"Man Dieth down and Riseth Not." Mudbound Review

Mudbound

2/5

Directed by: Dee Rees

Rated: R

           What is a person's worth? Is it the land they own? Perhaps it is how big their family is, or how many people they are able to pack into their extended family. Maybe it is the color of their skin. It could be how many medals they can proudly wear on their chest. Then again, a person's worth could be the same as everyone else, and it does not matter what we do as much as why we did it. In the end all our bodies are going to the same place. Whether we are a father a mother or a brother, a war hero or a dirty farmer, or whether we may appear as different as black from white we are all set and bound to that same fate to find our bodies six feet under thick brown soil. We are all mud bound.
           Director Dee Rees' Mudbound depicts the harsh and near unforgiving life out in the cotton fields and farm lands of rural Mississippi in the 1940's. Everywhere audiences look they are sure to see dirt, worn down homes, toiled over land and large pools of mud. This captivating scenery is captured in the lens of cinematographer Rachel Morrison. She brings out the various shades of brown in the ground's topography, the black in the pitch dark night sky, the white in every cloud that scrapes across the heavens and the never-ending blue that surrounds the Earth in an infinite caring sky. Morrison's grasp of the camera goes beyond her establishing shots, but also extends to her scene work. Her rich and descriptive shots often tell the relations between characters through her sense of framing and juxtaposition alone.
           Mudbound's most stirring aspect is its wide cast of characters. Carey Mulligan plays a desperate house wife, Jason Clarke plays her stiff necked husband, Mary J. Blige embodies the loving mother who works as their midwife, Rob Morgan plays Blige's character's strong willed husband, Jason Mitchell is their son and a World War II pilot, Garett Hedlund is another veteran and the stiff necked husband's brother and Jonathan Banks plays the role of Clarke and Hedlund's character's father and Mulligan's father in law. As Mudbound does not feature one star character, protagonist or narrator, at one time or another most every one of these characters will appear as the movie's star, play out the role of protagonist, and narrate their story the whole way through it. This, however, does not make all the characters endearing, but rather it makes them all seem like they are fighting for screen time and who can get the audience to cry first.
           Mudbound's inconsistent pacing and poor integration of its characters can make some audiences question whether they are watching a scene with a new character or a scene with characters from Mudbound's main cast. It is not until halfway through this movie that audiences will understand characters' goals, intentions and familial relations. After it feels as if this movie's story has finally begun, characters rapidly develop and the choices and actions they take quickly lead them to what appears to be an inevitable climax. Though the climax is worthwhile, it does not make the whole movie's experience rewarding. This, along with the movie's uninteresting score, off-putting narration and the story's unsubstantial beginning, makes Mudbound a decent movie but ultimately one that might not be impactful or memorable.

Verdict: Director Dee Rees' Mudbound is a story about family, life and its inevitable end, but despite its well crafted scenery and story driven shots this movie's characters can get muddled and its story can feel stuck.

"Parce-que c'était Lui, Parce-que c'etait Moi" Call Me by Your Name Review

Call Me by Your Name

2/5

Directed by: Luca Guadagnino

Written by: James Ivory

Rated: R

           What defines a person? Where should people find their identity? Do we find our identity through our relationships? These are questions Elio and Oliver ponder as their friendship flourishes into deeper feelings. Within time they believe it is their relationship that defines who they are. They are someone, because someone else loves them. Their love, though, is forbidden. Their time is limited. Their hearts are not strong enough. They're not ready, yet here they are. What does it mean for them, now, to see each other by a new identity. What can happen, when one night one of them says, "Call Me by Your Name."
           Based on the novel by Andre Aciman, Call Me by Your Name is a provocative film featuring a stimulating screenplay from writer James Ivory. His words invade the screen, and fill up his characters. The lead character is played by Timothee Chalamet, who offers an emotionally apprehensive and ponderous performance as Elio. Though it is clear there are words Elio fears to say, these inner desires cannot help but seep out from Chalamet's eyes, neck, brow, left ear, right ear, hair and every pore on his body. Aside from Chalamet, there is no other noteworthy performance amongst these characters. Armie Hammer plays Elio's deep seated partner, Oliver, but Hammer's lack of development and seemingly dazed attitude do not make his character endearing or enduring. This same stigma effects the other characters, making them easily forgotten or ignored, and there are only three other main characters.
           This film delights most in is its design. Call Me by Your Name's depiction of 1983 Northern Italy is eye catching. The film's light colored locations are memorable. This relaxing blend of natural ponds, green forests, refreshing lakes, ancient villas, pristine beaches and clear skies provide this film's topography. It is enough to propel some audience members back to a time when they lied down on warm summer grass and thought of nothing and everything. This atmosphere is brought to life, through Luca Guadagnino's well done direction. Guadagnino uses the film's settings to the story's advantage, and frames characters in ways that visually signify their passions. It allows this film's locations the ability to evoke memories of previous moments in these characters' lives. It is not just a town square, but the first place where they biked together. It is not just a pond, but the first time they skinny dipped. It is not just a field, but the first time where the distant became close.
           Although the film is aesthetically serene, what keeps Call Me by Your Name from crossing the threshold of being an intriguing film to a compelling experience is its lackadaisical pacing. Though the story is fascinating, this film keeps its themes internal, and in place its external is silent. Though it gives audiences time to admire the scenery, it can at some points be unbearable. For some viewers this leisurely pacing will make them want to turn off the film, and even regret the time they think they wasted on it. Others will find this indefinite quiet to be a nice time for their own self reflection and contemplation on this film's sexual tension and unspoken ideas. Whether someone sees these moments as boring or insightful, few people will feel these moments are engaging. Though the film features good moments of directing, Call Me by Your Name offers an experience that is too pleasant and peachy for less fervent viewers to sink their teeth into. It's sweet, but it's not satisfying.

Verdict: Call Me by Your Name is appealing on a surface level and may be seen as thought provoking by certain audiences, but it can make less fervent viewers shrug and say, "Eh, it wasn't for me."

"He mobilized the English language and sent it into Battle" Darkest Hour Review

Darkest Hour

4/5

Directed by: Joe Wright

Rated: PG-13

           Britain, May 1940, the stiff upper lipped speakers of Parliament stand in furious indignation. Prime minister Neville Chamberlain has resigned, and who should King George VI appoint, but the brazen pigheaded Winston Churchill. Though he was chosen, no one wanted him. His cabinet members conspired against him. He was adamant for waging war against Germany, instead of going into peace accords with Hitler. Europe was on the brink of collapse, and Churchill seemed to be rushing towards it. Though to the British all possibility for hope and peace seemed dark, to Churchill it was only as dark as the ink from his typewriter, crafting speeches calling Britain to arms. When an empire wanted to run, Churchill said, "We shall never surrender!"
           Before mentioning this film's superb direction, innovative scene design and purposeful screenplay, first must come recognition for Gary Oldman's towering performance as Prime Minister Winston Churchill. When Churchill is on screen, all eyes and ears are on him. Audiences wait on baited breath to hear his words of wisdom, absolute nonsense, rapidly composed writings, perpetuous mumblings, simple praise, pointed remarks, accreditation for his allies, bitter contempt for his enemies, quiet thoughts on truth and fiery words urging a fight for survival whatever the cost. One does not know what Churchill will say next, but one knows they cannot wait to hear him say it.
           What would the man who wrote more words than both Shakespeare and Dickens be, if he had no words to say? Screenwriter Anthony McCarten's script highlights Churchill's first month as Prime Minister with a focus on his rhetoric. According to an article from historyvhollywood.com, the film's grasp and handling of this historical story is devotedly accurate. The film excellently illustrates the daily and incomparable challenges of being Prime Minister of Great Britain. Though director Wright admitted certain scenes in the film were fabricated, "Wright says that he made sure to be most factual when it came to the characters themselves, who could not defend themselves against historical inaccuracies." Though the film aims for accuracy, the dialogue in the script's second act is somewhat indefinite. Even though the script can at times mumble the same way Churchill did, Darkest Hour's opening and climax grabs audiences and maintains their attention.
           Although the majority of audience members will expect this film to feature a great lead performance and a well done screenplay, most will be surprised to discover that this film also has excellent direction. Director Wright researched what each of the locations in his film looked like in real life. He was meticulous and he made sure every detail of his sets, whether visible or off-screen, was as exact as possible. These rooms also feel lifelike, because they are lit with authentic lighting, whether it be a natural white from an overcast sky, a harsh yellow from an electric lamp or a dark red from a warning light. The film not only creates this vibrant atmosphere, but it also lets viewers explore it. The camera moves freely through environments, and offers unnatural yet captivating perspectives on familiar scenes. No corridor is left uninspected. No wall can block the audience's view. No close up is too close. No amount of distance can remove audience's eyes from the screen. As Darkest Hour is an astounding visual experience with memorable performances and a historically genuine script, this political thriller is a cut above the rest.

Verdict: Darkest Hour is a cinematic depiction of Winston Churchill's first month as Prime Minister, and though it's script can mumble, its visual design makes this film one worth experiencing.

"First one to Cry Wins" Lady Bird Review

Lady Bird

5/5

Written and Directed by: Greta Gerwig

Rated: R

           To say cinemas are inundated with real life movies every year is an understatement. To say most of these stories are any good is an overstatement. To claim that Lady Bird is one of the greatest real to life films of all time is an accurate statement. To describe exactly why Lady Bird is one of the greatest films is a difficult statement. Perhaps the best way to explain why Lady Bird is worth seeing in theatres, would be to heed the advice from the film's director, Greta Gerwig, and take it one step at a time. In an interview with Vimeo.com Gerwig states that the filmmaking process is "about making sure each scene is the most effective it can be, that it communicates everything in the most succinct form."

           Lady Bird is the story of a teenager in high-school who fights with her mom, loves her best friend, embraces romance and chases dreams. Her take on life is similar to one of her favorite singers, Alanis Morissette, she "hasn't quite figured it out just yet." Though the film is not purposefully heart wrenching or intentionally depressing, it has the ability to stir up palpable and painful emotions. This makes it sound like the screenplay is just going to be another pity fest full of clichés, but Lady Bird is not cliché. This film has the guts to do what most slice of life movies are scared to do, be true to life. It will not be out of the ordinary for audience members to every now and then think, "I've done that," or "That's exactly what's it like," or "I know people like that." Some audience members may think this film was improvised, but Gerwig made sure that there was no improvisation in Lady Bird. All of the sincere dialogue, back and forth banter and genuine humor amongst the film's cast was written by Gerwig.

           Lady Bird's incredible screenplay is brought to life by an admirable cast, comprised of performances that are timeless and tangible. It seems every character believes they are the protagonist, which makes each performance in this ensemble stand out in its own exceptional way. Saoirse Ronan is the rebellious yet kind hearted Christine "Lady Bird" McPherson, Laurie Metcalf is her well intentioned high spirited mother, and Beanie Feldstein is Lady Bird's best friend. In addition to these phenomenal performances, this film also features exemplary work from alumni and rising stars Lucas Hedges, Tracy Letts, Lois Smith, Stephen Henderson, Odeya Rush, Timothee Chalamet and the rest of the cast of Lady Bird.

            Just because a film has good dialogue and memorable characters doesn't necessarily make it an amazing movie, but Lady Bird also has good technical aspects. Cinematographer Sam Levy does an excellent job shooting suburbia (thrift stores, Catholic high-school, a coffee shop, single story homes, etc.) while highlighting its unique and mundane aspects. The film was shot on location in Sacramento, California, and it is not meant to look like an immaculate, only the best buildings, color corrected, picture perfect Sacramento. It is meant to look like Sacramento, honest but beautiful.

           Lady Bird's editing is also terrific. This film's crisp stream of consciousness pacing gives the illusion that this story is a series of memories. The story unfolds, as if each scene were a journal or diary entry that Lady Bird is looking back on. She lets her memories linger on her favorite moments, she finds herself pleasantly surprised when she recalls a time she almost forgot and she nearly loses her breath when she is overwhelmed by something poignant and impactful that has changed her life. This dueling pacing between "gone in a blink" and "it may never end" keeps each second of this 94 minute film flying free and grounded in reality.

           Lady Bird also has a well constructed soundtrack and an iconic score. This film's musical selection is just like a 2002 high-school senior's playlist, with songs from Ani DiFRanco, HAIM and the Dave Matthews Band. The way these songs are integrated into the plot is clever and can make people who have listened to these songs hear them with a new perspective. The film's score also does a fantastic job offering each scene a sense of new familiarity. In an interview with the Academy musical composer Jon Brion said Lady Bird's score is meant to reflect "that moment in somebody's life [when] you sense there's supposed to be more, but you can't articulate it yet....It's a point you can find yourself in multiple times in your life."

           Every aspect of Lady Bird is designed to near perfection. Gerwig was committed to making this film the best it could possibly be, and it shows. Lady Bird is a soaring achievement and one worth experiencing in theatres, on home release or from Red box. It does not matter how, but anyone who is a fan of cinema, a son or daughter, mother or father or a lover of life should see Lady Bird.

Verdict: Lady Bird is one of the most compelling, painfully accurate and emotionally human experiences audience members may ever have in theatres, at home or anywhere in their life.