MOVIE REVIEW: A COMPLETE UNKNOWN

 

In the early 1960s, 19-year-old Bob Dylan arrives in New York with his guitar and revolutionary talent, destined to change the course of American music. Forming his most intimate relationships during his rise to fame, he grows restless with the folk movement, making a controversial choice that reverberates worldwide.

Director: James Mangold

Cast: Timothée Chalamet, Edward Norton, Elle Fanning, Monica Barbaro, Boyd Holbrook, Dan Fogler, Norbert Leo Butz, Scoot McNairy

Release Date: December 25, 2024

Genre: Biography, Drama, Music

Rated R for language.

Runtime: 2h 20m

Review:

A Complete Unknown serves as a time capsule that focuses on four formative years of Bob Dylan's career in the 60s that places you firmly in the moment although it never gives you any insight into his headspace.  James Mangold's second foray into musical biopics finds the director in his wheelhouse as he recreates the look and feel of the early 60's folk music scene that Dylan walks into.  He directs the performances with ease allowing the performers and music to take center stage while avoiding some of the more obvious pitfalls and tropes that Walk The Line fell into.  There aren't nearly as many contrived moments were moments immediately lead into the creation of signature songs although there is still of relationship melodrama which just seems baked into these kind of stories.  As a result, the film has a more naturalistic and organic feel to it as we follow Dylan's rise from obscurity to mega stardom.  Interlaced into his personal journey are newsclips woven into the background about the major political and cultural events occurring during these nascent years of his career.  We assume these moments lead to the creation of some of Dylan's most famous songs but the film never overtly connects the two.  This is partly due to the fact that we are kept at arms length from Dylan's internal motivations as the audience is given very few glimpses into his psyche outside of being a mysterious, ambitious iconoclast.  There's painfully little insight provided throughout the film's runtime perhaps by design as we get little more than he's a genius but self centered jerk.  The supporting characters don't fare much better as we're given only the most basic information about everyone we meet.  Its a testament to the cast that they're performances are as engaging and effective as they are given the script's shortcomings. Timothée Chalamet leads the film by dissolving into Bob Dylan's mannerism and vocal inflections to deliver a truly impressive bit of cinematic mimicry.  Where his performance truly shines is during the musical portions of the film as Chalamet sings and plays Dylan's songs rarely missing a bit along the way.  Its an impressive fully formed performance that goes the extra step above the usual imitation game although you wish the script had given him a bit more meat to work with.  Edward Norton's Pete Seeger proves to be more fleshed out as the folk stalwart that is desperately hoping to fight back the electrical musical revolution.  It's a measured and thoughtful turn that humanizes the character by giving him varying levels of depth.  Elle Fanning and Monica Barbaro deliver strong performances as parts of the central love triangle although neither is given much depth on their own and an on stage moment between Dylan and Baez that feels lifted from Mangold's own Walk The Line comes off as overkill. Boyd Holbrook is solid in spots as Johnny Cash while we are left wishing Scoot McNairy had been given a bit more to do as Woody Guthrie.  A Complete Unknown lives up to its name as it gives the audience just enough about the people we are watching while never letting us truly understand them in any meaningful way.  

B+

MOVIE REVIEW: NIGHTBITCH

 

An artist who pauses her career to be a stay-at-home mum seeks a new chapter in her life and encounters just that, when her nightly routine takes a surreal turn and her maternal instincts begin to manifest in canine form.

Director: Marielle Heller

Cast: Amy Adams, Scoot McNairy, Arleigh Snowden, Emmett Snowden, Mary Holland, Ella Thomas, Archana Rajan, Jessica Harper

Release Date: December 6, 2024

Genre: Comedy, Horror

Rated R for language and some sexuality

Runtime: 1h 38m

Review:

Marielle Heller's Nightbitch is perfectly set up to offer up a boundary pushing dissection of modern motherhood, but it never fully delivers on its promise despite a fully committed turn from Amy Adams.  Heller's film plays its fairly straightforward with a handful of moments internal monologues sprinkled throughout that feel like they should lead up to something revelatory by the time the film ends.  The thing is that moment never really comes as the script toys with a handful of ideas that have been done before in better films like 2018's underappreciated Tully.  It’s strange that the film spends nearly its entire runtime with Adams' character but there's no real depth to her just the pervasive sense of desperation.  Amy Adams does everything she can to make the film work as she indulges every bit of insanity thrown at her.  It’s an incredibly unglamourous role fully realized via a physical transformation to really hammer home the loss of identity at the center of the film.  Adams maintains a glazed, detachment for nearly the entirety of the film which slowly simmers over to rage in spots.  There are darkly funny moments which she manages with impressive ease before shifting back to more solitary moments.  Scoot McNairy does what he can with an underwritten role as the husband who is clueless to his wife's distress.   There's plenty of fertile ground to be tilled in their relationship but the script never delves into anything deeper than the most obvious tropes.  The more gonzo ideas of transformation and generational pain never really coagulate to deliver the sort of impact intended.  It doesn't help that for all the pain and resentment the wife suffers through in Nightbitch the script decides to tie everything up with a tidy bow that ties everything up far too neatly making it all feel sort of hollow. 

B-

MOVIE REVIEW: SPEAK NO EVIL

 

A dream holiday turns into a living nightmare when an American couple and their daughter spend the weekend at a British family's idyllic country estate.

Director: James Watkins

Cast: James McAvoy, Mackenzie Davis, Aisling Franciosi, Alix West Lefler, Dan Hough, Scoot McNairy

Release Date: September 13, 2024

Genre: Drama, Horror, Thriller

Rated R for some strong violence, language, some sexual content and brief drug use.

Runtime: 1h 50m

Review:

Speak No Evil is a thriller with a lot on its mind delivered in a glossy package by James Watkins paired with a fascinating and multifaceted turn from James McAvoy.  Watkins remake of the 2022 Danish film is immediately engaging and efficient in getting to the meat of the story.  The tension ramps up fairly quickly as we get to know each of the couples in greater detail and Watkins smartly allows his cast to carry the film.  Their interactions are increasingly uncomfortable and darkly funny throughout even if there aren't a ton of surprises in the story since it all plays out in a fairly predictable manner.  It all would have been much less entertaining if the film wasn't blessed with such a strong cast headlined by James McAvoy.  McAvoy runs the gamut of emotions, similar to his turn in 2016's Split, as the alpha male who can go from charming to menacing in the blink of an eye.  He maintains an impressive intensity throughout which is impressive but some of his more subtle mannerisms really flesh out the character giving him more depth and pathos.  His simmering energy is the oil that makes the entire engine run but Mackenzie Davis, Aisling Franciosi and Scoot McNairy prove to be more than capable of holding their own in slightly less showy roles.  Mackenzie Davis and Scoot McNairy are impressively authentic as a married couple whose dysfunctional dynamics isn't all that difficult to spot.  Davis brings a perfect combination of liberal sweetness and passive aggressiveness to the character that pairs nicely with McNairy's beaten down emasculation.  Their interactions, especially the non verbal moments communicate so much about their relationship in such a believable manner than you can't but appreciate the work both actors turn in.  Aisling Franciosi does something similar as Paddy's pixie of a wife who's disarmingly sweet but clearly hiding something underneath.  They are all fascinating performances which standout even when compared to McAvoy's outsized turn.  The film faulters in its final act where things get crazier and slightly sillier, but it doesn't keep Speak No Evil from being a fun thrill ride.

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-