Posts Tagged ‘Adam Driver’

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Velvet Buzzsaw

Set in the world of high-end modern art, writer-director Dan Gilroy reunites with his Nightcrawler stars Jake Gyllenhaal and Rene Russo (plus Toni Collette and John Malkovitch) for this wonderfully wicked mashup of satire and horror.

The plot follows the discovery of an unknown artist’s work after his death, and the assorted bon vivant (a celebrity critic, a gallery owner, an art agent, etc.) who both admire the craft as well as see the opportunity to get in on the ground floor of the next big thing. Only one problem: the paintings appear to be imbued with some hostile and supernatural force that sets about eliminating the cast in increasingly gleeful displays of carnage.

You’re mileage will certainly vary with this one, and Gilroy’s attempts to zip two genres together (as if the Final Destination franchise had been grafted onto The Devil Wears Prada) don’t always result in a seamless delivery. But the experience is so unique, kinetic and unassuming, anchored by a hypnotically devoted Gyllenhaal, that it makes for a rare, if beguiling, treat.

Grade: B+

*Watch it NOW on Netflix

Brittany Runs a Marathon

Jillian Bell, a very funny if not yet widely known comedian, stars and shines in this semi-biographical film by debut director (and screenwriter) Paul Downs Colaizzo.

As the titular Brittany, Bell plays a woman who, after some hard truths about her health from a doctor, resolves to turn her life around by training for and running in the New York City Marathon. Brittany finds confidence and new purpose with each lost pound, but the film is far from an advertisement for Gold’s Gym memberships — it follows a woman’s search for identity and self-appreciation, trading laugh-out-loud comedy with cringing tragedy as it builds up to a powerhouse finale.

Grade: A-

Watching “The Brink,” Alison Klayman’s documentary on populist provocateur and propagandist Steve Bannon, one can’t help but wonder what the subject expected to get by granting a filmmaker such intimate access to his life.

Much like the 2016 fly-on-the-wall documentary “Weiner,” which similarly premiered at Sundance, “The Brink” finds a controversial and scandal-prone American political figure behind closed doors in the places where the public typically isn’t invited to go.

In this case it’s Bannon’s intimate meetings with far-right European leaders as he attempts to stitch together a coalition of the misfit toys to take on “the establishment” over immigration and exclusionary nationalism. At every turn Bannon insists his work is not racist, anti-Semitic or vitriolic, then he gives a smile and a wink as he’s pressed to explain his fearmongering tactics and dog whistles.

The movie is book-ended by two major setbacks for Bannon’s philosophy — the defeat of Roy Moore in Alabama and the election of a Democratic House majority in 2018 — but the lingering message from The Brink is that Bannon is always one to regroup, reinvent, and resurface.

Grade: B

The Report

In the years since the September 11 attack and the War on Terror, America’s pop culture response has incrementally shifted from the escapism of 24 to the repressed jingoism of Zero Dark Thirty to the pessimistic criticism of Looming Tower.

Into that maze steps The Report, the Adam Driver-led film by Scott Burns that zealously hopes to set the record straight on the moral shortcomings of U.S. intelligence and government leaders.

It’s vehicle in that effort is the “Senate Select Committee on Intelligence Committee Report of the CIA’s Detention and Interrogation Program” and its lead researcher, Daniel Jones, whose dogged pursuit of the facts despite byzantine bureaucratic intransigence exposed the truth of the C.I.A.’s “enhanced interrogation techniques” (read: torture) and the agency’s lies and misrepresentations to two presidents and the American public at large.

You might wonder how the creation of a 6,000-page government report can make for compelling drama, and The Report is initially clumsy and disjointed as it attempts to set the narrative background and cast of characters (played by a stellar supporting cast including Jon Hamm, Cory Stoll, Michael C. Hall and Annette Benning — as Sen. Diane Feinstein). The end result is an enlightening and thought-provoking film that is perhaps 30 minutes too long due to its slow start, but one that finishes strong and on an aspirational note for American democracy.

Grade: B

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I’m a little embarrassed to admit that I’ve been sitting on this post for no good reason since before 2018 ended. I had seen everything I needed to see (within a reasonable degree of certainty) but couldn’t settle on the final order until, literally, moments ago.

I’m still not certain I got it quite right, and every film in my top five at one point or another held the top spot. So before I doubt myself and reshuffle the deck, yet again, here’s my 10 favorite moves of 2018.

10. Vice

Adam McKay’s film about the modern Republican Party and the rise, and rise, and rise of Dick Cheney has its detractors, many of whom make very good points about the film’s overt distaste for its central subjects and over-reliance on gimmickry. But there’s no denying the power of Christian Bale’s chameleon performance, juxtaposed against the otherwise surrealist take on American political “history” (characters occasionally break the fourth wall or slip into Shakespearean prose to hammer home the narrative’s points about the hollow theatrics of government).

You’re mileage will definitely vary here, but I’m always prone to award points for bending the rules of convention, which “Vice” does from start to finish.

9. A Star is Born

Bradley Cooper’s directorial debut landed with a bang during the summer, and while its status as the “it” movie of 2018 has diminished somewhat against late-arriving contenders, it’s still likely to be one of the movies that people remember even after they stop confusing the dates on their checks (Is that still a thing? Do people still write out checks?).

That’s due in no small part to the raw and dynamic performances by Cooper and Lady Gaga, a killer soundtrack and a confident, observational directing style that feels as if the story on screen is something accidentally, and heartbreakingly, stumbled upon.

8. Hereditary

It’s easy to overlook the skill involved in a good horror film. Lesser entries over-rely on conventions: dark rooms, loud noises and ghastly manifestations that send a chill down the audience’s spine before sending them home with a smile on their face. Then there’s movies like “Hereditary,” which use those tools to burrow under your skin and sit with you for days.

“Hereditary” is packed with shocking, disturbing moment, but the movie doesn’t rely on stunts. There’s a mythology at play, and an examination of grief and familial bonds, all obscured under a deep and bewitching atmosphere of dread.

7. Annihilation

“Annihilation,” the novel by Jeff Vandermeer is, to put it mildly, ambiguous. It conveys mood — and particularly a deepening sense of unease — more than plot, with its characters barely attempting to describe the fantastic and terrifying things they encounter as they venture into…something.

It’s also a great read, and wonderfully adapted for the screen by Alex Garland, whose film combines beautiful and haunting imagery with a more concrete narrative about an expedition of women scientists exploring a phenomenon of likely alien origin located along a rural segment of the Florida coastline.

6. Paddington 2

I never got around to seeing the first Paddington, and I was somewhat confused when I started hearing reports that it’s sequel was the best-reviewed film in Rotten Tomatoes’ history (at the time).

So I took the bait, and I’m here to tell you the hype is real. Paddington 2 is infectiously joyful, a film that gushes sincerity and charm, and combines slapstick humor with thrilling chase sequences and, somehow, everything in between. As the film’s antagonist, Hugh Grant has simply never been better, and a stand-out scene utilizing pop-up book imagery took my breath away. See this movie, now.

5. The Ballad of Buster Scruggs

It took a few years, but Netflix finally did it. With “Buster Scruggs” the streaming giant had its first must-see feature film, a collection of six western vignettes by the Coen Brothers.

Frequently funny, often tragic, occasionally disturbing and sometimes all of the above, the Coen’s ballad has a little bit of everything and will leave you wanting more.

4. First Man

I was born into a world where man had already walked the lunar surface, with the tragedies, national rivalries and scientific uncertainties of the space race long since past. As a result, the most compelling aspect of Damien Chazelle’s Neil Armstrong biopic was, for me, the anxiety it conveys as now-historic ambassadors of Planet Earth set off on unproven and spectacularly dangerous missions to test the boundaries of human accomplishment.

The film’s centerpiece is a coup de grâce, as Armstrong (Ryan Gosling) and his crew make their decent from Lunar orbit and, once landed, step out onto an otherwordly landscape. Chazelle takes it all in, giving the scenes room to breathe without needless interruption or embellishment.

3. BlacKkKlansman

From the “You can’t make this up” file comes “BlacKkKlansman” the mostly-true story of Ron Stallworth, a black Colorado police officer who infiltrated the local chapter of the Ku Klux Klan. Directed and co-written by Spike Lee, the film sizzles with a sharp, darkly-comic energy, aided by the pitch-perfect, odd-couple casting of John David Washington and Adam Driver, as well as a surprisingly effective Topher Grace as KKK grand wizard David Duke.

2. Roma

The term “visionary” is thrown around a little too liberally in film criticism, but in the case of Alfonso Cuaron it applies. Consider the recent run by the director, from “Children of Men” in 2006 to “Gravity” in 2013 and now “Roma,” which was wisely snapped up by Netflix.

Known for his long takes and massive scale, Cuaron painstakingly recreates Mexico City circa 1970 for his meditative profile of an affluent family and their live-in housekeeper/nanny. It’s a movie brimming beyond the edges of the screen with life and detail, following one young woman’s path through a city, and nation, in a state of social and political flux.

1. The Favourite

Director Yorgos Lanthimos has a style all his own, simultaneously enticing and intentionally off-putting, as seen recently in “The Lobster” and “The Killing of a Sacred Deer.” His films are absurd, but with absurdities masked under a veneer of sterile banality that he carefully cracks to expose the bizarre machinations at play.

With “The Favourite,” working off a script by Deborah Davis and Tony McNamara, Lanthimos focuses his singular artistic eye on the court of England’s Queen Anne (a superb Olivia Coleman) and the schemes of two women (Emma Stone and Rachel Weisz) who battled for the monarch’s trust and affection.

In the world of “The Favourite,” the familiar pomp and circumstance of imperial English decorum are on full display, albeit ratcheted up to farcical heights that, while deliciously anachronistic, convey the petty jealousies and political scheming that carry through to modern society. The result is a period piece unbound by the trappings of history that, through caricature, captures something wholly real, grotesquely bizarre and hilariously relatable.

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This is Where I Leave You is not a particularly good movie. It relies on a cloying sentimentality, arbitrary conflict and leaves much of its significant potential wasted.

And yet, it is not unenjoyable viewing, largely due to the incredible talent of its assembled cast that paradoxically leads to unattainable expectations.

Truthfully, if you were to assemble Jason Bateman, Tina Fey, Cory Stoll, Adam Driver, Kathryn Hahn, Jane Fonda, Rose Byrne and Connie Britton for a dramatic reading of Technotronic’s “Pump Up The Jam,” I would likely rise to my feet in applause. Yet that performance, just like This is Where I Leave You, would be a tragic squandering of what this ensemble could have achieved.

The film is largely centered on Judd (Bateman) who is cuckolded by his man-child of a boss and whilst growing an impressive breakup beard learns that his father has passed away. His father’s dying wish was that his children sit Shiva, a week-long mourning ritual in Judaism that involves the immediate family of the deceased sitting and receiving guests during each of seven days.

And so the Altman children gather: namely eldest son Paul (Stoll) and his child-starved wife (Hahn); frenzied sister Wendy (Fey) and her prop of a family; Judd, who immediately reconnects with an old crush (Byrne); and youngest son Phillip (Driver) the immature screw-up dating his much-older former psychiatrist (Britton).

The family is dysfunctional in a textbook movie way, with outrageously explosive scuffles never steering the plot away from the inevitable group hug at the end. But while that saccharine reconciliation is a foregone conclusion, its unclear how most of the characters have achieved any sort of emotional evolution by the time the credits roll.

These are argumentative family members who maintain a lovingly distant relationship, thrust together by tragic circumstances only to again separate and argue, lovingly, when the credits roll. Any progress is incremental and in the case of Fey it’s unclear what transformation, if any, has taken place during the story.

And yet. And yet.

This is one of the best casts ever assembled and the sheer joy of watching them squabble is delightful despite the sometime asinine plot. Driver especially brings an unpredictable mania to the roll, further cementing his status as a national treasure, while the always excellent Stoll and Britton are unfortunately sidelined to make way for other toys.

It’s a bit of a shift for director Shawn Levy, who of late has been mostly consumed with the Night at the Museum franchise, short shift comedies The Internship and Date Night and, of course, the robot Boxing Movie Reel Steel. Levy never quite hits the dramatic notes required by the films more emotional moments, but handles the comedic elements with a breezy ease that almost makes up for the film’s shortcomings.

Grade: B-

*This Is Where I Leave You opens nationwide on Friday, September 19.

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