The Hate U Give


Driving while black can be fatal in 21st century America.

(2018) Drama (20th Century FoxAmandla Stenberg, Regina Hall, Russell Hornsby, Anthony Mackie, Issa Rae, Common, Algee Smith, Sabrina Carpenter, K.J. Apa, Dominique Fishback, Lamar Johnson, TJ Wright, Megan Lawless, Rhonda Johnson Dents, Tony Vaughn, Marcia Wright, Al Mitchell, Karan Kendrick, Jevon Johnson, Mike Stoudt, Tye Claybrook Jr., Andrene Ward-Hammond. Directed by George Tillman Jr.

 

In the latter years of the 20-teens, it was fashionable for those of white privilege to say that race relations had markedly improved. After all, blacks can vote now, can’t they? They can use the same bathrooms as white people, can’t they? They’re not in chains anymore, are they?

The chains that African-Americans wear in the 21st century are much more subtle than iron but just as binding and just as evil. We can see those shackles so clearly in this adaptation of a best-selling young adult novel.

Starr Carter (Stenberg) is a bright, vivacious 16-year-old African-American girl who lives in Garden Heights, a predominantly black working-class neighborhood. Her father Maverick (Hornsby) is a former activist who had a bad run a few years ago and ended up doing jail time as a gang member for local gang leader King (Mackie). He currently owns a corner grocery market in the Heights; Starr’s mother (King), however, wants her babies to escape the Hood and to that end she has sent Starr, her brother Seven (Johnson) and younger sister Sekani (TJ Wright) to Williamson Prep, an upper-crust private school which is mostly white.

Starr exists in two different worlds which she is able to compartmentalize at first. However, while being driven home from a party by her childhood friend Khalil (Smith), they are pulled over by a white cop for no apparent reason. Although Starr begs Khalil to keep his hands on the dashboard and to obey every command given him by the obviously nervous patrolman, Khalil adopts a more confrontational attitude and when he reaches for a hairbrush inside the car, the panicked cop shoots him dead.

The shooting of another unarmed black youth puts the community into an uproar. Starr, the only eyewitness, is terrified if she comes forward to testify in front of the grand children that she and her family will be targeted by the police. Equally real is King’s desire that Starr not testify because it would come out that Khalil worked for King as a drug dealer. This is not information King is particularly eager to see go public.

Starr is caught in the center of a ticking time bomb. On the one hand, she wants to honor Khalil’s memory by standing up for him; on the other hand, she wants to protect her family. Doing the right thing never seemed so hard.

The movie captures the flavor of the African-American community in a way that makes it seem almost idyllic, from the ranks of the community to the warmth of family. It also doesn’t shy away from portraying the violence in the community; a party is interrupted by gunshots, and King in a particularly vicious move orders a store to be firebombed with children inside.

Still, the frustration of the black community is very palpable and very understandable from the very first scene, in which Maverick explains to his children how to survive an encounter with the police. This is not a talk white parents need to have with their kids but it is tragically all-too-common in African-American homes. The script makes no bones about the conditions that have created this situation.

The star here is Starr, or rather, Amandla Stenberg who is absolutely riveting. She gives Starr an inner strength that shows through even when she’s full of doubt. Starr has a playful side that Stenberg captures nicely, but also a vulnerable side. Starr is one of the most nuanced characters to come out of literature in the past decade, and she’s one of the most nuanced characters to come out of the movies as well, thanks largely to Stenberg. Hornsby also gets points for a strong performance as Maverick.

The movie stumbles a bit in its occasional strident tone; not that it’s unjustified, mind you, but it can be preachy in places. The ending is a little bit out there, and there are a few plot contrivances that felt a little forced. It also is a fairly long movie which might not sit well with its target audience. However, if you give this film a chance you will find it might just strike a powerful chord in you. That is, unless you’re one of those folks who think that African-Americans should be grateful for the strides they’ve made over the past sixty years. Then again, those folks are the least likely to want to see a movie like this.

REASONS TO SEE: Stenberg shows real strength in her performance. Captures the positives of African-American culture; the sense of community and family, for example.
REASONS TO AVOID: Sometimes grows overly strident in its message (although that is somewhat understandable).
FAMILY VALUES: This is definitely adult, thematically speaking. There is also quite a bit of profanity, some violence and drug references.
TRIVIAL PURSUIT: Screenwriter Audrey Wells died of cancer the day before the film was released, 13 days before the national wide release.
BEYOND THE THEATERS: Amazon, AppleTV, Fandango Now, Google Play, HBO Go, Microsoft, Movies Anywhere, Redbox, Vudu, YouTube
CRITICAL MASS: As of 1/19/20: Rotten Tomatoes: 97% positive reviews: Metacritic: 81/100.
COMPARISON SHOPPING: Monsters and Men
FINAL RATING: 7.5/10
NEXT:
The Sisters Brothers

The Girl on the Train (2016)


Emily Blunt realizes she's on the express train to Hell.

Emily Blunt realizes she’s on the express train to Hell.

(2016) Thriller (DreamWorks/Universal) Emily Blunt, Haley Bennett, Justin Theroux, Luke Evans, Rebecca Ferguson, Edgar Ramirez, Laura Prepon, Allison Janney, Lisa Kudrow, Lana Young, Gregory Motley, Mac Tavares, John Norris, Peter Mayer-Klepchick, Darren Goldstein, Nathan Shapiro, Cleta E. Ellington, Tamiel Paynes, Fernando Medina, Rachel Christopher. Directed by Tate Taylor

 

Perception is a tricky thing. Memory is unreliable; we may think we see something but did we really? Was it something that our minds embellished, either because of altered perception or our own prejudices? Was it something important? Ask ten people about something they saw fleetingly from a moving vehicle and you’ll get ten different answers as to what they saw.

Rachel Watson (Blunt) takes the Long Island Railroad train from the Island into the City twice a day. She’s been through a lot lately; a divorce following the revelation that her husband Tom (Theroux) had been cheating on her with their real estate agent Anna (Ferguson) – and had worse still married Anna and had a beautiful baby daughter with her, after efforts for Rachel to get pregnant had turned out fruitless. She already had a problem with alcohol when they were married; now that problem has become full-blown alcoholism.

From the train she sees a house not far from the one she used to live in and where Tom still lives with her new wife. In the house live a beautiful blonde and her husband, the perfect couple to Rachel’s mind, who have everything she ever wanted but cannot have. It comforts her somehow that this perfect union exists. Then one morning she sees the wife in the arms of another man and this sends her into a tailspin. She gets blackout drunk and ends up in a field not far from her old house and the one that the not-quite-perfect couple live in.

Then comes the news that the woman is missing; her name is Megan Hipwell (Bennett) and husband Scott (Evans) is frantic. As Rachel was spotted in the area, she is questioned by Detective Riley (Janney) about the situation. Rachel tells the Detective what she knows but Rachel isn’t exactly the most reliable witness.

Consumed by the case, Rachel sets out to find out who the mysterious man was and to find out what happened to Megan. Slowly, as she stumbles drunkenly from one clue to another, she begins to get closer to the truth about what happened to Megan – and discovers to her shock that the answer is closer to her than she could ever know.

This is based on the runaway bestselling novel by Paula Hawkins and is quite frankly a hot mess. Director Tate Taylor (The Help) has a history of deftly weaving multiple tales of different women together into cohesive films but that doesn’t happen here. The focus is largely on Rachel but Megan and Anna are both heavily in the mix and we do get their points of view as well.

Blunt has gotten some strong praise for her performance as Rachel, even critics calling for Oscar attention but I don’t see it. Frankly, this is one of her weaker performances that I can remember. She is unconvincing when asked to do scenes of drunkenness; quite frankly I’ve spent a lot of time among the inebriated and this is more of a caricature than anything else. Blunt tends to be more successful here when we get glimpses of her underlying torment. Rachel is definitely not a happy woman and when Blunt gets to let glimpses of that out, the performance works.

She isn’t helped much by the other cast members. Their performances are mainly unmemorable, but that isn’t necessarily the fault of the actors. They are given preposterous dialogue to say and characters who have little or no development to work with. It’s like the filmmakers decided to do something Hitchcock-esque (which this is) but instead of writing actual characters they used stereotypes from other films to fill in the blanks. While Rachel’s alcoholism is a nifty idea, it’s used more as a gimmick than as a real interesting plot point.

I haven’t read the novel this is based on but I’m told it’s very well-written by people whose judgment I trust on such matters. I can’t believe though that the story is identical; it’s too pat, too been there-done that. The twists are telegraphed and let’s face it, if you can’t tell who the criminal is in the first twenty minutes you’ve been asleep.

Bailey as Megan shows some promise (she’s also in the much better Magnificent Seven remake) doing her best Margot Robbie impression and ironically enough Robbie was originally considered for the role. Ramirez incomprehensibly has a Spanish accent for a character who’s supposed to be Arabic and Janney is unbelievable as a tough Detective Sergeant. I mean, think about it; these are all competent actors who are known for their consistently strong performances. Why are they all doing subpar work here all at the same time? One can only blame the filmmakers. The only actor who really makes an impression is Lisa Kudrow in a brief but important role who gets to utter the immortal line “Rachel! I haven’t seen you in a million years!” which may or may not be a conscious reference to Friends.

I’ve read some decent reviews for this thing and can’t for the life of me which movie those critics saw. Most of the reviews have been, like this one, on the negative side. The houses don’t look lived in, the lives don’t feel real. It’s like watching a movie in which Barbie and Ken dolls are used as surrogates. Blunt shows flashes of her normal brilliance but that is tempered with her portrayal of drunkenness as more of a lampoon than anything remotely approaching realism and that is symbolic of the movie’s issues as a whole; at the end of the day, this feels empty and without a connection to anything like real life. Why spend money on a movie that feels divorced from reality when you can watch a presidential debate for free?

REASONS TO GO: The alcoholism makes for an interesting plot point.
REASONS TO STAY: The plot twists and the whodunit are incredibly predictable. The acting is surprisingly blah.
FAMILY VALUES:  There is violence, sexual content, profanity and a bit of nudity.
TRIVIAL PURSUIT:  This is the first film Taylor has made that hasn’t had Octavia Spencer in it.
CRITICAL MASS: As of 11/8/16: Rotten Tomatoes: 44% positive reviews. Metacritic: 48/100.
COMPARISON SHOPPING: Vertigo
FINAL RATING: 4/10
NEXT: The Handmaiden

Road to Perdition


Road to Perdition(2002) Gangster Drama (DreamWorks) Paul Newman, Tom Hanks, Tyler Hoechlin, Jude Law, Daniel Craig, Stanley Tucci, Jennifer Jason Leigh, Liam Aiken, Dylan Baker, Ciaran Hinds, Daniel Darlow, Maureen Gallagher, Kevin Chamberlin, Doug Spinuzza, Duane Sharp, Diane Dorsey, Harry Groener, James Greene, Peggy Roeder, Lara Phillips, Mina Badie, Heidi Jayne Netzley. Directed by Sam Mendes

Waiting for Oscar

2003 OSCAR NOMINATIONS
Best Supporting Actor – Paul Newman
Best Art Direction/Set Decoration – Dennis Gassner, Nancy Haigh
Best Sound – Scott Millan, Bob Beemer, John Pritchett
Best Sound Editing – Scott Hecker
Best Original Music Score – Thomas Newman
WINS – 1
Best Cinematography – Conrad L. Hall

Loyalty is a commodity that is very precious because it is so very, very rare. It’s been that way for a very long time – we are an inconstant species, truly. But then again, the earning of loyalty is a very difficult thing; we don’t give it easily for a reason. And for damn sure we don’t forgive when that loyalty is sundered.

Michael Sullivan (Hanks) is a loving husband and father as 1931 dawns. His son Michael Jr. (Hoechlin) has an unusual relationship with him; the boy worships his father and yet there is a distance between them. Perhaps it’s because his dad does mysterious work for the jovial John Rooney (Newman), who seems to be one of the leading men in town.

But John Rooney is no ordinary businessman; he’s a gangster and Michael Sullivan is his main enforcer, known far and wide as the Angel of Death. Michael Sullivan Jr. doesn’t know this; he thinks his dad is a cop, or a superhero. So he stows away in the trunk of his dad’s car when he and Rooney’s son Connor (Craig) go to visit someone for a talk, and that talk gets out of hand and Connor kills a man in cold blood, forcing Michael to have to clean up the mess. Michael Jr. witnesses this and Connor, not being a trusting sort, decides to kill Michael Jr. and make it look like a random gang hit. Unfortunately, Connor is a bit of a screw-up and manages to kill Michael’s wife Annie (Leigh) and his other son Peter (Aiken).

This puts Rooney and his former enforcer at war and Michael goes on the run with his surviving son. He appeals to Frank Nitti (Tucci) of the Capone outfit in Chicago for justice and peace, but Nitti, not wanting to get in the middle, declines. In fact, Rooney has set the somewhat demented crime photographer/assassin Maguire (Law) on the two who decide to rob John of his ill-gotten gains and then strike out on their own. It is a time of father-son bonding in a wild era, on the run from everyone and beyond the law. But when one is known as the Angel of Death, you know that the Grim Reaper isn’t far away at any given time.

This was Mendes’ first film after his breakout success with American Beauty and Newman’s final on-screen appearance (he would do a voice role in Cars). Both of those events tend to overshadow the overall quality of the movie which was a lot higher than one might have expected.  The movie was based on a graphic novel by noted mystery writer Max Alan Collins and the dark tones and overall feel of that work ported over to the cinematic version nicely.

Hanks went way out of his comfort zone here for a role totally unlike any he has played before or since. While one can relate to his protective father side, the cold and brutal killer that the Angel of Death is completely comes out of left field for Hanks, who has more in common with Jimmy Stewart than Jimmy Cagney. Jude Law also has one of his better performances as the twisted killer and crime photographer who takes crime scene photos of his own crimes.

Newman makes a final performance that is a great one to exit on. His urbane gangster is generous and full of Irish charm on the surface but is as deadly as a snake below. The relationship between him and the Hanks character is spot-on, father-son type stuff which of course makes the real son of the gangster jealous which is part of what drives him to murder the family of Michael Sullivan. This is also a very different role for Craig in his pre-Bond days.

The depression-era Midwest is beautifully captured here and photographed adroitly by legendary cinematographer Conrad Hall, for whom this was his final feature as well (he passed away the following year after doing a short film). There are scenes of a confrontation between Michael Sullivan and John Rooney photographed at night in the rain which are absolutely breathtaking. Even if you’re not partial to gangster flicks, this is one of the best-looking and best-acted I’ve ever seen.

There are those who believe this is a good but not great movie and on that point I have to disagree. I think this will be thought of as a classic in the decades to come when the films of the 90s are discussed. At the end of the day, this is a movie that may be dark in tone but entertains nonetheless. If you haven’t seen it yet, this should be at or near the top of your must-see list.

WHY RENT THIS: Terrific performances throughout, particularly from Hanks, Newman, Law and Tucci. Beautiful cinematography. Recreates the era nicely.
WHY RENT SOMETHING ELSE: More somber than most funerals.
FAMILY VALUES: There’s plenty of violence and a fair amount of foul language.
TRIVIAL PURSUIT: The crime scene photos in Maguire’s apartment are actual crime scene photos from the era, some of which were taken by Arthur “Weegee” Fellig, the notorious photographer whom Maguire’s character was based on.
NOTABLE HOME VIDEO EXTRAS: The DVD edition has very little other than a deleted scene that has Anthony LaPaglia’s performance as Al Capone that was eventually cut from the final version, but the Blu-Ray has two memorable featurettes worth getting – one explores the world of Road to Perdition in both the graphic novel it’s based on and the film, the other a retrospective on cinematographer Conrad Hall whose work helped make this film so memorable.
BOX OFFICE PERFORMANCE: $181.0M on an $80M production budget.
SITES TO SEE: Netflix (DVD/Blu-Ray rental), Amazon (buy/rent), Vudu (not available),  iTunes (buy/rent), Flixster (not available), Target Ticket (not available)
COMPARISON SHOPPING: Billy Bathgate
FINAL RATING: 9/10
NEXT: American Sniper