Movie Review ~ The Killing of a Sacred Deer


The Facts
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Synopsis: A teenager’s attempts to bring a brilliant surgeon into his dysfunctional family takes an unexpected turn.

Stars: Colin Farrell, Nicole Kidman, Barry Keoghan, Alicia Silverstone, Raffey Cassidy, Bill Camp

Director: Yorgos Lanthimos

Rated: R

Running Length: 121 minutes

TMMM Score: (8/10)

Review:  We’re moving into a busy time for movies and that means a packed screening schedule. On these plum-full days this part-time critic has to get creative with his multi-tasking if doesn’t want to go hungry between movies. That’s how I found myself unwrapping and justa bout to sink my teeth into a sandwich when Yorgos Lanthimos’s The Killing of a Sacred Deer began. Lanthimos opens the film with a graphic (and real) shot of open heart surgery, his camera lovingly lingering on the organ coming back to life and pulsing with blood. It’s an arresting image and one that pretty much demands your attention, as does the rest of the movie. Clearly, my sandwich was going to have to wait.

Surgeon Steven Murphy (Colin Farrell, Saving Mr. Banks) has it all.  A successful career, a beautiful house, a loving wife (Nicole Kidman, Stoker), and two children that haven’t yet met their trouble-making days.  He’s also taken a young boy named Martin (Barry Keoghan, Dunkirk) under his wing for reasons not entirely clear as the movie begins.  All we can tell is that Murphy obviously feels paternal toward the boy, a boy that has a strange way about him.  Actually, everyone in Lanthimos’s parable on suburbia and privilege has a strange way about them.  Murphy and his wife play out some kinky fantasy with her lying prone on the bed as if under general anesthesia, their daughter (Raffey Cassidy, Tomorrowland) is on the cusp of womanhood and awkwardly makes her first steps into her femininity with Martin as her fellow traveler, and Murphy and his wife speak about family matters in public with little regard for privacy.  There’s a staid, robotic-like quality to the line delivery and it’s not unintentional in the slightest.

For the first half of the movie we’re just getting our feet wet with these people and trying to figure out why Martin’s actions feel so odd and what his game plan could be.  When it’s revealed why he’s getting so close to Murphy and his family the movie almost instantly gets a bit less interesting in plot but not necessarily in character.  Martin makes a proposition, an impossible request, to Murphy and the rest of the movie is about how Murphy chooses to respond.  One by one Murphy’s family members start to come down with a mysterious, near-supernatural illness that Martin seems to have control over…or is the other way around?  Lanthimos and his co-writer Efthymis Filippou leave audiences with little concrete answers and we’re never quite sure who the man (or woman) behind the curtain is.

While the plot tends towards the formulaic in its skeleton, it’s the sinews of muscle and tissue that the cast brings to this that make it one that has nagged at me almost daily since I saw it.  The movie can be seen as a twisted take on suburban perfection and personal responsibility or as an outright Fatal Attraction-like potboiler where no one is a winner by the time the credits roll.  Having worked with Lanthimos on his previous film (the equally mind-bending The Lobster), Farrell is aces as a flawed man asked to take action no father or husband should ever be tasked with and Kidman continues her streak of finding the deepest complexities in a seemingly straight-forward role.  Keoghan is a bundle of nerves and energy, presenting a character obviously on some sort of spectrum that feels just in his actions so has no fear of judgement.  That frees him to express himself openly and unfiltered, a refreshing presentation to be sure but unsettling all the same in our current climate of niceties above all else.  Alicia Silverstone (Clueless) has a brief but memorable scene as Martin’s mother, grieving the loss of her husband (whom Murphy operated on) and following her son’s lead on a plan to unite the two families in his twisted imagination.

As you’ve probably guessed, The Killing of a Sacred Deer isn’t easy viewing and the ending is sure to prove problematic.  Lanthimos doesn’t let anyone off easy and that includes the viewer.  Still, it’s a handsomely made, eerie film and even when you know where it’s headed it still has one or two twists to keep you alert.  Darker than The Lobster but just as interested in social norms and providing commentary on justice, The Killing of a Sacred Deer might not be the hunt you thought you’d be going on but it’s worth the journey.

Hasta La Vista…Summer (May)

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Hasta

We did it! We made it through another summer and while the outdoor heat wasn’t too bad (in Minnesota, at least) the box office was on fire.

I’ll admit that I indulged in summer fun a bit more than I should, distracting me from reviewing some key movies over the last three months so I wanted to take this opportunity to relive the summer of 2015, mentioning my thoughts on the movies that got away and analyzing the winners and losers by month and overall.

So sit back, relax, and enjoy the ride read.

May

Though the summer movie season has traditionally been thought of as Memorial Day through Labor Day, in the past several years studios have marked early May as the start of the summer movie wars and 2015 was no different.

Kicking things off on May 1 was Avengers: Age of Ultron and, as expected, it was a boffo blockbuster that gave fans more Marvel fantasy fun. While it wasn’t as inventive as its predecessor and relied too much on jokey bits, the movie was everything a chartbuster should be: big, loud, worth another look.

Acting as a bit of counter-programming, the next week saw the release of two very different comedies, neither of which made much of a dent in the box office take of The Avengers. Critics gnashed their teeth at the Reese Witherspoon/Sofia Vergara crime comedy Hot Pursuit but I didn’t mind it nearly as much as I thought I would. True, it set smart girl power flicks back a few years but it played well to the strengths of its leads and overall was fairly harmless. I hadn’t heard of The D Train before a screening but was pleasantly surprised how good it turned out to be, considering I’m no fan of Jack Black. The movie has several interesting twists that I didn’t see coming, proving that Black and co-star James Marsden will travel out of their comfort zones for a laugh.

Blythe Danner proved she was more than Gwyneth Paltrow’s mom in the lovely, if slight, I’ll See You in My Dreams. It may be too small a picture to land Danner on the end of the year awards list she deserves but the drama was a welcome change of pace so early in the summer.

Another early May drama was a wonderful adaptation of a classic novel…and one I forgot to review when I had the chance…here’s my brief take on it now…

                                         Movie Review ~ Far From the Madding Crowd
far_from_the_madding_crowd_ver2The Facts
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Synopsis: In Victorian England, the independent and headstrong Bathsheba Everdene attracts three very different suitors: Gabriel Oak, a sheep farmer; Frank Troy, a reckless Sergeant; and William Boldwood, a prosperous and mature bachelor.
Stars: Carey Mulligan, Matthias Schoenaerts, Michael Sheen, Juno Temple, Tom Sturridge
Director: Thomas Vinterberg
Rated: PG-13
Running Length: 119 minutes
TMMM Score: (8/10)

Review: This adaptation of Thomas Hardy’s celebrated novel was a moving drama brimming with quietly powerful performances and lush cinematography. It’s a story that has been duplicated quite a lot over the years so one could be forgiven for feeling like we’ve seen this all before. Still, in the hands of director Thomas Vinterberg (The Hunt) and led by stars Carey Mulligan (Inside Llewyn Davis), Matthias Schoenaerts (Rust & Bone), & Michael Sheen (Admission) it stirred deep emotions that felt fresh. Special mention must be made to Craig Armstrong (The Great Gatsby) for his gorgeous score and Charlotte Bruus Christensen for her aforementioned picturesque cinematography. You missed this in the theater, I know you did…it’s out to rent/buy now and you should check it out pronto.

Around mid-May the summer bar of greatness was set with the arrival of Mad Max: Fury Road. The long in development fourth outing (and semi-reboot) of director George Miller’s apocalyptic hero was a movie lovers dream…pushing the boundaries of cinema and filmmaking into new places. A vicious, visceral experience, I can still feel the vibration in my bones from the robust film…a real winner.

The same week that Mad Max came back into our lives, a so-so sequel found its way to the top of the box office. Pitch Perfect 2 was a lazy film that’s as close to a standard cash grab as you could get without outright playing the original film and calling it a sequel. Uninspired and lacking the authenticity that made the first film so fun, it nevertheless made a song in receipts and a third film will be released in the next few years.

Tomorrowland and Poltergeist were the next two films to see the light of day and neither inspired moviegoers enough to gain any traction. Tomorrowland was actually the first film of the summer I saw twice…admittedly because I was curious about a new movie theater with reclining seats that I wanted to try out. As for the movie, the first half was an exciting adventure while the final act was a real mess.

I thought I’d hate the Poltergeist remake way more than I did…but I ended up just feeling bad for everyone involved because the whole thing was so inconsequential that I wished all of that energy had been directed into something of lasting value. While Sam Worthington made for a surprisingly sympathetic lead, the entire tone of the film was off and not even a few neat 3D effects could save it from being a waste.

May went out with a boom thanks to two wildly different films. If you asked me what I thought the prospects were for San Andreas before the screening I would have replied that Sia’s cover of California Dreamin’ would be the only good thing to come out of the action picture starring everyone’s favorite muscle with eyes, Dwayne Johnson. I still feel like Sia came out on top but the movie itself was a more than decent disaster epic, a little too long but made up for it with grand sequences of mayhem and destruction. Can’t imagine it will play nearly as well on a small screen but I wasn’t hating the film when the credits rolled.

A film I wasn’t too thrilled with at all was Aloha, Cameron Crowe’s own personal disaster flick. I still don’t know quite what to say about the movie because it was so dreadful that I’ve attempted to clear it from my memory. What I do remember was that it wasted its strong cast and exotic locale, as well as our time. Truly terrible.

STAY TUNED FOR JUNE, JULY, and AUGUST!

Movie Review ~ Tomorrowland

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The Facts:

Synopsis: Bound by a shared destiny, a teen bursting with scientific curiosity and a former boy-genius inventor embark on a mission to unearth the secrets of a place somewhere in time and space that exists in their collective memory.

Stars: George Clooney, Britt Robertson, Raffey Cassidy, Judy Greer, Tim McGraw, Hugh Laurie, Kathryn Hahn, Thomas Robinson, Keegan-Michael Key

Director: Brad Bird

Rated: PG

Running Length: 130 minutes

Trailer Review: Here

TMMM Score: (7/10)

Review: Just last year I made my first trip to Walt Disney World in Florida in over a decade and the area I was most looking forward to visiting in the Magic Kingdom was Tomorrowland, home to Space Mountain, the PeopleMover, and most importantly to me…the Carousel of Progress. Now, all you Disney fans out there you probably read that and thought. “Carousel of Progess? Nerd alert!” but I’ve always found that the ride documenting the advances in technology stirred a nostalgia within that superseded any feelings that the ride is dated (which it surely is).

So it was pretty exciting to hear the theme song for the ride, “There’s a Great Big Beautiful Tomorrow” pop up in Tomorrowland within the first twenty minutes.   While the song is just one of several references to the various attractions from the section of the park that the film takes its name from the movie is more than just a big screen version of a theme park attraction and, like the imagination of the man that created it, it’s filled with lots of big ideas and strong ideals.

Admittedly not the slam dunk picture I wanted it to be, the large majority of Tomorrowland works both as a sturdy give-them-what-they-want blockbuster and as a throwback to the Disney studio films of yesteryear which showcases an ordinary person finding themselves in the middle of an extraordinary adventure.

Establishing two stories in quick succession, the movie begins at the 1964 World’s Fair where young inventor Frank Walker hopes to win a prize for his jet pack invention. When his creation is rejected by a weary adjudicator (Hugh Laurie) the young boy catches the attention of a mysterious little girl (Raffey Cassidy, Dark Shadows) who gives Frank a gift that unlocks a whole new world to him.

Flash forward to the present where teenager Casey (Britt Robertson, much more at home here than she was in The Longest Ride) is doing everything she can to keep her NASA employed father (TimMcGraw wearing his newest toupee) on the job even though the space program has been cancelled. Sneaking in at night to the retired launch site in Cape Canaveral, Casey is being watched by a face from the past, a presence that needs her help to save the world from destruction.

It’s at this point, about forty-five minutes in, that the film hits its peak potential and all the elements are working in its favor. There’s an air of mystery that’s kept afloat by the breakneck direction from Brad Bird (Mission: Impossible – Ghost Protocol) and the script from Bird and Damon Lindelof (Prometheus, World War Z) doesn’t give away all of its secrets in one breath. Then it gets messy.

There’s an oddly wacky scene featuring Kathryn Hahn (We’re the Millers) and Keegan-Michael Key (turning in a performance for the second week in a row that generates zero laughs…last week it was Pitch Perfect 2) that feels spliced in from another Disney film…just one of several sequences/loose ends that are never fully explained or resolved. Where’s Casey’s mother? Judy Greer (Carrie) has a literally blink and you missed it cameo as Casey’s mom but is never mentioned again. There’s a band of square-jawed robo assassins hot on Casey’s trail but we never fully understand who exactly they’re taking orders from.

When an older Frank (George Clooney, The Monuments Men) meets up with Casey is when the movie that felt like it was about to sputter out shows more potential. It’s best to leave the rest of the film for you to discover on your own because Bird and Lindelof have snuck in a pretty good message underneath a bunch of handsome special effects and unexpected turns that occupy the final 1/3 of the film.

Surprisingly rated PG even though it’s quite scary (have fun explaining nuclear war to your kids!), this seems like a film that doesn’t quite know where its audience is. Disney clearly wanted to target the family folk but Bird/Lindelof have a script that’s decidedly more mature and could bore little tykes as the film approaches the end of its 130 minute run time. Still, it’s brainier than your average summer blockbuster and considering the caliber of people involved, it’s a marginal win at the end of the day.

The Silver Bullet ~ Tomorrowland

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Synopsis: Bound by a shared destiny, a teen bursting with scientific curiosity and a former boy-genius inventor embark on a mission to unearth the secrets of a place somewhere in time and space that exists in their collective memory.

Release Date:  May 22, 2015

Thoughts: Shrouded in secrecy for the duration of its filming, we’re a little over a month away from Disney opening the gates to Tomorrowland and after two trailers I’m still not quite sure what we’re in for.  Now, in this spoiler-ready climate we’re living in today I think that knowing less is better and I have faith that director Brad Bird (Mission: Impossible – Ghost Protocol) and screenwriter Damon Lindelof (Prometheus, World War Z) have some magic up their talented sleeves.  With Hollywood heavyweight George Clooney (The Monuments Men) and rising star Britt Robertson (The Longest Ride, Cake) leading the pack, this stands a good chance at being the second boffo blockbuster of 2015 after the May 1st release of The Avengers: Age of Ultron.