It (2017) – 4K Ultra HD + Blu-ray + Digital

It20171Please note that all framegrabs are from the 1080p version

It: Chapter One
****/**** Image A- Sound A Extras B+

starring Jaeden Lieberher, Wyatt Oleff, Jeremy Ray Taylor, Bill Skarsgård
screenplay by Chase Palmer & Cary Fukunaga and Gary Dauberman
directed by Andy Muschietti

by Walter Chaw There’s a girl, Beverly (Sophia Lillis), she must be around thirteen or so, she’s standing in front of a wall of tampons at the drugstore, trying to make a decision on her own because her dad (Stephen Bogaert) is alone, and a creep, you know, a little scary in how he keeps asking her if she’s still his “little girl.” So she has to do this by herself, even though it’s embarrassing–but she’s doing it. The next aisle over, a few boys, they call themselves “The Losers” because why not, everyone else does, are gathering medical supplies to help the new kid, Ben (Jeremy Ray Taylor), who’s been cut up pretty bad by bully Henry (Nicholas Hamilton). They need a distraction because they don’t have enough money to pay, so Bevvie provides one, and now she’s a “Loser,” too. I read Stephen King’s It in September of 1986, when I was thirteen. Thirteen exactly the age of its heroes in the “past” of the book, the flashback portion that’s paralleled with the kids, as adults, called back to the Derry, ME of their youth, where they had forgotten that, once upon a time, they fought a thing and won. There is nothing better when you’re thirteen than Stephen King. It was my favourite book for a while, although I didn’t entirely understand why. I think I might now. Better, I believe Andy Muschietti, director of the underestimated Mama, and his team of three screenwriters, Chase Palmer, Cary Fukunaga, and Gary Dauberman, understand that what works about It isn’t the monster, but the fear of childhood as it metastasizes into the fear of adulthood–and how those two things are maybe not so different after all.

The Post (2017)

Thepost2017

**/****
starring Meryl Streep, Tom Hanks, Sarah Paulson, Bob Odenkirk
written by Liz Hannah and Josh Singer
directed by Steven Spielberg

by Walter Chaw Two scenes. The first a posh dinner where Spielberg subtly changes the field of focus to show that the ostensible star of this show, WASHINGTON POST publisher Kay Graham (Meryl Streep), is listening in on a conversation recklessly shared in her presence. (It’s at once a subtle presentation of gender dynamics and a master class in visual storytelling.) The second a shot of Graham descending the steps in slow-motion to rapturous, feminine approval following a Supreme Court victory. Both are vintage Spielberg, the best technical filmmaker the medium has ever produced and a big giant, sentimental, cotton-headed ninny-muggins who can’t leave the audience to their own devices and doesn’t have the muscle to end things on a down note. When he manages one, his films are nigh well perfection. When he doesn’t–and he hasn’t, really, since Munich or maybe Catch Me If You Can–his films are 90% the best thing you’ve ever seen and 10% the worst. That’s good enough for most. For me, it’s the fantastic six-course feast that ends when you find a cockroach in the flan.

“The 50 Best Films of 2017” by Walter Chaw

50bestof2017

There’s one good thing that came out of the first year of the Trump presidency, just one: this realization that what we had always indulged in terms of masculine misbehaviour is dangerous and vile. The entertainment industry, the lowest arm of which gave us Trump, took the brunt of the new “wokeness,” almost as though it were taking responsibility for birthing something like Trump by enacting a purge. It’s not over. One can only hope the enablers are next–the ones who looked the other way or silently helped normalize a flesh tax for entrance into the realm. Change has to be more than lip-service and the now-familiar tone-deaf apology for narcissism and incomprehension. I could go deeper here about my personal dismay, sense of betrayal, rage, disgust…and I want to–but men have been talking over women about their experiences for long enough.

Jumanji: Welcome to the Jungle (2017)

Jumanji2

*½/****
starring Dwayne Johnson, Jack Black, Kevin Hart, Karen Gillan
screenplay by Chris McKenna & Erik Sommers and Scott Rosenberg & Jeff Pinker, based on the book Jumanji by Chris Van Allsburg
directed by Jake Kasdan

by Walter Chaw Inexplicably named after a Guns N' Roses song, Jumanji: Welcome to the Jungle (henceforth Jumanji 2) is a deeply problematic film that castrates its smartest ideas in order to please the broadest possible audience on opening weekend before dragging itself off somewhere to show up in a Redbox in a few months' time. Start with Kevin Hart–reunited with his Central Intelligence co-star, Dwayne Johnson–playing a porter, essentially, in a jungle adventure. Which, you know…what the actual fuck? I'm sure it means well, and Hart's threadbare shtick of being short and put-upon certainly fits the situation, but there's opportunity here, should director Jake Kasdan have chosen to take it, for Hart to comment on how degrading it is for a star of his stature to be appearing in a movie as Bagger Vance. He doesn't seem to notice there's baggage related to his playing a character who essentially carries a bag and hands weapons to the hero. He complains about it, though mostly he complains about not being able to run very fast and having one of his avatar's weaknesses be pound cake.

Dunkirk (2017) – Blu-ray + DVD + Digital

Dunkirk1

*½/**** Image A- Sound A+ Extras C+
starring Fionn Whitehead, Tom Glynn-Carney, Jack Lowden, Tom Hardy
written and directed by Christopher Nolan

by Walter Chaw The bits of Christopher Nolan’s Dunkirk that are good are so good. The bits of it that are bad are just awful. I’m a Nolan fan. The only films of his I don’t like are his remake of Insomnia and his much-lauded Inception, which is so emptily pretentious that it creates a vortex in the middle of the room and sucks the air right out of it. Though a lot of people accused Interstellar of doing that, there’s a real heart in there. It’s a bad science-fiction movie, but it’s a great movie about fathers and daughters. (Not unlike Contact.) In other words, I have defended Nolan against charges of his being all of empty spectacle. I think his brand of operatic proselytizing works exactly right for the Batman character, who does the same and has the same sense of self-worth and wounded entitlement. I think The Prestige is a nasty, ugly, fantastic piece of genre fiction. Dunkirk is like a cornball version of Memento; that is, a Memento that is neither a noir nor a down film but just as much of an endurance test. Also, it’s puffed-up full of itself, and it’s about one of the most well-told tales of British pluck in WWII. It’s going to win many awards because the people who give awards generally reward movies like this. It’s like an adaptation of a Silver Age Amazing War Tales comic book.

Star Wars: The Last Jedi (2017)

Lastjedi

Star Wars: Episode VIII – The Last Jedi
***/****
starring Mark Hamill, Carrie Fisher, Adam Driver, Benicio Del Toro
written and directed by Rian Johnson

by Walter Chaw I wrestled for a long time with this review. Not what I would write but whether I should write it at all. I consider director Rian Johnson to be a friend. He’s kind, smart, true, and unaffected despite having been handed the reins to the most revered American mythology–save for becoming somehow more humble during the course of it. In the middle of a period in which everyone in the business, it seems, is being outed as a cad, Rian is something like hope that there are good and decent men left. Star Wars: Episode VIII – The Last Jedi (hereafter The Last Jedi) is every inch his movie. It’s about hope, see, and hope is the word that’s repeated most often in his script. By the end of it, he suggests that hope can even grow from salted earth. It’s a beautifully-rendered image as open, guileless-unto-corny, and genuine as Rian is. I don’t love everything in the film, but I do love Rian and The Last Jedi as a whole. In a franchise this venerated and valuable, it’s ballsy as fuck that he decided to do his own thing and that Disney let him. Now they’ve decided to invest another $600M or so in letting him do his own thing some more.

Blood Feast (1963) – Blu-ray Disc

Bloodfeast1

BLOOD FEAST
*½/**** Image A Sound B Extras B+

starring William Kerwin, Mal Arnold, Connie Mason, Scott H. Hall
written by A. Louise Downe
directed by Herschell Gordon Lewis

SCUM OF THE EARTH (1963)
**/**** Image B- Sound B- Extras C
starring William Kerwin, Allison Louise Downe (as Vickie Miles), Sandra Sinclair, Mal Arnold
written and directed by Herschell Gordon Lewis (as Lewis H. Gordon)

by Bryant Frazer One among very few genuinely terrible films that are also justly famous, Blood Feast is the oft-cited progenitor of a certain strain of American cinema: the slasher film–or, more specifically, the splatter movie. Conceived by the briefly prolific, ultra-low-budget director Herschell Gordon Lewis (who will be forever known as the Godfather of Gore)–along with producer David F. Friedman–as an alternative to the commercially competitive genre of cheap-and-easy nudie flicks, the splatter movie was at the time even more disreputable than the soft porn film, ramping up the T&A with a new women-in-peril component. Gory murder scenes combined fake human blood and real animal entrails to sickening effect. Blood Feast is venerated by gorehounds and has a “so bad it’s good” reputation among horror buffs, but what’s really breathtaking about it is its shameless demonstration that, in the grand cinematic scheme, artistic merit, cultural influence, and commercial success have precious little to do with each other.

Three Billboards outside Ebbing, Missouri (2017)

Threebillboards

½*/****
starring Frances McDormand, Woody Harrelson, Sam Rockwell, Peter Dinklage
written and directed by Martin McDonagh

by Walter Chaw There are three young women in Martin McDonagh’s Three Billboards outside Ebbing, Missouri (hereafter Three Billboards)–four if you include Abbie Cornish as Woody Harrelson’s twenty-years-his-junior wife–and two of them (or three) are absolute fucking idiots and the third was raped while dying and then set on fire with gasoline. As a man who has been told often lately that it’s not his place to talk about these things, I’ll leave it at that. I didn’t think it was funny when the 19-year-old girl (Samantha Weaving) dating the abusive shit-fuck ex-husband (John Hawkes) of our anti-heroine, Mildred (Frances McDormand), is used as an object of derision/tension-breaker, and I didn’t think it was funny when secretary Pamela (Kerry Condon) is treated identically before getting punched in the face as her exit from the film. (I’m not mentioning the girl Mildred kicks in the crotch because the trailer spoiled it.) I also have a hard time with a scene where Cornish’s Anne berates Mildred for something she knows very well didn’t happen (or should know, anyway), which just goes on and on in the McDonagh fashion. Maybe it’s that there’s this cast of actors here whom I’ve loved, almost without exception, in everything I’ve seen them in and now they’re suddenly all terrible in exactly the same way. It doesn’t take talent to make a bad movie, but it takes a lot of talent to make a movie that’s bad like this. Or maybe a lot of arrogance. McDonagh, to his credit, has been doing it since the beginning–a real auteur.

ICYMI (11/24/17)

Opening this Thanksgiving weekend in select cities is Joe Wright's Winston Churchill drama Darkest Hour, starring Gary Oldman and a Costco tub of latex. And don't miss Greta Gerwig's solo directorial debut Lady Bird, which has been quietly expanding into more theatres. Our own Walter Chaw covered both films at this year's Telluride.

Planes, Trains and Automobiles (1987) – Blu-ray + DVD + Digital HD

Planestrains1

Planes, Trains & Automobiles
****/**** Image C+ Sound A Extras B+
starring Steve Martin, John Candy, Laila Robins, Michael McKean
written and directed by John Hughes

by Bill Chambers It took thirty years and multiple viewings before I finally realized that John Hughes’s Planes, Trains & Automobiles is about many things, but mostly it’s about a trunk. A behemoth fit for a starlet taking a cruise to Skull Island, the trunk is the property of travelling salesman Del Griffith (John Candy), who peddles shower-curtain rings for American Light & Fixture.1 Indeed, it’s his avatar. Stuffy ad exec Neal Page (Steve Martin) trips over it while racing special-guest-star Kevin Bacon for a New York City cab at rush hour. It’s fate. Del will obliviously steal the taxi Neal does manage to flag down, but it’s not until they wind up sitting across from each other in LaGuardia that Neal puts a face to the trunk, reinforcing his bias against the moustachioed stranger–a sort of benign Ignatius J. Reilly who, between his girth and his luggage and, arguably, his indifference to Neal’s boundaries, is the textbook definition of a man-spreader. The trunk disappears for long stretches, though it has a habit of bobbing back up into the frame the second you’ve forgotten about it completely. It’s uncanny that way.

Jim & Andy: The Great Beyond (2017) – Netflix

Jimandandy

Jim & Andy: The Great Beyond – Featuring a Very Special, Contractually Obligated Mention of Tony Clifton
**/****
directed by Chris Smith

by Alice Stoehr A few decades ago, Jim Carrey was a rising star of stand-up comedy ready to leave the Toronto suburbs. In mid-'90s Hollywood, he became a household name. Now he's wistful and solidly middle-aged. "Every time you open your mouth you learn something about yourself," he says. "Especially when you play characters." This introspection forms the spine of Jim & Andy: The Great Beyond, a documentary about his performance as Andy Kaufman in the 1999 biopic Man on the Moon. The present-day Carrey wears a leather jacket, with a salt-and-pepper beard on his famously rubbery face. Shot head-on or from a three-quarter view, he recounts turmoil on the film's set: "Most people felt that the movie was happening behind the camera." A trove of long-suppressed behind-the-scenes footage woven around the interview shows Carrey disappearing into his role, much to director Miloš Forman's chagrin. He insists his co-stars address him as "Andy;" parades around as Kaufman's loathsome alter ego, Tony Clifton; and repeatedly antagonizes wrestler Jerry Lawler, who plays himself in the movie. Kaufman's real-life family drops by the set and can hardly believe the resemblance.

Justice League (2017)

Justiceleague

*/****
starring Ben Affleck, Henry Cavill, Gal Gadot, Amy Adams
screenplay by Chris Terrio and Joss Whedon
directed by Zack Snyder

by Walter Chaw Marrying the worst parts of Zack Snyder with the worst parts of Joss Whedon (who stepped in to complete the film after Snyder had a family tragedy), DC’s superhero team-up dirge Justice League shambles into unnatural half-life with a message of apocalyptic doomsaying presented now without puke filters, so that it looks like a movie my mom watches on her television with the motion-smoothing turned on. The same trick has been attempted with a script burdened by Whedon’s patented hipster-ese, which went stale about halfway through “Buffy”‘s run, let’s face it. The Flash’s non sequiturs (Whedon’s suggesting he’s autistic (which isn’t funny)), Aquaman’s hearty, get-a-haircut bro-clamations (“I dig it!” and “Whoa!” and so on)–all of it is so poorly timed that it’s possible to become clinical about what happens when a punchline is grafted onto a piece at the eleventh hour, and it doesn’t help that no one in this cast is known for being even remotely funny or glib. Jason Momoa is a lot of things; Noël Coward ain’t one of them. When Wonder Woman (Gal Gadot) shakes her head bemusedly (I think) and says warmly (I guess), “Children. I work with children,” you get that sick, embarrassed feeling that happens when you’re watching a person you want to like succumb to flop sweat and overrehearsal.

Hana-bi (1998) – Blu-ray Disc

Hanabi1

Fireworks
****/**** Image A Sound A- Extras B-

starring Beat Takeshi, Kayoko Kishimoto, Ren Osugi, Susumu Terajima
written and directed by Takeshi Kitano

by Walter Chaw Nishi loves her very much, but when she tries to link arms with him for a photograph, he pulls away. He’s not comfortable with his emotions. He’s from both a culture and a profession that frowns on that sort of thing. When his co-workers talk about him, they do so in hushed tones and warn one another not to get too familiar, even in their gossip. He’s lost a daughter and his wife is very ill. They make allowances for him one day, and it results in the crippling of his partner. Nishi avenges him, but another young cop dies in the process. Nishi, dispassionate, empties his gun into the bad guy’s skull. But his partner is still abandoned by his wife and child for not being the man he used to be. None of this is how it’s supposed to work. Men are taught to be a specific way and promised rewards for their stoicism and brutality. I’m 44 years old. It’s taken most of my adult life to begin to unravel the ways that expectation and breeding have made it hard for me to tell my wife, whom I love in a devastating way, “I love you.” I was afraid to have kids because I didn’t know if I could tell them I loved them. I have two. I tell them every day. I make myself. Takeshi Kitano’s Hana-bi deals with the consequences of masculinity–perhaps the most trenchant exploration of the theme not written or directed by Walter Hill. The film understands that some men can only express themselves through motion, which isn’t enough in the best of times and is laughably insufficient in the worst of them. Of all the ’90s masterpieces of world cinema, Hana-bi is my favourite.

Thor: Ragnarok (2017)

Thorragnarok

**½/****
starring Chris Hemsworth, Tom Hiddleston, Cate Blanchett, Anthony Hopkins
written by Eric Pearson and Craig Kyle & Christopher L. Yost
directed by Taika Waititi

by Walter Chaw I’ve reached a limit with facility, I think–a point at which things that are professionally executed and entirely meaningless just slide off into a kind of instant nothingness. I’m talking about machine-tooled product, a brand like Kleenex or Kellogg’s, where the only time there’s any awareness of consumption is when the experience of it is unexpected in some way. There’s a reason people see the Virgin Mary in potato chips sometimes. Variation in extruded products is so exceedingly rare that it’s akin to holy visitation: some accidental proof of the supernatural; a glitch in the Matrix. Marvel films are akin now to your daily lunch. You can remember the stray meal. Mostly, it’s something you do knowing you’ve had one yesterday and are likely to have one tomorrow. If you’re like most of us, you could probably eat better.

A Ghost Story (2017) – Blu-ray + Digital HD

Aghoststory1

***½/**** Image B Sound B+ Extras A-
starring Casey Affleck, Rooney Mara
written and directed by David Lowery

by Alex Jackson All forms of an afterlife are kitsch. You can’t even conceptualize Heaven, Hell, reincarnation, or spiritualism without turning it into a greeting card or a joke. Kitsch is built into the concept. There was a point in my life where I felt that while it was kitsch, kitsch was all we had. The only other option was to confront the vast nothingness and indifference of the universe and acknowledge how little time and space we take up in the grand scheme. Maybe our belief in a life after death is the equivalent of Wile E. Coyote running off a cliff and not falling because he doesn’t look down.

The Slayer (1982) – Blu-ray Disc

Theslayer1

***/**** Image B+ Sound B+ Extras A
starring Sarah Kendall, Frederick Flynn, Carol Kottenbrook, Alan McRae
screenplay by J.S. Cardone & Bill Ewing
directed by J.S. Cardone

by Sydney Wegner As co-writer/director J.S. Cardone insists, The Slayer is not quite a slasher. More than titillate or thrill, it seeks to unsettle, to dig at the viewer with emotion rather than throwaway jump scares. The set-pieces have the imaginative gore of any good slasher, but a sadness permeates the film so deeply that all the dorky banter and melodramatic murders in the world can’t disguise it. The slow pace and heavy emphasis on the psychological trauma of its lead doomed The Slayer to be drowned out by the deluge of early-’80s slashers, and most viewers who might have been drawn to the carnage implied by the lurid title and poster were likely left unsatisfied. The Slayer opens with a nightmare: Wandering wide-eyed through a house, the protagonist, Kay, is strangled by long, inhuman hands encrusted in slime and blood. The opening promises the violence and sex (she’s of course wearing a classic skimpy nightgown) of the typical slasher variety, but pay closer attention to the close-ups of a chiming grandfather clock and the beautiful orchestral score–those signal the kind of movie you’re in for. When Kay startles awake from this dream, sweaty and terrified, her husband stands above her. He starts talking to her about something innocuous, but the camera, peering up from a jarringly low angle, makes him seem ominous and oppressive. This, too, is a tell. Kay will spend the movie trying to convince the other characters that what she dreams is real, and they will brush her off, and then they’ll die. They aren’t a comfort to her anymore, because she is far gone to a place where everything is at the wrong angle.

The Car (1977) – Blu-ray Disc

Thecar1

*½/ **** Image B+ Sound B Extras B
starring James Brolin, Kathleen Lloyd, John Marley, Ronny Cox
screenplay by Dennis Shryack & Michael Butler and Lane Slate
directed by Elliot Silverstein

by Bryant Frazer America’s love of the open road collided with its suspicion of out-of-state license plates in The Car, a risible 1977 thriller about a muscle car on a killing spree. The Car was conceived as a cash-in–an easy riff on Jaws with the working title Wheels(!)–but it earned a reputation for genre silliness that made it a staple of late-night TV line-ups in the 1980s. Shot mostly in the Utah desert, The Car follows sheriff’s deputy Wade Parent (James Brolin) as he investigates a series of mysterious hit-and-run killings involving bicyclists, a hitchhiker, and a mean-looking, black Lincoln Continental. It’s a low-octane concept even for genre knock-offs, and despite the traditional framing of organized law enforcement as the heroes of the piece, there’s not a lot of detective work required. The Car shows up; the Car runs someone over; the Car drives away, blasting its horn triumphantly. It’s not until it takes a special interest in Wade and his schoolteacher girlfriend, Lauren (Kathleen Lloyd), that the deputies concoct a plan to lure it out of town and into a trap, using Wade as bait.

Re-Animator (1985) [2-Disc Limited Edition] – Blu-ray Disc

Reanimator1

H.P. Lovecraft’s Re-Animator
****/**** Image A- Sound B+ Extras A

starring Bruce Abbott, Barbara Crampton, David Gale, Jeffrey Combs
screenplay by Dennis Paoli, William J. Norris and Stuart Gordon, based on H.P. Lovecraft’s “Herbert West–Re-Animator”
directed by Stuart Gordon

by Bryant Frazer An extremely loose adaptation of a generally unloved short story by H.P. Lovecraft (“Herbert West–Reanimator”), Re-Animator is a genre miracle: a low-budget horror movie with a smart script, strong performances, genuinely nightmarish gore effects, and a wicked sense of humour that avoids smugness or condescension. Director Stuart Gordon, who co-wrote the screenplay with gothic fiction specialist Dennis Paoli (from a teleplay by William J. Norris), moderates the ghoulish overtones of Lovecraft’s Frankenstein parody by first establishing an ordinary young-doctors-in-love scenario. In this version, Dan Cain (Bruce Abbott), an idealistic young M.D.-in-training at Miskatonic University, is covertly romancing Meg Halsey (Barbara Crampton), the daughter of the med-school dean (Robert Sampson), when the arrival of transfer student Herbert West (Jeffrey Combs) starts to put a strain on their relationship. Strapped for cash, Dan takes West in as a roommate over Meg’s objections, and he proves to be a problem tenant for a few reasons. Most obviously, he is a prideful twerp who begins his studies at Miskatonic by picking a fight with one of the teachers, the towering, imperious Dr. Carl Hill (David Gale), whose work West regards as derivative. (“So derivative,” he opines in the deliciously bitchy scene that introduces the characters to each other, “that in Europe, it’s considered plagiarized.”) But West is also a budding sociopath with a monomaniacal focus on developing the green-glowing serum he believes brings the dead back to life, and he’s looking to procure fresh bodies on which to experiment. The trouble really starts when goodness is corrupted–when the generally level-headed Dan decides to help him with his research.

The Snowman (2017)

Thesnowman

*/****
starring Michael Fassbender, Rebecca Ferguson, Charlotte Gainsbourg, J.K. Simmons
screenplay by Peter Straughan and Hossein Amini and Søren Sveistrup, based on the novel by Jo Nesbø
directed by Tomas Alfredson

by Walter Chaw Tomas Alfredson’s The Snowman, an adaptation of the seventh in Jo Nesbø’s literary crime series, treats its narrative as gestural performance art: a suggestion of a suggestion of genre. When it’s fascinating, it operates with a certain dream logic, where one thing leads to another thing senselessly, nightmarishly, the dreamer buoyed along powerless to affect his own fate within the larger, obscure narrative. Harrison Ford famously complained that Blade Runner is a movie about a detective who doesn’t do any detecting. The Snowman is a movie about a detective who can’t do any detecting because there isn’t any connective tissue. No matter what the teasing notes left by its serial killer claim, there are no clues. It’s very much like Andrew Fleming’s own abortive attempt at a franchise, Nancy Drew, which is also alien in its behaviour, acting like a movie would act if it were made by a sea cucumber. Consider a scene in The Snowman that pushes the story to its conclusion: there’s a revelation, a key piece of evidence or something, and a location, and the heroine, Katrine (Rebecca Ferguson), stands up at her desk. A male colleague, who was sitting in a cubicle across from Katrine, suddenly teleports to the balcony above her as she leaves. He asks if she’s all right. The better question would be if there was so little footage shot that every bit of it was used, continuity be damned. The great Thelma Schoonmaker was brought in at the eleventh hour, presumably at the behest of executive producer Martin Scorsese (once slated to direct the film), in a presumed attempt to save the project. Schoonmaker, for everything she’s great at, was never that great at continuity under the best of circumstances. Something Scorsese played around with in Shutter Island. Something that occasionally turns The Snowman into a Gertrude Stein piece.

The Florida Project (2017)

Floridaproject

****/****
starring Willem Dafoe, Brooklynn Kimberly Prince, Bria Vinaite, Caleb Landry Jones
written by Sean Baker & Chris Bergoch
directed by Sean Baker

by Walter Chaw Sean Baker’s The Florida Project follows the day-to-day of a group of five- or six-year-olds as they run wild through the broken-down streets, hot-sheet motels, and abandoned buildings that serve as the ramshackle spokes radiating out from Disney World in Orlando. Moonee (Brooklynn Prince) is the ringleader, impossibly exuberant and sly in exactly and only the way a six-year-old in full operational mode can be. She is a force of nature, and Prince’s performance is entirely unaffected. It’s a miracle. Moonee’s best friends are Scooty (Christopher Rivera) and Jancey (Valeria Cotto), and they roam far afield, standing on picnic tables, exploring empty housing units, experimenting with lighters, and scamming ice-cream cones from marks more exhausted by their pitch (“I have asthma and my doctor said that I…”) than convinced by it. I was free like this when I was 5. I grew up in downtown Golden, Colorado, which has as its main identifying feature a wooden sign stretching across its “main” street (“Washington”) that says “Howdy Folks!” I used to catch flies and shine shoes in the barbershop on the corner. The barber was the mayor, Frank. I spent the pennies I earned at the 5 and 10 across the street. The Florida Project is about that.