I, Tonya (2018)

i-tonya-poster

Hitting the ice rink like a jacked up Torvill and Dean, is an award contending biographical yarn like hardly any other. It’s at once frenzied and focused and almost consistently splitting to burst with on point black comedy.

In the 1970’s, talented 4 year old ice skater Tonya Harding is pressured to keep training by her abusive and chain-smoking mother LaVona (Allison Janney). By the time Tonya (Margot Robbie) reaches 15 she can be just as abrasive but falls for rink-side spectator Jeff Gillooly (Sebastian Stan). Through years of abuse, practice and unfair judgement, Harding gets caught up in an Olympic scandal come 1994.

Pacing wise, this film shuttles along like a bobsleigh at breakneck speeds, it’s a fully riveting story from start to finish and I must say I was on board throughout. The characters, based on real people are fully realised and interact wonderfully, Craig Gillespie directs with an eye to tell this story like the funny yet darkly tragic events were and the rags to semi-riches and back again narrative is as finessed as 1984’s Bolero routine.

Honestly, ice dancing has never looked and felt more intense, engaging and visceral as it does here. These quite spectacular and captivating sequences of figure skating dances are wonderfully incorporated into a script by Steven Rogers that sizzles with humour and ultimately real heartbreak. The final stages of the film, led by Margot Robbie are written and performed masterfully and make the fun time, plus often brutal moments fade away as we see just how important the world of skating is to the titular figure. It’s a narrative of prominence and buffoonery, domestic violence and doggedness shown in such a clever and engrossing way that exceeded my expectations.

The Oscar nomination for Best Editing is deserved, ‘Baby Driver’ may excel with it’s editing in terms of car chases and sound styling cuts but ‘I, Tonya’ is edited greatly by Tatiana S. Riegel, who slices through the film like a skate blade would. It all helps keep up the exciting speed, blend the routines in seamlessly and showcase the second half madness of the incident as something you may expect to see in a slick gangster movie, if the gangsters were inept.

Seeing characters account their views of the matter in an interview style is a perfect method of storytelling that bolsters the unreliable narrative from pretty much everyone. You never really know who could be lying, exaggerating or speaking truths and that’s what makes this such a ride to watch. The breaking of the fourth wall is utilised also and sometimes it is a cliche but it’s used to sparingly good effect to heighten the idiot humour or further the character driven explanation to us.

Robbie may not win the gold medal of an Academy Award but if she did, it definitely would be warranted. It’s evident Tonya craves adoration at first from her mum and then from the public and the Australian actor sells that aspect well. This is her finest performance in ever as she brings the Oregon born Tonya Harding to explosive life. There’s crazy eye, comic delivery, heartfelt softness and broken vulnerability all in the mix of her committed turn as the less than picturesque all American figure skater. Janney swears like a sailor and steals lots of the scenes as the overbearing strict maternal type but there’s times you can see kindness behind the cigarette smoke before she comes out with a cracker once again. Sebastian Stan is alright in his role as Harding’s husband but isn’t anything special, in fact his friend Shawn played by Paul Walter Hauser is a bonafide boob of epic proportions, providing ample amount of humour as a moronic slob thinking himself some clever agent type.

I haven’t even mentioned how brilliant the soundtrack and score are either, suffice to say I really really liked this film. I thought it’d be good but it’s soared past that into greatness, thanks to Margot, Allison, sublime directing and editing and a story device that bounces around with the notion of Tonya Harding as a heroine or not.

8.5/10

 

 

Advertisements

Call Me By Your Name (2017)

4205-12368-callmeby

After missing out upon it’s initial release, awards hopeful ‘Call Me by Your Name’ returned to a cinema near me and though I liked the sun-drenched aesthetic, music and performances, I didn’t find myself captivated by the plot in any way.

In 1983, an American grad student called Oliver (Armie Hammer), spends 6 weeks of his summer at the Perlman residence to help with his paperwork. Seventeen year old Elio (Timothee Chalamet) begins seeing this outside figure as a nuisance but it moves forward to secretive hang outs and a blossoming first love for him to ride the highs and lows of.

Luca Guadagnino’s directive stamp on this is pretty stunning, The Great Beauty of an undisclosed Italian location is as ripe as a peach for beautiful moments. Sayombhu Mudkeeprom works with the director to create shots that are filled with yellow rays and highlight the glory of both Italy and this summer love. Closing Guadagnino’s ‘Desire’ trilogy, this is definitely a glorious and interesting melancholic yarn being spun; it’s without a doubt a much more engaging movie than ‘A Bigger Splash’, but again it’s a release that suffers with length.

I must admit I did in fact get quite bored during the late stages of the second half. In the first part, the setting, characters and music all get introduced very well but as the private romance begins, the film started waning and stretched almost into boredom for me, where I was just waiting for the obvious moment when the two would go their separate ways.

The main reason I feel like the later scenes distanced me, is because I never ever bought into their relationship. It’s meant to be this beautiful spark of mutual attraction but I didn’t once believe they loved each other. It felt like Elio was a kid infatuated and Oliver was taking on a summer fling; which makes the consequent second half and their sad parting…well not very sad at all. The story didn’t resonate with me in the way I expected it would, considering all the astounding reviews it’s been collecting recently. I in no way disliked the film, I just started tiring by the end and wouldn’t recommend it outright.

I did thoroughly enjoy the score, almost wrapping me up into the lush scenery of the film. A piano heavy backdrop of music works well in both providing a nice lullaby tone and mirroring the pianist skills of Elio himself. Sufjan Stevens gifts the movie three songs and Mystery of Love; which is in contention for an Academy Award, is like some calm water gently soaking over you as you listen. The song perfectly compliments the look and tone of the film.

Chalamet is a wonderful presence, at times presenting himself wrapped round Oliver, like the curved statues spoken of as displaying desire. He brings this quiet teen intellect to the character but you can see there’s a nervous unknowing to how his narrative plays out, which is quite fascinating to watch. Hammer possesses this goofy charm throughout the picture, a serene confidence to his character and the eventual relationship. It’s definitely one of his finer turns and I’m sold on his dance moves which are care free and delightful. Michael Stuhlbarg is in this and it’s a wonder, no, a crying shame that he hasn’t been up for a major award yet, because he most often is the best quality in a production, and in this he provides good touches of humour, believable dad advice and a calming aspect to run with the general calmness of the story.

‘Call Me by Your Name’ is an assured sweet film about the ride of first love and it’s summer tinged backdrop is a wonderful look to bolster the vivid exploration of Elio’s crush. I just wasn’t as taken by the story itself that’s all.

7/10

Downsizing (2018)

downsizing-movie-poster-2017-1000777827

A film about a huge idea has never felt so small and yet so long.

Earth is facing more climate change issues and the devastating toll of overpopulation sees Norwegian Dr. Jorgen Asbjornsen (Rolf Lassgard) invent a procedure that shrinks humans to be inches tall. Paul Safranek (Matt Damon) sees this as a chance to live a better life with his wife Audrey (Kristen Wiig), but she runs scared from the downsize and leaves Paul to look differently at his way of life, with this newly gained perspective.

This was a movie that initially had me very intrigued and excited. The trailers and Alexander Payne credit gave me good reason to see this as a neat and quirky release but upon seeing the film a few months later, I must say that’s it’s far from the kooky gem it could have been. There’s an unshakeable mundane quality to the storytelling and the majority of the movie left me switched off and yawning.

To its credit, this is a fun idea to play around with but the idea never really gets played around with that much. It’s within the set up and initial thirty or so minutes, that the visual humour of small scaled people with large props works well. Leisureland; a community especially designed for the downsized is a cool idea and all the notions around that are executed very well. It’s just a shame that the movie feels like a split from one half to the next and this shrinking set story from Payne and Jim Taylor becomes one devoid of comedy and stretched to uninteresting ends.

The main problem, I feel with this film, is that almost all the characters left me bored. I never connected to them or felt engaged by their progression. The way they talked was uninspired and certain actions made by some of the characters, between Paul and Vietnamese activist turned cleaner Ngoc felt truly out of place. This idea of a love blossoming like a big yellow rose didn’t ring true. I didn’t really see them as loving each other at all and a lot of the characters; Paul, Audrey, Dave, Dusan and others are cartoonish almost unbearable people, so to follow them for over two hours left me wanting the film to shrink away.

Matt Damon is meant to be a pathetic character and he does carry this constant feeling of uselessness to his role and then manages to turn just upon seeing this inspirational cleaner turn up after a drug fuelled party. It’s the mostly dull and pathetic moping to his character that becomes annoying; to emphasise my point I want to mention Oscar Isaac in ‘Inside Llewyn Davis’ who is a talented musician but a pathetic man who never gets anywhere, that is a film and performance where you still feel connected and engaged, Damon and ‘Downsizing’ are not. Kristen Wiig is made out to be a villain of the piece after ditching her husband but you never really know enough about her to care. Christoph Waltz is an actor I do like watching but recently he’s appeared in some bad films and that’s no exception here, he’s still going with the shtick he’s been pigeonholed into but with extra arrogance. The MVP of the whole movie is Hong Chau as Ngoc Lan Tran who seems to be the only one with emotion and shows some connection to the film she’s acting in unlike everyone else.

It’s the sheer disappointment of what could have been, that lets down this movie massively. The premise has some good moments to start but becomes lost very quickly. I haven’t felt so unenthusiastic or uninterested for quite a while.

5/10

All the Money in the World (2018)

atm_online_instgrm_1080x1350_fnl_pap_01

I must admit I knew nothing of Getty or this 1973 abduction before the film started production and went through the well publicised adjustments. In that sense it’s a film that neatly sheds light on an event in history but it’s not one that fully grabbed me or will stay with me.

Sixteen year old Paul Getty III (Charlie Plummer) is grandson to the wealthiest man in the world; J. Paul Getty (Christopher Plummer) who made a fortune in oil. Whilst in Rome, the teenager is kidnapped and held for ransom but the tycoon refuses to pay, leaving Paul Getty’s mother Gail (Michelle Williams) to try and get her boy back.

It isn’t an understatement to say this movie is receiving a lot of attention due to the Kevin Spacey drama and subsequent re-shoots. This is a fantastic and praise worthy feature just in the comradery and work from all involved to hustle and get back together to replace the in the can scenes with new actor Christopher Plummer; and he is a sensation throughout the film almost stealing the movie with his performance.

Ridley Scott manages to direct an almost fully engaging account of this crime ridden event, it just needed a slight more trimming down as the full film feels too long and it is somewhat of a slow affair considering it’s something that could have been more of a thriller. I left the cinema feeling like I got almost into the story but never truly felt immersed or gripped by it. It isn’t just the dragged out narrative that lets the film down, sadly this whole release will be overshadowed because of what it went through.

The screenplay by David Scarpa based on a 1995 book about the scandal, is one that manages to balance the scales well, showcasing the evil of money on one side and the unrelenting motivation and love from a mother on the other. It’s a film and script that comes into its own by the third act when moments heat up and the ‘thriller’ aspect finally seems to kick in but it’s just a shame that it takes forever to get to this point in a long drawn out kidnap plot that becomes boring to a point.

Michelle Williams is the light and soul of the drama, leading us through the majority of the run-time with a confident and incredible aura. She portrays the emotive strength of a caring mother and backs it up with ease of wits and smarts to counter the wily evils of Getty and his money backed reasoning. Christopher Plummer is a force throughout the film who expertly shows us the gross traits of greed and power, he gifts the film some comedic moments but more in the sense of exasperated laughter at how selfish and mean this man is. Mark Wahlberg brings a certain degree of charisma to a role that sees him play Getty advisor Fletcher Chase. It’s a fairly bland figure just shuttling along with former CIA know-how but it leaves Williams to capably swallow the limelight.

It’s an incredible feat to see a film that has openly gone through last minute changes and yet unlike the dire car crash of ‘Justice League’ this movie demonstrates how alterations can become unseen and effortless, in fact the scenes with ‘Plummer formerly known as Spacey’ are some of the strongest. It might not be a wholly engrossing or riveting film but it’s led by strong acting and an absorbing introduction and a solid third act.

7/10

Molly’s Game (2017)

mollys-game-poster-2

What a whirlwind of a life this movie shows us. This drama based on the memoirs from the real Molly Bloom is one that really sends the dialogue flying with laser focused intensity, wit and even humour at times.

After a freak Olympic skiing accident when she was 20, Molly Bloom (Jessica Chastain) keeps putting off law schooling and finds herself working two very well paid jobs. It’s within these placements that she learns on her feet about the world of poker and its players. Soon she sets up her own games but the FBI want her for crimes and only Charlie Jaffey (Idris Elba) seems to be the one who can help Bloom in her case.

Aaron Sorkin, of huge writing acclaim and fame, is here as a writer but also as a captain in his debut with directorial capacity. His ‘The West Wing’ and ‘The Social Network’ credentials surely show off his knack for writing flair and excellence in dialogue build up and in this film that’s the case again. The directing side of things may not be as confidently managed with the expected back and forth in time and there’s a few times where the film just feels quite long.

The dialogue is pretty much consistently on point, even if it a lot of that comes from narration….a lot of narration. It’s not annoying but it’s certainly overused and I get we’re hearing the story from Molly’s viewpoint but it does ramble with bursts of narrated information. Aside from these negatives, the delivery and content of the writing is razor sharp, Ferrari fast and absorbing. There’s a lot to take in but if you do listen up and keep attuned, then the story of Molly Bloom is definitely one to engage and surprise.

Jessica Chastain plays the whip smart Bloom with incredible confidence and a convincing electric aura. She’s a fascinating talent who keeps on picking sharply written roles for women and she’s deserving of nominations for this part. Not only does she show the softer and more worried state of what she’s done with emotion but she carries an undeniable sense of strength, smarts and power throughout the 2 hour 20 minute run time. Both Chastain and Idris Elba handle the Sorkin dialogue with dynamic flair. Elba is another convincing talent and brings unflinching determination to his role as the defence lawyer. Kevin Costner flits in and out of the story-line and has a couple of smoothly delivered jokes but also sells us with the serious overbearing pushy father qualities.

There is an almost tiresome incessant thread of speedy voice-over but apart from that, I’d say that it’s well buying in and pulling a chair up to this film. Get ready, go all in and jump into a fast and dangerously glamorous world led by a superb Chastain.

7.5/10

Wonder (2017)

dl3hm3awkaajcem

I’d been hearing a lot of good and great things about this film recently, so I checked it out at the cinema and I can see where people are coming from most definitely, but I also am not fully on board the hype bus like the rest of them.

August Pullman aka Auggie (Jacob Tremblay) is about to have his first day at school, which is even more nerve-wracking because he has a condition called Treacher Collins syndrome, he fears how he looks will make him a target of bullying from the other children. Through the movie we see him and his supportive family take a stance and show that love and kindness are apparently all you need.

Directed by author and creator of his own adaptation with ‘The Perks of Being a Wallflower’, Stephen Chbosky should have a knack for taking novel material and spinning it for cinematic screens. On the whole he does have that skill and manages to run with the evident sentiment of Auggie’s world and his writing/creative aptitude helps us get on the same level as the young lad and truly feel his journey. The bonds between friends and family are what keep the film from truly dipping into sentimental overload.

Saying this I did find a lot of what I watched to be very contrived, the dialogue is extremely on the nose at points and there are some painfully obvious choices of songs at times that feel like you’re watching a tackily edited X Factor audition overlain with one of those power ballad sob stories. Another weak factor for me, was with the child actors who look and sound quite terrible opposite the brilliant Tremblay. Charlotte, for example is a cringey try hard stereotype and the bullies are kind of awkward. There is a lot of predictable storytelling to be found and it’s like the movie is nudging us to emotion which had the opposite effect on me.

The family home scenes were the stronger elements and in fact I found myself intrigued by their stories, the hope of having peeks into other characters kind of happens but not overly and Auggie’s sister is someone who had a story to tell that I was interested in and found more engaging truth be told. There are also some good, fun and quite creative touches in ‘Wonder’, such as the courageous lad imagining space of Chewbacca at school or the amusing imagery of ‘Scream’ Ghostface being left hanging from a high 5.

Owen ‘Wow’ Wilson is alright in this, nothing spectacular as the self believing cool father, he’s got some light relief to add and can go back to his ‘Marley and Me’ roots to act from again. Julia Roberts is superb and shines when she can, showing convincing tearful emotion and really gripping the narrative with her turn as the mum. Jacob Tremblay isn’t exactly a wonder, but he’s a fine young talent that marvellously plays this different but smart and huge hearted kid.

It’s a safe film with a constant drive of messaging us with the moral of being kind and tolerant and I don’t fully get the amazing love people have for it but it’s engaging and sweet nonetheless.

6/10

The Glass Castle (2017)

MV5BMTY2Nzk0MDE3Nl5BMl5BanBnXkFtZTgwOTI0ODc0MjI@._V1_UY1200_CR74,0,630,1200_AL_

Based on the real life growing up of Jeanette Walls and her free spirited and quite unorthodox parents, this indie feeling film has some good moments that stem mostly from the performances of the actors involved. Aside from that I cannot shake the feeling that the core of the story never seems to click.

Raised by artist Rose Walls (Naomi Watts) and Rex Walls (Woody Harrelson) who can’t stick to one job or place; are four children. Throughout their upbringing they are taken along for the ride with their impoverished folks. Eventually as they all get older, Jeanette (Brie Larson) truly wants to move on and out and we see her living in New York with wealthy fiance David (Max Greenfield), but her parents may have followed her to the Big Apple.

This is certainly an interesting tale to turn into a biographical film and the heart does certainly strain to be felt from time to time but it’s clouded by a faint mishandling by director, Destin Daniel Cretton, who never seems to keep a pattern or pace to his structure. The Glass Castle uses flashbacks in it’s storytelling but a lot of the time it jumps to and fro, lingers longer in the past or comes back to the present with no real connection to tie the plot together with any interest or style.

It also doesn’t help too much that the parents, especially Rex, seem at times to be too aggressive, alcoholic or out there to redeem themselves as people. I know Rex is based on a real life figure but I just never connected to him and so the final stages of the movie didn’t grip or emotionally resonate with me in the way the director/writers probably intended. The whole bringing up of the family seems completely abusive, but the film seems to go about it in a way that says this way of life is kooky and educational because they’re experiencing life and not trapped in the grind of expected living, and that never sat right with myself.

I guess Cretton, Marti Noxon and Andrew Lanham were hoping to write a screenplay that left its audience uplifted but sadly they are far from that ideal. The flashback timing and abusive quality, as said don’t help but on top of this it feels like a fair-to-middling production you’d see on some network TV station. I know the family is unconventional but the movie comes across as extremely paint by numbers and conventional that the set-up becomes tiresome.

Brie Larson tries to be the glue that holds the film together, her 1980’s older version of Jeanette trying to escape and find a new life but also realising they are part of her family and therefore part of her, but she just can’t quite manage it and her performance though solid and strong isn’t her best. Naomi Watts is interesting to watch and she seems to go for her role with gusto helping her character, Rose, feel real. Woody Harrelson goes for broke playing his part, there are times when it feels over the top but he definitely makes Rex a character of continuous disturbance.

Ultimately, this isn’t a movie I’d watch again in a hurry, there are some vaguely alright moments but overall the entire product tries to be enlightening but only becomes overly sentimental and hokey.

5/10