Knives Out Review

Knives Out

Dir: Rian Johnson

Starring: Daniel Craig, Chris Evans, Ana de Armas, Jamie Lee Curtis, Don Johnson, Michael Shannon, Toni Collette, LaKeith Stanfield, and Christopher Plummer

It was Colonel Mustard in the library with a candlestick! 

Everyone loves a good, old fashioned whodunit; that stealthy murder mystery suspense thriller in the vein of an Agatha Christie or Arthur Conan Doyle novel. The kind of mystery story that starts with the discovery of a dead body and weaves through a group of people, where everyone is a suspect, leading towards the final reveal of the devious plans and the uncovering of the murderer who tried to get away with it all. 

Writer/director Rian Johnson, who last helmed the monolithic “Star Wars: The Last Jedi”, takes a step back with a smaller more restrained film and also into the past with “Knives Out”. Johnson, obviously influenced by films like the Agatha Christie adaptation “Death on the Nile”, Joseph L. Mankiewicz’s “Sleuth” starring Laurence Olivier and Michael Caine, and “Deathtrap” from Sidney Lumet, crafts a clever and entertaining whodunit with an exceptionally talented cast of players. 

The mystery takes place at the sprawling, ornamented estate owned by world-renowned mystery author Harlan Thrombey (Christopher Plummer). His family, a group of ravenous vultures who have become dependent on the immense wealth Harlan has cultivated with the production of his library of novels, is celebrating his birthday when at the end of the evening, Harlan is found dead in his study. 

Funeral arrangements are made, the last will & testament reading is planned, but the police (LaKeith Stanfield and Noah Segan) have some final questions concerning the circumstances of Harlan’s death. Most especially interested is Benoit Blanc (Daniel Craig), a sort-of-famous investigator, who’s involvement in the proceedings is dubiously unknown. As are the motives of Harlan’s caretaker Marta (Ana de Armas), his arrogant nephew (Chris Evans), belligerent son (Michael Shannon), and entitled daughter (Jamie Lee Curtis). Everyone is a suspect.

Rian Johnson clearly understands the setup and execution of these specific narratives, spending a meticulous amount of time building the maze of clever clues, amusing MacGuffins, and witty fake outs. Johnson understands that what makes these types of films so enthralling is that viewers will place themselves into the story as amateur gumshoes, analyzing background objects, dissecting comments made by characters, and following the many diverting bread crumb trails. Johnson executes this component effectively throughout, building the mystery and revealing secrets in interesting, if sometimes familiar, ways. There are only a couple of moments when the twists and turns overtake the pacing and momentum of the story.

The cast is exceptional and part of the reason the film works so well. Everyone in the film has a specific motivation and each has very identifiable character traits that set them apart from one another. Daniel Craig as Benoit Blanc, with a thick southern accent and showy gestures, swaggers through scenery with confidence and glee. Jamie Lee Curtis, playing the stoic figure of the family, is having fun giving long glares and sly smirks. Michael Shannon, playing Harlan’s son, is consistently amusing to watch as he stumbles and grumbles from scene to scene. The entire ensemble is provided an opportunity to shine.

“Knives Out” is a meticulously crafted environment and story from start to finish. While there are a few moments when the film reveals its tricks too early and sometimes too plainly, Rian Johnson ultimately displays a masterful understanding of how to craft a good ol’ fashioned whodunit.

Monte’s Rating

4.00 out of 5.00

Frozen II Review

Frozen II

Dir: Chris Buck and Jennifer Lee

Starring: Kristen Bell, Idina Menzel, Josh Gad, Jonathan Groff, Sterling K. Brown, Evan Rachel Wood, and Alfred Molina

Happily, Ever After. Disney has used this sentiment to build an illustrious career of animated feature films filled with fairy godmothers, poison apples, singing mermaids, and, in the case of “Frozen”, a magical snow queen. All these stories come with enchantment, romance, and their fair share of evil villains, but they also have near-perfect happy endings. 

“Frozen”, released in 2013, ended with two sisters reunited, the kingdom of Arendelle saved from eternal winter, the snowman Olaf finding a family, and every young audience member singing “Let it Go” for the next 6 years. It was as perfect an ending as one would expect from Disney.

So why continue the story of Elsa and Anna? “Frozen II” doesn’t need to exist but it does, and the result is a better than expected tale of growing up, becoming mature, and dealing with change. 

Arendelle has found peace with Queen Elsa (Idina Menzel) in power, Anna (Kristen Bell) and Kristoff (Jonathan Groff) are growing closer in their budding relationship, and Olaf (Josh Gad) is soaking up human life while learning as much as possible. But Elsa’s magical power grows stronger and echoes from the past start to call for answers. Arendelle is threatened and Elsa, Anna, Kristoff, Sven, and Olaf must travel to an enchanted kingdom to find a solution.

“Frozen II” does a great job of utilizing its strongest assets which is the cast of characters. The story makes that a point of emphasis, initially, by focusing on the interconnected storylines the characters all have with one another. Specifically, Elsa and Anna’s connection as sisters, but also as powerful women in leadership positions, is more prominent throughout the film. Olaf, who mostly plays the comedic relief, is also provided with more matured character traits that assist in both offering levity but also insight with the characters along their journey. Even Kristoff is provided with more to do to assist Anna and Elsa through the major changes happening in the film.

The narrative works best when the theme of dealing with change is at the forefront. Sequels struggle with showing how characters grow, we become so familiar with great characters in the first film that often the sequel fails to offer the conflict that allows the characters to mature and handle change. “Frozen II” keeps that in mind as Elsa searches for answers about her past and gaining an understanding of how to handle her powers. The real admirable focus, surprisingly, is the development of Anna who must handle the more realistic, world-weary struggles of growing up and taking control of the complications that arise in life. 

Unfortunately, the general journey of the story, the trip into the enchanted autumnal land with walking giant stone people, progresses in dull and predictable ways. While this shouldn’t be a surprise for an animated Disney feature, the progression just falls flat as the story follows the same familiar fairytale formula. Also, the plot introduction of an indigenous forest group in the enchanted land, who were betrayed in the past, offers an opportunity to introduce elements associated with the trauma found throughout history (heavy material but important subject matter conversations for young viewers) but it never follows through on these points. However, the composition of these environments, the dense fog-laden forest and one exquisite scene involving a water horse, keep the story interesting to look at.

There is a lot for young people to enjoy in “Frozen II”, while many of the songs don’t reach the heights of “Let it Go”, there are few notable songs, specifically a number that feels straight out the ‘80s, that will please. Still, the heart established by the characters and the focus on maturity and change keeps this sequel interesting and enjoyable.  If “Frozen” was about gaining the confidence to “let it go”, “Frozen II” is about the process of “letting go” and grasping the change that is in front of you. That’s a good lesson to share.

Monte’s Rating

3.25 out of 5.00

The Irishman Review

The Irishman

Dir: Martin Scorsese

Starring: Robert De Niro, Joe Pesci, Al Pacino, Harvey Keitel, Bobby Cannavale, Jesse Plemons, Anna Paquin, Kathrine Narducci, Stephanie Kurtzuba, and Ray Romano

A deliberate camera wanders elegantly through a nursing home, down hallways and past medical staff, finally coming to rest in a cold and lonesome room where one single old man sits, almost waiting for the arrival of someone to engage his company. This all happens as “In the Still of the Night” by the Five Satins sets the mood for the story about to be told, a tale of murder and mobsters, tough guys with tough tales, with both the known and unknown elements of history equally famous and infamous supplying influence.

“The Irishman”, from director Martin Scorsese, is another gangster story from the auteur many would identify as the curator of the modern mob movie. Films like “Goodfellas”, “Casino”, and “The Departed” all tackled stories of money, power, respect and the violence, arrogance, and betrayal that permeates those areas. “The Irishman” sets a different mood, the familiar elements are all still present but the emotion and intention are different this time around. Scorsese tells a tale that focuses on loss and remorse, decision and intention; it’s a three and a half-hour long cinematic achievement from one of the greatest film directors of all time. 

Frank Sheeran (Robert De Niro) is the Irishman and also the lone elder waiting in the nursing home to tell a story about his life. Frank, after being a soldier in World War II, made a living as a truck driver in Pennsylvania, but after a chance meeting with a local gangster named Russell Bufalino (Joe Pesci), Frank takes a role as “the muscle” for the Philadelphia mob. It doesn’t take long for Frank to impress the higher-ups, opening an opportunity for him to work with James Riddle Hoffa (Al Pacino), president of the International Brotherhood of Teamsters. 

The plot for “The Irishman” is an interesting device, told with voice-over narration from Frank, who is in the nursing home, and with the same emphasis that old men recall stories about long-forgotten fishing trips or family vacations from the past. Frank looks back on the past, recalling the events that will eventually lead to the disappearance of Jimmy Hoffa while taking moments to talk about other gangsters, family life, and historical events pertinent to Frank and his journey through time. With such an extensive running time, it might seem like all these elements would become convoluted or muddle the emotion for the characters. It’s the exact opposite, the deliberate pacing and extensive time spent wandering through time with Frank and other associates helps in establishing the conflict Frank develops as elements of betrayal and loyalty arise throughout his life. It’s less about the history of things or the structure of the mob and more about the emotion of everything that happens to the characters. 

The script allows so much for the cast to work with, it’s a beautiful thing watching these amazing actors work in this film. De Niro is fantastic throughout, offering a character that starts as a loyal soldier who matures into a leader who is conflicted yet still devoted to his superiors. It’s a fascinating transition for the character, but also, transformation as De Niro and others in the cast are digitally de-aged for the film, an effect that is strange at first but quickly dissipates. Al Pacino plays Hoffa with a combination of big bold swagger when in the public eye but also sensitivity in smaller scenes when he and Frank are sharing hotel rooms or having ice cream with the family. Joe Pesci completely captivating here; the actor, who hasn’t been in much on the silver screen since the ’90s, composes a quiet character, doing more with subtle glances and small expressions than big dialog moments or boastful gangster antics like we’ve seen in the past. 

The look of the film, photographed by Rodrigo Prieto, is stunning at times. The film seems to glow during flashbacks and slowly desaturate as Frank and Russell make a fateful road trip with their wives. The beginning long, continuous shot is beautifully composed and a scene involving a big celebration for Frank looms with ominous intentions.  

“The Irishman” comes at an interesting time in the career of Martin Scorsese who recently has come under criticism from some film fans concerning his views on the state of cinema and the connection to Marvel comic book movies. Film is a subjective art-form, but if anyone has the right to make comments on the art of cinema, it’s Martin Scorsese. If the auteur’s past catalog doesn’t prove that point, “The Irishman” displays all the reasons why cinema should be regarded with the kind of seriousness Scorsese commands. 

Monte’s Rating

4.50 out of 5.00

Doctor Sleep Review

Doctor Sleep

Dir: Mike Flanagan

Starring: Ewan McGregor, Rebecca Ferguson, Kyliegh Curran, Cliff Curtis, Zahn McClarnon, and Emily Alyn Lind

Author Stephen King published “The Shining” in 1977 and director Stanley Kubrick would adapt the book into a film three years later in 1980, turning it into one of the seminal horror movies of all time even though Stephen King has made public statements of how much he dislikes it. 

King would continue to look into the past for influence on his 2013 book “Doctor Sleep”, a sequel to “The Shining” which follows young Danny Torrance after the events at the Overlook Hotel and into complicated adulthood that details struggle with addiction and the continuation of evil in different forms. 

Director Mike Flanagan, who last helmed the fantastic Netflix series “The Haunting of Hill House” and another King adaptation the impressive “Gerald’s Game”, takes an interesting approach to “Doctor Sleep” by crafting a film that pays special attention to King’s source material themes, both in vague and specific ways, while offering a superb homage to Kubrick’s iconic film.

Danny Torrance (Ewan McGregor) has been haunted by the events that occurred at the Overlook Hotel when he was a child, the memories and ghosts of that day continue to follow and torment him. However, Danny further develops his special ability, which he calls “the shining”, with the help from the ghost of his old friend Dick Hallorann (Carl Lumbly playing the role made famous by Scatman Crothers from “The Shining”), which allows him to trap the spirits around him inside his mind. 

Danny grows up, troubled with addictions, and wandering through different towns until he winds up in a small New Hampshire town where he finds peace, along with sobriety, with the help of a kindly friend named Billy (Cliff Curtis). 

Things aren’t safe for Danny, along with other people who can “shine”, as a murderous roaming caravan of people who feed off those that shine is hunting a young girl named Abra (Kyleigh Curran) who Danny has developed a friendship with. 

“Doctor Sleep” has a lot of story to tell here, a lifetime in the case of Danny Torrance who experiences so much trauma as a young boy and then grows into adulthood with the scars of that event still very much healing, sometimes still bleeding when a ghost comes wandering back into his life. Director Mike Flanagan taps into this character, utilizing a subdued and affected Ewan McGregor to make this character the emotional core of the film. 

Stephen King crafts the novel with an approach that is far less of a supernatural tale and one that is more of the horror that happens in everyday life, the evil that exists without ghosts or paranormal monsters. Flanagan focuses on this narrative element, crafting tension with the roving group of killers led by the wicked Rose, played fiercely by Rebecca Ferguson, and orchestrating some disturbing elements involving children. One of these specific scenes is extremely hard to watch, a moment played to increase the peril which is effectively done right before Abra becomes a target for the group. 

Flanagan clearly understands and respects the vision of Stephen King for this story, but also the vision from Stanley Kubrick who turned “The Shining” into one of the best-regarded genre films in history. There are moments within “Doctor Sleep” where Flanagan recreates scenes, characters, and designs from “The Shining”, they are amazing and utilized so effectively to accommodate the tone of this film. 

“Doctor Sleep” has some minor pacing issues, which makes the story feel like it may have been better suited for an extended series to provide attention for all the characters and the journey Danny takes. Still, these are minor issues for a film that feels so accomplished in its vision, even when it’s working hard to honor the themes of the source material and the artistic style of Stanley Kubrick’s film. Mike Flanagan has demonstrated with his recent films, and specifically with “Doctor Sleep”, that he is truly the current master of horror. 

Monte’s Rating

4.00 out of 5.00

Motherless Brooklyn Review

Motherless Brooklyn

Dir: Edward Norton

Starring: Edward Norton, Alec Baldwin, Gugu Mbatha-Raw, Ethan Suplee, Dallas Roberts, Bobby Cannavale, and Willem Dafoe

A lone New York gumshoe exits the darkness of a side alleyway, a fedora casting a shadow over his eyes as steam rises from a manhole nearby. “Motherless Brooklyn”, directed, acted and written by Edward Norton, tackles the crime film noir genre with aggressive style and impressive performances from a group of exceptional actors placed in roles that allow them to flex and chew the scenery in unique ways. It’s a movie that doesn’t often get made in today’s sequel-heavy, superhero influenced atmosphere, the fact that it understands film noir characteristics and narrative themes keeps this film thought-provoking and engaging throughout.

In 1950’s New York, Lionel Essrog (Edward Norton), sometimes known as Brooklyn and often self-described as Freakshow, works for a private investigation company run by Frank Minna (Bruce Willis). Lionel is an orphan who grew up rough, Frank protected him when he was younger, keeping others from taking advantage of him. Lionel has a condition, he says his “brain is all messed up”, that accompanies physical twitches and involuntary verbal bursts. But being in the investigation business, this condition has an advantage as Lionel has a photographic memory. 

Frank arranges a setup with a group of mysterious guys, bringing Lionel and another one of Minna’s Men (Ethan Suplee) along to watch his back. Things go bad and Frank is shot, leaving Lionel to piece together a scheme of corruption beyond the private sector, but rather into the realms of New York politics, greed, and murder. 

“Motherless Brooklyn” is an interesting piece of noir cinema, it feels unusual yet refreshing to see a film like this on the big screen, which is where this film should be seen. Edward Norton, wearing the director’s hat, does a great job of combining familiar genre characteristics from crime films from the past, bringing a shadowy and hazy atmosphere to New York City while also showing the contrasting beauty of the city’s architecture and landscape both in bright sunlight and the dark of night. It feels, in very specific moments, like John Alton’s style of noir composition with films like “T-Men” and “He Walked By Night”, with deep shadows and pinpoint lighting style. 

The cast is an ensemble of great actors who all contribute nicely with characters, some who control the screen with glee. Take for instance Alec Baldwin playing a forceful businessman in a politician’s disguise. Baldwin’s introduction in the film finds him bursting through doors, feet and fist stomping, into a celebratory meeting that immediately stops. 

Minna’s Men, Bobby Cannavale, Ethan Suplee, and Dallas Roberts, have the fun task of playing the many different versions of noir detectives we’ve seen from the past. The tough guy, the playboy, the family man…each in search of a different reason for being a detective.

Edward Norton’s character is the most complex, the most intricate and the most unlike the standard stereotype found for this character. At one-point Lionel, seemingly shedding his persona to look more like something more familiar, picks up a trench coat, fedora and a holster with a gun, putting on the uniform of the determined gumshoe. Norton is doing so much with the character, consistent twitching and verbal rhyming spells, more flair than vulgar, that become more prominent when he is agitated or, in the one instance, grooving to jazz music in a smoky night club. 

The narrative weaves a nice who-dun-it but delves into over-explanation too often, with flashbacks that assist the mystery in ways the audience is already keen to. The primary story conflict is that of power, and throughout the film, this aspect is what gives the movie its motion, it what keeps you engaged to see how the sympathetic Lionel will best the bad guy. This drives the film until, in the final act, it shifts into a story about the protection of the past, present, and future. It works in pieces. 

“Motherless Brooklyn” is inspired by so many great things, “Chinatown”, classic film noir, jazz (the score and accompanying music from an amazing group of artists like Thelonious Monk and Charlie Parker, Wynton Marsalis, Thom Yorke, and a score by Daniel Pemberton), and New York City. While the narrative encounters a few bumps, the film does a great job of organizing an intricate and interesting noir film. 

Monte’s Rating

4.00 out of 5.00