Tag: review

Downton Abbey: A New Era

the south of France

My wife said during the Memorial Day weekend, “Do you want to see Downton Abbey: A New Era?” We go to few enough movies that the answer is almost always YES.

So we got in the car to head to the Spectrum Theatre when she noticed that it was also showing at the nearby Madison Theatre. Should we go there? Nah, the Spectrum popcorn is better, and there’s more room at the Spectrum.

As it turned out, there were more folks at a Friday matinee than I have seen in a long time. Every row on both sides had at least a party of two, and often more, from the back to the fourth row from the front, where we sat.

As I noted in my review of the first film, I had/have never seen a full episode of the TV show, even though the DVDs are in the house. An imperfect analogy: it would be like watching the last two Avengers movies without having seen any of the other films in the Marvel Cinematic Universe. You might get the gist of the story, but pieces would be missing.

What is necessary

So I’m responding to what I know. There were two basic plotlines taking place in the early 1930s. One involved an offer from a company to make a film at the mansion. While the initial offer was rejected outright by Robert Grantham (Hugh Bonneville), others, notably Lady Mary (Michelle Dockery) noted that the building is in disrepair, including a leaky roof, and that the family really could use the infusion of cash.

Fortunately, some of the family had another place to go, to the south of France, to a villa given to the Countess of Grantham (Maggie Smith) back in the 1860s, by a gentleman of her brief acquaintance, much to the dismay of that man’s widow. Although he wasn’t really needed, Mr. Carson (Jim Carter) came along to help the family.

I enjoyed the film – and my wife even more so – in meeting up with the familiar cast. In particular, the issue of making a silent film when the talkies were starting to take hold was a lot of fun. Ah, that’s Hugh Dancy as the film director; isn’t he in the new Law and Order?

The downstairs people – the staff, in general, I find more interested than most of the “passive income earners.” And I think their stories were more compelling. I laughed aloud at least a half dozen times, especially at what I should have anticipated but did not.

I often look at negative reviews, though 85% positive rating on Rotten Tomatoes. There was a bit of “it’s not cinematic enough” and “another (longer) episode of the show.” Since I didn’t watch the series, it’s impossible for me to assess those aspects. But having seen too many movies on television over the past two years, I’m having a bit more difficulty figuring out what that even means anymore.

Documentary review: Attica

Rocky

If “Attica” is just a line you recognize from the movie  Dog Day Afternoon, you should watch the Oscar-nominated, 2021 documentary of that name.

Now, if you were around then, you will discover a lot of details that you forgot, or more likely, did not know at all about one of the most significant prison riots in the United States. “This unnervingly vivid dive into the 1971 uprising… sheds new light on the enduring violence and racism of the prison system…”

A little over half of the approximately 2,200 prisoners took over the facility on September 9, taking 42 staff hostage. They had tired of their brutalizing conditions and sought to be treated like human beings. The stories in the film were told by some of the former prisoners. As one critic correctly notes, “I don’t think Attica glorifies the prisoners, but it does humanize them. That is, it presents them as human beings.”

There were four days of negotiations, including with the state Commissioner of Corrections, Russell G. Oswald. While there were some prisoners who wanted to hold Oswald and other negotiators hostage as well, the prisoner leadership opposed this, saying that they should deal in good faith.

Other people interviewed in the documentary included the families of the guards held hostage. Attica is a small town in rural Wyoming County, southwest of Rochester and southeast of Buffalo. The Department of Corrections is the major employer. Most of the prison personnel were white local folks, while most of the prisoners were black and/or Hispanic, creating a definite culture clash beyond the guard/prisoner dynamic.

During the negotiations, authorities agreed to 28 of the prisoners’ demands. But they would not agree to complete amnesty for the inmates involved with the prison takeover.

Nixon’s the one

The film shares audiotape of Nelson Rockefeller conferring with Richard M. Nixon. The governor assured the President that he would not accede to the demands to go to Attica, a position that Nixon applauded. Then on September 13, Rocky ordered armed corrections officers, and state and local police to retake the prison.

The next thing that happened, you may know. Or not, as disinformation was sent out by Rocky himself, disputed initially by ABC News reporter John Johnson and soon by medical examiners.

But it is what happened AFTER the siege that I had never heard about or seen before. It was quite disturbing in its own right. And that’s the strange thing about the movie. If you don’t know how the story ends, you might get three-quarters of the way through and still hold out for a happy ending.

The movie by writer/director Stanley Nelson got positive reviews from 50 of 51 critics. And the 51st has a snippet that says, “Extraordinary archival footage… You can’t just dismiss it as hyperbole.” I watched it on Amazon Prime.

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).