Manchester by the Sea

Kenneth Lonergan, 2016

IMDB

4/5

Any New Englander is going to feel a sense of familiarity to Manchester by the Sea. It's a movie filled with characters constantly battling the cold temperatures, something we are all used to dealing with in the Northeast. But these characters, while possibly making the mistake of dressing a little too lightly, are tough people. They have endured. There is a sense of resilience. These are working class people who are dealing with the difficulties of ordinary life. Loss of a loved one, past mistakes, struggling to make that next dollar.

Casey Affleck is a proper casting choice for the Lee Chandler character because he's not a very external actor. Lee is not a very external character. Lee bottles things up. He carries the weight of his past on his back. The only release for him is the occasional bar-fight that can be provoked by something as simple as accidentally bumping into him. So it's safe to say he's a man on edge. He becomes a profoundly sympathetic character when more of his past is revealed during the films constant flashbacks. There's just so much nuance to his character, along with the other characters in this film. Kyle Chandler, who plays Lee's brother Joe, brings the same level of consistency that he always brings. Chandler is really one of those actors that is always just dependable. Michelle Williams continues to prove how unbelievably good she is. She has this ability to pull a reaction out of you with little dialogue. She's all in with her supporting performance as Randi Chandler. The standout scene with her being an alleyway confrontation with Lee that dares you to not tear up.

This is a movie where you can't point fingers. Everyone is struggling in some way or another, just like normal folk do. There is a defining turning point in the tone of this film that you never fully recover from, even after the end credits. That's why it takes such an emotional toll on you. Because this is a real movie, maybe too real. You aren't spoon-fed a Hollywood ending here. This film ends just like life goes on. Sometimes things work out, sometimes they don't, sometimes it's neither. Sometimes things just keep on keeping on. You just continue to exist in the world, with no choice but to carry the entirety of your history with you.

The Confirmation

Bob Nelson, 2016

IMDB

3/5

There are many angles in which the Father / Son movie dynamic can be approached in film. In real life it's a complicated relationship. Living up to the expectations of each other, letting each other down, reflections of oneself in your own offspring. Being hard on your self, being hard on your son. Martial troubles that trickle down to the rest of the family.

In The Confirmation, you step into the lives of Walt (Clive Owen) and Anthony (Jaeden Lieberher) long after any familial conflict. They are now in a state of reconstruction. Walt and ex Bonnie (Maria Bello) have been divorced for a while, long enough for her to remarry. This is presumably because of Walt's drinking, which reveals itself pretty early on in a conversation between the two when she pleads with him not to drink while taking Anthony for the weekend.

Walt is down on his luck. He's in that sort of purgatory state of existence where he can't seem to get out of his own way. Truck won't start, phones not ringing with construction work. Rent is late, no money to pay the rent. All he really has is this weekend with Anthony. Bad turns to worse when Walt discovers that his antique wooden toolbox has been stolen from the back of his truck while in a local tavern. The film soons morphs into a modern day take on The Bicycle Thief as Walt and Anthony spend most of their weekend together searching for clues. They are forced to approach the (what would be considered) more deplorable people in town that would do that kind of thing (steal toolboxes). Interestingly enough these people don't come off as criminals but more as characters. There is certainly an effort to humanize these types of people in this film. And there is a lot at stake for Walt. With an eviction notice on his apartment door, he desperately needs money right away and not taking the carpentry job on Monday is out of the question.

The Confirmation works largely because of great casting choices. Clive Owen's Walt character solicits sympathy, as the character really needs to. You want Walt to find his tools. You want the relationship between Walt and Anthony to flourish. Walt doesn't take on a victim mentality at all. Not only does he bear the weight of his own mistakes, he bears the weight of his generations mistakes one apologizing to Anthony for leaving his generation with a infrastructural mess to clean up. One should come to expect nothing but an impressive nuanced performance from Owen, who is quietly one of the best working actors in modern cinema. Bello succeeds in her Bonnie role, as she balances the perfect amount of firmness and fairness. Anthony's character works because of its authenticity. He so accurately nails that whole kid being happy with the nothing moments as long as you are with your father. Sitting in front of the TV watching boring black-and-white repeats is enough. Riding shotty in an old pick up truck is enough. The Confirmation is an endearing film that has some appreciation for film history but also has heart in it's own story.

Midnight Special

Jeff Nichols, 2016

IMDB

3/5

Jeff Nichols is one of the most interesting filmmakers working today. Rooted in this sort of gritty, southern gothic headspace - he is able to convey images through the eyes of the everyman and sometimes figures struggling at poverty level America.

Viewers got a taste of the supernatural in his 2011 film Take Shelter. By going down that avenue he separated himself from his prior film Shotgun Stories, which was really just a straight drama picture. The supernatural elements in Take Shelter were so well used, and the ending was one of the best endings in modern cinema.

Midnight Special is interesting, because it's a really great film but probably my least favorite of his filmography. For me personally, I would probably rank Nichols films:

1. Take Shelter
2. Mud
3. Shotgun Stories
4. Midnight Special

There are a lot of things to appreciate with this movie. The unique supernatural elements, that in a sense resemble character "11" in 2016's Stranger Things on Netflix. And actually, the two can compared to each other even more with the alternate dimension concepts that both pieces of work experiment with. But Nichols is confident in his film-making, not willing to slow things down or worse - dumb things down for the viewer. There is some decision making with the picture that is bold, and really does pay off at the end of the day. The decision to not show a cliche car chase scene, and instead, focus on the aftermath as the car descends upon it. Some sudden shifts in the story without waiting for the audience to catch up. Midnight operates that way. It is what it is, Nichols probably doesn't care if you don't approve of some of his methods of storytelling. And while the end may be a bit confusing, it's something that is still lingering with me days after viewing.

Frailty

Bill Paxton, 2001

IMDB

3/5

Bill Paxton is an actor who wouldn't make a good straight up villain because of his charm / likeability factor. That is why his "Dad Meiks" character succeeds in this 2001 directorial debut (screenplay by by Brent Hanley) by Paxton.

Almost immediately you like the Dad character. Hard-working, eats dinner with his boys every night and warmly sends them off to bed before retiring himself. It's when he is awoken by a vision that it all changes. He tells his boys how God will be making a kill list for him, demons that he must rid the world of. Your suspicion of Dad grows, and you find yourself finding a certain comfort in Fenton's character, who is seemingly the only sane character left. His impressionable younger brother Adam is going to do anything his father wishes so there's virtually no hope for him to snap out of it.

What transpires is a dark southern gothic story with some real twists. The way that the film shifts your vision of who is good and bad is impressively executed. It's a good opportunity to see some of McConaughey's early acting chops which are evident in the film. He's kind of in his wheelhouse as the Texas-based drifter type that mutters slowly and thought-out. But overall it's a unique film that grabs you, and there's definitely some black comedy elements at work even if they are a bit buried beneath the surface. Paxton is really so perfect for the role as the eccentric father who really feels like he's God hand and doing something important. A straight up scary guy would never work. And it's his ability to be the benign father early on and get you invested in him as the good guy that is the springboard for all of the alternating that continues throughout the film.

Being Flynn

Paul Weitz, 2012

IMDB

3/5

Being Flynn is a Boston-based drama based on the memoir Another Bullshit Night in Suck City by Nick Flynn. The film gives young Paul Dano another opportunity to work with one of the greatest actors of all time - Robert Deniro. Dano has had some fortunate employment opportunities at this point in his career. Daniel Day Lewis in There Will Be Blood, Michelle Williams in Kelly Reichart's Meek's Cutoff, Alan Arkin in Little Miss Sunshine. Add Steve McQueen in 12 Years a Slave and Denis Villeneuve in Prisoners, two of the best living directors, and it's pretty obvious that Dano has one of the most colorful resumes in Hollywood. He deserves these opportunities though, because he delivers every time.

The narration starts off a bit confused, with young Nick Flynn (Dano) fighting for control of the story with his father Jonathan Flynn (Deniro). It becomes evident quite quickly in the story that Jonathan is a bit delusional. He is more of a drinker than a writer, but the booze gives him a cloudy arrogance that has him thinking that he is a great writer that simply hasn't released his masterpiece yet. One of the first things we hear from him is "There were three great American writers. Mark Twain, J.D. Salinger, and me... John Flynn". After he says this we see him driving out of parking garage in his taxi cab, his real day job. Nick didn't have a relationship with his father at all, raised solely by his mother Jody (Julianne Moore). Moore is sort of the perfect person for the role, the tired woman who is trying desperately to keep it together for her son. Nick describes his early years as being guided by lots of boyfriends. Being Flynn has what could be considered one of the best shots of all time, certainly one of the best of the past 20 years. We see a panning camera where Nick is playing catch with one of Jody's boyfriends, and as the camera pans back and forth each time it's a different boyfriend. Finally it shows his biological father John, but when Nick goes to throw the ball he isn't there on the other side and the ball goes rolling into the street. Powerful. The film is an example of how far Deniro has come as an actor. In 1976 Deniro drove a taxi cab in Scorcese's masterpiece Taxi Driver. His Travis Bickle character was more of a numb sociopath. Here Deniro is able to channel more of a narcissistic, delusional, stubborn alcoholic that is quite different than the role he filled 36 years prior. Still detached, but more conversant.

It's a story of finding your place in the world while trying to avoid the mistakes of your predecessors. A struggle of separating yourself from your parents, trying to see yourself as a unique person. We do see an arch in Nick's character, and after enduring some time in some pretty heavy drama, you really need some form of redemption. One of the frustrating qualities of John's character is his absolute defiance to break down. His thick stubborn personality never breaks, and it almost feels like if it cracked a little it would have added some more substance to the story. Interesting to think about whether this was a deliberate thing, part of the actual Flynn family narrative or whether Deniro's decision to bring that armored performance to his Jonathan role.

Danny Collins

Dan Fogelman, 2015

IMDB

4/5

Danny Collins is a fictional story based one really interesting real life story. In real life a folk singer named Steve Tilston gave an interview to ZigZag magazine where he described his fear of wealth and the effect it can have on your artistry. John Lennon and Yoko Ono responded to the interview with a handwritten letter where they said "Being rich doesn't change your experience in the way you think”. Tilston was never aware of the letter until a collector approached him with it in 2005. Instead of Fogelman basing the entire movie off of this letter, which some filmmakers would certainly attempt to do, he uses it as a platform for the whole Danny Collins story. It's interesting to think of how influential receiving that letter would have been to Steve Tilston. The letter was written in 1971, during the peak time of Lennon's influence. A musician receiving a letter from him back then would have probably been as inspring as being handed a letter from the President. Maybe more inspiring, seeing as there is an actual connection. Lennon read the interview and felt motivated, obligated to provide a response. The culprit guilty of hoarding the letter is fittingly played by comedian Nick Offerman, who comes off as a snarky beat writer with an annoying chuckle.

Al Pacino has unarguably and notoriously reached a point in his career where he is often a working caricature of himself. The whole "hoo hah" Pacino, the guy with the raspy screaming, the unpredictable octave and decibel changes. It's all kind of excusable, being one of the few actors who get a pass because they have long ago cemented their legacy. But Danny Collins is kind of perfect for the modern day Pacino. He is able to channel that caricature Pacino into his Danny character. Danny is a tired man, past his prime, at a reflective point in his career. He realizes that he himself has become a caricature of his former self, almost like Elvis in the latter years. The Danny Collins character is clearly a nod to Neil Diamond with more anguish. Pacino probably won't get much attention Oscar-time, but he is the perfect guy for the Collins role. Slightly overweight, ridiculous attire. It's actually kind of hard to picture anyone else playing him. The Danny Collins character is not necessarily a "good guy". He's a complicated character. He's selfish but self-conscious. Charming but lonely. Prosperous but generous. Inebriated but trying to kick the habits.

There are moments in the film that clutch your heart. The family conflict feels authentic. Bobby Cannavale is really responsible for the weight of all of the family moments, and continues to prove he's one of the more talented working actors out there. Even though he appears to let Danny off the hook a bit easily, his character keeps the story moving forward and continues to be conflicted with his father up until the final moments of the film. Cannavale and Jennifer Garner have chemistry, and the whole dynamic with their hyperactive daughter works really well. The film could definitely be considered a character study but it's also a breakdown story. Danny has been ignoring real life problems for a very long time. He realizes that no matter how much he insulates himself with wealth and material objects, at some point he's going to have to pay the piper.  He is able to gain a moment of clarity and realize how alone he actually is at his age, even with all of the hanger-onners and leaches that surround him. Nothing is more scary than growing elderly and dying alone. And it doesn't matter how much money you have.

Chef

Jon Favreau, 2014

Can I Stream it?

3/5

Celebrity Chef Carl Casper (Jon Favreau) has become jaded with the stale menu on his restaurant's menu. When restaurant owner Riva (Dustin Hoffman) refuses to let him change things up, he decides to leave and attempt to pursue his own interests which lead him to starting up a Cuban Food truck.

Favreau writes, directs and stars in this film which is a story of a guy taking a risk in a new business blended with some sentimental family elements. Carl is a very proud Chef who has grown insecure with his abilities, especially after getting ripped apart by online blogger Ramsey Michel (Oliver Platt). His vulnerability breaks him, bringing him to his rock bottom after an explosive tirade that inevitably goes viral on social media. But Carl isn't a one-dimensional hot-head; there are many layers to him. He's still licking his wounds from the divorce of his beautiful (and out of his league) Cuban wife Inez (Sophia Vergara). He is having trouble bonding with his son Percy (Emjay Anthony), who is also hurt by the separation. He is basically broke, or close to it, living in a run-down apartment that is probably worth less than the high-end cooking equipment that he uses on a regular basis.

With these elements in play, there are a lot of directions the film could go in where it could fall apart. But it doesn't, and credit is due to Favreau for holding it together. With compelling performances, good direction and snappy editing, he manages to create a heartwarming piece that keeps you rooting for Carl to become a beloved culinary all-star once again. The film examines social media's impact on American culture through the blogosphere, at times using visual elements like pretty tweets flying across the screen (similar to the texting effects used in House of Cards). Not to say there aren't a few faults. When Carl storms out of his restaurant after Riva tells him he needs to cook whats on the menu and nothing else, he returns to his apartment where he goes off on a cooking spree. He puts together a lavish array of seemingly delicious and artful items. He cooks his heart out. You think: okay, he's going to tell that blogger to get his ass down to his apartment and force feed him. But he doesn't, and he appears to only cook the meal for himself. Of course if Ramsey came to the apartment and ate up, he would likely be put Carl in high regard again and movie over... but it was a weird how it played out. Favreau probably wanted the audience to really get on board with Carl's abilities to cook great food, but they were pretty evident already. Like, we knew that after the first scene. Or when he spent all of that time perfecting the grilled cheese sandwich for Percy. Later in the film Martin (played by perfectly-cast John Leguizamo) is pushed into taking a photo of Carl and a South Beach bike-cop. Martin shows you that he is the only person in America that has never used a touch-screen phone before, and is puzzled as to how to snap the picture. Those things are easy to let go, though. The good easily outweighs the bad. Favreau's culinary piece is charming, original, enjoyable. It seems like it was probably a fun film to make. Everyone must have left the set everyday with a full belly.

Locke

Steven Knight, 2014

Can I Stream It?

3/5

It's the night before commencement of the biggest construction project of his entire career. Instead of driving home to watch a football match with his son, Ivan Locke (Tom Hardy) suddenly decides to drive away from everything to the shock of his employers and to his family. As he speeds down the highway, his life continues to unravel after each hands-free phone call.

At first glance Locke appears almost as if it's a sleek television commercial for BMW with the typical high-profile celebrity. As if BMW finally gave Tom Hardy an offer he couldn't refuse for a TV spot.  You soon realize that it's something much more compelling. Ivan Locke has made the decision to drive. And the decision to keep driving. Driving away from the much controlled existence that he has long been living in. Driving away from his high-pressure work duties that have long required his presence. Driving away from the familial obligations of watching football with his son and loyalty to his wife. For a good period of time you don't know what the limits of Ivan's conflicts are. The immediate seriousness of the situation gives you the impression that this could easily end in death for him. Does he owe someone money? Is he after someone? What is he hiding? He isn't silent about his personal history as he looks into the rear-view mirror, cursing his long deceased father. Almost as if he sees his father in his own reflection. Ivan has seemingly been an organized person. A man who thrived on strict order. A reliable person. As he keeps his foot pressed against the gas pedal, the reflection of the streetlights glide across the glass. The light constantly shifts from gold blurs to focused glows. A subtle abstract sound echoes in the background. Hardy is a commanding force, bringing a certain intensity to his complex Locke character. He is someone undoubtedly capable of carrying a film on his back.

In terms of construct, the film is actually quite similar to 2010's Buried starring Ryan Reynolds. A real-time limited storytelling piece consisting of one man and a phone. One could argue that Buried is more fierce, more forcible. Albeit undeniably more far-fetched. Perhaps that's the charm of Locke. The ordinary nature of the problems at hand. Ivan is a flawed man like so many in the world. The aftermath of a man who fell victim to his own impulses. But it's not a story of a man completely fleeing his personal shit-storm. He is actually in pursuit of something, some kind of shifting resolution to the mess that he has created. There is a determination to avoid repeating his father's mistakes. But Buried has a more lasting effect on the viewer. That particular story grips you until the very end, whereas Locke maintains a certain pace that carries on until the final moments without much excitement. We often go to cinema to take us to explore the incredible. Perhaps it would have been better if Locke took us on more of a journey with the story.

Big Daddy

(REWATCHED)

Dennis Dugan, 1999

Can I Stream It?

3/5

Sonny Koufax is a law school graduate aiming low with a job at a New York City tollbooth. When a child belonging to his out-of-town roommate appears at his doorstep, he decides to use the opportunity of fatherhood to prove himself to some of the disappointed people in his life. 

Big Daddy represents a period in time where Adam Sandler was still using his creative energy to star in films that had a simple construct but delivered a fulfilling story. And although it's a flawed film, it sets you up, pulls you in, and leaves you quite satisfied after it's over. He is basically the same character in every film that he stars in. The lazy guy, who has a niche talent with a short temper and manages to overcome an obstacle and surprises everyone in the end. Oh yeah, and he always gets that girl that he didn't stand a chance with early on. Big Daddy is of course no different. In fact, the flaws in this film may be more frustrating than those in Billy Madison or Happy Gilmore. Sonny and Kevin (John Stewart) manage to have this apartment that would likely cost upwards of $5000 a month. Kevin may be able to carry that weight, but he would likely not be willing to carry his college buddy who only can offer a simple tollbooth income. Well, maybe he's the nicest most generous college buddy in the world. Then there's the social worker Arthur Brooks, played by the great Sandler-centric Josh Mostel. Arthur is a bit too facilitating, simply agreeing on a handshake to quietly set up a family for Julian while he can play Dad for a few weeks. Sonny is also this lawyer in hiding who his working friends ask for legal advice at cocktail parties and he seems to know of the one case that they didn't. And there's the bad acting by Julian, played by the McGrath twins. Perhaps it's unfair to judge them harshly. They are kids.

With all the flaws, there is still something not only entertaining but endearing about this film. You like Julian. You're rooting for Sunny. You want to see it work out. If the film was that bad, you wouldn't give a shit. Perhaps that's the saving grace. The one redeeming element. You want Sonny to have this sudden successful evolution. This life-changing, maturity-forcing break. It's one of the last good films for Sandler. After this he seemed to devolve even further, although he ironically went on to deliver the best performance of his career in Punch Drunk Love (of course with the best direction of his career). Real-life fatherhood seemed to change Sandler. He continued to linger on that whole not horrible film, but not really that great trend for a few more films (50 First Dates, Click, Mr. Deeds). But then it really went south. Luckily, some of these not-so-bad films are preserved. At least we can file this one under Guilty Pleasures. 

The Vicious Kind

Lee Toland Krieger, 2009

Can I Stream it?

3/5

Dealing with heartbreak from a recent breakup, Caleb (Adam Scott) attempts to be protective of his younger brother who is home from college by scaring off his girlfriend, who he surprisingly starts having feelings for.

Set in Norfolk Connecticut, The Vicious Kind is a small New England love story packed with raw emotion. It's the minimalist design that makes the film appealing. You rely on the performances of three very different men and a beautiful girl, all who have their own personal issues that manifest themselves in various ways when in the presence of Emma (Brittany Snow). Caleb is mostly angry and heartbroken. The jet black hair of Emma is a feature similar to his ex-girlfriends, so it's not hard for Emma to actually become the woman who just broke Caleb's heart. Caleb's father Donald (J.K. Simmons) has his own issues with women, a general disrespect for them, which erupts quite quickly at the dinner table when introduced to Emma for the first time. And young Peter (Alex Frost), the most sympathetic character in the picture, is just so innocent and sincere. He hasn't been burned by the world yet.

The film studies the long-existing, never-boring father-son conflict. The brother/brother competitive dynamic. Ones personal destruction after a breakup and the inevitable slow rebuild. The Caleb character is a departure for usually-comedic actor Adam Scott, who has no trouble putting it all on the screen. He is defeated, bitter, resentful. He is unpredictable and impulsive, his mood turning on a dime. One minute he is sobbing to himself, cigarette in mouth. The next he is explosive to anyone around him. The film's best attributes are certainly in the performances and and solid camera work. The myriad of medium shots bring you into the weight of the moment, especially with the often rough exchanges between Caleb and Emma. The film gets a bit sloppy, especially with some of the flashbacks of Caleb with his ex-girlfriend. It makes sense they exist, if anything they give some kind of history to Caleb. But it seems a bit unnecessary. Adam Scott provides enough in the present-day Caleb to really deliver a thorough character without back-story. He shows this from the remarkable opening shot of the film with him sitting in a diner booth with watery eyes. Hopefully he pursues more dramatic roles in the future. He certainly has the chops.

Nebraska

Alexander Payne, 2013

Can I Stream It?

4/5

Woody Grant (Bruce Dern) receives a marketing letter in the mail informing him that he has one a million dollars and that he has to go to Lincoln, Nebraska to claim his winnings.

Payne's heartfelt picture has a simple plot but is anything but simple. Woody Grant sits on his old beaten up couch, inside of his old beaten up house. The many years of tavern dwelling has even made his body beaten up. His wife Kate (June Squibb) screams at him from the next room, which he (and the neighbors, probably) can hear through the thin walls. You get a sense that she only has one volume in which she speaks, and that's yelling. The bogus piece of paper is not bogus to him. Not because he thinks there's a million dollars waiting for him in Lincoln (maybe he does early on). That piece of paper is a ticket out of Billings. That piece of paper has some value to David (Will Forte) as well. Accompanying his father on the trip to Lincoln could be an opportunity to finally bond on some level before it's too late. He sees himself in his father, and is therefore able to humanize him more than hard-shelled brother Ross (Bob Odenkirk). Plus, it's not like David has much to lose by going on the trip. He's only leaving his empty apartment still filled with memories of the recent breakup and a wilting plant. David and Woody are not just making the trek to Lincoln for a quick pickup. They are taking a road trip down memory lane. Through Woody's past experiences. Woody's forgotten history. They make a pit stop in Hawthorne to visit family, and the town has aged much like Woody himself.

Payne took risks in making this film, and they paid off. Decisions that some other filmmakers may not have made. His decision to shoot the film in black and white was a bold move, and the right one. The absence of color adds a certain charm to the film, a certain honesty. The weathered Knights of Columbus sign on the outskirts of Hawthorne, or the old paint peeling off of Woody's childhood home's walls certainly wouldn't have that same feeling if you were looking at it in full color. Payne's decision to cast Will Forte as the lead paid off as well. He can now join the list of other comedic actors who have successfully made the transition to dramatic roles. The comedy in the film comes at the right moments, serving as a good relief valve. The cousins aren't big talkers, but are sure inquisitive about automobiles, as is the rest of the townspeople of Hawthorne. The family members and townsfolk sitting in front of the television watching football, completely emotionless. If the television is a window to the world, all of the excitement is on the other side of the glass. The more lively behavior comes as Kate shows her lack of a social filter by revealing past sexual experiences as they weave through the headstones of the cemetery.

Like Kate says: "usually someone has to die before the vultures start circling." Someone winning the lottery can bring out the worst in the people around you. But perhaps it brings out their true selves. Woody finally gets a moment in the spotlight after years of being ignored by those around him. He stands before everyone as they clap, congratulating him and it invokes a feeling of someone getting a lifetime achievement award. Perhaps playing into the facade is the right move. Perhaps it's his one last chance at some dignity. Perhaps it's his chance to have the last laugh, and ride off into the sunset. Ending it all on a good note instead of a sour one. Some retribution. In the end, the film is so redeeming even without needing the actual redemption.