Friday, November 15, 2019

Oscar Bait: Ford V Ferrari

Wait, I thought YOU wrote down where we parked the car.

Here's something I never have to see again and yet have seen in no less than three movies in the last week: A scene where the wife of the hero chews out the hero for doing the very thing the hero will be known for doing. Typically, it's the wife of a cop, or a doctor, but in Ford v Ferrari it's the wife of race-car driver Ken Miles (Christian Bale).

And in this case, it is such a contrived bit of drama because when we're introduced to Mollie Miles (Caitriona Balfe), director James Mangold makes it very clear that she's into the whole car thing, and clearly knew the type of man she had married. That introduction gave me hope this very dude-centric movie had at least tossed us a token cool chick. Alas.

And Ford v. Ferrari (better titled Le Mans '66 abroad) is definitely a bro-fest, with bellowing performances from Matt Damon as Carroll Shelby (what's with Matt Damon and characters named Carol/Carroll?), Tracy Letts as Henry Ford II, and Josh Lucas as weasely Ford executive Leo Beebee.

As much as I love that era of muscle cars, I'm way less interested in the sports cars and auto-racing of the time. And that's probably why I had never heard the story of how then VP of Ford Motor Company Lee Iaccoca (Jon Bernthal) decided in the mid 1960's that the company should win the 24 hour Le Mans race to help boost sales, and if that meant buying Ferrari to do it, so be it. When that scheme crashed and burned, they decided to make their own race car, roping in racer and car designer Carroll Shelby (he of Shelby Mustang fame), who in turn recruited racer and engineer Ken Miles to help build it.

For a movie about fast cars, it drags, and at two-and-a-half hours long it could have used some serious trimming (might I suggest a certain scene involving a screaming wife?) That said, the performances are solidly entertaining, by both the cars and the actors (though sometimes the cars overshadow the stars). I'll also say Christian Bale, an actor who has always annoyed me in some way or another in every movie I've ever seen him in, gives what I think is his most enjoyable performance ever. Director Mangold films the racing scenes well, thankfully not resorting to nausea inducing shaky camera work, and for the most part, the action is indeed exciting and crowd pleasing. But anyone who has watched a race, especially a long one, can't deny it can get monotonous. The same holds true for Ford v Ferrari.



Friday, November 8, 2019

'Doctor Sleep' Bids Good Day To Mr. Kubrick

"Yeah but where's MY Dr. Sleep when I need him?"

Stephen King's 2013 novel Doctor Sleep is a sequel to his 1977 novel The Shining. It is most definitely not a sequel to Stanley Kurbick's 1980 movie The Shining, a movie King famously hated, and the book makes no real nods to Kubrick's interpretation of his story. King's Doctor Sleep exists in a world where the evil Overlook Hotel burned to the ground, and there was no such thing as a hedge maze.

But you can't make a movie sequel to The Shining and pretend Stanley Kubrick's version never existed, especially if you want to sell a lot of tickets. So director and writer Mike Flanagan's Doctor Sleep is hybrid of both. It's King's story set in Kubrick's universe.

To accomplish this, Flanagan doesn't simply use original footage from The Shining. When it comes to incorporating moments from that earlier film into this one, he recreates and recasts, so that the film opens with young Danny Torrance riding his tricycle through those familiar hallways, passing a familiar doorway, and seeing a familiar bather in a familiar bathtub.

But we quickly see that this isn't the Danny we remember. He's been recast, along with his mother Wendy (by Roger Dale Floyd and Alex Essoe, respectively). And I'll admit I had a visceral negative reaction when I saw those new actors, even as I marveled at the masterfully recreated costumes and sets; I went in expecting a sequel, not a remake.

But that slavish recreation of The Shining is only a fraction of the film's (bloated) 151 minute running time, and the majority of the film centers on a grown up Dan Torrance (Ewan McGregor) who has learned to silence the very real demons that haunt him, through a combination of booze and mental lockboxes, the latter a trick taught to him by Dick Halloran (Carl Lumbly).

After hitting rock bottom he finds friendship and AA, settling down in a small New Hampshire town, taking on shifts at a hospice, where his psychic abilities lend themselves well in leading the dying into that good night. This skill earns him the nickname "Doctor Sleep."

The moments Dan Torrance spends with the dying, along with scenes of him at AA and embracing friendship, are all heartfelt and authentic, and imbue the film with a tenderness and sadness that is a welcome change of pace for a horror film, as is the inclusion of a young girl of color as the story's heroine. Teenage Abra (Kyliegh Curran) is also gifted with "the shine," and she develops an unlikely, sight unseen friendship with Dan. But her supernatural gifts are like a beacon to the band of baddies that are the film's villains.

Lead by a beautiful woman known as Rose the Hat (Rebecca Ferguson), the "True Knot" are a gang of vampiric gypsies who gain immortality from the "steam" the emanates from people like Abra and Dan, though steam from children--especially frightened, dying children--is the most powerful; they suck that shining out of their victims like bong hits.

Their murder of a young, "gifted" boy is perhaps the film's most horrifying and disturbing scene, and it's a reminder that much of The Shining was centered on the terrorizing of a child. And perhaps that's part of why that film has had such a lasting impact. We've all been scared children (the most unlucky being children scared of their own parents), and for adults who become parents, knowing their child might be in danger is perhaps the scariest thing of all.

Doctor Sleep delves into areas centered on the effects of trauma and the heredity of addiction, with Dan Torrance literally coming face-to-face with the spectre that was his murderous and alcoholic father, Jack (Henry Thomas, playing yet another creepy father character in a Mike Flanagan movie, fills in for Jack Nicholson), and it's when Dan is facing those kinds of demons that the film is its most effective. The trip back to the haunted Overlook, while certainly fun, in a pandering-to-the-fans kind of way, is just a Halloween attraction compared to the knowledge that you might grow up to be exactly like the person you most loved, feared, and hated.

Doctor Sleep is too long, and relies a bit too much on what Stanley Kubrick created before it. But it also did something The Shining, a scary but classically cold Kubrick movie, never could. It made me scared and sad.


Friday, November 1, 2019

Oscar Bait: Motherless Brooklyn


Is that...an Oscar?

Edward Norton is no stranger to the Oscars, albeit thrice as a nominee, but never a winner. His latest drama, Motherless Brooklyn, seems like the ultimate in Oscar bait, in that he wrote, directs, and stars in it, and his role, as a low level detective with Tourette syndrome, is the kind of showy performance the Academy loves.

Alas, it's likely Norton won't even make it to nominee status this year, because while Motherless Brooklyn is beautifully shot and entertaining, it's also too long, and aside from its tic-ridden protagonist, doesn't do much that hasn't been done before, and often better.

Apparently this has been a passion project of Norton's ever since the Jonathan Lethem novel it was based on was released in 1999. That's odd to learn since Norton has changed much of the book's plot, moving it from its then contemporary setting to the 1950's, and changing the central mystery to an investigation into the racist and corrupt development of modern New York City.

The movie is pure film noir. It opens with the murder of Norton's boss and friend (Bruce Willis), leads to a case with a mysterious woman at its center (Gugu Mbatha-Raw), and ends with the hero facing a villain (Alec Baldwin) and uncovering more than he ever planned to.

For the most part, Norton captures the era well. That the detective agency he works for also doubles as a car service means plenty of gorgeous 1950's automobiles are utilized throughout. It being set during the winter means lots of women in era-appropriate heavy coats, hats, and gloves. (He's a little anachronistic when it comes to background storefronts, and his use of the word "weed" when talking about marijuana, which, while certainly used at time, just doesn't sound right.)

At two-and-half hours long, Motherless Brooklyn drags terribly in the middle, which is frustrating, because with a little editing it could have been a tight throwback to both the classic noir of the 1950's, and the neo-noir of the 1970's and 80's. Noir fans willing to have their patience tried will likely find it worth their time. For the rest, it will be a case of so close, yet so far. Just like Norton and the Oscars.