Cinema365 is taking a well-deserved and much-delayed vacation. The site will be down until February 12th; the next two Weekly previews will be skipped. We’ll be back on the 12th, however, with more reviews and more fun. See you back here then!
(2018) Documentary (Abramorama/1091) Ofra Bloch, Rassam Ajamin, Raneen Jeries, Basel Alyazoum, Samah Jabr, Mohamed Dajari, Johanna Rodenstab, Horst Hoheisal, Alaa Shebada, Anja Behm, Ingo Hasselbach, Thomas Casagrande, Alexander von Plato, Hussain Mbarkhi, David Bloch, Zoe Sloan, Audrey Jacobson. Directed by Ofra Bloch
Can a victim become an oppressor? Is there a difference between the Jewish holocaust and the Palestinian nakba (catastrophe)? Is it possible to forgive systematic oppression?
Psychoanalyst turned filmmaker Ofra Bloch was born in Jerusalem and lives currently in New York City with her husband, a Holocaust survivor. She had been raised to hate the Germans for inflicting the Holocaust on her people; she had also been raised to hate the Palestinians who, it was drilled into her, would bring about the next Holocaust.
She began to become aware that the Israelis had moved at some point from the oppressed to oppressors. Fascinated by this turn, she decided to talk to Germans, Israelis and Palestinians to get their opinions on the Holocaust and the nakba, the forced relocation of hundreds of thousands of Palestinians from their homes that they’d lived in for generations.
The results are fascinating. It’s not a question anyone wants to tackle; suggesting that the Israelis are being oppressive is often met with accusations of antisemitism. Palestinian activist Samah Jabr puts it like this; “Whenever Palestinians have the conversation with Israelis about the conditions in Palestine, the Holocaust is inevitably brought up.” She also refers to the kind of professional victimhood that she and other Palestinians believe that Israel has adopted.
But it’s hard to feel that way when faced with footage of the horrors of the Holocaust. One Palestinian professor, Mohammed Dajari, was fired for setting up a trip to Auschwitz for his students. An inability to see the other side’s viewpoint isn’t just endemic to American politics.
Bloch comes off sort of like Michael Moore if the gadfly had been born a Jewish yenta. Her questions are intelligent and the discussions are compelling and these are the kinds of conversations that we need to have – but never do. Yes, the movie has a somewhat languid pace and there is a bit of meandering between the interviews – a tighter structure would have been appreciated. Nonetheless, this is one of the most powerful films of the new year and one well worth seeking out, particularly for those who want a different viewpoint of the Israel-Palestine conflict.
REASONS TO SEE: Tackles a question nobody wants to discuss. The interviews are very powerful, very revealing. Really looks at both Jewish and Palestinian viewpoints. Some of the footage is ghastly.
REASONS TO AVOID: Has a very measured pace.
FAMILY VALUES: There are some very disturbing images of violence and torture, as well as archival footage from the Holocaust.
TRIVIAL PURSUIT: The film made its world premiere at DOC NYC 2018. It is only just now receiving a brief theatrical release from Abramorama, followed up by a home video/VOD release by 1091 Studios.
CRITICAL MASS: As of 1/29/20: Rotten Tomatoes: 83% positive reviews: Metacritic: 66/100.
COMPARISON SHOPPING: Shoah
FINAL RATING: 9/10
NEXT: Quezon’s Game
(2018) Family (Columbia) Wendi McLendon-Covey, Madison Iseman, Jeremy Ray Taylor, Caleel Harris, Ken Jeong, Jack Black, Chris Parnell, Bryce Cass, Peyton Wich, Shari Headley, Christian Finlayson, Matthew Jose Vasquez, Courtney Cummings, Jessi Goel, Drew Scheid, Taylor Siva, Sydney Bullock, Jason Looney, Kendrick Cross, Deja Dee. Directed by Ari Sandel
I always look askance at a young adult author whose book series is described as a “phenomenon.” The only audience more fickle than adults are kids. Phenomenons come and go with the regularity of Trump tweets.
In this sequel set in the universe of R.L. Stine’s Goosebumps series, two young would-be entrepreneurs (and middle school students) Sonny (Taylor) and Sam (Harris) unexpectedly find an unfinished Stine manuscript in a creepy old house and free Slappy, the malevolent ventriloquist dummy (voiced by Mick Wingert) is brought to life. At first, all he wants is a family of his own, which makes Sonny’s big sister Sarah (Iseman) suspicious although their single mom Kathy (McLendon-Covey) is blissfully unaware that the dummy is sentient. When Slappy is ultimately refused, he decides to get himself some revenge – by using his magic to bring to life Stine-influenced Halloween decorations and turn the sleepy upstate New York own into perpetual Halloween.
The movie doesn’t compare favorably with the first one; although Black (as author R.L. Stine) is in the film, he doesn’t show up until the very end in what is a glorified cameo, although he does set up a Goosebumps 3 should Columbia elect to make one. A little more Black would have gone a long way, but to be fair he was busy making a competing film and was unable to participate fully in this one.
That leaves us with the kids to carry the film and quite frankly that’s not something they’re capable of quite yet. Their performances are inconsistent and frequently wooden. Still, the movie does okay thanks to some fairly nifty special effects and the character of Slappy who makes a delightful villain for the younger set.
REASONS TO SEE: Slappy makes an outstanding kidflick villain.
REASONS TO AVOID: A little bit too much like the first.
FAMILY VALUES: There are mildly scary sequences, rude humor, some light profanity, and images of monsters and creatures.
TRIVIAL PURSUIT: Jack Black and Madison Iseman were both in Jumanji: Welcome to the Jungle but unlike here, they didn’t share any screen time together.
BEYOND THE THEATERS: Amazon, AMC On Demand, AppleTV, Fandango Now, Google Play, Microsoft, Movies Anywhere, Netflix, Redbox, Vudu, YouTube.
CRITICAL MASS: As of 1/29/20: Rotten Tomatoes: 48% positive reviews: Metacritic: 53/100.
COMPARISON SHOPPING: The House With a Clock In Its Walls
FINAL RATING: 5/10
BLOCKBUSTER OF THE MONTH
Birds of Prey: and the Fantabulous Emancipation of One Harley Quinn
(Warner Brothers) Margot Robbie, Mary Elizabeth Winstead, Ewan McGregor, Rosie Perez. The most memorable character from Suicide Squad finds herself a new team, the all-female Birds of Prey who are based in Gotham and take on the nefarious Black Mask. Harley Quinn, though, is the wild card in the proceedings. February 7
OTHER WIDE RELEASES TO WATCH FOR
Fantasy Island, February 14
Ordinary Love, February 14
Sonic the Hedgehog, February 14
Brahms: The Boy II, February 21
Call of the Wild, February 21
The Invisible Man, February 28
And Then We Danced
(Music Box) Levan Gelbakhiani, Bachi Valishlivi, Ana Javakishvili, Giorgi Tsereteli. A young man, training to make the Georgian National Dance Ensemble with his partner Mary, is thrown for a loop by the arrival of a rebellious male dancer with near-perfect form who causes him to question the conservative mores of Georgian society and puts his relationships with his partner and family at risk.. February 7
(NEON) Riley Keough, Richard Armitage, Alicia Silverstone, Jaeden Martell. A woman is snowed in a remote Northern lodge with the children of her fiancée as frightening phenomenon and spectres from her past begin to make themselves known. February 7
Legend of Deification (Jiang Ziya)
(Well Go USA) A Chinese warrior is given the task by the Gods to execute the Nine-Tailed Fox Demon, despite the fact that in doing so this will destroy an innocent girl whose soul is linked with the demon. The warrior is faced with a terrible choice; do what the Gods command, or do what’s right. February 7
(IFC) Alexi Pappas, Nick Kroll, Gus Kenworthy, Morgan Schild. Just in time for Valentine’s Day, an Olympic athlete at the 2018 Winter Games in South Korea finds confidence and love in an unassuming team dentist. This is the first feature film to be allowed to shoot in the Olympic Village during the Games. February 14
(Focus) Anya Taylor-Joy, Josh O’Connor, Bill Nighy, Mia Goth Wealthy Emma Woodhouse is the alpha female in a small English village during the Regency era. Eager to get her married off, her parents arrange match after match, all of which are disastrous. She must navigate her way through in order to find the love that was right under her nose. Based on the Jane Austin novel. February 21
A White, White Night
(Film Movement) Ingvar Eggert Siggurdsson, Ida Mekkin Hlyndsdottir, Sara Dogg Asgeirsdottir, Bjorn Ingi Hilmarsson. An aging police chief begins to suspect that his late wife was having an affair with a local villager in their native Iceland. His obsession with finding out the truth will put himself and his loved ones at risk. February 28
(101 Studios) Forrest Whittaker, Garrett Hedlund, Andrea Riseborough, Tom Wilkinson. When the Ku Klux Klan opens a museum in a small South Carolina town, an idealistic pastor tries to keep the peace – even as he works on the Klan’s Grand Dragon to disavow his violent, racist past. Based on a true story. February 28
(2017) Drama (A24) Emma Thompson, Fionn Whitehead, Stanley Tucci, Jason Watkins, Ben Chaplin, Nikki Amuka-Bird, Rupert Vansittart, Rosie Cavaliero, Anthony Calf, Nicholas Jones, Andrew Havill, Angela Holmes, Micah Balfour, Chris Wilson, Anjana Vasan, Paul Jesson, Eileen Walsh, Hilel Patel, Daniel Eghan, Michele Austin, Paul Bigley, Deborah Rock. Directed by Richard Eyre
.The things that make a judge a wise and diligent arbiter are the same things that destroy a marriage. The cost of making the right call weighs heavily on the bench.
That’s the message in this 2017 adaptation of a 2014 Ian McEwan novel. Oscar winner Emma Thompson stars as Fiona Maye, a justice in the High Court presiding over cases involving children. Fresh off of giving a hospital the right to separate conjoined twins that will result in the death of one of them, she is given the task of a boy just shy of his 18th birthday who is refusing a blood transfusion that would save his life. He was brought up as a Jehovah’s Witness who believes that the blood is where the soul resides and that the mixing of blood is blasphemy. Even though refusing the treatment would kill him, the boy – Adam (Whitehead) – holds that his religious beliefs are more important.
At the same time, her academic husband Jack (Tucci) has become fed up with the lack of intimacy in their marriage and, frankly, the lack of presence by his wife. He wants to have an affair, even though he professes to still love his wife. Fiona is having none of it. Jack leaves.
Fiona throws herself into the case as a way of keeping the demons at bay. She elects to take the highly unusual step of meeting with Adam in his hospital bed and finds him to be charming and articulate. The two even end up singing a duet together of a folk song based on a Yeats poem. But Fiona has a difficult decision to make; does the boy’s religious beliefs supersede medical facts? The children’s act, which places the welfare of the child as the paramount factor in any judicial decision in England, holds the key.
Thompson has long been one of my favorite actresses and even though this is one of the least approachable characters she has ever played, Thompson still imbues Fiona with humanity and intelligence. Her relationship with her husband is less symptomatic of her personality than her relationship with her clerk Nigel (Watkins). His obsequious nature is at odds with her blunt personality, and yet his devotion to her is absolute.
At the center of the film is the relationship between Fiona and Adam and that’s where the movie slips a little. Whitehead makes Adam almost too good to be true; it is only after Adam begins to feel more strongly towards the judge that Fiona begins to shy away which leads to an ending that is frankly a little maudlin which is definitely at odds with the rest of the film. Eyre and screenwriter McEwan (who adapted his own novel) have the courage to take on some thorny issues and handle them with equal attention to both sides of the coin. That’s a rarity in films today.
Even though the movie slips into preposterous mode near the end, it is still a smart, well-written drama that utilizes the talents of its star rather nicely. You don’t have to be familiar with the intricacies of British law in order to enjoy this one.
REASONS TO SEE: Emma Thompson is a force of nature here. Tackles some real thorny issues equitably.
REASONS TO AVOID: Loses steam near the end. The Adam-Fiona relationship seemed a bit forced.
FAMILY VALUES: There is a single sexual reference and some adult thematic material.
TRIVIAL PURSUIT: Whitehead starred with Thompson’s ex-husband Kenneth Branagh in Dunkirk.
BEYOND THE THEATERS: Amazon, AppleTV, Fandango Now, Google Play, GuideDoc, Hoopla, Kanopy, Microsoft, Vudu, YouTube
CRITICAL MASS: As of 1/28/20: Rotten Tomatoes: 82% positive reviews, Metacritic: 62/100.
COMPARISON SHOPPING: Most John Grisham adaptations.
FINAL RATING: 6.5/10
NEXT: Goosebumps 2: Haunted Halloween
(2018) Biographical Drama (DreamWorks) Ryan Gosling, Claire Foy, Jason Clarke, Kyle Chandler, Corey Stoll, Patrick Fugit, Christopher Abbott, Ciaran Hinds, Olivia Hamilton, Pablo Schreiber, Shea Whigham, Lukas Haas, Ethan Embry, Brian d’Arcy James, Cory Michael Smith, Kris Swanberg, Gavin Warren, Luke Winters, Connor Colton Blodgett, Lucy Brooke Stafford. Directed by Damien Chazelle
One of America’s most triumphant moments – right there alongside VJ Day – was the landing on the moon. It was a triumph of ingenuity, courage and will. Most know the name of the first man to walk on the moon – Neil Armstrong. Most don’t know much more than that about him.
Armstrong (Gosling) was in many ways the perfect test pilot; smart, cool under pressure, tightly focused on the mission. He wasn’t the sort for hi-jinx. He suffered the death of his two-year-old daughter to cancer and appears to have shut down emotionally at that point; unable to grieve with his wife Janet (Foy), he throws himself into work and the business of getting Americans on the moon.
Chazelle is a highly visual director and he really knows how to insert the audience into a place and time, and he does so here, exceeding his own excellence in that department. The scenes in aircraft that threaten to rattle themselves apart, or on spacecraft where the force of gravity is crushing to the point of near-death, has that you-are-there feel. However, the use of handheld cameras becomes an issue after the third or fourth instance of vertigo-inducing cinematography.
One of the reasons Armstrong hasn’t had a biopic done on him, despite his status as a national hero, is that he was an intensely private man who rarely granted interviews or discussed his feelings or observations with anyone. In life he was a quiet man, stoic to the point of stoniness and Gosling plays him here as a man unwilling to deal with his own emotions which makes it extremely difficult for audiences to identify with the character, but that was the way Armstrong was.
His wife Janet was a different matter and she was an extraordinarily strong woman who didn’t suffer fools gladly, if at all. She rarely puts up with NASA’s bullshit and certainly takes her husband to task for leaving her holding the bag while he is off turning his attention to other heavenly bodies. For my money, Foy’s performance here was the best of the year and should have gotten an Oscar nomination (she didn’t).
The film is augmented with an amazing score utilizing period-correct instruments like the theremin (an electric instrument that Armstrong apparently was extremely fond of) and period recording techniques, making the movie feel even more like a product of the Sixties. The lunar landing sequence is also magnificent in its visuals, even more so than the test flights and spaceflight sequences.
I think it would have been a difficult proposition to make a movie about Neil Armstrong to begin with. While there’s no doubt he was courageous, a hero to his very core, he was the kind of hero who was uncomfortable with adulation and preferred to keep to himself We will probably never know much about the inner Neil Armstrong and certainly if you are looking for it here, you won’t find it. I suspect that this film is as close as we ever will come.
REASONS TO SEE: Foy delivers a powerhouse performance that deserved a Best Actress nomination (but didn’t get one). Beautiful score.
REASONS TO AVOID: Way too much shaky-cam.
FAMILY VALUES: There is some peril and a bit of profanity.
TRIVIAL PURSUIT: This is the first film Chazelle has directed in which he didn’t write the script.
BEYOND THE THEATERS: Amazon, AMC On Demand, AppleTV, Fandango Now, Google Play, HBO Go, Microsoft, Redbox, Vudu, YouTube
CRITICAL MASS: As of 1/27/20: Rotten Tomatoes: 87% positive reviews: Metacritic: 84/100.
COMPARISON SHOPPING: From the Earth to the Moon
FINAL RATING: 7.5/10
NEXT: The Children Act
(2018) Dramedy (Sony Classics) Helen Mirren, Donald Sutherland, Christian McKay, Janel Moloney, Dana Ivey, Dick Gregory, Leander Suleiman, Ahmed Lucan, Gabriela Cila, David Marshall Silverman, Lucy Catherine Haskill, Joshua Hoover, Kirsty Mitchell, Mylie Stone, Helen Abell, Joshua Mikel, Robert Walker Branchaud, Denita Isler, Chelle Ramos, Danielle Deadwyler. Directed by Paolo Virzi
Growing old is hell. I’m finding that out first hand, and I’m not even 60 yet. The older we get, the more we have to lose, including our independence. There’s something about that which is almost unthinkable, but it often happens to our parents long before it happens to us.
John (Sutherland) and Ella Spencer (Mirren) are an aged couple in the twilight of their years. John is a retired literature professor; Ella is a wife and mother but also a very smart and tough cookie. One day, she and John set out in their old Winnebago for one last adventure.
The trouble is though that John is suffering from dementia and his lucid moments are getting further and farther between. Ella is also having some serious health problems and the strain of being John’s caregiver is wearing on her to the point where she isn’t sure she can continue. Their children Will (McKay) and Jane (Moloney) are frantic with worry – their parents left without telling them their plans, which are to drive down from New England to Key West to visit Ernest Hemingway’s house – Hemingway is a hero to John, and one of the things he can remember more clearly more often – one last time.
There is definitely an elegiac feel to the movie, even though there is a sense of humor to it. John’s antics aren’t necessarily played for laughs; he soils himself and some of his memory lapses are downright dangerous. Still, Ella faces a good deal of her husband’s illness with a cheerful sense of humor, even if she is at the end of her rope. The love between the two of them is heartwarming.
Part of the reason it is so is because Sutherland and Mirren are both excellent actors and the chemistry between them is genuine. Virzi gives them a real sense of being on a road trip, which helps the actors express being comfortable together. The Winnebago isn’t in the best of shape but with a bit of tender loving care, it will get them where they’re going, which is pretty much true for life.
The problem here is mainly that the plot is pretty predictable and there aren’t a lot of surprises, although feisty Ella faces down a pair of would-be robbers with a shotgun but that is one of the few moments where I thought that the movie was playing down to the elderly – oh, look, isn’t she cute, she’s got a gun. For the most part, these are real people with real issues that face millions of our elderly day in and day out. That’s one of the main takeaways I had from the movie and I thought both Sutherland and Mirren gave their characters dignity, from the first frame to the last.
Although there are some fairly funny moments and some fairly sweet ones, this isn’t something you should look to for some light entertainment. The issues being portrayed here are very real and they may remind you of someone in your own life going through similar challenges – parents, grandparents, sisters, brothers. It may hit a little too close to home. I’m very fortunate that my mom (my father passed away more than thirty years ago) still has full possession of her faculties, even though her memory isn’t what it once was and she walks a lot slower than she used to, but she is the first to squawk when she feels pandered to. I don’t think this movie would give her reason to squawk.
REASONS TO SEE: Strong performances from Mirren and Sutherland. Kind of a nice travelogue.
REASONS TO AVOID: A little bit on the predictable side.
FAMILY VALUES: There is some sexual material.
TRIVIAL PURSUIT: This is the first English language movie for Virzi.
BEYOND THE THEATERS: Amazon, AMC On Demand, AppleTV, Fandango Now, Google Play, Redbox, Sling TV, Starz, Vudu, YouTube
CRITICAL MASS: As of 1/27/20: Rotten Tomatoes: 37% positive reviews: Metacritic: 45/100.
COMPARISON SHOPPING: Folks!
FINAL RATING: 7/10
NEXT: First Man