Review: "Tully"

With their third big screen collaboration (well, fourth, if you count his producing duties on Jennifer's Body), director Jason Reitman and screenwriter Diablo Cody are more or less proving themselves the James Ivory and Ruth Prawer Jhabvala of suburban dramedies. (Which, I suppose, could make Charlize Theron their Emma Thompson).

Tully, their latest picture, is not quite on the level of their prior efforts, Juno and Young Adult. It lacks the sparkling ensemble of the former and the writing isn't quite as sharp and gut-punching here as it is in the latter. (Nor is this film in the same league as Up in the Air, Reitman's masterpiece.)

That said, this film remains wholeheartedly worth a look, if exclusively as a showcase for Theron, who once again proves herself one of the finest actresses working today. 

Theron is Marlo, a wife and mother of two, about to give birth to her third child. Already exasperated by her two kids, especially her car seat-kicking, chicken nugget-guzzling son, Marlo is approached by her brother Craig (Mark Duplass), who suggests she consider hiring a nanny for nighttime duties. Marlo resists at first - that is, until little baby Mia graces the earth and proves a suffocating bundle of joy. 

Ultimately, Marlo does give in and into her life arrives Tully (Mackenzie Davis, in a fetching, irresistible performance). Like a gift from the heavens, Tully is masterful in not only handling Mia but also providing Marlo with peace and surprising insights about motherhood and the importance of taking care of oneself. Marlo finds herself enlightened and invigorated by Tully's presence - the question is, how long can their bond last?

Tully is especially satisfying and perceptive in its first half, with Theron soaring in this expertly written role. Cody continues to compose rich, shrewd dialogue in a fashion rarely seen in today's comedies. By the hour mark, Tully becomes more haphazard and uneven, until an 11-'o-clock-hour twist instills the proceedings with much of the freshness found earlier. 

Unlike Juno and Young Adult, Tully isn't much of an ensemble showcase. Davis is a true delight, while Ron Livingston has the rather thankless duties of taking on Drew, the amiable, hardworking husband who hasn't a clue about the struggles of motherhood. Lia Frankland is sweet as their daughter Sarah but neither her role, nor anyone else's beyond Marlo and Tully, is much fleshed out.

Tully may be a second-tier effort from its director and writer but it finds Theron operating at the top of her game and sports that dazzling turn from Davis - for them alone, it's well worth watching.

B+

Review: "Chappaquiddick"

In 2016, I fell madly head over heels for Jackie, Pablo Larrain's mesmerizing, sumptuously designed picture which, serving as a career-best vehicle for star Natalie Portman, shines a spotlight on John F. Kennedy's presidency, from its glory days, when the White House was filled with grand entertainment and joy, to the horrors of that fall day in Dallas, Texas and the whirlwind of events that followed. Beyond Portman, the picture sports one hell of an ensemble, including Peter Sarsgaard, in prime form as the grieving Robert F. Kennedy.

John Curran's Chappaquiddick, focused not on John or Robert but Ted Kennedy, is decidedly not on the same sky-high level as Jackie. It is, however, still a spectacularly aggravating and entertaining film and features a gangbusters, Oscar-caliber turn from leading man Jason Clarke. It is also, I would argue, a more satisfying endeavor than say, Oliver Stone's overbaked JFK and the countless Kennedy-themed films and series that have graced the small screen.

As the film opens, it's the summer of 1969 and Kennedy (Clarke), now in his second term as U.S. Senator from Massachusetts, is vacationing on Martha's Vineyard with the likes of cousin Joe Gargan (Ed Helms) and Paul Markham (Jim Gaffigan), the U.S. Attorney for Massachusetts. Also present is Mary Jo Kopechne (Kate Mara), a former staffer on Bobby Kennedy's 1968 presidential campaign.

Amidst a boozed-soaked party, Kennedy and Kopechne go for a drive and the former, more than a tad inebriated, sends the car flying off a bridge and into a pond. Unsuccessful in rescuing Kopechne, Kennedy stumbles his way back to the party and informs Gargan and Markham, who too fail to save Kopechne upon latermentering the scene. Gargan and Markham insist Kennedy turn himself into the police but instead, he returns to his hotel room, leaving law enforcement to discover the car themselves the following morning.

At this point in the picture, the proceedings are rather lackluster, clumsily staged by Curran and not terribly convincing. What happens from here, however, once Kennedy bolts for the family compound in Hyannisport, is absorbing stuff. Clarke has powerful scenes opposite a nearly mute Bruce Dern, playing father Joe Kennedy who, at this point, was on the verge of death. With mere glances, Dern vividly conveys his disappointment in his son, whose actions in his eyes have disgraced the family.

Making for riveting cinema is the public relations nightmare that comes of the incident, as the family's legal team, truly awe-inspiring in how they don't give the slightest shit about Kopechne, vie to not only protect Kennedy but perhaps even make him out of be some kind of hero. A key part of the film is also how Gargan becomes increasingly disillusioned with the family, convinced Kennedy can only save himself by resigning from the U.S. Senate. Of course, this does not come to fruition.

As Kennedy, Clarke rings all too true, portraying the politician as a man with overwhelming daddy issues, scant interest (at this point) in the presidency and an unease over the fashion family allies heartlessly approach such a tragedy. Yet, Kennedy is also plenty self-absorbed and unwilling to allow Kopechne's death to drive a fatal stake through his political career. The supporting players are also formidable, though Mara's turn as Kopechne proves a mostly thankless one - we barely learn a thing about her. 

Chappaquiddick will hardly be setting this year's awards season on fire but, for Clarke's compelling turn alone, it's well worth a look.

B+

Review: "A Quiet Place"

Thanks, John Krasinski. Now, I'm going to have incessant nightmares about drowning in grain silos.

Krasinski, the affable star of The Office, it turns out, has quite an eye for horror, not that his directorial effort A Quiet Place is ever truly terrifying (while, besides that silo scene). It is, however, immensely entertaining and exciting and exceedingly well-acted by all involved.

The picture opens on the Abbott family who, not far off in the future, appear to be among the few remaining survivors in a world on lockdown. You see, the planet as we know it has been invaded by blind extraterrestrial monsters that, more or less, resemble grasshopper-spiders on steroids and are supremely sensitive to even the slightest of sounds. Should anyone or anything make a peep, they're sure to draw the ire of these vicious visitors.

The Abbotts, led by dad Lee (Krasinski) and mom Evelyn (Emily Blunt), are master survivalists but one tragic hiccup results in their youngest child falling victim to the creatures, an event that draws unwanted attention to the surviving family - Lee, Evelyn, daughter Regan (Millicent Simmonds) and son Marcus (Noah Jupe). The relationship between Lee and Regan is especially affecting and absorbing - she blames herself for her brother's death and cannot recognize the love her father so clearly still feels for her.

As you can imagine, events transpire that draw the beasts closer to the family, resulting in one riveting set piece after another. Krasinski particularly gives Blunt and Simmonds (who was so wonderful in Wonderstruck last year) prime material to chew on, characters and situations far more compelling than what's seen in today's average horror flick. The humans, I must say, are leaps and bounds more interesting than the monsters, which aren't the least bit scary and are probably seen a tad too often.

A Quiet Place ends on a note that some may deem anti-climatic but I happen to think it's quite badass. The proceedings have a look and feel similar to last year's stirring It Comes at Night, though this picture is more fun and agreeable and, for better or worse, a whole lot less paralyzing. 

Kudos to Krasinski for a jolly spring chiller.

A-

Review: "Ready Player One"

Ah, arcades. Growing up, I couldn't get enough of them. Sure, on our family trips to the likes of Hampton Beach and Lake George, I enjoyed soaking up the sun and frolicking in the water but it was really those stops at the nearby arcades that most floated my boat. Pinball, Skee-Ball, shooting galleries, video games - these and more provided me with heaps of entertainment, especially (no surprise) the movie/TV-themed offerings, like the Phantom of the Opera and Twilight Zone pinball machines.

In terms of delivering thrills, Steven Spielberg's Ready Player One operates on about the same level as an arcade. It isn't the most sophisticated of offerings - and surely isn't top-tier Spielberg - but still mostly succeeds as a jolly, stimulating romp, only petering out a bit with about a half hour to go. (After all, even for an arcade nut, two hours and twenty minutes straight spent in one would be a bit much.)

The picture, based on Ernest Cline's eponymous novel, finds earth on the verge of collapse in the year 2045. Providing the human race a much-needed distraction is OASIS, a virtual reality universe created by the oddball James Halliday (Mark Rylance). Following his death, Halliday devised a tricky three-part contest for people worldwide which, if somehow won, would provide the lucky champion with Halliday's fortune and exclusive control over OASIS.

Among those competing for this glory is Wade Watts (Tye Sheridan), a young wannabe-hero who has closely studied Halliday's past in search of clues to help unlock the mysteries to triumphing in this treasure hunt. After Wade emerges the first conqueror of part one of the contest, he collaborates with friends - the self-proclaimed High Five - on the dizzying journey to acing the remaining two parts. Hellbent on preventing his success is deranged businessman Nolan Sorrento (Ben Mendelsohn), who has a vast fleet of troops determined to steamroll the High Five and claim victory.

Especially in the early-going, Ready Player One completely delivers the goods. Visually, the proceedings are truly awe-inspiring, with Spielberg staging several exciting set pieces and Mendelsohn, per usual, in brilliant, scene-stealing form. The incessant pop culture references are hit-or-miss but, without delving into spoilers, let's just say fans of '80s horror cinema are bound to have a fabulous time. 

Acting-wise, the performances range from exceptional (Mendelsohn) to serviceable (Sheridan and leading lady Olivia Cooke) to atrocious (Rylance). Of course, in a CGI-packed extravaganza like this, acting prowess isn't squarely on the brain. The thing is, the visual effects too wind up rather uneven, genuinely spectacular in the first half but more chaotic and haphazard as the picture reaches its conclusion. There's one especially wild battle that draws characters from a plethora of past films and shows but the staging is so disorderly, Spielberg fails to much utilize them - odd, since the cost of obtaining rights to these figures could not have been cheap.

My qualms aside, I did have a blast with Ready Player One. It's admittedly one of those pictures you have a rollicking good time with...and then perhaps reflect back on it, questioning if it's really all that great. I do think it has its shares of flaws - in the Spielberg canon, I'd be pressed to rank it alongside Indiana Jones and the Temple of Doom, also fun but in the most supremely silly way - but there are certainly more boring, less satisfying ways to spend nearly two and half hours. Also, it's the sort of stunning film that demands to be seen on a big screen. Don't wait for Netflix.

B+

Review: "Unsane"

Ah, pictures set in mental institutions - more often than not, they get under my skin, the likes of Anatole Litvak's The Snake Pit, Samuel Fuller's Shock Corridor and Hall Bartlett's The Caretakers standing among the best of this fare. There's just something about the claustrophobia of these settings and the helplessness the characters so often feel that intensely resonates.

Steven Soderbergh's Unsane may be a throwback to these and other hospital-set melodramas but it doesn't quite pack the same punch as the strongest of these films.

Claire Foy is front and center, doing most of the picture's heavy lifting as Sawyer Valentini, a woman struggling to escape her past. Stalked by a man (Joshua Leonard) over the past two years, she moves from Boston to Pennsylvania but can't quite get him out of her head. She seeks therapy at a nearby behavioral center and unwittingly ends up signing up for a 24-hour commitment there.

It isn't long before those 24 hours turn into a week, as doctors and nurses question her sanity. Then, the ultimate nightmare - her stalker shows up as a new staff person, under a new name, hellbent on continuing his pursuit...or could it be that she's really just going bananas? Sawyer can kinda-sorta count on the one fellow patient (Jay Pharoah) who believes she isn't crazy, plus her estranged mother (Amy Irving), who desperately wants her out of there, but actually departing this asylum from hell proves the tallest of tasks.

Soderbergh's decision to shoot Unsane entirely on an iPhone is actually quite nifty and powerful, making the proceedings look and feel more grounded in reality. It's too bad then that the screenplay, by Jonathan Bernstein and James Greer, is such a letdown, devoid of any real surprises. What really prevents Unsane from ever soaring, however, is the stalker, a villain always more insufferable than actually scary.

Foy, while no Olivia de Havilland, is in strong form, SNL alumnus Pharoah is inspired casting and Irving's of course always a pleasure to see grace the screen. Also, there are moments here and there where Soderbergh shows himself to be wholly capable of delivering the goods in a thriller like this but they're sadly few and far between, the script always getting in the way of building any real momentum. Oh, and did I mention this also includes a Matthew Broderick in Manchester by the Sea-level atrocity of a celebrity cameo. Why, Soderbergh, why?

I sure hope the spectacularly talented Foy can land more satisfying film vehicles than Unsane.

C+