THE TRAGEDY OF MACBETH (2021)

December 24, 2021

Greetings again from the darkness. The confounding part about screen adaptions of great and familiar literary works is that we have each already formed our mental images of characters and setting. Adapting Shakespeare’s 400 year old play is Joel Coen (4 time Oscar winner, NO COUNTRY FOR OLD MEN), and it’s also his first time to fly solo as director without his brother Ethan. Filmed in black and white on a sound stage, this production may lack the frills we’ve come to expect in modern times, yet while its stark sets recall German Expressionism, the film still manage to deliver memorable visuals.

Denzel Washington (2 time Oscar winner, TRAINING DAY, GLORY) stars as Macbeth, while Mr. Coen’s wife, Frances McDormand (4 time Oscar winner, NOMADLAND) is a perfect fit as the scheming Lady Macbeth. The absolute best and creepiest sequences are thanks to terrific work from stage actor Kathryn Hunter, who plays not one witch, but rather the trio (plus, in true Shakespearian fashion, a fourth character later). Ms. Hunter’s work is a highlight as she contorts her body and rings out prophecy with an exceedingly disturbing voice. She is fantastic. It’s the witches’ prophecy that Macbeth will become King of Scotland that sets into action a chain of events familiar to most of us.

The reasons this didn’t work as well for me as it did for others include Denzel’s extremely low-key performance in the first half, and more crucially, the film lacks that unbridled lust for power that so attracts me to this particular story. It struck me more as a story of a disgruntled couple than the timeless themes of corruption and lust for power that Shakespeare so expertly crafted. Denzel’s performance does come alive in the second half and he’s quite something to watch. However, it’s Ms. McDormand who nails the Lady Macbeth role and ensures our attention doesn’t drift. Although obvious, it must be noted that these two renowned actors are a bit old for the roles, but interesting enough, this elements adds a different perspective to the characters’ ambitions.

Supporting performances include Brendan Gleeson (is he ever not a standout?) as the ill-fated King Duncan, and Harry Melling as Malcolm and Matt Helm as Donalbain, Duncan’s two sons. Corey Hawkins plays Macduff, Bertie Carvel is Banquo, and Stephen Root is the scene-stealing (and comic relief) Porter. Cinematographer Bruno Delbonnel treats us to some creative shots and angles … and plenty of birds. But of course, it’s Denzel and McDormand who will make or break this for you.

Director Coen does include the familiar lines: “Something wicked this way comes” inspired writer Ray Bradbury, Lady Macbeth’s “out, damned spot” still packs a punch, while Macbeth’s “a tale full of sound and fury, signifying nothing” remains my personal favorite. With the stark sets, Coen serves up a shadowy presentation – or is it a presentation of shadows? It’s a blend of stage and screen, yet never fully both. Despite some of my displeasures and the long-lasting curse, overall it’s a welcome version of “the Scottish play” … although I still prefer reading The Bard’s prose.

Opening in theaters on December 25, 2021 and streaming on AppleTV+ on January 14, 2022

WATCH THE TRAILER


BLACKKKLANSMAN (2018)

August 9, 2018

 Greetings again from the darkness. Adam Driver impersonating John David Washington or vice versa … either way is comical, except that it’s also based on a true story where their characters existed and this chain of events actually occurred. The source material is the memoir by Ron Stallworth and it’s possible, given today’s social climate, that only director Spike Lee could pull off a film that so blatantly uses racism for comedic effect, yet also reminds us of its inherent danger.

Mr. Washington (Denzel’s son) plays Ron Stallworth, Colorado Springs’ first black rookie police officer. His job interview is quite awkward and, of course, features a reference to Jackie Robinson. Quickly growing tired of his records room duty, Stallworth’s first field assignment is to infiltrate a local black activist group and report back on a Stokely Carmichael/Kwame Ture (Corey Hawkins) event. This leads to a much bigger and riskier plan of going after the KKK. Yes that’s right, no need to re-read the part about him being the first black police officer. This is the incredible story of how an African-American (with the help of his white partner) worked his way into the KKK, even speaking with David Duke on a few occasions, and ultimately prevented an attack on local black activists.

The adapted screenplay was a collaborative effort from Charlie Wachtel, David Rabinowitz, Kevin Willmott, and director Spike Lee. The film is simultaneously laugh outloud funny and provocative. The outlandish plan involves Ron Stallworth (and his white voice) being the telephone connection, and partner (and non-practicing Jew) Flip Zimmerman (Adam Driver) being the “white face” of Ron Stallworth at KKK meetings. There is extreme tension during Zimmerman’s undercover scenes, and much of the humor occurs during Stallworth’s phone conversations. Topher Grace is extremely effective as David Duke, a thankless role to say the least.

Superb support work is widespread in this film that runs 2 hour and 15 minutes. Robert John Burke plays a no-nonsense Chief Bridges; Frederick Weller is racist jackass patrolman Andy Landers; Laura Harrier is Patrice, the Angela Davis lookalike activist and love interest; Jasper Paakkonen plays skeptical and high-strung Klansman Felix; Paul Walter Hauser (I, TONYA) is the comical and unnerving Ivanhoe; and even Harry Belafonte makes a surprise big screen appearance. Other notables include Alec Baldwin (in an opening that sets the stage), Nicholas Turturro, Damaris Lewis, Ryan Eggold, Isiah Whitlock Jr, and Arthur J Nascarella. It’s a terrific and deep cast and they walk the fine line between entertainment and enlightenment. There is no shortage of Hollywood family genes and blending thanks to: Washington, Baldwin, Turturro, Buscemi, and Weller (it plays like 2 degrees of separation).

A low-budget look to the film gives it an authenticity and 1970’s vibe, and cinematographer Chayse Irvin works wonders with the camera in a multitude of situations where our attention should be on the dialogue of the characters rather than the colorfulness of set pieces. Black Ron running the show from a telephone (and a white voice) and White Ron face-first in the muck both have their burdens to bear, and much of the time, Zimmerman’s is the more interesting of the two – although as a whole, it’s an astonishing story.

Perhaps Spike Lee set out to make the polar opposite of D.W. Griffith’s 1915 most controversial film THE BIRTH OF A NATION, and he has certainly crafted one of the most effective films of his oeuvre. He also nails a few jabs at Trump and the current political climate, while the music from Terrence Blanchard perfectly complements the tone. Mr. Lee interjects some historic moments as well as some fictional ones – none more powerful than the back and forth chants of “White Power” “Black Power”. At the conclusion, Lee serves up footage of Charlottesville, reminding us that the racism that caused us chuckles over the past couple of hours, remains prevalent today … only that’s not the least bit funny.

watch the trailer:


KONG: SKULL ISLAND (2017)

March 25, 2017

 Greetings again from the darkness. I enjoy creature movies. Even as a kid I enjoyed creature movies (as distinguished from monster movies, which I’m also fond of). From the classics to the (very) low budget ones on late night TV to the fear-mongering from Japan … I enjoy them all. Of course the most fascinating of the bunch is King Kong, and this version arrives 84 years after the still magnificent 1933 version from Merian C Cooper and featuring Fay Wray.

This time there is no shootout on The Empire State Building, and the connection between Kong and the girl is limited to a few knowing glances. Most of the film takes place on Kong’s island … one he shares with some other creatures (not rodents) of unusual size. Unlike Spielberg in Jaws, who teased us for half the movie before finally revealing the shark, we get a glimpse of the imposing Kong very early on.

The cast is the best yet for a creature feature. John Goodman and Corey Hawkins play scientists/conspiracy theorists; Tom Hiddleston plays the world’s only mercenary with perfect hair and skin; Brie Larson is a self-described anti-war photographer; while Samuel L Jackson, Shea Whigham, Thomas Mann and Toby Kebbell play military men on their last mission at the end of the Vietnam War. The most colorful character is played by John C Riley – an eccentric WWII survivor who has been living on the island since 1944.

Jordan Vogt-Roberts directs this version, and his resume of The Kings of Summer and mostly TV work begs the question of how the heck did he get this gig? Fortunately he has cinematographer Larry Fong alongside, and his significant big action picture experience is obvious in the breath-taking helicopter scene (as well as many others). It’s impossible not to notice the extreme love shown to Apocalypse Now and even Jurassic Park. Some of the shots and tone seem as if pulled directly from those films … even moreso than the original King Kong. We even get Samuel L Jackson recycling his “hold onto your butts” line.

There is plenty here to satisfy us lovers of creature features, though this version certainly lacks the emotional impact of Fay Wray and Naomi Watts connecting with Kong … not much Beauty, but plenty of Beast. It’s certainly recommended that you stay for the post-credits scene that sets the stage for 2020.

watch the trailer: