Apple TV+ continues its string of movies that should be better than they are with the Jennifer Lawrence-led (mother!, Silver Linings Playbook) Causeway. Like many of its predecessors (Swan Song, Palmer, Cherry, Greyhound, The Tragedy of Macbeth, Finch, On the Rocks), first-time director Lila Neugebauer’s Causeway benefited from a successful marketing campaign, only to leave viewers to wonder what the original hype was about. However, I’d be remiss if I left off CODA, the Best Picture winner of 2021. The streaming service has potential as a movie distributor but has laid its fair share of duds. Causeway is no exception. It’s a mediocre movie at best.
Category Archives: Brian Tyree Henry
If Beale Street Could Talk (2018)
Barry Jenkins’ If Beale Street Could Talk follow-up to his 2016 Oscar winner for Best Picture Moonlight is a soft tale of two African American lovers set in 1970’s Harlem. The film is adapted from the 1974 James Baldwin novel of the same name. After the critical success of Moonlight, Jenkins more or less could have picked whatever movie he wanted to do next and received the green light and the funding. If anything, I am glad that he only waited about a year to begin his next project. If Beale Street Could Talk is a fine little film. As good as it is, I somehow expect that the novel was even better. However, it lacks the emotional punch that Moonlight had, even if it has a plot that would make you angry had you not already known for it to be true. While not based specifically on a true story, as the opening lines of the movie suggest, “Every black person born in America was born on Beale Street, whether in Jackson, Mississippi or Harlem, New York. Beale Street is our legacy.” one could say that this movie is a combination of so many true stories about how African Americans were treated in this country in the 1970s. Unfortunately, while this film should evoke more anger, we have become a hardened society. As a society, we often barely blink at the atrocities happening today. So are we really going to get upset anymore at injustices from 40+ years ago? Especially when this isn’t new information. It’s sad, but we have become hardened as a society.
Widows (2018)
After watching Widows, the best movie of 2018 that has been released before Thanksgiving) I can very confidently say that if you team up director Steve McQueen (12 Years a Slave, Shame) and writer Gillian Flynn (Gone Girl, HBO’s Sharp Objects), I’m going to have my butt in a theatre opening weekend. I’ve heard about Widows for months now but never actually saw the trailer until the day before I saw the movie. And I still haven’t seen the whole trailer. I needly only watch the first half of it to know that it was a movie that I wanted to see and that it was a movie I wanted to see right away. With all due respect to A Star Is Born, I think that its parade walk to 2018’s Best Picture just hit a major roadblock in McQueen’s masterpiece of a movie. The man who was narrowly beaten out for Best Director (Alfonso Cuarón – Gravity) hardly seemed upset when half an hour later, his 12 Years a Slave won topped Gravity (and others) for the Best Picture of 2013. He’s been off the grid for the last five years (save for a few shorts), but he is back with a movie that might be better than any of his previous three masterpieces (12 Years a Slave, Shame, Hunger Strike). The only thing missing is an appearance by Michael Fassbender, but you won’t even notice. Not only has McQueen delivered the best movie of 2018 (so far), but he’s brought the best ensemble of the year, one that will likely garner awards for a couple of people and a surefire one for the film’s protagonist Veronica (Viola Davis – Fences, The Help). And while some might think I’m crazy to suggest that her performance in Widows is better than her performances in Fences, The Help, or Doubt, I would counter that she led a star-studded cast in this movie. In contrast, while she was fantastic in her other three films, she wasn’t the center character. AND, I am still upset that she was put up for Best Supporting Actress in 2016 Fences, an award that she won) because that was a leading performance and would have won Best Lead Actress. She was not anymore a supporting character than Denzel Washington was. But I digress…
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White Boy Rick (2018)
White Boy Rick, the most hyped movie of September 2018, Yann Demange (’71), is one of the most disappointing movies of the year. The narrative is poor. The character development is non-existent. Matthew McConaughey (Mud, Free State of Jones) seemed as interested in trying to earn a Best Supporting Actor Academy Award nomination as he was trying to advance the story (I don’t blame him…I plan the script and the director). Newcomer Richie Merritt who stars as the story’s lead does his job, but the story is so askew that it leaves the audience not caring about what happens to him. The movie tries to make you feel sympathetic for its lead, but it just doesn’t work. It’s not Merritt’s fault. It wouldn’t have worked with anybody with Demange as the director. Not even the super talented McConaughey could rescue this movie from mediocrity.
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