Greetings again from the darkness. Joss Whedon returns as writer/director for the sequel to his 2012 blockbuster The Avengers, and this time he juggles an exceptionally large, diverse and talented group of characters and actors who are not only involved in good versus evil, but also in the battle for screen time.
There is no shortage of write-ups from film critics and fanboys who have analyzed every aspect of the movie from every possible angle, and while I admit to taking that same approach to most movies, there is something about the Marvel franchise that cause me to flip off the film critic part of my brain and just sit back and enjoy. And enjoy I do. The characters are fun and interesting and the action is at times breath-taking.
Since there are, by my count, at least 23 actors who deserve mention, it makes little sense for me to list them here. It is worth noting that the key actors all reprise their roles as Avengers, and many of those in supporting roles are back as well. This time there are also many significant newcomers, and those include “The Twins” – Aaron Taylor-Johnson as Quicksilver and Elizabeth Olsen as Scarlet Witch. Other newbies include Linda Cardellini (“Mad Men”,” Bloodline”) as Hawkeye’s wife, Claudia Kim as Dr Helen Cho, Thomas Kretschmann as Strucker, and Andy Serkis as Ulysses Klaue. Though each is a nice addition, it’s the stellar voice work of James Spader as Ultron that really makes this movie click. Somehow Mr. Spader manages to convey a powerful presence despite maintaining a (mostly) even keel throughout. It’s masterful voice acting.
Missing this time out are Pepper Potts and Loki, though we hardly notice thanks to the first look at Vision (Paul Bettany) and Thanos (Josh Brolin) … plus the unveiling of Iron Man’s Hulkbuster armor. If you thought the first Avengers movie made it difficult to keep up with the characters, this one will have your head spinning. It’s probably the only quibble I have with it … character overload at the expense of character development. The Hawkeye family farm represents a meager attempt to have this group of superheroes set in a “normal” environment, but it just doesn’t quite work. The Avengers are at their best while snipping at each other or saving the planet … fortunately the movie offers plenty of the latter.
Greetings again from the darkness. We have come to expect our Westerns to be filled with stoic heroes and nasty villains, but this film delivers a pious, yappy leading lady paired with a selfish, no frills drifter. Based on the 1988 novel from Glendon Swarthout, it’s also the second directorial outing from Tommy Lee Jones (The Three Burials of Melquiades Estrada, 2005).
Hilary Swank plays Mary Bee Cuddy, a name repeated so many times that it will surely stick with you … even if the movie doesn’t. Thirty-one years old and unmarried, Ms. Cuddy is not without talent. She works the plough horses, cooks up fried chicken, and plays a mean fake piano. As is pointed out to her a couple of times, she is also “bossy” and “plain” looking … neither trait especially appealing to men in the wild west.
Ms. Cuddy volunteers to take three local women to Iowa. The three women (Grace Gummer, Miranda Otto, Sonja Richter) have each gone insane, and somehow Iowa is the most civilized place within a wagon ride’s distance. Cuddy teams up with a low-life drifter played by Tommy Lee Jones, after they strike a deal that allows him to escape certain death. The verbal clash of cultures and personality between the two main characters provides most of the action on screen, as the three women being escorted are mostly muted and either locked in the back of the wagon or tied to a wagon wheel during riding breaks.
The film is at its best when focusing on the harsh realities of frontier life. Cinematographer Rodrigo Prieto (Brokeback Mountain) does a nice job of capturing the wide expanse and stark vastness of the landscape, while also tossing in some artsy silhouettes and proof of abruptness of this life. Director Jones utilizes some haphazardly timed flashbacks to help us better understand the plight of the three women, but this could have been done much more effectively. Courage, inner-strength, and morality all play a role here, and the contrast between frontier and civilization was most distinct.
Much of the film plays like an oddball buddy picture – think Nolte and Murphy in 48 Hours, or Bogart and Hepburn in The African Queen. If you find the interaction between Swank and Jones to be realistic, then you will probably buy into the whole film. If not, the lack of flow and choppiness of scenes will jump out. There seems to be a never ending stream of little more than cameos from a tremendous line-up of actors: Barry Corbin, William Fichtner, Jesse Plemons, David Dencik, Evan Jones, John Lithgow, Tim Blake Nelson, James Spader, and Hailee Steinfeld. There are even a couple of scenes near the end featuring Meryl Streep (her daughter Grace Gummer plays one of the 3 insane women). The slew of familiar faces actually detracted from the story for me, because the Swank and Jones characters just couldn’t hold my attention.
The ending seems quite odd and a bit out of place for what we have just watched, and I’m still confused by the line of dialogue addressing the difficult “winter” they must have had on the wagon trip … it’s clearly stated that the trip began in May and would take a few weeks. Even in Nebraska, May and June can’t be considered winter. If you enjoy Hilary Swank on a soapbox or Tommy Lee Jones dancing a jig, then perhaps the pieces will fit better for you than they did for me.
SEE THIS MOVIE IF: you are intrigued by a long, mostly uneventful wagon trip where 3 of the 5 people don’t speak and one rarely shuts up.
SKIP THIS MOVIE IF: Tommy Lee Jones dancing a jig (twice) or Hilary Swank playing air piano just aren’t enough to pull you away from holiday shopping.
Greetings again from the darkness. The movie lover in me has been anxiously awaiting this one for months. On the other hand, as a citizen, the recent Presidential campaign antics put me in quite the political funk. Tired of the rhetoric and disenchanted with the current leadership, I was concerned my thoughts might poison the outlook on director Steven Spielberg‘s latest. Fortunately, both Lincoln and Lincoln allowed me to forget those in charge today, and instead witness the look and feel of true leadership and greatness.
Despite the title, this is not simply a biographical sketch of our 16th President. Rather, it’s an essay on back room politics … the key to Washington and democracy. Deal-cutting, horse-trading, arm-twisting are just some of the strategies involved in reaching compromise. When the stakes are history … abolishing slavery … the passion of those unseen actions is intensified. We see a man at the height of his power willing to do what is necessary to reach a goal in which he fervently believes – even though his views are not shared by a great many others. Ratifying the 13th Amendment could have been quite dry in lesser hands, but Spielberg and Daniel Day-Lewis are experts at what they do.
Some of the most fun in the film occurs during the House floor debates between Republicans and Democrats. These scenes serve as a reminder that the two parties are often at philosophical odds and, just as designed, debate and discussion lead to compromise and advancement. At least that’s the general idea and purpose. Next to Daniel Day-Lewis’ performance, err, embodiment of Lincoln, the script is what really jumped out at me. Loosely based on “Team of Rivals: The Political Genius of Abraham Lincoln” by Doris Kearns Goodwin, Tony Kushner’s screenplay serves up dialogue that is sharp, crisp, entertaining, thought-provoking and filled with message. This is a very talky film, not a Civil War film. We only get a couple of brief battlefield scenes, but the conversations never allow us to forget that the brutal war is always on the mind of the politicians and citizens. Some of the theatricality teeters closely to the look and feel of a play, though it is quite effective for the ongoing politicking. I hope Kushner’s work is remembered come Oscar time … especially for the way he worked in the full text for both the Gettysburg Address and the 13th Amendment.
I’ve always held a certain fascination with Abraham Lincoln. Familiarity with with the legends, the icon, the monuments, the statues, even the automatronics at Disney World so many years ago. It is with true awe that I recognize what Daniel Day-Lewis delivers. His presence is so powerful that I found it all but impossible to look at anything else when he was on screen. That will certainly mandate a second viewing, but I have no hesitancy in recommending a film that brings to life what a great man can be … what true leadership can be. This is a man who carries his burdens in his soul. He may have been self-educated, but in addition to Shakespeare and Euclid, Mr. Lincoln understood people. That knowledge allowed him to maintain his high principles through patience and reasoning and even (sometimes) humorous story-telling.
We are never allowed to forget that this is a Spielberg movie. The scenes with Lincoln and Mary Todd (Sally Field) are somewhat distracting to the greater stories, but perhaps that’s the point. These discussions were distractions to him as well. In fact, Spielberg is quite kind to Mary Todd Lincoln. Other tales have not been. Either way, Ms. Field is effective, though I wish for the sake of the film, she had less screen time.
The supporting cast is a who’s who of character actors. Most won’t be named here but Tommy Lee Jones is a key player as Rep. Thaddeus Stevens, a radical abolitionist; David Strathairn as Sec of State William Steward has Lincoln’s trust; Joseph Gordon-Levitt plays Lincoln’s son; and Jackie Earle Haley plays the Confederate VP Alexander Stevens. There is also a tribunal of political lobbyists or fixers that add quite the element of dirty-politics: James Spader, John Hawkes and Tim Blake Nelson. Appomattox is handled with class – a quick scene showing a prideful General Robert E Lee departing, and we get a couple of scenes with General Ulysses S Grant (Jared Harris).
Lastly, the score from the great John Williams excels and compliments the mood and pace of the story … he is careful to never overwhelm. Williams is probably in line for his 48th Oscar nomination (second only to Walt Disney). Though I wish it had ended with the scene depicted at left, this is a film about political process and the people who made that process work – even at a time when everyone thought the choice had to be made between ending the war and abolishing slavery. Choose one, you can’t have both. Abraham Lincoln proved that sometimes the right man is in the right place at the right time. Unfortunately, those times come around very rarely.
SEE THIS MOVIE IF: you too want to be mesmerized by Daniel Day-Lewis as Lincoln OR you like your history lessons to be entertaining and easy on the eyes
SKIP THIS MOVIE IF: you prefer your history to come straight from the textbooks with little more than a few photographs for prosperity OR you don’t like Sally Field. You really don’t like her.