Movie Review ~ The Glorias

Available for purchase on Digital and Streaming exclusively on Prime Video starting September 30th.

The Facts:

Synopsis: The story of feminist icon Gloria Steinem’s itinerant childhood’s influence on her life as a writer, activist and organizer for women’s rights worldwide.

Stars: Alicia Vikander, Julianne Moore, Janelle Monáe, Bette Midler, Timothy Hutton, Lulu Wilson, Lorraine Toussaint, Kimberly Guerrero, Enid Graham

Director: Julie Taymor

Rated: R

Running Length: 147 minutes

TMMM Score: (7/10)

Review:  One thing 2020 has definitely needed is more empowerment.  We’ve gone through this year feeling like we’re just behind in a lot of ways, from our health to our control over what happens within our government, even to what goes on in the neighborhoods we want everyone to feel safe in.  No one wants to be at odds with each other (at least I don’t think the majority of us do) and it becomes draining to watch news reports on the great division that appears to be widening between numerous groups that used to be able to find common ground.  The rise of social media and the ability for those that hid in the shadows to now speak their hateful rhetoric from the comfort of their anonymity has only added fuel to that and the spiral just continues downward.

That’s why in some small way a biopic like The Glorias feels like a welcome bit of relief right about now, even though it too focuses on an upward battle for acceptance and understanding in the face of adversity.  While a number of documentaries have been made and work has been written about the activist Gloria Steinem over the years and just in the last decade alone, this is the one that has sprung from her own words and is based on her 2015 autobiography My Life on the Road, written when she was 81.  Adapted by celebrated playwright Sarah Ruhl, directed by lauded auteur Julie Taymor, and starring two Oscar winning actresses sharing the role of Steinem at various points in her adult life, on paper The Glorias feels like a project that sounds like an ideal convergence of the right people.  Why, then, does it wind up feeling like a artistically curated Cliff Notes version of a colorful life, only finding some true resonance with its audience in its final half hour?

I honestly doubt a life as large and full as Steinem’s could ever be fully captured in a feature film and to whittle down eight decades into 140-some minutes does seem like a Herculean task, but Ruhl does her best by not taking the traditional biopic route.  This is not a straight-timeline kind of film, but rather one that seems to go from one memory to another, at least at first.  That may be frustrating for audiences that are used to seeing where someone began and watching their life unfold until they wind up in the present (or their version of the present if it’s a person that’s no longer with us) and discover what they learn along the way.  Here, Ruhl and Taymor make use out of the multiple Glorias (Becky’s Lulu Wilson and IT: Chapter Two’s Ryan Kiera Armstrong’s play younger Glorias) to replace others seemingly at will as a way of commenting on what is to come in her life or in service of reflection on her past.  It’s cinematic trickery that works some of the time, mostly when Julianne Moore (Still Alice) as the eldest Gloria subs in for one of her younger counterparts who may not have found her authoritative voice yet but it gets a little showy if a smaller one takes over for an adult.

This narrative alignments also makes it harder to review The Glorias in such a straightforward way.  Taymor and Ruhl jump around through different periods of Steinem’s life with such apparent abandon that it’s a bit of a whirlwind.  One moment we’re with the youngest Gloria (Armstrong) as she dances with her huckster father (a stalwart Timothy Hutton, Ordinary People) on the music hall pier he owns before he packs up the family and hits the road in search of another easy money opportunity.  The next thing we know, Taymor has us with ¾ Gloria (Vikander, The Danish Girl) on her travels through India or her early journalist days where she goes undercover working at the Playboy club.  Then we’re back to teenage Gloria (Wilson) caring for her bedridden mother (an excellent Enid Graham) before meeting the Gloria in full bloom Gloria (Moore) as she comes into her own as an activist fighting for the ratification of the ERA, forms Ms. magazine, and in her later years develops a friendship with Wilma Mankiller (Kimberly Guerrero, A Wrinkle in Time), the first woman elected to serve as Principal Chief of the Cherokee Nation.

What I found the most interesting in The Glorias was not the typical biographical data that makes up the usual films of this type.  Steinem’s upbringing, dealing with a dreamer Father that lived in the clouds and a Mother who toiled away making up for his frivolity, doesn’t feel so dissimilar than many that would go on to champion the rights of women who served unnoticed for so long.  Though Steinem had a number of relationships over the years (and was questioned often about them in interviews), the film bypasses any of these tangents in favor of exploring her friendships with other women, including feminist Dorothy Pitman Hughes (Janelle Monáe, Harriet), U.S. Representative and a leader of the Women’s Movement Bella Abzug (Bette Midler, Hocus Pocus), and civil rights activist Flo Kennedy (Lorraine Toussaint, Scary Stories to Tell in the Dark).  Those that watched the FX series Mrs. America earlier this summer may be surprised to see how little the ratification of the ERA fits into the film, it’s almost a good thing to have watched that nine-episode series because it gave more context to conversations between Gloria and Bella that those who aren’t as familiar with the movement might feel a bit at sea in.

As she does with all of her projects, Taymor brings a keen eye to The Glorias but occasionally lets her artsy side get the best of her.  This is never more obvious than a misguided sequence where Moore’s Gloria steps in to respond to an interview question on live television and sends the studio into a Wizard of Oz-ish tornado that’s not entirely rendered with the same style or polish as other flights of fancy.  Another animation of the Hindu goddess Kali that becomes the first cover of Ms. magazine feels awkward and a tad childish in the context of what has been a more maturely delivered movie until that point.  Taymor’s blending of dreamy fantasy works best when its done subtly, like when the camera that’s focused on one Gloria will pan back to show another iteration of Steinem gently resting her head on the shoulder of her younger self.  It’s brief specialties like these that Taymor is so adept at that The Glorias needs more of throughout.

Even as it races through the decades, it’s when The Glorias finally slows down a bit in Steinem’s later years that Taymor and Ruhl strike something special.  Moore ages forward and with the help of believable prosthetics manages to look remarkably like Steinem without becoming a grotesquerie of plastics in the process.  These quieter later scenes of The Glorias make up for the frenetic earlier part of the movie and lead to a final transition that I should have seen coming a mile away but didn’t.  When it happens, you suddenly realize that Taymor and Ruhl have done what they set out to do and connect Steinem’s past to our present with a graceful sincerity.  Essentially, they hand the film back to their subject as a way of communicating “If this is what Gloria Steinem’s legacy is to be, then let the final word on the matter be hers.”  And, simply, it is.

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 ~ The Secret: Dare to Dream


The Facts
:

Synopsis: Miranda Wells is a hard-working young widow struggling to raise three children on her own. A powerful storm brings a devastating challenge and a mysterious man into her life.

Stars: Katie Holmes, Josh Lucas, Jerry O’Connell, Celia Weston, Sarah Hoffmeister, Aidan Pierce Brennan, Chloe Lee, Katrina Begin, Sydney Tennant, Samantha Beaulieu

Director: Andy Tennant

Rated: PG

Running Length: 107 minutes

TMMM Score: (5/10)

Review:  If this were a normal summer, we’d be neck deep in sonic boom blockbusters and hyperactive animated family entertainment at theaters by this time.  The majority of the touted releases would have seen their big debuts and faced the critical eyes of audiences around the world, hopefully making their money back and more.  When the pandemic closed movie houses around the globe and forced studios to shift their tentpole pictures months or years out, it left a rare opening for films less reliant on a built in fan base to get seen and that’s why smaller (mostly horror) movies like Relic, The Wretched, The Rental, Valley Girl, Miss Juneteenth, and Palm Springs have all posted decent numbers in their limited releases at drive-ins.  Now it’s not mega-money, the #8 film at the recent box office made $535 bucks, but at least it’s something.

If a movie like The Secret: Dare to Dream had kept to its original release date, it would have shown up in mid-April right before the heavy hitters started to appear but even so it’s hard not to see the film for the keen bit of counter-programming it is.  As someone that can take or leave these soapy romantic dramas but isn’t totally averse to giving one a chance, I was curious to see what a film based on a 2006 new-agey self-help documentary and its spin-off book would look like.  Though it doesn’t come armed with a doctrine as obvious as I anticipated, there’s an underlying message of goodness to be found and for once it doesn’t feel strained.  It’s more formulaic than the theory of relativity, but also, oddly, almost compellingly watchable in the way these types of easily digestible movies so often are.

Louisiana widow Miranda (Katie Holmes, Woman in Gold) is keeping her head above water even as the bills pile up and the life she thought she had planned slips through her fingers.  Her children are your typical movie youths running from temperamental teen to pony-loving grade schooler, yet they all manage to band together to help boost mom’s spirits when they can.   Their grandmother (Celia Weston, The Intern) wishes Miranda would sell their large but in need of repair house and marry a local entrepreneur (Jerry O’Connell, Wish Upon) but there’s something keeping Miranda from starting a new life.  Opportunity presents itself the same day a hurricane is set to hit their town, when she winds up in a fender bender with Bray (Josh Lucas, Ford v Ferrari) who just happens to be looking for her.  She doesn’t know it yet, but Bray has business with Miranda that becomes the Big Secret the movie holds onto until the Big Reveal near the end.  In the first of many wholly unbelievable plot contrivances, Miranda welcomes this total stranger into her home without question and the only one other than the grandmother that seems to find this odd is the viewer.  Charming though Lucas may come across on screen, he does appear a bit squirmy in the balmy humidity of a Louisiana hurricane season; why Miranda would accept him so effortlessly, especially with her young children present, is a mystery.   Evidently, stranger-danger is a thing of the past.

At the outset, you can feel the influence of the source material on the movie and the situations screenwriters Bekah Brunstetter, Rick Parks, and Andy Tennant (Grease 2) place Miranda and Bray in.  The film stops cold when Bray walks the children through a demonstration with magnets on the laws of attraction, a tenet of The Secret which makes the claim that thoughts (good and bad) can change a person’s life directly.   There’s a bit of mumbo-jumbo to suggest some magic in the air with this power of positive thinking having some influence on wishes coming true but almost as soon as these instances appear, they seem to be abandoned for more straight-forward dramatic storytelling that’s familiar and predictable.  Also serving as director, Tennant has helmed his fair share of rom-coms and while the movie isn’t big on laughs it does have the tiniest bit of a spring it its step and a sliver of a sense of humor which helps it from being taken too seriously.

Audiences will know the ending long before Miranda and Bray do so your enjoyment of the movie hinges on what you think of its stars.  Holmes has grown from a child star into a nicely committed actress, very much at home in these types of mom/comfort-giver roles and while there’s not a lot of range shown she finds a nice balance in the material so that it doesn’t teeter into overly saccharine.  Dealt a bit of a tough hand, Lucas has to battle back some early creeper vibes…the more you tell yourself this is a PG romantic drama the more you’ll convince yourself he isn’t there to do any harm to Holmes or her kids.  You feel especially bad for O’Connell in a totally thankless role as Miranda’s would-be suitor.  He barely gets an introduction or a proper good-bye.  Perhaps the most interesting character is meant to be the most irritating and that’s Weston as the fuddy-duddy grandmother that’s always a pest, until she does an about-face because the film needs her stamp of approval.

Take away all the rhetoric and hokey nonsense that the filmmakers don’t even stick with for long and there’s an occasionally interesting and comfortably casual viewing experience.  There are certainly more aggressively cheerful movies in recent release attempting to elicit the same type of audience reaction to far less successful results…I’d watch this one again before I’d get anywhere near something like the soggy Fisherman’s Friends, for instance.  To be clear, The Secret: Dare to Dream is as average as they come (don’t even get me started on that dreadful title) but truth be told it managed to keep me engaged far longer than I thought it would.

Movie Review ~ Judy

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The Facts
:

Synopsis: Legendary performer Judy Garland arrives in London in the winter of 1968 to perform a series of sold-out concerts.

Stars: Renée Zellweger, Michael Gambon, Rufus Sewell, Finn Wittrock, Jessie Buckley, Bella Ramsey

Director: Rupert Goold

Rated: PG-13

Running Length: 118 minutes

Trailer Review: Here

TMMM Score: (7.5/10)

TMMM Score: (7.5/10)

Review:  It’s so strange to look back at this same point last year before Bohemian Rhapsody had been released.  The buzz on the movie wasn’t great and star Rami Malek impressed in photos as late Queen singer Freddie Mercury, but how would he be in action?  We all know how that turned out: with Malek mystifyingly sailing into a Best Actor Oscar win for a hammy performance in a heavily sanitized biopic…and he didn’t do any of his own singing.  Then came Rocketman in May of this year and the same narrative preceded it into theaters, scrutinizing leading man Taron Egerton taking on the role of rock icon Elton John.  Though not the huge box office hit that Bohemian Rhapsody was, Rocketman was better in all aspects…and Egerton did all his own singing.  Now we have Judy and it falls somewhere in the middle.  As far as biographies go, it offers a standard narrative without much flash but it’s got something the other two films doesn’t.  Renée Zellweger.

We’ve really had a huge exposure to Judy Garland in the 50 years since she died at the too-young age of 47.  There have been TV specials, TV movies, stage plays, stage musicals, drag performers, impressionists, etc., all celebrating that famous face with the instantly recognizable voice. Garland’s star burned bright in her years as a juvenile box office darling for MGM appearing in The Wizard of Oz and alongside Mickey Rooney in a number of “let’s put on a show” musicals.  While she made the transition to adult roles just fine, her time in the studio system came at a price.  Years of diet pills and amphetamines given to her by handlers laid the groundwork for substance abuse issues that would follow her for the rest of her life.  When Garland finally succumbed to her addiction, she had gone through five husbands and left behind three children.

Aside from a few flashbacks to her childhood memories at MGM involving interactions with Louis B. Mayer, a fake date with Rooney for the newsreels, and even a birthday party held months in advance that’s fit into her shooting schedule, the majority of Judy is set in 1968 when Garland came to London.  Desperate for cash and needing to be financially stable enough to continue to have custody of her two youngest children, she accepts an offer for a long-term engagement at the popular Talk of the Town nightclub.  She’s set up in a lavish hotel room and put under the watchful eye of Rosalyn Wilder (Jessie Buckley, Wild Rose) who is more than aware of Garland’s antics.  With her reputation for being late and showing up less than sober preceding her, Judy tries to stay on the straight and narrow but a lifetime of dependency is hard to quit cold turkey.  The shows suffer, she suffers.  When new flame Mickey Deans (Finn Wittrock, Unbroken) appears in her life there’s a glimmer of newfound happiness but the darkness eventually creeps back in.

The movie is based on the play End of the Rainbow by Peter Quilter which I saw in its American premiere at The Guthrie Theater in 2012.  I remember it being a devastating trip through Garland’s tortured final months and was expecting the film to be in the same melancholy vein.  Surprisingly, the screenplay from Tom Edge isn’t into wallowing and feels most focused when it showcases Garland triumphing over her setbacks, many of her own making.  Yes, it’s difficult to watch multiple scenes of Garland stumbling through her sets and suffering the indignity of having food thrown at her (those cheeky Brits!) but at least the screenplay leaves out a few of the harsher incidents that were documented, including an irate patron getting up onstage and shaking Garland by her shoulders.  If anything, Edge throws in maybe one too many Good Garland moments, such as a fictionalized one where the singer accompanies a gay couple back to their flat after they waited for her at the stage door. It’s nice to see her out of her element, but it doesn’t tell us anything we didn’t already know about her…though Edge does tie this outing to a bit of business in the end in a rather clunky manner.

Had it not been for its leading performance, Judy would likely have been included in the pile of middling biopics that seem to pop up every few years.  However, with Renée Zellweger as Judy Garland the entire film is elevated to another level.  Over the years, Zellweger (Bridget Jones’s Baby) has somehow gotten a bad rap from people and I can’t for the life of me figure out why.  She’s reliably good in nearly everything she’s done and has multiple Oscar noms and one win to prove it.  All that she’s done before pales in comparison to the performance she gives here and it will surely knock your socks off.  She may not sing quite like Garland, (her vocal register is higher), but who really does?  She may not always look exactly like her, though the majority of the time it’s downright uncanny how much she resembles the singer. More than anything, Zellweger has found what I think is the soul of Garland and brought that forth – it goes far beyond a mere impersonation or recreation of signature moves.  The first time she sings, really sings, in character on stage is watershed moment for the movie and Zellweger as an actress.  At this point, it’s safe to say she’s a lock for an Oscar nomination and I can’t see anyone putting up much of a fight to beat her.

Yet one wishes the movie were as solid and satisfying as Zellweger’s performance.  As directed by Rupert Goold, there’s not much pizzazz to be found when Zellweger isn’t on screen so it’s a good thing she’s rarely out of sight.  Like the audiences in London all those years ago, you’re coming to see Judy Garland and Goold and company make sure she’s front and center as much as possible.  London in the late ’60s is recreated well, but it’s an awfully gloomy view of the town with the sun rarely shining.  The supporting players are serviceable, with Buckley as her increasingly unamused babysitter faring the best.  Earlier this year, Buckley also gave a thrilling musical performance in Wild Rose and might find herself competing against Zellweger for one or two awards.

Culminating with a truly breathtaking final 10 minutes that expose the heart of Garland’s deep vulnerability, it’s easy to excuse some of Judy’s more melodramatic moments along the way.  I found Zellweger to be downright mesmerizing as the troubled singer and am looking forward to watching her victory lap over the next few months.  Judy Garland sadly never won an Oscar the two times she was nominated (that she didn’t emerge victorious for 1954’s A Star is Born is an absolute crime!) but hopefully Zellweger winning one for playing Garland will make up just a teeny bit for that.

Movie Review ~ Fiddler: A Miracle of Miracles


The Facts
:

Synopsis: The origin story behind one of Broadway’s most beloved musicals and its creative roots in early 1960s New York, when “tradition” was on the wane as gender roles, sexuality, race relations and religion were evolving.

Stars: Lin-Manuel Miranda, Austin Pendleton, Fran Lebowitz, Michael Bernardi, Jerry Bock, Danny Burstein, Joey Grey, Josh Mostel, Harvey Fierstein, Topol, Harold Prince

Director: Max Lewkowicz

Rated: PG-13

Running Length: 92 minutes

TMMM Score: (8/10)

Review: A funny thing happens to me anytime I hear someone bring up the musical Fiddler on the Roof. No matter where I am or what I’m doing, I stop in my tracks, get completely serious, and say “I. Love. That. Show.” It’s not being dramatic, it’s not overstating the truth…it’s just fact. For a while I used to say it was my guilty pleasure show…until I realized that I’d never seen a bad production of it and there were quite a few others than shared in my sentiment. In the world of theater, it seems that you either love Fiddler, you were in Fiddler, or both.

For the last 55 years, the Tony winning show inspired by the tales of Sholem Aleichem with music by Jerry Bock, lyrics by Sheldon Harnick, and book by Joseph Stein hasn’t gone a single day without being performed somewhere in the world. Ponder that for a moment. Every day, for over a half century, somewhere on earth, an audience experienced the musical set in a Russian shtetl in 1905 about a milkman named Tevye and his family. A little over a month ago, I caught the new Broadway tour of the 2015 revival of the show and fell in love with it all over again. Yes, the first act is longer than most Adam Sandler movies (100 minutes) and by this point there’s hardly a person in the world that hasn’t “deedle deedle dum’ed” their way through a shower rendition of ‘If I Were a Rich Man’ but the show continues to work like gangbusters.

Inspired to learn a bit more about the show, I tracked down a copy of Barbara Isenberg’s excellent 2015 book ‘Tradition!: The Highly Improbable, Ultimately Triumphant Broadway-to-Hollywood Story of Fiddler on the Roof, the World’s Most Beloved Musical’ right around the same time I got wind of this documentary. Fiddler: A Miracle of Miracles is part creation story and part time capsule, showing not just the genesis and lasting impact of the musical but also the cultural climate it sprung out of. While many of the stories from the book are repeated in the movie, both have their own golden nuggets that make them a must for any Fiddler fan.

Clearly, the admirers are plentiful and endure along with the show, including a plethora of familiar stars of stage and screen that are interviewed by director Max Lewkowicz. Using archive interviews with the creators (Stein and Bock have passed away) and having family members fill in some narrative gaps, the film is often a straight-forward ‘this is how we made it’ charting of how the piece developed. Those interested in Broadway history will find many recognizable names mentioned as the show went from a poorly reviewed tryout in Washington D.C. to becoming a global phenomenon that continues to sell out theaters whenever it plays in whatever language it’s been adapted to.  Yet before we get to how the writers came up with the songs and how director/choreographer Jerome Robbins devised the inventive dances, Lewkowicz takes audiences on a journey through the early ’60s and the mood the country was in when the Fiddler crew was setting up shop.  It’s valuable to see where the authors were coming from and what might have influenced them, not just in that point in history but in their own personal remembrances.

While the book ultimately has some more dishy asides about the shenanigans that went on offstage and original Tevye Zero Mostel’s tendency toward the unpredictable onstage, the documentary has its own share of memorable moments. I found the audio clips from the first school production to be incredibly moving. As the show was still playing its original run on Broadway, a inner city NYC school was granted the rights by the creators as a way to demonstrate that, though the show was about Jews, its message was universal. The production was met with protests by the religious on both sides, each wonder the appropriateness of someone outside of the Jewish heritage going through a show that has several faith-based observances serving as key moments.  Hearing the young cast sing the music is remarkable. Try to stave off the chills.

Starting out strong by going into a fairly detailed deep dive into the politics and temperature in place when the musical was first created, Lewkowicz stretches things a bit too far by looping in everyone’s favorite Pulitzer Prize winner, Lin-Manual Miranda (Mary Poppins Returns) for some on-camera time. Now, I’m fan of what Miranda did for Broadway with Hamilton and hold that piece of theater up as the highest of high bars, but did we really need his appearance talking about his wedding reception video that went viral (a well-orchestrated viral, I might add) where he got family and friends to sing ‘To Life’? Honestly? No. It feels like a strange diversion, an unfocused detour after such a keen honing in on more related topics.  I know it’s included to show how the music continues to inspire but it comes off as a chance for Miranda to pat himself on the back for devising the surprise for his bride.  So it smacks ever so slightly of inclusion for name value alone.

At a brief 92 minutes, there’s a bounty of information here for the casual fan and for those that have listened to the cast recording thousands of time. It’s nice to hear from Topol, the Oscar-nominated star of the movie who played Tevye onstage before and after his silver screen performance. Seeing him play the role onstage several years ago, I’m not ashamed to admit I burst ino tears the moment he said his first line. I would have liked to see a bit more comparisons between the Fiddler productions throughout the years, from the revised version that played Broadway in 2004 (I saw Harvey Fierstein as Tevye…another unexpected delight), the most recent revival from 2015, or from the current production playing off-Broadway performed entirely in Yiddish.  Even so, there are clips from a number of international productions, illustrating again the ease in which the show crosses through languages and interpretations.

Thanks to the judicious editing by Lewkowicz and the addition of some nice animations to tie passages together, it’s a well-paced watch. Engaging and entertaining but, like it’s subject, over in the blink of an eye, Fiddler: Miracle of Miracles may follow the same structure as many making-of documentaries but it gives the audience something extra. By looking at the bigger picture surrounding the show and how it has had an impact, it makes an oft-done musical seem as relevant today as ever before.

Movie Review ~ The Peanut Butter Falcon


The Facts
:

Synopsis: A young boy with Down Syndrome runs away to fulfill his dream of becoming a professional wrestler.

Stars: Dakota Johnson, Bruce Dern, Shia LaBeouf, Zack Gottsagen, John Hawkes, Thomas Haden Church, Jon Bernthal

Director: Tyler Nilson & Mike Schwartz

Rated: PG-13

Running Length: 93 minutes

TMMM Score: (7/10)

Review: Coming off a summer chock full of movies that seemed to only love us for our money, it would be easy to approach The Peanut Butter Falcon with a tiny bit of wariness.  Is this character-driven drama really asking us to just sit back and enjoy ourselves?  Shouldn’t we be figuring out what supporting players will be getting their own franchise spin-off or deciding whether or not to stay until the lights come up in case we miss any post-credit stingers?  Don’t we need to steel ourselves to debate with our friends and followers the merits of how well the screenwriter and director have brought a beloved character from the page to the screen?  Not so fast.  It’s with a grateful heart I can say that originality and a tender spirit are the key ingredients in this sweet film that has no ulterior motives.

I have to admit, when I first heard of this film the title didn’t exactly set my world on fire because I couldn’t ever seem to remember if it was a kids movie or not.  I kept getting it confused with 1985’s The Peanut Butter Solution which, incidentally, was the first flick to include a Celine Dion song. Anyway, I hadn’t heard anything about The Peanut Butter Falcon because it largely flew under the radar on its way into theaters, buoyed by a strong performance at the 2019 South by Southwest Film Festival in Austin, TX.  I also should be up front and say I outright skipped several advanced screenings of it in favor of other more mainstream films but the good buzz on this kept coming back my way and so I turned a movie night with a friend into an opportunity to see what the low hum hype was all about.

Without a family to care for him, 22-year old Zack (Zack Gottsagen) lives in a North Carolina nursing home where he is looked after by Eleanor (Dakota Johnson, Suspiria) and shares a room with Carl (Bruce Dern, The Hateful Eight), a wily man over a half century older than he is.  Far too young to live the rest of his life surrounded by old people, Zack dreams of becoming a professional wrestler and train with his idol, the Salt Water Redneck (Thomas Haden Church, Hellboy).  Though a high functioning man with Down syndrome, Zack doesn’t have the resources to live on his own so, for the time, being he has to stay where he is.  After a botched escape attempt, Eleanor cracks down on Zack and finally puts bars on his window to prevent him from stealing away when no one is looking.

Nearby, local fisherman Tyler (Shia LeBeouf, Lawless) has gotten into trouble again for fishing without a license and winds up vandalizing the equipment of Duncan, a thorny shoreman (John Hawkes, Lincoln) that doesn’t forgive and forget.  Escaping in a boat and pursued through the marsh by the angry fisherman, Tyler discovers Zack has stowed away on his boat, having escaped from the retirement home in the middle of the night with a little help from Carl.  Though lone-wolf Tyler has plans to start over in Florida, he can’t leave Zack behind and finds some purpose and promise of redemption in helping him get to the wrestling school…even if it means a few extra days of avoiding potential violence from Duncan and his henchman.

Reviews have mentioned Tyler and Zack’s journey to the home of the Salt Water Redneck as a modern day Huckleberry Finn tale, something Mark Twain would have had great fun writing, and that comparison isn’t wholly off the mark.  Heck, at one point the two men even build a raft and sail down the river like the characters in Twain’s stories often did.  When Eleanor tracks them down and makes the duo a trio, it adds a new dimension to an already intriguing premise.  Along the way they meet a blind man of faith that affords the film some honest-to-goodness soul stirring passages and eventually come to their destination which might actually be the start of another journey altogether.

Writer/directors Tyler Nilson and Michael Schwartz have a little gem on their hands here and they’ve given it a fine polish.  While the story might feel the slightest bit warmed over treacle at times, there are enough moments that subvert the expected and yield something more interesting.  Though Johnson sinks believably into the role of an invested caregiver to Zack, the script wants her to take on another role for Tyler’s benefit that doesn’t feel as well-developed and certainly not as warranted.  Thus, Eleanor starts to feel shoe-horned into the latter half of the film, like Nilson and Scharwartz expanded the role once Johnson signed on.

The best parts of the movie are watching Gottsagen and LeBeouf converse and react off of each other.  I’m not sure how much of what is presented was the result of improv between the two or scripted developments but there’s a lightness and geniality to their quickly developed friendship that feels authentic.  LeBeouf, often given to going too far inward in his roles, is fairly fantastic here, haunted by memories of his late brother (Jon Berenthal, The Accountant) and clearly far adrift in his life.   Gottsagen, too, is an electric presence onscreen and by the time the movie reaches it’s apex we’ve fallen for his character so much that we want everything to go his way.  Separately, the actors are absorbing but together they are dynamite.

Though Nilson and Schwartz biff the ending a bit with some confusing narrative choices and a final shot that I outright disliked, what came before it was an incredibly winning and rewarding night at the movies.  It’s another film that, I feel, will play better at home because it feels like it wants to find a place in your heart.  With it’s rich soundtrack and down home charm, I can easily see why this understated film appealed to the crowds that flock to the Texas film fest and why it’s proving to be an appetizing alternative to audiences at the end of their summer blockbuster rope.

The Silver Bullet ~ Judy



Synopsis
:  Legendary performer Judy Garland arrives in London in the winter of 1968 to perform a series of sold-out concerts.

Release Date: September 27, 2019

Thoughts: Our tiny toes have just dipped into the summer blockbuster waters and already studios are teasing us with Oscar hopefuls arriving in the fall. That’s ok because this long overdue biopic of doomed star Judy Garland looks like a nice turn for Renée Zellweger who has been laying low for the last several years.  Could Judy be the comeback vehicle that gets her a fourth Oscar nomination and maybe a second win?  It’s too early to tell for sure but more than fine to speculate this far out.  The first look at the September release features Zellweger (Bridget Jones’s Baby) singing as Garland and while she doesn’t sound quite like Judy she definitely looks like her in the brief clips shown.  True, fleeting glimpses don’t equal a convincing performance and I actually found it concerning how little extended glances we get – but let’s just chalk it up to the teaser quality of this teaser trailer.

Movie Review ~ Whitney


The Facts
:

Synopsis: An in-depth look at the life and music of Whitney Houston.

Stars: Whitney Houston

Director: Kevin Macdonald

Rated: R

Running Length: 120 minutes

TMMM Score: (8/10)

Review: When I was young and MTV was just starting, I remember asking a friend’s sister to record this one video from an artist I just loved because I wanted to be able to watch it whenever I wanted. I even used a tape recorder to nab a sound recording so I could listen to it on the go. The song? How Will I Know. The artist? Whitney Houston. It was the start of a life-long devotion to the singer and sometimes actress, one that didn’t end with her tragic death at 48 on February 11, 2012.  Before she died and even after she was gone, rumors about drug use, sexual abuse, and destructive behavior swirled around the artist leaving many to believe the lies without knowing the truth.

In the new documentary Whitney, director Kevin Macdonald (How I Live Now) explores Houston’s meteoric rise and untimely fall through an introspective lens. Though he’s become more well known for Hollywood films, Macdonald got his start with documentary filmmaking and has kept to his roots throughout the years. It’s Macdonald’s experience with this genre and his piqued interest in the subject that propels Whitney from being a standard biography to an electric showcase of the dark side of fame.  Seeing the previews for Whitney I expected to come out of the film sad but never expected to come out as mad as I did. Here’s another tale of a talent surrounded by people that loved her for what she gave them but turned a blind eye to her cries for help. Not wanting to upset their meal ticket, it’s clear that family, friends, and co-workers were unwilling to tell the troubled performer no and largely sat idly by as she imploded.

An interesting technique Macdonald uses is to give viewers a snapshot of what was going on in the world at various points throughout Houston’s career. Interspersed with family photos and videos are television ads of the day and news clips from key events. It’s not exactly a revolutionary method but it helps set the scene quickly and distinctly. Through the years we get a better idea of what kind of impact Houston had on pop culture and how, after her public battle with drugs, she eventually became a joke to the very people that once sang her praises.

As she was growing up in New Jersey, Macdonald interviews those that knew Nippy (Houston’s nickname) and could tell at an early age that she possessed something special. Raised by her civil servant father and groomed by her famous mother (Cissy Houston, a singer), Houston was exactly the kind of fresh face and powerful voice that the music industry didn’t even know they needed. Shepherded by Clive Davis at Arista records, Macdonald boldly moves the action far forward, jumping from the popularity of her first album and skipping over the next several years as Houston cements herself as a gigantic star.  Going beyond the music, Macdonald shins a light on secrets within the Houston family and goes into uncomfortable detail in how everything in Houston’s upbringing wasn’t as rosy as her PR team made it out to be.

A telling sign of how fame can affect family and friends, many of the subjects interviewed get “employee” added to their onscreen relationship credit over time. Eventually, everyone that she was close to got on her payroll which caused great conflicts of interest between the star and those she trusted. Were they giving her advice as a friend or as an employee? Did they have her best interest as a person in mind or were they just looking the other way to keep getting a paycheck.  Thankfully, Macdonald doesn’t fall on either side of this issue but keeps Whitney as objective as possible. This viewer surely made his own conclusions but the filmmaker lets the words of Houston and those that knew her tell the story…and lets some of them dig their own grave. In frank and honest interviews, people admit to, among other things, providing Houston with drugs, knowing about sexual abuse within Houston’s extended family, and worrying about her parenting of daughter Bobbi Kristina. Houston’s notorious ex-husband Bobby Brown pops up and does himself no favors while the brief time we sepnd with Houston’s mother tells us all we need to know about the fire in their bellies that fueled their dreams of success.

While Macdonald covers a lot of bases (including the rumors about Houston’s sexuality) he never fully ties up any loose ends. There are several items that are introduced but never truly explored, a sign the film could have been a lot longer had Macdonald been free from the constraints of a theatrical running length. My hope is that any excised footage or interviews are made available on a home release or that a longer version is compiled at a later time. There’s just too much to cover in two hours and, while it’s all fascinating, too many of the fairly important pieces to  a much deeper puzzle are left in the box.

Let’s just face facts, Whitney Houston was one of the best singers in history and to lose her so early was an outright tragedy. Could her death have been prevented? Was there something more someone could have done? Sadly, the answer is yes and while Whitney doesn’t try to answer all the questions audiences may come with, it does provide stunning evidence that many people let her down.

Movie Review ~ Wonderstruck

The Facts:

Synopsis: The story of a young boy in the Midwest is told simultaneously with a tale about a young girl in New York from fifty years ago as they both seek the same mysterious connection.

Stars: Julianne Moore, Michelle Williams, Oakes Fegley, Millicent Simmonds, Cory Michael Smith, Tom Noonan, James Urbaniak

Director: Todd Haynes

Rated: PG

Running Length: 117 minutes

TMMM Score: (6.5/10)

Review: We’re all about honesty at The MN Movie Man so I’ll admit that I was a little sleepy when I caught an early preview of Wonderstuck a few weeks back. Seen on a double screening day, I struggled greatly not only keeping up with its ping-pong-y plot but just staying awake for the new film from well-liked director Todd Haynes. Based on Brian Selznick’s thick tome that’s a hybrid of novel and picture book (much like his previous hit Hugo which found its own way to screens a few years back), Selznick also wrote the screenplay and one wonders what Haynes would have done (or could have done) had he run the whole show.

Taking place in two time periods that eventually collide in unexpected ways, Wonderstuck spends a good hour just to get moving and another half hour after that to provoke the kind of wonderment I think the filmmakers were going for. For those first sixty minutes I was largely at sea with the two tales. One features a motherless boy named Ben (Oakes Fegley, Pete’s Dragon) in the ‘70s who loses his hearing in a freak accident before running away to find his unknown father. The other trails deaf-mute Rose (the exceptional Millicent Simmonds) as she embarks on a quest to track down her favorite Hollywood actress (Julianne Moore, Still Alice) making a return to the New York stage following the advent of talkies in the late ‘20s.

Ben’s story is displayed in the vibrant, pulsating with color world of the ‘70s while Rose’s is presented in somber black and white silence. No matter how good or bad his movies are, the one thing you can absolutely say about a Todd Haynes film is that the production design will be flawless and that’s certainly the case here. Production designer Mark Friedberg (The Amazing Spider-Man 2) recreates two totally different eras of NYC with a master’s touch. I totally marveled at the depth of detail evoked by each period…if this isn’t an Oscar front-runner already, it surely will be as more people in the know see it.

How the stories eventually come together is a mystery that isn’t as easy to solve as you may first realize. The disparate time periods would suggest a different solution than Selznick arrives at but by the time we get to our destination the film has overstayed its welcome every so slightly and explained more than it showed how it all came to be.  It does help that the performances across the board are delivered with a strong sense of conviction.  Fegley’s frustration at his loss of hearing, the loss of his mother (Michelle Williams, Halloween H20: 20 Years Later), and the needle in NY haystack he’s out to find is crushingly felt as is Simmonds wish for independence despite the limitations others perceive her as having.  Moore, as usual, makes a strong showing in dual roles that are polar opposites of each other.

To its credit, the final fifteen minutes are exceptionally moving and send you out of theater better than when you arrived…but at the same time I wish the film had found another fifteen minutes to excise. It wants to be a family art-house prestige picture but can’t get out of its own way to find a stronger rhythm that will hold the attention of young and old alike. That’s all well and good for the previous films that Haynes has directed like Carol or Far From Heaven, these films had the benefit of playing to an adult audience looking for a sophistication. If Wonderstruck is able to find that family audience, I think that’s wonderful and I hope it happens. However, parents should take this one in first to determine if their kids are up for something challenging.

 

Movie Review ~ Hello, My Name is Doris

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hello_my_name_is_doris
The Facts
:

Synopsis: A self-help seminar inspires a sixty-something woman to romantically pursue her younger co-worker.

Stars: Sally Field, Max Greenfield, Natasha Lyonne, Kumail Nanjiani, Peter Gallagher, Wendi McLendon-Covey, Tyne Daly, Beth Behrs

Director: Michael Showalter

Rated: R

Running Length: 95 minutes

TMMM Score: (6/10)

Review: Some people watch scary movies peeking out from behind their hands covering their eyes. I do the same thing for movies with socially awkward people trying and failing to be heard. There’s something inherently not enjoyable about seeing a person already uncomfortable in their own skin being put through an emotional ringer. For the masochists out there that love a good grimace, you need look no further than Hello, My Name is Doris, a whiffle of a dramedy that ultimately finds success in its lead performers.

Sally Field is Doris, a data processer at a hip New York ad agency that has kept her around for politically correct reasons rather than necessity. Mourning the recent loss of her mother and avoiding the urges of her brother and his wife to sell their family home, she finds a ray of sunshine when John Fremont (Max Greenfield, The Big Short) joins the company. Newly relocated from Malibu, John is everything Doris is not…young, current, and confident. Doris develops a fixation on John and daydreams about him saying sweet words before locking her in a passionate embrace.

There’s more to the story thought, with a hoarding subplot that seeks to explain a little more about why Doris acts and reacts the way she does. Her friends (Tyne Daly, Caroline Aaron) chalk up the obsession to another wild fantasy Doris has dreamed up, before realizing too late that she’s doing more damage to herself in the process. When John starts dating another woman, Doris drinks away her sorrows and innocently sets into motion events that lead to an inevitable denouement.

You’ll wince through a lot of the movie; only because it’s hard to see a character so clueless learn such difficult lessons late in life. Shielded somewhat from the outside world and dreams of romance after caring for her mother for so many years, Doris sees John as a chance to reclaim some of the years she’s lost but can’t see that they’re on two different journeys running parallel to each other.

As usual Field (Steel Magnolias) is a treat, coloring Doris in a way that makes you feel for her even when she’s making a wrong move. I feel like every character in the film has at least one moment where they have a ‘poor Doris’ look on their face and Field earns those melancholy stares. Her best moments come near the end of the film, especially in one dialogue-free scene where the buttoned up woman literally lets her hair down and sees herself for the first time as she really is underneath all of her accessories.

Field is well matched by the appealing Greenfield, who manages to take a role that could have been your standard unattainable dreamboat and show some nuance to him as well with writer/director Michael Showalter (adapting this from a short film by Laura Terruso) making sure that John isn’t the image of perfection. At one point John tells Doris that he worries he’s boring…and you can see it’s a genuine fear of his. Because like Doris, he just wants to be noticed for who he is.

At 95 minutes, the film is well-paced and ever so slightly rough around its independent edges. More thought seems to have gone into Doris’s thrift store wardrobe and headscarves than continuity. Like Doris, it’s a bit thrown together and flat out drops certain central characters without much fanfare. A rather impressive roster of familiar faces pepper the supporting cast but their appearances are so brief that they become even more inconsequential to a film that only wants to focus (rightfully so) on the leads.

If you can muscle through an hour and a half of squirming uncomfortably every time Doris rocks out to electronic dance music or is caught embarrassingly daydreaming of romantic interludes, this might be the movie for you. It’s surely worth it for the performances Field and Greenfield turn in…but it’s not an easy watch.