Waitress: The Musical (c) Bleecker Street
Thursday, December 7, 2023
Thursday, November 30, 2023
The Color Purple (c) Warner Bros.
The SAG-AFTRA AND WGA strikes are over, and now that the studios agree to give their workers a living wage, they can start to promote movies for this year’s awards cycle. The person who seems most itching to have facetime with the voters seems to Bradley Cooper for “Maestro,” followed by Jeffrey Wright for “American Fiction” and the cast of the upcoming “The Color Purple.”
But with campaigning starting so late, maybe voters will have to rely on films and performances they like rather than just give into the media hype. With the critics’ groups announcements happening in the next two weeks and the shortlists announced right before Christmas, this is the last of my predictions that will be unbiased by the buzz and just on the films themselves.
Tuesday, November 28, 2023
Film Review: Three Master Directors Tackle Life in Japan That Children Don’t Understand and Adults Can’t Explain in “Monster,” “Perfect Days” and “The Boy and the Heron”
Monster (c) Well Go USA, Inc.
Japanese director Hirokazu Kore-eda has returned to his homeland setting of Japan after sojourn films in France (The Truth) and South Korea (Broker), and while I had some problems with the script by Yuji Sakamoto (ironically, the winner of the Screenplay Award at Cannes this year), Kore-eda is again sympathetically tackling the innocence of children trying to cope in a world they can’t comprehend. But the movie tells the story of young Minato (Soya Kurokawa), from three perspectives, with his own being the last one, and that’s a shame because the first two, while well-acted, bring up issues that are red herrings to what is actually happening. The first act is told from the perspective of Minato’s mom Saori (Sakura Ando) who is noticing a change in her son’s demeanor as he starts fifth grade. He’s erratic, he suffers bodily harm, and she is horrified when he says he now has a pig’s brain, and thus, is a monster. After some investigation, Saori believes her son has been a target of harassment from his teacher, Hori (Eita Nagayama). The second part is from Hori’s perspective, and we see how hints and innuendos can ruin a teacher’s reputation, especially when it involves pre-teen kids. But it’s in the third part that Minato’s true story is told and everything that felt mysterious and foreboding earlier falls into place. That’s because a fourth character, his much-teased classmate Yori (Hinata Hiiragi), who was only glimpsed in earlier parts of the film, turns out to be the lynchpin to the film’s mystery. Yori and Minato are given the same generosity of grace Kore-eda affords to innocent children, as in his masterpiece Shoplifters, which won the Palme d’Or in 2018. I was ultimately moved by Monster as a whole and hope one day someone will re-edit the film chronologically with all three stories happening at once. As it is, the story manipulates the audience for most of the movie before revealing the beating, generous heart by the end. Make no mistake, there are monsters in this film: real and metaphorical, but also fantastical that inspire games and wonder in children.
Tuesday, November 21, 2023
Film Reviews: Thanksgiving and Holiday Films for Family (“The Holdovers”) and Friends (“Saltburn”), With Some Streaming Options
The Holdovers (c) Focus Features
FAMILY-FRIENDLY FILMS You’re home with family. What should you watch that’s safe for Mom, Dad and nieces and nephews.
Film: The Holdovers
Auteur filmmaker Alexander Payne has always had a cynical look at the world in films such as Election and About Schmidt, with his last movie, Downsizing, maybe taking it a bit too far. Perhaps because he is directing a script he didn’t write (the screenplay is by David Hemingson), his latest, The Holdovers, is possibly his most relatable and sentimental work. The film takes place in a nostalgic New England Christmas setting of 1970 and deals with three people in holiday crisis. Set at an all-boys boarding school, Angus Tully (Dominic Sessa) is one of the titular holdovers as he has been asked by his mother not to come home for Christmas because of his tenuous relationship with his stepfather. He and some other kids are being babysat by his reluctant Classics teacher Paul Hunham (Paul Giamatti, reuniting with Payne for the first time after Sideways), who is both mean and vindictive in his approach to the spoiled kids he teaches. Also stuck at the school is the school cook, Mary (Da’Vine Joy Randolph), who has recently lost someone close to her and doesn’t feel festive. How these three interact and deal with each other’s problems doesn’t divert too much from expectations. Sessa is fine as the always angry student, although a plot reveal toward the end could have been explored a bit more. As for Giamatti, will his Grinch heart grow three times as large by the end of the movie? Well, how Mr. Hunham’s story resolves itself takes a slightly unexpected turn that may feel a bit out of character, but Giamatti somehow makes it work. Randolph, however, as Mary is the standout here. She is the moral compass of the film and Randolph is both funny and heartbreaking. The nostalgia may touch a chord for many audiences, but will The Holdovers become a Christmas tradition film like It’s a Wonderful Life or Elf? Time will tell.
Friday, November 17, 2023
Theater Reviews: Experimenting with Theatrical Realities Yield Mixed but Always Fascinating Results for “Arcadia,” “Scene Partners” and “Poor Yella Rednecks”
Arcadia (c) Ashley Garrett