Women Talking. That’s entirely what this movie was. Women talking. A more intelligent person than me would have known ahead of time. However, my decision was based on the months of anticipation surrounding this movie’s Oscar-time release and the outstanding critic (90%) and audience (86%) scores it has received. Women Talking was an all-too-familiar example of a movie receiving a Christmas-time release to be as fresh as possible at the start of the awards season, failing to meet its hype. While a good film, Women Talking offers little originality. Sadly, it isn’t very memorable.
Category Archives: Rooney Mara
Nightmare Alley (2021)
When you win an Academy Award for Best Directing, you can do pretty much anything you want regarding creative control as a director. Guillermo del Toro (Pan’s Labyrinth, Crimson Peak) has elevated himself to the point where his constraints have been lifted. Following his Best Director Academy Award (The Shape of Water), del Toro could have picked whatever project he wanted to do next, and he would have had swarms of A-list actors lined up to work with him. Ironically, with Nightmare Alley, he went about as mainstream as he’s ever gone before. This is not to say this 2021 Best Picture nominee isn’t without its share of the bizarre.
Transsiberian (2008)
At eight days, the Transsiberian Express from Beijing to Moscow is the longest train journey in the world. So why wouldn’t it be the perfect backdrop to one of the most suspenseful journeys in quite some time? Paul Anderson’s (Beirut, The Machinist) presents the Transsiberian in a way that makes you think of Alfred Hitchcock. It’s dark. It’s moody. It’s twisted. It’s purposeful. It’s rooted. It’s intense. It makes you feel like a fellow passenger on this train, watching everything unfold next to you rather than on a screen projected in front of you. Oh. And it’s cold. It’s like an Arctic cold. We feel that sense of dread in the deepest of winter in the coldest places. Yet, it never feels like we are even close to approaching freezing. So it certainly adds to the ambiance of our film.
Don’t Worry, He Won’t Get Far on Foot (2018)
What a year for Joaquin Phoenix (Walk the Line, Her) will have. With four movies set for release in 2018, Phoenix is an early favorite for a Best Actor Academy Award for the critically acclaimed and still under-appreciated You Were Never Really Here. Say what you want about that movie if you’ve seen it, but you can’t knock on his amazingly even performance. The highly anticipated The Sisters Brothers (fall release) has also received some early Oscar buzz. As good as he was in You Were Never Really Here and as good as he probably will be in The Sisters Brothers, his performance of the year will be as John Callahan, the quadriplegic cartoon artist in the biopic Don’t Worry, He Won’t Get Far on Foot, a movie that many moviegoers will forget because of its title, but not because of its story or the performances of its lead. I was skeptical of the title and the trailer because you never know if a Phoenix movie will be great or terrible. But I trust director Gus Van Sant (Good Will Hunting, Finding Forrester). I felt invested in the story and the characters. It reminded me a lot of The End of the Tour, a movie which, admittedly, I enjoyed slightly more than Don’t Worry, He Won’t Get Far on Foot. But it had that same sort of vibe with me.
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Lion (2016)
Prepare yourself. I’m unsure if I’ve had a movie theater experience with a more constant stream of tears since 1997’s Titanic. I know there have been movies that have scenes that have affected me more, and there have been home viewings where I don’t feel the same pressure to hold it together as I would in the theater. So, while I was having sort of a sentimental day before I engaged with this movie, for whatever reason, I was wiping away tears early and often in this movie. In some ways, it was eerily reminiscent of 2008’s Slumdog Millionaire. It starred Dev Patel (Chappie, HBO’s The Newsroom) and revolved around the story set, mostly in the present, with flashbacks to childhood memories in India. Much like the fantastic Slumdog Millionaire put Patel on the map for the first time, Lion will certainly launch him to leading man status for years. Though he didn’t appear on screen until the movie was about 40% over, he commanded every scene he was in from that point going forward to transform this movie from extraordinary to must-see. In a year where the top lead actors have portrayed characters riddled with guilt, doubt, regret, and self-loathing, Patel holds his own with the more accomplished Denzel Washington (Fences), Ryan Gosling (La La Land), and frontrunner Casey Affleck (Manchester by the Sea).