As is the case with many biopics (since being hosed over by what I believed to be a movie based entirely on a true story in Remember the Titans), I like to read about what parts of the movie were factual and which were fictional to tell a better story. A good biopic often becomes great when you learn that what you saw on screen happened in real life. A good movie that bases its claim on being a true story or inspired by actual events but one that you later find out has been predominantly fictionalized loses much of its original appeal. And, honestly, there is no devastating dagger to a movie that I love when I learn that what I thought was a true story is not nearly as much as I thought.
Category Archives: Genre
Beautiful Boy (2018)
I love a good story about drug or alcohol addiction. And I love great actors who constantly bring it into their roles. So I had super high expectations for Felix Van Groeningen’s Beautiful Boy, the true story of the relationship between an 18-year-old son (Timothée Chalamet – Call Me By Your Name, Hostiles) battling drugs and his father (Steve Carell – Foxcatcher, Battle of the Sexes) who is willing to do anything to fix the problem, but is unsuccessful in all of his attempts. The trailer made it seem like my type of movie. I should have been wary of the 67% fresh score on Rotten Tomatoes, but I was encouraged by the 77% audience score. But as I watched this from the lens of a critic, I kept circling back to the same question. If you had these actors in place, you could have done hundreds, even thousands, of different stories about addiction. So why did they pick this story? It wasn’t anything special. It lacked vision. Van Groeningen, as a novice director, was completely in over his head, and he wasted the performance of both of its leads by telling a story of a story that wasn’t unique, was stale in its delivery, and left us feeling unattached to its characters. In a word, Beautiful Boy felt underwhelming.
The Wife (2018)
Interested in seeing Björn Runge’s (Happy End, Daybreak) much anticipated The Wife? Do yourself a solid. Skip and see the remarkably well-made Big Eyes instead. It’s essentially the same movie, except it’s actually entertaining. The Wife makes its point in a nuanced fashion. It’s slow and not in a good way. Its two main characters are so different from one another that you wonder why they are still together. And then, when you learn the big, dark secret, your only question is why they didn’t divorce years ago. Nevertheless, it’s a movie that is gaining recognition for the performance of its lead (Glenn Close – Fatal Attraction, Dangerous Liaisons) as Joan (aka The Wife). Could it lead to her seventh Academy Award nomination? Yes. Should it? It’s still early in the season, but probably not.
First Man (2018)
It takes a long, long time to land on the moon. So much can be said for the research, development, and execution of the Apollo 11 spacecraft on the lunar surface on July 21, 1969. You can also say as much as Damien Chazelle’s (La La Land, Whiplash) lackluster First Man. Maybe Chazelle should go back to writing his screenplays. After earning Oscar nominations (adapted for Whiplash, original for La La Land) for his first two directed movies, Chazelle picked up Josh Singer’s (Spotlight, The Post) for his third directorial effort. Unfortunately, the culmination likely didn’t do either man any favors. First Man lacked energy and originality and frequently veered into disinterest in its characters and outright boredom. While the film has resonated with critics (88%), there is a sharp dropoff in the audience score (66%). While the accomplishment in First Man is an important story that needed to be told in this medium (particularly to those who weren’t even born when this achievement happened, I think it should have been spearheaded by a director who is more seasoned in the biopic genre or at least had directed a film outside of the music drama genre which has thus far defined his career.
A Star Is Born (2018)
Wow. I really wanted to love this movie. Bradley Cooper’s debut directorial performance was so close to perfect and yet so far away at the same time. I admire his vision and ambition for this movie so much that I want to credit it even in the areas it struggled with. Watching it through the lens of a moviegoer looking for an escape rather than that of a wannabe movie critic would have allowed me to see past some of its many errors. Ultimately, however, this film was far too flawed to be a legitimate contender for Best Picture or Best Director, despite what many seem to be already predicting. I will touch on all of the good and all of the bad in what will be one of my more thorough reviews.