Tag: review

Movie review: Being The Ricardos

Aaron Sorkin

Being the RicardosWhen she co-hosted the Oscars recently, Amy Schumer “took a swing at Aaron Sorkin’s Being The Ricardos, the Nicole Kidman-Javier Bardem film about Lucille Ball and Desi Arnaz. ‘Aaron Sorkin: a genius! Truly, right? I mean, the innovation to make a movie about Lucille Ball without even a moment that’s funny? Not your fault, Nicole.'”

But Sorkin was not making a comedy. “This is no more a comedy than the ‘King of Comedy’ or ‘Joker’ is a comedy.”

I read all of this after I saw the movie, which I watched just before the Oscars. The harsh criticism I’d read about how Nicole’s face was stiff whereas Lucy’s was rubbery had made me wary about even viewing it.

I should note that I’m a big fan of Ball and Arnaz. It’s less about the I Love Lucy series, which of course I had seen many times. It was more about WHY I was able to watch it over and over. Desilu essentially invented the rerun at a time when the general perception was “We already saw that episode. Why would we watch it AGAIN?”

I’m enough of a devotee that our family stopped at the Lucy-Desi Museum in Jamestown, NY in 2016, which was very much worth visiting. We bought the I Love Lucy DVD box set there, which my daughter has watched in its entirety. Also, in 2019, I read her autobiography, Love, Lucy. It was written in 1964, but not published until 1996, after both Desi and Lucy had died.

The vision thing

So I think that Sorkin achieved what he was going for, although he consolidated certain elements that took place over a few weeks into one week of shooting an episode of I Love Lucy. We see the Red Scare stuff, discussed in her book; this has to do with her grandfather, who helped raise her. The couple wanted to include Lucille’s pregnancy in I Love Lucy, but the network and sponsors thought it was a terrible idea; we now know how it turned into comedy gold.

Was Desi unfaithful to Lucille? The bitter relationship between Vivian Vance (Nina Arianda) and the much older William Frawley (J. K. Simmons), who played the neighbors Ethel and Fred Mertz, was on full display. We see the plan to fatten up Ethel/Vivian.

Ultimately, I mostly enjoyed it. There’s latitude in the biopic genre that I allow for. I do agree with the assessment by Ken Levine that the writers on the show were perhaps treated more shabbily than necessary.

The film received The Women Film Critics Circle Awards’ Hall of Shame “For taking a beloved female icon and turning her intelligence, talent, and work ethic against her as a harping shrew, and the deeply flawed men around her as downtrodden male saviors.” I think this is a bit harsh. Lucille Ball was one tough woman.

Bardem, Kidman, and Simmons were all nominated for Oscars, though they did not win. Kidman did get the Golden Globe, though no one cares anymore. I was actually most intrigued by the performance of Nina Arianda’s Viv. About 2/3s of the critics liked Being The Ricardos.

If you are looking for great recreations of I Love Lucy bits, this is not the film for you. If not, you might like it.

Review: The Worst Person in the World

Verdens verste menneske in Norway

The Worst Person in the World (film)A couple of months ago, my wife and went to the Spectrum Theatre. there was a poster for the then-upcoming The Worst Person in the World. “Have you heard of it?” my wife asked. “Nope.”

Then on a date night in March, we went to see the film there. Julie (Renate Reinsve) is, like a lot of young adults, trying to figure out what she wants to do with her life in terms of work and love. Early on, she is in a substantial relationship with Aksel (Anders Danielsen Lie), a comic book artist, and a cultural icon in Oslo. She learns a lot from being with him. But is that all SHE is?

And how much flirting is allowed, she and Eivind (Herbert Nordrum) ask each other?

I imagine that The Worst Person in the World (Verdens verste menneske) could be remade into a not-too-appealing American rom-com. But this take is engaging. Even the tropes and there are a few, seem fresh. The decision to break the story into a dozen chapters allows transitions not bound by traditional storytelling. And, for the most part, they work.

NOT the worst

I think the worst thing about the movie is the title. Julie is hardly a terrible person, but one who I could definitely relate to. In the Hollywood Reporter,  David Rooney wrote: “It’s rare to encounter a romantic comedy as fresh, insightful and alive with bittersweet tenderness as this reflection on the fumbling mistakes we make as we figure out who we are. That’s due in part to the luminous Renate Reinsve as Julie, but especially to the wisdom and compassion of director Joachim Trier and regular co-writer Eskil Vogt’s screenplay.

This film concludes Joachim Trier’s Oslo Trilogy, but not seeing the previous films won’t diminish your viewing. I hope it wins the Best Original Screenplay Oscar. It’s also up for Best International Film. Check out the trailer. On Rotten Tomatoes, 96% of the critics and 86% of the audience agree it’s a fine movie. I should note, I suppose: yes, there are subtitles.

Movie review: CODA [child of deaf adults]

translated

CodaMy wife and I watched the movie CODA on Apple+ late last month, just before it won the Screen Actors Guild award for outstanding cast in a motion picture. We enjoyed it a lot.

It occurred to me that the framework of the story was fairly conventional, but that it worked exceedingly well. Part of it is the specificity of these particular characters. Another is the strong performances by the actors. But a big chunk of it is that we really hadn’t seen this narrative shown.

Ruby (Emilia Jones) is the only hearing member of a deaf family. CODA means child of deaf adults. She’s trying to fit in at school, though she’s taken some grief because of the idiosyncrasies of her family. In particular, her father Frank (SAG award winner Troy Kotsur) “speaks” his mind, as it were. Among other things, he adores his wife Jackie (Marlee Matlin).

Frank, and Ruby’s older brother Leo (Daniel Durant), work on the family’s struggling fishing boat, and Ruby helps out before school. But when she joins her high school choir, she finds her time conflicted. This is especially the case as her exacting choirmaster Bernardo Villalobos (Eugenio Derbez) is trying to mentor her so that she can ao apply to a prestigious music school. And she likes hanging out with her duet partner Miles (Ferdia Walsh-Peelo).

But how can she even about going when her family needs her? I “believed” this collective. The parents who want to hold onto their daughter but the brother may have a different need in the family dynamic. Miles doesn’t always do the right thing.

Not unlike the immigrant story

My wife noted that it is often the case that some of her English as a New Language students serve as interpreters for their immigrant parents. It turns the usual family dynamics on its head. So too with the story in CODA.

And one interesting element of the film is the David v. Goliath economic story, which all of the fishermen were subject to.

At the end of the credits were the names of the actors voicing the dubbed versions of the film into French, German, Italian, Brazilian Portuguese, Spanish, Castilian, Chinese (I think), and some Cyrillic language.

The reviews were largely positive (95% by the critics, 93% by the audiences).

Movie review: Drive My Car

Uncle Vanya

My wife and I saw the Oscar-nominated movie Drive My Car recently at the Spectrum Theatre, the Landmark venue in Albany. There were only a few things about the film I knew. It was three hours long. The movie was nominated for four Academy Awards including Best Picture and International Feature Film, what they used to call Best Foreign Film. And it was three hours long?

And here’s a spoiler that’s right in the trailer. Oto Kafuku (Reika Kirishima), the wife of Yûsuke, dies unexpectedly. They love each other dearly, though it’s… complicated. She’s a teller of tales. He listens to Uncle Vanya by Chekhov repeatedly in the car. The first forty minutes I found a tad tedious.

THEN the opening credits run. What? And the rest of the story is far more compelling. Yûsuke, “a renowned stage actor and director, receives an offer to direct a production of Uncle Vanya in Hiroshima.” The catch, which he doesn’t realize until he gets there, is that the stage company requires that the director use a driver.

Not related to the Beatles song

Misaki Watari (Tôko Miura) is a very good chauffeur of his beloved red Saab. But she’s not particularly communicative, at least at first. Meanwhile, Yûsuke is busy selecting the cast, which is a diverse group that communicates in Japanese, English, Korean Sign Language, and others.

One cast member is an impetuous and hot-headed television actor Koshi Takatsuki (Toshiaki Inomata), who is trying to befriend the director for some reason. There is a couple in the production that my wife and I truly enjoyed.

As the rehearsals unfold, involving a lot of driving from the hotel to the rehearsal hall, Yûsuke and Misaki each start to address the pain and complexities of their pasts.

My verdict: I wish the first 40 minutes of Drive My Car were edited down to maybe 30. Yet the remaining 2:15 seemed to fly by. If you should see it, be patient with the first section because I think the payoff is worth it. The Rotten Tomatoes score was 98% positive from the critics, and 80% positive from the audiences.

Movie review: Parallel Mothers

two Oscar nominationsm

Parallel MothersParallel Mothers is the new movie by director/writer Pedro Almodóvar. Janis (Penélope Cruz) and Ana (Milena Smit) are two single women sharing a hospital room where they are each going to give birth. Though both pregnancies were unintended, the 40ish Janis is excited. Ana, a teenager, conversely, is terrified and feels uncertain.

They bond, and, after a time, end up keeping in touch. Each has a complicating person in her life. For Ana, it’s her actress-mother Teresa (Aitana Sánchez-Gijón). She is torn between her daughter and her irregular career.

Janis is negotiating with Arturo (Israel Elejalde), who is helping her with historical family trauma, unearthing the remains of her great-grandfather, who was “disappeared” by rebels affiliated with Franco. Oh, and he’s the father of her child.

Janis is a successful photographer for a magazine. But as a new mom, she has to juggle work and motherhood. At one point, a certain important plot point became obvious to me. I guessed how the storyline would then play out, but I was very wrong.

The reign in Spain

How does Almodóvar deal with the complications in both women’s lives? Deftly, in an almost Solomonic manner, I think. More than one reviewer has pointed to the director’s “delirious use of color, his ecstatic aesthetic and a sense of the theatrical.” Parallel Mothers is all about truth (and the suppression of same) and passion and what family means and dealing with history v. living in the present.

Cruz and Almodóvar have collaborated in seven films. I know I’ve seen at least two others, All About My Mother and Volver. This one is the most fully realized, IMO.

Penélope Cruz is, as most critics  noted, luminescent. One of them coveted Janis’ red sweater. Ms. Cruz has rightly been nominated for an Oscar in the category Best Performance by an Actress in a Leading Role. Milena Smit, a movie newcomer, performs amazingly well.

The movie is also nominated for an Academy Award for Alberto Iglesias in the category Best Achievement in Music Written for Motion Pictures (Original Score). Recommended. Oh, yeah, the film is subtitled. Here is the trailer.

My wife and I saw this on a date night at Landmark’s Spectrum Theatre in Albany, alas, in its final week.

Ramblin' with Roger
Social media & sharing icons powered by UltimatelySocial