MOVIE REVIEW: NAPOLEON

 

A look at the military commander's origins and his swift, ruthless climb to emperor, viewed through the prism of his addictive and often volatile relationship with his wife and one true love, Josephine.

Director: Ridley Scott

Cast: Joaquin Phoenix, Vanessa Kirby, Edouard Philipponnat, Rupert Everett, Matthew Needham, Cormac Hyde-Corrin, Anna Mawn, Tahar Rahim

Release Date: November 22, 2023

Genre: Action, Adventure, Biography, Drama, History, War

Rated R for strong violence, some grisly images, sexual content and brief language

Runtime: 2h 38m

Ridley Scott's Napoleon is a lavishly crafted historical epic with strong turns from its leads but there's a disconnect from its central subject that keeps it from being a truly compelling film.  Scott's steady hand delivers a series of wonderfully shot moments with his prowess at large scale action on full display here with a collection of carnage filled sequences which are easily the high points of the film.  That shouldn't come as surprise to anyone familiar with the legendary auteur's extensive resume but the film never truly finds its footing whenever its off the battlefield.  In those quieter moments the film tries to balance its central love story and Napoleon's rise to power with varying levels of effectiveness.  The script paints Napoleon as a boorish and clumsy in its deconstruction of the man sometimes to darkly comedic effect. While it avoids some of the more clichéd approaches to its central figure, it also keeps the audience at arms length from his psyche and never granting us a window into his inner machinations.  The script paints him as ambitious but show him falling into power more as a result of others doing than his own drive.  Joaquin Phoenix brings what he can to role with his natural talent but he's mostly asked to stare blankly at people with occasional fits of anger sprinkled throughout.  Phoenix's understated line deliver works in smaller moments but we never get any bigger sequence that makes you believe his troops would follow him to their own ruin, something driven home during a late stage stand off sequence.  Vanessa Kirby fares a bit better as Josephine but script issues keeps her character and ultimately their relationship resonate the way it should.  The film rushes through their meeting and courtship so the audience never gets a true sense of whether its a transaction relationship or one based on actual affection.  There's a tangible sense that Phoenix and Kirby could do so much more with these characters if they'd had a better script to work with since their scenes together feel disjointed.  Its an issue that keeps the film from finding any sort of rhythm which makes the two hour and a half film feel far longer than its actual runtime.  The proposed four hour cut of the film might smooth some of these issues but the theatrical cut of Napoleon is a missed opportunity which stays afloat mostly due to the talent behind and in front of the camera.  

B-

MOVIE REVIEW: BEAU IS AFRAID

Following the sudden death of his mother, a mild-mannered but anxiety-ridden man confronts his darkest fears as he embarks on an epic, Kafkaesque odyssey back home.

Director: Ari Aster

Cast: Joaquin Phoenix, Patti LuPone, Nathan Lane, Amy Ryan, Kylie Rogers, Parker Posey, Stephen McKinley Henderson, Hayley Squires, Michael Gandolfini, Zoe Lister-Jones, Richard Kind

Release Date: April 21, 2023

Genre: Comedy, Drama,Horror

Rated R for strong violent content, sexual content, graphic nudity, drug use and language.

Runtime: 2h 59m

Review:

Ari Aster's absurdist waking nightmare Beau is Afraid is the type of film that's guaranteed to divide people for a variety of reasons.  Aster creates a massive metaphorical hellscape peppered with every different type of anxiety imaginable.  Needless to say it's a behemoth of story that will take an insane amount of time to digest what's being splattered onscreen at any given moment.  What's even more surprising is the amount of dark humor that is peppered throughout its rather expansive runtime.  Joaquin Phoenix carries the film as the tragic soul who embarks on this twisted hero's journey.  Phoenix is the perfect type of actor to take on such a massive undertaking.  His character is a collection of anxiety riddled sadness and failures made human thanks to Phoenix's sublime performance.  Its an impressive performance that rarely falters even in the face of the increasingly bizarre and fantastical elements come into play.  Nathan Lane, Amy Ryan and Kylie Rogers get a large chunk of screen time in one of the film's earlier chapters with all three doing solid work with Rogers proving just as capable as the veteran actors.  Patti LuPone and Zoe Lister-Jones make for an impressive one two punch as the older and younger versions of Beau's mother with each leaving their scathing mark on the film.  Parker Posey and Richard Kind have smaller supporting roles but they both make the most of their screen time.  The performances are strong across the board but its style and structure make it Aster's least accessible film since it rarely, if ever, plays on a literal plane opting for something more abstract.  There will be a variety of ways to dissect what the film is all about from a bevy of viewpoints for those who are willing to engage in its collected insanity.  Beau is Afraid isn't going to be for everyone but those allow themselves to take the journey will find plenty to ponder about long after the film is over.  

B

MOVIE REVIEW: C’MON C’MON

 

Johnny is an emotionally stunted and softspoken radio journalist who travels the country interviewing a variety of kids about their thoughts concerning their world and their future. Then Johnny's saddled with caring for his young nephew Jesse. Jesse brings a new perspective and, as they travel from state to state, effectively turns the emotional tables on Johnny.

Director: Mike Mills

Cast: Joaquin Phoenix, Gaby Hoffmann, Scoot McNairy, Molly Webster, Jaboukie Young-White, Woody Norman

Release Date: November 19, 2021

Genre: Drama

Rated R for language

Runtime: 1h 49m

Review:

Mike Mills C’mon C’mon is a simplistic but elegant bit of introspection about life.  It’s the kind of cinema veritas that takes the mundane in life and makes it significant and meaningfully.  It’s a quiet soft spoken film that relies on dialogue more than anything and does so with great effectiveness.  Those looking for a hard charging plot will be left wanting for more here as very little actually happens throughout the majority of the film.  Its leisurely pace rhythm may be off putting for certain audience but there is plenty to enjoy for those that can connect to the interpersonal relationships on display.  The central relationship between Joaquin Phoenix and newcomer Woody Norman provide the beating heart for the film.  Phoenix is understated and authentic from the onset which shouldn’t be a major surprise but Woody Norman is a revelation.  Norman and Phoenix share a rare kind of screen chemistry that’s hard to find and it elevates the film which avoids most of the big clichés of the self discovery genre.  Both should be getting plenty of awards recognition once the time comes.  Gaby Hoffman and Scoot McNairy deliver strong supporting turns with Hoffman getting more time to shine.  C’mon C’mon isn’t the type of film that will appeal to everyone because of it’s pace and methodical approach to the subject matter but for those that can appreciate subtle and delicate storytelling there is plenty to love here.    

A-

Cindy Prascik's Reviews of Judy & Joker

This weekend it was off to the pictures for a pair of acting powerhouses: Renee Zellweger's Judy and Joaquin Phoenix' Joker.

Spoiler level here will be moderate, nothing plot-specific, though I will make some general observations that may be considered spoilery.

First on the docket: Judy. In desperate financial straits, a failing Judy Garland agrees to a series of shows in London.

Judy focuses on a few weeks towards the end of Judy Garland's life, when she accepted a London residency in an attempt at career and financial salvation. It's a very obvious film in every way, a clear awards-grab by Zellweger in a not-so-deftly-told "perils of fame" story. It is elevated by the icon whose name it bears, and by Zellweger's extraordinary performance, but beyond that its emotional wallop turns out to be the worst sort of Hollywood fakery. Zellweger is physically transformed into the aging Garland, her slightly-slouched posture barely diminishing the diva of younger days. Though Zellweger is a capable singer, and it's all her voice in the film, most of the numbers are lip-synched rather badly on camera. The story moves steadily, but feels a bit slow. It is expectedly difficult to watch the worst of Judy's struggles, and quick flashbacks to the abuses visited on the young star by MGM shed a painful light on her later dependency on drugs and alcohol. A moving scene with a pair of fans at the stage door is, to me, the film's shining moment, and finding out afterwards that it--as well as the climactic final scene--was fabricated was a great letdown. While both were meant to "represent" real, pivotal parts of Ms. Garland's life, learning they were entirely made up very much diminished the movie's emotional impact for me. Comparing with Rocketman for a moment, if your story is billed as a musical fantasy, you may do pretty much as you please. If your movie is sold as a straight-up biopic (see also: Bohemian Rhapsody), making stuff up just pulls the rug out from under it.

Judy runs 118 minutes and is rated PG13 for "substance abuse, thematic content, some strong language, and smoking." (She is literally NEVER without a cigarette!)

Judy is worth seeing for Renee Zellweger's exceptional work, but it is otherwise a by-the-numbers biopic you'll soon forget.

Of a possible nine Weasleys, Judy gets six. Fangirl points: Rufus Sewell!

Next on my agenda (finally!), Todd Phillips' Joker. A troubled loner hits his breaking point.

Much had already been made of this dark origins tale before the film was even released, and, as I'm a week late seeing it, I doubt I have much to add that hasn't been said already, BUT...when has that ever stopped me?

Though the Joker is, arguably, DC's most iconic villain, there is no obvious DC branding to be found in this film. It's clear from the outset that Joker isn't intended as a comic book movie, or as part of a super-hero universe.

It's a miserable story about the effect hard times can have on anyone, particularly those less mentally-capable of facing what the world throws at them.

Joaquin Phoenix is considered a shoo-in awards contender for his work in the lead, and his performance is truly mesmerizing. He can't have Taron Egerton's Oscar, though, and that's that. Sorry, Joaquin. Phoenix' body appears ravaged for the role; he's painfully thin, with his ribs and shoulder blades protruding so much it almost hurts to watch. Heath Ledger's Joker had a fluidity of movement that was one of my favorite things about his performance in the Dark Knight. Here Phoenix adds a harsh edge that makes his every move look like a painful sort-of dance, elegant in its ugliness. His portrayal of Arthur Fleck's condition--a coarse laugh that is often entirely at odds with both his mood and the situation--is absolutely chilling. Grim production design and a somber score accentuate the film's sense of hopelessness and foreboding. Who wouldn't be driven to extreme measures by such circumstances? Certainly the movie borrows heavily from some that have come before, but it's mostly effective despite being derivative.

That being said, Joker has its problems. It plods through one depressing scene after another at a snail's pace. I understand it's meant to be dark, but there is literally NO light here, no hope. The film plays hell with the canonical timeline, with a very young Bruce Wayne making a brief appearance opposite Phoenix' decidedly middle-aged Joker. (There's not so much as a hint of a Bat.) A cold, self-centered Thomas Wayne (played by the always wonderful Brett Cullen) doesn't resemble any other Thomas Wayne I know. While the picture carries an important message about the way we, as a society, sometimes dismiss mental-health issues, it is very heavy-handed with its delivery. A weird scene backed by Gary Glitter's Rock n' Roll Pt. 2 is almost bizarre enough to absolve the movie of all its other sins, but not quite.

Joker clocks in at 122 minutes and is rated R for "strong bloody violence, disturbing behavior, language, and brief sexual images." (They’re serious, folks. This isn’t one for the kids.)

Joker may be a character from the pages of a comic book, but there's nothing cartoonish about the ugly world portrayed in this film. Of a possible nine Weasleys, Joker gets seven. And, for the record, I haven't seen a double-bill this depressing since I watched Dallas Buyers' Club and Twelve Years a Slave back-to-back.

Fangirl points: Hey you guys, it must be Awards Season because heeeeeeere's Shea Whigham!

Until next time...

MOVIE REVIEW: JOKER

Forever alone in a crowd, failed comedian Arthur Fleck seeks connection as he walks the streets of Gotham City. Arthur wears two masks -- the one he paints for his day job as a clown, and the guise he projects in a futile attempt to feel like he's part of the world around him. Isolated, bullied and disregarded by society, Fleck begins a slow descent into madness as he transforms into the criminal mastermind known as the Joker.
Director: Todd Phillips

Cast: Joaquin Phoenix, Robert De Niro, Zazie Beetz, Frances Conroy, Brett Cullen, Glenn Fleshler, Bill Camp, Shea Whigham, Marc Maron

Release Date: October 4, 2019

Genre: Crime, Drama, Thriller

Rated R for strong bloody violence, disturbing behavior, language and brief sexual images

Runtime: 2 h 2 min

Review:

After watching a bit of Todd Phillip’s Joker you get the strong feeling that Phillip’s really hopes that you’ve never seen Taxi Driver.  To say that he mines that particular film seems like a understatement since there are multiple direct references to it through out.  Needless to say, Phillip’s film isn’t as groundbreaking as it thinks it is.  The story of a disaffected loner pushed to the edge is story that’s been told multiple times particularly in Taxi Driver or the underappreciated Henry Portrait of a Serial Killer.  The film can stand on its own merit with some wonderfully composed shots that really leave you feeling grimy and dirty.  Ultimately though, the gas in this particular vehicle is Joaquin Phoenix who throws himself into the roles with such intensity that it’s hard to look away.  His performance elevates the material and makes the whole thing much more prestigious and watchable than it deserves to be.  As for the story, it’s an interesting take on this character but it’s hard to tell if Phillip’s wants us to root for character or despise him.  Nearing the finale you get a sense that Phillip’s is propping him up as a sort of hero of madness and chaos which is a strange message to send in a film like this even as some of the more ham fisted attempts at modern day relevancy fall flat.  It’s certainly a film that will draw plenty of discussion even though it’s really a shadow of better films.  


B-

MOVIE REVIEW: HER

A sensitive and soulful man earns a living by writing personal letters for other people. Left heartbroken after a long love affair ends, Theodore (Joaquin Phoenix) becomes fascinated with a new operating system which reportedly develops into an intuitive and unique entity in its own right. He starts the program and meets "Samantha" (Scarlett Johansson), whose bright voice reveals a sensitive, playful personality. Though "friends" initially, the relationship soon deepens into love.. ~ Jason Buchanan, Rovi

Director: Spike Jonze

Cast: Joaquin Phoenix, Scarlett Johansson, Rooney Mara, Amy Adams

Release Date: Dec 18, 2013

Rated R for language, Brief Graphic Nudity and Sexual Content

Runtime: 1 hr. 59 min.

Genres: Romance

Review:

Spike Jonze Her is a beautifully told love story that’s about as dense as week old muffins. Jonze’s, who also wrote the script, film is set in the hipster populated near future where a lonely man falls in love with a sentience operating system but it’s all a proxy for a myriad of themes and ideas. It’s delicate and harsh at the same time with the emotional journey ringing true throughout. You could say this film is about increasingly detached world or about journey we go through in relationships or the evolution of a person as they grow and learn. Any one of those would be correct in my opinion and there are still other thematic elements at play throughout. Joaquin Phoenix turns in an awards caliber performance, especially when you consider the fact that he was acting by himself for the better part of the film only with Johansson’s voice to work with. It’s an impressive turn from the start were we sense the character’s loneliness and the emotional journey he goes through. It maybe his best work to date. Johansson’s voice work is equally impressive. She creates a tangible character with emotional weight which is quite a trick since she’s just a disembodied voice. They both have a discernable rapport together which makes the emotions feel real. It’s a strangely impressive feat for the film. There are some issues albeit minor ones. The allegory does occasionally veer into pretentious territory by taking things into silly extremes. Additionally, the story is overlong, needlessly meandering for portions of the 2nd act before moving to its inevitable conclusion.

A-

MOVIE REVIEW: THE MASTER

IN THEATERS

THE MASTER




Paul Thomas Anderson's The Master stars Joaquin Phoenix as a psychologically damaged war veteran who finds himself working for Lancaster Dodd (Philip Seymour Hoffman), a charismatic figure building his own religion. As the alcoholic, self-destructive former soldier becomes more deeply involved with the leader of this cult-like organization, his natural instincts keep him from embracing his new position as strongly as others in the group would hope. The Master screened at the 2012 Toronto International Film Festival. ~ Perry Seibert, Rovi

Director: Paul Thomas Anderson

Cast: Joaquin Phoenix, Philip Seymour Hoffman, Amy Adams, Laura Dern, Jesse Plemons

Release Date: Sep 14, 2012

Rated R for Graphic Nudity, Sexual Content and Language

Runtime: 2 hr. 16 min.

Genres: Drama

Review:

The Master is an appropriate title for the new Paul Thomas Anderson. His place as the second coming of Stanley Kubrick fully realized with this visually powerful and intense film. Anderson directs his film with such a pronounced definitiveness that I’d be hard pressed to find a flaw. Anderson’s ability to get the most out of his actors is readily evident. Joaquin Phoenix gives a seminal performance which may prove to be a high point in his career. Phoenix utterly dissolves into the character from the start. It’s impossible to tear your eyes away from his ferocious mental disturbed man. Phillip Seymour Hoffman is equally impressive as the charismatic and subtly fiery cult leader. Their scenes together are some of the film’s best each showcasing their impressive talents all at once. Amy Adams is strong in a supporting role, showing off a steely intensity that makes her almost as frightening as the male leads. The actors and Anderson have created a classic film, which should be all over the place on the Oscars list, that requires your attention from the start, it offers very little in the way of clear answers. The Master is the type of film that requires repeat viewing which is a cinematic treat for any film fan.

A