by Josh Sewell
Springsteen: Deliver Me from Nowhere
(Rated PG-13 for thematic material, some sexuality, strong language and smoking. Opens in theaters on October 24.)
The premise: Writer-director Scott Cooper’s new biopic (based on Warren Zane’s book) chronicles the making of Bruce Springsteen’s 1982 Nebraska when he was a young musician (played here by Jeremy Allen White) on the cusp of global superstardom. A bare-bones album recorded in Springsteen’s New Jersey bedroom, it marked a pivotal time in his life and is considered one of his most enduring works.
The verdict: Deliver Me from Nowhere is the kind of standard biopic that Walk Hard rendered obsolete back in 2007, particularly since it doesn’t really say anything new about an artist who has been in the spotlight since the 1970s. Still, it’s handsomely made and elevated by incredible music and strong performances. Sometimes the cinematic equivalent of a good cheeseburger hits the spot.
After a rocky start, White eventually finds his groove as Springsteen. His performance begins as an SNL-level impression, but a few scenes later the artifice fades and he starts playing an actual character.
Granted, the film’s rendering of the iconic rock star feels a bit sanitized – likely because the real Springsteen was involved in the production and Cooper needed his blessing to use the songs – but it’s nonetheless interesting. The unvarnished version would’ve been a lot more compelling, though.
The supporting cast is also solid, particularly Jeremy Strong, Odessa Young, Paul Walter Hauser and Stephen Graham, who overcomes the usual “bad dad” clichés typically found in biopics about tortured artists. Die-hard devotees of The Boss might be underwhelmed with the flick, but casual fans will probably enjoy it.
Grade: B-
Frankenstein
(Rated R for bloody violence and grisly images. Opens in select theaters on October 24 and available on Netflix starting November 7.)
The premise: Writer-director Guillermo del Toro finally makes his dream project: an adaptation of Mary Shelley’s classic tale of Victor Frankenstein (Oscar Isaac), a brilliant but egotistical scientist who brings a creature (Jacob Elordi) to life in a horrific experiment that ultimately leads to the undoing of both the creator and his tragic creation.
The verdict: On paper, del Toro is the perfect filmmaker to make an epic, campy version of Frankenstein for the modern era. Even a quick glance at his past work would show he’s been making different versions of the story for decades anyway.
That’s why it’s so frustrating that his adaptation turns out to be beautiful and ambitious, but ultimately disappointing. Now that del Toro has finally gotten his wish, he doesn’t have anything new to say. It’s impossible for him to make a visually uninteresting film, but despite an abundance of practical sets, Frankenstein still has that overly CGI sheen that apparently comes standard with all Netflix films.
His screenplay makes a bunch of substantial changes to Shelley’s novel, draining all the complexity from both Frankenstein and the creature. As a result, they become binaries of good and evil instead of characters with depth and nuance. He basically turns the creature into an invincible superhero.
In terms of performances, Elordi is the clear standout. I’ve been a little skeptical of him as the “next big thing” based on his previous movies, but his work in Frankenstein goes a long way toward convincing me. It’s by far the best of his career.
Unfortunately, as much as I love Isaac as an actor, he’s miscast here. Even worse, the immensely charismatic Mia Goth and Christoph Waltz are wasted, given practically nothing to do in their brief time on screen.
To be fair, the film is getting strong reviews from other critics, so I’m probably the outlier on this one. It’s still worth a watch, but admirers of Shelley’s novel might want to adjust their expectations.
Home Entertainment Spotlight
Back to the Future 40th Anniversary Trilogy
(Rated PG. Now available on 4K.)
In preparation for Robert Zemeckis’ classic Back to the Future returning to the big screen later this month for its 40th anniversary (typing that just kicked my midlife crisis up a few notches), Universal recently debuted a new edition of the trilogy in 4K, as well as SteelBook versions of each film. The new lineup features a comprehensive look at the legacy of the franchise through hours of new and archival bonus material.
The new stuff includes updated behind-the-scenes featurettes with interviews from co-writer/producer Bob Gale, actor Donald Fullilove, cinematographer Dean Cundey and other crew members who share their personal stories from the set. Legacy features include commentary with Zemeckis and Gale; a 6-part documentary; deleted scenes; lost audition tapes; music videos; behind the scenes of Back to the Future: The Musical; Back to the Future: The Ride; and much more.
(Rated PG-13 for thematic material, some sexuality, strong language and smoking. Opens in theaters on October 24.)
The premise: Writer-director Scott Cooper’s new biopic (based on Warren Zane’s book) chronicles the making of Bruce Springsteen’s 1982 Nebraska when he was a young musician (played here by Jeremy Allen White) on the cusp of global superstardom. A bare-bones album recorded in Springsteen’s New Jersey bedroom, it marked a pivotal time in his life and is considered one of his most enduring works.
The verdict: Deliver Me from Nowhere is the kind of standard biopic that Walk Hard rendered obsolete back in 2007, particularly since it doesn’t really say anything new about an artist who has been in the spotlight since the 1970s. Still, it’s handsomely made and elevated by incredible music and strong performances. Sometimes the cinematic equivalent of a good cheeseburger hits the spot.
After a rocky start, White eventually finds his groove as Springsteen. His performance begins as an SNL-level impression, but a few scenes later the artifice fades and he starts playing an actual character.
Granted, the film’s rendering of the iconic rock star feels a bit sanitized – likely because the real Springsteen was involved in the production and Cooper needed his blessing to use the songs – but it’s nonetheless interesting. The unvarnished version would’ve been a lot more compelling, though.
The supporting cast is also solid, particularly Jeremy Strong, Odessa Young, Paul Walter Hauser and Stephen Graham, who overcomes the usual “bad dad” clichés typically found in biopics about tortured artists. Die-hard devotees of The Boss might be underwhelmed with the flick, but casual fans will probably enjoy it.
Grade: B-
(Rated R for bloody violence and grisly images. Opens in select theaters on October 24 and available on Netflix starting November 7.)
The premise: Writer-director Guillermo del Toro finally makes his dream project: an adaptation of Mary Shelley’s classic tale of Victor Frankenstein (Oscar Isaac), a brilliant but egotistical scientist who brings a creature (Jacob Elordi) to life in a horrific experiment that ultimately leads to the undoing of both the creator and his tragic creation.
The verdict: On paper, del Toro is the perfect filmmaker to make an epic, campy version of Frankenstein for the modern era. Even a quick glance at his past work would show he’s been making different versions of the story for decades anyway.
That’s why it’s so frustrating that his adaptation turns out to be beautiful and ambitious, but ultimately disappointing. Now that del Toro has finally gotten his wish, he doesn’t have anything new to say. It’s impossible for him to make a visually uninteresting film, but despite an abundance of practical sets, Frankenstein still has that overly CGI sheen that apparently comes standard with all Netflix films.
His screenplay makes a bunch of substantial changes to Shelley’s novel, draining all the complexity from both Frankenstein and the creature. As a result, they become binaries of good and evil instead of characters with depth and nuance. He basically turns the creature into an invincible superhero.
In terms of performances, Elordi is the clear standout. I’ve been a little skeptical of him as the “next big thing” based on his previous movies, but his work in Frankenstein goes a long way toward convincing me. It’s by far the best of his career.
Unfortunately, as much as I love Isaac as an actor, he’s miscast here. Even worse, the immensely charismatic Mia Goth and Christoph Waltz are wasted, given practically nothing to do in their brief time on screen.
To be fair, the film is getting strong reviews from other critics, so I’m probably the outlier on this one. It’s still worth a watch, but admirers of Shelley’s novel might want to adjust their expectations.
Grade: C
Blue Moon
(Rated R for language and sexual references. Opens in select theaters on October 24.)
The premise: On the opening night of classic Broadway musical Oklahoma!, lyricist Lorenz Hart (Ethan Hawke) sits at the bar in famed restaurant Sardi’s, examines his shattered self-confidence as his former collaborator Richard Rogers (Andrew Scott) celebrates the biggest hit of his career – which he made with someone else. By evening’s end, Hart confronts a world that no longer values his talent and the seeming impossibility of love.
The verdict: In the interest of full disclosure, I’m a sucker for pretty much everything director Richard Linklater makes. Keep that in mind when I tell you this poignant, melancholy story of a gifted artist realizing he’s on the downward slope of life is one of my favorite movies of the year.
However, Blue Moon is admittedly not for everyone. There are no earth-shattering stakes (although they’re certainly vital for the people involved), no explosions or car chases; instead, it’s people talking in the same location for 100 minutes.
That might sound boring on the surface, but the dialogue is wonderful and hypnotic. Robert Kallie’s screenplay, which he crafted with close collaboration from Linklater, is full of witty banter and crackling monologues.
Hawke holds court with almost everyone in the restaurant, particularly Scott as his concerned ex-partner (clearly relishing the chance to play a relatively normal character for once); Bobby Cannavale as the most New York bartender ever; and Margaret Qualley as an up-and-coming ingénue he may or may not be in love with. As the brilliant, yet deeply insecure and closeted Hart, the actor sheds all the physical benefits he’s been able to take advantage of most of his career.
The handsome actor is made to look short, balding and awkward – not to mention only a few months from death. (That’s not a spoiler since it’s the opening scene.) The transformation shows in his vulnerable performance, and I hope it leads to an Oscar nomination in a few months. Hawke’s work here is easily some of the best in his already impressive career.
Grade: A-
(Rated R for language and sexual references. Opens in select theaters on October 24.)
The premise: On the opening night of classic Broadway musical Oklahoma!, lyricist Lorenz Hart (Ethan Hawke) sits at the bar in famed restaurant Sardi’s, examines his shattered self-confidence as his former collaborator Richard Rogers (Andrew Scott) celebrates the biggest hit of his career – which he made with someone else. By evening’s end, Hart confronts a world that no longer values his talent and the seeming impossibility of love.
The verdict: In the interest of full disclosure, I’m a sucker for pretty much everything director Richard Linklater makes. Keep that in mind when I tell you this poignant, melancholy story of a gifted artist realizing he’s on the downward slope of life is one of my favorite movies of the year.
However, Blue Moon is admittedly not for everyone. There are no earth-shattering stakes (although they’re certainly vital for the people involved), no explosions or car chases; instead, it’s people talking in the same location for 100 minutes.
That might sound boring on the surface, but the dialogue is wonderful and hypnotic. Robert Kallie’s screenplay, which he crafted with close collaboration from Linklater, is full of witty banter and crackling monologues.
Hawke holds court with almost everyone in the restaurant, particularly Scott as his concerned ex-partner (clearly relishing the chance to play a relatively normal character for once); Bobby Cannavale as the most New York bartender ever; and Margaret Qualley as an up-and-coming ingénue he may or may not be in love with. As the brilliant, yet deeply insecure and closeted Hart, the actor sheds all the physical benefits he’s been able to take advantage of most of his career.
The handsome actor is made to look short, balding and awkward – not to mention only a few months from death. (That’s not a spoiler since it’s the opening scene.) The transformation shows in his vulnerable performance, and I hope it leads to an Oscar nomination in a few months. Hawke’s work here is easily some of the best in his already impressive career.
Grade: A-
Back to the Future 40th Anniversary Trilogy
(Rated PG. Now available on 4K.)
In preparation for Robert Zemeckis’ classic Back to the Future returning to the big screen later this month for its 40th anniversary (typing that just kicked my midlife crisis up a few notches), Universal recently debuted a new edition of the trilogy in 4K, as well as SteelBook versions of each film. The new lineup features a comprehensive look at the legacy of the franchise through hours of new and archival bonus material.
The new stuff includes updated behind-the-scenes featurettes with interviews from co-writer/producer Bob Gale, actor Donald Fullilove, cinematographer Dean Cundey and other crew members who share their personal stories from the set. Legacy features include commentary with Zemeckis and Gale; a 6-part documentary; deleted scenes; lost audition tapes; music videos; behind the scenes of Back to the Future: The Musical; Back to the Future: The Ride; and much more.
Reach out to Josh Sewell at joshsewell81@gmail.com or on BlueSky @joshsewell.bsky.social
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