Just about every person who participated in the Biosphere 2 experiment -- and subsequently the new documentary about it, called Spaceship Earth -- talks about the scientific goals of their undertaking. As noble as these scientific aspirations were for the project, it’s pretty clear that they were secondary to more emotional and psychological interests. One of the eight members who volunteered to live inside an airlock-sealed facility for two years -- they called themselves biospherians -- recalls her first thoughts just after the door to the outside world was shut and locked on day one. She describes turning on the rain in the vegetation section of the biosphere and gaining a sense of peacefulness. She wanted to wash the air, to wash out the impurities of the world she left behind and "begin anew." She soon discovers, as do we, that it's not easy to begin anew when messy interpersonal human dynamics are involved.
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The main issue I have with Rob Garver’s documentary about Pauline Kael, arguably the most influential film critic ever to write about movies, is that it’s too reverential of its subject. In Garver’s film, What She Said: The Art of Pauline Kael, we do get the warts, but they’ve been airbrushed, even if only slightly. The film also tries to pack an entire lifetime into its 100 minutes, which often gives the feeling of rushing through the major events of Kael’s life.
Those few reservations aside, What She Said is a consistently entertaining and enlightening look at Kael. Every person – this writer most certainly included – wrestling with their movie obsession, as well as the movies themselves, owes her a great debt.
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“The problem is concentration of ownership…” The entirety of French economist Thomas Piketty’s argument about what’s wrong with our society and how to fix it can be boiled down to those six words. Obviously, that’s an oversimplification, and Piketty’s nearly 700-page examination of wealth and income inequality, Capital in the Twenty-First Century, goes into exhaustive detail on the subject. It was published in the original French in 2013, and the English translation released in 2014 reached number one on The New York Times Best Seller list a month after publication. New Zealander filmmaker Justin Pemberton has turned the tome into an eye-opening, and at times a rather eye-popping, new documentary.
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I came for Nicolas Cage, I stayed for Richard Stanley. In the newest adaptation of an H.P. Lovecraft tale, Color Out of Space proves itself to be a delightful throwback to horror movies in the vein of Event Horizon and the original The Evil Dead. It’s a well-paced, atmospheric shocker that entertains as it horrifies.
Set on a rural farm on the east coast, Color Out of Space centers on the Gardner family. Husband and wife Nathan and Theresa have moved their three kids, teenagers Lavinia and Benny and younger son Jack, to Nathan’s father’s old farm. It’s a classic getting-out-of-the-rat-race setup, with the characters all making adjustments to their new lives.
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“Flash! AH-AH!” Like millions of other movie fans my age, I grew up watching (and watching, and watching, courtesy of my parents’ HBO subscription) the 1980 cheese-fest Flash Gordon. The movie was a cash-grab attempt by producer Dino De Laurentiis to capitalize on the success of a little movie called Star Wars. Ironically, George Lucas’s original idea was to make a Flash Gordon film, but when De Laurentiis wouldn’t sell him the rights, Lucas went off and created the Star Wars universe instead.
The star of the De Laurentiis produced and Mike Hodges directed Flash Gordon was Sam J. Jones, a relative unknown in Hollywood. The sci-fi spectacle about a New York Jets quarterback who travels to another planet in order to save Earth from a sadistic despot was only the actor’s second credit after the Blake Edwards comedy 10. The documentary Life After Flash covers the production, release, and legacy of Flash Gordan as well as Jones’s ups and downs in life following his big break portraying the comic strip hero.
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Never Rarely Sometimes Always (NRSA) is the kind of stripped down, deeply personal filmmaking that is a worthy successor to the independent cinema of someone like John Cassavetes. That director’s work on films like A Woman Under the Influence, Faces, and Shadows emphasized naturalistic performances and a gritty realism born of their limited budgets. In Never Rarely Sometimes Always, director Eliza Hittman focuses on a young girl with few options and little support while dealing with an unwanted pregnancy. The film is filled with grace and compassion; it’s a luminous example of humanism in art.
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There is one scene in Selah and the Spades that gets to the root of writer/director Tayarisha Poe’s tale of control and the damage caused by an insatiable thirst for power. It comes late in the film, and it’s between the titular high school senior Selah and her young protégé, Paloma. It’s a test of loyalty. Selah’s unrivaled power as the head of the Spades is in question. The Spades is the most powerful of the five factions – think the five families in The Godfather – serving up every vice you could think of to the students of a well-to-do Pennsylvania boarding school.
Selah asks Paloma to prove her fealty. The scene perfectly captures – in no small part thanks to the performance of Lovie Simone, who plays Selah – just how drunk our hero is on her own power. We see Paloma in the next scene, walking in a daze with bloody knuckles. She has done what Selah asked. She has, in this moment, anyway, passed the test.
If only the rest of Selah and the Spades was as focused and compelling as that one scene.
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Atlantics is a ghost story that weaves themes like economic inequality and crushing poverty into its romantic drama plot. That may seem overwhelming, but it never is in the hands of writer and director Mati Diop. This is Diop’s feature film directorial debut, and the incredible atmospheric tone of her picture, mixed with the rich subject matter, make Atlantics an indelible storytelling experience. Diop now holds the distinction as the first black woman ever to direct a film included in competition at the Cannes film festival. That’s no doubt a consequence of the festival’s past organizers overlooking many other deserving filmmakers, but Diop is a hell of an artist. Her movie is a great achievement; one that earned this bit of filmmaking history.
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You can take the title of the documentary Human Nature as a reference to a few different ideas the film raises. Probably the most apparent – especially after you’ve seen the movie – is the way a recent and revolutionary scientific discovery brings with it the ability for the human species to alter our very nature, what makes us human. I took it as a nod to our one unique trait, the thing that has caused all of our triumphs and pain. Our human nature is defined by our complex brains and our endless quest for discovery and knowledge about how the universe works. That knowledge, as one man puts it in archival footage of a scientific conference that opens the film, can be used either “for deliverance, or equally for disaster.”
Human Nature is a thought-provoking film that is by turns wondrous and terrifying.
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There are perhaps three scenes in the film Swallow that actually achieve an emotional truth that resonated with me. They all feature the main character, Hunter, and her interactions with people trying to help her. Two of those scenes are between Hunter and her therapist. One takes place under a bed. Hunter has crawled under it to escape the world. Richie, Hunter’s husband, along with his parents, have hired Luay, a caretaker from Damascus, to look after Hunter. Luay crawls under the bed with her to make sure she’s alright and to keep her company. These scenes made me believe the connections between the characters within them.
The rest of the movie is filled with interactions I didn’t believe for a second.
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The theater closures and new release postponements caused by the coronavirus pandemic have affected my review release schedule. Because the local release of the movie I was going to write about this week has been indefinitely pushed back, I’ve been asked to hold onto my review of it until it opens here in Dallas. So, I’ve decided to take a look at the next film in my ongoing 100 Essential Films series. If you missed the first one, you can find the explanation for what I’m doing here.
Film number eight is the second in a trio of films from 1939, a banner year for movies. Mr. Smith Goes to Washington is the second entry in the series from director Frank Capra (the first was It Happened One Night).
This one was a first viewing for me. While I didn’t respond to it quite as positively as I would have guessed based on its reputation, I did admire the cast, Capra’s direction, and some of the plot elements. Like every other film in the series so far, I borrowed a Blu-ray through intra-library loan (thankfully I got it before our library shut down due to a city ordinance to combat coronavirus).
I suspect this might be the first movie to showcase the proverbial “smoke-filled back room,” where political deals are hashed out among power brokers. I’m not sure, though. I haven’t had much time to do research, as I’m focusing on my social distancing. Stay safe out there!
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It would be hard to overstate the rapturous reaction I had to Portrait of a Lady on Fire. There is an overwhelming beauty to every aspect of the picture. From the cinematography, shot composition, and acting, to the delicate lyricism with which writer/director Céline Sciamma tells her story, this is an exquisite work of art.
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Birds of Prey might be the most entertaining DC movie yet – yes, including Wonder Woman – even though I have a few major reservations about it. The cast, just about down to a person, are all going for broke here. Director Cathy Yan’s handling of the action sequences, especially one that involves our hero, a one Harley Quinn, chasing a speeding car on roller skates, is inventive and fresh. The movie’s tone, while still a bit on the bleak side (this is the DC universe, after all), is sarcastic, snide, and overall pretty funny. That all translates into a mostly enjoyable time with this latest comic book movie outing.
Still, the movie’s absolute glee at its own disturbing level of violence was somewhat off-putting.
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The documentary Citizen K filters the last thirty years of revolutionary upheaval and the march toward dictatorial rule in Russia through one man, Mikhail Khodorkovsky. In the form of Khodorkovsky – the Citizen K of the title – director Alex Gibney reveals a complicated figure and gives us the unlikeliest of heroes. The thread of personal metamorphosis that Gibney tracks in Citizen K is what makes it such a dynamic and thought-provoking film.
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What’s the next step up from cotton candy when comparing entertainment to food? Pop rocks? Gummy bears? I’m asking because Netflix’s release To All the Boys: P.S. I Still Love You is that. It’s not as ephemeral as cotton candy; it feels more substantial. That’s mostly due to its charm, which comes from the effervescence of the entire cast. P.S. is the sequel to Netflix’s To All the Boys I’ve Loved Before, the movie that took the internet by storm in 2018. Both films are based on author Jenny Han’s trilogy of best-selling books. The third film is in post-production as of this writing.
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The new film from directing team the Safdie brothers is a kinetic roller coaster ride of a movie. It imparts the exhilarating highs and soul-crushing lows of its main character, the inveterate gambler (who is also a conman in his own right) Howard Ratner. Adam Sandler, in a role he was born to play, gives Howard – and the movie – an unseemly, queasy propulsiveness. He’s aided in this by the Safdie brothers’ singular directing style and their breakneck-paced screenplay – which they wrote with long-time collaborator Ronald Bronstein.
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If you're planning on watching the Oscars tonight, but you didn't have a chance to play catch-up with most of the nominees, I'm here to help. It's no fun when you watch an awards show but you know next to nothing about the movies that are up for the big awards. So, I've collected my reviews for all nine Best Picture nominees, and I've also ranked them in order of what I'd like to see win. Number one is what I most want to win, number nine is what I least want to win. I haven't provided any commentary besides the ranking, because if you want to know what I think of each one, you can just click the link and read my original review. I've also included links to my reviews for movies nominated in other categories. Happy reading, and happy viewing tonight!
The 2019 adaptation of Louisa May Alcott’s 1868 novel Little Women has won box office success plus plenty of critical acclaim and awards season honors, including Oscar nominations for Best Picture, Actress and Supporting Actress, Adapted Screenplay, Score, and Costume Design. But among all those Academy Awards honors, it’s the one notable snub that stands out. Missing from the list is a nomination for Greta Gerwig’s direction. This omission particularly stings because – in addition to the long history of female directors being overlooked in the category – it’s Ms. Gerwig’s superb directing work that stands out among all the other excellent elements of the film.
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This is the next entry in my ongoing 100 Essential Films series. If you missed the first one, you can find the explanation for what I’m doing here. Film number seven needs no introduction, really. It’s a movie that most of us know by heart and have seen dozens of times. It’s The Wizard of Oz. I’ve probably seen it a dozen or more times, but this viewing was certainly the closest attention I’ve ever paid in terms of theme and production detail. I tried my hardest not to simply be swept away to the magical land of Oz; that’s no easy feat, which you know if you love the movie as much as I do. Like every other film in the series so far, I borrowed a Blu-ray through intra-library loan. It was the 2013 release in commemoration of the film’s 75th anniversary. The transfer is gorgeous.
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James Mangold’s very manly and patriotic sportscar racing movie Ford v Ferrari is about as slick as big Hollywood blockbusters come. The director with credits as varied as 2001’s Kate & Leopold, the 2007 remake of the classic western 3:10 to Yuma, and not one, but two comic book franchise films about the X-Men’s Wolverine character has turned his craftsperson’s talents to the sports biopic. Ford v Ferrari feels like a movie we might have gotten 20, maybe even 30 years ago. And I mean that in a good, throwback sort of way.
The script – originally penned by Jason Keller and rewritten by screenwriting brothers Jez and John-Henry Butterworth – features, if memory serves, exactly one female speaking part. At one point, that character is reduced to sitting in a lawn chair as she watches our two manly-men heroes resolve their differences with an old-fashioned American fist fight. The rah-rah patriotism of the picture – which only ever flirts with outright jingoism – brings to mind something like Top Gun, but with race cars instead of fighter jets.
All that aside, Ford v Ferrari is also a damn good time at the movies. It’s a crowd-pleaser that offers unadulterated movie spectacle.
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