by Josh Sewell
Rosaline
(Rated PG-13 for some suggestive material and brief strong language. Debuts on Hulu October 14.)
The premise: This romcom twist on William Shakespeare’s Romeo and Juliet is told from the perspective of Juliet’s (Isabela Merced) cousin Rosaline (Kaitlyn Dever), the girl Romeo (Kyle Allen) dumps when he meets his “true love” at a masquerade ball. Devastated by this shocking development, Rosaline schemes to get her ex back. However, as anyone familiar with the original material knows, a few complications arise.
The verdict: Modernizing the works of Shakespeare isn’t a new idea – for example, most of us know about West Side Story, but Forbidden Planet did a sci-fi take on The Tempest way back in 1956. Still, it often produces intriguing results: Romeo + Juliet helped cement Leonardo DiCaprio’s superstardom in 1996, while 10 Things I Hate About You did the same for Heath Ledger in 1999.
Although it’s not getting a high-profile theatrical release, I hope Rosaline produces similar results for Dever. Seemingly on the cusp of A-list status since her astounding work on the second season of Justified in 2011 (when she was just 14!), she’s somehow never gotten that big breakout role.
Her charm goes a long way in breathing new life into familiar romcom tropes. As the titular character, she gets to be headstrong, funny and beautiful in a way she hasn’t in her previous work. Even in the hilarious Booksmart (which should’ve been a Superbad-level hit), her role contained an undercurrent of awkwardness and insecurity.
Here, she gets to be unapologetically confident and engaging. It’s refreshing to see her lighten up again following a string of darker roles. Plus, she’s boosted by a charismatic supporting cast including Merced (also really funny), Sean Teale (as the witty, smoldering love interest), Christopher McDonald, Minnie Driver and Bradley Whitford.
Screenwriting team Scott Neustadter and Michael H. Weber (responsible for terrific films like 500 Days of Summer and The Spectacular Now) update Shakespeare’s renowned play for the modern era in creative ways while keeping the movie’s tone firmly tongue-in-cheek so things never feel too sanctimonious. Plus, director Karen Maine makes medieval Verona feel authentic and lived in rather than a two-dimensional set.
I’m hoping Rosaline doesn’t fall through the cracks, but I’m nervous considering I’d never even heard of it before the screener hit my inbox. Definitely give this one a shot on Hulu this weekend.
Grade: B
Tár
(Rated R for some language and brief nudity. Opens in select theaters October 14 and everywhere October 28.)
The premise: In the latest from acclaimed writer-director Todd Field (only his third film in 21 years), Cate Blanchett plays Lydia Tár, groundbreaking conductor of a major orchestra in Germany. At the pinnacle of her career, she’s about to release a memoir while also preparing for a much-anticipated live performance of Mahler’s Fifth Symphony. However, her life begins to unravel in stunning fashion over the course of a few weeks.
The verdict: Field’s last movie was 2006’s Little Children, but one thing’s for sure – his extended absence didn’t diminish his skills as a filmmaker. Tár is one of the most harrowing experiences I’ve had at a theater this year, defying my expectations and changing tones every time I settled into its new groove. Is it a methodically paced character study? A psychological thriller? A pitch-black comedy? Yes, to all of the above.
The film takes its time establishing the character of Lydia Tár and the elite world she inhabits. That makes for a measured – some would argue slow – first hour, but that investment pays off as the plot kicks into gear and drives the character deeper into obsession and desperation. Despite clocking in at nearly three hours, I was never bored thanks to Blanchett’s fierce work (she’s in practically every scene) and Field’s assured direction. He’s also got an ear for dialogue, ensuring Tár’s lengthy, often arrogant monologues are compelling and witty rather than tedious.
Something else that’s almost certain? Blanchett is coming for that third Oscar. A Best Actress nomination is guaranteed and a win is highly probable. I’m still rooting for Michelle Yeoh to emerge victorious for her work in Everything Everywhere All at Once, but it wouldn’t be a grievous oversight if Academy voters go with Blanchett. Her staggering performance here might be the best of her career, which is a bold statement considering she’s played so many incredible roles.
I’m not sure about the film’s commercial prospects; expecting average moviegoers to spend so much time with a fascinating, yet deeply unlikable character is a big ask. However, I do know it’s already a critical and awards season darling. It’s also destined to be taught in film and acting classes for years to come. Blanchett is just that incredible.
Grade: A-
Home Video Spotlight
Sex and Lucía
(Not rated but contains strong sexual content, language and thematic elements. Now available on Blu-ray.)
This 2001 erotic thriller from Spain became a cult hit in the U.S. thanks to scorching performances from breakout stars Paz Vega and Elena Anaya; Julio Medem’s assured writing and directing; as well as Kiko de la Rica’s stunning cinematography. The plot centers on Lucía, a woman who learns that her boyfriend Lorenzo (Tristán Ulloa) may have committed suicide.
She travels to a remote Spanish island to process this tragic information, where she meets a scuba diver named Carlos (Daniel Freire) and Elena (Najwa Nimri), Lorenzo's former lover. As Lucía learns more about his past, she discovers how complex her boyfriend truly was.
This new, unrated edition from Music Box Films contains several special features, including a new video essay by Alexandra Heller-Nicholas; a making-of featurette; interviews with cast and crew; a photo gallery; and theatrical trailers.
Book Spotlight
E.T. the Extra-Terrestrial: The Ultimate Visual History by Caseen Gaines
(Now available.)
This stunning new tome from Gaines (author of the excellent We Don’t Need Roads: The Making of the Back to the Future Trilogy) serves as the definitive account of Steven Spielberg’s iconic blockbuster E.T. the Extra-Terrestrial. Chronicling the complete history of the film, the book explores Spielberg’s inspiration for the story, the tough shoot and its astounding success. It also discusses why E.T. endures by examining the merchandising bonanza it inspired and the film’s devoted fanbase.
The Ultimate Visual History features exclusive interviews with key members of the creative team, including a foreword by Drew Barrymore and an introduction by Kathleen Kennedy. It also contains rare and never-before-seen imagery from the Amblin Entertainment archives, including on-set photography; concept art; storyboards; annotated script pages; studio memos; preliminary sketches; and much more.
(Rated PG-13 for some suggestive material and brief strong language. Debuts on Hulu October 14.)
The premise: This romcom twist on William Shakespeare’s Romeo and Juliet is told from the perspective of Juliet’s (Isabela Merced) cousin Rosaline (Kaitlyn Dever), the girl Romeo (Kyle Allen) dumps when he meets his “true love” at a masquerade ball. Devastated by this shocking development, Rosaline schemes to get her ex back. However, as anyone familiar with the original material knows, a few complications arise.
The verdict: Modernizing the works of Shakespeare isn’t a new idea – for example, most of us know about West Side Story, but Forbidden Planet did a sci-fi take on The Tempest way back in 1956. Still, it often produces intriguing results: Romeo + Juliet helped cement Leonardo DiCaprio’s superstardom in 1996, while 10 Things I Hate About You did the same for Heath Ledger in 1999.
Although it’s not getting a high-profile theatrical release, I hope Rosaline produces similar results for Dever. Seemingly on the cusp of A-list status since her astounding work on the second season of Justified in 2011 (when she was just 14!), she’s somehow never gotten that big breakout role.
Her charm goes a long way in breathing new life into familiar romcom tropes. As the titular character, she gets to be headstrong, funny and beautiful in a way she hasn’t in her previous work. Even in the hilarious Booksmart (which should’ve been a Superbad-level hit), her role contained an undercurrent of awkwardness and insecurity.
Here, she gets to be unapologetically confident and engaging. It’s refreshing to see her lighten up again following a string of darker roles. Plus, she’s boosted by a charismatic supporting cast including Merced (also really funny), Sean Teale (as the witty, smoldering love interest), Christopher McDonald, Minnie Driver and Bradley Whitford.
Screenwriting team Scott Neustadter and Michael H. Weber (responsible for terrific films like 500 Days of Summer and The Spectacular Now) update Shakespeare’s renowned play for the modern era in creative ways while keeping the movie’s tone firmly tongue-in-cheek so things never feel too sanctimonious. Plus, director Karen Maine makes medieval Verona feel authentic and lived in rather than a two-dimensional set.
I’m hoping Rosaline doesn’t fall through the cracks, but I’m nervous considering I’d never even heard of it before the screener hit my inbox. Definitely give this one a shot on Hulu this weekend.
Grade: B
(Rated R for some language and brief nudity. Opens in select theaters October 14 and everywhere October 28.)
The premise: In the latest from acclaimed writer-director Todd Field (only his third film in 21 years), Cate Blanchett plays Lydia Tár, groundbreaking conductor of a major orchestra in Germany. At the pinnacle of her career, she’s about to release a memoir while also preparing for a much-anticipated live performance of Mahler’s Fifth Symphony. However, her life begins to unravel in stunning fashion over the course of a few weeks.
The verdict: Field’s last movie was 2006’s Little Children, but one thing’s for sure – his extended absence didn’t diminish his skills as a filmmaker. Tár is one of the most harrowing experiences I’ve had at a theater this year, defying my expectations and changing tones every time I settled into its new groove. Is it a methodically paced character study? A psychological thriller? A pitch-black comedy? Yes, to all of the above.
The film takes its time establishing the character of Lydia Tár and the elite world she inhabits. That makes for a measured – some would argue slow – first hour, but that investment pays off as the plot kicks into gear and drives the character deeper into obsession and desperation. Despite clocking in at nearly three hours, I was never bored thanks to Blanchett’s fierce work (she’s in practically every scene) and Field’s assured direction. He’s also got an ear for dialogue, ensuring Tár’s lengthy, often arrogant monologues are compelling and witty rather than tedious.
Something else that’s almost certain? Blanchett is coming for that third Oscar. A Best Actress nomination is guaranteed and a win is highly probable. I’m still rooting for Michelle Yeoh to emerge victorious for her work in Everything Everywhere All at Once, but it wouldn’t be a grievous oversight if Academy voters go with Blanchett. Her staggering performance here might be the best of her career, which is a bold statement considering she’s played so many incredible roles.
I’m not sure about the film’s commercial prospects; expecting average moviegoers to spend so much time with a fascinating, yet deeply unlikable character is a big ask. However, I do know it’s already a critical and awards season darling. It’s also destined to be taught in film and acting classes for years to come. Blanchett is just that incredible.
Grade: A-
Home Video Spotlight
(Not rated but contains strong sexual content, language and thematic elements. Now available on Blu-ray.)
This 2001 erotic thriller from Spain became a cult hit in the U.S. thanks to scorching performances from breakout stars Paz Vega and Elena Anaya; Julio Medem’s assured writing and directing; as well as Kiko de la Rica’s stunning cinematography. The plot centers on Lucía, a woman who learns that her boyfriend Lorenzo (Tristán Ulloa) may have committed suicide.
She travels to a remote Spanish island to process this tragic information, where she meets a scuba diver named Carlos (Daniel Freire) and Elena (Najwa Nimri), Lorenzo's former lover. As Lucía learns more about his past, she discovers how complex her boyfriend truly was.
This new, unrated edition from Music Box Films contains several special features, including a new video essay by Alexandra Heller-Nicholas; a making-of featurette; interviews with cast and crew; a photo gallery; and theatrical trailers.
Book Spotlight
(Now available.)
This stunning new tome from Gaines (author of the excellent We Don’t Need Roads: The Making of the Back to the Future Trilogy) serves as the definitive account of Steven Spielberg’s iconic blockbuster E.T. the Extra-Terrestrial. Chronicling the complete history of the film, the book explores Spielberg’s inspiration for the story, the tough shoot and its astounding success. It also discusses why E.T. endures by examining the merchandising bonanza it inspired and the film’s devoted fanbase.
The Ultimate Visual History features exclusive interviews with key members of the creative team, including a foreword by Drew Barrymore and an introduction by Kathleen Kennedy. It also contains rare and never-before-seen imagery from the Amblin Entertainment archives, including on-set photography; concept art; storyboards; annotated script pages; studio memos; preliminary sketches; and much more.
Reach out to Josh Sewell on Twitter @IAmJoshSewell
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