movies Archives - Page 47 of 118 - Ramblin' with Roger

Movie review: They Shall Not Grow Old

Like all of Peter Jackson’ s work, it is first and foremost a special effects movie.

I can’t remember the last time I took off work to see a movie. But my parents-in-law, four of my wife’s cousins, and three of their significant others all traveled at least an hour to a Regal Theater in Albany to see They Shall Not Grow Old with my wife and me.

It was a curious release process, two showings, one in the evening of December 17, and the other the afternoon of December 27, in about 1,140 theaters. It was put out by Fathom Events, which specializes in one-day cinematic events such as opera performances.

Back in 2014, the centennial of the beginning of World War I, director Peter Jackson was commissioned to take 100 hours of footage and 600 hours of audio clips and make a movie out of it. As the director admitted in a clip before the actual film, he didn’t know WHAT to do initially.

Eventually, he came up with a narrative that involved the recruitment process in Britain, with many of the recruits underage; they should have been 18, and 19 to go overseas. And it’s when the story switches to France that the film changes from black and white to color.

They Shall Not Grow Old does not attempt to describe a specific battle, but rather the stress from training, boredom from waiting, to being in the trenches and experiencing German bombardments. It wasn’t until the 30-minute “making of” that I truly appreciated the astonishing work it took to make the film look as it did, from slowing down or speeding up the film to making film that appeared too dark or too light pleasing to the eye.

I was so taken by the film that I immediately had to find the two critics out of 68 who gave it a negative review. One said, “Like all of [Jackson’ s] work, it is first and foremost a special effects movie.” And it is, and an incredible one at that, but it’s an odd complaint.

The other groused that “the film is yet another erasure of soldiers of color who are nowhere to be found in what is otherwise a postmodern take on documentary filmmaking.” I don’t know was captured in those recordings so I can’t speak to this.

The truth is, and Jackson said so, that he could have made any number of films, including the role of women in the war effort, a generation before Rosie the Riveter. Or the war at sea. He was trying to create a coherent narrative. One does see, briefly, troops from other parts of the British Empire.

With the success of those two days, They Shall Not Grow Old will have another showing on January 21. An earlier report suggests it will receive a limited theatrical releases in NYC, L.A. and Washington DC starting on January 11, with plans to then expand into 25 more markets on February 1.

Here’s Chuck Miller’s take on the December 17 screening.

Movie review: Mary Poppins Returns

Nothing stuck out on first listen such as Supercalifragilisticexpialidocious

It’s likely that one’s feelings about Mary Poppins Returns (2018) depend on how one thinks about the 1964 original. I didn’t see the earlier film until the end of 2011, so I don’t have any childhood memories. I did like it, quite a lot.

So how does one make a reboot? It has to have elements of the original – the now-adult Banks children, Michael (Ben Whishaw) and (Emily Mortimer) plus the widowed Michael’s three kids, Pixie Davies as Anabel, Nathanael Saleh as John, and Joel Dawson as little Georgie who was often getting into trouble.

Of course, we need the title character (Emily Blunt), who’s a bit blunter than Julie Andrews’ take. I liked that, though some reviewers assuredly did not. She’s not quite in Andrews’ league in the genre, but she’s a quite decent singer and engaging actor.

Lin-Manuel Miranda plays Jack, the lamplighter—or “leerie”, the functional equivalent of Dick Van Dyke’s Bert the chimney sweep. Both men are charming, talented singers, but neither was great with the accent.

The dance of the leeries was too reminiscent of the chimney sweeps’ hoofing for my taste.

Is the music by Marc Shaiman, lyrics by Scott Wittman and Shaiman, such as (Underneath the) Lovely London Sky and A Conversation less memorable than the work done by the Sherman brothers, Richard and Robert?

Nothing stuck out on first listen such as Supercalifragilisticexpialidocious, but I’ve been hearing that soundtrack for over half a century. Interestingly, it was the use of incidental Sherman music that helped hold the new film together.

There’s a point, maybe about halfway through, where a song so grabbed me, in context, that I just surrendered to the film. I felt the wistfulness, fear, and hope of the characters.

Here’s a piece of trivia: “At the age of 93 at the time of the movie’s release, Angela Lansbury is the oldest female actor ever to appear in a Disney film. She is just two months older than the oldest male actor in a Disney film, Dick Van Dyke.” They both added to the film in their small roles, as did Meryl Streep in a more prominent bit.

All in all, Mary Poppins Returns is inessential, I suppose. It may rub up against your memories of the original, or it might add to them, as it did for me. My wife and my daughter also enjoyed it when we saw it at the Spectrum Theatre in Albany on Christmas Day.

A couple related links:
The secret dark side to the classic ‘Mary Poppins’, which weren’t all that secret to me

My review of Saving Mr. Banks (2013), about the making of the 1964 film, with Emma Thompson as author P. L. Travers and Tom Hanks as Walt Disney

Movie review: Green Book (2018)

“Don Shirley’s last living brother was ‘furious’ when he heard of the depiction of his brother… calling it ‘a symphony of lies.'”

Green Book movie My wife and I went to see the movie Green Book at the Spectrum Theatre in Albany last week and we really enjoyed it. At some level, Ken Levine is right when he says it’s, at least in part, a “buddy road picture. Good performances, and scenes that hit all the desired emotions.”

If you just watch the film without context, you can appreciate the acting of Mahershala Ali as Dr. Don Shirley, an African-American classical pianist, Viggo Mortensen as Louie “Lip” Vallelonga, an Italian-American bouncer and Dr. Shirley’s driver in the Deep South in 1962; and Linda Cardellini as Dolores, Louie’s wife staying home waiting for her husband’s letters.

I’ll even defend one strain of criticism, that it seemed that the Italian guy knew more about fried chicken than the black guy. In a speech, “Don Shirley” describes the false narrative of the cliches of what being black in America is “supposed” to be, and I know from personal experience how dead-on he is.

More problematic, though, is information in this article, “How ‘Green Book’ And The Hollywood Machine Swallowed Donald Shirley Whole.” Most movies about real people and events from the escape scene at the end of Argo to the doubt of RBG in the upcoming film On Account of Sex.

But Edwin Shirley III was shocked by the “portrayal of his uncle as a Black man who is estranged from his family, estranged from the Black community and seemingly embarrassed by Blackness.

“Dr. Shirley’s last living brother, Dr. Maurice Shirley, 82, was ‘furious’ when he heard of the depiction of his brother… calling it ‘a symphony of lies.’ As one example, Maurice mentions the moment in the film where Ali’s character says he has a brother but didn’t know his whereabouts, as they hadn’t been in contact for some time. ‘At that point…, he had three living brothers with whom he was always in contact.”

A related article asks: When will Hollywood stop centering white people in Black stories? Certainly, it’s somewhat true here, in no small part because the story was written by Nick Vallelonga, Louie’s son. I didn’t find it a fatal flaw, because I thought Louie learned a lot from Don as well, but others disagree.

The one thing that actually DID bug me was that the title item, The Negro Motorist Green Book, was not described well enough for me. I mean I knew about it; heck, I WROTE about it in 2012. I’m recommending the movie Green Book, irrespective of the legitimacy of the controversy because it was entertaining. And maybe Americans now know more about Dr. Don Shirley and about a lifesaving publication in its history.

Movie review: Can You Ever Forgive Me?

Lee Israel was a biographer of Tallulah Bankhead, Dorothy Kilgallen, and Estée Lauder.

What is extraordinary about Can You Ever Forgive Me?, which my wife and I saw at the Spectrum Theatre in Albany recently, is how one manages to care about the protagonist, very much in spite of herself. This is based on a true story, generated from Lee Israel’s 2008 memoir.

Lee (Melissa McCarthy) was a biographer in the 1970s and 1980s of actress Tallulah Bankhead, journalist and game show panelist Dorothy Kilgallen, and cosmetics tycoon Estée Lauder. The Kilgallen book appeared on The New York Times Best Sellers List, but the Lauder book was a disaster.

By the early 1990s, her work had dried up, her agent (Jane Curtin) ducked her calls, and she was having difficulty making ends meet. The veterinarian wouldn’t even treat her cat. Moreover, her personality, fueled in part by alcohol consumption, tended to be abrasive.

Lee sold a couple genuine letters of famous people to Anna (Dolly Wells), a sweet young woman who inherited her bookstore owner and was interested in Israel’s talent and persona. For the money, Lee starts to forge letters of deceased writers and actors and selling them to Anna and other dealers. She also started to steal actual letters of famous persons from archives and libraries, replacing them with forgeries.

Israel coincidentally runs into an old acquaintance Jack Hock (Richard E. Grant) at a local bar. To her surprise, they become not just drinking buddies but actual friends. It’s the core relationship in the movie. Can You Ever Forgive Me? is not a fast-paced story or overwrought drama but a too-believable tale of what one will do to survive.

Julianne Moore was initially attached to the role of Lee Israel, but Melissa McCarthy, mostly known for her comic portrayals, was excellent in the role. It is unsurprising that the film received 98% positive reviews from critics on Rotten Tomatoes, but only about 83% from audiences.

Actor Samuel L Jackson turns 70

There’s a 2012 article in the New York Times which tries to explain How Samuel L Jackson Became His Own Genre:

“Jules was the moral center of Pulp Fiction because he carried himself like a professional. Before Jules, my characters were just ‘The Negro’ who died on Page 30.” Look at his early credits in IMDB, he’s not wrong.

“After Jules, I became the coolest [expletive] on the planet. Why? I have no clue. I’m not like Jules. It’s called being an actor.” However, it was Spike Lee’s movie Jungle Fever that broke him, “well before Pulp Fiction made him a household name. His role as a crackhead son of a minister came literally weeks after his own rehab, and changed everything.”

Maybe, as some speculate, it’s his bald head and youthful demeanor that allows him a chameleon-like quality. Regardless, he’s now EVERYWHERE. In credit card commercials on TV. As Nick Fury, agent of SHIELD, in a slew of movies in the Marvel Universe. He’s in two other franchises, Star Wars, and the animated Incredibles; he’s also appeared in a number of Quentin Tarantino’s other films.

From the Wikipedia: Samuel Leroy Jackson “grew up as an only child in Chattanooga, Tennessee. His father lived away from the family in Kansas City, Missouri, and later died from alcoholism. Jackson was raised by his mother, who was a factory worker… and by his maternal grandparents and extended family.

“Between the third and 12th grades, he played the French horn and trumpet in the school orchestra. Jackson also played the flute and piccolo.

“Initially intent on pursuing a degree in marine biology, he attended Morehouse College in Atlanta, Georgia. After joining a local acting group to earn extra points in a class, Jackson found an interest in acting and switched his major.

“In 1969, Jackson and several other students held members of the Morehouse College board of trustees hostage on the campus, demanding reform in the school’s curriculum and governance. The college eventually agreed to change its policy, but Jackson was charged with and eventually convicted of unlawful confinement, a second-degree felony.

“Jackson was then suspended for two years for his criminal record and his actions. He would later return to the college to earn his Bachelor of Arts in Drama in 1972.” To make ends meet, he sold hot dogs, burgers and fries at Atlanta Falcons’ football games.

“In 1980, Jackson married actress and sports channel producer LaTanya Richardson, whom he met while attending Morehouse College. The couple has a daughter, Zoe (born 1982).”

Samuel L Jackson has been such a diverse array of films that, according to Rotten Tomatoes, he’s been in movies lauded by all the critics – Unforgivable Blackness: The Rise and Fall of Jack Johnson (2004) and by none of them – Kite (2014).

Jackson “has achieved critical and commercial acclaim, surpassing Frank Welker as the actor with the highest-grossing film total of all time in October 2011.” Also, “he enjoys collecting the action figures of the characters he portrays in his films, including Jules Winnfield, Shaft, Mace Windu, and Frozone.”