost thirty years ago, how would a much older and more cynical man be able to appreciate this?  As it turns out, pretty well. I can certainly admire the movie and I think I have found themes in the film that were there for us to discover, but I may have brought some of my own along with me.

For anyone unfamiliar with the title, it is a three part story chronicling the life a boy who grows to adulthood, with a lengthy stop over in adolescence. As a child, Chiron, is known as "Little" and his story starts when he encounters a man who becomes a mentor/savior/role-model. The curveball the film throws at us is that man is a drug dealer. Juan, is maybe the most sympathetic character in the whole film, but he is not a perfect person and if we can't believe his story, nothing else in the movie will make any sense. Mahershala Ali is an actor I'm sure I have encountered in other projects, but never in a role as memorable for me at least as this. He is hard in the ways you expect someone in that profession is likely to be, but he manages to be a three dimensional person and not just a stereotype. One of the themes that I get from the film is that we all need to think about who people are and not just what they are. Juan takes an interest in Little almost by accident, but he sees some of himself in the child. His open minded acceptance of what Little might become seems at odds with the thug culture that is usually shown to us in movies, and it is that perspective that makes the film valuable. Even though Juan only exists in the first third of the movie, we will feel his presence for the rest of the story.

Little is put upon by school mates and his own mother, an excellent Naomi Harris. The harm that the drug culture can do to people who are not the users themselves will be evident to everyone. People who think it is a victim-less crime have never lived with or loved an addict.  Even at a young age, while his Mom appears to be holding it together, Little senses that something in his life is wrong. When your only role model is a compassionate man who also happens to deal death and misery to weak souls, you are bound to be conflicted. This whole film is a character study that plays out as if it were a stage drama. The pacing and dialogue feel thoughtful and deliberate, in a way that is almost antithetical to modern films. There is nothing in the film except one scene that could not be told on the stage. The framing of the characters and the use of the camera is not startling or inventive but it is efficient in focusing on the characters. The one sequence that would be difficult to do on stage however is a pivotal one that has implications in the rest of the film. Juan teaches Little to swim in the ocean when they visit the beach. It is a moment that is freeing to our main character, and it is the start of his realization that he can be many things, some of which he has not imagined yet.

Another example of the stagebound nature of the story is the use of three acts and the black screen transitions between the sections. Even though there are subtitles that identify our character by different names at each stage of his life, the numbering that accompanies those names just reminds us that this is a signpost for the next stage of the story. The middle section concerns the life of Chiron in high school. He is a quiet kid who is bullied primarily because he is seen as soft. Kids "gaydar" becomes a justification for petty humiliations and brutal shows of  machismo. Chiron had one friend other than Juan as a kid. Kevin is a bit of a nonconformist, who helps Chiron manage the world on occasion. Kevin however has his own weaknesses and those become devastating in multiple ways on his friend. This is the second major relationship of the three segments and it is the one that grows the most over Chiron's life story. This is a movie that tries very hard to tell an authentic story about troubled youth without simply imposing a cultural stereotype in for the purpose of diversity. These characters, as unfamiliar to someone from such a different background as I, feel organic. This is a genuine story of a culture not a fable tailored to an ethnic group. That is the thing that I most appreciated about the movie.

The actors who portray the two growing boys throughout the lifespan of the film do a tremendous job creating personality for their characters. The three who portray Kevin move him from a light hearted second banana to a central figure in the life of his friend. The serious portrayal in the last sections necessary to sell the denouement of those characters arcs. Chiron, now known as Black, is portrayed by a man who clearly has devoted serious time to sculpting his body. The desire on the part of the character to redefine himself simply means that he molds himself into the most accessible form from his life experience. The physical differences are dramatic but the personality ticks and non-verbal references are all consistent which makes the transformation seem real again.

This is a very good character piece that is well acted and performed. The direction does emphasize the staginess of some of the conflict, but it never detracts from the story. We  can all learn to be a little more patient and thoughtful about the people we encounter or even simply read about if we take the time to see films like this. I can't say it is one of my favorites, simply because as interesting as it was the first time, I don't think it will hold the same level of fascination for me at least on subsequent viewings. There is much to admire in the film, but not much to love. It will earn and deserve many accolades, but I'm afraid that it will simply be a part of my movie history, rather than a defining point in that history. That's just my take, some of you will be able to take away more.

Rogue One: A Star Wars Story

This is the first of the Star Wars Universe films that I did not see on opening day. It's not that I did not want to, but someone in the house had other commitments and the likelihood was that if I went without them, we would have had our own war on our hands. So in addition to avoiding spoilers for months, I had to avoid reviews, tweets, and tidbits of knowledge for an extra few days in order to make this experience more complete. I'm sure many of you have done the same kinds of things and believe me, I will stick to my no-spoiler policy for these comments, but I can say that this is probably my favorite of the Star Wars movies since the original trilogy was completed in 1983.  "Rogue One" feels like an integral part of the story, without having to rely on the characters we have from the other films. There is a small amount of bleed over, but for the most part this is a newly original part of the galactic battles taking place a long time ago in a galaxy far, far away.

Unlike last years "The Force Awakens", this film occurs prior to the original "Star Wars". It is not a repeat of the plot points from that film like Episode VII, it is however a supplement to the story that ends up deepening the events of the original trilogy and setting up a number of story threads that we have already seen completed in other films. One thing that is definitely true about this new film is that it may be the darkest of all of the movies with the possible exception of "Revenge of the Sith" which after all did include the murder of children as a plot point. At the conclusion of the film, there will be a realization about how dark this movie really is, that is only leavened by a call back piece of fan service that I think is totally justified.

The first third of the story introduces so many new characters, that it is a whirlwind to observe. Frankly, there were so many names and they were so hard to remember and distinguish from one another, that ultimately I just stopped trying.  Jyn Erso (Felicity Jones) is our heroine, and whoever she is encountering at any given moment was the only character that mattered.  Character development here may not be as important as in the continuing story, since this is a stand alone film, but it means that some of the events that take place in the film will not have the emotional impact that they would in the longer running series. Believe me however, there are plenty of strong emotional elements, and if a character was not fully explored for this story, it is usually so that the plot and action could be kept moving. There are some characters however that manage to make a mark without much more than a unique look or ambiguous reference to the past. I suspect a fan favorite will be K-2SO, an Imperial Droid reconditioned to work for the rebel alliance. There is a great deal of humor in the lines and situations where that character is included, and the voice work of Alan Tudyk is just right for the part.

Diego Luna as Cassian Andor is supposed to be a conflicted character, and his relationship with Jyn is an uncertain one. There are several moments of the film that are ominous because we don't really know how his character is going to play things out. Jones is tough and unpredictable, while Luna is shady and enigmatic. In fact, there are elements to their two characters that I suppose are designed to represent the edge between the good and the dark sides of "the force". About halfway through we get an answer, but it does not keep the two lead characters from having a continuing  substrata of tension and distrust.  It may also be the actor's accent that made it difficult at times for me to pick out which character who was not present in a scene was being referred to. My ear for articulate pronunciation was hampered by my unfamiliarity with the sounds of his speech patterns. Another character that I quite enjoyed was Bodhi, the pilot, played by Riz Ahmed. While the characters exist more than thirty years apart, he seems to be the foreshadowing embodiment of the kinds of doubts that produce the new hero in Episode VII, Finn.

There are a half dozen or so characters who have appeared in another Star Wars film and show up briefly in this one. It is no surprise that Darth Vader is in the movie, his character was teased in the trailer. Some of the other recurring characters have only the briefest of moments in the film and are really just there for fan service, although that was totally welcome by me. Two or three of those characters however are a major component of the plot and one of them is the saving grace of what might otherwise be a very downbeat outcome for the film. One member of our group was a little resentful of this character being in the film at all, suggesting that a shadow or silhouette might have sufficed. I would strongly disagree. I think the choice made was exactly right and provides the emotional kick that the movie needs to make it fit in with the rest of the films. It will probably be a discussion point on a great many podcasts but I will not step into spoilers here, as tempted as I am to defend this choice.

Another thing that makes this movie feel like a tangential story to the original trilogy is the effort to make practical sets and effects a part of the film making. There is plenty of CGI to go around, but many of the environments are clearly real set locations and not computer based backgrounds. There were more animatronic  puppets and costumes in the film than in any of the prequel films and even more than "The Force Awakens". Director Gareth Edwards, who's  only previous work I'd seen was "Godzilla", does a good job of making sense of the story given some of the convoluted plot elements and ambiguous characters a script cobbled together by four writers provided. In the long run, a lot of the movie works because Edwards keeps the story moving fast enough that we don't have time to ask questions about motivations and history. The main characters are introduced with some efficiency, although  I think we could do with a bit more back story on Jyn before she is unceremoniously "rescued".

Lets say that in the end there were plenty of space battles, heroic sacrifices and light saber lore to keep the audience happy. The surprises in the film are well earned and even the nods to the other stories that are included are not obnoxious, they are just enough to keep the legions of Star Wars fans engaged. "Rogue One " has at least three great emotional beats that will make your throat choke up a bit. It also has a climax that next to "The Empire Strikes Back" is emotionally satisfying without being particularly happy.  The Galaxy is a pretty big place and there is room for a multitude of stories about the ride and fall of the empire. Just as happens in movies about WWII, there are some stories that cross paths, but there are others that take place simultaneously which can be just as compelling as a single thread of history. "Rogue One" may be a stand alone story, but it is also an outstanding story that fills in Galactic Rebellion history, without detracting from the main event. As a fan, I'm happy to say "More please".

Lambcast Podcast Movie of the Month: Batman Returns

This was the Christmas Themed Movie of the Month for December. Join me and several other movie bloggers in looking at Catwoman and The Penguin as they take on the caped crusader.

Christmas Draft Poll

If you have not already voted on the Lambcast Christmas Draft Poll. please take a minute to go there and vote for my slate of films. I did not get the Muppets , Die Hard or Gremlins, but I do have a superior set of five to the other candidates.

Just click on the picture and make Ralphie and George Bailey happy.

I have reviews up for two of my five films, you can look at those here.

Merry Christmas to all.