THE BOOK OF CLARENCE Review

An ambitious (audacious?) yet disjointed film that seems to attempt more than it intends leaving little to latch onto, but much to consider. A conundrum of both a film and experience. Coming out of writer/director/composer Jeymes Samuel's 2021 feature debut, The Harder They Fall, it was more than evident the multi-hyphenate had a distinct mission, but almost more importantly: a distinct style to match it. With as much noted it was easy to walk into Samuel's follow-up, The Book of Clarence, with a certain expectation of what it might be. As The Harder They Fall made it clear white people were not alone in the westward expansion following the Civil War, The Book of Clarence would seem to run with the fact they were essentially non-existent in Nazareth in the time of Jesus (or the Messiah, as he was probably more often referred to during his life). The correcting of the consistent portrayal of Jesus as a white, European man throughout history would then seem to be the anchor of Samuel's religious satire especially given this depiction has come under scrutiny as of late with the legacy of racism in society being more critically discussed. While this is certainly on the itinerary though, so are about twenty other items that seem to have sprung from Samuel's original intent through the process of putting this initial idea to paper. We can see the bones of Samuel's original idea in renovating the Biblical epic, but as our titular Clarence (LaKeith Stanfield) becomes swept up in and ultimately accepts the idea that Jesus may in fact be the real Messiah so too does the movie in becoming an actual Biblical epic. 

At just over two hours it doesn't quite go all the way to fit that bill, but though there are moments of biting irreverence these are always directed more toward how the familiar events of the Bible have come to be perceived rather than toward the events themselves or so seems to be the case, I could certainly have misinterpreted. The cause for such uncertainty comes with how reverential Samuel ends up treating the cornerstones of his protagonist's journey. These tonal transformations make it difficult to identify a genuine response to the material, but the film doesn't leave you with nothing. In fact, more than anything The Book of Clarence will leave many confused as to what meaning we're meant to take from this double-edged parable which - I guess - could be seen as appropriate given the conflicting nature of faith for those who question it. There is a line in the film that states, "Any man who follows rules blindly is easily overcome," which is a direct challenge to one of if not the mainstays of what "faith" is meant to illustrate. This point of view is further emphasized when, in the final act of the film, Stanfield's false Messiah calls for enlightenment over punishment. Both sentiments would seem to move the thematic needle towards the challenging of ideas and the broadening of intelligence for the sake of insight and progress as favorable and more sensical than divine knowledge and irrational acceptance, yet the film still concludes with a message that remains largely pro-faith. Hence, the confusion and conflict.

CHAOS WALKING Review

A fascinating miscalculation if nothing else, Chaos Walking is a string of ideas in search of meaning. Having never heard of The Knife of Letting Go by Patrick Ness, the first in a trilogy of books that is known overall as Chaos Walking the most notable first reaction to this adaptation was that despite having a reliable captain in Doug Liman (The Bourne Identity, Mr. and Mrs. Smith, and Edge of Tomorrow) the film itself largely lacks a sense of direction. Of course, this might have something to do with the troubled production given the film was originally shot in 2017, but after what were reported to be poor test screenings of the initial cut, Lionsgate brought in a different director, Fede Alvarez (Don’t Breathe), for extensive and costly reshoots in 2019 before the pandemic delayed the release further. Though the film doesn't inspire enough curiosity for me to rally film twitter to initiate the #ReleaseTheLimanCut movement it does stand as a curious case of what might have been given Ness' material (he authored the series as well as co-wrote the screenplay with Christopher Ford) offers a number of possible interpretations, opportunities, and ideas that no one can blame neither Lionsgate (who acquired the rights to the book in 2011) nor Liman for wanting to pursue. That said, for a visual medium such as film to realize a concept that includes what is referred to as "the Noise" where every character on screen can hear every male character's thoughts there needs to be a certain level of credibility and innovation to its execution, but unfortunately this balance is never struck...or maybe it was never found in the first place. It's difficult to imagine what it must have been like to work in the sound department on a project such as this where there seems no good option in matching what is essentially Tom Holland doing Dustin Hoffman a la Rain Man in an attempt to verbalize streams of consciousness to different colored clouds of smoke that pulse like heartbeats around the men's heads. Manifesting this concept was undoubtedly a challenge, but it doesn't help that this concept is largely the key to making the film work as a whole and when it doesn't land - when we're not convinced of said manifestation in the first five minutes - then it's a problem. It also doesn't help that this key element was to be largely finalized in post-production allowing for little wiggle room in the experimentation of bringing the concept to life. Stream of consciousness thinking is confusing, often contradictory, and always messy, so how was anyone expected to organize this into something coherent much less consistently compelling in such a fashion that it could support an entire narrative based around a dystopian world where the women are gone and the men are literally left with only their thoughts? I have no idea either, but if anyone does, they should contact Chaos Walking.

THE MIDNIGHT SKY Review

Not to be confused with the latest Miley Cyrus single, George Clooney's seventh feature directorial effort takes place over what is seemingly only eleven or so hours, but takes us not just to the stars, but the possibilities beyond them. The Midnight Sky is the type of film that desires to have layers upon layers of meaning and be cause for deep, existential reflection yet what it brings to the table couldn't feel more hollow. It's admirable, the way Clooney - working from a screenplay by Mark L. Smith and based on the book by Lily Brooks-Dalton - keeps the focus of this large scale story on two entities that mostly exist outside the bubble of where the more urgent, genuinely dramatic situations are happening. It's a bold choice to be sure, but we've seen the other movie before. You know, the one where a person or family is racing against the clock to find a safe haven before something catastrophic happens which, in the case of The Midnight Sky, is the fact Earth is now completely uninhabitable. So, why not remove the chase and zero in on those that have accepted their fate? The answer to this question should seem obvious in that there is then a complete lack of imperativeness to the proceedings, but Clooney's intent seems to have been not to focus so much on the details - what's happening is happening and can't be helped at this point - and instead on making the material more compelling by extracting the human angle of what brought these individuals who were once considered influential in this crisis to now be on the outside looking in.      

Clooney has always seemed to be more comfortable in the director's chair, behind the camera even if his looks and effortless charm have always made him a more effective player in front of it. Unfortunately, at this point - eighteen years into his directing career - his work as a filmmaker has been hit or miss at best. The lone exception I haven't seen in Clooney's directorial arsenal is 2002's Confessions of a Dangerous Mind which I recall receiving generally favorable reviews and while I don't know that I've seen Good Night, and Good Luck since my senior year of high school - 2005, the year it was released - I can recall sitting down for each of Clooney's subsequent features in a theater and being excited not only at the prospect of what Clooney might bring to the table, but also about the actual stories he was telling. From Leatherheads to Ides of March and from The Monuments Men to Suburbicon, Clooney has directed a new feature every three years since 2002 and yet - despite the intriguing premises, often fascinating characters, and irresistible true stories seemingly begging for a movie to be made around them - there is something in Clooney's execution that allows these stories to wind up with that same hollow feeling I felt in the final minutes of The Midnight Sky. Yes, the visual landscape here is maybe the most moving Clooney has achieved and the score from Alexandre Desplat works more to enhance these visuals than it does detract from them, but the narrative missteps and - to an extent - the lack of investment in these character's plights present not necessarily an uglier picture than the one we're seeing on screen, but certainly a less powerful one.

QUEEN OF KATWE Review

Disney has created something of a sub-genre for itself with the inspirational sports dramas. They've been doing this in their live action department for some time, but within the past fifteen years or so they have really capitalized on the curbside appeal of a marquee name starring in a "based on a true story" film that chronicles some rather exceptional events that lead to a stirring conclusion audiences can energetically cheer for. Fifteen years on and one might think the mouse house is running short on true life sports stories though as they've now resorted to a movie about chess (not exactly a game that translates to much excitement on film), but it is in these inherent doubts that Queen of Katwe rises above expectations to be a sports movie that not only inspires, but uses the familiar beats of its genre to its advantage rather than allowing them to become a detriment. In not only taking the seeming requirements of such a story in stride director Mira Nair's film becomes more than the sum of its parts by adding a level of maturity and, unfortunately, reality to its story elements that would once upon a time have been Disney-fied so as to gloss over the harsher aspects of the circumstances these real-life characters find themselves in. That Disney doesn't try to mess with The Namesake filmmakers interpretation of Phiona Mutesi's (played here by Madina Nalwanga) story serves it in ways that give it more shadings than something like Million Dollar Arm or Glory Road in which the more conventional approaches resulted in fairly average and conventional films. Don't get me wrong-Queen of Katwe isn't necessarily groundbreaking and certainly isn't life-changing, but it is able to use these tropes we've grown accustomed to in just the right ways meaning they are done in an effective manner. Couple this with the fact Nair has assembled a rather incredible cast that includes Lupita Nyong'o and David Oyelowo supporting newcomer Nalwanga and the other inexperienced child actor's that make up the majority of this authentic cast and the result is not only that of your standard underdog tale in the form of an inspiring sports movie, but an inspiring sports drama that actually has the will and passion to inspire should one come at the movie with their cynicism in check.

First Trailer for QUEEN OF KATWE Starring Lupita Nyong’o

It seems as if Lupita Nyong'o has taken up a comfortable residence in the arms of Walt Disney as she's no doubt seen huge returns for her CGI turns in both The Force Awakens and The Jungle Book, but with her latest film, Queen of Katwe, the actor is finally stepping back in front of the camera and in what seems to be a well-intentioned and heartfelt family film that will tell an uplifting story of struggle and overcoming certain odds. Based on a true story with William Wheeler (The Hoax) adapting Tim Crothers book of the same name the film tells the story of a young girl from Uganda who trains to become a world chess champion. While this could very well be the next in the long line of inspirational Disney sports movies there is of course something distinctly different about it and that is the fact we are seeing a very non-American story. There have been plenty of movies concerning chess that are interesting enough, but to layer in this intellectually challenging sport typically thought to be relegated to wealthy old white guys and throw into the mix a young girl living in poverty makes it almost too unbelievable to be true. Nyong'o will play the mother of the young girl, Phiona Mutesi, who will be played by newcomer Madina Nalwanga. If this trailer is any indication the film will very much be more about the journey than it is the destination as it is easy to see the beats this thing is going to hit, but then again director Mira Nair (The Namesake) seems a force to be reckoned with and an extremely talented filmmaker that could turn what is undoubtedly an inspirational story, if not still a familiar one, into something truly stirring. David Oyelowo also stars with Queen of Katwe opening on September 23rd, 2016.

First Trailer for NINA Starring Zoe Saldana

After getting a look at Don Cheadle's terrific-seeming Miles Ahead which chronicles the life and times of jazz musician Miles Davis a month ago we now have our first look at another highly anticipated music biopic in writer/director Cynthia Mort's Nina. While Mort may be a first time director she has been working in the industry for well over a decade as a writer on Roseanne with her previous feature credit being the Jodie Foster-starrer The Brave One. Mort clearly has an inclination to tell stories about strong women and Nina Simone is no exception. Simone or the High Priestess of Soul as she was known to many, was a singer, songwriter, pianist, arranger, and civil rights activist who worked in a broad range of musical styles including classical, jazz, blues, folk, R&B, gospel, and pop. It's slightly surprising a movie hasn't already been made of this woman's life given her death in 2003, but that may also be due to the fact this film in particular has been in development hell for quite some time. Mary J. Blige was originally set to star, but had to drop out as far back as 2011. Why Blige wasn't re-enlisted when the film wasn't made because of her absence is a mystery, but rather Puerto Rican and Dominican descendant Zoe Saldana was cast and you can bet there is a fair amount of controversy surrounding that decision. What's even worse is that it's clear the team behind the film have significantly darkened the actress' skin in order for Saldana to better resemble Simone. While there will be much talk swirling around the film prior to its release the trailer does hint at a rather solid performance from Saldana if not a typical cradle to grave narrative. That said, I'm looking forward to seeing how this production turned out and if it will be good enough to overcome the bigger discussion currently happening. Nina also stars Mike Epps, David Oyelowo, Ronald Guttman, Ella Thomas and opens on April 22nd, 2016.

A MOST VIOLENT YEAR Review

As you allow A Most Violent Year to slowly sink in the first theme you recognize is truth. Complete honesty is the way Abel Morales (Oscar Isaac) chooses to conduct himself and throughout the entire running time of the film it is difficult to decipher whether or not he is a corrupt man who wants to believe he is good or if he genuinely strives to be honorable. With this kind of reciprocal psychology constantly battling within Abel, Isaac's is able to dig in and deliver a performance that continues to prove his excellence while also anchoring the film with the bigger ideas that director J.C. Chandor (Margin Call, All is Lost) is intending to convey. Within Abel Morales Isaac finds a man who we don't get much insight on up to the point that we meet him. He is an oil distributor, he is attempting to acquire a piece of real estate that will do nothing but expand his business and his control on the market, but to reach this point of seeming solidarity within his business and personal lives he will have to make choices not akin to his way of thinking; choices influenced by the time period Chandor has chosen to place these characters in. In not really knowing the mentality of this character and only having it slowly revealed to us over the course of two hours we are kept in a constant state of suspense with Isaac at the steering wheel taking us only as far as Abel is willing to bend his morality. It is an interesting take on what could have easily been a more Goodfellas or Scarface-inspired film, but rather than make this about the mob or about being a gangster as we generally think of them we are given this idea on what it truly takes to get what you want, to earn real respect. There is plenty to like and admire about A Most Violent Year and its methodical sense of storytelling, but it can't help but feel somewhat scattered in getting the sum of its parts to come together and deliver a wholly satisfying conclusion. Chandor clearly knows what he is doing and is somewhat of a master at putting the pieces in place and building the tension, but it is the payoff where things don't necessarily feel as compelling as one might expect. Given the grace and precision with which he puts these pieces in play I expected more from the third act, but in a film as full of atmosphere and subtly great performances as this it is hard to complain at all.

SELMA Review

First things first: if you get your history from movies you get the history you deserve. Amid the controversy of historical inaccuracies that feel more like a play to dismantle Selma's award chances than anything else it must be remembered that director Ava DuVernay's is an interpretation of many historical narratives boiled down into a comprehensive two hours. Things must be compacted and slightly compromised, but never does it feel like any one character is given the shaft more than the others. The flurry of controversy here is dealing with the portrayal of the thirty-sixth President, Lyndon B. Johnson, who is historically regarded as completely behind not only Dr. King, but the civil rights movement in general and the passing of the voting-rights act in 1965. The movie doesn't portray a President resistant to the passing of this legislation, but more a man who has a set of priorities not in line with our protagonists. The extent to which this is true or not certainly matters, but more to the point of the films major goals is that this is not a movie about the relationship between Johnson and King (which a very interesting movie could be made from), but rather larger issues at hand to the point I'd say Selma isn't about Dr. King either. More, it is about a movement, a moment in time that is compelling and inspiring enough to make for a good story and serve as a nice reminder and a bit of perspective especially considering the relevancy of the message it's preaching. Despite all of this controversy swirling around it, the actual content of the film is what matters and that is where the dispute between telling history as accurately as possible and telling a good story comes into play. There is no one clearly defined version of history despite what we are taught to believe in grade school and so it is completely open and fair for DuVernay (working from a script by first-time screenwriter Paul Webb) to tell this story from her own perspective, influenced by her own ideologies. It may be slightly unfortunate that her interpretation isn't completely fair to Johnson, but I doubt this will tarnish his legacy in the grand scheme of things. The film itself and what is actually the subject of this review is a rousing, expertly paced film that truly has the ability to inspire despite its structural conventions. The film itself is a solid four-star historical drama that is elevated to perfection by David Oyelowo's exceptional performance.

INTERSTELLAR Review

Where does one even begin? To describe a film as ambitious and overwhelming as director Christopher Nolan's latest is to take on as daunting a task as Nolan likely felt in making sure the science of his script was accurate. I don't know that anything I say in this review will perfectly capture the way I'm feeling about Interstellar because honestly, after three days of thinking, I'm still not sure I know exactly how I feel about it or what I think. I know that I was fascinated by it, I know that there is so much going on within it that I will need to see it again to feel I even somewhat understand it and I know that no matter how much I want to be able to say I either decisively adored or disliked the final product that kind of ruling won't come down until I've had multiple viewings and allowed plenty of time to pass. In this age of instant gratification where first weekends determine whether you are a success or failure, Interstellar offers an experience that demands to be contemplated, debated and seriously considered before ever giving anything close to a defiant verdict. I will admit to my initial reaction being that of pure awe while somewhat corrupted by the fact there were facets that didn't thrill me as much as others; sequences where the film felt it could have been trimmed or was a little too scatterbrained in contrast to the more precise scenes where Nolan is clearly in control of his spaceship. Ambition is key though and that is the one thing Nolan is never short of. Always pushing the limits, not only visually, but within the story, this time backed up by science that places the events of the film within the realm of real possibility. We are asked to make a few exceptions in how far we are willing to go with all we see being steeped in reality, but unlike some issues of the past Nolan and his screenwriter brother Jonathan have crafted dimensional characters that are able to keep the sentimentality in check. There is never a moment where the film regresses from not being one hundred percent about the actuality of the situation at hand and the facts that support it, but it is able to take into consideration what we cannot explain or fully understand and how that might indeed factor into what is best for the characters outcome. It is a genuine mix of heart and facts that meld together over the course of three hours leaving you bewildered, haunted, alarmed and mystified to the point you may not be able to swallow everything you just took in, but will certainly be able to appreciate the intent.

First Trailer for SELMA

Is it me or does this awards season seem more packed than usual? It is late to the game releases such as Selma and American Sniper that make me wonder just how far some of these films will wait to really start their engines. It seems December is more ripe than usual with the likes of Wild, Inherent Vice, Into the Woods, Unbroken and Big Eyes all releasing within a few weeks of one another and all seeming to want to put in their bids for certain categories. Selma and the aforementioned Clint Eastwood film though will stagger there releases over the Christmas/New Year season in hopes of capitalizing on the January drag by escaping the overcrowded Christmas day schedule and boosting their box office by drawing on those unable to see some of the more prestigious pictures until after the new year.  I imagine director Ava DuVernay's prime focus will settle on that of the lead performance by David Oyelowo as Martin Luther King Jr., but there is a lot of potential here and if it turns out well first-time screenwriter Paul Webb is looking at good odds and the supporting cast is almost as massive as last years The Butler, which this immediately conjures up comparisons to. What feels better about Selma though is that it inherently seems to have the importance, rage and vitality to it that Lee Daniels film thrust upon itself. I am extremely intrigued by the film and really hope it delivers on what this great teaser promises. Selma also stars Carmen Ejogo, Tom Wilkinson, Andre Holland, Omar J. Dorsey, Tessa Thompson, Tim Roth, Common, Wendell Pierce, Giovanni Ribisi, Cuba Gooding Jr., Colman Domingo, Oprah Winfrey and opens in limited release on Christmas Day before expanding on January 9, 2015.

First Trailer for A MOST VIOLENT YEAR

I listed J.C. Chandor's follow-up to All Is Lost as my tenth most anticipated release for what is essentially the Oscar season of 2014. Though it is highly unlikely that I will actually get to see the film before the end of this year I am still very much looking forward to it and what it might do with its Award chances. Featuring not only what looks to be an electric performance from Oscar Isaac, but also one of the many great, in a wave of performances this fall, turns from Jessica Chastain. Chastain simply has an electricity about her and a passion that oozes into her craft and if this short clip of a trailer gives us anything it is the level of passion both she and Isaac have brought to their characters here. Chandor has written an original screenplay centered around an American immigrant (Isaac) and his wife (Chastain) who are trying to expand their business in New York in 1981 as violence and corruption threaten to destroy all they've built. It should also be mentioned that statistically, 1981 is one of New York's most violent years in the history of the city. The trailer doesn't give away much as it takes us more through the escalating structure and the intensity that it will carry rather than giving away any major plot points or flashy scenes. Personally, I like it this way and the trailer serves its purpose in only getting me more interested and anxious to see a film that I was already excited for based on its credentials alone. After Margin Call and All is Lost, Chandor seems poised to really make his mark with this third feature. A Most Violent Year also stars David Oyelowo, Albert Brooks, Alessandro Nivola and opens in NY and LA on December 31st.