Posts Tagged A-rated films
Year of release: 2019 Directed by Chris Butler. Voices of Hugh Jackman, Zach Galifianakis, Zoe Saldana, Stephen Fry, Timothy Olyphant, and Emma Thompson.
Since their feature film Coraline in 2009, which remains my favorite film for that year, Laika Studios has been high on my radar. Unfortunately, the subsequent films they released—ParaNorman, The Boxtrolls, and Kubo and the Two Strings—all fell short of the greatness of their first feature, some more than others. At the same time, all of those films had many moments of inspired brilliance and breathtaking awe that endeared all of those works to me in spite of their flaws.
With Missing Link, the fifth film from the studio, they have once again hit a home run on par with their debut feature. Tragically, given its poor box office returns, it seems that American audiences have either lost interest in Laika films or have not heard about this one at all.
Either scenario is a tremendous pity, because Missing Link is not only a return to perfect form (because if we’re honest Laika never lost good form), but it is also a welcome breath of fresh air in the midst of most family entertainment currently being produced.
The list of the film’s virtues includes, but is not limited to:
- It showcases the values of self-sacrifice and open mindedness as the narcissistic protagonist learns to overcome his selfishness.
- It has no surprise villain. Indeed, there is a moment, when the saturation of that trope in recent family films causes one to think a character is going to be a surprise villain, but thankfully that is not the case.
- The villains are not rationalized, (a mistake in two of Laika’s previous films) and their wicked actions lead to their own undoing, and the kindhearted protagonist even tries to prevent them.
- There are no dead parents/guardians, although to be fair, the protagonist is an adult. However, that’s another overused trope it is nice to see avoided.
- Director Chris Butler writes a compelling, interesting female character, giving her some of the best lines in the film, and he does not sideline her.
- It avoids nearly every family film cliché with aplomb by taking interesting and dramatically believable turns whenever it seems a cliché is going to occur.
- It features an extremely convincing reexamination of childhood dreams and heroes, acknowledging there is often something far greater we need to acknowledge in order to mature.
- The film manages to cross examine and critique toxic masculinity and the sexist, racist patriarchal norms of the 19th century without being preposterously anachronistic or obnoxiously contrived.
- It has an all-around fantastic voice cast
- It looks absolutely stunningly gorgeous, as all Laika films do.
- It even manages to make the requisite poop jokes clever.
The story centers around Sir Lionel Frost (Hugh Jackman), who longs to be admitted to the elite explores club in London, but is excluded by the sinister Lord Piggot-Dunceby (Stephen Fry) since all Sir Lionel’s adventures concern chasing monsters, which the rigid fundamentalist adamantly refuses to believe exist. The hilarious opening sequence with the Loch Ness Monster proves otherwise.
Sir Lionel receives a note from a fan in America asking him to prove the existence of the Sasquatch. What he finds there is a friendly, fur-covered, 8-foot tall missing link between humans and apes he aptly names Mr. Link (Zach Galifianakis). Mr. Link, whose real name is a funny and touching surprise, wishes to recruit Sir Lionel, who is “the real deal,” to help him travel to the Himalayas so he can live with his cousins, the Yeti, in Shangri-La.
Their Jules Verne inspired journey takes them to Adelina Fortnight (Zoe Saldana), a former lover of Frost’s who is still rightly disgusted by his selfishness and vanity. Meanwhile, they must dodge the repeated assassination attempts of Willard Stenk (Timothy Olyphant), hired by Lord Piggot-Dunceby to prevent Frost from ever proving his discoveries exist.
Following in the steps of Jules Verne, the adventure reaches the glorious climax promised from the beginning. The visuals of that destination are some of the most gorgeous stop motion imagery Laika has crafted, and that is in addition to a Yeti queen voiced by Emma Thompson. However, the cross-examination of those goals brings into relief that when we form our aspirations and choose our heroes for the sake of worldly fame, we will not only be disappointed but that will often prevent us from growing and maturing as well.
Not only does the destination matter, but the manner in which one arrives there is equally important. Missing Link acknowledges the importance of both in a funny, beautifully and painstakingly crafted adventure that celebrates both its destination and its journey.
Personal Recommendation: A
Content advisory: Some rather intense peril, sinister villains, and mildly crass humor. MPAA rating: PG
Suggested Audience: Kids and up with discernment
Year of release: 2018 Directed by Yorgos Lanthimos. Starring Emma Stone, Rachel Weisz, Olivia Colman, Nicholas Hoult, and James Smith.
The first time I watched The Favourite, around thirty minutes into it, I gasped and turned to the friends I was watching it with, unable to believe what I was hearing and seeing. The compiled score had begun employing an organ piece, one that I knew and loved: “Jesus Accepts His Suffering” from La Nativité du Seigneur by Olivier Messiaen.
At this point in the plot, Queen Anne (Olivia Colman) had decided to attempt suicide, because her sufferings were beyond endurance since her favourite lady in waiting, the Duchess of Marlborough Sarah Churchill (Rachel Weisz), had left her alone for too long to run the state.
I cannot think of a more perfect musical commentary on the vanity, shallowness, and manipulative character of the Queen as portrayed here. It was at that moment that I knew I was going to love this film.
Given my past experiences with Greek director Yorgos Lanthimos, my love for The Favourite is surprising. Dogtooth remains one of the five worst films I’ve ever seen; I hated it so much I resolved to skip The Lobster until two friends said it was their favorite film of 2015. After hating that, I was going to skip The Killing of a Sacred Deer until I acquired a screener by chance, so I watched it, and while it was the first time that I thought Lanthimos allowed his absurdism to be a little bit playful, I still found the overarching misanthropy tiring.
However, The Favourite is different. For one thing the outside influences of screenwriters Deborah Davis and Tony McNamara mitigates Lanthimos’ tendency to bludgeon his morbid jokes to a point well beyond death. The historical setting also makes this much easier to swallow as a cautionary tale about the dangers of vanity and envy as depicted through the corruption of the early eighteenth-century British court.
The vanity of Queen Anne makes her a Lear-like figure, wanting to be loved but mistaking flattery for love. Her tragic arc mirrors his in a totally expected way. I even described this to a friend as King Lear retold as a dark comedy from the perspectives of Goneril and Regan. Here, those two characters are Lady Sarah Churchill (Weisz) and her cousin Abigail (Emma Stone).
The defining characteristic of envy, as distinct from jealousy, is the inability to be happy for another’s good fortune. As the two ladies in waiting vie for the favouritism of the Queen, they become obsessed with their own success to the point that the other becomes a threat who must be eliminated. It’s a backstabbing story that Rachel Weisz has fittingly compared to All About Eve.
Instead of being set in a dog-eat-dog world of show business, The Favourite ruthlessly critiques the political world of Queen Anne’s court for being the same. The historical basis for the film is the transfer of power in Parliament from the Whigs to the Tories toward the end of her reign. England’s two-party system emerged during Queen Anne’s reign, and the inevitable reality of a two-party political system is that one side’s success means the other’s misfortune. The envy between the two women plays out on a less personal and more political level between the leader of the Whigs, Lord Godolphin (James Smith), and the leader of the Tories, Mister Harley (Nicholas Hoult), as both Sarah and Abigail form alliances to their advantages.
The reality of two women manipulating a power system designed by and for men is that they must work behind the scenes while letting the men think themselves still in charge. It takes a toll on the female characters, which can be seen by the absence of any Cordelia-like character in this twist on King Lear, since this sort of world has no place for such kindness, as Sarah warns Abigail in an early scene. The cost of navigating such a world comes to a climax when the results of Abigail’s nastiest act are crosscut with a debauched party among the foppish men of the court.
Naturally, sexuality features prominently into the attempts to control and use other people. In a world where the wisest choice is first and foremost staying on your own side, using people as sexual objects to get ahead makes perfect sense. Both Abigail and Sarah exploit the loneliness of Queen Anne through intimacy, compounding their envy. Abigail’s desperate state began because she was sold into an abusive marriage by her drunken father, and she reverses that fate through a second marriage which culminates in an hilariously loveless wedding night.
However, as caustic as the humor is throughout the film, there is real sympathy for all three women and their misfortunes. Queen Anne lost seventeen children, and Olivia Colman achieves incredible pathos in her portrayal of the monarch in the midst of the absurdity of the court. When Sarah is forced to reckon with the consequences of her envy, Rachel Weisz brilliantly depicts an unrepentant woman who has lost the only life she has known. As Emma Stone’s Abigail absorbs the manipulative mentality of the court, she transitions from wishing to better herself to harming others in a way that evokes pity for the other two women who grew up in such an environment.
If anyone is unfamiliar with the British history that forms the basic plot points of the story, the fantastic compiled score hints at the eventual outcome. Didascalies, a minimalist work by Luc Ferrari consisting of only two pitches occurs at two crucial moments, linking the characters who most deserve one another. Messiaen’s La Nativité features prominently whenever Queen Anne makes a decision that changes her relationship with her two ladies in waiting, usually because she believes she is the center of the universe. As a means of suggesting the one character who is gradually falling out of favour, three increasingly ominous organ pieces by J. S. Bach, who is notably different from the other composers, serve as underscoring for significant events affecting her.
There’s a fine line between tragedy and comedy, and The Favourite walks both sides of it, acknowledging the absurdism of the decadent British court and its cruelty while not shying away from the destruction wrought by both.
Personal Recommendation: A
Content advisory: Several sex scenes (mostly out of frame), nudity, harsh obscenities, gruesome aftermath of an injury, animal cruelty, and abusive behavior throughout. MPAA rating: R
Suggested Audience: Adults with discernment
Many thanks to Darryl Armstrong for inviting me to contribute to Rise Up Daily with a review of one of my favorite movies, which happens to be one of my favorite Christmas movies as well.
Year of release: 2018 Directed by Abbie Reese.
One of my favorite memories from my years as a Catholic homeschooled child was the time another family organized a field trip for five homeschooling families to visit a local Benedictine abbey, where we got to spend the day with the cloistered nuns, helping them with their work and attending two of their daily prayers. Some of the kids got to work in the garden, others make butter, some did carpentry. My sister, myself, and one other child got to milk cows. It was a fun day participating in a life that most people don’t get to see.
With a quietly observant camera, director Abbie Reese achieves a similar participation in the life of a Poor Clares community as she documents the novitiate process of Sister Amata over the course of several years. This convent is more cloistered thanthe convent I visited almost twenty years ago, at least as I remember it. The Poor Clares here maintain a spirit of silence, which I don’t remember the Benedictine nuns doing. However, the serenity and joviality of the nuns and their willingness to work with Abbie is nearly identical to the reception we received. In the film, we witness daily chores such as leaf raking, gardening, shoveling snow, and making communion wafers, and we are able to remotely participate in the nuns’ recitation of the rosary and the liturgy of the hours.
The nearest point of comparison is the 2005 documentary about the daily lives of Carthusian monks, Into Great Silence. One main difference between that film and Chosen: Custody of the Eyes is the degree of intimacy with which we can observe the monastic life. Chosen documents the daily routines of the convent through the quite literal perspective of Sister Amata.
Working as the primary cinematographer, the young novitiate used a handheld camera to record her daily activities, providing a journalistic commentary on her spiritual growth and her adapting to life in the convent. If this sounds like a recipe for a cheesy, poorly filmed documentary, it’s not. Sister Amata has an incredible talent for focusing a shot, properly angling the camera, and capturing some beautiful and delightful imagery. She finds a natural way to film the nuns while preserving the anonymity many of them desire.
One thing that Sister Amata mentions is learning the routines of the monastery. In a very early scene she discusses maintaining custody of her eyes while trying to unobtrusively observe the gestures and movements of the other nuns so she can learn from them. She explains staring at anyone would make them the object of one’s attention when sole focus of the nuns’ life of prayer should be God.
Throughout the film Reese, through Sister Amata’s cinematography, employs a similar custody of the camera inviting contemplation on the part of the viewer. With the exception of Sister Amata, we don’t get to know any of the nuns as characters, especially as they are rarely the focus within each scene. Yet, there is still a connection we feel with them from observing their interactions alongside them, and the focus on daily tasks, ritual, and prayer—the actions of the nuns—makes the convent life seem more immediate.
One of the earliest documentaries, Dziga Vertov’s The Man with a Movie Camera, makes a strong connection between the ideas that the eye is the window to the soul and a camera can be a window to the world. In this documentary, we are given a brief window into a cloistered convent, and it becomes both a record of one woman’s progression through her novitiate and an opportunity for us to reflect on a way of life of which most people are unaware.
Personal Recommendation: A-
Year of Release: 2018 Directed by Spike Lee. Starring John David Washington, Adam Driver, Laura Harrier, Michael Buscemi, Ryan Eggold, and Topher Grace.
About a week ago on Fox News, Laura Ingraham went off on an unhinged rant lamenting that the country [white America] once knew and loved is being changed for the worse by the non-white demographics who come here illegally and legally, not dissimilar from Dr. Kennebrew Beauregard’s (Alec Baldwin) rant which opens this film. A year ago our president called neo-Nazis “very fine people,” while referring to peaceful black protestors as “sons of bitches.” Active members of the Nazi party are running for republican house seats in multiple states. Sadly, there are Americans who deny the obvious: racism is still a massive problem in America, and it has found a welcome home in the republican party which now controls our country.
Of course, this is not new. Perhaps the president spouting openly racist rhetoric with vigorous support from his base is, but Woodrow Wilson infamously hosted a screening of D. W. Griffith’s Birth of a Nation at the White House, and reportedly called it “history written with lightning” when the film was directly responsible for the return of the KKK and the rise of lynchings and baseless arrests of black people. (To be fair to Wilson, those words may have been falsely attributed to him by the book’s author.)
It was civil rights leader James Baldwin who said, “The story of the Negro in America is the story of America. It is not a pretty story.” Watching the James Baldwin documentary I Am Not Your Negro a few years ago, I first became aware of a reality of white dominated entertainment for non-white youth. Baldwin discussed being a black child and watching TV shows or movies in which the white hero with whom the audience is expected to identify must kill the black (or Indian) villains. In watching such shows, Black and American Indian children are therefore expected to root for their own destruction.
Spike Lee knows all of this, and his newest film BlacKkKlansman does as well. The first scene that drills this home is when rookie police officer Ron Stallworth (John David Washington), the first black man on the Colorado Springs force, goes undercover to infiltrate a speech by former Black Panther leader Kwame Ture (Corey Hawkins) to make sure there is no threat of blacks starting a race war against whites. As Ture delivers a passionate address to a floating sea of black faces, the truth of his call for black people to accept themselves as they are and not remake themselves to be like white people inspires not only the crowd of adoring college students but the undercover Stallworth as well.
At that rally Stallworth also meets a young black woman Patrice (Laura Harrier) who maintains the police (or pigs as she calls them) are part of an inherently racist, capitalist system designed to profit off the suppression of black people. As Stallworth and Patrice begin a relationship, Stallworth insists there are good cops who can work within the system to fix it. While the film respects the reasons behind her charges, it also clearly depicts all the good cops can do when they don’t abuse their power.
For his next undercover operation, Stallworth infiltrates the Ku Klux Klan, meeting the local chapter leader by phone, and later grand wizard David Duke (Topher Grace) as well. When they meet face to face, his white partner Flip Zimmerman (Adam Driver) plays Ron to infiltrate the KKK (or the organization as it members insist on calling it) and prevent attacks against black citizens, threats which are far more serious coming from the KKK than from a big talking member of the Black Panthers, especially when there are racist cops who will defend any white person and over a century of oppression against blacks.
If there’s any flaw in the film, as Alissa Wilkinson notes, it’s that it lets white viewers off too easily. While it is certainly true that any remotely progressive white viewers (read: those who oppose Trump) will not feel guilty even if they have unwittingly supported racism in the past, and the film certainly lacks the savage audience indictment of The Wolf of Wall Street, the hero of the film is Ron Stallworth, and not some fictitious white dude smashing down a “whites only” sign. To be sure, the other three members of Ron’s team are wonderful allies, but the film makes it clear how unfortunately rare such people are.
Last year’s Mudbound did not give white viewers an heroic character to identify with. The best white characters stood on the sidelines helplessly as the black characters suffered horrific injustices, the worst gleefully carried out those injustices, and the vast majority blindly perpetuated a system of abuse. That is probably a more realistic, if bleaker, portrayal of racism in America. Here, the majority of the white cops support Ron, but they also turn a knowing blind eye to the racist cop on the force, and the chief proudly states how he supports J. Edgar Hoover’s targeting of black citizens. Still they mostly manage to come around by the film’s end. It might verge on wish fulfillment, but there are stories of it happening, and it fits naturally into the comic arc of the film.
Yes, I said comic. To quote St. Thomas More, “The devil is a proud spirit who cannot endure to be mocked.” The film mocks the diabolical KKK ruthlessly, as illiterate morons who are baffled and terrified that their “superior genes” are being replaced by educated blacks and Jews. Watching Ron rant about his hatred for anyone who doesn’t have “pure white Aryan blood” in order to trap the local Klan leader is one of the best scenes of the year, as is Ron’s revelation of his real identity to David Duke. At the same time, the film never undermines the danger and threat of the KKK, heightening the tension and the laughs created by their idiocy.
Befitting a comedy, Spike Lee’s broad storytelling is about as far removed from subtle as humanly possible. If the scenes of the KKK chanting “America first!” or saying they want to make America great (read: white) again or a cop explaining to Ron that racists now cloak their racism in economics, immigration, and other policies so more Americans will go along with them, and one day David Duke will endorse his ideal candidate for president are not blatant enough, then the final scenes of footage from last year’s Charlottesville rally followed by the president’s damning “very fine people” remarks cement the parallels Lee wishes to draw between the KKK of the sixties and the current administration.
There’s an inherent power to images and stories. At the film’s climax Lee crosscuts between a Klan meeting and black student rally, contrasting the violent hatred of one with the peaceful nobility of the other. By opening with a clip from Gone with the Wind and later showing scenes from Birth of a Nation, Lee shows how the damning stereotypes from films shaped the way multiple generations thought about black people. He shows how those stereotypes have continued to today, but he also shows how progress has been made before, and since history repeats, how it can hopefully be made again.
Personal recommendation: A-
Content Advisory: Recurring racial epithets, depictions of racially inspired violence, disturbing descriptions of torture, occasional obscenities. MPAA rating: R
Suggested audience: Teens and up with discernment