MANCHESTER BY THE SEA Review

Manchester by the Sea is a simple film made from a rather simple story. Meaning that the narrative is straight-forward and wholly based in the everyday lives the majority of us tend to lead. While these factors certainly make it more relatable than say, something along the lines of Allied, which is technically based in reality, but from which we are so far removed at this point it almost feels not of this world. All of this is to say that in our current plane of existence, Manchester by the Sea feels personal. It is a movie that creates an authentic environment from the world in which it exists. It feels lived-in and to that point we are not necessarily welcomed as much into this halfhearted existence that comes to be the subject of the film as we are wedged into the ongoing crap show that literally and figuratively seems to make up Lee Chandler's (Casey Affleck) life. I find it best to go into most films without much of an idea as to what exactly one might be getting themselves into and while it may be difficult to do that in terms of major blockbusters when living in a world that offers teasers for teaser trailers it is with movies such as Manchester by the Sea where this practice can be exercised to its full effect. And so, I went in more or less blind to what Manchester by the Sea carried in terms of narrative and with only the buzz it garnered out of its Sundance premiere earlier this year to signify that it was one worth watching. No matter if one knows the basic premise or not though, one thing is for certain: one cannot know the whole of the story the film is telling and it is in how director Kenneth Lonergan (Margaret) sets up the present scenario for our characters to operate in and then how he slowly peels back the layers of each of their pasts helping us to understand not only why and how these people have become who they are, but also giving us a glimpse of how far they can go and what the future might hold for them that makes the experience so simultaneously simple yet equally involving. It's a powerful piece of human drama to say the least with bare bones emotions bleeding through on the face of Affleck and every other actor in any significant portion of the movie. Lonergan, as a writer, is clearly interested in digging into the psyches of those who have dealt in tragedy and analyzing the different ways in which we as human beings deal with such surreal, life-altering events. With Manchester by the Sea the writer/director tackles permanent heartbreak to grandly moving results.

TRUE STORY Review

The immediate assumption when seeing a movie starring both Jonah Hill and James Franco is that it is of course a comedy, but when you place the fact both of these guys are Oscar-nominated actors in front of that you can understand where things might not be all you expect. In a new collaboration between the actors simply titled True Story there is little to smile about, much less laugh at. All of that taken into consideration, I wasn't sure what to expect given this seemed a deliberate attempt, especially from Hill, to further his dramatic career while Franco is so over the map at this point it was up for debate how much time and effort he actually put into the role of a seemingly normal man who came home from work one night and murdered his entire family. To these points, suspicion was dismissed fairly early as director Rupert Goold (making his feature film debut) jumps right into the hook of the piece while following it up with an intense exploration as to why that hook might have existed in the first place. The readily available chemistry between Franco and Hill is on full display as the majority of the film concerns itself with these two central characters figuring out the other with the remaining facets outside these more fascinating moments being more by the numbers. We've all seen movies based on real life crime stories of course and have become accustomed to the beats they hit as far as how to figure out the big question of whodunit and why the typical protagonist might make certain mistakes, getting too close to the case for their own good, but this only happens in True Story part of the time and while it certainly detracts from the more fascinating relationship formed between Hill's Michael Finkel and Franco's Christian Longo there is enough here between the two of them to create a rather enticing piece of character study for the audience to decipher and ultimately decide where we come down not just on the accused murderer, but both of these men.

LAGGIES Review

Laggies, in short, is about a distraught twenty-something who's extremely close to nearing thirty and becoming more anxious every day about trying to figure out who she is after putting it off for so long. It's a movie about identity crisis, of existential questions we've no doubt seen countless times before, but that doesn't make it any less endearing. In fact, if there is any one thing that makes Laggies stand out from the number of typically depressing Sundance films about rumination it is just how adorable the movie tends to be and how delightfully the characters allow their difficult circumstances to influence their attitudes in alternative ways. It is easy to forgive the conventions at play here, specifically those that crowd the foreseen outcomes of each characters situations in Andrea Siegel's debut screenplay, but when handled by a director such as Lynn Shelton (Your Sister's Sister) who can be so precise in zeroing in on the quirks that make characters individuals more than stereotypes we naturally feel more sympathy for their plights. I don't pretend to know what it's like to be lost or not knowing what to do with my life as I've always known what I wanted to do and who I wanted to be (my problem has been achieving the level of those goals I aspire to, not the lack of drive), but through the eyes of Keira Knightley's Megan we get a first class seat in experiencing what it's like to having the world at ones fingertips and taking it all for granted in desperately trying to piece it all together. One could easily look at Megan as something of a spoiled brat, a hipster if you were prone to do so though I never looked at her as this middle class kid who was entitled because of her pedigreed education, but instead I ended up seeing her as kind of a basket case who was comfortable in her skin at a very specific point in her life and who time has forced out of that skin and into the that of an adults. She finds it hard to embrace this facade and in turn reverts to where she might be accepted for being who she's comfortable being. I guess that might mean she isn't just trying to find herself, but others who will help her become both who she's supposed to be and who she wants to be simultaneously.