Meticulously crafted and tenderly executed, Baltasar Kormákur’s (
Everest, 2 Guns)
Adrift is a journey not to be best on the largest screen you can find at your nearby cinemas. Being lost in the sea is one of my favorite movie subgenres. This movie stands on its own against such classics as
The Perfect Storm, Dead Calm, Life of Pi, Lifeboat, All is Lost,
The Deep, and even Academy Award-nominated pictures like
Cast Away and
Life of Pi in the sense that it is based on a true story and that the true story is real in the sense that we know what happened because, spoiler, the survivor lives to tell the story. While such stories as
Titanic, The Perfect Storm, Open Water, and
The Heart of the Sea are based on true stories and are fantastic movies, there is so much fiction added to these stories because we don’t have full accounts of what did happen because there either wasn’t someone left at the end to give the proper details or there were so many fictional elements added to the anecdotes that the plot from which the movie was based on has been entirely changed. That is not the case with
Adrift, which makes this movie great. It isn’t “based on” or “inspired by” a true story. It is a true story; ultimately, that’s what we want.
Continue reading Adrift (2018) →
Ammonite, Francis Lee’s (God’s Own Country) tells the familiar of something uniting us all: the internal need to find human connection, even when we externally live a life that suggests otherwise. We often seek out other humans to fulfill some of our needs inside of us, though we often have different capacities. As I write this review during the Coronavirus pandemic, this innate truth could not be more evident. The main difference between now and the past is that we can connect with others through face-to-face video technology, phone calls, text messages, email, social media, and other platforms. But in 1840 Europe (the time and setting of Ammonite), the person had to be physically near you, outside of the occasional letter that might or may not arrive in the mail. There certainly is real-time interaction if you and the other person are in the exact location. Our connections also aren’t authentic, and we live a fabricated existence because it beats being alone. So when we can connect with someone (on whatever mutually agreed upon level), it quickly becomes something we don’t want to let go of. And that is essentially the story of Ammonite.
Just because two people embark on an extended vacation to one of the most beautiful places in the world doesn’t mean that happiness is guaranteed to come with them. Such is the tale of Vanessa (Angelina Jolie – Girl, Interrupted, Changeling) and Roland (Brad Pitt – 
The year was 2003, and a quiet little movie named The Lord of the Rings: The Return of the King won the Academy Awards biggest prize, winning Best Picture. Some will argue that this was the culmination of a pretty darn good trilogy, and that will ensure that the Peter Jackson franchise was worthy of its share of accolades, although maybe Best Picture of the Year wasn’t one of them. I can’t give my opinion on that one because I have yet to see the film as of this writing (February 2019). I liked the first two enough and didn’t have a reason for not seeing the third other than length. I should probably watch The Fellowship of the Ring and The Two Towers again beforehand.
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.