THE GOLDFINCH (2019)

September 12, 2019

 Greetings again from the darkness. The challenge after watching this movie is deciding whether it needed more time or less. With a run time of two-and-a-half hours, that may seem like a ludicrous question, but Donna Tartt’s Pulitzer Prize (fiction) winning 2013 novel was almost 800 pages long, covering many characters and spanning more than a decade. What to include and what to omit surely generated many discussions between director John Crowley (the excellent BROOKLYN, 2015) and screenwriter Peter Straughan (Oscar nominated for the fantastic TINKER TAILOR SOLDIER SPY, 2011).

13 year old Theo (Oakes Fegley) is visiting the Metropolitan Museum of Art with his mother when a bomb explodes leaving Theo dazed in the rubble and his mother dead. An encounter with an injured stranger causes Theo to take a painting and flee the museum. Theo proceeds to hide the artwork as the family of one of his schoolmates takes him in. The painting is “The Goldfinch” by Rembrandt’s pupil Carel Fabritius. In the first of many parallels separated by time, we learn Fabritius was killed (and most of his work destroyed) in an explosion. In fact, it’s these parallels and near-mirror-images are what make the story so unique and interesting … and so difficult to fit into a film.

When Theo’s long-lost drunken shyster father (Luke Wilson) shows up with his equally smarmy girlfriend Xandra (Sarah Paulson), they head to the recession-riddled suburbs of Las Vegas. It’s here where Theo meets Boris (Finn Wolfhard, Richie from the two IT movies), a Ukranian emigrant living with his dad (yet another parallel). The two boys become friends, partaking in drugs, alcohol, and shoplifting. Another tragedy puts Theo on the run. He finds himself back in New York, where he takes up with Hobie (Jeffrey Wright), the partner of the stranger from the museum.

All of this is told from the perspective of young adult Theodore Decker, played by Ansel Elgort (BABY DRIVER). We see him bunkered in a hotel room contemplating suicide. The story we watch shows how his life unfolded and landed him in this particular situation. And it’s here where we find the core of the story. Circumstances in life guide our actions, and in doing so, reveal our true character. Theo carries incredible guilt over his mother, and his actions with Hobie, regardless of the reasons for doing so, lead him to a life that is not so dissimilar to that of adult Boris (Aneurin Barnard, DUNKIRK) when their paths cross again.

Other supporting work is provided by Ashleigh Cummings as Pippa, the object of Theo’s desire, Willa Fitzgerald (played young Claire in “House of Cards”) as Kitsey Barbour, Theo’s fiancé, as well as Denis O’Hare, Peter Jacobson, and Luke Kleintank. As a special treat, Oscar winner Nicole Kidman plays Mrs. Barbour in what feels like two different performances. When Theo is young, she is the cold, standoffish surrogate mother who takes him in; however when older Theo returns, her own personal tragedies have turned her into a warm bundle of emotions in need of pleasantry. It’s sterling work from an accomplished actress.

The segments of the film that resonate deepest are those featuring Oakes Fegley as young Theo. Fegley was so good in the criminally underseen WONDERSTRUCK (2017), and here he conveys so much emotion despite maintaining a stoic demeanor. It’s rare to see such a layered performance from a young actor. Of course the film is helped immensely by the unequaled work of cinematographer Roger Deakins. Mr. Deakins finally won his first Oscar last year in his 14th nomination. Trevor Gureckis provides the music to fit the various moods and the two time periods. All of these elements work to give the film the look of an Oscar contending project; however, we never seem to connect with the older Theo, which leaves a hollow feeling to a story that should be anything but. Instead we are left to play “spot the parallels” … a fun game … but not engaging like we would hope.

watch the trailer:


IT (2017)

September 7, 2017

 Greetings again from the darkness. There are two clown schools: Funny clowns (Bozo, Ronald McDonald), and Terrifying clowns (the one in POLTERGEIST, Pennywise the Dancing Clown). Stephen King first introduced Pennywise in the 1986 novel, and the great Tim Curry brought him to life (and our nightmares) in the 1990 TV mini-series (2 episodes). So, that’s 27 years since the TV version. How fitting that director Andy Muschietti (MAMA) introduces a new generation 27 years later, since that’s how often the supernaturally evil clown visits Derry, Maine to frighten and feast on kids. It’s a terrific update.

Horror films are similar to comedy films in that it often comes down to one’s own personality quirks … what makes you laugh, and what scares you. This new version covers the first half of King’s novel, focusing on “The Losers Club” – the seven kids who band together to fight their fears. Director Muschietti sets the story in 1989 (rather than the 50’s) and the obvious comparisons are to THE GOONIES, STAND BY ME (another King story), and the recent hit “Stranger Things”.

The opening sequence gets us off to a great start. You’ve probably seen it in the trailer. Young Georgie (Jackson Robert Scott) is joyfully splashing through the rain puddles following his paper boat as it disappears into the storm drain. It’s there that he meets, and we get our first look at, Pennywise (Bill Skarsgard, son of Stellan and brother of Alexander). Giving us an early peek at what we came to see creates time for the development of a long list of characters. Of course the mini-series and the novel didn’t have the time restrictions of a feature film, so it’s impressive how quickly we connect with the kids.

Georgie’s older brother Bill (Jaeden Lieberther, MIDNIGHT SPECIAL) is the leader of The Losers despite his propensity to stutter, and his belief that little Georgie may still be alive. Motormouth Richie (Finn Wolfhard, “Stranger Things”) is the bespectacled wiseass, while Beverly (Sophia Lillis, an Amy Adams lookalike and star in the making) is the tough-on-the-outside female who deals with the rumors that accompany being a teenager. Hypochondriac Eddie (Jack Dylan Grazer), straight-laced son of the Rabbi Stanley (Wyatt Oleff), chubby brainiac new kid Ben (Jeremy Ray Taylor), and home-schooled Mike (Chosen Jacobs) round out this group of outsiders who are all frequently the target of bully Henry Bowers (Nicholas Hamilton), creepy parents, and of course, Pennywise.

A couple of the set pieces are outstanding. Beverly’s bathroom (especially the sink), the creek for the rock fight, and the rickety old house and its corresponding clown lair all contribute to the overall level of menace. Rising star composer Benjamin Wallfisch produces a score that guides us through the thrills and spills, as well as the quieter moments. As for Pennywise, even though the dancing clown had more screen time in the mini-series, Skarsgard is memorable, although the modern day special effects (those teeth!) often diminish the humanistic feel of Curry’s clown and escalate things to an other-worldly level.

Expect more of the Halloween Haunted House type of scary rather than the emotionally crippling stuff of horror films like THE EXORCIST or THE SHINING. The sudden bursts of sinister are surprisingly balanced with the humorous one-liners from the kids, and the actualization of the infamous “you’ll float too” is a stunning effect. The nostalgic feel complements the best part of the story … the power of friendship and connected groups. Watching these kids face their biggest fears certainly provides a bit of a chill to the upcoming fall season … and as a bonus, it’s a fun time for viewers.

watch the trailer: