Greetings again from the darkness. Let’s get this out of the way upfront. Filmmaker Guy Ritchie’s return to London crime-comedy is most assuredly a bit too far removed from today’s acceptable Politically Correct line. It features mostly male characters and far too many stereotypes to count. It’s also ridiculously funny. Mr. Ritchie doesn’t take his story or characters too seriously, but he proves yet again that he’s serious about entertainment.
The film begins with Matthew McConaughey ordering “a pint and a pickled egg”, a jolt to the senses, and a very cool opening credits sequence (think James Bond). We then find Fletcher, a sleazy private detective, making a surprise appearance at Ray’s (Charlie Hunnam) house. Fletcher is played by a deliciously smarmy Hugh Grant. He is trying to extort 20 million from Ray by offering up the details he has uncovered about Ray and his boss, marijuana kingpin Mickey Pearson (McConaughey). Conveniently, Fletcher has turned the story into a screenplay, which he has generously agreed to include for the 20 million.
It’s tricky business trying to make drug dealers likable, and Ritchie steers clear of this despite the presence of a few. In addition to Mickey, we have Matthew Berger (Jeremy Strong) who is trying to buy Mickey’s business; Lord George (Tom Wu), who controls the Chinese syndicate; and Dry Eye (Henry Golding), an ambitious underling of Lord George who is anxious to make his own way, by any means necessary. Other players here include Mickey’s wife Rosalind (Michele Dockery, “Downton Abbey”, “Godless”) who runs a “safe space” garage for exotic cars owned by women; Coach (Colin Farrell) who runs a boxing gym for troubled young adults; and Big Dave (Eddie Marsan), a tabloid editor seeking revenge for a dinner party where he felt Mickey disrespected him.
As if all of those characters don’t provide enough humorous crime fodder, we also have a Russian Oligarch, street gangs, heritage estate owners in need of cash, YouTube fight porn, and the plight of Laura Pressfield (Eliot Sumner, Sting’s daughter) in a heroin haven. Fletcher’s ongoing narrative for Ray provides the framework for the film, and each scene is filled to the rim with clever and wise-cracking dialogue – often delivered with flair by one of our colorful characters. Mr. Grant and Mr. Farrell are exceptionally fun to watch, and Ms. Dockery leaves us wishing her Rosalind was more prominently featured.
For some reason he’s never been a critical favorite, though Guy Ritchie garnered a cult following with his early frenetic crime flicks LOCK, STOCK and TWO SMOKING BARRELS (1998) and SNATCH (2000). Lately he’s been focusing on big budget films like SHERLOCK HOLMES (2009), SHERLOCK HOLMES: A GAME OF SHADOWS (2011), THE MAN FROM U.N.C.L.E. (2015) and ALADDIN (2019). He’s back to his roots here, and is joined by many actors and crew members he’s worked with before. Ritchie co-wrote the screenplay with Ivan Atkinson and Marne Davies. His cinematographer is Alan Stewart (ALADDIN) and his film editor in charge of those signature smash-cuts is frequent collaborator James Herbert.
Quick listening pays off in some deadpan one-liners that might otherwise sneak by, although most of them can’t be repeated here. The “c-word” most frequently used in the film is not ‘cash’, and is rarely a term of affection. There is even a Miramax gag. Too soon? Only you can decide. It’s rare for McConaughey to play the heavy, and he seems to relish the opportunity. But then most of the actors seem to really enjoy delivering these lines and wearing these clothes … well except for Colin Farrell’s track suits and spectacles! Certainly this one isn’t for the masses, and undoubtedly people will be offended. This is what happens when you make Guy Ritchie play nicely for a decade.
Greetings again from the darkness. “Whatcha gonna do when they come for you?” In this third entry of the franchise, those song lyrics are what we are asking cocky and aging Miami detective Mike Lowery (Will Smith). An old case comes back to haunt him and a scorned lover comes back to hunt him, and he may or may not have his old reliable partner Marcus Burnett (Martin Lawrence) by his side.
It’s been 25 years since director Michael Bay introduced us to ‘Bayhem’ with his first feature film, BAD BOYS. It took another 8 years for the sequel BAD BOYS II, and now 17 years later, we get this long-anticipated third film. Only instead of Michael Bay (who is listed as a producer and makes a cameo), Belgian directors (and former film school buddies) Adil El Arbi and Billal Fallah are directing. Fans of the franchise need not be worried, as the two expected and necessary elements are present: partner banter and Bayhem action.
Detective Mike Lowery (Smith) is an old school bull with a badge, and Detective Marcus Burnett (Lawrence) is simply ready to ride off into the sunset of retirement as Pop-Pop with family, including his new grandbaby. Also back for his third run with the bad boys is stressed out Captain Howard played by Joe Pantoliano and the ever-present Pepto Bismol.
Isabel Aretas (Kate del Castillo) is sprung from jail in Mexico by her son Armando (Jacob Scipio). Mother and son have two missions: take back their drug cartel, and take revenge on those responsible for her arrest and the death of Isabel’s husband. Oh yeah, Isabel is part-witch and a former lover of rookie cop Mike Lowery. What a tangled web … and that’s without including another surprise twist. Their revenge checklist includes many Miami dignitaries … and a vow to make Lowery the last to die.
There is another surprise near the beginning of the film, and that motivates Lowery to get involved to help solve the string of murders – not yet aware that he’s on the list. Of course Detective Burnett is drawn out of retirement and they are forced to work with a new Special Forces team called AMMO. Surprisingly, neither of the ‘Ms” stand for Millennial, and instead it’s Advanced Miami Metro Operations. The team is led by Rita (Paolo Nunez), another former Lowery lover, and includes badass Kelly (Vanessa Hudgens), hulky computer whiz Dom (Alexander Ludwig), and wise-cracking Rafe (Charles Melton) as a verbal sparring partner for Lowery.
What follows is car chases, shootouts, fancy weapons, drones, and helicopters. And lots of one-liners at stressful moments. Lawrence is especially effective with the banter, and fans will be happiest when he and Smith are jabbing back and forth. This time, much of their grief towards each other focuses on mortality and growing old. The partners are close, but their life philosophies vary greatly. Of course we do get the fiery finale, and this one involves a helicopter and a stunning hotel that’s been left in ruins.
Chris Bremner, Peter Craig, and Joe Carnahan (originally slated to direct) wrote the script, and for the most part stays true to what the fans want – banter and action – while making note of the 17 years that have passed for these bad boys, “Ride together. Die together” always seemed like an absurd phrase for two cops, but the partner dynamics are in full force here, even though this movie (as well as the other two) are closer to live action cartoons than an actual police thriller. The end credits scene sets us up for BB4, and if they wait another 17 years, I calculate Will Smith will be 68 years old. Instead of a Porsche, he’ll be driving a Buick.
Greetings again from the darkness. It’s no secret that all movies aren’t made to appeal to all movie goers. Even for someone like me who watches an average of 5 movies per week, there are going to be some that are simply not in my wheelhouse. In the case of this latest from director Miguel Arteta (BEATRIZ AT DINNER, 2017), it seems to have been formulated as a “Girls Night Out” treat … a sub-genre with a track record of success.
Although I’m not the target market, I’m not precluded from commenting on the film and making observations. It merely means I’ve watched the movie from a different perspective than many paying customers will. So let’s start with the positives. The cast is excellent. After being wasted and miscast is last year’s disappointing THE KITCHEN, Tiffany Haddish is cut loose and allowed to do what she does best – searing one-liners peppered with raunchiness. Rose Byrne has long been what was once called a comedy “straight man.” Of course that term is no longer used, but I’m not sure what today’s acceptable terminology is. The simple fact is, very few people are as brilliant as Ms, Byrne at playing off an acid-tongued comic. She is a rare talent. As for Salma Hayek, her body of work (and Oscar nomination for FRIDA) speaks for itself.
Mia (Ms. Haddish) and Mel (Ms. Byrne) have been friends since childhood, and are now roommates, best friends, and business partners at the beauty/cosmetic company they founded. The creative and shoot-from-the-hip Mia and the pragmatic and meticulous Mel are personality opposites to the point that Mel has been reticent to explain their serious financial woes to the always upbeat Mia. When cosmetics tycoon Claire Luna (Ms. Hayek) makes an offer to save the struggling company, Mel welcomes the financial relief, while Mia senses trouble.
As you would guess, Mia is right … Claire Luna has darker motives, and soon she is driving a wedge between the two partners and friends. The talented supporting cast includes: Jennifer Coolidge, Billy Porter (who manages to remain flamboyant while being subdued for him), Ari Graynor (“I’m Dying Up Here”), Jessica St. Clair, and Karan Soni (DEADPOOL) as Claire’s assistant. There is also a cameo near the end for those who enjoy a bit of friendly comedy.
Danielle Sanchez Witzel, Adam Cole-Kelly, and Sam Pitman combined on the story and script, and have inserted a few gags that play to the strength of the cast – pot smoking ghost peppers, and boyfriend humor are all at play, and balanced by the strength of female friendships. The business side is so cartoonish (especially Ms. Hayek’s character) that it will likely somewhat offend anyone who actually runs a business, but the raunchy humor and overly emotional character reactions will likely satisfy the intended audience.
Greetings again from the darkness. While we can’t dismiss it, we can surely question the popularity of those who have reached celebrity status via Reality TV or Social Media presence. Are these folks brilliant or simply cashing in on the ignorance and gullibility of the American public? That’s the core question asked in this mockumentary from first time director Steven Jay Bernheim (and his 7 credited co-writers).
Thanks to shows like “TMZ” and “Entertainment Tonight”, sites like Instagram, Twitter, and YouTube, and the seemingly endless supply of Reality TV series, it’s no wonder we have come to accept that people can get famous for being famous. Julia Faye West (a no-holds barred performance) stars here as London Logo, a “celebutante” who has reached the pinnacle of fame by flaunting her lifestyle of excess. The obvious comparisons are Paris Hilton and the Kardashians. As with these real life celebs, we learn much more about London Logo than we would prefer to know. And that’s where the fun begins.
And by fun I mean the type of twisted comedy presented by a mockumentary that has us questioning why our society heaps so much attention on those represented here by London Logo. She has her entourage comprised of actor-friend Angelina Streisand (Denise Richards), her image-salvaging PR manager Winston Spritz (Loren Lester), her personal designer Simon Debris (John R Colley), and her manager/agent Louis Lozenger (Ben Begley). You have likely noticed that the character names are punchlines unto themselves. Adding competition to the incredulity is London’s nemesis and arch-rival Kristy Kim (Candace Kita), one of the Kim sisters from the (pretend reality) show “Katching Up with the Kims”. One of Kristy’s most prominent features is her large hind-quarters, making her real life comparison quite easy to place.
Most of the film is based on the “tell-all” documentary being filmed by British TV journalist Diana Smelt-Marlin (Kate Orsini), who affords London every opportunity to explain her actions and motives. The interviews are pure gold in eye-opening (and eye-rolling) cluelessness. This is the documentary that makes this an effective mockumentary. The cameras follow London around as she tries to bounce back after the Kims have stolen “her thunder”, and a beach incident captured on camera sends London to jail.
Book deals, TV shows, cosmetics, music drops, private jets, Twitter followers … all of these play a part in London’s attempt to keep her name in lights. Along the way we are treated to some outlandish bits. These include her pet gerbil getting stuck in the toilet (and the first Richard Gere joke in years), which results in a visit from Joe the plumber played by the recently deceased talented character actor John Witherspoon. There is also a Larry King style talk show host (Charles Fleisher), regular ‘breaking news’ from a TMZ knock-off, hilarious throw-pillows, London’s “traumatic brain injury”, unfortunate spelling errors, an opportunistic pet whisperer, and a questionable celebrity stalker.
London’s wealthy parents are played by Jill Jacobson and Cliff De Young. Dad is at a loss of words when asked to describe his daughter, while mom proudly states “busty”. London even attempts to reconcile with her TV partner played by Shelli Boone, in an attempt to reunite for their “Heir Heads” show (you have to say it out loud). Ralph Rieckermann, former member of the rock band The Scorpions, plays a DJ named Messiah, and the titles of competing books by London and Kristy are not to be missed. Boxing legend Mike Tyson makes an appearance attempting to provide evidence showing that he was not the other participant in the sex tape titled “A Night in London” … and his evidence is pretty compelling.
Mr. Bernheim’s film not only stars his wife (Julia Faye West), but it also points out just how much work is involved in getting and staying famous. It’s a full-time job! There are so many gags throughout, and of course, most of the acting is purposefully over-the-top. These days, it’s almost impossible to take things too far … what captures the attention of the American public is usually about as disappointing as finding out the world’s smallest dog isn’t really a dog, and that hipsters aren’t homeless …they just look that way. The best advice here is to sit back, relax, and spend an evening laughing at our society. So many already are.
Greetings again from the darkness. It’s debatable whether this movie should be labeled an indie crime thriller or a ‘Scared Straight’ session for gambling addicts. Benny Safdie and Josh Safdie are filmmaking brothers who seem to specialize in adding a frenetic pace to the lives of characters who consistently make bad decisions. Their excellent 2017 film GOOD TIME (starring Robert Pattinson) set the tone for their latest, featuring an Adam Sandler performance unlike anything we’ve previously seen from him.
After a brief prologue at an Ethiopian mine, we are dropped right into Howard’s world. Well, more specifically, we find ourselves on the camera end of Howard Ratner’s colonoscopy, while also seeing the vibrant glow of the rare opal extracted from that opening mine. Remarkably, the colonoscopy may be Howard’s (and our) most relaxing moment of the movie. The character of Howard is based on a guy the Safdie brothers’ dad worked for in the Diamond District when they were growing up. He’s played here by Mr. Sandler, who delivers a performance so memorable that we now can’t imagine anyone else in the role.
Here is what we learn about Howard: he’s arrogant and foolish and energetic and hopeful. He lives life on the edge … or perhaps he’s already tipped. He’s a Jewish jeweler based in inner-city Manhattan, and as the film begins, he owes a lot of money to someone who has hired goons to collect. Howard has an irascible wife Dinah (Idina Menzel, Elsa’s voice in FROZEN) who is fed up with his antics … one of which is his employee/mistress Julia (newcomer Julia Fox). Howard has an insatiable gambling addiction and he’s always on the brink of a life-changing big score or a colossal failure that could cost him everything. He’s a hustler who has to move faster each day to prevent the collapse of his house of cards: sports bets, pawns, loans, lies, and empty promises.
So if you think you now have a feel for this, I can assure you that you are mistaken. The frenetic pace is relentless to watch. We kind of like Howard, but yet, we want nothing to do with him. His latest scheme involves the expectation that the rare opal will solve his many financial woes. In the meantime, his business associate Demany (LaKeith Stanfield) brings him a high profile client … NBA player Kevin Garnett. The film looks and feels like a gritty 1970’s flick, but it’s based during the 2012 Eastern Conference Finals, and Garnett plays himself (and quite well). Garnett borrows the opal for good luck and that’s when all ‘heck’ breaks loose. Also in play here is Howard’s rotten brother-in-law (Eric Begosian), to whom he also owes money. Adding even more NYC flavor are Judd Hirsch, John Amos, and sports radio host Mike Francesca, as Howard’s bookie.
Daniel Lopatin (aka Oneohtrix Point Never) provides an electronic score that helps ensure we are never comfortable watching what is unfolding, and cinematographer Darius Khondji (EVITA) keeps his camera in constant motion – just like the characters. Production Designer Sam Lisenco creates Howard’s world through the jewelry shop, the house, the apartment, and especially that back office. Set Decorator Kendall Anderson wins a place in my heart for the Pete Maravich poster.
The Safdie brothers co-wrote the script with their editor Ronald Bronstein (who also worked on GOOD TIME), and afterwards you’ll find yourself going back through all the poor choices made by most every character. The brilliantly sustained level of uneasiness includes a segment featuring The Weeknd, and one revolving around a school play for Howard’s daughter. The Safdie style is present throughout, and most conversations are loud and heated and threatening. If you are the type that needs at least one likable character, or a serene environment, or respectful adult conversation, you are out of luck here. Howard is an exhausting character in an exhausting story within an exhausting movie … just as it was intended.
Greetings again from the darkness. “I suspect ‘fow-uhl’ play.” So states the renowned and poetically named private detective, Benoit Blanc. Of course when mega-wealthy, best-selling author Harlan Thrombey supposedly commits suicide after his 85th birthday party by slashing his own throat with a knife, something more sinister (you know, like … murder) must be considered. The violin playing over the opening shots of the palatial Thrombey manor teases us with thoughts of most any year from the past 75. These nostalgic thoughts fade quickly as we begin to meet the players.
Detective Elliott (LaKeith Stanfield) and Trooper Wagner (a quite funny Noah Segan) seem merely to be crossing their T’s in the suicide investigation as they dutifully meet with each family member for a statement. It’s this progression of questioning that introduces us to the year’s most colorful ensemble cast. Patriarch Thrombey’s (Christopher Plummer) scheming heirs-in-waiting include: his daughter Linda Drysdale (Jamie Lee Curtis), happy to remind you of her success as a self-made businessperson; Linda’s smarmy husband Richard (Don Johnson); their renegade son Ransom (Chris Evans) who arrives a bit later; Harlan’s son Walt Thrombey (Michael Shannon) who ‘runs’ the family publishing business; Harlan’s ex-daughter-in-law Joni (Toni Collette), a self-help guru who has a secret side gig; grandkids Meg (Katherine Langford), preppy social media troll Jacob (Jaeden Martell), and Donna (Riki Lindhome of “Garfunkel and Oates”); and Harlan’s mother Greatnana (Dallas’ own K Callan). Two key non-family members are the housekeeper Fran (Edi Patterson) who finds Harlan’s body, and nurse Marta (Ana de Armas), Harlan’s friend and only real confidante.
Writer-director Rian Johnson has put together a diverse career with such films as indie breakout BRICK (2005), science fiction hit LOOPER (2012) and of course, STAR WARS: EPISODE VIII – THE LAST JEDI (2018). With this latest, he shows a real flair with a rare comedic whodunit, and manages to perfectly execute his twisted script of twisted personalities. Think of this as Agatha Christie meets CLUE via THE ROYAL TENENBAUMS. The overall mangled morality of this entitled family becomes crystal clear as we get to know each. Johnson presents many familiar elements for fans of the mystery genre (the dark mansion, the creepy line-up of hangers-on, the red-herring clues and missteps), and most impressively, he blends those with many creative and surprising moments … some that will have you believing you have it figured out. But even if you do, the long and winding road is an utter blast.
Even with that deep and talented cast, it’s Daniel Craig as Benoit Blanc and Ana de Armas as Marta who stand out. They have the most screen time and neither waste a moment. Mr. Craig’s purposefully comedic southern drawl completes the film’s most memorable character, in fact, one of the year’s most memorable characters. Ms. de Armas finally finds a role to take advantage of her skill. Nurse Marta has a lie-detecting reflux gag that is not just valuable to the case, but also vital to the loudest audience reaction during the film. Mr. Craig and Ms. de Armas will also appear together in the upcoming Bond film NO TIME TO DIE.
During the reading of the will, director Johnson brings in STAR WARS stalwart Frank Oz (best known as Yoda) to play the family attorney, while another scene features one of the all-time great character actors (and Roger Ebert favorite) M. Emmet Walsh (BLOOD SIMPLE). Mr. Johnson also offers a unique spin on classism and the 1%, including a running gag about Marta’s nation of origin.
Johnson’s regular team is in top form here: Cinematographer Steve Yedlin, Film Editor Bob Ducsay, and composer Nathan Johnson (Rian’s cousin). Another deserving of mention is Costume Designer Jenny Eagan, who matches threads with personality about as effectively as we’ve seen, and Production Designer David Crank who creates the ideal mansion of secrets. This film is wickedly clever and barrels of fun. There may not have been a more purely entertaining movie this year … and it’s been a terrific year for movies. Just remember: ‘My house. My rules. My coffee.”
Greetings again from the darkness. Let it go. Forget the sisterly issues of the Oscar winning original from 6 years ago. Arendelle is now doing just fine under “Ice” Queen Elsa and Princess Anna. Well, at least until Elsa is beckoned to the foggy, off-limits Enchanted Forest by an ethereal voice that only she can hear. We know this probably isn’t good since the movie kicks off with a flashback to when the sisters were very young and their parents (voiced by Alfred Molina and Evan Rachel Wood) told them a historically significant story of the forest – a story with a vital missing piece.
Joining Elsa (voiced again by the wonderful Idina Menzel) and Anna (Kristen Bell) on this journey to the forest and a discovery of the past are more familiar faces from the first movie: woodsman Kristoff (Jonathan Groff, who also plays Holden Ford in the excellent TV series “Mindhunter”), Kristoff’s loyal reindeer Sven, and everybody’s favorite huggable, philosophizing snowman, Olaf (Josh Gad back for an expanded role that provides more laughs).
Co-directors and co-writers Chris Buck and Jennifer Lee return for the sequel and their script, co-written with Marc Smith, features the familiarity that we’d expect from such a successful original, but it adds pieces that will likely be too confusing for younger viewers. Trying to recapture the magic of their Oscar winning song “Let it Go”, songwriters Kristen Anderson-Lopez and Robert Lopez seem to have a singing interlude approximately every 8 minutes or so. Olaf gets a cute song, and this time, even Kristoff has his musical moment with “Lost in the Woods” (Jonathan Groff is a Broadway veteran). Of course, it’s Elsa/Idina Menzel who provides two impressive power vocals. It appears “Into the Unknown” is getting the PR push, but personally I preferred “Show Yourself”.
Don’t think it’s all about the songs. There is an odd storyline that seems a bit preachy about making amends to past sins (politically and personally), and just how devastating it can be to discover that one’s family tree has some rotten branches. Whether kids “get” that nature’s balance must be restored, they will surely appreciate the two sisters: Anna’s inner-strength and determination matching Elsa’s magical powers. And all ages will enjoy Olaf’s comical fast-talking recap of the first movie – a scene itself worthy of admission.
While the songs might fall short this time around, and the story might be a bit more convoluted, there is no arguing that this sequel looks fantastic. The enhanced animation is quite stunning at times. As opposed to the blue and white color scheme of the first movie, this sequel features a palette that draws from Martha Stewart’s Thanksgiving table setting – the autumn colors are vibrant and gorgeous.
FROZEN IIwill have a bit more Oscar competition in the animated category than what its predecessor faced, as it will be going up against instant classic TOY STORY 4. The filmmakers are to be commended for bringing attention to natural elements of air, water, fire, and earth; however, a couple of the extended sequences will likely prove too intense for younger viewers. “Do the next right thing” may be the new Disney Golden Rule, but it’s difficult to imagine a non-talking gecko or terrifying Earth Giants will emerge as a new favorite toy. Parents should know going in that by the end, Elsa sports a new dress and hairdo, conflicting with an early song “Some Things Never Change”. And when parents realize a third “Frozen” movie is in the works, they should know that warm hugs help. Let’s just hope the next one isn’t called “Ice Cubed”.
Greetings again from the darkness. At least once per year, a movie really hits a sweet spot … something that is fun to watch and not really like anything we’ve previously seen. Korean filmmaker Bong Joon Ho’s latest film is this year’s cinematic surprise. It’s filled with interesting characters, social commentary, a unique setting, a creative and twisty story, and enough tension that we are left stunned as the end credits roll. There have already been a few excellent movies this year, and this is surely to be a memorable addition to the best of 2019.
We first meet the Kims, a family in poverty living in near-squalor in a basement level apartment with one small window. That window is at street level and allows a bit of natural light to leak in, and also provides a too-clear view of drunks targeting the window as they relieve themselves. The family keeps the window open for free fumigation as the city sprayers drive past, in hopes that it will get rid of the pesky stink bug infestation (yes, there is symmetry to this later in the story). The Kim family consists of Dad (a terrific Kang-ho Song), Mother (Hye-jin Jang), teenage son Kevin/Ki-woo (Woo-sik Choi) and 20-something daughter Jessica/Ki-jung (So-dam Park), and they react strongly when they lose “free hi-fi” access from a neighbor’s system. The family seems to make just enough money for their next meal despite somehow underperforming at their family job of folding pizza boxes for a local vendor.
Fortunes begin to change for the Kims when one of Kevin’s friends ask him to take over tutoring a teenage girl for a wealthy family in town. This sets off an ingenious and sometimes quite funny chain of events that result in all four Kim family members working in some capacity for the Parks, the aforementioned wealthy family. The Park’s home was designed by a famous architect and it is a stunning modern hillside home with lush garden and a window that stands in stark contrast to that little window in the Kim’s city apartment. Mr. Park (Sun-kyun Lee) is a 1% tech titan married to a high-strung woman who is an eternally anxious and over-matched mom (a fantastic Yeo-jeong Jo). Their two kids are lustful teenage daughter Da-hye (Ji-so Jung) and hyperactive young son Da-song (Hyun-jun Jung).
It’s fascinating to watch how this family of schemers infiltrates this gullible and vulnerable upper class home, and how they so are easily trusted thanks to photoshop skills, Google, and a street-wise understanding of how to read people. The script, co-written by the director and Han Jin Won, explores the co-dependency as the rich depend on the poor for service work, and the poor depend on the rich for jobs and a living wage. Given the film’s title, we soon realize that a “host” may have more than one parasite at any time … something that plays out in what has to be the wildest film twist of the year, thanks to an all-out performance from Jeong-eun Lee as the Park’s long-time housekeeper.
The social and class commentaries are spread throughout, and in addition to the window comparisons, you’ll also notice that the walk is uphill to the Parks’ home and downhill (and flood-risky) to the Kim’s apartment. There are multiple layers within the stories and within the individual characters. What begins as a devastating social satire morphs into a wild and crazy time of violence … without losing its general theme. A comedy of familial con artists bursts into a violent class thriller – the price to pay for unearned comfort. The film is not just unpredictable, it smacks us with a jarring twist.
Bong Joon Ho has become a well-respected filmmaker for his previous work: THE HOST 2006, MOTHER 2009, SNOWPIERCER 2013, and OKJA 2017. This latest elevates him to a whole new level. The film is darkly humorous and unpredictable, with excellent performances throughout. It’s also quite something to look at. Cinematographer Kyung-pyo Hong works his magic, and it should be noted that the Park’s home is a complete set built solely for the film. I challenge you to notice this – I sure couldn’t tell. The film won the 2019 Palme d’Or at Cannes Film Festival, and it is likely headed for many more accolades.
Greetings again from the darkness. Welcome to the most divisive movie of the year. Some will scoff at the idea and deride the filmmaker without ever even seeing the movie. Some will relay disgust after seeing the movie. A few won’t appreciate the style or structure, and will fail to find the humor. Ah yes, but some of us will embrace Taika Waititi’s wacky adaptation of Christine Leunens’ 2018 novel “Caging Skies” as one of the funniest and most heart-warming films of the year … fully acknowledging that many won’t see it our way.
One wouldn’t be off base in asking why a successful filmmaker would tackle such a risky project: a coming-of-age comedy-drama-fantasy about a 10 year old Nazi fanatic who has as his imaginary friend, not a 6 foot rabbit, but the Fuhrer himself, Adolph Hitler. After all, writer-director Waititi is coming off a couple of brilliant indies (2014’s WHAT WE DO IN THE SHADOWS, and 2016’s HUNT FOR THE WILDERPEOPLE) and a major score with Marvel money on THOR: RAGNAROK (2017), arguably the most entertaining superhero movie of the past few years. He certainly could have continued to cash in with ‘safer’ choices; however, Mr. Waititi sees the world differently than most of us. He finds humor in the drudgery, and humanity in malevolence. He’s also a bit goofy.
Playing over the opening credits is the German version of “I Want to Hold Your Hand”, as we see old clips of German citizens cheering for Adolph Hitler in a similar manner to how fans used to scream for The Beatles. World War II is nearing the end as we meet 10 year old Jojo Betzler (newcomer Roman Griffin Davis). Jojo is fervent in his fanaticism towards the Nazi way, and buys into the belief that Jews are monsters with horns on their head. He’s such a believer that his imaginary friend is actually Hitler, well at least a bumbling boisterous version played by the filmmaker himself – enacted to extreme comedy effect (recalling a bit of Chaplin in THE GREAT DICTATOR). Mel Brooks managed to play Hitler to a laughable extreme in “Springtime for Hitler” in THE PRODUCERS, but the only thing missing her from Waititi’s costume is an old timey dunce cap.
Jojo lives at home with his mother Rosie (Scarlett Johansson), while dad is off fighting on the front line. Ms. Johansson’s performance is terrific (despite limited screen time) as she creates a believably warm bond with her son during horrific times. Soon, Jojo is off to a Nazi camp designed to teach the boys how to fight (and burn books), as the girls learn the virtues of having babies. The camp leaders are Captain Klenzendorf (Sam Rockwell), who is a bit of a joke on the surface, but more interesting the deeper we dig; Fraulein Rahm (Rebel Wilson) who boasts of having 18 Aryan babies; and Finkel (Alfie Allen) a violent psychopath. At camp with Jojo is his best friend Yorki (newcomer and scene-stealer Archie Yates), and the two show what a genuine friendship can be as the movie progresses.
Things change quickly for Jojo when, by happenstance, he discovers a Jewish girl living in the walls of his home. Elsa (Thomasin McKenzie, LEAVE NO TRACE) shows none of the characteristics that Jojo has been brainwashed into believing all Jews possess. She has no horns, flashes a good sense of humor, and is actually very nice and knowledgeable. In other words, she’s no monster. As they get to know each other, Jojo realizes this “nice” Jewish girl contrasts starkly with his lunatic hero Adolph.
Waititi’s film is ingenious satire, and it likely won’t sit well with those who think not enough time has passed to justify making fun of Nazi atrocities. It’s funny and heavy, and deals with some thought-provoking matter in an unusual way. The “Heil Hitler” count approaches the ‘F-word’ frequency of most Tarantino movies, and there is a German Shepherd gag that caught the audience off-guard. Stephen Merchant’s Gestapo search of Jojo’s house is comedy at its weirdest. The movie messes with your head as it’s some odd blend of SCHINDLER’S LIST, “The Diary of Anne Frank”, and an extended Monty Python skit.
It’s rare for a film that borders on slapstick at times to have so many touching and emotional moments. The actors are really strong here, especially Ms. Johansson and Ms. McKenzie, who as gutsy Elsa, proves again she is quickly becoming a powerhouse young actor. Roman Griffin Davis carries a significant weight in the story despite being a first time actor, and I can’t emphasize enough how young Archie Yates will steal your heart while he’s stealing his scenes. Michael Giacchino’s score and Mihai Malaimaire Jr’s terrific cinematography work well with Waititi’s vision … a satirical vision that would never work outside of his unique filmmaking talent. The story is basically proof of the adage, ‘Kill ‘em with kindness’, when what we are really killing is hatred. At its core, this is a story of humanity and human nature, and how we grab hold of the wrong thing until the truth becomes evident. Now, please pass the unicorn.
Greetings again from the darkness. The meek may inherit the earth, but if this Steven Soderbergh movie based on Jake Bernstein’s book (screenplay by Scott Z Burns) is correct, they aren’t likely to get the money too. To put it more bluntly, the first of the film’s 5 rules of creating and protecting wealth is, “the meek are screwed.” In order to follow this film that is “based on true secrets”, it helps to have a basic knowledge of the Panama Papers … a 2016 anonymous leak of more than 11 million documents exposing how the rich skirt the laws when it comes to protecting their money. Offshore entities had previously been a mainstream punchline, but these documents from Mossack Fonseca, a law firm in Panama, clearly outlined just how widespread the practice had become.
Rather than traditional narrative form, the information is presented through multiple vignettes featuring an impressive roster of well-known actors: Meryl Streep, Jeffrey Wright, Sharon Stone, Melissa Rauch, David Schwimmer, James Cromwell, Matthias Schoenaerts, Robert Patrick, Nonso Anozie, and Rosalind Chao, plus a few others you’ll recognize. In the role of tongue-in-cheek emcees are Gary Oldman and Antonio Banderas, as Jurgen Mossack and Ramon Fonseca, respectively. Their coordinating flamboyant outfits correspond to these caricatures of the real men behind this web of fraudulent activity. They are meant to add humor to the situation, but also tell “their side of the story.”
We are caught off-guard when Meryl Streep’s story and her character are not the main focus. Her slow unraveling of insurance fraud after her husband’s death is but one segment of the lesson that will likely confuse most people. The easy comparison is Adam McKay’s THE BIG SHORT (2015), which used some of this style in explaining the mortgage backed securities market. Whereas Mr. McKay won an Oscar for his screenplay, that’s highly unlikely for this one. Scott Z Burns is a talented writer, but this was simply too complex of a subject to tackle in 95 minutes. Mr. Soderbergh, as is tendency, not only directs the film, but is also the cinematographer, editor and producer.
This is a Netflix production that I caught at the inaugural North Texas Film Festival, and thanks to the presence of Ms. Streep, will likely have at least a limited theatrical release. Unfortunately, neither big screen nor small will solve the inherent issues here. There are some nuggets such as Delaware, despite its population of less than one million, being king of corporation filings (thanks to its business-friendly tax laws). Understanding shell companies, tax evasion, and other illicit financial activities among the world’s ultra-rich requires more than a talented cast, but perhaps there is enough here to motivate some to dig a little deeper with their own research. That is, if the film’s finale – a lecture on reform – doesn’t turn you off completely. Many of us appreciate being informed, but rebel against the preaching.
Greetings again from the darkness. Let’s get this out of the way upfront. Filmmaker Guy Ritchie’s return to London crime-comedy is most assuredly a bit too far removed from today’s acceptable Politically Correct line. It features mostly male characters and far too many stereotypes to count. It’s also ridiculously funny. Mr. Ritchie doesn’t take his story or characters too seriously, but he proves yet again that he’s serious about entertainment.
Posted by David Ferguson 
Movie Reviews from the Dark 