The Little Things (2021)

The Little Things is self-consciouly a throw back to dark 90s serial killer dramas a la Se7en, or The Bone Collector. Written at that time but never made into a film until the screen writer, who became a successful director in his own right, decided to make it himself over 20 years later. He fills the film with references to the pop culture and fashion of the time, his story is filled with the cliches of the genre (grizzled old detective on the brink of retirement, a cold case that never got solved, the ambitious young officer with a lovely family), and a lot of dark lighting and blood. It all feels like its trying to hard to be all of that, none of it comes naturally.

What The Little Things does well is its casting. Washington, Malek, Leto, they all have Oscars and they are all great actors. None of them feel like they are phoning this one in either. What makes The Little Things work is how enjoyable it is to watch them all work, giving really great performances. While the script and story feel on the cliche side, the actors elevate it. The supporting cast is also strong, making the film far more compelling than it would be otherwise. 

Unfortunately the script is so hackneyed, hitting us over the head with its message, relying on trite cliches that we keep getting pulled out of the story. The script is the kind that keep having characters tell us what we are supposed to notice, giving monologues explaining their motivations. I have never really appreciated Hancock's overt simplifying style and this film doesn't change any of that. His style lacks much artfulness and focuses on a straight forward approach which I find dull and certainly doesn't help this story as it moves along.

So when the film reaches its conclusion, one I think could have really made for a fascinating resolution, I become the most disappointed in the film. Perhaps if the film had worked better stylistically it would have made the final moments so much more powerful. But the film tips its hand early on and keeps to a run of the mill feeling throughout, making it feel unfulfilling besides some strong performances in an otherwise forgettable film. 

The Little Things

Starring: Denzel Washington, Rami Malek, Jared Leto, Michael Hyatt, Chris Bauer, Natalie Morales, Isabel Arraiza, Sofia Vassilieva

Writer/Director: John Lee Hancock

 

Palmer (2021)

Justin Timerlake makes a pretty convincing bid to be a serious actor in this inspiring drama from director Fisher Stevens. Palmer is a story of an ex-con who, through a series of circumstances, takes in a gender non-conforming young boy and becomes a man he can be proud of through raising him. The film is rather conventional but it doesn't falter too much. While not perfect and with an ending that is a little too easy, Palmer remains a satisfying watch.

Supported by the wonderfully watchable Wainwright and Squibb, Timberlake plays it subtle. He doesn't go in for any big Oscar moment style acting, just lets his character quietly be. His sadness, his rage, his struggles, his happiness feel all the more real for it. And Temple does a good job in a role that could be quite a cliche. The cast is all up to the task, including new comer Allen who is just a delight all the way through, the film allowing him to show a real strength in his character's resolve to be themselves.

The film's story makes us confront some difficult issues but always gives us an answer which isn't too hard. There were times I thought it would go to some darker places but it mostly keeps things rather straight forward. It doesn't ignore the difficulties in this story but it blinks a bit and makes things okay, so we can watch without too much grief and sorrow. Palmer ends up walking a fine line between being general audience accessible and wrestling with the hard questions. It generally succeeds in my opinion although I did feel the ending rushes its resolution and therefore loses some of its authenticity. 

Still Palmer is enjoyable in that you'll-laugh-you'll-cry sort of way and it gets points for being genuine in its intentions.

Palmer

Starring: Justin Timberlake, Ryder Allen, Alisha Wainwright, June Squibb, Juno Temple

Director: Fisher Stevens

Writer: Cheryl Guierriero

 

Penguin Bloom (2021)

I've always felt "family" movies didn't have to be light to be accessible. Kids deal with a lot of emotions. They live in the real world. They respond to stories that speak to these issues. This "family" film, about a family who adopt a wounded bird after the mother becomes partially paralyzed after a fall does that, tells a real story about adapting to change and the way our anger and blame need to be processed. 

While this is based on the real life Blooms, the story uses the magpie they take in, which they ironically name "Penguin," as the linchpin for this family's resolve and strength together. It "personifies" their desire to heal, to come together, and to rely on each other. And this rather simple, yet effective story, captures that quite beautiful idea in a story that almost any age can understand. I loved the way this tale is told in a way that is accessible without ever dumbing it down or sugar coating it.

I can watch Naomi Watts in almost anything and it is her, along with her great supporting cast (hello Jacki!), who bring a real honesty to a story that could have been far more after-school-special and saccharine than it turns out to be. All in all Penguin Bloom hits the right nerves and offers a story for all ages.

Penguin Bloom

Starring: Naomi Watts, Andrew Lincoln, Jacki Weaver, Rachel House

Director: Glendyn Ivin

Writers: Shaun Grant, Harry Cripps

 

Synchronic (2020)

Synchronic is the biggest film for filmmakers Justin Benson and Aaron Moorhead after making a name for themselves with the indie hit The Endless, a fascinating and mind bending exploration of cults and the unknown questions we all ask ourselves. Synchronic also promised to play with our expectations but with bigger stars, however it always feels like it's just not getting there. Never that fascinating, never quite entertaining enough, never really that mysterious, Synchronic falls a bit on the boring side. There are a lot of pieces here which felt full of possibility but never the moments that delivered.

As two paramedics find more and more patients with "weird" symptoms from apparent drug overdoses, they stumble into something far more bizarre than they were expecting. But the tricks here never feel organic enough to make that promising premise payoff. Some dubious special effects and a rather pat and disappointingly simple explanation make Synchronic an overall let down. As the pieces all came together, I couldn't maintain interest in what ended up being a very linear plot and an unrealistic play with "time travel."

 

It all makes you long for a Christopher Nolan film.

So while I remain curious to see what this film making duo can do next (I hear Marvel has recruited them) I am a bit concerned. Still one misstep doesn't mean they don't have another story in them to wow us.

Synchronic

Starring: Anthony Mackie, Jamie Dornan

Directors: Justin Benson, Aaron Moorhead

Writer: Justin Benson

 

The White Tiger (2021)

Writer/director Bahrani has crafted a crime thriller/comedy that is also an insightful deconstruction of caste and class. It is one of those great films that is entirely entertaining and engaging on it's own but also has layers going on that give you so much to think about.

Gourav is magnetic in his role as a man doing whatever he can to work his way out of his situation. He masters the pathos and the humour balancing it all perfectly. His Balram is razor smart and angry and compliant and honest and responsible. His journey is fascinating and Gourav draws it all so perfectly. His Balram is a a classic flawed hero and his story is one that you can't turn away from.

Bahrani's film is beautifully shot often contrasting images of wealth with  poverty in rather subtle ways. There were often times I felt the film could have been more obvious with what it was doing but Bahrami keeps his story restrained, giving it a real sense of authenticity. His film and the characters are honest and complex. He looks at the way everyone is complicit, not only those that are "villains."

The White Tiger is clever and sharp, and engaging from start to finish.

The White Tiger

Starring: Adarsh Gourav, Priyanka Chopra Jonas, Rajkummar Rao

Writer/Director: Ramin Bahrani

 

The Lady Vanishes (1938) REVISIT

Many credit The Lady Vanishes with kick-starting Hitchcock's American career, gaining him the attention in Hollywood that would bring him over to the US where he would make his biggest hits. Soon after the success of this film he would make Rebecca, for which he would be nominated for an Oscar, and would cement him as one of the leading film makers of his age. Watching The Lady Vanishes it is clear why suddenly so many Stateside might have been excited about him.

The Lady Vanishes is a delicious mystery that makes one question what they think they know. It is the kind of story that might have inspired a Shyamalan or Nolan in the way it plays with our expectations and understandings. But it ends up feeling even more satisfying as Hitchcock works in elements of screwball romance comedy and action movie. The movie works on a so many levels, for so many audiences and its story is just deeply engaging.

Redgrave and Lockwood have amazing chemistry, with Redgrave especially being delightful throughout. The Lady Vanishes is just so watchable, enjoyable. I could watch the two of them go on and on. 

And even more so the film explores the way women's voices get silenced and sets Lockwood up as a strong example of a woman that takes her destiny into her own hands, despite how many voices are trying to gaslight her. And as the film reaches its climax it puts women in the heroic roles we might not expect in that era. The damsels are doing the saving here. The Lady Vanishes is clearly playing with our expectations of what a woman's role is and for a film of its era was not what I expected.

Essentially The Lady Vanishes is a truly entertaining story. If I was a 1930s Hollywood producer I'd be trying to hire this director as well.

The Lady Vanishes

Starring: Margaret Lockwood, Michael Redgrave

Director: Alfred Hitchcock

Writers: Sidney Gilliat, Frank Launder

 

Outside the Wire (2021)

Outside the Wire has high aspirations but never quite gets to where it is trying to go. Like a lot of great sci fi it attempts to use a fantastic concept to comment on the current issues of our day. In this case the film is about how robots are used by the military for their effectiveness but are looked down on and abused by those using them for not being human. It is a very thinly veiled analogy for the way racialized soldiers have often been treated in the American military. It then spins out into some other messages around how we treat human life in the pursuit of war and it is all some what fascinating but the film sort of fumbles its ideas never quite being as powerful a message as it should be. A big part of this is how much the film wants to tell you what it is messaging.

 

Outside the Wire is the sort of action movie that holds you hand all the way through. The film starts with text flashing on the screen explaining what the war we are watching is about. Then, within the first 20 minutes there are a number of scenes where actors have long conversations explaining whats going on, what their motivations are, and how we are to understand all we are seeing. This often feels forced despite the screenwriters' attempts to make it feel like natural dialogue. I'm not sure they ever really succeed at natural. Even at the end it has its character explain the ending just to make sure it is clear.

 

Once Outside the Wire gets going, which is a while cause it has to spend so much time setting itself up, the action scenes are often exhilarating. There is one in the middle that manages to be fairly powerful as well. But so much of the plot falls into cliche ideas (like the renegade hero saving the day, the partners who hate each other but learn to become brothers) that it is all just so rote that it takes away from how the film could be truly insightful on its moral to its story. There is a lot of discussions about what makes someone human and sometimes this starts to get interesting. Except for how the script always keeps shoving it in our faces as if we wouldn't understand if it wasn't spelled our for us. The film keeps holding up being blinking signs saying: "here's out point" and "pay attention." I would have rather just let the films story infuse these ideas.

 

There is a great deal of potential here but the film just isn't up for it. Outside the Wire is well intentioned and manages to never be boring, but it never quite accomplishes enough to make it truly satisfying.

 

Outside the Wire

Starring: Anthony Mackie, Damson Idris, Emily Beecham, Michael Kelly, Pilou Asbaek 

Director: Jan Håfström

Writers: Rob Yescombe, Rowan Athale

Locked Down (2021)

Is it too soon? I'm writing this on January 15, 2021, the day after the release of one of the first 2020 pandemic themed films, Locked Down, from the director of The Bourne Identity, and I'm wondering if I really want to see a movie about the pandemic. This is the story of a couple, who are breaking up, but are locked down together during COVID-19, who plan a heist at Herod's. Locked Down explores all the little and big issues of middle class folks living through this unique time, from zoom meetings, to isolation, to job insecurity, to mask wearing, to interacting with others while isolating, to being forced to reexamine everything we thought we knew about day to day dreariness.

The film has taken a bit of a beating from critics and it has it's flaws for sure but there is something for me that made it somewhat compelling. It was less about the pandemic cliches, which here often feel quite cliched (again perhaps too soon), and more about the interactions between Hathaway and Ejiofor, who have a wonderful chemistry together, and manage a sort of Woody Allen (but in a good way) relationship-on-the-verge-of-collapse-or-connection magic. I found myself quite captivated by their back and forths. It took a little time to get going, the first bit is a slog, but as their connection really developed and it started to make sense, it became more and more watchable.

To be clear, the whole heist plot is a small part of the movie, and perhaps it would have been a better film if it had developed that part more, allowing the action thriller subplot to support better the relationship drama this film wants to be. What is there has a few moments that are fun, but it rather fleeting and fairly unrealistic. But as I said the strength here is in their portrait of a relationship and it manages okay there. 

But perhaps watching a movie about the pandemic, during the pandemic is just more than most people want right now. Perhaps this will play better in a few year when so much of this is just a memory.

 

Locked Down

Starring: Anne Hathaway, Chiwetel Ejiofor, Dule Hill, Stephen Merchant, Mindy Kaling, Ben Kingsley, Ben Stiller, Lucy Boynton,  Jazmyn Simon, Claes Bang

Director: Doug Limon

Writer: Steven Knight

One Night in Miami (2020)

One Night in Miami begs the question, is there anything Regina King can't do? After blowing us away with performances in movies like If Beale Street Could Talk and TV like Watchmen, King has released her first directorial effort and it is masterful. Sure she starts with what is clearly strong material in Powers' wonderful screenplay (based on his stageplay) but she films this story with the eye of an artist and an expert, telling a fascinating narrative about four men, each on the precipice of success in a nation that doesn't want them to be there. It is a gorgeous story that is also an examination of the American experience and it is riveting.

Movies that are just a group of people talking throughout can be a challenge to make visually compelling. King has no trouble with this. Her film is stunning to watch. The back and forth between these four men is compelling and fascinating. She makes you sit on the edge of your seat throughout. 

King and Powers presents their characters as fully formed human beings with multiple dimensions, flaws and greatness all thrown together into truly engaging people to watch. They don't see eye to eye. They share a lot, they disagree on a lot. They push each other into being more and more who they are. This one night is used to explore religion, history, race, masculinity, and humanity and in the hands of such film makers it is remarkable.

This is the story of four masters, a fighter, a preacher, a musician, and an athlete, who spend one night together and through that night they make each other stronger men. We get to be the fly on the wall during such a night, on this aspirational, speculative night that moved four men who would influence the nation.

One Night In Miami

Starring: Kingsley Ben-Adir, Eli Goree, Aldis Hodge, Leslie Odom Jr., Lance Reddick, Nicolette Robinson, Michael Imperioli, Beau Bridges

Director: Regina King

Writer: Kemp Powers

 

News of the World (2020)

Director Paul Greengrass' work has been hit or miss for me. I really appreciated his 22 July, a powerful exploration of white terrorism in Norway, and I very much enjoyed his work on the Bourne films. But his "higher" work has often left me cold like with Captain Phillips and Green Zone. Here he has attempted a story of the past to speak to our very present, a parable to open us to our modern world. News of the World follows a former confederate during the post-Civil War period who is tasked with taking in an orphan and rebuilding the American nation. While it certainly raises some interesting questions, I'm just not sure it finds satisfying answers.

Hanks plays Captain Kidd, a former Confederate soldier who now makes his living, after the Civil War, going from town to town reading the news to illiterate town people. It is all rather on the nose as Kidd encounters ignorance, racism, polarization, and bias. His taking in of a child helps transform him into a better man but the film sort of drops the ball by insinuating he no longer holds to Confederate ideals, or perhaps never really did, but never showing us where his redemption for that comes from. He tries to bring "understanding" and enlightenment to a dark land and the metaphor for the American dream of nation building hits us over the head a bit. 

If it wasn't for Hanks, whose gravitas helps elevate the material, the film would feel just too pat and easy. The film tries to be noble in its pursuit but feels forced. News of the World feels like it's going through the motions. It is shot episodically, moving from encounter to encounter in a way that feels like it is trying to hit all the beats. There are villains that appear, and they are only ever given a chance to be 2-dimensional before they are dispatched with. There are moments of excitement which fit into a neat few minutes each before the peril is resolved. But it is all rarely inspiring or overly engaging. I was never on the edge of my seat or wondered how it would all play out. 

 

Surprise, Hanks and the young girl bond over time and form a new family. The film feels so cliche that it's "powerful" moments are rather stripped of any real power. Its message just feels so watered down, it's more of a platitude than a revelation. So overall, News of the World just feels like something we've seen before without offering us new or managing to be that entertaining.

News of the World

Starring: Tom Hanks, Helena Zengel, Mare Winningham, Elizabeth Marvel, Bill Camp

Director: Paul Greengrass

Writers: Luke Davies

 

The Outpost (2020)

Rod Lurie's film recreates a real life battle from 2009. First it spends half its run time introducing us to the soldiers, making them human, before it spends its second act making them fight for their lives. The Outpost walks a very fine line between glamorizing these men and their situation and telling a very human tragedy. It is a fascinating portrait of the cost of war.

When we first meet the small group of soldiers manning the titular outpost in Kamdesh, Afganistan the film explicitly tells us their names which appear on screen in text to make sure we don't miss them. Some of these men say homophobic or misogynistic things, and many exhibit quite toxic masculinity traits, but as we watch them for longer we see the very human people they are underneath all the bravado their wear as  shields for the horror they face. This isn't to say the film excuses them. The Outpost doesn't try to justify their bad behavior, or their treatment of each other, but paints the whole portrait of who they are as flawed humans in a terrible situation. We watch them under fire every day, interacting with each other in all their messed up ways. It makes us see them, really see them, before they are to attacked. 

The Outpost tells us at the beginning there is going to be a great deal of death and injury. That's the point of this story, to put the lives of those who die for our causes on display. We are put in a position where we have to wrestle with whether our crusades are worth the costs. We create a hell and people die for it and this film makes us watch it. Lurie doesn't blink. These men do heroic things. They do horrific things They are neither blameless or solely to blame. He spends time getting through all our biases, both positive and negative, to the soldiers of Kamdesh. Nothing is black and white. 

And then comes the battle. 

The second act of the film is an intense reenactment of a siege which is bloody, soul destroying, and deadly. It isn't candy coated patriotism designed to make us glorify what goes on in the name of "freedom." It is as honest as possible a portrait of the truth that war is hell. And we have just spent this time getting to know these men only to watch them die horribly. Any nation that asks its young people to go to war should watch something approximating what they go through. The Outpost attempts to do that.

The Outpost

Starring: Scott Eastwood, Caleb Landry Jones, Orlando Bloom, Jack Kesy, Corey Hardrick, Milo Gibson, Jacob Sipio, Will Attenborough, Alfie Stewart

Director: Rod Lurie

Writers: Eric Johnson, Paul Tamasy

 

Favourite Films of 2020

2020 was a year like no other for movies. Many theatres were closed for much of the year and many releases were pushed to the future hoping for cinemas to reopen. Other films experimented with different methods of release, as we moved more and more towards streaming being the dominant means of consuming film, a trend that had begun long before any pandemic made it necessary. Through all the different ways of watching movies in 2020 I saw as many films than I had in any other recent year. And despite so many films being delayed, so many more were able to find new audiences they may not have found otherwise so in the end it was a very strong year for film. In alphabetical (not preferential) order, here are the ten films I loved the most, plus, at the end, my favourite of them all.

Birds of Prey and the Fabulous Emancipation of One Harley Quinn

This comic book movie was a game changer for the superhero genre which is currently dominating the blockbuster circuit. Told very consciously with a female gaze and exploring themes of liberating women from abusive relationships, this ensemble pic was one of the most entertaining adventures of the year and taught us the action movie could be done differently. It was bold and audacious while also being damn enjoyable. As it came out early in the year, and due to the pandemic was quickly released for home viewing, this is probably the film I've seen the most this year and I never tire of watching it.

 

Blood Quantum

The zombie movie genre never seems to… well… die. Quite a few have made my year end lists in the recent past. This year the zombie movie of choice is Blood Quantum, the latest to use the genre to tell a richer, more layered story that is relevant to our day and age. The name of the film is a reference to measuring indigenous ancestry, and the story is directly tied to the rocky relationship between westerners and indigenous populations that is reaching a consciousness in Canada and around the world. The film’s exploration of colonization and humanity is fascinating all while part of a truly great zombie film that is quite scary, very entertaining, and sometimes quite disturbing.

The Boys in the Band

Joe Mantello’s film adaptation of the 1968 seminal play is as rich and powerful as the play was in its day. Filmed with an all queer cast, the film tackles gay men’s self loathing and struggles with connection. It’s pre-Stonewall setting somehow speaks to our post-sexual revolution world in unexpected ways. The entire cast is strong with a few standouts. It is a challenging film for many queer men in that it isn’t the affirming pat on the back so many of us want in our gay cinema but perhaps it is the mirror held up to our faces that we need. Still in all the pain of this film, there are small moments of hope and beauty, which reminded me how being queer truly is the blessing it can be when we embrace ourselves and each other.

Da 5 Bloods

Spike Lee keeps getting better with age, and his exploration of his nation’s past with war, colonialism, and racism is both personal and national. His tale explores both the individual formative past of 5 men but also the USA’s sins of living memory through an adventure story which is both entertaining and moving. His cast, especially Delroy Lindo in what should be an award winning role, is on top of their game.

The Invisible Man

After years of trying to reboot their Monster Movies, Universal finally struck gold with this perfect analogy for abuse, controlling relationships, and gas lighting. Truly scary and fascinatingly prescient, The Invisible Man is the quintessential merger of mainstream popcorn entertainment and layered cinema. It also speaks to the history of this specific franchise which introduced audiences to the use of “monsters” to tell the stories of the marginalized almost 100 years ago.

 

Ma Rainey’s Black Bottom

This film is a snap shot of a moment, which is itself a snapshot of a period in time, which in itself is a snapshot of a nation that continues to this day. August Wilson’s play filmed with the loving eye of director Wolfe captures so much in the moments it narrates. It gives Boseman a chance to show us just what a talent he was and Davis a chance to continue to be one of the best working actors alive.  It is filled with incredible music, poignant performances, and a glimpse into who we are and how far we still have to go.

Promising Young Woman

Emerald Fennell has crafted a true gut punch of a movie that is complicated and doesn’t flinch as it stares us right in the face. Nothing you see this year will hit you like this will. And Mulligan, who is always fantastic, may have given her strongest performance yet. I kept worrying it was going to soften, give up at some point, but it never lost its way. Instead it lead us down the garden path and ripped the rug out from underneath us. Promising Young Woman is a bitter pill but it just might be the medicine we need.

Soul

I love animation and Pixar has been one of the studios which has produced many of my favourite films, but in the past decade, with their focus on sequels to their big hits, I’ve felt less of a connection to their work. But 2020 was the year they came roaring back into my heart, first with the touching, nerdy Onward, and then with Soul, a gorgeous rumination on the meaning of life itself rendered in glorious jazz. A pure joy to enjoy.

 

Tenet

This was the film that was supposed to save cinemas, not only from a pandemic but from the changing ways we consume film. It didn’t do that, but it certainly reminded us what makes seeing films on the big screen so powerful, what makes cinemas an experience like no other. It is not the same as watching it at home no matter how big your screen is. Tenet is more than just a puzzle, although as a puzzle it is a truly wonderful one. Tenet is top quality spy film that revolutionizes the genre, and blockbusters in general. It is smart, offering you rich experiences with each rewatch, and rewarding you with so much to ruminate on, discuss, and be inspired by.  

The Vast of Night

This haunting homage to 50s sci fi films, explores the genre’s tropes (such as paranoia and xenophobia) while delivering a chilling, emotional ride. It is quietly powerful, focusing on the exchanges of personal stories, playing out like a radio play, but with haunting visuals to illuminate its bed time story. Original and classic at once, it is surprisingly effective in the way it inspires.

 

I saw my favourite film early in 2020 and it stuck with me through multiple viewings, each time giving me more and more, its impact becoming greater with each rewatch. My favourite film of 2020 was…

 

Red Snow

The story of a Gwich’in Canadian soldier taken hostage in Afghanistan manages to be so many things, a love story, a political drama, a war adventure, a deconstruction of colonialism, a critique of religious extremism, and generally the most moving film of the year. It is both cinematically spectacular and narratively gripping. I physically respond to this film each time I watch it. It was the last film I saw in a movie theatre before the pandemic closed cinemas and it reminded me of just why I go to movies in the first place.

Honorary mentions:

As usual 11 films just doesn’t add up to all the wonderful films of the year. Here’s my list of further recommendations for films from 2020 which stole my heart in one way or another:

Abe, The Assistant, Blow the Man Down, The Broken Hearts Gallery, Enola Holmes, First Cow, The 40 Year Old Version, His House, Let Him Go, Mignonnes, Never Really Sometimes Always, Nomadland, One Night in Miami, Onward, Out, The Outpost, The Personal History of David Copperfield, The Photograph, Pieces of a Woman, Possessor, Sound of Metal, Tigertail, The Trial of the Chicago 7, The True Story of the Kelly Gang, Wolfwalkers, Wonder Woman 1984, Your Name Engraved Here

 

Pieces of a Woman (2020)

There are movies that are difficult to watch. It's hard to think of a subject more difficult than the death of a baby. Pieces of a Woman attacks this subject head on, a baby dies shortly after birth and the film follows the fallout of that on the parents and those around them. It is gut-wrenching right from the get go and doesn't look away.

Director Mundruczo's approach is to put it all on the table. Whether it is the anger and frustration seeping out, and sometimes bursting out, or the couple's stunted attempts at physical intimacy, he puts it on camera and just lets us see how hard it is. And it's all framed with scenes of the cold and icy Boston winter. It is powerfully and rightfully uncomfortable. The sadness is palpable.

Kirby has been rightfully singled out for her work in this film. She is very strong in a challenging role, without ever being overly dramatic. She paints the picture of a women struggling with incalculable loss authentically. She is supported by a strong cast around her. Burstyn has some amazing scenes.

Pieces of a Woman comes together to tell a very pointed and difficult story and tells it well. It goes on a bit long, and it takes something to endure, but I think generally it is worth it. The third struggles a bit with tone, feeling a bit stilted and the ending feels a little tacked on and unnecessary. But overall it is quite a satisfying watch.

Pieces of a Woman

Starring: Vanessa Kirby, Shia LaBeouf, Ellen Burstyn, Molly Parker, Sarah Snook, Iliza Schesinger, Benny Safdie, Jimmie Fails

Director: Kornel Mundruczo

Writer: Kata Weber

 

Vertigo (1958) REVISIT

Despite lukewarm reception from critics and audiences upon its release, Vertigo has risen over time to be considered one of the best, if not the, best film ever made. It is referenced in many subsequent movies and is often referred to with a reverence that few other films rival. I remember first seeing this film in college and not really apprenticing it. Older now I can see it in a different light. It is fascinating for many reasons, most of which is how terrifying it is in how presciently it chronicles male desire to control women, especially made by a film maker known to have similar tendencies.

But lets start with its visuals, which are to say the least, inspiring. My preference is for films, which are a visual medium, to be visually striking. Hitchcock imbues his Vertigo with lush colour, so much so that his sets are often striking for the saturated monotones, but often using filters as well to  make everything red or green or whatever. He also invented a camera technique to give a unique visual translation of the feeling of vertigo. Overall the film is remarkable in its presentation, so much of a pleasure to watch. 

Almost in contrast to this is the film's plot which is noir inspired, the colour of the film setting up such a different tone. But the music, and the mystery, as well as the way the film presents obsession, is all juxtaposition in a way that makes Vertigo fascinating. The film is heavy on the melodramatics, especially Novak's performance, everything heightened, all emotions so intense. Yet there is something just so grounded in it. Like Hitchcock's invented camera technique, the film both pulls out and inward simultaneously.

But what makes Vertigo so disturbing is the way it zeros in on it's "hero's" point of view. Hitchcock brilliant casts Stewart so against type. He is usually the do good hero of whatever piece he is starring in, even in Hitchcock's other collaborations with Stewart like Rope and Rear Window. But here he is at best a flawed man, cruelly obsessed with, first a woman he shouldn't be, and second a stranger. I would argue that he is the actual villain of the piece. He is abusive. Perhaps even a murderer in a way. The film follows his attempts to control Judy, almost making us complicit in that by using Stewart (with his almost irrefutable likeability) and his tragedies to make us sympathize with him despite all we see him doing. But as we reflect he's quite monstrous and the film doesn't let him off the hook. Really it has us look at ourselves as we care about him. 

I think a big part of Vertigo's success is why we often do not appreciate it entirely the first time we see it. It presents itself as the story of man solving a mystery but in the end we see it be about his obsession with a woman he doesn't know, and how that leads him to controlling, abusive behavior. 

 

Still as I watch it I think about how it would feel if we don't see Judy write her letter to him, so that the truth remains more ambiguous. Perhaps we don't see exactly how she falls at the end, again leaving us to wonder and perhaps explore our own complicity with death. There is a famous alternate ending, dull and seemingly random where we are focused on placing blame onto another character, Madeline's husband. It was supposedly shot for European censors who wanted to see some justice happen. But, like those previous scenes I mention all it does is distract from what makes Veritgo's story so compelling, the way a seemingly good man becomes more and more monstrous as he loses himself to an obsession. I know I am in no position to edit Hitchcock's film, but I often pretend Judy's letter never was written, that perhaps it is an invention of Scottie to justify what he does, and it allows me to appreciate the depth of his madness.

Vertigo

Starring: Jimmy Stewart, Kim Novak, Barbara Bel Geddes

Director: Alfred Hitchcock

Writers: Alec Coppel, Samuel Taylor

 

Tigertail (2020)

2020 saw a few films tackle the immigrant experience, even a few from the Asian American point of view. Tigertail is one of those, and on it's own it is a lovely, engaging story that gives long time character actor Tzi Ma a chance to truly shine. As a man nearer the end of his life than the beginning, he is reflecting back on his journey from his time in Taiwan as a young boy, a young man, then moving to America and making his life in the west, an struggling with his relationship with his daughter.

Exploring the experiences of immigrants making a new life, and then raising their American children who know nothing but the western life, Tigertail goes beyond that, also exploring relationships, both marriage and the inter-generational relationships between parents and children whose experiences are so very different.

Tender and gentle, Yang tells this deeply personal story, that is both universal in its portrait of immigrants struggle, and unique in his family's specific experiences. It is a lovely watch.

Tigertail

Starring: Tzi Ma, Hayden Szeto, Joan Chen, Christine Ko, Margo Bingham

Writer/Director: Alan Yang

 

The Lodger: a Story of the London Fog (1927) REVISIT

The Lodger, one of Hitchock's earliest films, is considered his first thriller, a film that would begin the themes he pursued through his iconic films. It is a silent film which tells a Jack the Ripper inspired story and is haunting to say the least. Visually the film is striking, full of the titular fog, mystery, and beauty. Hitchcock displays early signs of his story telling genius and his ability to unnerve. Also he fills his film with stunningly beautiful shots that are completely mesmerizing.

One of the title cards (silent film's version of dialogue) states:

    "Even if he is queer, he's a gentleman"

Hollywood's fascination and aversion to homosexuality is highlighted here, as the beautiful (and openly queer) Novello is presented as mysterious killer... or is he? There is a fascinating subtext here which would be experienced differently for audiences of the time and audiences of today. This is about a man about whom everyone assumes. He isn't able to be who he is because of what everyone thinks about him.

At it's heart The Lodger is a story of mystery, the "fog" of the title may be referring to the way we get lost, the way truth is obscured. The tale is thrilling and quite horrifying, both for the brutal crimes it presents (though mostly tastefully off camera) and for the mob hysteria of vigilante justice and scapegoating it chronicles. This comes closer to horror than a lot of Hitchcock's films up to maybe Psycho.

The Lodger shows all the promise this famous film maker would live up to in his later celebrated films. It is a film that will haunt you. 

This film also features the director's first recognizable cameo, a feature that would become his signature, but at the time I wonder if many in the audience would have noticed as this is one of the more subtle ones. 

Silent movies may be jarring for modern audiences with their exaggerated expressions and breaks for title cards, but for me the ones that work best are those that focus on the visual end of story telling. The Lodger easily falls into that category. It is a strikingly beautiful film and its story is haunting.

The Lodger 

Starring: Ivor Novello

Director: Alfred Hitchcock

Writer: Eliot Stannard