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| Courtesy of CBS Films |
(Rated R for violence, realistically graphic injury images, language throughout and some drug use.)
The cast: Mark Wahlberg, John Goodman, Kevin Bacon, J.K. Simmons and Michelle Monaghan.
What it’s about: An account of the 2013 Boston Marathon bombing that killed three people and injured hundreds of others. Director Peter Berg utilizes a fictional police officer (Wahlberg) to streamline the events leading up to the attack, along with the aftermath that included a nationally-televised manhunt to find the terrorists responsible.
The good: After the first 20 minutes or so, once Berg gets all the setup out of the way, Patriots Day moves at a breakneck pace. When the director focuses his attention on the bombing and the investigation – particularly how fast law enforcement figured out what happened, identified the two perpetrators and apprehended them – the film reminded me of the best parts of Zero Dark Thirty. These scenes, anchored by strong performances from a host of stellar character actors, are fantastic.
The screenplay, while muddled (probably because it’s credited to five writers), is excellent when it focuses on a wide range of characters and points of view – including the terrorists (chillingly portrayed by Alex Wolff and Themo Melikidze) – rather than a single figure. This contributes to the story’s epic scope.
Trent Reznor’s and Atticus Ross’ score is a perfect match to the material. It adds to the overall mood without distracting from what’s happening on screen. I also thought the final moments, which serve as a mini-documentary featuring interviews with some of the real people involved in the events, were incredibly powerful.
The not-so-good: The wonderful Monaghan gets nothing to do as Concerned Wife, but Wahlberg is the film’s biggest, most frustrating mistake. He brings the proceedings to a complete halt any time he’s on screen.
I understand Berg’s decision to cast him as a composite character who serves as an audience surrogate, but every time Wahlberg popped up as Tommy Every-cop, I was reminded that nothing involving his character – including the big emotional moments – was real. Plus, it strains credulity that he just so happens to be present for every single big development in the investigation. The wrongheaded choice suggests that Berg doesn’t trust the audience enough to connect with the real-life people played by Goodman, Bacon, Simmons, etc.
Also a bad idea? The movie’s laughably cheesy opening vignettes, which pour on the sap as they introduce us to the runners, spectators, police offers, college students, etc. who will be affected by this terrible attack. Just make them real people, not uber-attractive, perfectly-lit angels.
Grade: B
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| Courtesy of Paramount |
Fences
(Rated PG-13 for thematic elements, language and some suggestive references.)
The cast: Denzel Washington, Viola Davis, Stephen Henderson, Jovan Adepo, Russell Hornsby and Mykelti Williamson.
What it’s about: Based on the classic play by August Wilson, the story centers on Troy Maxson (Washington), a 1950s sanitation worker in Pittsburgh who once dreamed of being a professional baseball player, but was too old by the time major league teams began admitting black athletes. The pain of that missed opportunity continues to eat at him decades later, turning him into an angry and bitter man. He tries to be a good husband and father, but his wife (Davis) and his sons (Adepo and Hornsby) are growing frustrated with his inability to move on.
The good: Fences is an acting showcase, full of incredible, astonishingly talented performers delivering some of the best work they’ve ever done. Washington and Davis chew the scenery to death, but they’re so talented that it always feels authentic. They’re reaping most of the well-deserved awards chatter, but Williamson is equally affecting as Troy’s mentally disabled brother. That kind of role can be incredibly insulting if an actor overplays or missteps, but he’s excellent.
(Rated PG-13 for thematic elements, language and some suggestive references.)
The cast: Denzel Washington, Viola Davis, Stephen Henderson, Jovan Adepo, Russell Hornsby and Mykelti Williamson.
What it’s about: Based on the classic play by August Wilson, the story centers on Troy Maxson (Washington), a 1950s sanitation worker in Pittsburgh who once dreamed of being a professional baseball player, but was too old by the time major league teams began admitting black athletes. The pain of that missed opportunity continues to eat at him decades later, turning him into an angry and bitter man. He tries to be a good husband and father, but his wife (Davis) and his sons (Adepo and Hornsby) are growing frustrated with his inability to move on.
The good: Fences is an acting showcase, full of incredible, astonishingly talented performers delivering some of the best work they’ve ever done. Washington and Davis chew the scenery to death, but they’re so talented that it always feels authentic. They’re reaping most of the well-deserved awards chatter, but Williamson is equally affecting as Troy’s mentally disabled brother. That kind of role can be incredibly insulting if an actor overplays or missteps, but he’s excellent.
Washington’s measured direction expands the world of Wilson’s play a bit, but he wisely keeps the focus on the Maxsons’ backyard. That’s where most of the dramatic, life-altering conversations take place and where the film’s title comes from, so it only makes sense to subscribe to the “if it ain’t broke, don’t fix it” philosophy of adaptation.
The not-so-good: Wilson is one of the greatest playwrights of the 20th century, so I understand the desire to stay faithful to his work. However, the movie should’ve ended 10 minutes earlier than it does. While the epilogue is fine, it’s ultimately repetitive and unnecessary. There’s a close-up of Washington’s character that would’ve absolutely killed as the final shot of the movie. Instead, the last visual we get suggests redemption for a character who doesn’t really deserve one.
Also, while I obviously have no problem with the story’s structure, viewers with short attention spans should know going in that Fences is essentially people talking to each other for 139 minutes. If that’s not your speed, might want to wait for Redbox so you can pause and take the occasional break.
Grade: B+
Elle
The not-so-good: Wilson is one of the greatest playwrights of the 20th century, so I understand the desire to stay faithful to his work. However, the movie should’ve ended 10 minutes earlier than it does. While the epilogue is fine, it’s ultimately repetitive and unnecessary. There’s a close-up of Washington’s character that would’ve absolutely killed as the final shot of the movie. Instead, the last visual we get suggests redemption for a character who doesn’t really deserve one.
Also, while I obviously have no problem with the story’s structure, viewers with short attention spans should know going in that Fences is essentially people talking to each other for 139 minutes. If that’s not your speed, might want to wait for Redbox so you can pause and take the occasional break.
Grade: B+
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| Courtesy of Sony Pictures Classics |
(Rated R for violence involving sexual assault, disturbing sexual content, some grisly images, brief graphic nudity and language. Now playing in limited release.)
The cast: Isabelle Huppert, Laurent Lafitte, Anne Consigny and Jonas Bloquet.
What it’s about: After Michele (Huppert), the head of a successful video game company, is sexually assaulted in her home, she decides to move on with her life instead of going to the police. She tries to apply the same no-nonsense attitude that she demonstrates in the business world to her personal life, but she finds her relationships with her friends, family members and neighbors dramatically altered.
The good: The epitome of “not for everyone,” director Paul Verhoeven’s latest is a weird, intriguing combination of revenge thriller, psychosexual drama, soap opera and manners comedy. The tone shifts so often that your expectations can’t adjust, which means you’re constantly on edge for 130 minutes. If you can imagine a more grounded version of his underrated satires like Basic Instinct and Showgirls – but far more French in its sensibilities – you’re somewhere in the ballpark of Elle.
The film’s biggest selling point, by far, is Huppert’s astonishing, fearless performance. She’s in practically every scene and her character is so complex that your feelings about her shift from moment to moment. Last weekend, she won the Golden Globe for Best Actress in a Drama (the movie itself also won Best Foreign Language Film), and should absolutely be in the Oscar conversation.
The not-so-good: Aside from the fact that it’s about 20 minutes too long, Elle is destined to be a polarizing experience – even for those who aren’t turned off by subtitles. Debates are already raging in the critical world about the film’s messages and intentions. I love those kinds of conversations, but understand how they could alienate others. Good rule of thumb: if the brief plot synopsis above – which I kept purposefully vague – makes you queasy, you should probably stay away.
Grade: B+
The cast: Isabelle Huppert, Laurent Lafitte, Anne Consigny and Jonas Bloquet.
What it’s about: After Michele (Huppert), the head of a successful video game company, is sexually assaulted in her home, she decides to move on with her life instead of going to the police. She tries to apply the same no-nonsense attitude that she demonstrates in the business world to her personal life, but she finds her relationships with her friends, family members and neighbors dramatically altered.
The good: The epitome of “not for everyone,” director Paul Verhoeven’s latest is a weird, intriguing combination of revenge thriller, psychosexual drama, soap opera and manners comedy. The tone shifts so often that your expectations can’t adjust, which means you’re constantly on edge for 130 minutes. If you can imagine a more grounded version of his underrated satires like Basic Instinct and Showgirls – but far more French in its sensibilities – you’re somewhere in the ballpark of Elle.
The film’s biggest selling point, by far, is Huppert’s astonishing, fearless performance. She’s in practically every scene and her character is so complex that your feelings about her shift from moment to moment. Last weekend, she won the Golden Globe for Best Actress in a Drama (the movie itself also won Best Foreign Language Film), and should absolutely be in the Oscar conversation.
The not-so-good: Aside from the fact that it’s about 20 minutes too long, Elle is destined to be a polarizing experience – even for those who aren’t turned off by subtitles. Debates are already raging in the critical world about the film’s messages and intentions. I love those kinds of conversations, but understand how they could alienate others. Good rule of thumb: if the brief plot synopsis above – which I kept purposefully vague – makes you queasy, you should probably stay away.
Grade: B+
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