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“QUEEN AND SLIM”: Love on the run

December 2, 2019 by butlerscinemascene

Daniel Kaluuya, Jodie Turner-Smith

“QUEEN & SLIM” My rating: B

131 minutes | MPAA rating: R

“Bonnie and Clyde” (or perhaps “Thelma and Louise”) meet Black Lives Matter in “Queen and Slim,” the impressive feature film directing debut of television and video veteran Melina Matsoukas.

Penned by Lena Waithe (an Emmy winner for her writing for Netflix’s “Master of None”) from a story by James Frey, this tale of lovers on the run soars on a pair of killer perfs from stars Daniel Kaluuya and Jodie Turner-Smith.

We meet Queen and Slim — they have real names but we won’t learn them until the movie’s end — in the midst of a disastrous first Tinder date.  Queen (Turner-Smith) is a lawyer bummed because one of her clients has received the death penalty.  She called up Slim because she likes his looks and because she badly needs to vent to someone.

They’re about as different as can be. She’s angry, cynical, judgmental and, on some level, elitist.

He says grace before eating (even in restaurants), has a license plate that reads “Trust God,” works at Costco, doesn’t drink and maintains a live-and-let-live attitude. He eats with his mouth open; she’s grossed out.

He’s driving her home after what will surely be their one and only date when they’re pulled over by a cop. A white cop (played very well by country star Sturgill Simpson).  Things quickly escalate when the hot-headed Queen throws accusations at the officer. Within seconds she has a bullet hole in her leg and the policeman is dead, shot by Slim with his own service weapon.

Slim wants to stay put; Queen quickly convinces him he’ll be shot on sight.

“We can’t just leave him here.”

“Yes we can.”

“I’m not a criminal.”

“You are now.”

They take off with a vague plan to find Queen’s uncle in New Orleans and then, maybe, catch a plane to Cuba. Continue Reading »

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“THE PROFESSOR AND THE MADMAN”: Words matter

November 29, 2019 by butlerscinemascene

Mel Gibson, Sean Penn

“THE PROFESSOR AND THE MADMAN” My rating: B (Now on Amazon Prime)

124 minutes | No MPAA rating

Given that it was initiated three years ago by Mel Gibson’s production company, that its release was delayed by internal controversy, and that its director has insisted on using an alias in the credits, one expects “The Professor and the Madman” to be a hot mess.

Instead it is a fascinating slice of history and a moving tale of friendship and salvation. Plus it features one of Sean Penn’s greatest performances.

Be thankful the film was picked up by Amazon, where it will be experienced by far more people than would have paid to see it in a theater.

Based on Simon Winchester’s non-fiction best seller of the same name, “Professor…” stars Gibson as James Murray, a self-taught Scotsman who ended up leading a team that over 70 years produced the Oxford English Dictionary, an attempt to catalogue and parse the history of every word in the English language.

A genius with an almost encyclopedic memory when it came to language, Murray set up a system by which everyday British citizens from throughout the Empire could contribute postcard-sized analyses of words, quoting examples of their use in great literature.

His work created problems on the domestic front — Murray’s obsession with the project led to tension with the Missus (Jennifer Ehle). And he was forever being undercut by the titled snobs attached to the project, who resented Murray’s Scottish background and his lack of a university degree.

Murray is the “professor” of the title.  The “madman” is a veteran of the American Civil War, surgeon William Minor (Penn), who suffered from what today might have been diagnosed as PTSD, along with a good dose of schizophrenia.

Minor was convinced he was being targeted by an assassin; in Lambeth in 1871 he shot to death George Merrett, a man he believed was stalking him. He was found not guilty by reason of insanity and incarcerated in an asylum.

Continue Reading »

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“KNIVES OUT”: The family that sins together grins together

November 26, 2019 by butlerscinemascene

Daniel Craig…Southern fried private eye

“KNIVES OUT” My rating: B (Opens wide on Nov. 27)

130 minutes | MPAA rating:

The genteel drawing-room murder mystery gets roughed up but emerges more or less intact in “Knives Out,” the latest from “it” director Rian Johnson (“Looper,” “The Last Jedi”).

What you’ve got here is a dead man, a house full of suspects (played by some very big names),  a Southern-gentleman detective who seems to have been dipped in molasses — and a gleefully satiric sense of humor.

Plus a lot of snarky attitude when it comes to privileged white folks.

The film begins with the housekeeper for famed mystery writer Harlan Thrombey (Christopher Plummer) discovering her employer’s corpse.  His throat has been cut.

Apparently the crime (if it is a crime…it might be a very bizarre suicide) took place shortly after Harlan’s 85th birthday party, an event attended by a pack of relations crammed into the old man’s semi-spooky turn-of-the-last-century mansion (described by one cop as “practically a Clue board”). Apparently the evening (which we see in flashbacks) was marked by some discord — old Harlan was no pushover and he loved rubbing his family’s noses in their inadequacies.

The local officer in charge of the investigation (LaKeith Stanfield) has his hands full with the various children, in-laws and others, all of whom seem to have some motive for killing their Sugar Daddy and a bad attitude when it comes to dealing with authority. So he’s mildly relieved when a famous private eye, Benoit Blanc (Daniel Craig), mysteriously shows up.

Benoit, who talks with a slow drawl so thick it drips sorghum, has been hired by an anonymous client to look into the case. He won’t stop until he gets answers. Think Matlock on Thorazine with a cannabis chaser.

Murder mysteries in this  vein (“Murder on the Orient Express,” “Gosford Park”) rely on a large cast of eccentrics to keep us engaged and guessing. “Knives Out” has a colorfully hateful bunch.

Continue Reading »

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“IT’S A BEAUTIFUL DAY IN THE NEIGHBORHOOD”: Better living through kindness

November 22, 2019 by butlerscinemascene

Tom Hanks, Matthew Rhys

“IT’S A BEAUTIFUL DAY IN THE NEIGHBORHOOD” My rating: B+ (Opens wide on Nov. 22)

108 minutes | MPAA rating: PG

Movie trailers are a hugely effective way of lying. One should always approach them with the same caution brought to political postings on Facebook.

So my tearful response to the trailer for “It’s a Beautiful Day in the Neighborhood,” with Tom Hanks as the iconic PBS kiddie show star Fred Rogers, left me wary.  Could the actual movie really be that moving, or would it fall apart in a morass of manipulation and sentimentality?

Good news, Mr. Rogers fans.  “Beautiful Day” sidesteps virtually all the landmines in its path and delivers a funny, touching and uplifting story about a man who was too good to be true.

Fred Rogers was the subject last year of an exhaustive documentary, “Won’t You Be My Neighbor?”; happily director Marielle Heller (“Diary of a Teenage Girl,” “Can You Ever Forgive Me?”) and screenwriters Micah Fitzerman-Blue and Noah Harvester (working from Tom Junod’s 1998 Esquire profile of Rogers) don’t turn “Beautiful Day” into another retelling of the famous man’s life. In fact, one could argue that Fred Rogers is a supporting character here.

The film centers on Lloyd Vogel (Matthew Rhys), a (fictional) investigative journalist whose specialty is digging up dirt on his subjects. He’s tough and analytical and cynical…and appalled when his editor assigns him to write a 500-word piece — essentially a long caption –on Mr. Rogers. (“Play nice,” she urges him.)

He doesn’t want the assignment. His wife Andrea (Susan Kelechi Watson of TV’s “This Is Us”) sees disaster looming: “Please don’t ruin my childhood.”

Lloyd has more than a little baggage from his own childhood.  Early on we see his encounter at a wedding with his father Jerry (Chris Cooper), whom he hasn’t seen for years; it almost immediately devolves into a father-son brawl.

Fifteen years earlier, when Lloyd’s mother became fatally ill, the philandering Jerry abandoned her and his two children. Now Lloyd carries a manhole cover-sized grudge. When Lloyd first interviews Fred Rogers (Hanks) at the Pittsburgh TV station where the show is taped, the evidence of his Oedipal issues is all over his bruised face.

Continue Reading »

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“21 BRIDGES”: Long night’s journey

November 21, 2019 by butlerscinemascene

Chadwick Boseman, Sienna Miller

“21 BRIDGES” My rating: C (Opens wide on Nov. 22)

99 minutes | MPAA rating: R

To the extent that it delivers a series of adrenaline-stoked action sequences and a ridiculously high body count, Brian Kirk’s “21 Bridges” should satisfy audiences looking for a thrill.

And that’s about it.

Not even the presence of the versatile  Chadwick Baseman (whose roles range from Jackie Robinson and Thurgood Marshall to the Black Panther) and the eerily transforming Sienna Miller can elevate this piece above “mehhh” status.

The first half of Adam Mervis and Matthew Michael Carnahan’s screenplay (and by far the better half) is a manhunt told from the points of view of two couples — a pair of crooks on the run  and a pair of cops on their heels.

In the opening sequence a couple of well-armed thugs, Michael and Ray (Stephan James, Taylor Kitsch) hit a posh New York City restaurant late at night after closing.  They’ve been told there’s 30 kilos of cocaine hidden in the eatery; they are perplexed to discover it’s more like 300 kilos, way more than they can carry out.

To further complicate matters,  a bunch of cops show up.  Maybe they are looking for a late-night snack.  In any case, there’s a gun battle that leaves eight of New York’s finest headed to the morgue.  The perps take off running.

Stephan James, Taylor Kitsch

The filmmakers at least try for plausible back stories.  Michael and Ray are ex-military; Ray is by far the more ruthless of the two, but Kitsch gives him just enough charisma to keep us interested.  Michael basically finds himself in over his head.

On the other side of the coin are detectives Andre Davis (Boseman) and Frankie Burns (Sienna Miller, almost unrecognizable with no makeup), thrown together to manage a city-wide manhunt for the cop killers.

Again, an attempt is made to provide some depth to the characters.  Davis is himself the son of a slain cop who regularly faces Internal Affairs hearings for his marksmanship (eight fatal shootings in as many years); he maintains he never fires first. Burns is a single mom with a Brooklyn accent.

To keep the crooks from leaving town, Davis imposes a 1 a.m.-to-sunup closure of all 21 bridges leading into and out of Manhattan Island.  He’s got five hours before the quarantine will be lifted and rush hour begins. (Thus the movie’s title…though once the roads are blocked the film never returns to them. Another title would have been “21 Body Bags.”)

An already perplexing case is made even more unmanageable by the dead officers’ revenge-minded colleagues (J.K. Simmons plays their precinct chief). These cops have a bad habit of killing witnesses before Davis can interview them.

In the film’s second half it dawns on Davis that there may be more to this case than meets the eye…we’re talking corruption in high places. (And you can only imagine the paperwork demanded of our hero after personally killing a dozen people.)

“21 Bridges” has been well made.  The acting is OK. The shots of NYC at night are sometimes eerily atmospheric.

On the whole, though, the film is more blah than bad. Instantly forgettable.

| Robert W. Butler

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“JOJO RABBIT”: Master race

November 18, 2019 by butlerscinemascene

Taika Waititi, Roman Griffin Davis

“JOJO RABBIT” My rating: C+r (Now showing)

118 minutes | MPAA rating: PG-13

“Jojo Rabbit” is one of those movies more satisfying in principle than in practice.

The latest from Kiwi auteur Taika Waititi (“What We Do in the Shadows,” “Hunt for the Wilderpeople,” “Thor: Ragnarok” and, of course, TV’s “Flight of the Conchords”) is nothing if not timely.

Waititi’s subject is right-wing political fanaticism — German Naziism, to be precise — and his methodology is that of off-the-wall satire.

Sometimes it works. Sometimes it doesn’t.

The title character is 10-year-old Johannes (Roman Griffin Davis) — Jojo for short.  Jojo lives in Germany in the latter stages of World War II.  His father has gone off to fight for the Fuehrer in Italy…at least that’s the story his mom, Rosie (Scarlett Johansson), is sticking to.

Jojo is himself a worshipper of Hitler and all things Nazi. (Those uniforms! That invigorating aura of invincibility and racial superiority!) In fact, his adoring  imagination has conjured up a make-believe best friend…none other than Adolf himself (Waititi), who loves hanging out with Jojo and exudes childish enthusiasms and questionable advice.

Some of the film’s funniest material is front loaded…early on Jojo and his fat pal Yorki (Archie Yates) spend a weekend at a Hitler Youth camp where they are subjected to lectures on racial purity, practice lobbing grenades and gaze in gape-mouthed admiration at their chief instructor, Captain Klenzendorf (Sam Rockwell), a one-eyed combat veteran rarely seen without his two flunkies, Finkel (Alfie Allen) and Fraulein Rahm (Rebel Wilson).

The whole thing is like a Boy Scout rally with live ammunition.  Except that Jojo collapses when ordered to snap a bunny’s neck with his bare hands to prove his willingness to slay the enemies of the Reich. Apparently Jojo’s love of manly posing won’t be enough to make him a good National Socialist.

Continue Reading »

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“THE IRISHMAN”: Painting houses

November 16, 2019 by butlerscinemascene

Al Pacino as Jimmy Hoffa; Robert DeNiro as Frank Sheeran

“THE IRISHMAN” My rating: B 

209 minutes | MPAA rating: R

Martin Scorsese’s much-anticipated “The Irishman” is a good movie.

Not a great one.

It’s been described as the filmmaker’s ultimate gangster epic, yet it feels less like a conventional celebration of tough-guy ethos than a slow (3 1/2 hour’s worth), mournful meditation on sins unacknowledged and unforgiven.

In fact, Scorsese seems to have gone out of his way to avoid the sort of eye-catching set pieces (like the long nightclub tracking shot from “GoodFellas”) that marked many of his earlier efforts. “The Irishman” is almost ploddingly straightforward.

Steve Zaillian’s screenplay follows the title character, real-life contract killer Frank Sheehan (Robert DeNiro), from his early days as a truck driver with a taste for theft  to his residency in an old folk’s home.

(Now seems a good time to comment on the much-ballyhooed CG “youthening” of the actors…it’s so good you don’t even think about it. No waxy skin tones or blurry edges — damn near flawless.)

The bulk of the movie, set in the ’50s and ’60s, chronicles Frank’s association with the Teamsters  and his friendship with union president Jimmy Hoffa (Al Pacino), who in a phone call introduces himself to Frank with the statement: “I heard you paint houses.”  That’s code for acting as a hired assassin, a role Frank will perform for Hoffa and others for a quarter century.

The film centers on a long 1975 car trip in which Sheehan and his mentor, crime family boss Russell Bufalino (Joe Pesci), and their wives drive from Philadelphia to Detroit, ostensibly to attend the wedding of a colleague’s daughter.  At various stages in the journey Frank’s memory is jogged to recall past exploits. He doesn’t realize until late in the trip that Russell has another agenda — the assassination of Jimmy Hoffa who, after serving a four-year sentence in federal prison, is now upsetting the apple cart by attempting to reclaim the presidency of the Teamsters Union.

Continue Reading »

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“FORD v FERRARI”: Need for speed

November 15, 2019 by butlerscinemascene

Christian Bale, Matt Damon

“FORD v FERRARI” My rating: B

152 minutes | MPAA rating: PG-13

One needn’t care about car racing to get caught up in James Mangold’s “Ford v Ferrari,” a fact-based (well, mostly) bit of automotive/pop culture history fueled by engaging performances, a come-from-behind narrative and enough close calls on the track to have nervous viewers yearning for a Valium.

The tale begins  with driver/car designer Carroll Shelby (Matt Damon) winning the 1959 24 Hours of Lemans race despite experiencing some alarming physical issues.  Turns out he’s got a bad ticker;  that would be his last competition behind the wheel. From now on he’ll have to be content selling fancy cars to rich idiots.

Cut to Detroit where Henry Ford II (Tracy Letts), intent on sexing up the Ford Motor Company’s bourgeoise brand, dispatches exec Lee Iacocca (Jon Bernthal) to Europe.  The plan is for Ford to buy Ferrari; Detroit will continue to crank out station wagons and sedans; the Italians will retain their independence in hand-crafting race-winning machines.

Not only does the deal fall through, but old man Ferrari opines that Ford makes ugly cars in ugly factories….and that Henry Ford II is fat.

This can mean only one thing: War.

Ford recruits Shelby to create a Ford racing car from scratch…and to do it in a matter of months.

In turn, Shelby recruits Brit driver Ken Miles (Christian Bale), whose volatile temper and refusal to kowtow to the money men has made him persona non grata in some racing circles…not to mention a target of the IRS. Thing is, Miles is more than just a supremely talented (if cranky) driver; he’s a car whisperer who can take a machine out for a spin and immediately identify everything that’s wrong with it and what must be done to improve its performance.

Continue Reading »

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“PAIN AND GLORY”: A life

November 7, 2019 by butlerscinemascene

Antonio Banderas

“PAIN & GLORY” My rating: B+

113 minutes | MPAA rating: R

The dominant aural element of Pedro Almodovar’s “Pain & Glory” is a solo oboe exuding gentle melancholy.

It’s the perfect soundtrack for one of this director’s best films, a semi-autobiographical (just how autobiographical will no doubt be debated at length) attempt to capture the limits of one man’s existence.

It’s not a busy film, nor is it particularly amusing or sensational in the ways that once made Almodovar the bad boy of Spanish cinema. “Pain and Glory” starts slowly and quietly builds in intensity until it delivers an overwhelmingly emotional experience.

Antonio Banderas,  the hunky sex object of Almodovar’s earlier efforts, stars as Salvador, a sixtysomething filmmaker who hasn’t had a new project in years.  We first meet him underwater in a swimming pool…turns out that floating  is one of the few things that relieves his physical and spiritual maladies.

In an animated sequence Salvador outlines his various infirmities, which range from fused vertebrae to migraines, digestive issues, outbreaks of tendonitis and, naturally enough, depression. All this has left him a virtual recluse; on most days he sees only his devoted secretary/Girl Friday Mercedes (Nora Navas).

“Pain & Glory” unfolds simultaneously in the present and in the past.

In the here and now Salvador learns that one of his films — made more than 30 years earlier — has been restored and is being given a special screening at the national cinematheque.  This results in a reunion between the director and the film’s leading man, Alberto (Asier Etxeandia). The two had a falling out and haven’t spoken in three decades.

They tentatively reignite their friendship; perhaps even more important to Salvador, Alberto turns him on to heroin, the only drug he hasn’t tried to cope with his almost constant pain.

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“LAST CHRISTMAS”: Drowning by eggnog

November 7, 2019 by butlerscinemascene

Emilia Clarke

“LAST CHRISTMAS” My rating: C-

102 minutes | MPAA rating: PG-13

Despite my general hatred of seasonally-themed romantic comedies (like chugging a gallon of eggnog), there were reasons to think “Last Christmas” might be different.

For starters, it was written by Emma Thompson (who in addition to being a great actress gave us the screenplays for “Sense and Sensibility,” “Nanny McPhee” and “Bridget Jones’ Baby”) and directed by Paul Feig of “Bridesmaids” fame.

Surely those two could provide just enough edge to make all that good cheer palatable.

If only.

“Last Christmas,” which purportedly was inspired by the George Michael song of the same name, is an unbearable mess, too dour to be truly funny and too silly to work dramatically.

Most of the film is a too-quirky dramady that botches just about everything it attempts; in its final stages the script delivers a plot twist that has been so poorly set up that it hardly makes a dent in the audience ennui.

Kate (Emilia Clark) is a mess.  Though she considers herself an aspiring singer, she works in a year-round Christmas store in London where she is required to suit up as an elf — even in the summer.  Her off hours are devoted to boozing and sleeping with cute strangers.  At odds with her parents, she lives out of a suitcase, crashing on the couches of friends whose patience is wearing thin.

We’re supposed to find her charming in an offbeat way; mostly she’s just irritating.

Continue Reading »

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