Cindy Prascik's Review My Policeman

 

My dear reader(s), yesterday I finished up (maybe?) vacation with my most anticipated film of the year, My Policeman.

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

In 1950s England, where homosexuality is illegal, a museum curator and a policeman fall in love.

My Policeman tells the story of forbidden love between Patrick (David Dawson/Rupert Everett) and Tom (Harry Styles/Linus Roche). The movie effortlessly flows among personal perspectives and time periods (the events of the 50s, and the individuals' lives and reflections some 40 years later). Every member of the cast is fantastic, with special kudos to Roche and Everett, who carry the heaviest bit of the emotional load. If you're wondering about Harry Styles, whose name is the one above the title, he's so good I didn't think of him as Harry at all while watching. (Harry Styles occupies approximately 95% of my brain, so kindly respect how terrific he had to be to achieve that.) The story is mature and deliberately paced, and the principals' influences and motivations are portrayed with painful nuance. There's no hint of sensationalism or of capitalizing on Styles' "other" career here. Rather, you get a feeling that all involved understood the weight they carried in telling this tale, and writing, performances, and even promotion show how seriously they took that responsibility. In these frightening times, when the world often seems to be moving backwards, My Policeman offers a somber and timely reminder of the cost of bigotry and hate.

My Policeman clocks in at 113 minutes and is rated R for sexual content.

My Policeman is a story of heartbreak and hope, well crafted and beautifully acted. Of a possible nine Weasleys, My Policeman gets eight and a half.

My Policeman continues to play in select theatres, and is now streaming worldwide on Amazon Prime.

Until next time...

Cindy Prascik's Reviews of The Good Nurse & See How They Run

My dear reader(s): Yesterday I treated myself to a good old-fashioned double-feature. If it was from my sofa rather than from my old seat at the cinema...well...I'm still going to frame it as a step back towards normal. On the docket: The Good Nurse and See How They Run.

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

First up: The Good Nurse.

A physically and financially overburdened nurse begins to suspect her helpful new co-worker is not as he appears.

Based on a true story, the Good Nurse stars Academy Award winners Jessica Chastain and Eddie Redmayne, punching below their weight. The film maintains tension decently — even if viewers may remember the outcome from the news — yet it still seems to arrive at its destination a little too quickly and conveniently. Fortunately, the story itself is compelling enough to hold attention, and Chastain and Redmayne (along with the stellar Noah Emmerich) would make it worth a look regardless of its other flaws.

The Good Nurse runs 121 minutes and is rated R for language.

The Good Nurse is essentially a network movie of the week, elevated by its exceptional cast. Of a possible nine Weasleys, the Good Nurse gets six and a half.

The Good Nurse is now streaming on Netflix.

Next on my agenda: See How They Run.

In 1950s London, attempts to make a film version of a long-running play are derailed when a key individual is murdered.

See How They Run is a proper, old-school murder mystery with an excellent cast, featuring Sam Rockwell, Adrien Brody, David Oyelowo, a particularly charming Saoirse Ronan, and the always delightful Ruth Wilson. The self-aware film moves quickly, keeps its secrets well, and boasts terrific costumes, styling, and set design. In the "before times," this is the sort of movie I'd have awaited anxiously, run out to see on opening day, and written about — if not glowingly — then at least very, very positively. These days, I'm excited it turned up for free, I loved watching these actors work with a decent script and pretty outfits, and I liked it well enough that I didn't play on my phone the whole time it was on.

See How They Run clocks in at a quick 98 minutes and is rated PG13 for "some violence/bloody images, and a sexual reference."

See How They Run is a fun mystery that boasts solid performances from its wonderful cast. Of a possible nine Weasleys, See How They Run gets seven.

See How They Run is now streaming on HBO Max.

Until next time...

MOVIE REVIEW: THE BANSHEES OF INISHERIN

 

On a remote island off the coast of Ireland, Pádraic is devastated when his buddy Colm suddenly puts an end to their lifelong friendship. With help from his sister and a troubled young islander, Pádraic sets out to repair the damaged relationship by any means necessary. However, as Colm's resolve only strengthens, he soon delivers an ultimatum that leads to shocking consequences.

Director: Martin McDonagh

Cast: Colin Farrell, Brendan Gleeson, Kerry Condon, Barry Keoghan

Release Date: October 21, 2022

Genre: Comedy, Drama

Rated R for language throughout, some violent content and brief graphic nudity.

Runtime: 1h 49m

Review:

The Banshees of Inisherin, the latest black comedy from Martin McDonagh, it’s a funny, compelling fable that's simplistic on the surface but one the will likely stick with you as you ruminate the meaning of it all.  McDonagh creates an authentic ecosystem of people and relationships that brings life to the mundane something he's done to great effect in previous films.  The script is sharply written with plenty of dialogue that pops off the screen which makes the character's interplay the film's highlights.  What's more impressive is that the story is thematically dense, functioning on multiple levels which leaves the door open for a multitude of metaphorical interpretations.  A strong script pair with excellent performances from its two leads makes this film incredibly watchable and easy to digest unlike the majority of awards fodder.  Colin Farrell and Brendan Gleeson reunite with McDonagh for the first time since they collaborated in 2008's In Bruges and again bringing out the best in each other.  Farrell and Gleeson have a natural chemistry together which serves as the film's life blood.  Farrell leaning into the happy go lucky attitude early on in order to watch him emotionally degrade as the film wears on.  Gleeson makes his character's stubbornness tangible as he drops hints desperation as he tackles his impending mortality.  They are fascinating throughout because they give you a real sense that there is so much more simmering under the surface for both men.  They deserve the lion's share of the credit here but supporting turns from Kerry Condon and Barry Keoghan leave a memorable impression as well.  Fans of Martin McDonagh know that his film's use black comedy to explore larger issues and The Banshees of Inisherin does so in spades. 

A

Cindy Prascik's Review of Brian and Charles

 

My dear reader(s), as I am enjoying a week of vacation and Halloween festivities are behind us for another year, I hope to check in with a few reviews for your perusal.

Today's offering: Brian and Charles.

Spoiler level here will be mild, nothing you wouldn't know from the trailers if you've seen any, which I haven't. I fell over this one completely by accident.

Following an especially harsh Welsh winter, a lonely inventor builds himself a robot companion.

Now that I'm out of the habit of going to the cinema, I often spend hours browsing the titles available for home viewing, only to decide I can't bear the thought of any of them...or I'll start a movie and give up when it fails to hold my attention, which tends to be early and often. I picked Brian and Charles at random because it looked like the sort of thing that never fails me, and, indeed, it did not fail me.

Brian and Charles is a documentary-style tale of Brian (David Earl), a lonely, awkward man who lives alone with his many inventions. He builds Charles (Chris Hayward), and for much of the film their relationship is like that of parent and child, Brian making choices to keep Charles safe (Brian's version of safe), and Charles rebelling as he desires more freedom. There's a bit of romance thrown in for good measure (spoiler alert: NOT cross-species between the leads), a moral about bullying, and a curiously action-packed penultimate act, but for the most part Brian and Charles is the heartwarming tale of a unique friendship. The bleak Welsh landscape perfectly underscores Brian's loneliness, but charming performances by Earl, Hayward, and Louise Brealey (as Brian's equally awkward would-be love interest) keep things quirky and mostly light, rather than sad or preachy.

Brian and Charles clocks in at 90 minutes and is rated PG for "language, mild violence, and smoking."

Brian and Charles is a sweet film that's charming in its execution and gentle in its message. Of a possible nine Weasleys, Brian and Charles gets eight.

Brian and Charles is now streaming on Peacock.

Until next time...

MOVIE REVIEW: PREY FOR THE DEVIL

 

The Roman Catholic Church combats a global rise in demonic possessions by reopening schools to train priests to perform exorcisms. Although nuns are forbidden to perform this ritual, a professor recognizes Sister Ann's gifts and agrees to train her. Thrust onto the spiritual frontline, she soon finds herself in a battle for the soul of a young girl who's possessed by the same demon that tormented her own mother years earlier.

Director: Daniel Stamm

Cast:  Jacqueline Byers, Colin Salmon, Christian Navarro, Lisa Palfrey, Nicholas Ralph, Virginia Madsen, Ben Cross

Release Date: October 28, 2022

Genre: Horror, Thriller

Rated PG-13 for violent and disturbing content, terror, thematic elements and brief language.

Runtime: 1h 33m

Review:

Daniel Stamm made his name as a director with the creepy and surprisingly effective The Last Exorcism which brought energy to the tired exorcism trope.  Prey for the Devil marks his return to the subgenre with a much more conventional and predictable film propped up by committed performances from its stars.  Stamm moves at a rapid pace which helps since the script is a collection of half baked ideas and overused tropes.  There is a kernel of an interesting idea that touches on gender politics and trauma, but the script doesn't explore them in any meaningful way making them pointless.  We're told fairly early on that Jacqueline Byers' Sister Ann is special, but the script doesn't bother to provide any tangible reason why she's special outside of being the focus of the demon since she was a child.  The character also leaves a wake of bodies by the time the film ends which doesn't seem to bother anyone in school.  Thankfully, Byers makes the entire thing watchable with a performance that's far better than the film and script.  Byers turn is believably focused with a palpable sense of the character's underlying trauma being ever present.  She's able to keep an air of authenticity throughout even as things become progressively more absurd. Colin Salmon and Christian Navarro, who looks distractingly like Jay Hernandez, do what they can with underwritten roles.  Virginia Madsen on the other hand is criminally underused in what amounts to a throwaway character.  Prey for the Devil is the kind of film that's perfectly comfortable using clichéd tropes to deliver a few effective set pieces but doesn't offer anything fresh or surprising.  

C

MOVIE REVIEW: TAR

 

Renowned musician Lydia Tár is days away from recording the symphony that will elevate her career. When all elements seem to conspire against her, Lydia's adopted daughter Petra becomes an integral emotional support for her struggling mother.

Director: Todd Field

Cast: Cate Blanchett, Noémie Merlant, Nina Hoss, Sophie Kauer, Julian Glover, Allan Corduner, Mark Strong

Release Date: October 7, 2022

Genre: Drama, Music

Rated R for some language and brief nudity

Runtime: 2h 38m

Review:

Todd Field's Tár is an immersive and engaging character study lead by a singular turn from Cate Blanchett.  Field's film is a methodical trek into the central character's life, dropping bits and pieces of narrative and themes along the way.  It's a masterclass in subtly as quieter moments and more charged moments are all so densely packed with meaning that it requires your attention throughout.  There's a glossy veneer presented from the onset of the film but there's also an unsettling, disquieting undercurrent that's every present until its final act where things begin to unravel.  Cate Blanchett disappears into her character with incredible ease.  This performance isn't your typical awards showcase that requires big showy moments instead this is a case study in nuance.  It's the kind of performance where looks shared between characters delivers volumes worth of information.  Blanchett owns every moment she's on screen and its film from start to finish but the supporting cast is just as dialed in with each making the most of their screen time.  Once Tár heads into its final act the script and cast deliver some surprising moments which feel organic and earned, a credit to the level of craftmanship from both sides of the camera.  

A