Happy Birthday, K!

Movies -- A Recap -- Part XLIV -- Great Styling

I'm not actually quite sure "styling" is the right word for what I liked about Look & See: A Portrait of Wendell Berry, because styling seems to me (someone not in the industry) to be more about costume design, set design, props, and that sort of stuff.  The beauty of Look & See was more in the camera work.  The film is an homage to American rural life, farming, and history more than it is a portrait of the poet who wrote about those things, though his poems do provide the audio to the beautiful, slow, sun-kissed landscapes.  And those photos are a nice reminder of what an incredibly stunning country it is that we live in, even as the subject of the film is that it's all being ruined by big ag.

I thought the set design of Devil in a Blue Dress was fantastic. It's a classic noir mystery, and when I'm in the right mood I really enjoy such films.  They're often somewhat predictable, the characters are more caricatures than individual people, and the plot leaves a little something to be desired, but they're fun and don't require much brain power.  S, as a consequence, was bored by this; I thought it was fun. 

If you're looking for a bathed-in-the-era love story, try If Beale Street Could Talk.  It's simultaneously sad and uplifting, but through it all is a beautiful portrait of life and love. Two young people fall in love. She gets pregnant.  He's accused of a crime he didn't commit.  But they continue to love each other and their families mostly support them.  It's not all sunshine and roses, but that's the gist of it; it's a beautiful portrait of life.  And, set in 1970s New York, the city as a backdrop is its own beautiful character and the outfits are nothing to sneeze at either.

The casting of The Sting is excellent, led by Robert Redford and Paul Newman. They play two grifters and con men, trying to make a quick buck by scamming whomever happens to cross their paths. It's set in the 1930s, so the clothing and set design are Depression-era chic.  It's not what one might call the best era in American history, but nonetheless it did have a particular design of its own.

The problem with Risky Business is that it's mostly known for its one scene; you know the one.  And, let's be clear, it's a great scene.  The reason it's a bummer is because there's so much other good stuff -- besides just pantsless dancing -- in the movie in terms of style. This gem is set in early 1980s Chicago, and the clothes, hair, and cars are everything you could hope for from that time.  The plot is entirely ridiculous, basically a rich kid behaving badly, but if you can suffer through one bad decision after another, it'll take you unapologetically back to 1983.

Movies -- A Recap -- Part XLIII -- War or War-Adjacent Stories

The Zookeeper's Wife follows a Warsaw couple through WWII as they use their zoo to guide Jews fleeing the Nazi occupation of Poland, while also trying to care for the animals who remain.  The couple's faith is tested as Jan leaves his wife at the zoo to join the Warsaw uprising.  I found the actors' accents distracting at times as they came in and out, but it was also nice that some of the cast were German or Polish, which mitigated that in some scenes.

I stumbled upon The Ministry of Ungentlemanly Warfare on an airplane (I saw someone else watching it and had to figure out what it was!) and boy, was it a trip - and based on a true story! It's a little bit hard to comprehend something described as an "action comedy war film," until you realize that it's also a Guy Ritchie film; then somehow it all makes sense. A group of undercover renegade British soldiers aboard a fishing boat set about planning and executing an attack on a German resupply base.  Chaos ensues.  I didn't recognize a lot of the cast, but thought they were well-selected for their roles.

The critical reviews for All Quiet on the Western Front were what got my attention.  I had read the book a couple of times and may not have bothered with the movie if it had not been so well received.  (I have not seen either of the other two film adaptations, done in 1930 and 1979.)  The story more or less follows the book: a young, idealistic German boy signs up to fight for the fatherland. He quickly realizes that war is not what he imagined.  It's a dark, sad story; WWI may have been the worst kind of hell.  I would recommend steering clear of this one if you find yourself lacking the stomach for gore; "visceral" is a good word to describe it.  But other than that  I'll leave it to you to decide whether it stands up to the hype.

As you know, I adore Matt Damon.  The Good Shepherd is one of those sprawling spy stories (in this case, mostly fictionalized) that covers decades of someone's life - in part because the things that happened to them all those years ago shaped who they are and how they got here, and in part because the art of good spycraft often unfolds over years or decades. Matt Damon plays Edward Wilson, and we follow him all the way from his days at Yale to his ascension to the highest rungs of the CIA.  It's a long, slow, character-builder, but I was entertained the whole time not only by Matt's lovely face, but also by the historical clothes and styling, as well as the scenes set in England. If I ever thought, though, that I wanted to be in the CIA, this movie is a good reminder that it would be a terrifying way to live.

Ahh, what a classic G.I. Jane has become for me.  When I want to watch something that's not a war movie but has heavy military presence, it's always fun to watch Demi Moore become the world's most badass lady. And, though I didn't begin to like Viggo Mortensen until he transformed himself into Aragorn (which is really the version of him that I like most), he does a nice turn as Master Chief in this film.

Movies -- A Recap -- Part XLII -- Tough Watches

The characters in Green Book were not what I expected, in a good way (though perhaps not a surprising way).  I expected more of a white savior narrative from big Hollywood.  While some of that is baked into the historical plot (the white guy went along as a bodyguard, so sometimes was literally, physically, the savior), the emotion in the movie to me felt very much equalized, perhaps even reversed.  In the end, it's a beautiful portrait of an unlikely friendship forged during a drive through the Southern states while segregation was still strong.  There are some light, funny moments despite the weight of the circumstances.  It stars one of my faves, Viggo Mortensen, as the driver and Mahershala Ali as the phenomenal pianist Dr. Don Shirley.  In a supporting role, the always lovable Linda Cardellini brings it home.

You'd have to be living under a rock to have neither read, seen, nor heard about Killers of the Flower Moon in the last decade.  But since we're talking about movies here, I'll save my commentary about the book for another time (or never). The basic story is the same: oil is discovered under land owned by the Osage Nation, whose members begin dying mysteriously. Though they nominally become wealthy, the Osage are considered incompetent in the eyes of the law and white guardians are appointed to look after their money.  Meanwhile, the deaths continue.  Eventually they draw the attention of the Bureau of Investigation (which would become the FBI).  The movie was perhaps most discussed for the heavy consultation with members of the Osage Nation during the making of the film.  Of course it was not without the "white savior" criticism (see, Green Book) and others, but no movie about a controversial topic is going to be. 

Oof, It Ends With Us was a tough one.  Two young, beautiful people - Lily and Ryle - fall in love.  The relationship gets a little bit dangerous, a little bit controlling ... was that violent?  Or an accident?  It's all complicated by flashbacks to Lily's younger self and the violence that existed in her family.  It's nuanced, complicated, and ambiguous.  The ending was a little bit candy-coated; however, after the doubt, confusion, and violence running through most of the film, it was a nice palate cleanser.  I have never been shy about my adoration of Blake Lively, who carries this movie on her lovely shoulders.  I also have a new crush on Brandon Sklenar, though time will tell whether it's a crush on him or a crush on his character in this movie, Atlas Corrigan.  (Irony of ironies: both Blake Lively and the former publicist of the leading man have filed suit against him alleging sexual harassment, hostile work environment, retaliatory behavior, orchestrating a smear campaign, and other things.  He counter-sued, and both suits are ongoing and schedule for trial in March 2026.)

Monster's Ball is an old one.  It stars Halle Berry and Billy Bob Thornton as troubled souls who find comfort in each other, against all odds and and against logic. I'm not sure you can call them themes, but the movie touches on racism, crime and capital punishment, suicide, economic struggles, and related issues.  There is so much tragedy in this movie.  One thing I really enjoyed was that there were all sorts of little quirks that were never explained, like why Billy Bob Thornton's character always at his chocolate ice cream with a plastic spoon; they were hints that there was a lot more to these characters than the viewer ever saw.

I wasn't sure whether or not to include The Gift in this category, as it's a much more traditional suspense-thriller than seems like would befit the theme. But when I think back on the movie, I'm still creeped out by Joel Edgerton's character and the chaos he produces in the lives of and relationship between the other leads. These sorts of stories, full of psychological attacks and gaslighting that cause one to question their own sanity, coupled with the sort of terror felt mostly (though not exclusively) by women, disturb me in the most primordial parts of my brain.  They get into my psyche in a way that blood-and-gore horror simply does not do.  Then there are the questions of coercive control within the relationship, which is a whole other issue.  So I can't say I recommend this one, exactly, but it sure does accomplish its goal and -- as far as this category is concerned -- remind me about the evil that can be out there.

Movies -- A Recap -- Part XLI -- Foreign Stories

If you like Mexico, try Book of Love.  Let me be clear, this is not a particularly good movie.  The plot is that a completely unsuccessful British writer is a surprise hit in Mexico; he goes on a book tour only to discover that his book has been completely rewritten in translation by a lovely Mexican woman with her own struggles and frustrations.  The expected story follows.  Despite not being a good film, there are a lot of beautiful shots of Mexico (though, interestingly, it was originally scheduled to be filmed in the Canary Islands but was forced to relocate during COVID).  It leaves behind the beaches and drug trafficking, and instead is a love letter to Mexican culture, geography, and people, which is perhaps not surprising considering it has a Mexican director.

I could say the same thing about Made in Italy as about Book of Love.  The story here is that a father-son pair who do not get along particularly well are force to examine their relationship when they inherit a house in Italy.  The father and son are played by real-life father-son pair Liam and Micheal Neeson.  The villa they had inherited has stunning views of the sweeping Italian countryside, which is enough to make anyone want to pack up and buy a place there. 

Brooklyn is only half-set in another country -- this time, Ireland -- but the central geographic tension in the story is about longing for home, whether it be there or in Brooklyn. Eilis (played by ) left her small town in Ireland in search of a better life in Brooklyn.  She misses home desperately, but when she goes back to visit her old-fashioned town in County Wexford, finds herself missing her new home and new life in the more modern New York.  The cinematography is stunning; pay special attention to the use of color depending on location and mood.  Who better to play Eilis than Saoirse Ronan, who was born in New York to Irish parents, but taken back to Ireland at age three to grow up?

While we're on the subject of the relationship between the Emerald Isle and America, you might check out The Problem With People.  Brooklyn is the better of the two films, but if you want something more comedic, you can watch two estranged cousins (played by Paul Reiser and Colm Meaney) try to mend fences, their dying patriarch's final wish.  Things seem to be going well, until they aren't. Lovely scenery and good music, of course!

Anatomy of a Fall is set in the French Alps.  When a man is found dead outside his home by his visually-impaired son, the investigation begins.  Was he pushed from the balcony by his frustrated wife?  Did he fall accidentally?  Was it a suicidal leap?  The only person who may know the truth is the son, but what can he really be relied on to "know," impressionable as he is due to his age and disability?  I love an unreliable narrator, and this movie has them in spades. 

I'm including Transsiberian here despite the fact that the main characters are American.  My exception is because the film takes place on and near a train from Beijing to Moscow, which is a most Eur-Asian method of travel.  Under the influence of some mysterious fellow travelers (including Kate Mara, whom I adore), the Americans get tied up in criminal behavior they never intended.  It's a classic mystery, carried on the shoulders of Emily Mortimer, one of the Americans (who, in actuality, is English).