Entering awards season two years removed from the success of his directorial debut The Father, a film that was nominated for six Academy Awards, winning two, Florian Zeller’s follow-up, The Son, had some lofty, albeit slightly unrealistic expectations, if for no other reason that some deemed it a continuation of the story. In contrast, others viewed its Christmas Day limited release to mean that the production company believed the movie would hopefully receive the same critical acclaim (98% critics, 94% audience) as The Father and wanted to keep the film fresh in voters’ minds as possible. Sadly, the film failed to resonate with either group (a paltry 26% critics and a lukewarm 67% audience). As a result, the film will fail to reach $1,000,000 at the box office despite a star-studded cast that flanked (and outmatched) the relatively unknown Zen McGrath (Dig), who played the title character.
Category Archives: Laura Dern
A Perfect World (1993)
David Mackenzie’s critically acclaimed Hell or High Water, a 2016 movie nominated for Best Picture, reminded me of a quiet and subdued gem of a 1993 film that undoubtedly inspired a director just starting to enter his prime. Clint Eastwood (Mystic River, Million Dollar Baby) was fresh off of Unforgiven (a movie that earned him his first Best Director Oscar win as well as Best Picture of the Year) and the critically acclaimed and equally fan-adored In the Line of Fire. A Perfect World was Eastwood’s third movie between 1992 and 1993, the most successful two-year period of the most exceptional director/actor combination in cinema history.
Marriage Story (2019)
Uninspiring. Unmoving. Overrated. Slow. Basic One of my most anticipated movies of 2019 was just that. The production department created one of the best series trailers for Noah Baumbach’s (The Squid and the Whale, While We’re Young) Marriage Story. In one trailer, lead Nicole (Scarlett Johansson – Lost in Translation, Match Point) is reciting a prepared letter that she wrote about all of the things that she loves about soon-to-be ex-husband Charlie (Adam Driver – BlacKkKlansman, Paterson). It’s a voice overlay where we see the two interacting with each other, both through good times and bad, flashing to scenes with their young son Henry and others in some sort of courtroom. It ends with Nicole saying to Charlie, “I think we should talk.” He responds with, “Okay.” The two sit uncomfortably, looking at each other for a good five seconds (an eternity in a trailer) before he says, “I don’t know where to start.” In the second trailer, it’s a reversal. Charlie recites the prepared letter that he wrote to Nicole. A different series of similar scenes plays in the background, and the ending is the same. It’s clear that this movie is about some sort of fractured relationship. We are left clinging for more.
The Founder (2016)
As John Lee Hancock’s (Saving Mr. Banks, The Blind Side) progressed, I couldn’t help compare his lead character Ray Kroc (played by Michael Keaton – Spotlight, Birdman) to, perhaps, the most iconic television figure in the last 25 years. But, of course, I’m talking about Walter White from the AMC series Breaking Bad. Now the founder of The McDonald’s Corporation certainly didn’t go to the extremes that Walter White did when he transferred himself from a quiet high school chemistry teacher to a ruthless, cutthroat drug Kingpin, intent on destroying everything in his path by any means necessary to get what he wants. Nevertheless, Hancock’s version of Kroc felt similar in the sense that when we meet him, he is a man of integrity, doing whatever he can within the confines of the law to make a living. But, by the end of the film, he is an entirely different man, caught up in his greed, power, and wealth. But, like White, he reaches a point where he feels that he is virtually invincible to those around him as well as to the laws of the land. And just like Breaking Bad, The Founder becomes a must-watch.
Continue reading The Founder (2016)
99 Homes (2015)
99 Homes was a movie I was confident I was going to love. I was wrong. It was good, but not great. It had unavoidable flaws. Even with the most accomplished director, I don’t think it could have avoided some of its pitfalls and still fit in a two-hour time frame. Just like an unusually high number of films that I’ve seen this year, I knew very little about this movie going in. My knowledge of the film was reduced to knowing that it starred Andrew Garfield (The Amazing Spider-Man, The Social Network) and Michael Shannon (Take Shelter, The Harvest), that it was a heavy R-rated drama based on home foreclosures, and that it was scoring a 90% on Rotten Tomatoes at its time of release. I hadn’t seen a single preview of the movie, but what I did know about it was enough for me to see this movie. There was a 100% chance I would see this movie in the theater. While I think this is a pretty good movie, it does not need a theater viewing. It’s not going to win any awards. If you get a chance to see it on Netflix or cable, give it a shot. You may not love it, but I think it’ll grab your attention. While it is predictable and gets in its own way, it is a tense and engrossing film. Furthermore, it continues to showcase Shannon’s dominating screen presence. Love him or hate him, he creates memorable characters.