Tag: Drama

Film Critic, Movie Blog, Movie Reviews

The Red Sea Diving Resort (2019)

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The Red Sea Diving Resort (2019) Directed: Gideon Raff  Rated: TV-MA  Runtime: 2h 9m  Studio: Netflix/Bron Studios Screenwriter: Gideon Raff  Cast: Chris Evans, Alessandro Nivola, Greg Kinnear, Haley Bennett, Michiel Huisman, Michael Kenneth Williams, Ben Kingsley, Chris Chalk, Mark Ivanir, Alex Hassell

The Red Sea Diving Resort is an inspirationally touted film that forgot to include anything inspiring. 

The film opens with a voice-over, narrating the scene and thus explaining the story’s point. The voice is Kebed’s (Williams), one of only three black characters who have a meaningful, yet minor, role. This opening scene highlights (immediately) two of the biggest problems with The Red Sea Diving Resort. First, Raff must explain every detail he thinks you won’t understand. Second, white people are the saviors of the black Jews fleeing Ethiopia. 

This movie is based on actual events. Mossad agents did spend years in Sudan using a previously abandoned seaside resort to smuggle black Jews to Isreal. Raff’s problem (as writer and director) is that he only told one side of the story. He included nothing of meaningful resonance of these Beta Jews (as they are known). And there were opportunities to do so. With a story as significant, meaningful, and layered as these missions were for all involved, it’s a repulsive display of systematic racism. To gloss over the black characters as much as he did, propping them up only to facilitate white characters is repugnant. How did Netflix find this a good screenplay? 

Michael Kenneth Williams and Chris Evans in ‘The Red Sea Diving Resort’ Image: Marcos Cruz/Netflix via polygon.com

Gideon Raff is Israeli but couldn’t find any of his people to star in this film? Did he look? Did people say no? That’s a red flag. So enter the American-sounding and looking beach chic Ken and Barbie (Evans and Bennett). Mixed with a British actor (Kingsley) who uses non-Jewish slang (calling people’ chaps’) all while not even trying to lose his own accent. 

Raff depicts Mossad as this spy agency with a cowboy mentality likened to the American wild west in a story whose premise is built upon the necessity of teamwork and planning. It’s okay when trouble pops up; Ari’s (Evans) got it. As if positive thinking alone will save anyone from certain death if they’re caught. There is a team of agents with Ari, but none are fleshed out, well-rounded, or have satisfying arcs. As members of the white savior club, you think they’d be important, but they’re not. 

Chris Evans and Haley Bennett in ‘The Red Sea Diving Resort’ Image: Netflix/Marcos Cruz via polygon.com

The third black character with any significant lines or screentime is Commander Ahmed (Chalk) that Ari refers to as Colonel or nothing. He’s the leader of the Mukhabarat, a “military organization” that terrorized Sudan. None of that information is touched on, or the underlying reasons the Beta’s flee in the first place. Nor the call to action that involved Isreal in the first place; you won’t learn about that in this film. So you must take at face value that Chalk’s character is the physical manifestation of why these people are fleeing Ethiopia. Yet it doesn’t do the depth of their reasons justice. For such an important character, you think it would have been easy to figure out the character’s name or the actor who plays him. You’d be wrong. I had to turn on my closed captioning feature to find out Chalk’s character’s name, which isn’t even uttered until near the film’s end. I had to look through articles on this movie for the actor’s name to find it. Chris Chalk’s part in this film is not included under a Google search for the cast of this film, nor on IMDb.com (I’m not affiliated with either). Chalk’s character is another example of Raff’s poor filmmaking skills or Chris Chalk’s wanting everyone to forget he was in this movie. It’s sad because Chalk’s performance was one of the few that displayed any effort or emotion. 

Ethiopian Jews fleeing Sudan in Netflix’s ‘The Red Sea Diving Resort’ Image: Netflix via digitalspy.com

Now Gideon Raff is the same man who gave the world Homeland and the limited series The Spy. Raff won awards for these; perhaps he should stick with just television.

The Red Sea Diving Resort is a grossly missed opportunity to take a story with two already entwined entities and tell a whole and compelling story. As it stands, the black characters were depicted as poor, desperate, violent, or greedy. This depiction may have been the reality of the time, but Raff gives none of these characters any form of agency beyond their choice to flee. Those missed opportunities for nuanced realism are tragic. It’s an injustice to those this story is supposed to also tell. 

A poorly written script with no character development and lackluster acting is worth no one’s time, especially one that systematically snubs half of this story’s reason for existing. The Red Sea Diving Resort isn’t worth your time or a place on your watchlist. 

-A Pen Lady

Film Critic, Movie Blog, Movie Reviews

Official Secrets (2019)

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Directed by: Gavin Hood  Rated: R  Runtime: 1h 51m  Studio: Entertainment One

Screenwriter: Sara Bernstein, Gregory Berstein, Gavin Hood

Cast: Keira Knightley, Matt Smith, Ralph Fiennes, Matthew Goode, Adam Bakri

How often do you follow a moral compass?

Our world is diverse in so many ways, politics in particular. Government structure varies by country, but in democratic ones, the people expect to have a voice. What happens when they don’t? What is the outcome when suppression and morality collide? 

Official Secrets is a well-shown re-telling of real-life events of that collision. Keira Knightley stars as Katharine Gun, a former analyst for the British government at the government communications headquarter (GCHQ). There she interpreted and transcribed information passed down to her. 

Matthew Goode and Matt Smith in ‘Official Secrets’ Image: IFC Films/Allstar via theguardian.com

In January 2003, her department received an email, a forwarded memo that openly requested that the United Kingdom aid the United States NSA in spying on members of the United Nations. Soley to obtain blackmail to use against specific smaller nations to secure votes at an upcoming UN vote to go to war with Iraq or not. 

Spying on her people was okay with Katharine because it could prevent a terrorist attack. Spying on others, for another country especially to use as blackmail to go to war-hard stop. 

Official Secrets is a well-written script, with outstanding direction of its talented cast. Everyone’s performances were on point, but it’s the best thing I’ve ever seen Keira Knightley do. Her measured emotional responses to each sequence are believable. It made me feel for the real-life Katharine. 

Keira Knightley in ‘Official Secrets’ Image: IFC Films/Allstar via theguardian.com

Even with the director adding original media footage, which added a layer of realism, this story is still illuminatingly powerful two decades later. That the need for transparency and morality exists so deeply within governments that people like Katharine Gun and publications like The Observer need to take risks, still, today keeps her story a relevant and cautionary tale. 

Gun’s human rights lawyer, Ben Emmerson, is played by the superb Ralph Fiennes. Opposite him is Jeremy Northam, who portrays Ken MacDonald, the director of public prosecutions. MacDonald was the one who decided to charge Katharine or not, to make an example of her or not. 

Keira Knightley in ‘Official Secrets Image: IFC Films/Allstar via filmgeeky.com

It’s Ken MacDonald’s position on Gun’s actions, his visceral disdain for her or those like her that personifies how petty and spiteful the British government is. The government established in the Queen’s name. That screams volumes. 

Official Secrets is an easily watchable film that shows you the most vital points in real-life events based on morality, lies, and suppression. Official Secrets belong on your watchlist. 

-A Pen Lady

Film Critic, Movie Blog, Movie Reviews

Blue Bayou (2021)

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Blue Bayou (2021) Directed by: Justin Chon Rated: R Runtime: 1h 52m

Studio: Focus Features Screenwriter: Justin Chon  Cast: Alica Vikander, Justin Chon, Mark O’Brien, Sydney Kowalske, Emory Cohen

Blue Bayou is a poignant film about love, family, and the ties that bind; in an unjust society full of bigots and legal loopholes. 

Antonio LeBlanc (Chon) was adopted as a toddler from Korea by a family from a small Louisiana town. Who gave him up after six months—left to be raised by the foster care system for the rest of his youth. After a lifetime of small-minded people, he meets Kathy (Vikander), the love of his life. He marries her, helping raise her daughter, Jessie (Kowalske). They’re his whole world. 

In Blue Bayou, Antonio struggles to make ends meet, like so many people with or without baggage. Yet Antonio’s obstacles are things he can’t check at the door or put in a closet. He’s a convicted criminal-worse in Louisiana; he’s Asain. Constantly asked, “where you from?” despite a thick Cajun accent. It’s the smallest example of racism his character endures. He’s always the outsider with no nuclear family growing up and nothing of pride to hold on to of his Korean heritage. 

Alicia Vikander, Sydney Kowalske, Justin Chon in ‘Blue Bayou’ Image: Focus Features via Vanityfair.com

Small-minded bigotry is as common as breathing in the deep South of America, and prejudice and authority make a terrible combo. It is this mindset that sets off the plot and story. 

A run-in with Ace (O’ Brien), Jessie’s father, and his police partner (Cohen) at a store ends in Antonio’s arrest and subsequent detainment by ICE (Immigration and Customs Enforcement). The legality of Antonio’s adoption from Korea is called into question and sets the wheels in motion for his deportation. 

Chon’s set locations, the lush, quiet bayou hideaway, and sunsets over the water juxtapose Antonio’s reality. That’s what this film is at its core, emotional resonance. The shared body language between Antonio and Kathy, or his honesty and bonding efforts with Jessie, all speak to the little moments we all have. For better or worse, those real human moments are layered with abuse and ridicule bubbling near the surface for Antonio, constantly. And now, through legal loopholes, he could lose it all-the only places he’s ever called home, through no fault of his own. 

Sydney Kowalske as Jessie in ‘Blue Bayou.’ Image: Focus Features via IMDb.com

Illegal immigration/entry into the United States is a very polarizing topic. Still, Chon has honed in on this overlooked slice of the issue. Despite anyone’s thoughts on immigration into America, one burning question is this: why are all adopted children from other countries not automatically citizens? The truth is illuminating. 

Blue Bayou is a realistic, raw look into a topic and people’s reality on the subject of international adoption, racism, and the strength of the vows “for better or for worse.” If ever an indie film deserved a place on a watchlist, this one does. 

-A Pen Lady

Film Critic, Movie Blog, Movie Reviews

The Eyes of Tammy Faye (2021)

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The Eyes of Tammy Faye (2021)

Directed by: Michael Showalter  Runtime: 2h 6m  Rated: PG-13

Studio: Searchlight Pictures  Screenwriter: Abe Sylvia

Cast: Jessica Chastain, Andrew Garfield, Vincent D’Onofrio

Throughout the 1970s and 80s in America, Jim Bakker (Garfield) and his wife, Tammy Faye (Chastain), were the Kardashians of Christian televangelism. Starting as humble and timid in their pursuits to bringing the love of god to everyone via a traveling church show, later making their way on to TV became so much more. In the end, Jim Bakker was trying to create a Christian theme park to give you an idea of his ambitions. After creating a tv network that reached over 20 million views worldwide at the time of his arrest. 

After escaping the brainwashing of a religious upbringing, as an adult, I stay clear of the subject, by and large. As a child of the 80s, I don’t need a trip down memory lane, except maybe I did. 

Jim and Tammy Faye Bakker were huge with adults for decades, a perspective I couldn’t understand as a child. Still, why should I watch a film on a topic I dislike? Jessica Chastain. She brings to life the layers, demons, and superficial complexities of the self-professed, big-hearted clueless wife. Her performance, depiction, and commitment to the role of Tammy Faye are nothing short of Oscar-worthy. 

Andrew Garfield and Vincent D’Onofrio in ‘The Eyes of Tammy Faye’ Image: Daniel McFadden/Searchlight Pictures via nydailynews.com

Chastain and Garfield are energetic and believable together as this ever-changing couple, with clear character arcs. The script is all right, as it’s easy to construct one when based on two highly public figures/events. When a film must cover many time periods, the plot’s pace can get bogged down, but Showalter does reasonably well considering. An audience can easily see the conflict to resolution and the origins of these people/characters, which is needed in a bio-drama. Nothing feels missing as this story notes the rise and subsequent public fall of the Bakker’s. 

The Eyes of Tammy Faye is a visual display of big hair, lavish outfits, materialism, and makeup. All while dripping with the love of god, asking people to open their wallets. Again and again and again. I adore Andrew Garfield as an actor. But if not for Jessica Chastain, I’m not sure another actress could have pulled me in to endure the recreation of the Bakker’s Christian televangelist propaganda. 

Jessica Chastain in ‘The Eyes of Tammy Faye’ Image: Searchlight Pictures via latimes.com

If, somehow, you’re not a fan of Andrew Garfield or Jessica Chastain, take a pass on this embarrassing reminder of American behavior. Otherwise, I’m on the fence on whether or not to recommend it for your watchlist. It comes down to your tolerance of the 80s or religion. I saw it; Chastain is amazing, yes. But I’ll never watch The Eyes of Tammy Faye again. 

-A Pen Lady 

Film Critic, Movie Blog, Movie Reviews

The Talented Mr. Ripley (1999)

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The Talented Mr. Ripley (1999)

Director: Anthony Minghella  Rated: R. Runtime: 2 hr 19 min

Studio: Miramax  Screenwriter: Anthony Minghella

Based on: Novel by Patricia Highsmith

Cast: Matt Damon, Jude Law, Gwyneth Paltrow, Cate Blanchett, Jack Davenport,  

          Philip Seymour Hoffman

“I always thought it would be better to be a fake somebody than a real nobody.”

-Tom Ripley

Sometimes it’s difficult to look back at periods and view a story through the lens of ‘that’s how it was.’ To accept that people were so gullible, to accept things flat out. And yet, that’s how author Patricia Highsmith wrote the characters for her book, the basis for this film. A viewer needs to understand this about The Talented Mr. Ripley and set their expectations accordingly. If you can go along with the story, you’ll find it more enjoyable. Usually, I can’t abide such things within a story or plot because I see it as a sign of lazy writing. Still, the acting by this phenomenal cast makes up for it. 

Tom Ripley (Damon) is tasked through a stroke of fortune, via a white lie, by a Mr. Greenleaf with going to Italy to bring back his son. The boat-loving playboy Dickie Greenleaf (Law). What single person passes up an all-expenses-paid trip to Italy? 

Once there, he, of course, must keep up the lie. Tom is adept at lying and convincing others of his wants and intent, which comes off as more unbelievable as the story progresses. Despite that, Tom comes off as smooth but vulnerable, exuding this innocence about him that he uses to get people around him to include him. Things unravel when he’s left out or stops feeling like he’s in control when others get in his way. Then-then the psychopath in him is viewable as if the mask falls away at times. Matt Damon does an incredible job of portraying such a character with all the nuanced layers required; he makes it seem effortless. 

Cate Blanchett and Matt Damon in ‘The Talented Mr. Ripley’ Image: Miramax via Eonline.com

Dickie Greenleaf is a spoiled, temperamental scoundrel. Or a selfish American prick. Even with his womanizing, drinking, instant need to be amused all the time, Jude Law still makes him likable. He brings an energy to the character that is an absolute must. Law and Damon together are like tea and water; they belong together. 

Philip Seymour Hoffman is a presence in any film. As limited as Freddies’ role is in The Talented Mr. Ripley, you understand he’s not stupid. He and Dickie are tight, and he smells the bullshit coming off Tom from a mile away. Hoffman is a solid supporting character matched only by the always incomparable Cate Blanchett. As Meredith, Cate is effortlessly the embodiment of a jet-setting, fashionable American heiress of the 1950s. Meredith gets more character development for a film with little female presence than Dickie’s girlfriend, Marge (Paltrow). While Meredith is off doing her own thing, it’s easy to see she has an active social life that doesn’t appear to hang on the whims of men. Marge is either around Dickie, Tom, or Freddie. She interacts with no one else of consequence, making her seem shallow. When her world falls apart, it’s disgustingly apparent Marge has no one else to talk with or turn to. She’s a non-married woman in a foreign country depicted as naive and hysterical with no redeeming character arch. 1950s women were treated a certain way, with limited expectations; as such, Marge gets shafted as a character with too many female stereotypes. 

Hoffman, Paltrow, and Law in ‘The Talented Mr. Ripley’ Image: Miramax via The Mirror

So, within this mix of liars, brats, and sycophants, we have an intricate web of lies and deceit dressed up as the high life of the rich in beautiful Italy. When the police get involved, Tom’s lies become like a conman’s shell game to keep anyone secret of the moment in play. The question becomes can he keep it up? Will he get found out? While The Talented Mr. Ripley isn’t a full-on suspense film, it has those moments. The slow burn keeps you wondering how it will all play out for Tom, who will do anything to avoid going back to his own life. 

What I find to be more beautiful or satisfying than the stunning Italian settings is the ending. Noting about the film is neat, and neither is the ending, and it’s brilliant for that. The Talented Mr. Ripley is overall a well-told story with a good plot, depicted by a fantastic set of actors that is worth a place on anyone’s watchlist. 

-A Pen Lady

Film Critic, Movie Blog, Movie Reviews

Dune (2021)

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DUNE (2021)

Director: Denis Villeneuve  Runtime: 2 hr 35 min  Rated: PG-13

Studio: Legendary Pictures  Based on: Frank Herbert’s novel ‘Dune’

Screenwriter: Eric Roth, Jon Spaihts, Denis Villeneuve

Cast: Timohée Chalamet, Rebecca Ferguson, Zendaya, Oscar Isaac, Jason Momoa, Stellan Skarsgård, Stephen McKinley Henderson, Josh Brolin, Javier Bardem, Dave Bautista, Charlotte Rampling, Sharon Duncan-Brewster

Dune is a science fiction saga layered with all the typical trappings of humanity. Rife with greed and civil unrest as a set of noble houses control planets for resources, wealth, and power. Often to the detriment of the locals. 

Not too far into the film, and I’m having a flashback to 2015’s Jupiter Ascending, which was marginally more exciting than this film. 

In Dune, the house of Atreides is given stewardship of planet Arrakis by the overlord of all the houses-the Emperor. House Atreides, people of a water planet, go to Arrakis, a desert world, to mine spice. It’s the only thing of value to the houses because though spice is a drug; they also use it to navigate space. Okay. Spice is only on Arrakis, with two other things: the locals, known as the Freemen, and massive sandworms. 

The Freemen walk in a certain way to not cause unnatural vibrations in the sand that would otherwise attract the worms. They also wear special garb to help them endure the intense heat of the surface. Freemen characters are Chani (Zendaya), Stilgar (Bardem), and Dr. Kynes (Duncan-Brewster). Dr. Kynes has the most screen time out of these three, and the trailers for this movie imply the other two have more significant roles than they do. So if you see Dune just because they are in it, you’ll have to wait for most of the film and will be vastly disappointed. 

Javier Bardem’s Stilgar in ‘Dune’ Image: Legendary Pictures via IGN.com

The previous stewards of Arrakis, House Harkonnen, mined the spice for 80 years and left abruptly. Houses Harkonnen and Atreides are sworn enemies but obey the Emperor’s decree of change. Still with me?

Paul Atreides (Chalamet) is the son of Duke Leto Atreides (Isaac), next in line to rule his homeworld. Paul follows his father and mother, Lady Jessica (Ferguson), to Arrakis to learn how to lead more. Dune is billed as a sci-fi hero’s journey of a young boy born for a destiny he can’t grasp. A journey to provide safety for his people and family, all while not giving into fear. 

Frank Herbert originally published Dune in 1965. 

‘Dune’ Spice harvester Image: Legendary Pictures via WSJ.com

To get to my following observation, let me highlight some key phrases and notions about Dune. 1. An Emperor (really) 2. Mine spice (Kessel) 3. Planet of sand (Tatooine) 4. Massive worms (Sarlacc pit, or Jabba) 5. Walking a certain way (Sand people) 6. Wear special garb (Sand people) 7. Hero’s journey (Luke) 8. A Young boy(Luke/Anakin) 9. Destiny (Luke/Anakin) 10. Not giving in to fear (Jedi) 11. High council (Jedi)12. Superpowers (the Force) 13. Imperium (Empire). I could go on. Before seeing this version of Dune, I knew nothing about it. I had never read the books or seen the previous movies, so I walked into the theater with no pre-knowledge or conceptions. However, after only a few minutes into the film, I was beyond irritated. 

This irritation was because I couldn’t stop thinking about how much George Lucas poached from Frank Herbert. Not drew on as inspiration, full-on stole. George Lucas released the first of his Star Wars films, A New Hope, twelve years after Dune was published. Yes, the troupes of a young hero’s journey, saving one’s family, and the notion of destiny are all well used throughout cinema and literary works; but this is something else. 

Sandworm of Arrakis in ‘Dune’ Image: Legendary Pictures via Looper.com

My urge to slap George Lucas aside, Villeneuve’s Dune isn’t worth the hype. It’s dull, cold, and wastes its runtime with lackluster performances. This film should have had gravitas and more substance, considering the vast source material available. I saw the trailer like millions of others, but I was unimpressed. The movie, like the trailer, left me with no investment in the plot or the characters. Dune’s filmmaker expects the audience to care and follow along with this story, though there’s no satisfaction at the end. 

Why is there no satisfaction or excitement to find out what happens next? Imagine the following: you wake to strangers in your home, there’s shooting, fire, and death. Therefore you flee for your life through dangerous parts of town to seek shelter and help from people you barely know. All while not disturbing the gigantic sandworms and daydreaming about a girl. These people agree to help you- end film. Without actual spoilers, I just summed up Dune. 

Zendaya in ‘Dune.’ Image: Legendary Pictures via nerdist.com

Villeneuve cuts Dune off after two-and-a-half hours with no actual climax/resolution. Walking through worm-infested dunes isn’t a proper climax. It’s a bloody boring letdown. As an avid reader and fan of films, I know that movies rarely do their sourcebooks justice. Even though I haven’t read Dune, I don’t believe the first novel ended the way the film did. Please correct me if I’m wrong because Dune is one of the top 100 books of all time. 

How does such a popular novel make it to the silver screen with lackluster cast performance, pace, and lack of details? The most energy any character provides is Jason Momoa’s Duncan Idaho, discounting Brolin and Bautista’s roles as gruff, angry soldiers. That’s not a stretch for them, so I hardly call it acting. 

Stellan Skarsgård as Baron Harkonnen in ‘Dune.’ Image: Legendary Pictures via latimes.com

Stellan Skarsgård’s depiction of Baron Vladimir Harkonnen was said to be terrifying. I’m a big fan of Mr. Skarsgård’s work, and terrifying isn’t the word I would use to describe him in this film. Authoritative, vengeful, physically imposing (he’s a tall man in real life) who flies, which I find to be a weird ability, but not terrifying. Again I haven’t read the books; maybe he’s amazingly terrific as his literary counterpart description. 

The Lady Jessica is credited as Atreides but is referred to as the Dukes’ concubine in the film. If she’s his concubine, she’s not his wife. Either way, she is the mother of the Dukes’ son, Paul. The Lady Jessica is part of the Bene Gesserit, a political shadow group of sorceress with a breeding program. Again, I have that Star Wars connection in my mind. Breeding, cloning. Female sorceress’s, the Nightsisters of Dathomir. By and large, Ferguson’s emotional range is that of a brick wall. 

Chalamet, Ferguson, and Isaac in ‘Dune’ Image: Legendary Pictures via Screenrant.com

Ferguson is a brick wall, and Timothée Chalamet is a wet mop. Why is there hype around this kid? Harry Potter had more emotional responses about his dead parents, whom he’d never met than Paul does about any of the stuff happening around him. And Paul is a lot older than an eleven-year-old. For that matter, Harry’s dead parents in memory form or in moving magical photos conveyed more emotion for their son than Lady Jessica. 

It’s not fair that all I can think about is Star Wars when watching this; Frank Herbert really should have sued George Lucas at some point. Star Wars has plenty of other things that separate it from Dune. Still, so many of the broad strokes are not original, leaving me with a bitter taste in my mouth about the franchise. Herbert crafted a sci-fi series in novel form, and had George Lucas never come along with Star Wars, who knows how popular the Dune series cinematically could have been long term. All it needed was a studio, cast, and director, along with an excellent screenplay to bring it all to life- a few decades too late. Instead, now, Dune is left seeming like recycled content. 

Jason Momoa as Duncan Idaho in ‘Dune.’ Image: Legendary Pictures via Vanityfair.com

The script and direction should be solid when watching a big-budget film with a solid cast based on a classic novel. The passage of too much time and George Lucas robbed Dune of its full potential. Try as Denis Villeneuve did to make a better version of the 1984 attempt of Dune; it still falls flat. The devil is in the details, and there were not enough of them for Dune to resonate as the larger-than-life story it’s branded to be. 

Hopefully, the next attempt at Dune on the big screen will better incorporate details about the Houses in general, the interpersonal connections, and the mystical components that were played up but meant nothing. The story isn’t compelling enough without energetic performances and more complete pictures of characters and story arcs. 

When plot mechanics are the backbone of a film with little emotional resonance (story), it shouldn’t be on anyone’s watchlist. That’s not a film worth anyone’s time.

-A Pen Lady

Film Critic, Movie Blog, Movie Reviews

The Prestige (2006)

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The Prestige (2006)  Directed by: Christopher Nolan  Rated: PG-13  

Runtime: 2hr 10min    Based on: Novel by Christopher Priest

Studio: Warner Bros.  Screenwriter: Jonathan Nolan, Christopher Nolan

Cast: Christian Bale, Hugh Jackman, Michael Caine, Scarlett Johansson, David Bowie, Andy Serkis

At one point in human history, societies believed in magic. The supernatural. To be wooed and wondered by those who would dare wield it in a wide variety of ways over time. As mankind grew more intelligent or less gullible, depending on the century, the notion of the mystic arts or magic tricks became a tradecraft of sorts—the art of illusions.

In Christopher Nolan’s Prestige, the art of illusion is on full display in London during the late 1890s. A pair of competing magicians professionally try to one-up each other to be the best. This civil rivalry turns sour after a performance goes sideways, locking them in a dangerous loop of who is truly the best, no matter the costs or consequences. 

The Prestige is a detailed, dark drama ruled by magic, science, and obsession. It keeps you reeled in as you watch it. As you watch, you’re trying to figure out if you can see what’s coming, which is fair; this is a Christopher Nolan film. His films make you think, make you try and pay attention without missing that ‘it’ factor. That’s fitting considering the narrative that’s unfolding on screen.

Christian Bale & Hugh Jackman in ‘The Prestige.’ Image: Warner Bros.

Robert Angier (Jackman) is a magician with stage presence and lacks imagination. Alfred Borden (Bale) has nothing but imagination but can’t package it so that an audience will care. Their rivalry transcends professionalism; it’s a vendetta. Deserved or not-you understand why they act the way they do. Bale and Jackman’s energy into their respective characters is lovely; they play off one another so well. These performances are grounded by John Cutter (Caine) and Olivia’s (Johansson) additions. 

Cutter is Angier’s manager, and Olivia is his assistant until she’s not. Michael Caine, as always, is a phenomenal addition to any cast. Johansson does a good job with her character despite the century where a woman in her profession isn’t anything more than an attractive assistant, with no other women to interact with truly. However brief, David Bowie’s depiction of Nikola Tesla is eerily spot-on. The always talented Andy Serkis assists his character. 

David Bowie as Nikola Tesla in ‘The Prestige’ Image: Warner Bros.

Arthur C. Clarke said, “magic is just science that we don’t understand yet.” When watching a film like The Prestige or The Illusionist, which also came out in 2006, this statement is so fitting one might think that the screenwriters took it to heart when crafting these films. 

In creating this movie, the ingenuity that went into the settings, the costumes, and the props/setup for the tricks themselves are impressive. All these things, mixed with the film’s pace, drive the story forward in a manner that is quite enjoyable to watch. 

A well-acted story rooted in dark humor, drama, and the urge to know what happens next are what makes The Prestige worth a place on your watchlist. 

-A Pen Lady

Film Critic, Movie Blog, Movie Reviews

Eternals (2021)

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Eternals (2021)

Director: Chloé Zhao   Runtime: 2 hr 36 mins  Rated: PG-13 

Studio: Marvel Studios  Screenwriter: Chloé Zhao, Patrick Burleigh, Ryan Firpo

Cast: Richard Madden, Gemma Chan, Angelina Jolie, Salma Hayek, Lauren Ridloff, Barry Keoghan, Lia McHugh, Brian Tyree Henry, Kumail Nanjiani, Ma Dong-seok, Kit Harington, Bill Skarsgård 

Eternals is everything a decade’s worth of MCU films couldn’t do; it tells a complete, complex, and compelling story, with a strong plot, from beginning to end. A story where you didn’t know how it or the characters would end up. When you spend a decade establishing characters, building up an ensemble to fight together, you expect them to win. You expect them to make it to the end of their respective standalone films, so there’s little mystery there. How you get from Iron Man to Endgame is largely spectacle. Flash over substance. 

Eternals is more substance over flash, and many movie-goers hate that. Over the years, the MCU model conditioned people to expect less story from Marvel films, which are padded with costumes, CGI, and action. Don’t despair. Eternals have plenty of CGI and action woven more intrinsically within this detailed, rich story. 

Perhaps this is part of what many disliked. Details. Being required to listen and pay attention; when it’s not a spectacle, that’s what films need. Perhaps it’s the openly gay couple with a kid? Get over yourselves. Maybe it’s the sex scene? Hm, that one is fair. Up to this point, you could take young kids to see their favorite superhero in what has been a G/PG rated aspect of this topic in the MCU thus far. Well, kids grow up. Comic characters are not just for kids, nor have they ever been. Eternals isn’t dark and deranged like Zack Snyder’s comic book character depictions. Eternals fall in the middle. I’ll grant you this tiny spoiler if you’re on the fence about this film based on this point. It’s tastefully done. Sure it’s clear at one point two of the characters are lying down and don’t have clothes on anymore, but it’s from the collarbones up. Take from that what you will. 

Image: Marvel Studios, composite by Kirsten Acuna/Insider.com

Exploring this further, Eternals has a well-rounded, diverse cast. There are black people; one of whom is deaf, white people, an Indian character, Asian characters, a Spanish character, and a kid. This large cast ticks off a bunch of boxes with ease and not for the sake of ticking off boxes. I appreciate a well-rounded, talented cast that lets the film be about the story-not character-specific. In prior MCU films, one or two characters always managed to show up even when it wasn’t their standalone film like the film wouldn’t work without their inclusion. While Eternals have costumes, you should consider them more as uniforms, extensions of their powers, and ship. In this manner, this ensemble is without the brightly colored spandex costumes and accompanying ego trips. It’s all the better for it. 

Fans, however, may not feel better about the film’s opening sequence. They’ll need to read the screen. This isn’t a bad thing! It certainly sets the tone for the movie and the upfront departure from every other MCU project to date. It provides needed backstory in a format that consumes less screen time and budget. This format will not resonate with every viewer, but it’s an essential blip in the overall runtime of the film. It’s hardly the first film to use this tactic. So, read it without complaint. It’s also an important reason to remember to show up and find a seat before the film starts! 

Celestial image from the MCU Image: Marvel via Screenrant.com

Eternals has gotten mixed reviews, and I’m going to point out why you should ignore the naysayers. 1. Marvel didn’t put nearly the marketing effort into hyping this movie as others. It’s like they didn’t know how because 2. They are obscure characters with no prior buildup 3. The teaser trailer did nothing for this movie. Please ignore it. 4. It’s not all Hulk-like smashing, gun-heavy violent 5. The box office sucked. On that last point, when American films come out usually, other countries see them first. China is an excellent example of this, and they opted not toallow Eternals into their theaters. When that happens, the studio will see fewer zeros from ticket sales. That’s just a fact. Couple that ban with still touchy post-Covid theater options, and it’s clear those previous metrics for evaluating a hit or flop need reassessment ASAP. With all that against it, tossing that all aside and Eternals should be considered a box office hit. 

Chloé Zhao did a bloody marvelous job bringing together a large ensemble that portrayed characters worth being invested in. A cast who have great chemistry and energy that are believable and meaningful. Full of details that make the plot move along at an incredible pace, with seamless cinematography. Zhao tells a consistent story whose themes are just right and impactful. The audience can understand their story, who they are, why they are on Earth, their purpose, and how it all fits together in the MCU, which is a fair point after Thanos. 

Kumail Nanjiani is Kingo in ‘Eternals’ Image: Marvel Studios via SYFYWire.com

Moving forward, I sincerely hope that the house of mouse doesn’t “Disney-fi” future work with the Eternals within the MCU because this fresh infusion of characters is a palate cleanser. The right amount of serious and grownup to intermix with the sassy, zany and quirky characters left doing projects with the MCU. 

Eternals is worth a spot on your watchlist and your time. Make sure to stick around for the two end credit scenes; one’s at the very end. Cheers!

-A Pen Lady

Film Critic, Movie Blog, Movie Reviews

I AM MOTHER (2019)

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I AM MOTHER (2019)

Director: Grant Sputore  Rated: PG Runtime: 1 hr. 53 mins   

Studio: Rhea Films/Netflix   Screenwriter: Michael Lloyd-Green

Cast: Clara Rugaard, Rose Byrne, Hilary Swank

What is it with Netflix and robots? Is it just me? What is with the mass appeal of dystopian or apocalyptic premises in the last decade of screen media in general? Okay, if people didn’t like it or were sick of it, such projects wouldn’t get made. That doesn’t mean they all should. 

So here’s I AM MOTHER with robots and the end of the human race. Hardly an original concept. After some extinction-level event wipes man from the Earth, robots inherit it. “Mother” is a nanny bot, voiced by Rose Byrne. Mother’s function is to repopulate the human race from a secret bunker with over 60K human embryos. She grows one, a female, and calls her “daughter” (Rugaard). Why just one? Mother needs to practice being a good parent before going all out. Here’s my first question, how would she handle more than a few? She’s the only robot. Then again, I had Alien and Prometheus vibes (sans actual aliens), so what do I know. Over time Daughter grows into a teenager, fully educated by Mother and curious about the world beyond the bunker. Who wouldn’t be?

Hilary Swank in ‘I Am Mother’ Image: Netflix via theguardian.com

Daughter’s safety and sheltered existence are challenged one day upon “the wounded woman’s” (Swank) arrival. Seriously, Swank’s character isn’t even credited with a name, just a description. If you’re the last of your kind, do names matter? Unlike Daughter, who didn’t need one, Swank’s character is an adult and probably had one at some point, so it leans towards degrading. I digress on this point. 

Through a series of events, “the woman” ends up in the bunker (sorry, baby spoiler) and causes Daughter to question her life and Mother. The rest of the film is a letdown to the ideas planted of what viewers think is coming. Instead, it has strong echoes of the Alien franchise merged with Terminator and Star Trek’s Borg. As badass as that mashup implies, it culminates in nothing. It’s poached ideas that are left undercooked. 

Embryo from ‘I AM MOTHER’ Image: Netflix via Arstechnica.com

I AM MOTHER is a better-wrapped product than others whose packaging is recycled content. That’s all this film is. The script and performances were as flat as a sheet of paper. Watching this out of sheer boredom, I AM MOTHER has the appeal of lukewarm coffee, completely worth tossing aside. 

There are so many (better) original films out there to spend your time on, some I mentioned. This film, however, has no place on your watchlist- unless you like unoriginal crap.

-A Pen Lady

Film Critic, Movie Blog, Movie Reviews

Cast Away (2000)

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Cast Away (2000)

Director: Robert Zemeckis   Runtime: 2 hr 23 mins.   Rated: PG-13

Studio: 20th Century Fox/Dreamworks   Screenwriter: William Broyles Jr. 

Cast: Tom Hanks, Helen Hunt, Wilson the Volleyball

FedEx executive Chuck Noland (Hanks) is an obsessively punctual, high-strung perfectionist of time. And an apparent workaholic. This film starts out days before Christmas 1995. Everyone who ships goods at that time of the year is probably temporarily high-strung. Except for Chuck, that’s his normal. Christmas night, Chuck sets out on a FedEx shipping plane bound for Malaysia when they get caught in a storm and knocked off course. 

The plane crashes, and Chuck is the sole survivor. He washes ashore on a small island. 

In Cast Away, Hanks gives an astonishing performance that displays a physical transformation and highlights the emotional and mental toll a person can suffer in isolation. 

We all hear background noises every day, noise pollution, and become almost accustomed to it. In Cast Away, the background noise is the ocean. The waves, coconuts dropping, or the storms during storm season- that’s it. That lack of noise is something Hank’s Noland has to learn to endure. A lack of sounds is just one form of Chuck’s isolation. In that way, the sound editing in this film is vital. 

At one point, Chuck makes it to the top of his island, and it is small. It highlights to Chuck, and the audience, how univocally screwed he is. How alone, and how little Chuck has in the way of resources. The shot emphasizes the ocean’s vastness and how utterly cut off he is. On top of the internal anguish, Chuck has to deal with, which is its own form of a co-star, he has the ocean and island. Both are his nemesis, along with time and the weather. That might be a bit deep for some, but it’s true. 

Tom Hanks in ‘Cast Away’ Image: 20th Century Fox via EntertainmentWeekly.com

Chuck isn’t the only thing that ends up washing ashore. Some of the FedEx packages do as well. This film is entirely fictional, so no real people lost goods to a guy named Chuck to utilize as he saw fit. That genius lies with the writer. Seriously if you were stuck on an island and could have one item, what would it be? I’d say the TARDIS. But screenwriter William Broyles Jr. was able to grant Chuck’s character multiple things that on their own are bizarre in a tropical island setting. That’s the beauty in it, how to be resourceful when you have little or nothing to work with from the start. 

In that resourcefulness, Chuck befriends Wilson. Wilson is the brand name of a volleyball he finds. If you end up talking to yourself and answering too, it’s less crazy if you feel like you are talking to someone/thing. And Wilson helps Chuck move along this incredible journey of being lost at sea, marooned on an island, and surviving; to deal with the isolation. The attention to detail to make the story believable is well thought out. The editing crafts the progression of time, creating a good pace. For a two-and-a-half-hour film, it moves along nicely. 

Tom Hanks and Wilson the volleyball in ‘Cast Away’ Image: 20th Century Fox via IMDb.com

Tom Hanks gives an energetic, compelling, emotional performance in that allotted time. Part of that time is on Chuck’s attempts to escape the island. So the purpose of his character isn’t just how to deal with isolation, but can he escape it? Does his character find resolution from his conflict? The answer also ties in with what makes this film different from others in its genre. 

What would you do if you were alone on an island? How would you endure? Cast Away makes the audience ponder these questions without directly asking. It’s a mark of a great film. Cast Away is an excellent film to add to your watchlist any time of the year. 

-A Pen Lady