review Archives - Page 14 of 64 - Ramblin' with Roger

Movie review: Somewhere In Queens

Versailles Palace

After my wife came home from a movie she’d seen alone (Chevalier, which she liked), she thought we should see the film Somewhere In Queens, based on the trailer.

I knew next to nothing about the film except that it was the directorial debut of Ray Romano. He was the star, a writer, and a producer of the CBS sitcom Everybody Loves Raymond. The show was based on his standup routine. I saw it infrequently; I watched only one episode in its entirety, though it was nominated for 69 Emmys, winning 15.

Yet I’ve seen him in subsequent projects such as The Irishman, The Big Sick, and the TV show Parenthood.

The film

Leo (Romano) and Angela Russo (Laurie Metcalf from Roseanne) are part of an extended Italian-American family. Every other week, there’s a family event at the Versailles Palace, the neighborhood banquet hall.

Leo works in the family business run by Pop/Dominic (Tony Lo Bianco), a construction company job he doesn’t love. However, his brother Frank (Sebastian Maniscalco) and his sons seemed to be born into it. Their current worksite is at the home of the young widow Pamela (Jennifer Esposito).

Leo and Angela’s very reserved son Matthew, who everyone calls ‘Sticks'(Jacob Ward), finds success on his high-school basketball team. Maybe this will be his ticket to college. And who’s that young woman, Dani (Sadie Stanley), hanging on his arm after the game?

I had concluded that the movie was about a particular storyline. Ultimately, though, it was centered on something quite universal. It’s pretty funny, but it has its serious moments. I am unwilling to reveal much more.

My wife and I liked it; most critics and the audience felt likewise. In one online poll, 31 of 32 people gave it four or five stars out of five. The one-star reviewer said they knew Italian-Americans, and they didn’t swear like that. There IS a bit of cursing, usually at other family members. Then they move on.

The movie title, though accurate, is pretty dull.

Movie review: Air (2023)

Michael Jordan’s footwear

On the surface, there is no reason the movie Air (2023) should work. It’s a film about the inner workings of Nike, a sneaker company, a clear #3 in the basketball world, trying to get players to endorse and wear their product. It sounds as though it could be boring.

Yet I was captivated at the onset, from the opening montage of 1984 images – “Where’s the beef,” Mr. T on the A-Team – to the musical selections. The key, though, was driven by Alex Convery in his debut as a screenwriter. The dialogue was fresh without being affected.

Sonny Vaccaro (Matt Damon) is a middle-aged, overweight guy with a radical plan. Instead of trying to sign three or four rookie prospects to put on the foot apparel as usual, Nike should commit the entire budget to one player. Sonny violates corporate protocol to try to get Michael Jordan to agree to sign with them.

While getting some support from his colleague Howard White (Chris Tucker), Sonny is getting resistance from his boss Rob Strasser (Jason Bateman), and especially Nike head honcho Phil Knight (Ben Affleck.) To contact Michael, he has to deal with the athlete’s mother Doloris (Viola Davis).

There’s no need to fear

This is a sports story about an underdog. But the underdog is not Michael, though the actual player had been underestimated in the past. The underdog is Nike, and especially Sonny.

Interestingly, the character Michael himself barely appears in the film. The creators decided, probably rightly, that the actor would be unfavorably compared with the real deal. Thus the shots of Michael (Damien Young) are usually from his back. He barely speaks. Film clips of Michael are used, especially near the end.

The acting is solid throughout, and director Ben Affleck keeps the mostly talk-driven film moving. It was reviewed well.

BTW, at least seven movies on the IMDb titled Air in this century alone exist. I saw the MJ-related Air at the Madison Theatre in Albany at a Wednesday afternoon matinee on the last day it played there, along with two other people.

Trailers

Before the movie, there were trailers for three movies. One was for the Dungeons and Dragons film, and another was for Guardians of the Galaxy 3.

The first was the red band trailer for Sisu. “When an ex-soldier who discovers gold in the Lapland wilderness tries to take the loot into the city, Nazi soldiers led by a brutal SS officer battle him.” It was quite violent; you can find it on YouTube, but I’m not linking it.

From the New York Times: “The Finnish way of life is summed up in ‘sisu,’ a trait said to be part of the national character. The word roughly translates to “grim determination in the face of hardships,” such as the country’s long winters: Even in adversity, a Finn is expected to persevere, without complaining.”

Movie review: Living

Ikiru

In the movie Living, the audience is introduced to a young man named Wakeling (Alex Sharp) on the train on his way to a new job as a paper-pusher for the department of public works in 1950s London. He learns he should not make small talk with his colleagues on the transit.

But he turns out not to be the focus of the story. Instead, it is Williams (Bill Nighy), the department head. Williams is a stiff, stoic bureaucrat; his offices and others like his have mastered the art of being very busy while accomplishing next to nothing. Then he receives a formidable diagnosis but finds it difficult to share the news with his son and daughter-in-law.

At this point, the always-present and never-tardy man decides to try to experience life. But he doesn’t know how. Williams goes out of town and engages a stranger, a playwright named Sutherland (Tom Burke). But Sutherland’s suggestions aren’t what he needs.

Maybe Williams’ former underling, Miss Harris (Aimee Lou Wood), who he meets serendipitously, might help.

The movie is a remake of the 1952 Akira Kurosawa film Ikiru, which I was not familiar with. Indeed, Ikuri shows up in the opening credits; for a time, I thought I had gone to the wrong theater.

Bill Nighy does buttoned-up very well, and Williams’ incremental breaks from his staid existence – he changes from his traditional bowler hat! – is believable.

Award-worthy

The movie is slow, which is not meant at all as a criticism. It’s not an action flick. But it is moving. And it’s economical; at 102 minutes, it’s 40 minutes shorter than Ikiru.

Bill Nighy is rightly nominated for an Academy Award as Best Actor. Kazuo Ishiguro is up for the Adapted Screenplay. The movie would be a more worthy nominee for Best Picture than a third of the films that got the nod.

I viewed Living at the Spectrum Theatre in Albany in early February.

2023 Oscar-nominated shorts

An Ostrich Told Me the World Is Fake

On two days in mid-February, my wife and I saw some of the 2023 Oscar-nominated shorts at the Spectrum Theatre in Albany, NY. I found some of the films online, which I have linked to.

Live action

Ivalu – DENMARK/16 MINS/2022

Director: Anders Walter, Pipaluk K. Jørgensen

“Ivalu is gone. Her little sister,” Pipaluk, “is desperate to find her. Her father does not care. The vast Greenlandic nature holds secrets. Where is Ivalu?”

While it was a touching bit when Pipaluk would retrace the locales they used to hang out, it was an unsatisfactory conclusion.

Night Ride (Nattrikken) – NORWAY/15 MINS/2020

Director: Eirik Tveiten

“It is a cold night in December. As Ebba waits for the tram, an unexpected turn of events transforms the ride home into something she was not expecting.”

I liked this piece a lot, possibly my favorite in the category. It was pretty funny, held a degree of danger, and showed real humanity.

More Live Action

Le Pupille ITALY, USA/37 MINS/2022

Director: Alice Rohrwacher

“From… Academy Award® winning producer, Alfonso Cuarón is a tale of innocence, greed, and fantasy. [It] is about desires, pure and selfish, about freedom and devotion, and about the anarchy that is capable of flowering in the minds of girls within the confines of a strict religious boarding school at Christmas.”

As the longest of the pieces, the story is the most complex, taking place in World War II Italy. It is or was on Disney+. I enjoyed it.

The Red Suitcase -LUXEMBOURG/18 MINS/2022

Director: Cyrus Neshvad

“A young Iranian woman at a Luxembourg airport is in a life-changing situation.”

While totally believable, it was most frustrating because we wanted to know what happened next.

An Irish Goodbye – IRELAND/23 MINS/2022

Director: Tom Berkeley, Ross White

“On a farm in rural Northern Ireland, estranged brothers Turlough and Lorcan are forced to reunite following the untimely death of their mother.”

My wife’s favorite, and for a good reason, even though we couldn’t suss out bits of the dialogue. The family tension rang true. It won the BAFTA in this category.

Animated

An Ostrich Told Me the World Is Fake and I Think I Believe It -AUSTRALIA/11 MINS/2022

Director: Lachlan Pendragon

“When a young telemarketer is confronted by a mysterious talking ostrich, he learns that the universe is stop-motion animation. He must put aside his dwindling toaster sales and focus on convincing his colleagues of his terrifying discovery.”

This had a Truman Show/end of a Lego Movie vibe. BTW, the ostrich may be correct. I liked it a lot.

The Flying Sailor – CANADA/7 MINS/2022

Director: Amanda Forbis, Wendy Tilby

“In 1917, two ships collided in the Halifax Harbour, causing the largest accidental explosion in history. Among the tragic stories of the disaster is the remarkable account of a sailor who, blown skyward from the docks, flew a distance of two kilometres before landing uphill, naked and unharmed. The Flying Sailor is a contemplation of his journey.”

I wish I had known the above before I watched it for the first time. NOW it makes more sense.

More animation

Ice Merchants – PORTUGAL, UNITED KINGDOM, FRANCE/14 MINS/2022

Director: João Gonzalez

“Every day, a father and his son jump with a parachute from their vertiginous cold house, attached to a cliff, to go to the village on the ground, far away where they sell the ice they produce daily.”

The comments helped me understand this better than I did on first watching.

The Boy, the Mole, the Fox and the Horse -UK/34 MINS/2022

Director: Peter Baynton, Charlie Mackesy

It “is a story of kindness, courage, and hope in traditional hand-drawn animation, following the unlikely friendship of the title characters as they journey in search of the boy’s home. Based on the book of the same name.”

I liked the traditional artwork. It’s strange, though; I can believe the talking animals, yet we both had trouble figuring out where the boy came from. How did he not freeze to death? I think this is streaming on Apple+.

Animation with a warning

My Year of Dicks -USA/25 MINS/2022

Director: Sara Gunnarsdóttir // Writer: Pamela Ribon

“An imaginative fifteen-year-old is stubbornly determined to lose her virginity despite the pathetic pickings in the outskirts of Houston in the early 90s. Created by Pamela Ribon from her critically-acclaimed memoir.”

Before it aired in the theater, there was a warning that the content may not be suitable for some. The last time I saw that message, it was some grossly bloody and inartful six minutes.

This was fun in five chapters, the first of which is here. My favorite part, though, was Chapter 5, when the protagonist asks her mom a personal question, and the mom makes the dad explain sex to the daughter. I found it extremely funny.

Documentaries

I didn’t see the docs in the theater, but I did view two on YouTube.

THE ELEPHANT WHISPERERS – Kartiki Gonsalves and Guneet Monga

HAULOUT– Evgenia Arbugaeva and Maxim Arbugaev

Ninety thousand walruses outside your door is a sure sign that the planet’s ecosystem is out of whack.

HOW DO YOU MEASURE A YEAR? –Jay Rosenblatt

THE MARTHA MITCHELL EFFECT – Anne Alvergue and Beth Levison

STRANGER AT THE GATE – Joshua Seftel and Conall Jones

I saw a brief piece about a “Veteran’s Return from the Brink of Terrorism” on CBS Sunday Morning. I found this to be a powerful telling of how hate can be turned around. A review of all of the short documentaries states this film “reads a little too optimistic for the current moment.” I have no idea what that means.

Movie review: Women Talking

Writer/director Sarah Polley

The movie Women Talking should get a truth-in-advertising seal. It really is about women talking. It’s what they are talking about that’s noteworthy.

The narrative is based on Miriam Toews’s 2018 novel of the same name. In turn, it was “based on a true story of vicious serial rapes in an insular, ultraconservative Mennonite community in Bolivia.” The geography in the movie is not stated, but there is a specific reference to the 2010 Census, which suggests rural locale in the United States, though the speech pattern suggests Canada, where it was filmed.

In the real-life Bolivian community, “from 2005 to 2009, nine men in the Manitoba Colony, using livestock tranquilizers, drugged female victims ranging in age from three to sixty and violently raped them at night. When the girls and women awoke bruised and covered in blood, the men of the colony dismissed their reports as ‘wild female imagination’–even when they became pregnant from the assaults–or punishments from God or by demons for their supposed sins.”

Some of this narrative is incorporated in the movie, briefly shown in flashback. The men in the community are in town, but they are returning in 48 hours. What should the women do? They vote to choose among three options: stay and do nothing, stay and fight, or leave the colony. And since none of them can read or write,the tally sheet required pictures to insure that the women knew their choices.

The latter two options tied for the lead, so three families of women are appointed to meet in a barn and decide for the collective. And in doing so, figure out, e.g., what “stay and fight” would mean.

More than rhetoric

I know Women Talking could be perceived as another #MeToo movie, and I have seen reviews that suggest just that, which I think is a bit surfacy. Here’s a piece of one review: “WOMEN TALKING is a movie for people who think ‘The Handmaid’s Tale’ is too subtle an allegory about women being suppressed by the patriarchy.” No; just no.

What intrigued me was how the conversation was framed by their faith in God. Should the men be forgiven? What kind of God is there that would have the women do so? Another review summary I hated: “For all talk of a new order, Women Talking is eager to reassure us of its lack of interest in really rocking the boat, even outright including the phrase ‘not all men.'” These women are are doing a Brand New Thing, and they’re figuring it out, not coming out the gate with the proper framework.

The cast is stellar. It includes Rooney Mara, Claire Foy, Jessie Buckley, Frances McDormand, Judith Ivey, and Ben Whishaw. Sarah Polley, the director and writer of the screenplay, made a deliberate choice of the not-quite-black-and-white motif, perhaps to echo the ambivalence of their choices and the consequences of same.

Incidentally, I really liked Polley’s 2013 documentary Stories We Tell.

My wife and I saw Women Talking at a Saturday matinee in mid-February. There were about a dozen and half people in the theater; there was at least one other male in the audience.