The Beguiled Review

 

The Beguiled

Dir: Sophia Coppola

Starring: Nicole Kidman, Kirsten Dunst, Elle Fanning, Colin Farrell, Oona Laurence, Angourie Rice, Addison Riecke, and Emma Howard

In the midst of the summer blockbuster season, it’s understandable that we would get a remake or ten. So why am I making this statement in review about Sophia Coppola’s “The Beguiled”, because, unknown to a few people, it’s a remake of a Don Siegel directed film of the same title from 1971, which starred Clint Eastwood. “The Beguiled” is one of Mr. Eastwood’s most overlooked and severely underrated films. A tale that straddles the line of horror and melodrama, it offered Mr. Eastwood an opportunity to take a break from the western hero character that had defined his early work and ushered in a transition for the actor to become the updated hero with a gun in “Dirty Harry”. 

Sophia Coppola has quite a career already; “The Virgin Suicides” and “Lost in Translation” are two highlights that display the director’s talented eye for filmmaking. It may seem obvious to those that are familiar with Ms. Coppola’s catalog to understand why she would remake “The Beguiled”, the director has a particular talent for crafting strong and complicated female leads but also creating an interesting and multifaceted ensemble. Ms. Coppola’s version of “The Beguiled” is a captivating work, one that is beautifully photographed and filled with absorbing characters.

While collecting mushrooms in the smoke of the morning surrounding an old plantation house in the South sometime during the Civil War, young Miss Amy (Oona Laurence) encounters a wounded Union soldier named John McBurney (Colin Farrell). Showing compassion on the man, Miss Amy helps him back to her home, a former school for girls that is run by Miss Martha (Nicole Kidman). The small group of women nurse Mr. McBurney back to health, an agreement is made that once he is better the group will call the Confederate troops roaming the area to take him into custody. However, Mr. McBurney manipulates his way into the lives of these women, turning them against one another..

Ms. Coppola’s style of filmmaking is restrained and quiet at times, ethereal in the way the narrative and camera evokes emotion from certain scenes and characters. The entire location is immersed in a haze of canon smoke; you can feel the destruction and isolation of the world around them. The design of the environment is exceptional, many times resembling a fairy tale in certain moments. 

The narrative here still brings in the element of fear; is Mr. McBurney someone who can be trusted? Are his intentions pure? Where the original film went for something more akin to a gothic horror film that reveled in the exploitive elements of sex and violence, Ms. Coppola’s is more interested in developing a dramatic thriller that focuses on the atmosphere created by people and the subtle characterizations associated with women of different ages and experiences. For the director’s style, “The Beguiled” works better as the moody character piece that she is trying to create. To assist, the film also adds in some interesting narrative facets. There is a greater emphasis on the outside world invading and influencing the environment of the women. The emotions that Mr. McBurney makes the women feel allow them to envision a life away from the plantation, a life some of them are desperately trying to reach.

Unfortunately Ms. Coppola’s effort erases a significant aspect of this time period, chiefly the aspect of slavery. While the film never makes it a point to let the politics of the world surrounding the plantation to invade, aside from a few Confederate soldiers who stop by momentarily, this film is content to stay with the women and their uninvited guest. 

Nicole Kidman seems made for the role of Miss Martha, her cold and methodical personality fits the structure of the school. You can feel her influence on every character in the film. The director’s reliable collaborator, Kirsten Dunst, is also great as Miss Edwina. Ms. Dunst has a consistent look of remorse on her face, it’s not until the soldier enters the equation that Miss Edwina shows a glimmer of a smile, a glimmer of hope. Elle Fanning also shines as the meddlesome and coy Miss Alicia, playing the character somewhat naïve but also completely understanding of what she is doing, her connection with Mr. McBurney is played as a game. 

“The Beguiled” is a beautifully composed film, a signature quality of Ms. Coppola’s style in crafting scenes and establishing an environment. While the energy in the film wanes slightly at times, in the steady hands of Ms. Coppola it’s still a haunting and subversive take on the original story.

Monte’s Rating

4.00 out of 5.00

The Big Sick Review

 

The Big Sick

Dir: Michael Showalter

Starring: Kumail Nanjiani, Zoe Kazan, Holly Hunter, Ray Romano, Anupam Kher, Zenobia Shroff, and Adele Akhtar

Relationships require a lot of work in general; add in complicated and unexpected life events and it makes it even harder. Comedian Kumail Nanjiani and writer Emily V. Gordon are married, their relationship was struck with a difficult life event and they turned this scary encounter into a script that is the basis for the film “The Big Sick”.

It’s not hard to guess what happens in the film, the title alone is spoiler enough, but how the film develops the relationship between a comedian looking for an opportunity and a college student trying to focus on her future is the big accomplishment here. While the film exists within the stranglehold of romantic comedy familiarity, the performances and narrative do not. Kumail Nanjiani and Zoe Kazan have exceptional chemistry and the depth of the narrative keenly interweaves the relationship drama with cultural concerns/misunderstandings. “The Big Sick” is one of those films that will charm you into submission.

Kumail (Kumail Nanjiani) is a struggling Pakistani comedian, working on his set in a nightclub with other comics looking for a break. Kumail comes from a family of devout Muslims, with a mom (Zenobia Shroff) and dad (Anupam Kher) who are looking to arrange a marriage for their son. Kumail, born and raised in Chicago, is living the American life; when he tells his parents that he is going to pray before dinner, he is actually looking at videos on his phone. Kumail meets Emily (Zoe Kazan), she heckles him during a set, and after some persuasion from Kumail the two get serious. Kumail keeps his new relationship from his parents, but he also keeps his parents intentions to marry within his culture from Emily. When Emily finds out the two break-up, then Emily falls ill, forcing Kumail to deal with everything that he has been trying to avoid.  

Romantic comedies have a tendency to operate in very familiar and formulaic ways. “The Big Sick” is familiar at times but it is far from formulaic. What keeps it from trending the same territory with the same results is the accomplishment of the performances and the narrative tone that keep the developments fresh and somewhat off kilter. 

Mr. Nanjiani has a natural appeal, he has a deadpan way of telling a joke but can also switch to a serious demeanor quickly. Zoe Kazan is consistently good, a great counterbalance to her costar. Ms. Kazan is offered a few moments, especially during their breakup, that are heart breaking to watch. Veteran actors, Holly Hunter and Ray Romano, play Emily’s parents. Ms. Hunter is fantastic and Mr. Romano is offered room to let his specific style of comedy to shine through. It should also be noted that famed actor Anupam Kher, who has done more than 500 films and has won numerous awards for his Hindi films, plays Kumail’s father. 

The narrative does a great job creating authenticity within certain scenes. While one film might turn the illness aspect into the primary focal point, “The Big Sick” would rather display how people cope and deal with difficult situations and how culture treats aspects specific to family and raising children. While Emily’s parents may seem completely opposite of Kumail’s parents, they are actually both trying to setup the best future for their children. While one film might use the environment of a standup comedy club as an easy way to incorporate jokes, this film instead focuses on the dynamic of how vulnerable and isolating it would feel to be on a stage trying to connect with strangers, similarly to how Kumail may feel as a Muslim living in America or how he may feel being in a mixed relationship. It’s all handled with care, with attention given to the small and sometimes complicated bits that flesh out a script and make characters more relatable and stories more authentic.

“The Big Sick” hits so many satisfying notes it’s almost impossible not to find something that makes you smile. The jokes are sweet but also edgy and the romantic qualities are sincere, add in some really great performances and the combination is an enjoyable trip down relationship road.

Monte’s Rating

4.25 out of 5.00

Baby Driver

 

Baby Driver

Dir: Edgar Wright

Starting: Ansel Elgort, Kevin Spacey, Lily James, Jon Hamm, Jamie Fox, Eiza Gonzalez, and Jon Bernthal

What's you favorite driving song? Do you like something heavy and loud? Do you like something with some rhythm? I'm impartial to soul and funk music, "Jungle Boogie" by Kool and the Gang or "Gonna Have A Funky Good Time" by James Brown. Regardless of how cool I may think my driving music is, it will never be as cool as the songs, and just about everything else, in director Edgar Wright's "Baby Driver".

Mr. Wright has always had a distinguishable style, even back in his early days you could notice it, however with every film in his growing catalog the director has only become better at combining his unique editing, camera, and narrative flow into a tightly packaged work. With "Baby Driver" the director may have perfected his style, making a film that is ridiculously fun and filled to the edges with creative filmmaking elements.

It's a simple story about a young man looking to get out of bad situation. Baby (Ansel Elgort) is a driver, though his form of transportation has him chauffeuring clients wearing masks and holding pistols. Baby owes a debt to Doc (Kevin Spacey), the brains behind the heist operations, and is close to getting square, which will allow him to leave the life of crime behind. All baby needs to do is finish one last job. 

Who doesn't like a good heist film? That's exactly what "Baby Driver" is, a film about bad guys trying to get rich. Stuck in the middle of these shady characters is Baby, a young man who organizes every aspect of his life around music. In the literal soundtrack to his life, Baby jauntily shuffles his way to the coffee shop with Bob & Earl's "Harlem Shuffle" perfectly matched to every step, turn, and even breath taken by Baby. The joy during many of the scenes comes from the balance of editing and the use of music. The music tells more story than the words spoken by the characters. The emotion felt during certain song choices tells you more about the characters than any word they could utter in the film. Every song is hand picked for the scene, it's an eclectic jukebox of music that ranges from soul, rock, hiphop, punk, and jazz. You don't have to be a music fan to like this movie, but music fans will get an absolute thrill over the use of some of these songs. 

The ingenious editing accommodates the music perfectly. Cuts match tempo and actions are choreographed in near perfect synchronicity to the music. It's not the first time Mr. Wright has done this; in "Shaun of the Dead" a zombie is pummeled with Queen playing in the background, in "The World's End" beers are guzzled in syncs to a tune by The Doors, and in "Scott Pilgrim vs. The World" the entire film is predicated on a band fighting villains with music. But there is something different about how the director uses this technique here, in the past it was a purposeful element that played a supporting character but in "Baby Driver" its an exercise, a process to compose an entire film with a beating musical pulse. 

What the film lacks in the form of an original story it more than accommodates with its creative use in every other element that composes a film. The technique is wholly unique and the performances are nuanced and playful. Ansel Elgort plays Baby with a quiet charm while the other players like Kevin Spacey, Eiza Gonzalez, Jamie Foxx, Jon Bernthal, and Jon Hamm play their versions of tough criminals with bad attitudes with a mix of cartoon menace but also intimidation when the story takes a turn for the serious. Lily James, playing the love interest to Baby, glows in the small supportive role as well. 

"Baby Driver" doesn't do much to heighten the modern take of the heist film, but what it does in composing all the aspects around it is absolutely impressive. It's one of the most entertaining pieces of film this year, and quite possibly one of the best music videos ever made.

Monte's Rating

4.50 out of 5.00

47 Meters Down Review

 

47 Meters Down 

Dir: Johannesburg Roberts

Starring: Mandy Moore, Claire Holt, Matthew Modine, Yani Gellman, Santiago Segura, and Chris Johnson

It's been more than 40 years since the release of "Jaws" and people are still afraid to go in the water. That's the undeniable quality of the film, that its effect on generations of film fans is still, firstly, fear of what lurks in the water. Since its release numerous films have tried to emulate the qualities that so richly personify the film but very few have come close 

Andrew Traucki's "The Reef" effectively captured the tension, Renny Harlin's "Deep Blue Sea" crafted the creature feature quality, and Chris Kentis' "Open Water" had the character dynamics; but where each achieve their own identifying quality they are all completely influenced by "Jaws" in one way or another. 

Director Johannesburg Roberts' film "47 Meters Down", which was released last year on DVD but was pulled for a wide theatrical release, takes the shark attack film and places it deep beneath the surface of the water. Mr. Roberts' film is full of claustrophobic atmosphere, a film that makes the most of the simple premise of monsters lurking in the dark.

Lisa (Mandy Moore) and her sister Kate (Claire Holt) are vacationing in Mexico. Kate, the adventurous of the two, is helping Lisa cope with a recent break-up. In an effort to show her ex-boyfriend how adventurous she can be, Lisa is coerced by her sister to go on an excursion in a shark tank. Unfortunately things take a turn for the worse when their winch breaks and they plummet to the ocean floor surrounded by sharks. 

The simpler you can make a shark film, the better it usually is. In the case of "47 Meters Down" it's about as simple as a film like this could get. Mr. Roberts doesn't waste too much time on dry land, aside from a simple introduction to the two sisters personalities and a little back story that persuades the characters decision to get inside a rusty shark tank, the film gets down to the fearful focus of the situation as quick as it can.

It's within this atmosphere that the film takes shape, turning the murky waters of the deep ocean into the same atmosphere you might associate with a haunted house. In the same way, each time one of characters ventures into the darkness to help assist their escape from a watery tomb, the film begins to feel like you're watching someone juggle sharp knives; the element of sudden, quick danger becomes ever-present. This structure and environment are the shining elements of this film, one of the primary reasons it works.

Unfortunately, with the simplistic design there is less time to focus on character development, even though for a small moment in the beginning the film introduces a character element between the siblings that is interesting. Once the two sisters only have each other to depend on deep in the ocean, the film begins to incorporate some nice twists regarding equipment issues and the physiological aspects of being so deep in the water. But neither of the actors are provided much more than making the same statements and asking the same questions, "I'll be right back", "Don't leave me down here", "Watch out"; it becomes laughable during times that are suppose to be intense.

"47 Meters Down" is ingenious in its simplicity, a story that operates to build moments of tension and offer the occasional jump scare. While "Jaws" will undoubtedly never be duplicated, its effect on the genre will always try to be emulated; in that regard this film works much better than most.

Monte's Rating

3.25 out of 5.00

It Comes At Night Review

 

It Comes At Night

Dir: Trey Edward Shults

Starring: Joel Edgerton, Carmen Ejogo, Christopher Abbott, Riley Keough, and Kelvin Harris Jr. 

In John Conrad's cynical, politically influenced work "Under Western Eyes", the author takes steps in describing themes of terrorism, the degradation of character, and the suffering experienced by ordinary people caught in the wave of political influence. Mr. Conrad makes a poignant statement during the course describing how two factions of society lived in pre-Revolutionary Russia when it is stated, "only that a belief in a supernatural source of evil is not necessary; men alone are quite capable of every wickedness".

It's within this nature of humanity that writer/director Trey Edward Shults positions his new film "It Comes At Night"; within the turmoil that humanity faces with the unknown, within the natural distrust that exists deep in the souls of humans, within the emotions that motivate choices to act without compassion. In the same way the genre of horror effectively plants its most troublesome and terrifying roots with these same elements, blossoming monsters, madmen, and demons, Mr. Shults builds a film that is an unnerving look into the monsters that humans can become in the face of fear, desperation, and loneliness. 

An unknown terror has forced humanity into isolation, survival has come down to wearing gas masks and carrying weapons whenever you venture outside. Paul (Joel Edgerton) runs a meticulous house with Sarah (Carmen Ejogo) and Travis (Kelvin Harris Jr.), maintaining strict rules that includes not going out at night, keeping a certain red door locked at all times, and separating themselves from any other outside human interaction. During one evening a young man named Will (Christopher Abbott) tries to break into Paul's home, after a torturous interrogation Paul compassionately decides to invite Will and his family into his home. Paranoia and distrust take over, making survival a deadly game for the two groups. 

Mr. Shults first film, "Krisha", was an uncompromising character study that functioned on the surface as a drama but underneath was composed in the same way a filmmaker would craft a horror film. "It Comes at Night" operates very much the same, an analysis on how people function in a world without rules, in a world where the element of trust has all but disappeared. Placing characters within this treacherous environment provides the director opportunity to build tension through the interactions of the people living together and a mystery concerning how the characters will react during certain situations. However it also crafts a film that functions with all the mannerisms of a horror film, from the trepid movements into the darkness, the manipulative camera movements, and the use of sound to heighten the atmosphere. The monster here is keenly crafted as noises and movements in the darkness of the woods. In a nice touch the camera will many times linger on a specific point of perspective, a red door, a tree, an open road, just long enough to make the viewer investigate the frame looking for something that isn't always there.  

Mr. Shults wisely keeps the emphasis on the real monsters in the film, which is humanity. You get the feeling early on that something isn't right with Paul and the people living with him, you can make the guess that this group of people have already had to make terrible choices along their journey into obscurity. For Paul friendship and companionship are aspects long forgotten and the composition of the family dynamic doesn't seem to exist. Paul's relationship with Sarah and Travis is uncomfortable and awkward, so when he encounters a more traditional family unit he displays compassion, this family in need is sort of a symbol of hope in a hopeless world. Watching this group of people progress through different stages of trust is fascinating, and watching their ultimate dismantling is heart breaking. 

The film maintains a deliberate pacing, never getting too far ahead of itself though in a few moments not offering enough narrative development to achieve the same impact that it achieves with its third act. This film is less a horror film and more a meticulously paced character study, though that doesn't make it any less scary. "It Comes At Night" may not be the film that makes you jump in your seat but it's the kind of film that will stay with long after you leave the theater.

Monte's Rating

4.00 out of 5.00

The Mummy Review

 

The Mummy

Dir: Alex Kurtzman

Starring: Tom Cruise, Sofia Boutella, Annabelle Wallis, Jack Johnson, and Russell Crowe

The legendary Boris Karloff portrayed many iconic characters throughout his long career, The Monster in "Frankenstein" and "The Mummy" are undoubtedly two of the most recognizable. Mr. Karloff's role in these films is a fundamental building block in creating the foundation for Universal Pictures, which would go on to make the classic monsters we can all identify today.  

Tom Cruise has been chosen to lead the Universal Monster universe in a new direction, with a new franchise. In recent years, the actor has become somewhat typecast as the "smartest guy in the room" action hero and he's actually quite good playing this character. Mr. Cruise has a charisma about him and a dedication to keep everything authentic, even down to performing his own terrifying stunts or taking roles earlier in his career that were different and out of character. This makes it all the more perplexing when you consider his completely miscast role in Universal's newest "The Mummy", which is an introductory piece to the new "Dark Universe" concept that aims to bring all the classic monsters into the same united world. Mr. Cruise, talent and all, just doesn't belong in this film and the film itself is a terrible first step for the design of this monster franchise.

Nick Morton (Tom Cruise) is a soldier with a penchant for antiquities, ones that he steals and sells for his own gain. Nick has a sidekick named Chris (Jake Johnson), the voice of common sense to Nick's insane ideas. The two encounter some resistance in a small Iraqi village, but after calling in an air strike that decimates the area a tomb is uncovered hidden below the surface. The tomb belongs to a princess named Ahmanet (Sofia Boutella) who was banished far from her kingdom after murdering her family. Her vengeful resurrected body is unleashed on the world and Nick has been chosen to assist in her devious plan. 

The setup may not be exactly identical to the last incarnation for this ancient monster, which came out in 1999 and was directed by Stephen Somers and starred Brendan Frasher, though it does share quite a few moments, most obvious a giant dust storm with the face of the villain in it. However, it also pulls more influences from other films. You'll get an awful attempt to emulate a shining aspect of "American Werewolf in London", a piece of the underrated 80's horror gem "Lifeforce", and even a little underwater zombie mayhem care of Lucio Fulci's "Zombie" (all that's missing is the shark). Though, while this film pulls material from some good places, it never fully assists the film in crafting anything that helps the story or characters.

Again, this franchise exists within the realms of the Universal Monster's. The film never hides the fact that this is basically Universal's version of Marvel's "Avengers" saga. You actually get the message loud and clear in the first few moments of the film. While this isn't necessarily a bad thing, in fact it's what many horror genre fans have been waiting for since they saw "The Monster Squad" or the "Abbott and Costello Meet..." films, it never proposes the material in interesting ways. Instead "The Mummy" feels contrived and rushed. Characters are introduced and developed less by meaningful interactions and more by scenes of them running from one place to another either in search of or retreat from the monster. 

Tom Cruise is the star here, playing what seems to be a bumbling thief who has heroic moments. But his character and performance don't match the tone the film is trying to achieve. The two female leads in Sofia Boutella as The Mummy and Annabelle Wallis as a researcher, are overlooked. Ms. Boutella has moments to shine when she actually gets to play the monster, most of the time she is tied up or seen in flashbacks. Ms. Wallis is simple hampered with a terrible role as merely a liaison to Nick's adventure.

"The Mummy" tries hard to bring in all the elements that make for mindless summer blockbuster fun, unfortunately it struggles to even be a film that distracts with visual entertainment for near 2 hours. The spectacle never feels big enough, the interesting characters are only provided a few real moments to be used, and the glaring plot holes raise questions consistently throughout. It's an unfortunate mistake that makes "The Mummy" less of step towards a franchise and more towards a hasty exit from the summer cineplex. 

Monte's Rating

1.50 out of 5.00

1953 - Random Cinematic Year in Review

A Random Cinematic Year In Review

1953

 

 By: Emery Martin-Snyder

Preface: I have decided to write this series at least in part because I don't make it out to see new films very often and I've found that I spent too much time at the end of the year attempting to see all the big releases (many of which I'm not even interested in) for no other reason than to make an obligatory 'year end list'... This is a way that I can continue writing about films without feeling the pressure to see a bunch of stuff that I wouldn't otherwise take the time to. I'll still see most of them eventually, just on my own time. I use a random number generator to pick a year and I use letterboxd.com to determine the actual release year.

1953 saw two major historic events that had and continue to have major cultural ramifications on the artistic and entertainment industries. Both of which, over six decades later, have come to be an accepted standard in the world we live in, for better or worse.

The first event to highlight of 1953 took place on August 12th. This is the date that the U.S.S.R. tested their first thermonuclear device, the JOE-4, a hydrogen bomb. This event effectively added a true and definite Mutually Assured Destruction (M.A.D.) aspect to the Cold War. Hydrogen bombs differ from the previously detonated atomic bombs that leveled Hiroshima and Nagasaki eight years prior because of a bunch of science stuff that essentially translates to way bigger explosions. The combined energy of both devices dropped on Japan in 1945 was approximately 1000 times less than that of our most powerful hydrogen bombs.

Less than a year later, as part of “Operation Castle”, the U.S. would drop Castle Bravo in Bikini Atoll, yielding approximately 2.5 times more energy (and nuclear fallout) than had been expected. The crew of a Japanese fishing boat named Daigo Fukuryū Maru that was in the area would become the world’s first victims of a thermonuclear device, including one fatality of acute radiation syndrome. This turned out to be the inspiration for the greatest cultural distillation of fear in cinematic history… I am of course referring to Ishiro Honda’s GODZILLA (or GOJIRA more specifically.)

Other master auteurs would offer up their cinematic apprehensions regarding nuclear fear in the coming years. Films like Akira Kurosawa’s I LIVE IN FEAR (’55), Stanley Kubrick’s DR. STRANGELOVE (’64) and Andrei Tarkofsky’s THE SACRIFICE (’86) are only a few of the most prolific examples. This is still a very pressing issue today. In fact, just last year cinefiles were treated to a highly underseen update on the cultural reflection of that fear with Hideaki Anno & Shinji Higuchi’s SHIN GODZILLA. This film shows us how little things have changed in the past 63 years… and it does so in beautiful color… I watched it on my TV.

Segue anyone?... If I may lighten the mood a bit, the other significant historical event that happened in 1953 was the FCC’s second iteration of the standard known as the National Television System Committee or NTSC. This newer standard is what allowed for the broadcast of color television. Various processes of filming and projecting a film in color had been around for a long time, as early as 1902 if you count additive coloring systems. But over 50 years later and over 25 years after the invention of the television, there still hadn’t been a system in place to actually broadcast anything that took up more bandwidth than black and white. It would still take about a year before the 1954 Tournament of Roses Parade became the first national color broadcast. Slowly but steadily, the medium followed suit and by 1965, half of all prime time programs were broadcast in full color.

So if you’re in your mid 30’s like I am and you remember growing up in the 80’s watching ABC’s “Wonderful World of Disney” every Sunday, give the FCC a call and thank them for the NTSC. Or just say it out loud in front of your Smart TV, Amazon Echo, Android device, Apple TV or Kellyanne Conway’s microwave… They’re listening.

Emery's Notable Five

5 – SUMMER WITH MONIKA (Directed by Ingmar Bergman)

 

This, like most of Bergman’s work begins with a rather capricious and light hearted tone and ends on a far more serious note. By its final credits, you feel as though you have experienced the equivalent of a cinematic gut-punch.

4 – TOKYO STORY (Directed by Yasujiro Ozu)

 

If you think that you have an aversion to small stake quiet family dramas, you’ve never experienced Ozu. His films are touching and impactful without being tragic or overwrought. His set direction, his shooting style and especially his actor’s composure gives the relationships in this film that perfect ‘lived in’ feeling that a lot of Hollywood dramas lack. To many of his fans, this is his best film. I love it but it’s not my favorite. It is however, a great place to start if you are currently unfamiliar with his work.

3 – UGETSU (Directed by Kenji Mizoguchi)

 

In a lot of ways, this is a story that is as old as time. It’s a stern warning against the perils of unwarranted ambitions and greed. I like old parables, especially when seen though unique traditional lenses. The storyteller is usually more important than the story. But in this case, I’m kind of a sucker for both.

2 – THE WAGES OF FEAR (Directed by Henri-Georges Clouzot)

 

Nicknamed the French Hitchcock, Clouzot had been sharpening his figurative tension building cinematic teeth for years before he made this film. This is the very definition of a high-concept thriller. Its beauty is in its simplicity, four guys in two trucks full of nitroglycerine drive up a bumpy road. I can’t really articulate why this works so well but it’s one of the most respected pieces of cinema ever and for good reason.

1 – PICKUP ON SOUTH STREET (Directed by Samuel Fuller)

 

This is my favorite Samuel Fuller and that is saying a whole lot. I flat out love a multitude of his flicks. The dialogue in this film is robust to say the least. You will likely find yourself pretending to understand all the jargon in order to make yourself feel cool. That’s what I do. The clear standout in this flick is Thelma Ritter’s Moe, an informant trying to make enough money to for a burial plot. She’s quirky and unique, strong and opinionated… she’s like a manic pixie stool pigeon. I don’t think it’s possible not to fall in love with this film… seriously... Fight me!

Wonder Woman Review

 

Wonder Woman 

Dir: Patty Jenkins

Starring: Gal Gadot, Chris Pine, Robin Wright, Connie Nielsen, Danny Huston, David Thewlis, Said Taghmaoui, Ewen Brenner, Elena Anaya, and Eugene Brave Rock

While walking into the anticipated screening of director Patty Jenkins' film "Wonder Woman", two women were walking a few steps in front of me and one of them proudly said, "We finally have a superhero we can call our own". It's a pertinent comment because this "Wonder Woman" film is a huge step in the right direction for female fronted superhero films but also the DC Extended Universe, which has seen a string of disappointing superhero/antihero films with "Batman v. Superman" and "Suicide Squad".

When looking at the history of superhero/comic book films it provides an even greater depth to the comment made by two women walking into a predominantly male driven character genre of film. And when you look at the comic book films that promote a female lead, the results are less than favorable. DC Comics "Supergirl" was released in 1984 and starred Helen Slater, Peter O'Toole, and Faye Dunaway. The film was poorly received and felt like a cheap jumpstart for Christopher Reeves' "Superman" franchise which by this time was basically defunct. Marvel's "Elektra" which starred Jennifer Garner at the height of popularity suffered from poorly designed characters and storylines. "Catwoman" starring Halle Berry was a complete mess of a film that ignored much of what turned this character into an interesting hero, though the character was originally a villain. The best example of a female focused comic book film is probably the cult classic "Tank Girl" or the fantastic graphic novel "Ghost World", but both of these films venture far from the realms of the superhero mythos.

Fortunately, Ms. Jenkins has crafted a much better film than the ones just mentioned; "Wonder Woman" focuses on creating a good origin story for the character, something other films in the DC Extended Universe have struggled with. It also does a great job of separating this character from the others around her, primarily separating a woman from a bunch of men, and letting Wonder Woman discover her own path to heroism.

The film introduces Diana (Gal Gadot) as a fearless child eager to take on the attributes of the Amazon warriors around her, a population of women living on an island in the Mediterranean that is shrouded by magic. Diana's mother Hippolyta (Connie Nielsen) wants a daughter who minds her royal upbringing while her aunt Antiope (Robin Wright) secretly trains Diana in the art of combat. As Diana matures into a woman it's easy to see she is unlike others living on the island. When a World War I fighter plane bursts through the clouds Diana is forced to save a drowning pilot named Steve Trevor (Chris Pine). But Steve isn't alone, he was being chased by enemies who invade the world of the Amazons; this pushes Diana into the world of men in an effort to end a war.

The script is written by Allan Heinberg who works to take the familiar troupes of the superhero genre and infuse it with a story of woman born with exceptional abilities. Instead of taking the journey of other heroes, where powers are received by some kind of accident or experiment gone awry, Diana simply is born into great power. From here the film has the character make the choice to intervene, make the choice to do what others say is impossible and attempt to make a difference in a world near the end of the Great War. Along the way the film provides more interesting character dynamics, one specifically placing Diana into the middle of world she knows nothing about. It's a "fish out of a water" moment that is pretty funny but it is also used to introduce Diana to the faults of the world, specifically the struggles of humanity. Another is playing with the issue of saving lives and taking lives, a problem that has plagued comic book heroes and recently brought complaints against Superman due to the ending of "Man of Steel". Diana's goal is to bring peace by any means necessary, this includes the death of lots of people. The film handles this aspect without over emphasizing the gratuitous nature of the violence.

Along for the journey with Diana is a group of men, Steve Trevor continues on the mission but adds a Scottish sharpshooter (Ewan Brenner), an Indian fast talker (Said Taghmaoui), and a Native American scout (Eugene Brave Rock). These characters play an important role individually, but the film never moves away from the emphasis on Diana. In fact, they actually play very good supporting characters that assist in making Diana understand why humanity is worth saving instead of taking control over the heroics in the film. The big superhero moments are all reserved for Wonder Woman.

Gal Gadot plays Diana exceptionally well, she has the charm and attitude to give her character immediate screen presence. Chris Pine is also good, the moments the actor has with Ms. Gadot create great chemistry for the pair with scenes that are both flirtatious and funny. Also making appearances here are Danny Huston who plays a villainous German army leader and Elena Anaya who plays the appropriately named Dr. Poison. As bad guys these characters are space fillers, a necessary evil for good to triumph over. They are never provided much opportunity to threaten Diana or her abilities, which in turn leads to an eventual encounter that holds no risk. It's a problem that plagues superhero origin stories, mainly that it is difficult to find time to compose a equally interesting villain to engage the hero. 

Unfortunately the momentum isn't kept up all the way through, the third act of the film resembles every boring comic book movie finale that has come before it. CGI bad guy flying here, throwing somewhere over there, and blasting lightening bolts in all directions.  There is nothing interesting about it, nothing that displays the lessons learned on the journey made. Instead it's just there to fill time until the ending. 

While the finale may end on a lackluster note, the beginning and middle parts of the film are well executed with the appealing mix of humor, heart, and spectacle. Gal Gadot completely owns the film with a great supporting group of actors to fill in the spaces around her. "Wonder Women" is the best film the DC Extended Universe has to offer so far.

Monte's Rating

3.50 out of 5.00