Tag Archives: Meryl Streep

Cinema, Netflix, Reviews

NETFLIX FILM REVIEW: DON’T LOOK UP (2021)

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NETFLIX FILM REVIEW: DON’T LOOK UP (2021)

Directed by: Adam McKay

Screenplay by: Adam McKay

Story by: Adam McKay, David Sirota

Produced by: Adam McKay and Kevin Messick

Cast: Leonardo DiCaprio, Jennifer Lawrence, Meryl Streep, Cate Blanchett, Rob Morgan, Jonah Hill, Mark Rylance, Tyler Perry, Timothée Chalamet, Ron Perlman, Ariana Grande etc.

Cinematography: Linus Sandgren

*** MAY CONTAIN SPOILERS ***

Adam McKay has had an interesting filmmaking career. He was a head writer on Saturday Night Live for two seasons before moving into cinema comedy by writing and directing gag-heavy comedies such as Anchorman: The Legend of Ron Burgundy (2004) plus the sequel, Talladega Nights: The Ballad of Ricky Bobby (2006), Step Brothers (2008), and The Other Guys (2010). While one could see these films as silly and knockabout Will Ferrell clown vehicles, certain films contained explorations of social issues relating to sexism in the workplace and big corporation fraud. Nevertheless, it was still surprising when McKay shifted toward more dramatic work full of barbed satire and social commentary. While both The Big Short (2015) and Vice (2018) certainly had humour, they also impressively dissected the mortgage crash and the political rise of Dick Cheney, respectively.

His latest film is the Netflix produced Don’t Look Up (2021). It is a disaster movie in genre, that also mixes in comedy, political satire and drama. The story concerns Kate Dibiasky (Jennifer Lawrence), an astronomy Ph.D. candidate, discovers a previously unknown comet. Kate’s professor Dr. Randall Mindy (Leonardo DiCaprio) work together and find that it is an extinction event which will destroy all life on Earth. Only having presented their findings to NASA and the White House do they find themselves dealing with indifference, administrative incompetence and corporate neglect lead by insane financial greed. As news of the impending doom hits society, the population become split between believers and naysayers leading to division and chaos.

Don’t Look Up (2021) is arguably less serious in tone compared to Adam McKay’s previous two films, but the message is ultimately more damning of the U.S. Presidency and humanity as a whole. Because the gigantic comet heading for Earth is very much a metaphor for climate change. Here Meryl Streep’s President is dizzyingly dismissive of the science and only begins to act when it is politically and financially beneficial. Her Chief of Staff son, a brilliant Jonah Hill, is a sycophantic numbskull more interested in Lawrence’s raging scientist, rather than saving the world. Indeed, Dibiasky and Mindy get side-tracked by glamour, celebrity and the toxicity of social media. DiCaprio’s arc is amusing as he goes from nervous mouse to confident commentator in the middle act, only to experience a costly personal comeuppance.

Rich in fast-paced gags at the expense of pop, media, political, corporate and dumb human personalities, Don’t Look Up (2021), is a highly entertaining disaster movie with a terrific ensemble cast. I felt Leonardo DiCaprio, one of my favourite actors, was a tad miscast as the science everyman, but he still gives a great performance. Lawrence provides the most grounded and empathetic character playing it straight amidst the all-round insanity. The White House “vending” machine running gag is the best in a film full of funny lines. Mark Rylance is craftily good as the social media megalomaniac manipulating the catastrophic narrative to his own means, but as aforementioned Jonah Hill steals the comedy show. Lastly, Adam McKay probably over-reaches with the poignant family-driven ending. However, I did feel a true sense of loss for the characters and our planet as a whole. The Earth may be full of idiots who don’t want to look up, but thankfully there are storytellers trying to turn their minds in an amusing, silly and intelligent fashion.

Mark: 8.5 out of 11

Cinema

GREAT ENSEMBLE FILM CASTS #6 – AUGUST: OSAGE COUNTY (2013)

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GREAT ENSEMBLE FILM CASTS #6 – AUGUST: OSAGE COUNTY (2013)

Directed by: John Wells

Screenplay by: Tracy Letts

Based on: August: Osage County by Tracy Letts

Produced by: George Clooney, Grant Heslov, Jean Doumanian, Steve Traxler

Cast: Meryl Streep, Julia Roberts, Ewan McGregor, Chris Cooper, Abigail Breslin, Benedict Cumberbatch, Juliette Lewis, Margo Martindale, Dermot Mulroney, Julianne Nicholson, Sam Shepard, Misty Upham, etc.

Cinematography: Adriano Goldman

*** MAY CONTAIN SPOILERS ***

Unsurprisingly, the play, August: Osage County, from the typewriter of Tracey Letts – the formidable playwright behind Killer Joe and Bug – about a family suffering loss of a “loved” one was not going to be a feelgood and uplifting affair. Instead, over the period of a month we are introduced to a whole host of characters with a variety of anger, addiction and attitude issues. Brought together by apparent grief, when patriarch, Beverley Weston (Sam Shepard) drowns, the extended Weston family fight and vent spleen at each over current and past dramas, with many a secret soon to be revealed.

Winning the Pulitzer Prize for Drama in 2008, Letts play was subsequently adapted into the dark, feel-bad and tragi-comedy film in 2013. Directed by John Wells, August: Osage County (2013), brought together an unbelievable ensemble cast of actors who did spectacular work with Letts acerbic and razor-sharp dialogue. Given that many of the personalities in the narrative are dominant matriarchal characters, the casting of Meryl Streep and Margo Martindale in the roles of Violet Weston and Mattie Fae respectively, is certain to create sparks on the screen. So, it proves.

Streep has delivered so many memorable characterisations over the years, but as Violet Weston I’m not sure she’s been so bilious and cancerous, both literally and symbolically. Her daughters, portrayed by Julia Roberts, Juliette Lewis and Julianne Nicholson, all have their own issues to deal with, but with such a vicious mother it’s a surprise they aren’t in a psychiatric ward. As harsh truths and bitter revelations unfold over the dinner and kitchen table conversations, Letts shows the complex nature of family existence; how it traps us with people we have nothing in common with. Women are seemingly in charge of the Weston family as the men, represented by Ewan McGregor, Benedict Cumberbatch, Sam Shephard and Chris Cooper, appear more passive and bullied.

Altogether, August: Osage County (2013), is a difficult to watch as there’s not a lot of love shown in the Weston household. Nonetheless, as an acting and writing tour-de-force there are few films that can best it. I guess we all have family problems and many ups and downs to deal with in life. What we can learn from this play and film is that this is definitely NOT the way to behave to people you’re meant to love and care for.

Cinema, New Releases, Reviews

LITTLE WOMEN (2019) – CINEMA REVIEW

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LITTLE WOMEN (2019) – CINEMA REVIEW

Screenplay and Direction by: Greta Gerwig

Based on: Little Women by Louisa May Alcott

Produced by: Amy Pascal, Denise Di Novi, Robin Swicord

Cast: Saoirse Ronan, Emma Watson, Florence Pugh, Laura Dern, Timothee Chalamet, Meryl Streep, Tracy Letts, Bob Odenkirk, James Norton, Louis Garrel, Chris Cooper etc.

Cinematography: Yorick Le Saux

**MAY CONTAIN SPOILERS**

It’s Boxing Day and you’re nursing a slight Christmas Day hangover, plus your brain is still trying to piece together the crazy jigsaw that was HBO’s Watchmen (2019). You now want a story that’s a bit more comforting; something that will make you warm and snug and feel safe. Step forward Greta Gerwig, Louisa May Alcott and an incredible cast of fine actors in the latest adaptation of the classic novel, Little Women (2019). It’s a perfect Christmas film full of romance, love, spirit, passion and just a little bit of pathos and heartache.

Set in Massachusetts at the time of the American Civil War, this splendid old chestnut of a story covers the lives of four teenage sisters — Meg (Emma Watson), Jo (Saoirse Ronan), Beth (Eliza Scanlan) and Amy March (Florence Pugh). They live with their Marmee (Laura Dern) and the story criss-crosses various years and narrative events as they search, find, lose and find again happiness, sadness and love. While the sisters prove to be very different personalities and clash often throughout the film, ultimately, it’s a film about solidarity, strength, sisterhood and family bonds.

It’s interesting Gerwig would choose something so safe for her next film project following the acclaim she correctly received for writing and directing Ladybird (2017). However, it’s not surprising either. While the title states these women are little, they are in fact anything but. Ronan as Jo and Pugh as Amy are especially energetic and larger than life. Both strive for artistic excellence and attempt to gain control over their personal and working lives in a traditionally patriarchal society. Jo’s desire to be a successful writer drives the story along impressively as Gerwig determines a meta-structure through her character. Indeed, Jo’s scenes with Tracy Letts’ publisher and editor are particularly amusing amdist some of the losses the March family suffer.

Amidst the familiarity of the text, Gerwig does attempt originality in her cutting between past and present events. While cross-cutting becomes slightly distracting from the emotions of the narrative, you can see how Gerwig wanted to stamp her own identity. The device also allows some wonderful juxtaposition of shots, emotions and camera movement. My one criticism would be that because the characters looked of a similar age in past and present, you did not always know what year you were in. Ultimately though, I really enjoyed this high-class film production. Greta Gerwig is an incredibly talented filmmaker and obtains exceptional performances from all the cast, especially Ronan and future stars, Florence Pugh and Timothee Chalamet. The film was so warm and safe, my Christmas Day hangover, like my heart, all but melted.

Mark: 8.5 out of 11

Reviews, Television

HBO TV REVIEW – BIG LITTLE LIES (2019) – SEASON 2

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HBO TV REVIEW – BIG LITTLE LIES (2019) – SEASON 2

Created by: David E. Kelley and Liane Moriaty

Producers: Barbara Hall, David Auge

Executive Producers: David E. Kelley, Jean-Marc Vallee, Reese Wetherspoon, Bruna Papandrea, Nicole Kidman, Liane Moriarty etc.

Based on: Big Little Lies by Lianne Moriarty

Teleplays written by: David E. Kelley

Directed by Andrea Arnold

Main Cast: Reese Witherspoon, Zoe Kravitz, Nicole Kidman, Shailene Woodley, Laura Dern, Meryl Streep, Alexander Skarsgård, Adam Scott, James Tupper, Jeffrey Nordling, Kathryn Newton etc.

Cinematography: Yves Belanger, Jim Frohna

Original Network: HBO

**CONTAINS SPOILERS FOR SEASON ONE**

I hate Social Media and Twitter especially, sometimes. I also hate myself for getting dragged into the bullshit it sometimes brings. I’m referring specifically to the distorted prejudice the mind can take on when reading a few negative posts about a programme, film or personality. Such reports can obviously be accurate. However, they can mislead and stain your expectations of a show or film or actor or artist. In this case the second season production of HBO’s, Big Little Lies, came under fire from a few people on my Twitter feed. They said it was an awful and an ultimately disappointing series. Were they right? I mean, how bad could it be?

Then there was the Indiewire article which highlighted an issue during production. They asserted in a well written piece of click-bait that director Andrea Arnold was unceremoniously disregarded in the editing process and first season director, Jean-Marc Vallee, brought in to oversee re-shoots and final cut. If you believe the Indiewire article, this was the act of a heinous media corporation cutting down a beloved artist and robbing her of her vision. Arnold’s auteur status remains untainted for me. She is a fine director who carried out her contract and did not have final cut anyway. This belonged to HBO and they had say on who they hired during the production.

Thus, in a short period of time, a couple of tweets and one article had seriously affected my expectations of the second season of Big Little Lies. I was expecting a mess of a show. One which did not make sense and was robbed of all artistic and dramatic impetus by the HBO hierarchy. However, I can safely say I was wrong and, while not as good as the brilliant first season, it was still a really intriguing eight episodes worth of entertainment.

After the exceptional first season which found a stellar cast including: Reese Witherspoon, Nicole Kidman, Laura Dern, Adam Scott, Zoe Kravitz, Alexander Skarsgård and Shailene Woodley on top acting form, the second season follows on with the aftermath of prior events. The first season expertly inter-weaved stories concerning an unknown “murder” victim; school bullying; warring parents; extra-marital affairs; and abusive relationships, expertly played out over seven compelling episodes. With the “murder” victim revealed in the final episode, we now get an exploration of suspicion, guilt, conspiracy and a test of loyalty and friendship.

Without wishing to give too much away the newest and strongest addition to the series is Meryl Streep. She plays the mother ***SPOILER ALERT*** of the dead guy from the first season, Perry Wright (Alexander Skarsgård). His death occurred when he was pushed “accidentally” down some stairs at a party. But, the friend’s, including his wife, Celeste (Nicole Kidman), collude to say he fell instead. With the police still suspicious the main investigator is actually Streep as the dogged Mary Louise. She is passive-aggressive and subtle in her enquiries as to how her son died. It’s a delight watching her deviously pull apart each of the lead suspects. It is also an absolute masterclass in acting as Streep’s crafty characterisation makes this series a must-watch. Her scenes with Nicole Kidman’s crumbling personality are especially compelling.

Allied to the investigation into Perry’s death, the show gives some interesting narrative strands to Laura Dern’s energetic power-mum, Renata. Her world is about to disintegrate around her in the face of her husband’s financial wrong-doings. Equally powerful is Bonnie’s (Zoe Kravitz) attempt to heal the rift between herself and her mother. Bonnie suffers the most guilt as ***SPOILER ALERT*** she was the one who pushed Perry down the stairs. As she battles with the emotional repercussions of her actions, she experiences a painful re-emergence of historical parental abuse. Perhaps, not as intriguing are Madeline (Reese Wetherspoon) and Jane’s (Shailene Woodley) narrative strands. Nonetheless, they do support the series’ themes of family, trust and love that add depth and subtext.

To finish, I learnt once again that social media and Twitter surfing can have a negative impact on one’s critical expectation of a programme or film. You have to basically make your own mind up and not be swayed by the pitchforks and torch-bearers baying for blood online. Big Little Lies (2019), Season 2, therefore, while not reaching the dramatic heights of the first season is an excellent follow-up. It explores the privileged lives of the rich Monterey set instilling a sense of humanity and frailty to their lives. The more improvisational direction of Andrea Arnold works well with the fragmented impressionism of the editing style to bring this out. Mainly though, it’s the impressive cast and script which glued me to the screen while experiencing this very watchable drama.

Mark: 8.5 out of 11

Articles, Cinema, My Cinematic Romance

MY CINEMATIC ROMANCE #3: SAM ROCKWELL

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MY CINEMATIC ROMANCE #3: SAM ROCKWELL

There are some actors who just walk between the raindrops when they’re on-screen; inasmuch as everything they do seems so effortless. The magnificent Sam Rockwell is one of those actors. He’s not a big star but he certainly shines like one in most of his roles. While the likes of Matthew McConaughey, Meryl Streep and Christian Bale are tremendous actors, the audience can clearly SEE the work they are committing to; yet Rockwell just glides through a performance charming you and pulling you in with his guile and a golden smile.  He’s just good in everything. Here are five performances I particularly enjoyed. (Note: glaring omission from the list LAWN DOGS (1997) which I ashamedly have not seen. I apologise to my fan.)

**THERE BE SPOILERS AHEAD**

GALAXY QUEST (1999)

THIS is the film where Rockwell first hit my consciousness and it is a wonderful sci-fi comedy which gently mocks but also affectionately homages Star Trek and its legion of fans. It has a terrific ensemble cast including Alan Rickman, Sigourney Weaver, Tim Allen and Tony Shalboub.  Plus, the effervescent Rockwell stealing scene after scene as the kind of sidekick/bit-part show cast member who usually gets killed first.  The film is a bona fide cult classic and I urge you to see it if you haven’t.

JOSHUA (2007)

I picked this because it’s a VERY effective psychological horror film which kind of fell through the cracks on release and is worth catching online or DVD.  It’s an extremely well written, directed and performed “demon child” film but done with nuance rather than the overblown histrionics of the devilish OMENesque movies.  Rockwell plays a loving father and husband and it’s one his more complex roles showing pain and confusion rather than the easy charm one has come to expect from him.

THE WAY WAY BACK (2013)

Talking of which Rockwell ratchets the charm right up to ELEVEN in this wonderful-rites-of-passage-summer-of-love-coming-of-age-dramedy.  He plays an overgrown man-child who refuses to grow up and accept responsibility – preferring to play the fool at a Water Park!  There he takes the awkward teenager Duncan (Liam James) under his wing and trains him to party, have fun and gain confidence with girls.  Rockwell’s just so goddamned likeable and acts as a positive ‘father’ figure to Duncan in contrast to Steve Carell’s negative philanderer Trent.

THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD (2007)

Andrew ‘Chopper’ Dominik’s moody Western is one of the BEST films I have seen from the last 10 years.  It was pretty much a box-office flop but everything about it screamed greatness to me: stunning cinematography; elegant pace; resonating themes and subtext regarding fame and celebrity; wonderful cast; beautiful vistas and so on and so forth.  Rockwell excels in a supporting role as Charley Ford who gets caught between the eerie homo-erotic hero-worship-then-rivalry of his brother Robert (stunning Casey Affleck) and eponymous Jesse James (never better Brad Pitt).  The film moves at a glacial pace, building character and suspense, while in between the sporadic bursts of violence startle and raise the pulse in an altogether memorable cinematic experience.

 

MOON (2009)

In MOON not only do we get one Sam Rockwell but we get hundreds for the price of an admission fee.  He is outstanding as the isolated astronaut (AND doppelganger) mining the moon for helium-3, who having met another version of himself is thrown into an existential crisis.   What it lacks in budget it makes up for with the use of ‘authentic’ old-fashioned models. Moreover, the story engages intellectually, then dramatically before eventually tugging at the heartstrings; all the while introducing fascinating sci-fi concepts.  Director Duncan Jones shows Christopher ‘Interstellar’ Nolan how to make a humanist sci-fi masterpiece for a fraction of the cost and in Rockwell he has a tremendous co-pilot. A film to watch over and over and arguably Rockwell’s finest performance as an actor.