MOVIE REVIEW: WOMEN TALKING

 

Women in an isolated religious colony struggle to reconcile with their faith after a series of sexual assaults.

Director: Sarah Polley

Cast: Rooney Mara, Claire Foy, Jessie Buckley, Judith Ivey, Ben Whishaw, Frances McDormand

Release Date: December 23, 2022

Genre: Drama

Rated PG-13 for mature thematic content including sexual assault, bloody images, and some strong language

Runtime: 1h 44m

Review:

Sarah Polley’s Women Talking is a meditative drama is the kind of film that’s driven by its script and cast.  Polley takes a minimalist approach which allows the focus to remain centered on its subject matter and characters.  A handful of sweeping landscape shots and post assault flashbacks make up the small visual flourishes she utilizes during the course of the film’s runtime.  The film’s central meetings feel more like a stage play as we listen to the character describe the terrible state of this situation and ruminate on how to escape and possible consequences.  This isn’t the kind of film that isn’t going to be for everyone with its dialogue-centric approach and heavy subject matter which some people might find to be little more than pretentious award fodder.  It’s definitely a certain type of film but that doesn’t keep it from being impactful for those willing to take the time to appreciate the performances on screen.  The ensemble of actresses on screen deliver excellent performances throughout with each of them given ample time to shine. The characters do lean a bit more into types than fully realized characters but that doesn’t make them any less effective.  Rooney Mara is decidedly hopeful, Claire Foy intensely fiery but Jessie Buckley’s conflicted character is the most interesting of the group.  Buckly’s performance dominates the latter portion of the film with a measured and complex performance that’s rather mesmerizing.  Ben Whishaw, Judith Ivey, Michelle McLeod and Sheila McCarthy make the most of their screentime in vital supporting turns which gives the film its beating heart.  Women Talking is the kind of film that allows you appreciate the power of words especially when delivered by a stellar cast.

A-

MOVIE REVIEW: THE TRAGEDY OF MACBETH

 

A Scottish lord becomes convinced by a trio of witches that he will become the next King of Scotland. His ambitious wife will do anything to support him in his plans of seizing power.

Director: Joel Coen

Cast: Denzel Washington, Frances McDormand, Bertie Carvel, Alex Hassell, Corey Hawkins, Harry Melling, Brendan Gleeson

Release Date: December 25, 2021

Comedy, Drama, Romance

Rated R for violence

Runtime: 1h 45m

Review:

Joel Coen's The Tragedy of Macbeth is a fascinating amalgam of stage minimalism and cinematic grandeur.  The resulting concoction echo's Ingmar Bergman's The Seventh Seal and Akira Kurosawa's Throne of Blood itself an adaption of Macbeth.  It's visually arresting and engaging from it's opening frame.  Stage actress Kathryn Hunter eerie turn as the witches gives the film an air of urgency and kinetic energy and she contorts unnaturally in her introduction.  The familiar but dense Shakespearean dialogue is performed with emotional precision from it's stellar cast.  Denzel Washington's older Macbeth hits all the right notes especially as the film progresses and his character's mental state declines into madness.  Frances McDormand is just as strong as his calculating Lady Macbeth.  They both deliver lines in such a naturalistic fashion that it's easy to get lost in their individual performances, when the pair share a scene their energy burns through the screen.  Supporting turns from Alex Hassell as Ross and Corey Hawkins as Macduff leave the biggest impact outside of the central duo.  The Tragedy of Macbeth is a visually striking, narratively efficient adaptation that's sure to leave an impression for years to come. 

A

MOVIE REVIEW: NOMADLAND

 

A woman embarks on a journey through the American West after losing everything during the recession.

Director: Chloé Zhao

Cast: Frances McDormand, David Strathairn, Linda May, Swankie, Bob Wells

Release Date: February 19, 2021

Genre: Drama

Rated R for some full nudity.

Runtime: 1 h 48 min

Review:

Chloé Zhao’s Nomadland is a dreamlike portrait of grief and self realization.  Her film is methodically paced travelogue through the country through the eyes of a forgotten population.  At the center of the entire film is Frances McDormand who delivers an understated multilayered performance that anchors the film.  McDormand’s ability to channel an authentic everywoman is on par with Tom Hanks.  It’s a talent that fits this role perfectly and she delivers one of the most authentic and grounded performances of her career.  She emotes an immense amount of emotional information with gestures or looks with the script keeping dialogue at a minimum.  The supporting cast is a mixture of non actors and familiar character actors like David Strathairn.  Strathairn is equally understated as the love interest in the thickest story thread in the film.  McDormand’s work with non actors Linda May, Swankie and Bob Wells feels improvised giving portions of the film an almost documentary feel.  The story introspective journey is deeply personal but universal at the same time which gives the film its emotional impact.

A

MOVIE REVIEW: THREE BILLBOARDS OUTSIDE EBBING MISSOURI

After months have passed without a culprit in her daughter's murder case, Mildred Hayes makes a bold move, painting three signs leading into her town with a controversial message directed at William Willoughby, the town's revered chief of police. When his second-in-command, Officer Dixon -- an immature mother's boy with a penchant for violence -- gets involved, the battle is only exacerbated. 

Director: Martin McDonagh

Cast: Frances McDormand, Woody Harrelson, Sam Rockwell, Caleb Landry Jones, Lucas Hedges

Rated R for violence, language throughout, and some sexual references

Genres: Crime, Drama

Runtime: 1h 55min

Review:

Three Billboards Outside Ebbing Missouri is a challenging pitch black dramdey that’s engaging throughout even if it never offers any clear answers or resolutions to it’s story.  Martin McDonagh has experience dealing with deeply flawed characters with some humor mixed in, something he did wonderfully in In Bruges.  Martin McDonagh deals with similarly troubled character here even if he doesn’t quiet work the same alchemy he pulled off with In Bruges.  McDonagh film mostly works even though the tonal shifts are occasionally jarring.  Its anchor throughout is Frances McDormand who is simply a force of nature throughout.  Her performance is even more impressive since she’s pulls it off fairly effortlessly.  Woody Harrelson is always a welcome sight and he’s on his game here, sadly he’s only in the film’s first third and the film misses his presences afterward.  Sam Rockwell is solid throughout even if the character fairly unlikable.  There’s a bit of a redemption arch presented but it’s a slightly strange message since his character is referenced as having done terrible things before the story starts.  The film is filled those kind of challenging contradictions and it can occasionally be difficult but the performances make it worthwhile.

B+

Cindy Prascik's Review of Three Billboards Outside Ebbing, Missouri

Dearest Blog: Having returned from the Big City, yesterday I utilized my recovery day to sneak in another Justice League screening, justified by pairing it with likely awards favorite Three Billboards Outside Ebbing, Missouri.

Spoiler level here will be mild, nothing you wouldn't know from the trailer.

A grieving mother finds a unique way of holding local law enforcement to account for its failure to find her daughter's killer.

Dear reader(s), Three Billboards left me adrift, so the following may seem disjointed and even contradictory at times. Know that this movie is, without question, worth your time, but it is challenging.

The quality of the performances in Three Billboards is breathtaking. It seems almost unfair to call out anyone individually when the ensemble as a whole is so extraordinary, BUT...Sam Rockwell. Just give this man an Oscar already! Frances McDormand and Woody Harrelson are magnificent beyond words, and Peter Dinklage will manage to break your heart with less than 15 minutes total screen time. Incredible all 'round.

Much of Three Billboards is laugh-out-loud funny, despite the somber subject matter and sad consequences of the characters' actions. For the most part, said characters are are bigoted rubes who behave badly and selfishly, yet they aren't unlikable. The story is riveting, but the picture moves slowly and seems quite a lot longer than it actually is. Language throughout is nearly as brutal as the incident that propels the film, not just your garden-variety swearing, but also racial and homophobic slurs. While it may be realistic, it's also jarring and wears thin very quickly, ultimately making the film feel a lot like work. Without divulging any specifics about the ending, I will say simply that it is sure to be one of those controversial love-it-or-hate-it endings that leaves folks talking for months to come. (For the record, I loved it.)

Three Billboards Outside Ebbing, Missouri runs 115 minutes and is rated R for "violence, language throughout, and some sexual references."

Three Billboards Outside Ebbing, Missouri has been called the best movie of the year. For my money it's not that, but it is a thought-provoking exercise and an acting master class that's well worth your movie dollar.

Of a possible nine Weasleys, Three Billboards Outside Ebbing, Missouri gets eight.

Fangirl points: Zeljko Ivanek! John Hawkes!

Until next time...

Cindy Prascik's Reviews of The Good Dinosaur and Krampus

 

Dearest Blog: After a weekend on the town, yesterday it was off to Marquee Cinemas to make up for lost time with The Good Dinosaur and Krampus.

Spoiler level here will be mild, nothing you wouldn't know from the trailers.

First up: The Good Dinosaur.

A young dinosaur learns to face his fears.

There's no getting around it: The Good Dinosaur is kind of a stinker. Animation doesn't always have to be game-changing--I mean, I quickly forgave a sub-par outing from our little yellow friends the Minions because they're adorable--but I feel like it should at least be cute and fun. 

The problem with The Good Dinosaur is there's almost nothing to like, and certainly nothing to like enough to make amends for what's not to like. The characters aren't cute at all, and the voices--though they include mighty talents like Sam Elliott and Frances McDormand--nearly annoyed me right out of the room. 

Outside of some nifty water effects, the artwork and animation are ho-hum, and the movie's message is heavy-handed. Sadly, The Good Dinosaur was about the least-enjoyable time I've had at the movies this year.

The Good Dinosaur runs 93 minutes and is rated PG for, "peril, action, and thematic elements." The film is accompanied by a trippy little short called Sanjay's Super-Team, which adds about seven minutes to the total runtime.

Gotta be honest: while watching The Good Dinosaur, I was rooting for the asteroid. 

Of a possible nine Weasleys, The good Dinosaur gets two.

Next on the day's schedule, the holiday horror-comedy Krampus.

A family pays the price for having lost the true spirit of Christmas.

Unless I have an ulterior motive (read: one of my favorite actors has a role), I seldom bother with horror movies, as I almost always find them stupid and not at all scary.  

Benefitting from a fun trailer and a weak schedule of new releases, Krampus became the exception to my rule, and I'm pleased to report I didn't have reason to regret it.

There are no A-Listers, but Krampus boasts a great cast and the performances are quite good. Kid actors can be hit or miss, but the adorable Emjay Anthony is a nice surprise in what essentially amounts to the lead. 

If I was never really scared, the movie still does a great job of maintaining tension, and the monsters are genuinely creepy. In fact, the entire look of the film is exquisite, from the festive holiday decor to cold, snowy exteriors, to some pretty badass baddies. 

The laughs are equally solid and well timed, making Krampus a truly entertaining outing.

Krampus clocks in at 98 minutes, and is rated PG13 for, "sequences of horror violence/terror, language, and some drug material."

It may never become *that* classic you watch with grandma every Christmas Eve, but Krampus is good holiday fun. 

Of a possible nine Weasleys, Krampus gets six.

Until next time...

MOVIE REVIEW: MOONRISE KINGDOM

IN THEATERS

MOONRISE KINGDOM




Director/co-writer Wes Anderson teams with screenwriter Roman Coppola for this period comedy-drama set in the 1960s, in which a pair of young lovers (Jared Gilman and Kara Hayward) from an island off the New England coast head for the hills and throw their small town into a frenzy. Bruce Willis co-stars with Bill Murray, Edward Norton, and Frances McDormand. ~ Jason Buchanan, Rovi

Director: Wes Anderson

Cast: Jared Gilman, Kara Hayward, Bruce Willis, Edward Norton, Bill Murray, Frances McDormand, Tilda Swinton, Jason Schwartzman

Release Date: May 25, 2012

Rated PG-13 for Sexual Content and Smoking

Runtime: 1 hr. 34 min.

Genres: Drama, Romance

Review:

I was a strange child, a fact my parents love reminding me of. There are certain movies that really tap into a portion of the childhood experience; Moonrise Kingdom is one of those films. Wes Anderson’s newest film maybe his best. A touching tribute to love, childhood innocence and those moments you wish you could hold on to forever. Anderson wonderfully crafted shots create an almost ethereal texture to the film. The cast from top to bottom brings there A game. Anderson has a talent of bringing out special performances from his actors and this film is no different. Each of the cast members brings a certain level of sincerity and quirkiness to their roles. Jared Gilman and Kara Hayward in particular make an impressive tandem with each actor bringing so much to both sides of the story. The story is purposely lighthearted and easily digestible making it a film that’s easy to revisit over and over again. Something a film like this requires in order to truly appreciate every bit of nuance and detail, savor it and digest.

A