Movie Review ~ Words on Bathroom Walls


The Facts
:

Synopsis: A teenager coping with paranoid schizophrenia hopes his new experimental drug treatment will help him navigate high school and the outside world.

Stars: Charlie Plummer, Taylor Russell, Molly Parker, Walton Goggins, AnnaSophia Robb, Beth Grant,  Andy García,

Director: Thor Freudenthal

Rated: PG-13

Running Length: 111 minutes

TMMM Score: (6/10)

Review:  History has not been kind to mental illness or those that have struggled with it and that’s largely due to a lack of information.  We are often scared of what we don’t know or don’t understand.  So many of the disorders that are now easily diagnosed were previously unidentifiable to those outside of a certain circle of doctors and researchers.  Many suffered and were shut away in asylums when they could have received treatment and its with the advancement of science, medications, and plain old discussion that have helped to bring some normalcy to what is often not perceived as typical normal behavior.

There’s a certain trepidation I have when I hear a movie dealing with teen mental illness is coming out because I don’t want it to be given a glossy veneer nor do I want it to be a doom and gloom scare affair.  There needs to be a nice balance that encourages those who may be dealing with a condition to speak to someone without fear of being mocked or made to feel less-than.  I wasn’t familiar with Julia Walton’s 2017 novel Words on Bathroom Walls that screenwriter Nick Naveda has adapted into the new feature film but went in knowing it was going to be tackling a big issue in the area of mental health: schizophrenia.  A number of movies have played the “voices in my head” episodes of psychosis for laughs or as plot devices that further elements of a larger idea but here was a film whose main character spends nearly the entire film finding ways to cope with competing personalities that only he can hear and see.

High school is already a hormone-laced, emotionally confusing time for the average teenager but senior Adam Petrazelli (Charlie Plummer, All the Money in the World) is also dealing with the presence of three distinct personalities that began as voices in his head and now pop up regularly.  Hippie Rebecca (AnnaSophia Robb, The Way, Way Back) appeals to Adam’s more serene side while horndog Joaquin (Devon Bostick, Tuscaloosa) hangs around waiting for the excitement to begin.  It’s when The Bodyguard (Lobo Sebastian, The Mule) gets riled up that things go south though because that signals an episode Adam won’t be able to control is about to take over.  Manifesting in the filmworld as black tendrils of smoke or another CGI effect of questionable quality that interferes with Adam’s ability to go about his day, these episodes make an already demanding schedule that much more difficult.

After losing it and injuring a student at his last school, Adam transfers to a parochial academy for his final year in the hopes of getting his diploma and staring culinary school and starting his dream career as a chef.  His single mom Beth (Molly Parker, The 9th Life of Louis Drax) wants that for him too, but has her reservations after numerous medical trials have failed to stop his manic episodes from happening.  It’s during this time he meets the clever Maya (Taylor Russell, Waves, Escape Room), a fellow senior who, in addition to a nice side business of selling papers and other assorted contraband to her wealthy classmates, is the valedictorian of their class.  Initially resistant to her efforts to peel off his guarded layers for fear she’d uncover his secret, it’s when he finds out certain truths about her own life that he changes direction and opens his heart to her in the process.  With a new man (Walton Goggins, Them That Follow) in his mom’s life and a stern nun (Beth Grant, Flatliners) keeping an eye on him at school, Adam starts a final trial of an experimental drug which silences the voices but may have other consequences that could make the trade-off not worth it in the end.

Director Thor Freudenthal’s feature film representation has largely been in movies aimed at younger audiences (though his television work is definitely more on the violent/dramatic adult side) so he clearly has an established comfort level working with young actors but this represents a real step up in the maturity level.  It did take a bit for the movie to hook me, though, but I attribute that to an ungainly first act that had trouble finding it’s focus and staying in one place for too long.  It’s all exposition to get us to that first meeting between Maya and Adam and that’s when Freudenthal strikes some serious gold.  If Plummer is a convincing, if a bit overly earnest lead, when sharing scenes with Parker and Goggins, he’s made exponentially better when paired with Russell’s sensitive and intuitive classmate and potential love interest.  As she’s done with her galvanizing performance in Waves and even in cheesy schlock like Escape Room, Russell makes bold choices that are often unexpected, never uninteresting.  I also quite liked Parker, an actress that seems to have continued to work steadily in well-reviewed but easy to forget roles…she just needs that one key movie to get her to that next level.  I can’t forget to mention Andy Garcia (Jennifer 8) as a priest Adam has a convivial relationship with where matters of faith don’t enter in.  Garcia’s brief supporting performance is, ahem, spirited and memorable.

Running far too long and clocking in at nearly two hours, I’m still not sure I came out the other side more well-educated to the chronic illness but I found myself watching in appreciation for the frankness in the way the movie handles the final act.  It’s definitely following a long-standing formula set by the high-school movie gods in which normal societal rules don’t apply if you just have to stand up and make a speech, but Words on Bathroom Walls winds up translating from the walls of literature to the screen with a comfort and a qualified quality.  Like another emotional YA film releasing today, Chemical Hearts, it stands in solidarity with those that might need extra support for reasons we may not totally understand.

Movie Review ~ All the Money in the World

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The Facts
:

Synopsis: The story of the kidnapping of 16-year-old John Paul Getty III and the desperate attempt by his devoted mother to convince his billionaire grandfather Jean Paul Getty to pay the ransom.

Stars: Michelle Williams, Kevin Spacey, Christopher Plummer, Mark Wahlberg, Romain Duris, Charlie Plummer, Timothy Hutton

Director: Ridley Scott

Rated: R

Running Length: 132 minutes

TMMM Score: (5/10)

Review: The first thing we should do with All the Money in the World is applaud director Ridley Scott for having it ready to release in the first place.  Originally the film featured now disgraced Oscar-winner Kevin Spacey (Working Girl) under heavy make-up to play J. Paul Getty but after his headline-making nosedive in the midst of scandal Scott made the almost unheard-of decision in late November to replace Spacey with another Oscar-winner (Christopher Plummer) and still have the movie ready to go by its Christmas Day release date.  Well, applause is definitely warranted for the 80-year-old director because the movie is finished and it looks great…but is it any good?

The answer to that question lies in your willingness to see the story of the prolonged kidnapping and ransom of Getty’s grandson for the stylish period thriller Scott wants it to be and not the par-baked soapy drama it winds up resembling.  Sure, Scott knows his way around these throwback tales with their washed-out colors and extraordinary eye for detail, but there’s so little heart and soul to the proceedings that it’s hard to find anyone to sympathize with or, in my case, stay awake for.

Yes, it’s true. I feel asleep for a good ten or fifteen minutes in the first half of the movie and while I’d like to attribute my heavy lids to seeing it the day after Christmas, the honest truth was that the glacial pacing in that first hour is enough to lull even the most Red Bull-ized audience member into dreamland.  I just wasn’t interested in the initial investigation into the disappearance of John Paul Getty III (Charlie Plummer, no relation to the other present Plummer) or the strange bonding that happens between the victim and his kidnapper (Romain Duris).  Informed by my movie mate that I didn’t miss much, even taking a few winks it wasn’t hard to pick up where I left off.

The film starts to be something to worth remembering when all hope seems to be lost and Getty’s mother, Gail Harris (Michelle Willaims, The Greatest Showman) begins to be a more active player in getting her son back.  Working with a hired gun (Mark Wahlberg, Ted) originally employed by her former father-in-law, Gail gets in on the action by negotiating not only with the kidnappers that have her son but with her imposing in-law that quid pro quos her every step of the way.  Williams is in a strange mode here, doing her darndest to maintain an Eastern accent and playing deep despair without ever looking like she really is invested in what’s happening around her.  Wahlberg is coasting too, his entire role is so low-impact I’m wondering why they needed him at all.

It’s hard to look at the film now and even consider Spacey playing J. Paul Getty.  Sure, early trailers invoked some curiosity into how the 50-something actor would play the octogenarian, but Plummer is such an impressive force in the role I’d bet top dollar studio executives didn’t bat an eye when Scott proposed his reshoot plan.  Plummer’s aces in every one of his scenes and Williams and Wahlberg (both wearing wigs that don’t quite match scenes directly before and after) graciously give him the floor and recreate their emotions as if this was the plan all along.

Scott (The Martian, Prometheus) has never been dormant for long but he’s enjoying a nice little renaissance at this late stage in his career.  Earlier in 2017 his misguided Alien: Covenant was a big bummer for me but this one feels more in his wheelhouse and he’s breezily operating within his comfort zone.  The script from David Scarpa adapted from John Pearson’s book doesn’t have anything remarkable to say so the movie is left to create interest based on the characters and the impeccable production design.  On those merits, it’s a success, but performances and set-dressings can’t be the main source of recommendation for a movie so All the Money on the World winds up with a buyer beware notice.