by Josh Sewell
Poor Things
(Rated R for strong and pervasive sexual content, graphic nudity, disturbing material, gore and language. Now playing in select theaters.)
The premise: Filmmaker Yorgos Lanthimos and actress Emma Stone, who previously worked together in The Favourite, reteam in this beautiful, bizarre adaptation of Alasdair Gray’s novel. It tells the story of Bella Baxter (Stone), a young woman brought back to life by a mad scientist (Willem Dafoe) determined to protect her from the cruel world. However, she’s eager to learn about it, so she runs off with a shady lawyer (Mark Ruffalo) on a whirlwind adventure.
The verdict: Stone has a wide range of terrific performances to her credit (including a Best Actress Oscar for 2016’s La La Land), but her funny, daring and downright strange work in this feminist Frankenstein update is arguably the greatest of her illustrious career. Her partnership with Lanthimos is a rewarding one (as evidenced by even more upcoming collaborations), as is their continuing association with screenwriter Tony McNamara. The team transforms a story that could’ve been an ugly, misogynistic trainwreck in the wrong hands into a brave, oddly sweet tale of a young woman discovering her value and agency.
Dafoe and Ruffalo, the latter clearly relishing the chance to play a mustache-twirling villain after years of Marvel flicks, are also terrific. Throw in Robbie Ryan’s gorgeous cinematography, along with a quirky score courtesy of Jerskin Fendrix, and you’ve got one of last year’s greatest films. It’s definitely not for everyone – especially the squeamish or easily offended – but adventurous viewers will find plenty to appreciate.
Grade: A-
American Fiction
(Rated R for language throughout, some drug use, sexual references and brief violence. Now playing in select theaters.)
The premise: In Cord Jefferson’s directorial debut, Jeffrey Wright plays Monk, a frustrated novelist fed up with the establishment profiting from “Black” entertainment that relies on tired and offensive tropes (aka “trauma porn”). To prove his point, he writes his own clichéd book under a pseudonym, which immediately becomes a smash hit. Now Monk must decide if he’s going to honor his principles or become a wealthy hypocrite.
The verdict: Based on Percival Everett’s acclaimed novel Erasure, this satire is a sharp, hilarious look at some of the frustrations and contradictions of academia and modern pop culture. However, it’s also a heartwarming family tale – not only does Wright deliver possibly the best work of his career as Monk, but he’s also surrounded by equally compelling actors who play his brother (Sterling K. Brown), mother (Leslie Uggams), sister (Tracee Ellis Ross) and potential new girlfriend (Erika Alexander). The varying tones never feel jarring and keep the story constantly moving forward. In short, American Fiction is one of 2023’s most engaging films.
Grade: A-
The Boys in the Boat
(Rated PG-13 for language and smoking. Now playing in theaters.)
The premise: Directed by George Clooney, this sports drama – based on the true story chronicled in Daniel James Brown’s 2013 book – centers on the University of Washington rowing team that competed at the 1936 Summer Olympics in Berlin. This group of underdogs becomes a point of pride for a country rocked by the Great Depression.
The verdict: The Boys in the Boat is a solid dad movie, with efficient direction from Clooney. It’s the kind of movie that would’ve played on TNT all the time if it came out in the ’90s. At this point in his career, I think Clooney knows he’s not cut from the same cloth as Soderbergh or the Coens, so he’s taken a page out of Eastwood’s playbook: middle-of-the-road flicks he can shoot quickly for a modest budget.
There are decent performances from the cast, especially Joel Edgerton as the no-nonsense coach and Callum Turner as the team’s rower, who serves as the audience’s entry point into this intriguing sport. Martin Ruhe’s period-appropriate cinematography and Alexandre Desplat’s familiar, uplifting score (which he probably wrote in his sleep) add to the film’s heartwarming impact.
Grade: B
Ferrari
(Rated R for some violent content/graphic images, sexual content and language. Now playing in theaters.)
The premise: Filmmaker Michael Mann tells the story of a harrowing summer in the life of ex-Formula 1 racer and entrepreneur Enzo Ferrari (Adam Driver). In 1957, bankruptcy threatens the factory he and his wife (Penelope Cruz) built from scratch. What’s more, their marriage is on the verge of collapse following the recent loss of their son and his acknowledgment of a secret second family – a mistress (Shailene Woodley) and another son. Meanwhile, his passion for racing pushes his team to the edge as they launch into a treacherous 1,000-mile race across Italy.
The verdict: I’m usually an admirer of Mann’s work (especially Heat, Collateral and the underrated Manhunter), so it brings me no joy to report his latest drama is a big disappointment. Despite his usual assured direction, particularly in the admittedly harrowing race sequences, the screenplay (credited to Troy Kennedy Martin, who died in 2009) is sluggish and spends most of its time on Ferrari’s personal drama.
I didn’t find those portions as involving as his professional life, especially since Cruz and Woodley are weirdly miscast. Driver is an undeniably great actor, but it’s a strange choice to hire a 40-year-old (who looks younger) to play someone nearly 60. And let’s not even get into all the horrific Italian accents; I felt like I was watching House of Gucci again – another lackluster drama that squanders a strong Driver performance.
The most compelling portion of Ferrari – a horrific crash with huge implications for the man’s life and career – feels like an afterthought, taking place at the end and wrapped up within minutes. Considering the audience spends far more time enduring repetitive arguments between Ferrari, his wife and his mistress, it’s strange what aspects of his life Mann chooses to prioritize.
Grade: C-
(Rated R for strong and pervasive sexual content, graphic nudity, disturbing material, gore and language. Now playing in select theaters.)
The premise: Filmmaker Yorgos Lanthimos and actress Emma Stone, who previously worked together in The Favourite, reteam in this beautiful, bizarre adaptation of Alasdair Gray’s novel. It tells the story of Bella Baxter (Stone), a young woman brought back to life by a mad scientist (Willem Dafoe) determined to protect her from the cruel world. However, she’s eager to learn about it, so she runs off with a shady lawyer (Mark Ruffalo) on a whirlwind adventure.
The verdict: Stone has a wide range of terrific performances to her credit (including a Best Actress Oscar for 2016’s La La Land), but her funny, daring and downright strange work in this feminist Frankenstein update is arguably the greatest of her illustrious career. Her partnership with Lanthimos is a rewarding one (as evidenced by even more upcoming collaborations), as is their continuing association with screenwriter Tony McNamara. The team transforms a story that could’ve been an ugly, misogynistic trainwreck in the wrong hands into a brave, oddly sweet tale of a young woman discovering her value and agency.
Dafoe and Ruffalo, the latter clearly relishing the chance to play a mustache-twirling villain after years of Marvel flicks, are also terrific. Throw in Robbie Ryan’s gorgeous cinematography, along with a quirky score courtesy of Jerskin Fendrix, and you’ve got one of last year’s greatest films. It’s definitely not for everyone – especially the squeamish or easily offended – but adventurous viewers will find plenty to appreciate.
Grade: A-
(Rated R for language throughout, some drug use, sexual references and brief violence. Now playing in select theaters.)
The premise: In Cord Jefferson’s directorial debut, Jeffrey Wright plays Monk, a frustrated novelist fed up with the establishment profiting from “Black” entertainment that relies on tired and offensive tropes (aka “trauma porn”). To prove his point, he writes his own clichéd book under a pseudonym, which immediately becomes a smash hit. Now Monk must decide if he’s going to honor his principles or become a wealthy hypocrite.
The verdict: Based on Percival Everett’s acclaimed novel Erasure, this satire is a sharp, hilarious look at some of the frustrations and contradictions of academia and modern pop culture. However, it’s also a heartwarming family tale – not only does Wright deliver possibly the best work of his career as Monk, but he’s also surrounded by equally compelling actors who play his brother (Sterling K. Brown), mother (Leslie Uggams), sister (Tracee Ellis Ross) and potential new girlfriend (Erika Alexander). The varying tones never feel jarring and keep the story constantly moving forward. In short, American Fiction is one of 2023’s most engaging films.
Grade: A-
(Rated PG-13 for language and smoking. Now playing in theaters.)
The premise: Directed by George Clooney, this sports drama – based on the true story chronicled in Daniel James Brown’s 2013 book – centers on the University of Washington rowing team that competed at the 1936 Summer Olympics in Berlin. This group of underdogs becomes a point of pride for a country rocked by the Great Depression.
The verdict: The Boys in the Boat is a solid dad movie, with efficient direction from Clooney. It’s the kind of movie that would’ve played on TNT all the time if it came out in the ’90s. At this point in his career, I think Clooney knows he’s not cut from the same cloth as Soderbergh or the Coens, so he’s taken a page out of Eastwood’s playbook: middle-of-the-road flicks he can shoot quickly for a modest budget.
There are decent performances from the cast, especially Joel Edgerton as the no-nonsense coach and Callum Turner as the team’s rower, who serves as the audience’s entry point into this intriguing sport. Martin Ruhe’s period-appropriate cinematography and Alexandre Desplat’s familiar, uplifting score (which he probably wrote in his sleep) add to the film’s heartwarming impact.
Grade: B
(Rated R for some violent content/graphic images, sexual content and language. Now playing in theaters.)
The premise: Filmmaker Michael Mann tells the story of a harrowing summer in the life of ex-Formula 1 racer and entrepreneur Enzo Ferrari (Adam Driver). In 1957, bankruptcy threatens the factory he and his wife (Penelope Cruz) built from scratch. What’s more, their marriage is on the verge of collapse following the recent loss of their son and his acknowledgment of a secret second family – a mistress (Shailene Woodley) and another son. Meanwhile, his passion for racing pushes his team to the edge as they launch into a treacherous 1,000-mile race across Italy.
The verdict: I’m usually an admirer of Mann’s work (especially Heat, Collateral and the underrated Manhunter), so it brings me no joy to report his latest drama is a big disappointment. Despite his usual assured direction, particularly in the admittedly harrowing race sequences, the screenplay (credited to Troy Kennedy Martin, who died in 2009) is sluggish and spends most of its time on Ferrari’s personal drama.
I didn’t find those portions as involving as his professional life, especially since Cruz and Woodley are weirdly miscast. Driver is an undeniably great actor, but it’s a strange choice to hire a 40-year-old (who looks younger) to play someone nearly 60. And let’s not even get into all the horrific Italian accents; I felt like I was watching House of Gucci again – another lackluster drama that squanders a strong Driver performance.
The most compelling portion of Ferrari – a horrific crash with huge implications for the man’s life and career – feels like an afterthought, taking place at the end and wrapped up within minutes. Considering the audience spends far more time enduring repetitive arguments between Ferrari, his wife and his mistress, it’s strange what aspects of his life Mann chooses to prioritize.
Grade: C-
Reach out to Josh Sewell at joshsewell81@gmail.com
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