'Paradise Hills' Review: Beautiful Chaos in a Futuristic Rehab
Full disclosure, I didn't intend on seeing 'Paradise Hills' while at the Sundance Film Festival. The only reason Ryan and I ended up in line
Mademoiselles held against their will
Paradise Hills, directed by first-time feature filmmaker Alice Waddington and written by Nacho Vigalondo (Colossal), is a Spanish-American fantasy film centered around the free-spirited Uma (Emma Roberts) and her girl gang. After being sent to a girls-only futuristic rehab on an undisclosed island somewhere on planet Earth, Uma becomes irritated at the lack of control she has over her life. Under the direct supervision of "The Duchess" (Milla Jovovich), all the girls, or mademoiselles as they're referred to by the posh rehab counselors, are forced to dress in ultra-feminine wear, partake in tea time, and make flower crowns- of which only one extracurricular activity is fully explained towards the end of the film.
Uma quickly creates a strong bond with her roommates, Yu (Awkwafina) and Chloe (Danielle Macdonald), but is slower to warm up to the Latin pop star, Amarna (Eiza González). Uma and Amarna's rift doesn't last beyond the film's initial scenes as they realize that, in order to break out of this saturated sanctuary, they're going to need to stick together.
Whimsical stylings overshadow basic plot points
The nods to David Bowie's Labyrinth and Disney's Alice in Wonderland in both story and style are undeniable, yet Paradise Hills falls a short in being considered an equal among these cult classics. Whimsical production design and costumes that look like The Hunger Games-meets-Vogue can only propel Paradise Hills so far. The lackluster script mixed with tepid performances and the absence of basic plot points- like any information about our protagonist's backstory, location or a reference to date/time- are all reasons why I felt disconnected from the film. It's hard to be invested in a character's well-being when there isn't any tangible information to create empathy.
Fantasy gone wrong
The lack of the essential Who, What, When, Where, and Why is ultimately Paradise Hill's biggest downfall, even the headlining cast and colorful onscreen distractions aren't enough to sell this fantasy. Emma Roberts gives a lukewarm performance as Uma; even at the height of the drama in the film's climax, it feels as if she is just reading lines from the script. Milla Jovovich as the stereotypical "Evil Stepmother" of this reform camp is melodramatic and over-exaggerated, creating an off-balance dynamic in her scenes with Roberts. Even Awkwafina, star of last year's Crazy Rich Asians, generates a sense of discomfort and awkwardness as she sheds her "funny girl persona" to play a character riddled with anxiety and depression which seemed like a waste of talent.
Risky business
The best part about the Sundance Film Festival is knowing that every film that earns a spot in the lineup was made with heart, soul, and a whole lot of risk- Paradise Hills is no exception, as it was by far the most boundary-pushing film I saw all week. Its dedication to building this world was not overlooked, although it would've been nice to know specifically what world we were in.
Paradise Hills is currently seeking distribution. 95 minutes.
'Untouchable' Review: Forgiveness for Sex Offenders?
If you're looking to start the year off with a provocative and thought-provoking documentary, I suggest watching Untouchable, a film that examines the divisive topic of sex offender laws and the people they affect.
Director David Feige's 2016 Tribeca-winning doc is centered around one father's uncompromising quest for justice for his daughter and his mission to keep her abuser- the family's former nanny- behind bars and stigmatized for life. But that begs the question- is redemption for sex offenders possible?
The harshest laws in the nation
Sexual abuse doesn't discriminate against race, religion, or status- just ask Ron Book, the most powerful political lobbyist in Florida. When he discovered that his daughter, Lauren, had been the victim of horrific sexual abuse, which took place for years under his own roof by someone he knew and trusted. As a result, Ron was determined to make a change. His legislation, which passed and is currently the strictest in the nation, sent sex offenders into exile. With its enforcement, those convicted must live within certain boundaries, away from public gathering spots where children frequent like schools and parks, many of the accused have succumbed to homelessness. They live under bridges, without tents, because legally, per Book's law, that is the only place they can live. And while over 800,000 people have been affected by these new sex offender laws, this doesn't take in to account the number of people associated with the convicted offender whose life is also uprooted and forever changed.
An indefinite stigmatization
Ron Book shows no sympathy for the people convicted of these crimes, but that is understandable. As a bilateral victim, he is justified in his feelings of hatred. However, there are people on the other side of the issue who feel that sex offenders are the only subcategory of people who "cannot" re-build their lives, they are forever stigmatized as criminals. Murderers, drug addicts and more are encouraged to turn their lives around with the promise of a "fresh start" and "new slate", but the same doesn't apply to sex offenders. Feige interviews some of the people who feel as if they have been stigmatized indefinitely.
Is redemption possible? Louis CK doesn't help the argument for "Yes"
Untouchable is uncomfortable, as is its intention, although David Feige and team likely didn't purposefully include a clip from comedian Louis CK's controversial monologue about child molestation and how "it must be good if people are willing to ruin their lives for this act" just to be controversial. Given the hot water Louis CK finds himself in currently over his own sexual abuse accusations, this "joke" feels too creepy and ill-timed to prove any sort of point for the accused. By the film's end and after a thorough job examining both sides of the issue, Untouchable will force the viewer to debate this hot button topic and leave us with this loaded question: should there be redemption for sex offenders?
'Untouchable' is not rated. 105 minutes. Available on VOD today.
Cinemacy's Top Films of 2018
What we consider to be among the top films of 2018 represents a combination of the movies that had the greatest emotional impact on us, matched with movies that felt innovative or groundbreaking. Here are the films that we consider to be the best of last year:
Morgan's Top 10
10. Assassination Nation
9. Isle of Dogs
8. The Sentence
7. If Beale Street Could Talk
6. Private Life
5. Won't You Be My Neighbor?
4. Vox Lux
3. First Reformed
2. The Favourite
1. Eighth Grade
Honorable mention: Shoplifters
Ryan's Top 10
10. Isle of Dogs
In his second foray into stop-motion animation, the twee-minded Wes Anderson sets out to answer the question: “what does a Japan-set dystopian world that banishes all dogs to a series of inter-connected refuges known as Trash Island look like?” It’s not news that Wes Anderson has invented entire worlds unto themselves in almost all of his films, but Isle of Dogs is one of this year’s clearest achievements in total ground-up creation and imagination. By not only realizing such a visually intricate world full of detail-rich locations but finding the heart in every mangy dog’s sneeze, Anderson and his team of animators pull off one of the year’s greatest feats in film-making. I loved every frame of it.
9. Won’t You Be My Neighbor?
As time goes by and people continue to be divided by generation, more and more the idea of having cultural “icons" who are able to cross-over and connect multiple generations becomes a more unlikely thing, which in turn might make for more isolated human experiences. Perhaps it was perfect, then, to watch Morgan Neville’s (Jane, xx) latest documentary about one of these last-of-his-kind national figures who was adored by audiences of all types. Beyond being a beautiful and gentle handling of the life of Mr. Rogers, showcasing his values of love and self-acceptance, hearing older audiences sing along to the "Mr. Rogers' Neighborhood" theme song showed the tear-jerking beauty in shared emotional catharsis and connection that, these days, feels too few and far between.
8. Border
I had near-zero knowledge of what I was getting myself into before settling in to see Sweden’s official entry for Best Foreign Film, and that’s exactly how I recommend going into this film. What might best be described as a fairy tale set in modern day, Border follows an unsightly but uniquely gifted customs agent (Eva Melander, in incredible make-up) in which the arrival of a mysterious man leads her into discovering the shocking truths of a vile human – and not so human – underworld. One of the most daring and wildly conceptual film I saw all year, Border delivered a profound feeling that has resonated with me ever since.
7. Hereditary
Hereditary stood tall this year as a brilliant display of auteur-minded horror, showing the arresting power that cinema can waver so powerfully over its audiences. Seeing this A24-produced horror film during its opening weekend with a theater full of audience members was one of the most thrilling and exhilarating movie-going experiences I had this year, the whole room jumping out of our seats and holding breaths through the film's tensest moments. While I might have wished that some of Hereditary's many ideas were further fleshed out, and even that some ideas were pulled back on (to say the film's final coven-inspired sacrificial ceremony was too "conventional" might be an odd thing to say), but with its jaw-dropping nighttime photography and Toni Collette’s chilling, trauma-inducing performance, this film had no problem burning itself into my psyche.
6. Vox Lux
The thing about pop culture is that for all its commercial fantasy and celebrity-worshiping, that there must be reasons and needs for why society feels the need to escape, and which harsh realities society doesn't wish to face. It's a relationship that director Brady Corbett examines in this portrait of a Gaga-esque pop star's rise to fame, from center of national tragedy through Madison Square Garden headlining fame. Shot with imaginative style with Terrence Malick-like sobriety, commenting and showing its horrific and tragic American events, it's a timely and necessary reflection and reminder of the sound of a burst when it pops.
5. Eighth Grade
Another film that handled the duality between invented reality and the less satisfying, more anxiety-ridding real one, was the directorial debut of stand-up comedian and former YouTube sensation Bo Burnham. Like an unexpected front-facing flash from a camera selfie, Burnham turns the camera on a generation that, at his young twenty-eight years of age, that he is now removed from: Gen Z, the first generation of kids to grow up in a totally internet-connected world. The identity crisis of a girl going through her final year of eighth grade feels perfectly of-the-moment with what feels like a universal existential crisis that's being experienced, impressively captured with understanding, sympathy, and wisdom.
4. Minding the Gap
While the story of young skateboarders who seek to escape their dysfunctional family upbringings by goofing off together was brought to the big screen this year in Jonah Hill's semi-autobiographical directorial debut Mid90s, it was the Hulu original documentary Minding the Gap that proved to be the deeper and more affecting examination of the same subject for me. What starts off as a skate video following the fun hang-outs between a group of Illinois kids slowly takes shape into something much bigger; an examination of issues like job-insecurity, race, and domestic abuse that they each experience first-hand. Most impressively, this years-long ranging story (of which comparisons to Boyhood have been attributed) are all captured by one of these kids himself – Bing Liu – who applies his one-man movie-making skills to write, shoot, direct, edit, and interview all of his friends in what was one of the most unexpectedly affecting films of the year for me.
3. American Animals
Somewhat embarrassingly, I had not seen Bart Layton's critically acclaimed first feature film, The Imposter, before seeing his second film, American Animals. So when I saw the film in theaters, I was stunned and transfixed by the way Layton used an array of tools and techniques to tell the real-life story of four young undergrads who set out to steal some of the nation's most prized art books. Infusing documentary-style interviews and meta elements of memory and perceived truths (much like what is on display in The Imposter), Layton re-writes the rules of what is possible to do in movies and one that I praised and recommended any chance I got this year.
2. Cold War
I'd heard great things about director Pawel Pawlikowski's follow-up to his 2013 black and white historical drama Ida (I was aware the film was nominated for a Palme d'Or at Cannes Film Festival, with Pawlikowski walking away with the award for Best Director). And after seeing the film I can both understand and join in the film's praise. A historical drama centered around Poland's post-World War II efforts to strengthen its national identity by celebrating its music through concert performances, at its heart the film is a love story between the Polish music director (Tomasz Kot) and a beguiling, transfixing singer (Joanna Kulig). Spanning multiple years that sees the pair kindle and then re-kindle their relationship amidst national anxieties and struggles (the film was based on the director's own parents' story), Cold War is one of the best films I saw this year or any other.
1. Roma
It seems like the best film of any year somehow ends up linking to the present moment of social politics and culture. The film that had the most profound effect on me, that stands in dignified defiance to the loud, shouting discourse that leads American politics today, is a story about a quiet, humble and sympathetic Mexican maid that does nothing more than tend to her family. Alfonso Cuarón comes off of his space-survival film Gravity to make this visually and beautifully rich autobiographical film. Roma is also a triumph for breaking from traditional narrative film, furthering its themes of total liberation. Shot in black and white 65mm film, there are a number of striking images that transcend the film. Roma opens up like a flower, blooming throughout until it finally reaches beautiful emotional catharsis. Credit the streaming giant Netflix for putting stock in this auteur director’s original film.
Honorable mention: Mandy
'Vice' Review: Beware the Quiet Man
Mystery has always surrounded the life and legacy of Vice President Dick Cheney, second in command to then-President George W. Bush, as he stood seemingly in the shadows during a divisive eight-year term.
In Adam McKay's bio-pic satire Vice, already a frontrunner in the awards chatter, Cheney's life is examined in a "true-ish" fashion, along with some admittedly creative liberty. Cheney was a very secretive man after all, before and during his political reign, and with little concrete material to work with, McKay and company tell us from get-got go: "we did our fucking best."
A silent mastermind
At the time of this review, Vice holds the record as the most nominated film this year. Christian Bale transforms both literally and figuratively into the overweight social climber Richard 'Dick' Cheney, who jumped on an opportunity to attach himself to Donald Rumsfeld (Steve Carell) and ride the political wave into the White House. The film begins on the morning of September 11th, 2001, with Cheney and other Washington heavyweights watching the horrific events unfold. Surrounded by chaos, commotion, confusion, and fear, Cheney remains as cool as a cucumber and, if we are to believe McKay’s rendition, the one who truly lead this country to war. With George W. Bush (Sam Rockwell) as the nation's figurative leader, Cheney is portrayed as the silent mastermind quietly controlling the strings and loving his position of absolute power while he pushed political (and ethical) boundaries.
"Beware the quiet man," goes the saying, and Cheney proves this warning to be accurate. A booze-loving partier in his earlier years, which resulted in getting him kicked out of Yale, Cheney was forced to reign it in by his steadfast and loyal wife, Lynne (Amy Adams). Together, they would raise two daughters Mary (Alison Pill) and Liz (Lily Rabe) and live a comfortable life, but it was Cheney's power-hungry personality that eventually landed him in the White House. His career trajectory is fascinating, while at the same time horrifying, as a tangled web of politics is exposed (it's crazy to think how Watergate seemed like a simpler time in comparison to day's political climate).
Transforming into the political heavyweight (pun intended)
The stacked cast of actors playing infamous political figures adds to the film's already solid package. Bale adds both weight and a slightly stuttering, gravelly voice to the former VP. Carell is heartfelt and humorous, Adams is passionate and inspiring, Rockwell is goofy and childish. Other famous faces making an appearance are Tyler Perry as Colin Powell and Justin Kirk as Scooter Libby, both equally unrecognizable and phenomenal.
Shaking up the narrative with Shakespeare
Vice feels much like director Adam McKay's previous praiseworthy governmental introspective drama The Big Short, which is a multi-dimensional moving collage instead of a straight-forward drama. I wish McKay had taught my history class. I learned so much more about the happening of our government watching The Big Short and now Vice than during my 16 years of schooling. I credit this to McKay's unmatched way of using humor and unconventional film techniques- like running credits halfway through the film as a "gotcha" moment or breaking into a Shakespearean soliloquy- to shake up the narrative. Speaking of which, Jesse Plemons acts as the film's narrator and further explains important plot points with the help of info-graphics (his mysterious relationship to Cheney is explained later).
An eye-opening look at the smooth-talking, self-confident former VP
For a political film, Vice isn't pushing an agenda too hard one way or the other. Some facts can't be disputed, like the incredibly thin margin of 537 votes that tipped Bush and Cheney into the White House. Others may ruffle some right-wing feathers, like George W. Bush getting sloppy drunk and breaking a glass at a White House holiday party. There is, however, no denying the uncanny control Cheney was able to obtain through smooth-talking and self-confidence. From being the youngest chief of staff in history to essentially controlling the United States of America, Vice shows that Cheney's quest for power was silent... and deadly.
'Vice' is rated R for language and some violent images. 132 minutes. Opening everywhere this Christmas.
'Destroyer': Seeking Revenge in the City of Angels
Nicole Kidman appears worlds away from her posh and polished life in HBO's Big Little Lies as she assumes the role of a washed-up undercover federal agent in Karyn Kusama's drama, Destroyer.
A vehicle for Kidman to show she too can play dirty, Destroyer hangs in the balance of being a powerful, character-driven movie but its melodramatic and often frustrating storyline may find it challenging to connect with audiences. The film, which is being released in theaters on Christmas Day, may be devoid of holiday spirit, but there is no shortage of alcoholic spirits if that makes up for it.
Nicole Kidman is practically unrecognizable as she transforms into the disheveled detective Erin Bell, complete with a slight underbite and yellowed teeth. It's obvious that she's had a rough go of things as of late, when we first meet her, she is waking up in her car under a bridge. She arrives at the scene of a crime, a John Doe murder, and immediately is struck by two very specific clues on the unidentified man's body. First, a neck tattoo consisting of three consecutive circles, and second, a couple $100 bills with purple ink markings, indicating the money had been stolen. This is the starting point that sends Detective Bell down an obsessive spiral of delusion as she sets out to solve the mystery, alone.
There is so much more beneath the surface that makes this John Doe particularly captivating to Detective Bell. As told through a series of flashbacks from nine years ago, which act as a second narrative, we learn that Bell was placed undercover with a fellow officer, Chris (Sebastian Stan), to infiltrate and win over the trust of a drug-dealing gang in the California desert. Her time undercover was riddled with anxiety and heartache and, upon discovery of this newly deceased body, Detective Bell relives those tumultuous times by revisiting the members of the gang to finally seek justice.
Director Karyn Kusama's Los Angeles-set crime drama is captivating in its visual aesthetic. In certain scenes, like those that take place in the desert, the color is whitewashed and blown out, giving off a feeling of stuffy discomfort. It looks as if the sun is melting away Bell's exterior shell to reveal her inner truth, which she must hold onto in order to save her life. The film's soundtrack, composed by Theodore Shapiro, adds a beautiful, erratic quality to the cat and mouse game unfolding on screen.
The real anchor here is Kidman who, without a doubt, is the best part about Destroyer. She colors outside of the lines as we are used to seeing her in roles that are less physically demanding. Here she handles machine guns like a champion, takes punches to the gut without giving up, and has emotional breakdowns in nearly every scene. It’s an impressive performance, although at times Kidman sounds like she took a reference from Christian Bale's line delivery in The Dark Knight.
While Kidman's transformation is praiseworthy, her character development plays too heavy and melodramatic to not feel personally burdened by Bell’s misfortune. It's understood that Bell's life has been going downhill due to an awful event nearly ten years ago, yet there are many points in the film when I wondered why she was still obsessively reeling in the tragedy, despite having a child, a husband, and a career. What is the catalyst for living as a rambling alcoholic who doesn't ever change her clothes and sleep in her car? Wouldn't someone have intervened during those last nine years? And if not, how the hell has she kept her job as a detective for all this time if she consistently showed up drunk and disheveled?
Angelinos will appreciate Kusama's unique nods to the city, including multiple references to a Dodger game and a specific storage unit in Koreatown (only a couple blocks away from where I work). The payoff at the end brought a slight smile to my face- the only one I had throughout the duration of the film- take that to mean what you wish. There is no denying that Kusama has created a bold film starring a strong female protagonist, and while that is something we need more of onscreen, it's a shame that Destroyer falls somewhat flat as an inspiration for future filmmakers to emulate.
'Destroyer' is rated R for language throughout, violence, some sexual content, and brief drug use. 123 minutes.
'If Beale Street Could Talk' Review: Barry Jenkins Lenses Black Love
If there are any people who still believe that La La Land should have taken home the Best Picture Oscar, Barry Jenkins has reminded us why he deserved that divisive win.
While Damien Chazelle's Neil Armstrong biopic, First Man, received lukewarm reviews across the board, Jenkins has done the seemingly impossible in his follow-up feature to Moonlight by creating an equally moving and beautiful portrait with a familiar theme: love triumphs above everything else. Adapted from James Baldwin's 1974 novel, If Beale Street Could Talk is another instant classic as it tackles the radically unjust racial stereotype of being a black man in 1970s America and the lengths a young woman is willing to go for the love of her life.
There's no limit to love
Tish Rivers (KiKi Layne) and Alonzo 'Fonny' Hunt (Stephan James) were childhood best friends whose sweet friendship blossomed into a loving relationship as they grew into young adults. Tish is a gentle, innocent soul with a personality that perfectly compliments the gentlemanly gestures of Fonny’s genuine love. Although they are young- Tish in her late teens and Fonny in his early twenties- they have big plans and dreams for their future, which now includes a baby. But on the night Tish announces she is pregnant, a cause worthy of celebration, she is also dealing with the reality that her soul mate and best friend is sitting in a prison cell for a crime he didn't commit.
Tish, with the support of her family, rallies around Fonny's innocence and they do what they can to help clear his name. Tish's mother Sharon (Regina King) is especially crucial in tracking down the woman (Emily Rios) who falsely identified Fonny as her abuser and rapist, due to unlawful and extreme pressure from police to name a suspect. Aware of the woman's situation and her compliance in order to appease the cops instead of speaking the truth, Sharon goes the extra mile to beg and plead with her to set Fonny free from this accusation and stigma. Throughout the struggle of pregnancy, loneliness, and heartache, Tish knows she must be strong for Fonny and not let the emotional and psychological torture of her situation undermine her dreams of a fairytale future as a family of three.
Absolutely beautiful score and cinematography
The magic that Barry Jenkins captured in Moonlight is back in Beale Street and, any way you look at it, this film radiates beauty. The original score by Academy Award-nominated composer Nicholas Britell is layered with methodical orchestral sounds of bold strings and classical piano, each strum of the bow telling its own heartbreaking and emotive story. The inclusion of Al Green's For the Good Times- a song that lives in my own Spotify playlist entitled "Feels"- is another perfectly chosen song (although its placement in the scene is ironic given the context of the lyrics). Musically, this is the most powerful film of 2018. Visually, cinematographer James Laxton continues to create art within every frame. Laxton, who worked with Jenkins on Moonlight, brings the same intimacy and dreaminess that made him an Academy Award nominee back to the big screen (and another nomination seems obvious).
The power of words
Unlike Moonlight, however, Beale Street jumps the narrative timeline and instead floats in and out of Tish and Fonny's life together and apart. Another inventive technique is how the characters share their intimate conversations of distress and longing while looking directly into the camera. They address each other while visually addressing the audience, which can feel jarring at first. However, this tactic brings the story closer to home, which prompts the audience into an indirect yet burning desire to emotionally support Tish and her family in helping clear Fonny's name. This voluntary obligation stems directly from these intimate conversations, showcasing the power of words and the passionate people behind them.
A cinematic masterpiece
If Beale Street Could Talk is a cinematic masterpiece and the complete package: a powerful cast of mostly newcomers to the screen, a story that hits the emotional pinpoints, and a superb filmmaking team behind the scenes. Stephan James quietly commands the picture as a role model for men, and KiKi Layne equally captivates in her feature film debut. Powerful supporting performances from Brian Tyree Henry, Colman Domingo, and Dave Franco add to its emotional impact. When watching If Beale Street Could Talk, prepare to be engulfed in emotions as you witness the pureness and fragility of true love.
'If Beale Street Could Talk' is rated R for language and some sexual content. 119 minutes. Opening this Friday at ArcLight Hollywood and the Landmark.
'Mary Queen of Scots' Review: Who Runs the World? Girls
If you followed along with last year's Best Actress Oscars race, you probably remember that two of Hollywood's hottest talents – Saoirse Ronan and Margot Robbie – were both nominated for their performances as head-strong, dominant young women.
Well, both actresses are back for another Awards season, and again playing head-strong dominant young women. But this time out, Ronan and Robbie star opposite each other in the period costume drama Mary Queen of Scots, a historically-inspired account of the Scottish queen. It's an extravagant outing, with set pieces and costume designs that are sure to wow, and Ronan and Robbie command every moment they are onscreen. But there's no escaping that its slowly-evolving story is its biggest weakness. In what should have been a solid contender for ample awards consideration, Mary Queen of Scots may be bowing down to its competition come Oscar season.
Returning to reclaim the throne
Set in the 1500s, Saoirse Ronan plays the titular Mary Stuart, a widowed 18-year-old and former Queen of France who returns to her homeland of Scotland to reclaim her throne. With her youthfulness and progressive outlook on life – especially when it comes to religious practice – she instantly shakes up the deep-rooted and established traditions of the country which many find troubling. That includes her cousin, and – by default – rival to the throne, Queen Elizabeth I (Margot Robbie). With brains, beauty, plenty of suitors, and age on her side, Mary is a palpable threat to the Queen of England, who fears it's only a matter of time before Mary attempts to overthrow her. To secure their thrones and futures, the cousins resort to different tactics to assert their dominance, turning to their respective love interests Henry (Jack Lowden) and Robert (Joe Alwyn) for support in their years' long battle to follow.
Margot Robbie deserved more screentime
For a story that profiles powerful women, it makes sense that a female takes the helm behind the camera and this responsibility goes to first-time feature director Josie Rourke. Though it is inspiring to know that women are becoming more commonplace behind the camera, Rourke's limited experience is reflected throughout the film as the overall story is, for lack of a better word, boring. Because of this, the film, which is adapted from Dr. John Guy's biography My Heart Is My Own: The Life of Mary Queen of Scots, relies heavily on the star power of Ronan and Robbie, however, it's 24-year-old Saoirse that keeps the story afloat. Robbie's screentime is limited and while her performance and transformation into the aging Queen Elizabeth is commendable, it feels very underutilized.
Oh, so historically devout
While tangled plots and subplots are par for the course for any historical costume drama, what weakens Mary Queen of Scots is its duty to re-telling history event for event. Written by Beau Willimon (House of Cards), the film is chock full of political, religious, and sexist confrontations between the two Queens and their agitators, keeping the drama and emotional intensity at an all-time high. But as the film wears on and the historical events play out, we begin to lose these women's perspective on the entire royal affair at hand. On a positive note, the inclusion on screen is definitely worth noting. Men and women of color who would most likely not have been in the royal court back in the 1500s are prevalent and fantastic supporting characters.
God save these Queens
Ronan and Robbie exchange fiery performances each time they're onscreen, making for a rich film. An obvious first comparison about headstrong and ambitious young women jockeying for power is Yorgos Lanthimos' equally visually stunning period piece The Favourite, but in reality, these two films could not be more different. Where The Favourite bubbles over with giddy and humorously wicked tales of a female fight for power, in Mary Queen of Scots, the bubbles have gone flat. If God can save the Queen, perhaps he can help out Mary Queen of Scots, too.
'Mary Queen of Scots' is rated R. 124 minutes. Opening this Friday in select theaters, including the ArcLight Hollywood and Landmark.
Returning Home, Avoiding Relapse in 'Ben is Back'
Perhaps the perfect unintentional follow up to this year's family drama Beautiful Boy, starring Timothée Chalamet and Steve Carell, is the Lucas Hedges and Julia Roberts-fronted drama, Ben is Back.
While both films tell the story of a boy dealing with the damaging effects of substance abuse and a supportive family member doing whatever they can to keep him sober, that is where the similarities between the two films end. Ben is Back, directed by Lucas's father Peter Hedges, takes place after the addiction has been acknowledged and instead focuses on a young man trying to stay sober. In this touching portrait of the PTSD of a recovering addict, Ben is Back is a beautiful and heartbreaking story that showcases the special, undeniable bond between a mother and son.
The prodigal (newly-sober) son returns home
In a small, gloomy suburb of New York City, Ben (Hedges) surprises his family by leaving his sober living facility and showing up unexpectedly on Christmas Eve to spend the holidays at home with his loved ones, including his beloved dog, Ponce. To his mother Holly (Roberts), Ben is her prodigal son, and all her attention immediately shifts towards him and his needs. Holly's husband (Courtney B. Vance) and daughter (Kathryn Newton) worry that she is blinded by this motherly love and remain skeptical of Ben's true intentions. Being newly sober with some sixty-odd days under his belt, there is concern that the triggers at home may be too much for Ben, causing him to relapse. But Ben gives no outward appearance of slipping up, as he assures them he's turned a corner for good.
Promising to return to the sober living facility the next day, Ben agrees to stay by Holly's side so she can monitor his every move. The stakes become high for both Ben and Holly over this 24-hour trial period. For Ben, it is to keep the temptation of the real world at bay, and for Holly, it is driven by her ego in believing that she can keep Ben safe on her own. In the beginning, it seems as if everything will be okay until an unexpected break-in and subsequent theft of the family dog sparks a downward spiral that sees Ben pushed to his limit. As he sets out to confront the people from his past that he believes stole Ponce, Holly risks everything to desperately hold on to him and keep him safe no matter what.
A psychological masterclass in testing unconditional love
A psychological masterclass in testing the limits of familial love and the bond between mother and son, Ben is Back feels divided into two very distinct acts: the first being Ben's return and the second, his disappearance. Fueled by love and ego, Holly's hunt to find Ben is riddled with emotional turmoil as she learns the harrowing details of his former life as an addict. Watching her stark denial turn into a harsh reality is heartbreaking as she tries to digest details that no mother should ever have to learn about her own flesh and blood. Ben is not a bad kid, in fact, he is painted as quite the opposite throughout the entirety of the film. His intentions are genuine and solely based on protecting his family, but what he doesn't understand is that in order to save his family, he must unintentionally hurt them first.
Julia Roberts gives an awards-worthy performance
In one of her finest performances to date, one that should take her to the Academy Awards stage, Julia Roberts embodies the role of Holly with neurosis and overwhelming compassion. She does what any mother would do, even if it is morally wrong. Lucas Hedges also shines as a troubled teen, and his vulnerability is remarkable.
The ending is one of my favorite moments in a film this year
There are many elements that make Ben is Back a standout film in a year of exceptional films. One aspect is how the film takes place over a 24-hour time period, keeping the story tight and concise. Another is the phenomenal meditative soundtrack by composer Dickon Hinchliffe, whose previous works include Leave No Trace and Locke. The film ends on a sobering note that is perfectly supported by a chilling musical score, making it one of my favorite moments in a film this year. It may not be a lighthearted watch, but Ben is Back is a must-see.