 |
| Courtesy of Paramount |
Selma
(Rated
PG-13 for disturbing thematic material including violence, a suggestive moment
and brief strong language.)
The
cast: David Oyelowo, Tom Wilkinson, Carmen Ejogo, Tim Roth and Oprah Winfrey.
What
it’s about: Avoiding the typical biopic route, this film focuses on a pivotal
three-month period in the life of Martin Luther King Jr. (Oyelowo): his 1965
campaign to secure voting rights for the black citizens of Selma, Ala. The
effort, culminating in a historic march from Selma to Montgomery, was a
dangerous one, costing the lives of several protestors. Soon after, President
Lyndon Johnson (Wilkinson) signed the Voting Rights Act. In addition, the story
sheds light on the crucial efforts of activists who aren’t as well-known as
King.
The
good: Those who read last week’s column already know I consider “Selma” one of
2014’s best. It’s a profound, deeply moving film about not just one towering
historical figure, but many. While Oyelowo delivers unquestionably strong work
as one of the most revered leaders in recent memory (a Best Actor nomination is
all but guaranteed), there’s a reason the movie is called Selma and not King.
Director
Ava DuVernay and screenwriter Paul Webb make the movie feel shockingly current.
It’s tragic that, 50 years later, society is still battling some of the same
injustices these patriotic citizens stood up against, but it also brings home
the urgency of the cause in a profound way. These aren’t people from “the old
days” fighting a war that was over long ago – their lives and timelines touch
our own.
The
not-so-good: The narrative’s timeline is sometimes tough to pin down, though I
imagine it’s fuzzy on purpose to heighten the dramatic intensity of events.
Also, some historians are raising an issue that the relationship between King
and Johnson wasn’t as antagonistic as Selma makes it out to be. But, as with
most adaptations of true stories, this isn’t a documentary. Filmmakers have
been taking artistic liberties for years, plenty of them much looser with the
facts than this one.
Grade:
A-
 |
| Courtesy of Warner Bros. |
(Rated R for drug use throughout, sexual content, graphic nudity, language and some violence.)
The cast: Joaquin Phoenix, Katherine Waterston, Josh Brolin and Owen Wilson.
What it’s about: Adapted from the Thomas Pynchon novel, the film, set in 1970 Los Angeles, focuses on Doc Sportello (Phoenix), a private eye who tells his ex-girlfriend he’ll look into a complicated mystery involving her new billionaire boyfriend. The answer – which isn’t high on the film’s list of priorities – involves a cast of eccentric characters played by lots of familiar faces.
The good: First off, there’s nothing wrong with getting a new Paul Thomas Anderson movie. The filmmaker is a genius (a word I don’t use lightly), and even when I don’t like one of his movies I still find plenty to admire and respect about his craft. And it’s nice to see him lighten up after the ponderous There Will Be Blood and The Master. While his latest work is exceedingly confusing, it’s also frequently laugh-out-loud hilarious.
Phoenix is outstanding as the smart, goofy stoner protagonist. At this point, I’m pretty sure he’s capable of delivering brilliant performances in his sleep. Matching him every step of the way is Brolin, who plays the square-jawed, rigid adversary to Phoenix’s “whatever, man” hippie. Most of their scenes together are a master class in comedy. Waterston is also terrific, instilling her character with such charm and mystery that it becomes obvious why Doc Sportello can’t shake her influence on his life.
The not-so-good: Trying to form an opinion on this flick only a few hours after seeing it is a challenge. The convoluted mystery makes a second viewing mandatory. To say the film divisive is putting it mildly. As the end credits rolled, I heard one guy say it was the best movie he’d seen in years and, at the exact same time, someone else said it was the worst movie he’d ever seen in his life. I’m thinking that sums up how Inherent Vice will be received by general audiences.
If you’re expecting a straightforward narrative with definitive answers to the dozens of whacked-out questions it raises, I’m guessing you’re going to hate Inherent Vice. But if you don’t mind hanging out with a smart, funny stoner protagonist and his oddball acquaintances for two-and-a-half hours, soaking in the conversation and the atmosphere, you should find the film intriguing and entertaining.
Grade: B
 |
| Courtesy of Sony |
(Rated
R for violence, some sexuality, nudity and language.)
The
cast: Ethan Hawke, Sarah Snook and Noah Taylor.
What
it’s about: It’s better to go into this sci-fi brain teaser, which opens at
Atlanta’s Plaza Theatre and premieres on-demand Friday, knowing almost nothing
about the plot. I’ll just say it’s based on Robert Heinlein’s short story “–All
You Zombies–” and involves a time-traveling law enforcement agent (Hawke)
tasked with stopping a crazed bomber before he causes an explosion that kills
thousands in New York City. The task involves multiple, decades-spanning time
jumps and hinges on the involvement of a crucial participant (Snook).
The
good: Longtime readers know I’m a sucker for time travel stories, so I was on
board with Predestination from the first scene. Hawke is solid (as usual),
but the real standout is Snook, a fairly unknown Australian actress who
deserves to be a huge star thanks to her nuanced performance in an insanely
difficult role.
Seriously,
40 minutes of the movie is devoted to her character delivering a detailed,
pivotal backstory. The sequence – which the entire premise is built on –
could’ve been a disaster with a lesser actress, but she makes it absolutely
riveting.
Once
the first plot twist is revealed, you’ll probably guess the subsequent ones
quickly. But the great thing about The Spierig Brothers’ top-notch plotting is
they know that. As a result, as soon as you guess the next twist, they reveal
it almost immediately before moving on to another one. It keeps your brain
constantly turning, waiting for more clues.
The
not-so-good: It’s hard to talk about the movie in detail without revealing any
of the cool twists. Visual effects are tough to do on a limited budget, which
the film sadly demonstrates. But that’s why so much of the narrative is devoted
to good, old-fashioned storytelling. What you’re experiencing is so compelling
that it’s easy to overlook the cheesier CGI elements.
Grade:
B+
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