A room of her own (#OscarsSoRight?): The Post; Three Billboards Outside Ebbing, Missouri; Lady Bird; The Shape of Water; The Darkest Hour

[Image Source: Wikipedia]

I’m finally catching up with all of the Oscar-nominated films from year-end 2017. There are many culprits for this delay, chiefly among them the fact that, for some reason, many of these flicks don’t make it to the hinterlands of the Midwest until weeks after their initial release dates. My tendency toward over-commitment in daily life may also be to blame. C’est la vie. I’ve finally viewed The PostThree Billboards Outside Ebbing, Missouri; Lady Bird; The Shape of Water; and The Darkest Hour.

[Image Source: Wikipedia]

I can safely say the Academy got so much so right this year. (I’m sure they were nervously awaiting my seal of approval. Not.)

Much (digital) ink has already been spilled on these movies, and I’m feeling a touch lazy so I won’t go into great detail about any of them. I will admit that personally only The Post and The Darkest Hour truly spoke to me, but I found all five to be thoughtfully composed with unique and arguably essential points-of-view and with timely themes, no doubt provoking many minds and healing many hearts in this rather contentious era.

[Image Source: Wikipedia]

However, what resonated with me most about all five films was the strength and agency of their leading female characters. Rarely have we seen a class of Oscar-nominated films (I, Tonya included) where the bravery, wit, wisdom, and tenacity of women are so consistently celebrated and intelligently explored. Perhaps it’s the Trump effect, a cultural reclamation on behalf of Hillary, an anticipation of #MeToo and #TimesUp, or just a much-needed evolution (and growing up) in Hollywood. Who knows?

“Keep your finger out of my eye.” Tom Hanks’ Ben Bradlee to Meryl Streep’s Katherine Graham in The Post

[Image Source: Wikipedia]

In The Post, Meryl Streep gives one of her most nuanced portrayals in an already incredible catalogue of film work. Her Katherine Graham is faced with an unwinnable, dare I say, Sophie’s Choice: save her family’s paper The Washington Post from financial ruin through a tricky public offering or take on the President of the United States and risk imprisonment to honor the paper’s history of journalistic integrity by publishing the Pentagon Papers. Graham is “mansplained” up one side and down the other throughout the film. Streep’s portrayal is sensitive to the social and historical context that women were acculturated to lean on men and seek their counsel if and when they were “permitted” any decision-making authority at all. Ostensibly, Spielberg’s beautifully paced and utterly compelling movie is an allegory for our present times when we have a president who sees the Bill of Rights as less inalienable and more ignorable. However, I saw the film primarily as a powerful and subtle depiction of a woman (Graham) reclaiming her authority and driving our nation towards inexorable truth. It’s a performance for the ages, IMHO.

“You’re culpable because you joined the gang.” – Frances McDormand’s Mildred Hayes to her town minister in Three Billboards

[Image Source: Wikipedia]

Speaking of performances for the ages, we then have Frances McDormand as Mildred Hayes in Martin McDonagh’s Three Billboards Outside Ebbing, Missouri. McDormand is possibly the most cathartic and relatable actor of her generation, capable of channeling the inherent tension and internal conflict of id, ego, and superego unlike any other. Mildred may be her finest acting work, alas in a film that doesn’t quite rise to her admittedly stratospheric level. Mildred’s daughter was raped and then immolated, and, in Mildred’s frustration that the local police have been incapable of solving the horrific crime, she finds the bluntest instrument at her disposal (the titular “three billboards”) to send a crystal clear message that wouldn’t be out of place on an N.W.A. record. McDormand is haunting and funny, heartbreaking and infuriating as a woman whose voice just can’t be stifled by her small-minded small-town. I think I would have enjoyed the piece better as a one-woman show as most of the supporting cast offer more superficial readings of their respective characters. Further, a mid-film narrative twist nearly co-opts the whole enterprise in favor of Woody Harrelson’s far-less-interesting Sheriff Willoughby. Sam Rockwell (Deputy Dixon) is both hammy and poignant as a foil for and target of McDormand’s rage, and, by the time the film runs its course, the idea of a Thelma and Louise-style “road picture” with the two actors isn’t without its potential charms.

“Don’t you think they are the same thing? Love and attention?” – Lois Smith’s Sister Sarah Joan to Soairse Ronan’s Lady Bird in Lady Bird

[Image Source: Wikipedia]

Lady Bird, directed by Greta Gerwig, is a loving and scruffy slice-of-life with luminous Saoirse Ronan as Christine “Lady Bird” McPherson, a thoughtful and maddening and deep-feeling teen whose conscious rejection of organized religion and of conventional thinking runs afoul of her own desires to be liked and accepted and to “fit in” with her Catholic school’s “popular kid” crowd. Any human who has ever wanted to be their authentic (weird) selves but ALSO get to sit at the best lunch table in school can totally relate (which means all of us). Ronan is brilliant in the role, as is Laurie Metcalf as her worried, worrying, worrisome mother Marion whose noble wishes to protect and to provide are as alienating as they are well-intentioned. The film is a delight, but gets bogged down mid-way with a conventional (if not completely appropriate) Mean Girls-esque subplot of Lady Bird rejecting her theatre nerd friends for the loose collection of pot-smoking athletes and gum-snapping rich kids who rule the school. The film is so interesting and so believable to that point that I found the predictability of that coming-of-age narrative a bit disappointing. Nonetheless, Ronan, Metcalf, and Gerwig give eloquent voices to the frustrations and fears of women navigating a rigged system where their respective needs and desires are often pitted in opposition to one another.

“Life is but the shipwreck of our plans.” – wall calendar in The Shape of Water

[Image Source: Wikipedia]

The Shape of Water, directed with fairy tale elan by Guillermo del Toro, is like a soft core E.T.-meets-The Red Shoe Diaries. A co-worker of mine said it was more like a naughty Edward Scissorhands. I will accept that friendly amendment to my cinematic comparison. Shape of Water had my favorite cast of any of these films. Sally Hawkins, Octavia Spencer, Michael Shannon, Michael Stuhlbarg, Doug Jones, and Richard Jenkins are all exceptional in their own rights, let alone collected in one place, in service to a visionary fable of tolerance, compassion, and love. Yet, the film overall left me cold. Perhaps, I’m a prude, but the random bits of “sexy time” between Hawkins’ Eliza and Jones’ otherworldly “Amphibian Man” were disruptive to the gentle narrative at play. I also could have done without said Amphibian Man biting the head off one of Jenkins’ beloved cats, even if the moment is offered as an example of predatory innocence. Yuck. Regardless, Hawkins offers a brilliant and heartrending portrayal of a mute woman whose expressiveness far exceeds vocalization, and Shannon nearly steals the picture as a government official whose myopic masculinity and arrested development result in nothing but ugliness, violence, and missed opportunity.

“You are strong because you are imperfect.” – Kristin Scott Thomas’ Clementine Churchill to Gary Oldman’s Winston Churchill in The Darkest Hour

[Image Source: Wikipedia]

As for Joe Wright’s The Darkest Hour, yes, it is a movie which features a gobsmacking transformation of Gary Oldman into Winston Churchill. And, yes, Oldman is altogether breathtaking in his depiction of Churchill’s genius eccentricity, shocking isolation, and dogged determination. However, the excellence of his work and of the film itself is greatly aided and abetted by the work of cast-mates Kristin Scott Thomas as Churchill’s witty, wise, and anything-but-long-suffering wife Clementine and Lily James as Churchill’s witty, wise, and anything-but-wide-eyed assistant Elizabeth Layton. The three actors bring sparkling life to Theory of Everything screenwriter Anthony McCarten’s chatty script, and, while Churchill was clearly the odd-man-out where British politicos were concerned, his ultimate success could be attributed as much to the women in his life as to his own fiercely independent spirit. These are exceptional performances in a pretty good film.

[Image Source: Wikipedia]

In The Post, Streep’s Graham quotes English essayist Samuel Johnson: “A woman’s preaching is like a dog walking on his hind legs. It is not done well, and you are surprised to find it done at all.” Her point, in the context of the film, is that society has not encouraged women to speak their truths, so the act of doing so, while arguably initially inelegant, is as shocking as it is necessary. In the case of these five films, truth is delivered elegantly and compellingly, and the class of Oscar nominees this year goes a long way toward giving women, as Virginia  Woolf once implored, a “room of their own.”

_________________________________

[Image Source: Wikipedia]

Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital).

In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by BookboundCommon Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan.

My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.

Countdown: Jack Reacher

From my wonderful publisher Open Books

Just 16 days until the official launch of ReelRoyReviews, a book of film, music, and theatre reviews, by Roy Sexton! The book is now (for however long THAT will last 😉 !) on Amazon’s list of top-selling “Guides and Reviews”!!

“Tom Cruise’s latest Jack Reacher is the cinematic equivalent of fast food, albeit slightly nicer fast food…like Subway.”

Learn more about REEL ROY REVIEWS, VOL 1: KEEPIN’ IT REAL by Roy Sexton at http://www.open-bks.com/library/moderns/reel-roy-reviews/about-book.html. Book can also be ordered at Amazon here.

Runs and jumps and leaps and squints: Jack Reacher

Description: Film poster; Source: Wikipedia [linked]; Portion used: Film poster only; Low resolution? Sufficient resolution for illustration, but considerably lower resolution than original. Other information: Intellectual property by film studio. Non-free media use rationales: Non-free media use rationale - Article/review; Purpose of use: Used for purposes of critical commentary and illustration in an educational article about the film. The poster is used as the primary means of visual identification of this article topic. Replaceable? Protected by copyright, therefore a free use alternative won't exist.

[Image Source: Wikipedia]

Tom Cruise’s latest Jack Reacher is the cinematic equivalent of fast food, albeit slightly nicer fast food…like Subway. It is pleasant, even rather enjoyable and with a touch of nutritional value…but imminently forgettable.

Apparently, this movie is an adaptation of a book series, with which I admit I have zero familiarity. It is clunkily episodic, like one of those goony Janet Evanovich novels…though blessedly without the audience having to suffer through Katherine Heigl this time. (See: One for the Money…no, wait, please DON’T see One for the Money…it was godawful). It also has a fun Sherlock Holmesian procedural-featuring-a-quirkily-flawed-antihero vibe.

Tom Cruise is actually a delight as the titular character. I have to admit since his Oprah couch-jumping episode I have enjoyed his subsequent movie output’s steady parade of unhinged, tightly wound, micro men. He has a niche, and he does it well.

(As an aside, I also started liking Britney Spears a lot more after her umbrella-wielding, head-shaving meltdown. Not sure what that says about me.)

The rest of the film doesn’t fare as well. It is entertaining throughout…but just don’t think about any of it too hard. The movie’s tone is ALL over the map, veering wildly from gritty thriller to methodical potboiler to camp action-fest. Robert Duvall pops up unnecessarily in the final act in his typical grizzled, cranky old wise man with a heart of gold role. Richard Jenkins is wasted as a dubiously motivated D.A., and Rosamund Pike is just surprisingly bad, in fact stultifyingly stiff, as Reacher’s defense attorney sidekick.

The plot is fairly conventional as Reacher runs and jumps and leaps and squints to find the real killer in a too-close-to-current-headlines sniper shooting. The motivation when finally revealed is like something from an episode of 70s-era Dallas, and Werner Herzog’s villain even worse, like J.R. Ewing if he was raised in Das Boot.

The film lurches toward some interesting commentary about how our military/industrial complex can churn out and abandon broken souls for whom violence and gunfire are the only language they know. But just as quickly as the film touches on an intriguing socioeconomic critique about America’s preoccupation with firearms, it flies into a well-paced, lovingly-edited chase scene, and the insightful moment is gone.

There was potential here for a fun yet intelligent popcorn flick, a la Skyfall. In fact, Tom Cruise seems like he was primed and ready to be in such a movie. It’s a shame that director Christopher McQuarrie, so good with The Usual Suspects and Valkyrie, showed up ready to direct a very special episode of CH*Ps.