Theatrical Archives - Page 15 of 65

The Girl with All the Gifts (2016) + Logan (2017)

March 3, 2017****/****, 2016, 2017, Action, Drama, Horror, Road Movie, Sci-Fi, Superhero, Theatrical, Thriller, Zombie

THE GIRL WITH ALL THE GIFTS
***/****
starring Gemma Arterton, Paddy Considine, Glenn Close, Sennia Nanua
screenplay by Mike Carey, based on his novel
directed by Colm McCarthy

LOGAN
****/****
starring Hugh Jackman, Patrick Stewart, Richard E. Grant, Dafne Keen
screenplay by Scott Frank & James Mangold and Michael Green
directed by James Mangold

by Walter Chaw Movements start this way, with one or two events that could be thought of as coincidence in response to some greater trend in our culture, perhaps–or, more likely, in response to some greater corruption. I’ve long referred to movies, especially genre movies, as indicator species in our cultural swamp. They’re the first to show evidence of introduced toxins; at minimum, they’re the first major art form to disseminate warnings widely. Jordan Peele’s sleeper hit Get Out is just the latest in a recent spate of pictures that have caught the zeitgeist. Test the theory: would it have been as popular in another time? Movies are not unlike Percy Shelley’s “dead thoughts… Like wither’d leaves” carried on divine winds to quicken new births. It’s a florid reference to justify an unpopular concept. Not religious in any way, I find sublimity in the idea that human hands work in concert sometimes, and the close study of their products can provide insight into the world as it is, not simply as it was. Find in James Mangold’s Logan and Colm McCarthy’s more or less contemporaneous The Girl with All the Gifts (hereafter Girl) complementary, near identical concepts executed in largely the same way–proof for me of a body politic reacting in concert to poison. As grim as they are (with Logan actually verging on vile and mean-spirited), they are nonetheless, to me, evidence of at least some collective immune response. Artifacts of resistance left for the anthropologists. Despite their apparent nihilism, they are proof, as referenced explicitly in Girl, of hope.

Get Out (2017)

February 25, 20172017, Authors: Walter Chaw, Horror, Mystery, Theatrical

***/****
starring Daniel Kaluuya, Allison Williams, Catherine Keener, Bradley Whitford
written and directed by Jordan Peele

by Walter Chaw It’s the easiest thing in the world to make a movie about bigots; it’s a lot harder to make a movie about liberals who mean well, but are feckless elites who not only don’t make things better, they actually, through their platitudes and paternalistic attitudes, make things worse. It’s about money. If anything has been confirmed beyond a shadow of a doubt, it’s that everything’s about money. The villains of Jordan Peele’s directorial debut Get Out aren’t white people–they’re rich white people. (Its closest analogue is Brian Yuzna’s Society.) A movie about white privilege, it’s a comedian’s film in that, like the best comedians, it recognizes some awkward truisms and makes them manifest in a situation that builds on itself. This is a great set. It gets on a roll. Its central riff is a complicated one: rich white liberals are so detached and alien that through their best intentions, they’re actively responsible for the continued oppression of minorities in the United States. There was a string of films in 2016 that raised this as a possibility (I Am Not Your Negro and OJ: Made in America high among them), but in Get Out the idea has found its natural home in the horror genre. The bookend to Romero’s Night of the Living Dead, it even shares the same set-up for a radical “down” ending. The decision Get Out makes at that terminal crossroads says everything. It’s a challenge to the audience to check their own attitudes about how black men are demonized in our culture: abusers of white women, sexually threatening to white men, and murderers of both; angry and bestial.

The Great Wall (2016)

February 22, 20172016, 2017, Action, Adventure, Authors: Walter Chaw, China, Fantasy, Theatrical, Thriller

*½/****
starring Matt Damon, Jing Tian, Pedro Pascal, Andy Lau
screenplay by Carlo Bernard & Doug Miro and Tony Gilroy
directed by Zhang Yimou

by Walter Chaw Gloriously, fantastically stupid from beginning to end, Fifth Generation legend Zhang Yimou’s The Great Wall is also, you know, not terrible on the grand scale of terrible things. The popular narrative around this picture is the casting of Matt Damon as some sort of “white saviour” in a film about China’s most notable architectural achievement–except that it’s not really about the Wall and Damon doesn’t really save anything, though he does put to rest any sort of debate about whether or not he’s a credible action star…or even star star. He tries on an Irish accent here that consists mainly of his trying to talk around a marble. That is, when he remembers he’s supposed to be doing an accent. It’s Kevin Costner-as-Robin Hood levels of comically horrific, and, just like Costner’s Robin Hood: Prince of Thieves, The Great Wall is an attempt to grit-up and culturally contextualize some ridiculous rural folktale. The folktale, in this instance, is Zhang’s own classic Red Sorghum, which earned him some trouble upon release because of its depiction of the old men running the Chinese government as senile, corrupt, and perverse. Indeed, The Great Wall depicts Chinese leadership as tradition-bound in a bad way, its “emperor” figure a child hiding behind his throne. It wouldn’t be much of a stretch to see the monstrous child in Red Sorghum grown into this pathetic figure of a leader. If the film weren’t so stupid, in other words, it would probably have gotten Zhang in trouble again.

A Cure for Wellness (2017)

February 19, 20172017, Authors: Walter Chaw, Esoterica, Germany, Horror, Mystery, Theatrical, Thriller

***/****
starring Dane DeHaan, Jason Isaacs, Mia Goth
screenplay by Justin Haythe
directed by Gore Verbinski

by Walter Chaw Gore Verbinski’s A Cure for Wellness is lurid unto beautiful, exquisite pulp, just barmy enough to attract a cult and just smart enough to deserve it. The central conceit is that humans are only really good as biological filters for pollutants; in place of the batteries of The Matrix, the film sees people as distilleries for some sort of immortality potion. The process kills them. I learned when I was young that rabies is a kind of fear of water: its sufferers die of thirst even surrounded by water. The old, rich, white/white-collar victims of A Cure for Wellness entomb themselves in an alpine sanatorium invested in hydrotherapy in hopes of feeling, you know, better. Their sickness is of the soul, alas. The irony of the water cure offered by their ostensible saviours is that the patients become desiccated, mortally. There seems to be a message in there about how the illness of soulless acquisition is self-inflicted, and the amount expended in solution only exacerbates it. Money is bad. The making of it is incestuous, perverse, and insatiable. It’s a strange thing to say in a movie that cost a lot of money, but the point is well taken. Especially now.

John Wick: Chapter 2 (2017)

February 15, 20172017, Action, Authors: Walter Chaw, Crime, Theatrical, Thriller

***½/****
starring Keanu Reeves, Common, Laurence Fishburne, Ian McShane
written by Derek Kolstad
directed by Chad Stahelski

by Walter Chaw There’s something of Highlander in John Wick: Chapter 2, this idea that there are people-looking things walking among us, wrestling for control of something, jockeying for arcane positions in mysterious hierarchies. It’s disturbing in the best way; dislocating, world-building. It’s what makes stuff like The Matrix work, the suggestion that there’s a reality underlying ours–and in a scene among pigeons on top of a New York tenement, the film features a Matrix reunion where Morpheus (Laurence Fishburne) greets Neo (Keanu Reeves) with a “been a long time” nod. John Wick: Chapter 2 is meta in a way that fits exactly right into the feeling of a picture that spends most of its time building on the alternate universe introduced in the original. It’s aligned right there with M. Night Shyamalan’s Split and the possibility that there are comic-book worlds outside of DC and Marvel and they’re, what’s the word? They’re amazing.

The Lego Batman Movie (2017)

February 12, 20172017, Action, Adventure, Animation, Authors: Walter Chaw, Comedy, Family, Superhero, Theatrical

*½/****
screenplay by Seth Grahame-Smith and Chris McKenna & Erik Sommers and Jared Stern & John Whittington
directed by Chris McKay

by Walter Chaw Ugly, loud, twenty minutes too long, and half as clever as it thinks it is, Cartoon Network stalwart Chris McKay’s The Lego Batman Movie is saved from becoming something other than Shrek: Longform Commercial by a single scene that demonstrates a genuine emotional knowledge of the Batman character: Batman (a returning Will Arnett), after a long day of antic motion, stays up by himself in his immense, empty home, gazing at a picture of his dead parents and wishing they could have seen how he turned out. It happens early, though, and the rest of the picture’s content to make fun of DC lore (“It’s worth a Google!” says Joker (voiced by Zach Galifianakis), having listed a few of the stupider villains in Batman’s rogue’s gallery) while attempting occasional earnestness here and there along the long road to the standard kid-fare message of “family is where you find it.” The Lego Batman Movie is both fan-pleasing and self-loathing, placing it in the company of the wave of faux-nostalgia garbage millennials wear now like that tenth-generation McGinty claiming Irish heritage on St. Patrick’s Day. A low bar for inauthenticity, and by the third or fourth joke about how corny the old TV show is, you remember the old TV show had more meta intelligence in any ten minutes of a given episode than the whole of this exhausting exercise.

Silence (2016)

January 17, 2017****/****, 2016, 2017, Authors: Walter Chaw, Directors: Martin Scorsese, Drama, Mexico, Taiwan, Theatrical

****/****
starring Andrew Garfield, Adam Driver, Tadanobu Asano, Liam Neeson
screenplay by Jay Cocks & Martin Scorsese, based on the novel by Shusaku Endo
directed by Martin Scorsese

by Walter Chaw Martin Scorsese’s Silence is Martin Scorsese’s Silence. Not Shusaku Endo’s Silence. Not Masahiro Shinoda’s Chinmoku. Rather than a Japanese perspective, it’s told from the perspective of our most notoriously Catholic filmmaker (next to Mel Gibson, but he went to a different church), who, at the end of his life, has found this cap to a trilogy about faith and doubt begun in The Last Temptation of Christ (an adaptation of a novel by Greek author) and Kundun (about the life of the Dalai Lama)–films, each, that explore mystery and land somewhere personal and inherently unknowable, as faith is and should be. It’s an essentially Romanticist text, not Humanist like Endo’s or doom-laden and progressive like Shinoda’s. It’s the closest Scorsese’s come to truly contemplative since Kundun, and it shares with that film a sense of wonder at the Natural: this Romanticist conceit that the first testament of God is, as it always has been, Nature. Silence is almost a Terrence Malick film in that sense. In every other, it’s Scorsese coming to terms with the idea that grace is made manifest only through the actions of its proponents. The title refers not just to the Christian God’s notable state when confronted with the unimaginable suffering of His children, but also to Scorsese’s own idea of what God wants from His followers. It’s not thoughts and prayers in the face of tragedy. Maybe it’s humility. Maybe it’s service. Or maybe it’s just silence..

Live by Night (2016)

January 14, 20172016, 2017, Authors: Walter Chaw, Crime, Drama, Gangster, Theatrical

**/****
starring Ben Affleck, Elle Fanning, Brendan Gleeson, Chris Cooper
screenplay by Ben Affleck, based on the novel by Dennis Lehane
directed by Ben affleck

by Walter Chaw I like Ben Affleck. I like him better as a director than an actor, but I like him in both roles. Live by Night is his The Postman. I mean that with affection, and I suspect the film will likely gain some critical and cult momentum in a few years’ time–but not too much, because Live by Night is not quite stupid enough, strange enough, rough-around-the-corners enough, to really latch onto. What it is, instead, is a throwback to the kinds of movies Taylor Hackford likes to make: glossy, edgeless, overheated prestige entertainments that are sometimes, as was the case with his Proof of Life, more interesting for the publicity drama they create than for the films themselves. If you doubt the Hackford-ness of it, consider the embarrassing amount of time Affleck devotes to “steamy” ’80s-era sex scenes, which are made unbearable by the soulful softcore thrusting. For Live by Night, the external mess is the hubbub over whether or not Affleck will direct an anticipated standalone Batman movie to rescue DC and Warner Bros. from their own curious tone-deafness. The spectre of Batman tends to distract from whatever’s going on in the film, especially as Affleck continues to evolve physically into a perfect cube. Since you’re asking, Live by Night‘s earnest corniness does suggest that he is probably the right man to guide a rebooted Batman franchise.

Hidden Figures (2016)

January 5, 20172016, 2017, Authors: Walter Chaw, Drama, Theatrical

*/****
starring Taraji P. Henson, Octavia Spencer, Janelle Monáe, Kevin Costner
screenplay by Allison Schroeder and Theodore Melfi, based on the book by Margot Lee Shetterly
directed by Theodore Melfi

by Walter Chaw Theodore Melfi’s Hidden Figures is so inextricably bonded to the rote motions of awards-season biographical uplift melodrama that it functions as proof of a template studios give to directors who won’t kick too much about art and individuality and expression and all that high-falutin’ stuff. Better, it’s proof of an attachment that fits onto the Studio sausage press ensuring that all the mashed and salted discards are extruded in the proper proportion into the collective cow gut. Hidden Figures is the story of three African-American women in the 1960s who go to work for NASA’s Mercury program in the days after the Sputnik launch. It talks about how they’re brilliant but forced to pee in segregated bathrooms; how they’re proud family women but treated like second-class citizens or worse. It positions a white man of power who sees their value all the way through to letting one of the ladies be a co-author on a report she seems to have written herself. It has the end-credits thing where pictures of the real women whose stories the movie ostensibly tells are shown with titles detailing the horrific shit they endured to get their names on a building. Well, one of them anyway. It even has that thing in movies about numbers where there’s a lot of running to try to make math exciting to watch. What it doesn’t have is any lingering impact whatsoever: no gravitas, no surprise, no interest, nothing. The only thing to say about Hidden Figures, really, is that if you spend time praising it, you’re being patronizing–and that is the very definition of irony.

20th Century Women (2016)

January 4, 2017****/****, 2016, 2017, Authors: Walter Chaw, Comedy, Drama, Theatrical

****/****
starring Annette Bening, Elle Fanning, Greta Gerwig, Billy Crudup
written and directed by Mike Mills

by Walter Chaw Mike Mills’s 20th Century Women is beautiful for the way that it listens. It hears how people talk, and it lets them. It watches the way people interact and allows that to speak volumes for them. It’s a film, like so many lately, about communication. There’s a moment, late, where a young man–a boy, really–says to his mother that he’s an individual: “I’m not all men, I’m just me.” And she says, “Well… yes and no.” It’s a beautiful exchange, performed exquisitely, timed perfectly. It’s sublime, not the least for being smart and dead-on. Kind and pointed and impossibly eloquent about certain uncomfortable truths, 20th Century Women is an invitation to have ultimate conversations about how we ruin our children with our best intentions and how that has always been so and will always be so. In multiple interludes, Mills speeds up the film, blurring the action with lighting effects and throwing in archival images while including narration like “the world is very big.” It is. The picture holds to the idea that the world is incomprehensible and that we’re acted on by forces we cannot control–and at the end of it, after we’re gone, it goes on without having known we were there. There’s a certain piquancy to that that needs to be earned, and is earned.

Paterson (2016)

December 28, 2016****/****, 2016, Authors: Walter Chaw, Comedy, Drama, Esoterica, Theatrical

****/****
starring Adam Driver, Golshifteh Farahani, Barry Shabaka Henley, Masatoshi Nagase
written and directed by Jim Jarmusch

by Walter Chaw My Pocket Poets edition of William Carlos Williams’s Kora in Hell: Improvisations has the worn, faded, ineffably-dusty feeling of a paperback printed on low stock from a certain period. The back cover tells me there was once a day it could be had for $1.25. I’ve read it probably a hundred times, though I can’t say I ever read it sequentially. This was the first year, as it happens, that I read The Art of War sequentially. I regard both texts as reference books: for the winning, for the existing. The kind you open to a page and read carefully, and then you put the book down next to you and look at the world differently for a moment. I have favourite passages from each. This is one of them from the Williams:

A Monster Calls (2016)

December 25, 20162016, Animation, Authors: Walter Chaw, Canada, Drama, Family, Fantasy, Spain, Theatrical, UK

**½/****
starring Sigourney Weaver, Felicity Jones, Lewis MacDougall, Liam Neeson
screenplay by Patrick Ness, based on his novel
directed by J.A. Bayona

by Walter Chaw Tears are easy when the subject is the loss of a loved one. They come even when you don’t particularly like the vehicle that inspires them. In the case of J.A. Bayona’s A Monster Calls, the tears are, for the most part, earned by its generally uncompromising nature and the elegance of its animated interludes. They’re so good, in fact, that I spent much of the movie’s remainder wishing it were all animated in the same style, which is cribbed from artist Jim Kay’s watercolour illustrations for the Patrick Ness novel upon which the film is based. The animated sequences are representations of the titular monster’s stories. Voiced by Liam Neeson, he has three of them to tell little Conor (though only two are animated), with the expectation that when he’s through, the boy will tell one back to him. Conor (Lewis MacDougall) has summoned the monster (a cross between Groot and an Ent), he thinks, so that the monster can heal Conor’s ailing mother (Felicity Jones). Alas, the monster serves a different purpose. The animated portions remind in feeling and abstraction of Brad Bird’s incomparable The Iron Giant–a film that is itself based around the death of a loved one and the need for the survivors to recover. The live-action portions, the best of them, remind of Bernard Rose’s melancholic Paperhouse, but the sum is a bit less than its parts.

Passengers (2016)

December 22, 20162016, Adventure, Authors: Walter Chaw, Drama, Romance, Sci-Fi, Theatrical

*/****
starring Chris Pratt, Jennifer Lawrence, Michael Sheen, Laurence Fishburne
written by Jon Spaights
directed by Morten Tyldum

by Walter Chaw The problem with Passengers isn’t that it’s appalling. The problem with Passengers is that it doesn’t have anything to say about being appalling and so proceeds to do stuff with levers and buttons while the lockstep narrative soldiers through to a weird cameo and a happy ending, sort of. Think The Wizard of Oz if it never pulled back the curtain, leaving Dorothy dead and her friends vivisected by an army of newly under-employed flying monkeys on their next impossible mission. It’s an artifact that’s more interesting, in other words, as an example of corporate groupthink in matters of consumer art–of how Kathleen Kennedy talked about women being “unready” to direct her blockbusters when Morten Tyldum gets the keys to the kingdom for directing mathematicians running around in The Imitation Game (actually, Passengers kind of makes her point), and how retrograde sexual attitudes are still and always the default panic position. Watching it, I was reminded of a brilliant Nell Scovell article published right before the election about how Trump Tower is in a strange state of disrepair: a broken elevator, empty trophy cases, a public garden eternally under construction. There’s something about immense hubris we like to see take on water. It’s the premise for Douglas Adams’s prehistoric PC game “Starship Titanic”, where you find yourself the lone entity on a malfunctioning passenger liner. Adams, needless to say, handled it better.

Fences (2016)

December 15, 20162016, Authors: Walter Chaw, Drama, Theatrical

*/****
starring Denzel Washington, Viola Davis, Stephen Henderson, Mykelti Williamson
screenplay by August Wilson, based on his play
directed by Denzel Washington

by Walter Chaw Denzel Washington’s Fences is movies as medicine. Not the sugar-coated, easy-to-swallow kind–the castor oil/barium enema kind. The toxic-herbal-brew kind my mom used to try to make me drink but, you know, I’d rather be sick. Fences is based on August Wilson’s venerated, Pulitzer- and Tony-winning play, which has been in the works as a feature since 1987, when Eddie Murphy bought the rights and then couldn’t bring it to fruition after Wilson publicly pronounced that he would be displeased if the material found its way into the hands of anyone but a black director. Paramount was given a list of names that included the person who should have directed this movie, Spike Lee, but ultimately they offered it to a white guy, Barry Levinson. Levinson passed because, among other things, Wilson’s own adaptation of his play did not seem to him to successfully bridge the gulf between theatre and cinema. If Levinson was smart enough to pass because the script was ponderous and stagebound, that explains why Lee was never attached to the project: Lee is way smarter than Levinson. It’s the impossible errand, this Fences thing. Wilson, being the figure he is, was not the sort of person whose opinion you ignored, nor the sort of person whose work you rewrote. So the project died. And then Denzel Washington was brought on board, insisted on doing a Broadway run to live inside the play for a while, and now, five years after that, here’s his Fences. And it’s just exactly as godawful as you’d expect it to be.

Rogue One: A Star Wars Story (2016)

December 13, 20162016, Action, Adventure, Authors: Walter Chaw, Sci-Fi, Star Wars, Theatrical

Rogue One
***½/****
starring Felicity Jones, Diego Luna, Ben Mendelsohn, Alan Tudyk
screenplay by Chris Weitz and Tony Gilroy
directed by Gareth Edwards

by Walter Chaw A deep cut for Star Wars fanatics, Gareth Edwards’s Rogue One: A Star Wars Story also happens to be the single most topical fiction of 2016, talking as it does–in bold, melodramatic strokes befitting a space opera–about the importance of rebellion in the face of fascism. “Order,” says Empirical stooge Krennic (Ben Mendelsohn). “Terror,” corrects brilliant weapons engineer Galen (Mads Mikkelsen). And the representative of the fascist regime smiles, as though it were all just a matter of semantics, this idea that terror and order are opposite sides of the same devalued coin. He’s engaged in a kind of political double-speak, in gaslighting–things that until this year were the scourge of banana republics and other backwards backwaters. The Empire that Krennic represents needs Galen to help them complete their Death Star superweapon, with the ’80s-era Reagan/Thatcher rationale that overwhelming destructive deterrents are the only way to truly keep the peace. Galen is compelled to cooperate to keep his daughter, Jyn (Felicity Jones), safe and anonymous in the protection of violent revolutionary Saw (Forest Whitaker). The rest is Jyn’s quest to clear her father’s name by stealing plans for the Death Star and delivering them to a fractured resistance that isn’t entirely sure if it wouldn’t be a good idea to give the Empire a chance. You know, maybe they won’t do all the things they said they were going to do?

Nocturnal Animals (2016)

December 7, 20162016, Authors: Walter Chaw, Drama, Esoterica, Theatrical, Thriller

**½/****
starring Amy Adams, Jake Gyllenhaal, Michael Shannon, Aaron Taylor-Johnson
screenplay by Tom Ford, based on the novel Tony and Susan, by Austin Wright
directed by Tom Ford

by Walter Chaw It opens with an already-notorious slow-motion consideration of a gallery of morbidly-obese women in tiny cowboy hats, naked and holding sparklers while gyrating to Abel Korzeniowski's moody, derivative score. Not long after, someone will comment how, as an art installation, it's a withering indictment of junk culture, in response to which our ostensible heroine Susan (Amy Adams) intones, "Junk. It's all junk." As self-awareness goes, this is as hollow as the rest of Tom Ford's Nocturnal Animals, a dirge of shallow introspection and sanctified ugliness that is, as it happens, a pretty trenchant critique of the landscape that would normalize a Trump presidency. Consider that the installation isn't "junk" so much as the kind of conversation people of a certain intuition might have about the limitations of media to sell something biology rejects. It's a tentative salvo into the nature/nurture debate and the extent to which popular culture can influence the innate. The answer? It can, a little. More often, it merely gratifies/reflects the base. Calling it "junk" reveals a specific attitude that the only thing obese women are capable of representing is over-consumption and, in the sparklers and hats, a sad sort of patriotism. Tom Ford has a message. I get it. It's gotten away from you. The signifier is greater than the sign.

Rules Don’t Apply (2016)

November 24, 20162016, Authors: Walter Chaw, Biopic, Comedy, Drama, Romance, Theatrical

*/****
starring Warren Beatty, Lily Collins, Alden Ehrenreich, Annette Bening
screenplay by Warren Beatty
directed by Warren Beatty

by Walter Chaw The title refers to Howard Hughes, I think, and becomes a song its ingénue sings a couple of times over the course of the film. Moreover, it refers to Warren Beatty at this point in an extraordinary career that began in the New American Cinema and that wave of Method actors filling in the spaces left behind by the Golden Age. He was impossibly beautiful, and played against it whenever he could. He was whip-smart. Unabashedly political. Unapologetically a legendary philanderer who made perhaps his greatest single impression on my generation with a surprise cameo in then-girlfriend Madonna’s documentary monument to herself, Truth or Dare. Any investigation, though, finds that Beatty is a definitive voice of a definitive moment in the cinematic history of the United States. It’s been fifteen years since his last film as an actor, twenty as a director. In the meantime: rumours and speculation about this long-gestating production–his dream project, the culmination of a storied career behind and in front of the camera. And now here it is, Rules Don’t Apply, and it’s exceedingly uncomfortable, a film that leaves Beatty, acting here as co-star, director, producer, and credited screenwriter, exceptionally vulnerable. As capstones go, it’s an interesting one.

Moana (2016)

November 21, 20162016, Adventure, Animation, Authors: Walter Chaw, Comedy, Disney, Family, Musical, Theatrical

**½/****
screenplay by Jared Bush
directed by Ron Clements & John Musker (co-directed by Don Hall & Chris Williams)

by Walter Chaw Arguably, the only place it really matters in terms of the diversity tango in Disney’s new animated musical Moana is in the songwriting and voice-acting, and so although there are only white people directing (four credited directors) and writing (eight credited scenarists), find Opetaia Foa’i and Lin-Manuel Miranda behind the music and Dwayne Johnson and Auli’i Cravalho behind the Pacific Islander characters. This is progress. Also progress is what seems, to this non-Polynesian, like a real effort to not appropriate a culture so much as represent its mythology, tied as it must be to a narrative about a young woman, Moana (Cravalho), a stout Disney heroine of that certain mold for whom adventure calls, declaring her independence from the patriarchy. We’ve seen her before, is what I’m saying, but she’s neither sexualized nor given an aspirational mate/therapeutic marriage. Progress. I’ll take it. There’s even a moment where demigod Maui (Johnson) makes a crack about Moana being in the Disney canon. Progress? Self-awareness, at least. I’ll take that, too. What’s unfortunate is that for everything that’s very good about the film, there’s something very familiar. The argument should probably be made that familiarity is the sugar that helps the medicine of its progressive elements go down. It worked for The Force Awakens.

Fantastic Beasts and Where to Find Them (2016)

November 19, 20162016, Adventure, Authors: Walter Chaw, Family, Fantasy, Theatrical

**/****
starring Eddie Redmayne, Katherine Waterston, Dan Fogler, Colin Farrell
written by J.K. Rowling
directed by David Yates

by Walter Chaw J.K. Rowling is more plotter than writer or editor, more rambling fantasist than disciplined storyteller–explanation there as to why her Harry Potter novels aren’t classics so much as very popular stories for children. This also explains why Rowling flinched at the prospect of Harry martyring himself at the end, something the entire series leads up to. Rowling betrays, too, heroine Hermione, the logical successor to Dumbledore’s seat, not wife to Harry’s drippy buddy. She didn’t have the heart, she says, to do the things she should have done, and so produced books you’ll grow out of. And quickly. The film adaptations (like Beethoven’s Symphonies, only the odd ones are good, and you should skip the first) are uneven largely because they’re best when the folks doing the adapting take Rowling’s ideas and craft narratives and narrative subtext from/for them–and worst when they try to pack in all those volumes of blandly discursive blather to please a massive fanbase. Asking Rowling herself to write the screenplay for David Yates’s Fantastic Beasts and Where to Find Them (hereafter Fantastic Beasts), then, has yielded exactly the expected result: the film is bloated, boring at times, rambling most others; and it’s rich with genuine ideas and an honest-to-goodness progressive heartbeat. It’s topical, boasts of an extremely able cast it squanders mostly, and acts as a glossy coat sheening over the “real” story, pulsing but drowned, at its centre.

Hacksaw Ridge (2016)

November 5, 20162016, Action, Authors: Walter Chaw, Biopic, Drama, Romance, Theatrical, War

***/****
starring Andrew Garfield, Sam Worthington, Luke Bracey, Vince Vaughn
screenplay by Robert Schenkkan and Andrew Knight
directed by Mel Gibson

by Walter Chaw Martin Scorsese and Mel Gibson are our two most prominent plainly and explicitly Catholic directors. Because Scorsese is the kind of Catholic he is, his films are about questioning faith. Because Mel Gibson is insane, his films aren’t. As a result of that, and somewhat unexpectedly, Gibson is the single best case for the auteur theory working in the United States. As the originator and chief benefactor of The Passion of the Christ (the best and worst film of 2004), he can officially make whatever movie he wants, and with Hacksaw Ridge (and Apocalypto before that) he’s gone ahead and done just that. Mel Gibson is the single best case for a lot of things. In Hacksaw Ridge, he tells the true story of Desmond Doss (Andrew Garfield), a troubled, severely abused young Virginian who enlists in WWII as a conscientious objector, refusing to touch a gun, dedicating himself to saving folks as a combat medic. It’s essentially a superhero origin story opening the same weekend as another (Dr. Strange)–both films dealing with faith and the consequences of betraying said faith. In Dr. Strange, directed by openly Christian Scott Derrickson, bargaining with morality results in dreadful and unforeseen consequences. In Hacksaw Ridge, because Gibson’s religious fervour burns so bright and erratic, all such niceties and ambiguity burn away in allegorical hellfire and literal rains of blood. He’s long threatened a sequel to Passion. Here, he’s delivered one.