by Josh Sewell
One Battle After Another
(Rated R for pervasive language, violence, sexual content and drug use. Opens in theaters on September 26.)
A Fine Line Between Stupid and Clever: The Story of Spinal Tap by Rob Reiner, with Christopher Guest, Michael McKean and Harry Shearer
(Now available.)
Since its release in 1984, This Is Spinal Tap has evolved from a beloved cult film into a comedy classic that pioneered the mockumentary genre. Now, director Rob Reiner and his co-writers/co-stars Christopher Guest, Michael McKean and Harry Shearer chronicle how they met, how Spinal Tap came to be and how their low-budget indie film took on a life of its own.
Featuring never-before-seen photographs, band memorabilia and personal reminiscences of their creative partnership, the book should delight fans of the film and the band. It also comes with a bonus memoir by Reiner’s directorial alter ego, Marty DiBergi, in which he interviews Tap band members Nigel Tufnel, David St. Hubbins and Derek Smalls about their musical journey.
(Rated R for pervasive language, violence, sexual content and drug use. Opens in theaters on September 26.)
The premise: In celebrated filmmaker Paul Thomas Anderson’s latest, washed-up revolutionary Bob (Leonardo DiCaprio) exists in a state of stoned paranoia, surviving off the grid with his daughter Willa (Chase Infiniti). When his nemesis (Sean Penn) resurfaces after 16 years and she goes missing, Bob scrambles to find her while battling the consequences of his past.
The verdict: Unlike a lot of stereotypical film bros, I’ve never been a diehard Anderson fanboy. He’s a brilliant writer and director, but I don’t automatically love a movie just because he made it. However, there’s no room for doubt with One Battle After Another – it’s a literal masterpiece.
That’s a big claim considering the overused word can also apply to several of his earlier films (including Boogie Nights and There Will Be Blood). However, this comedy/thriller/action hybrid blew my mind in a way that happens rarely these days: it engages the snobby film critic portion of my brain along with the part that wants to munch overpriced popcorn and cheer when something cool happens.
The verdict: Unlike a lot of stereotypical film bros, I’ve never been a diehard Anderson fanboy. He’s a brilliant writer and director, but I don’t automatically love a movie just because he made it. However, there’s no room for doubt with One Battle After Another – it’s a literal masterpiece.
That’s a big claim considering the overused word can also apply to several of his earlier films (including Boogie Nights and There Will Be Blood). However, this comedy/thriller/action hybrid blew my mind in a way that happens rarely these days: it engages the snobby film critic portion of my brain along with the part that wants to munch overpriced popcorn and cheer when something cool happens.
The epic narrative (loosely inspired by Thomas Pynchon’s Vineland) unfolds like a cinematic novel, spanning two decades and involving a host of fascinating characters. Many are kind, some are shrewd, some are buffoons and a few are straight-up cartoon villains, but they’re all engaging enough that you’ll want to know what they do next.
The performances are outstanding across the board, although DiCaprio, Penn and Teyana Taylor get the showiest roles. However, the most affecting moments often come from actors doing less obvious work, including Benicio del Toro, Regina Hall and Infiniti (incredible in her film debut).
Expect One Battle After Another to hit awards season hard in the acting and writing categories, but also for Jonny Greenwood’s phenomenal score and Michael Bauman’s stunning cinematography. When it comes to box office, who knows? But one thing’s for sure – cable news pundits and social media trolls are going to find plenty to yell about.
Grade: A+
Eleanor the Great
(Rated PG-13 for thematic elements, some language and suggestive references. Opens in select theaters on September 26.)
Expect One Battle After Another to hit awards season hard in the acting and writing categories, but also for Jonny Greenwood’s phenomenal score and Michael Bauman’s stunning cinematography. When it comes to box office, who knows? But one thing’s for sure – cable news pundits and social media trolls are going to find plenty to yell about.
Grade: A+
(Rated PG-13 for thematic elements, some language and suggestive references. Opens in select theaters on September 26.)
The premise: Scarlett Johansson makes her directorial debut with this comically poignant exploration of storytelling. After the loss of her best friend (Rita Zohar), troublesome 94-year-old Eleanor Morgenstein (June Squibb) spins a narrative that takes on a dangerous life of its own.
The verdict: Johansson’s first film behind the camera boasts a compelling story (courtesy of Tory Kamen’s screenplay) and some terrific performances from Squibb, Zohar, Erin Kellyman and Chiwetel Ejiofor. Unfortunately, those positives can’t make up for the toxic error at the heart of Eleanor’s decision to keep her friend’s memory alive.
Without getting into spoilers, the flick’s central conflict could’ve been resolved with a quick explanation that wouldn’t have an adverse impact on the characters’ growth and healing. Despite that disastrous choice, Johansson’s eye for everyday life in New York City locations and the casting department’s knack for finding great actors makes “Eleanor the Great” worth a watch.
Without getting into spoilers, the flick’s central conflict could’ve been resolved with a quick explanation that wouldn’t have an adverse impact on the characters’ growth and healing. Despite that disastrous choice, Johansson’s eye for everyday life in New York City locations and the casting department’s knack for finding great actors makes “Eleanor the Great” worth a watch.
The flick is clearly aiming to be an awards season darling, but the story’s small stakes and the central premise’s flaw mean it probably won’t make much of an impact. It will probably just serve as an interesting anecdote in Johansson’s career once she makes better movies.
Grade: C
A Big Bold Beautiful Journey
(Rated R for language. Now playing in theaters.)
Grade: C
(Rated R for language. Now playing in theaters.)
The premise: Sarah (Margot Robbie) and David (Colin Farrell) meet at a mutual friend’s wedding and soon find themselves on an adventure of magical realism. They get to relive crucial moments from their pasts, learning how they got to where they are so they can change the course of their futures.
The verdict: Despite the stellar leads – two of the most beautiful and talented actors of the modern era – director Kogonada’s latest might be the year’s most disappointing film. On paper, it seems like a perfect romcom. However, despite the individual talents of Robbie and Farrell, the duo exhibits no chemistry whatsoever.
What’s more, the premise of Seth Reiss’ screenplay doesn’t really get the discovery it deserves. Practically every scene provokes more questions than it answers, leading me to wonder why he crafted this world if he doesn’t want to fully explore it. Especially when it comes to the semi-supernatural characters played by Phoebe Waller-Bridge and Kevin Kline.
Perhaps the most frustrating aspect of A Big Bold Beautiful Journey is that several scenes hint at the great movie it could’ve been. Farrell’s stellar work in a flashback high school performance of How to Succeed in Business Without Really Trying is wasted, other than indicating the actor should star in a full-blown musical ASAP. He’d be great in a big screen version of Guys and Dolls.
What’s more, the premise of Seth Reiss’ screenplay doesn’t really get the discovery it deserves. Practically every scene provokes more questions than it answers, leading me to wonder why he crafted this world if he doesn’t want to fully explore it. Especially when it comes to the semi-supernatural characters played by Phoebe Waller-Bridge and Kevin Kline.
Perhaps the most frustrating aspect of A Big Bold Beautiful Journey is that several scenes hint at the great movie it could’ve been. Farrell’s stellar work in a flashback high school performance of How to Succeed in Business Without Really Trying is wasted, other than indicating the actor should star in a full-blown musical ASAP. He’d be great in a big screen version of Guys and Dolls.
Both the critical and audience reception to the film has been atrocious, which explains why it tanked at the box office last weekend. There’s always a chance it could develop a cult following, but don’t count on it.
Grade: C-
Book Spotlight
Grade: C-
Book Spotlight
(Now available.)
Since its release in 1984, This Is Spinal Tap has evolved from a beloved cult film into a comedy classic that pioneered the mockumentary genre. Now, director Rob Reiner and his co-writers/co-stars Christopher Guest, Michael McKean and Harry Shearer chronicle how they met, how Spinal Tap came to be and how their low-budget indie film took on a life of its own.
Featuring never-before-seen photographs, band memorabilia and personal reminiscences of their creative partnership, the book should delight fans of the film and the band. It also comes with a bonus memoir by Reiner’s directorial alter ego, Marty DiBergi, in which he interviews Tap band members Nigel Tufnel, David St. Hubbins and Derek Smalls about their musical journey.
Reach out to Josh Sewell at joshsewell81@gmail.com or on BlueSky @joshsewell.bsky.social
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