Synopsis: A heart-wrenching story of two loving sisters: one a gifted pianist obsessed with ending her life, the other a struggling writer who, in wrestling with this decision, makes profound discoveries about herself. Stars: Alison Pill, Sarah Gadon, Amybeth McNulty, Donal Logue, Mare Winningham Director: Michael McGowan Rated: R Running Length: 103 minutes TMMM Score: (4/10) Review: For all you readers of a certain age out there, do you remember when classic movies like The Wizard of Oz and The Sound of Music were only shown once a year, making them special occasions? You’d look forward to watching them when they were broadcast on TV because you didn’t own them on VHS (what was a VHS?), and they weren’t available at the push of a button. They were often timed to a specific holiday or season, which went a long way in getting you ready for the upcoming months, both anticipating the showing and then for the time after.
I mention this in my review of All My Puny Sorrows because this is a movie I feel should only be watched during bright summer months when the birds are chirping, the sun is out, and the grass is green. This one can get pretty bleak. Fans of Miriam Toews’s 2014 book that All My Puny Sorrows is based on will know what they are getting themselves into when approaching this adaptation from writer/director Michael McGowan. Everyone else won’t be as prepared for this overly depressing tale of two sisters battling mental illness in Canada while coming to terms with the impact their strictly religious upbringing had on their lives.
There’s space for movies like this, don’t get me wrong, but there’s something about All My Puny Sorrows that makes it play like the book adaptation it is. Maybe it’s the characters’ names, Yoli (Alison Pill, Miss Sloane) and Elf (Sarah Gadon, Dracula Untold), who feel like they could only exist in an author’s mind writing a hefty tome. Or maybe it’s the countless sudsy developments that happen over 100 minutes that feel jam-packed even for a condensed version of a novel. Anything that can happen to a large ensemble of characters winds up happening to the small array of featured family here.
I have liked Gadon for a while, and she always seems to be just on the edge of breaking through into significant accolades. She’s terrific here as the sister constantly battling back demons while attempting to be a strong sister and devoted daughter. Pill’s a bit of a wild card, and while the performance is solid, the character is so all over the map that I often longed for Gadon’s less adventurous, sadder sibling. Of course, best of all is Mare Winningham (News of the World), queen of the underrated, understated performance, as their mother who never can get an honest read on her daughters until it is too late.
I found it challenging to get into this movie and make it through. There’s so much weight to it, and the heaviness it carries can’t help but rub off on the viewer by the end. In that regard, it’s hard to outright recommend All My Puny Sorrows, despite the strong performances. If the emotional rollercoaster and slight pretention of the literary structure is one you can endure, consider yourself fairly warned.
Synopsis: The story of Dick Cheney, an unassuming bureaucratic Washington insider, who quietly wielded immense power as Vice President to George W. Bush, reshaping the country and the globe in ways that we still feel today.
Stars: Christian Bale, Amy Adams, Steve Carell, Sam Rockwell, Tyler Perry, Allison Pill, Jesse Plemons, Lily Rabe, LisaGay Hamilton, Alison Pill
Director: Adam McKay
Running Length: 132 minutes
TMMM Score: (5/10)
Review: In 2015, writer-director Adam McKay made the rare successful transition from helming absurd comedies to becoming an Oscar winner for his work on The Big Short. Whereas he was previously known for college dorm room friendly movies like Anchorman and it’s sequel, Talladega Nights, and Step Brothers he was now responsible for a movie that the parents of his fans were buzzing about. The movie that resulted from The Big Short was a fairly remarkable achievement given how complex the novel by Michael Lewis was and McKay justifiably shouldered much of the plaudits. With that kind of clout, not to mention the big box office his comedies had already made, McKay was given a wide berth for his next movie and the super-charged political Vice is the result of an artist that has tried to use all of his bag of tricks to much less success.
Charting the rise to power of Dick Cheney from college dropout all the way to the Vice Presidency under George W. Bush (Sam Rockwell, Three Billboards Outside Ebbing, Missouri), Vice is a peculiar film that suffers under McKay’s employment of a similar set of structural devices he used in his previous films. There’s a lot of jumping around in time, numerous lines delivered directly to the audience, and multiple times where the action stops so a familiar face can break down to viewers what exactly is going on or give a greater description to a political term that may be foreign to audiences. With The Big Short and it’s heavy use of Wall Street lingo, these asides proved helpful but in Vice they feel like a hindrance to the narrative thrust of the piece. I feel like Americans are much more savvy to politics so it has the effect of being talked down to rather than it being explanatory.
Vice has a lot of ground to cover and even in 132 minutes it rarely dives below the surface to give us a view into the lives of the former VP. We simply go through the motions seeing Cheney (Christian Bale, The Dark Knight Rises) as a younger (thinner, less bald) man, a bit of a loser until his wife Lynne (Amy Adams, Her) threatens to leave him unless he changes his act. Entering Washington politics as an intern to Donald Rumsfeld (Steve Carell, Welcome to Marwen) under Nixon and Ford before being ousted by a regime change when Carter was elected President, Cheney had his hand in multiple power plays along the way where he skillfully positioned himself while playing the long game.
The first hour of the film focuses on these early years while the last half is all about the Bush years when Cheney agreed to serve as the Vice President for the son of the former president. Recognizing him as unqualified and easily manipulated, Cheney seized this opportunity to request more power and responsibility, which Bush handed over to Cheney and his cronies without much incident. Essentially, Cheney was running the show with Bush the real figurehead that was controlled by his second in command. With the attacks on 9/11, Cheney saw an opportunity to strike back at enemies and helped set into motion a war many of the issues we still face today generated from. For anyone that has read a book about this political age in our country, these won’t be revelatory facts but it’s not any less frustrating to see how many of our current problems could have been avoided had the election that put Bush/Cheney into office been criminally investigated as many now agree it should have been.
Much of the hype surrounding Vice has been Bale’s performance as Cheney and I have to say the actor looks and sounds remarkably like the man. Bale is known to be an actor that dives headfirst into his roles, both mentally and physically and the transformation here is commendable. Still, this felt like an impression not a performance and nothing I saw on screen revealed to me anything about Cheney from an emotional perspective only from Bale’s impression of the man. That could easily be a choice since Cheney is notoriously a hard person to pin down but I think there’s something more that could be done apart from the physical alteration he made for the role.
I’m not sure if I had an issue with Adams and her performance as Lynne Cheney or if I just didn’t like Lynne Cheney and that made me respond in kind to what Adams was doing. In McKay’s eyes, Lynne was a Lady Macbeth for the 20th century, pushing her husband into this life and often encouraging him into his most trying periods of power. The parallels are further drawn in an admittedly amusing scene where McKay has Lynne and Dick speaking in Shakespearan verse when discussing Dick’s consideration of taking the Vice Presidential nomination. Adams is always a reliable presence and she and Bale have a good chemistry, perhaps they just were too believable as evil people.
McKay clearly knows how to attract a name cast. Aside from Carell’s hammy take on Rumsfeld and Rockwell’s good ole boy ease as the younger Bush, there are nice cameos from Jesse Plemons (Game Night) as a fictional character that serves as a narrator who becomes an important piece later in the film and Tyler Perry (Alex Cross) as a morally conflicted Colin Powell. Allison Pill (Hail, Caesar!) and Lily Rabe (A Midsummer Night’s Dream) have some nice scenes as the Cheney daughters, and a special shout-out to LisaGay Hamilton (Beautiful Boy) for her spot-on Condoleezza Rice.
What’s missing from the movie are the moments between these big political benchmarks. Skipping around in time (and over the Clinton administration all together) feels like McKay is cherry picking the passages he wants to highlight and that doesn’t feel fair enough in presenting an accurate picture of what was happening in the world that could have influenced Cheney in his later years. I could easily have seen this being a Netflix series that stretched eight hours and being perfectly content to spend that extra time with these rather morally bankrupt people. What’s not missing from the movie? Symbolism. McKay is a fan of making everything Symbolic with a capital S with many fishing/lures interstitials cut into scenes when Cheney is trying to hook another unsuspecting simp into his power plays. At first it’s creative, then it becomes cloying. Let’s also not speak of a dreadful mid-credit scene that Annapurna Pictures should immediately remove from all prints — totally unnecessary and weakens McKay’s argument up until that point.
There was little doubt before the release of Vice that former Vice President Dick Cheney was already considered one of the greatest villains our country but under McKay’s watchful eye he’s now become one of the screen’s most diabolical forces. Vice is one of the most outwardly liberal movies to come out of a major Hollywood studio and in a way that’s refreshing because there’s no hidden agenda. I just wish McKay’s message was delivered in a better envelope.
Synopsis: In the world of political power-brokers, Sloane takes on the most powerful opponent of her career and will do whatever is required to win.
Stars: Jessica Chastain, Mark Strong, Gugu Mbatha-Raw, Michael Stuhlbarg, Alison Pill, Jake Lacy, Sam Waterston, John Lithgow
Director: John Madden
Running Length: 132 minutes
TMMM Score: (7/10)
Review: Miss Sloane is a timely political drama that has a stacked deck in its cinematic favor. An Oscar nominated director and multi-award winning actors have been brought together with mostly good, but never great, results. While that may sound like the movie overall is a disappointment considering the pedigree in front of and behind the camera, it has enough energy to rise above the scenes that enervate its forward motion.
Jessica Chastain (The Martian) plays the titular character, a sought-after D.C. lobbyist as ruthless in her pursuit of winning as she is about making sure her flame red hair is always tucked neatly behind one ear. (At one point, I doubted she had two ears since we never saw the other). As the film opens, Sloane is about to go before a congressional hearing to defend herself over accusations of impropriety, charges that could, if convicted, carry a lengthy term in prison. Showing how the sleep-averse Sloane got into her current hot seat is what occupies most of the picture, tracing her path from a plum job at a high powered conservative lobbying firm to a grassroots boutique agency opposing a gun bill.
The parallels to David and Goliath are evident as Sloane and her recruits take on the big boys who begin to care more about derailing her than they do about pushing through their political agenda. Sloane isn’t afraid to go up against her former employers, even if they already may know exactly what her next unscrupulous move will be. Brief forays into high tech spy surveillance (what’s being done with cockroaches might make a PETA supporter reconsider squashing them on sight) and peeks into the upper pill popping Sloane’s personal affairs via clandestine meetings with a kindly gigolo (Jake Lacy, Love the Coopers) thankfully break up the heavier moments with stale political rhetoric being recited expertly by Chastain and the rest of the cast.
The script from first-timer Jonathan Perera is very of the moment, even if it plays like the pilot of a new HBO series. If you listen carefully, the entirety of the twists the film has in store are given away by one character within the first ten minutes but it’s buried so well by Perera that you don’t notice it until you’re walking to your car. Director John Madden (The Best Exotic Marigold Hotel) maneuvers his actors well and keeps the film moving at a nice clip but at 132 minutes there’s probably a good ten to fifteen minutes that could be jettisoned in favor of a tighter running time. While some may accuse the film of cheating in its final act, I’ll again point to Perera outright telling us what’s going to happen and then delivering on it.
As much as I like Chastian, I have to say that for the first twenty minutes of Miss Sloane I wasn’t sure what the hell she was doing. Showing a ballbuster temperament on the surface without going very deep, I got worried that Chastain was using this as an exercise in overacting instead of layering in her performance. Eventually, though, the actress tuned in and that’s when the film really starts to zip along. Like the best complex characters, there’s not a lot of backstory given to how Sloane came to be how she is and that makes her one of the more interesting characters to show up in film this year. The race for a Best Actress nomination is a tight one and Chastain might just find herself as one of the five nominees.
Supporting Chastain is Mark Strong (Zero Dark Thirty) as Sloane’s boss at her new firm and Sam Waterson (The Man in the Moon) as her previous employer who sets his sights on destroying her completely. Waterston may have more hair on his eyebrows than Strong has on his whole body but Strong easily bests Waterston performance-wise by underplaying expertly. You can’t totally fault Waterston, though, because the first half of the film finds many characters shouting at each other…guess no one in Washington knows how to use their inside voices. Though I’m a fan of Michael Stuhlbarg (Doctor Strange), his terribly old-school New Yawhk accent only made me detest his already detestable character more. Gugu Mbatha-Raw (Beauty and the Beast) and moon faced Alison Pill (Hail, Caesar!) are the lone prominent female roles and both are afforded showcasing scenes. As the head of the congressional committee cross examining Sloane, John Lithgow (Interstellar) is his usual blustery self.
At the center of Miss Sloane is a debate over gun control that continues to be a hot button issue in this increasingly political climate. Even as a work of fiction, Miss Sloane makes some interesting points about the current state of affairs regarding the NRA and the landscape of big business in our nation’s capital. In setting out to tell this story, Perera and the cast aptly keep the conversation going without letting the movie be solely about that important issue.
An intelligent, well-read picture, Miss Sloane may be overstuffed and take some time to let its actress find her way but it winds up being a pleasing film with good intentions. If it had been made as the first episode for a cable series, I’d be setting my DVR to record future episodes.
Synopsis: A mysterious virus hits an isolated elementary school, transforming the kids into a feral swarm of mass savages. An unlikely hero must lead a motley band of teachers in the fight of their lives.
Release Date: September 18, 2015
Thoughts: Into every trailer binge a little questionable hilarity must fall and Cooties sure fits the bill as one of the more oddball coming attractions I’ve seen in some time. Not that it doesn’t look like a B-movie hoot because it does, even though I’ve a feeling I’ll hate myself later for saying so. Holed up in the teachers’ lounge avoiding a pack of infected children are the likes of Elijah Wood (The Wind Rises), Alison Pill (Snowpiercer), Leigh Whannell (Insidious), and Rainn Wilson. If played right, this could be a neat-o little camp fest. On the other hand, the film’s one joke could already be played out by the time you’re in your seat waiting for this one to begin. I dig the poster art above and am more than a little interested to see the kids go all Rabid Grannies on their teachers…so I’m in.
Synopsis: In a future where a failed global-warming experiment kills off all life on the planet except for a lucky few that boarded the Snowpiercer, a train that travels around the globe, where a class system evolves.
Release Date: June 27, 2014
Thoughts: Gosh, hard to believe this film is finally seeing the light of day. I’ve been hearing about Snowpiercer for the last several years and though its popped up on foreign soil it has yet to make its debut in US theaters. While I’m glad this apocalyptic action film is pulling into the station soon, I can’t help but be nervous for the delay, especially with a cast of in demand players populating the train carrying the last remnants of mankind. Chris Evans (Captain America: The First Avenger, Captain America: The Winter Solider), Tilda Swinton (Only Lovers Left Alive, The Grand Budapest Hotel), Jamie Bell (Man on a Ledge), Octavia Spencer (Fruitvale Station), and Ed Harris (The Abyss) are just a few of the high profile stars director Bong Joon Ho got on board. Let’s see if the wait was worth it.