The films of Paul Thomas Anderson are anything but conventional, and Phantom Thread is not even close to an exception. Anderson writes and directs this story about Reynolds Woodcock, paragon of the 1950s haute couture scene. Daniel Day Lewis portrays this eccentric man to perfection, inhabiting the character as only he can. The acting talent extends to the two lead women in the film as well: Vicky Krieps plays Alma, Reynolds’s new flame and muse and Lesley Manfield plays Cyril, his sister and main confidant. These three are a tour de force.
Guillermo Del Toro is a master of the modern fairy tale. In The Shape of Water, he tells the story of a budding love between a mute woman named Elisa and a captive fish creature. Like the very best of Del Toro, the film blurs the line between reality and fantasy and succeeds as an allegorical tale about the transformative power of love. Set in the Cold War Era, most of the story takes place in a secret government facility replete with scientists, gung-ho military jerk-offs, and spies. This setting provides the canvass for Del Toro’s peculiar aesthetic, as well as the majority of the tension. The performances are outstanding, from the supporting characters to the leads to the man in the Fish Monster suit. Simply put, The Shape of Water is a gorgeous little tale and the reason why movies can be so magical.
Greta Gerwig’s Lady Bird is a stirring coming-of-age story focusing on the relationship between a high school senior and her mother. Saoirse Ronan plays Christine, but insists that everyone call her “Lady Bird”. Her relationship with her mother, played by the excellent Laurie Metcalf, is fraught with complications – just like any mother-daughter relationship. Gerwig’s story has obvious autobiographical aspects, lending the film a refreshing matter-of-fact feeling. Lady Bird is a flawed protagonist, and her mother isn’t perfect either. Still, Lady Bird grows up a lot in the last year of high school, despite all the awkward romances and familial tension. Though detractors may classify Lady Bird as a film that doesn’t take many risks, its themes are timeless, perfectly executed, and packed with realism. Lady Bird is a resounding success from a first-time director, a seemingly-effortless bit of cinematic mastery.
Three Billboards Outside Ebbing, Missouri is not a kind film, and it is not an easy one. It is thoroughly dark and more than a little sad, but has some comedic moments. Perhaps the best way to think of it is as some kind of demented moral play – a grim farce meant to explore the depths of human depravity and whether there is any potential for absolution. As such, the film sets up a horrible situation, doubles down a few times, and then challenges the spectator. Along the way, the performances are outstanding, and though some of the characters feel stereotypical or one-dimensional, that’s the point. Three Billboards is a poignant look at despair and hope, hatred and forgiveness, and prejudice and love.
Call Me by Your Name is a tender and warm coming of age story that beautifully captures that peculiar mixture of melancholy and exhilaration that so often accompanies a first love. Set in Italy in the 1980s, it is a subtle, sensuous, and gorgeous film. The pacing is pastoral and languid, lending the characters a lived-in and complex feel as they explore their surroundings. It sports a timeless plot about self-discovery and sexual exploration, with impeccable performances. Director Luca Guadagnino has perfectly executed one of the most heartbreaking and satisfying films of recent memory.
Steven Spielberg’s latest historical drama The Post is a funny little animal. The film is based on Kay Graham’s decision to publish findings from the classified Pentagon Papers in The Washington Post. Graham, played by best living actor front-runner Meryl Streep, was the first woman publisher of a major newspaper, and the film details her struggle with these responsibilities. As such, The Post has a dual focus: it is part defense of free speech and the right to publish, and part celebration of female empowerment. Spielberg does a great job balancing these, but the film also has a peculiar look to it, with an active camera that feels a little too dizzying. Most of the drama derives from Graham’s decision to publish and how she grows more confident in her abilities. Though it may be a little generic with respect to it’s handling of The First Amendment, The Post absolutely nails the more human side of the story.
In Annihilation, a band of women set off to investigate a bizarre natural phenomenon that has resulted from a fallen meteorite. Alex Garland directs the film and wrote the screenplay (based on a novel by Jeff VanderMeer, which is part of a trilogy). The mysterious event has been named “The Shimmer” in deference to the prismatic bubble that surrounds a lighthouse at the epicenter – a bubble that is growing. No previous expeditions have returned. Like Garland’s previous directorial work Ex Machina, Annihilation dazzles with its visuals, sports an intriguing and tight plot, and ultimately leaves the audience with few explicit answers about what exactly has been going on. There has always been power in subtext, especially in science fiction, and Annihilation is an impressive and intelligent new entry to the genre.
In Thoroughbreds, writer-director Cory Finley delivers an astonishing debut. The film features two astounding lead performances from Olivia Cooke and Anya Taylor-Joy as a pair of grim highschoolers. The plot of the film unwinds in four chapters (plus an epilogue), in which information is revealed piecewise and the tension and mystery of this thriller matures into a chilling climax. All the while, the spectator is treated to some stunning cinematography that perfectly captures the pristine affluence of the setting while simultaneously hinting at some dark kernel. This grim tone permeates the film, lending Thoroughbreds an additional layer of significance and meaning.
Though a Tomb Raider reboot wasn’t something that I would have pegged as a likely success, this little action-adventure film starring Alicia Vikander does far more right than it does wrong. Trailers would suggest that this is your generic, action-packed, thrill-a-minute blockbuster, but it is actually far more subtle and considerate than that. The primary draw is definitely Vikander and her portrayal of Lara Croft, a character that director Roar Uthaug develops in interesting ways and who enjoys a complete arc over the course of all of this tomb raiding (which is quite entertaining and well thought out). It’s also a movie that knows that it is important to have a bit of fun now and then, though it certainly isn’t goofy. The film is far from perfect; the action is a little frenetic and full of cuts, and most of the plot beats predictable and by-the-numbers. But, for the most part, Tomb Raider is an enjoyable little adventure.
Stanley Kubrick’s films are so distinct and exceptional that he practically legitimizes whichever genre he decides to work in. Before 2001: A Space Odyssey, science fiction films were mostly dispensable pulp featuring monsters in rubber suits. Like earlier horror masterpieces The Exorcist, Rosemary’s Baby, and Psycho, Stanley Kubrick’s The Shining elevates the horror genre into rarefied air. In this piece, we’ll look at how Kubrick starts with a mundane story of a family spending a winter alone in a hotel and uses all of his skills as a filmmaker to craft one of the scariest films ever.
The Shining sets forth a seemingly basic story in terms of its plot and characters, but Kubrick is able to manipulate the language of film to slowly fill the audience with an overwhelming sense of dread. Camera movements and shots, curious editing, and the pacing of the story all slowly draw out the terror, ultimately leaving the viewer petrified. By the climax of the film, we’re jumping at the supernatural, the too-human, and the utter mystery of what we’re seeing on the screen. In the end, it’s hard to say what scared us so – we’re simply certain that we’re terrified. Now let’s figure out why . . .
In Black Panther, director Ryan Coogler (Fruitvale Station, Creed) has crafted a nearly perfect solo film for the eponymous African Superhero. The film has all of the visual appeal, action, and expert world-building that we have come to expect from the Marvel Cinematic Universe (MCU). In addition, Coogler instills the film with superlatives that are rarely attached to the MCU: a noteworthy and complex villain, a rich political subtext, and a truly thematic conflict. It is likely too early to crown Black Panther as the greatest anything, but it is folly to ignore the power behind such an exemplary film.
As promised, here is a quick, play-by-play style recap of last night’s 90th Oscars (AKA: 90 Scars). I’ll comment throughout now that it is the next morning, and I will finish it all up with a neat and tidy summary so that we can all move along with our lives in a timely fashion.
I started a stopwatch so I wouldn’t have to keep looking at the clock, plus I don’t really understand time zones too well. So, these are the things that happened and the way I felt about them . . .