Isabelle Huppert and Chloë Grace Moretz play a dangerous game of cat and mouse in Greta, a campy thriller with a pair of memorable performances that is critically compromised by a cliche-ridden screenplay. Cut from the same cloth as 90s stalker movies like Single White Female and The Hand That Rocks The Cradle, the film cycles through conventions of the sub-genre with relative ease but does so without making much of an impression on its own terms. Irish director Neil Jordan, probably still best known for his Oscar-winning The Crying Game, is able to generate some suspenseful scenes in the third act, even if it takes a little too long to get there.

Moretz stars as Frances, a young waitress living in New York with her street-smart friend Erica (Maika Monroe), who finds a deserted purse on the subway one evening after her shift. Wanting to do the right thing, she follows the address on the driver’s license inside and subsequently meets the titular character played by Huppert, a widowed piano teacher who seems plagued by loneliness. The two soon become close but after Frances finds evidence that suggests their initial meeting might not have been as serendipitous as it seemed, Greta becomes obsessed with preserving what she views as their mother-daughter relationship.

It’s vital for a movie like this to have a central character with whom we can empathize as she goes through an increasingly alarming scenario and thankfully, Greta undoubtedly excels in this area. Moretz does a fine job at imbuing Frances with grace and likability right off the bat, while Monroe also continues a nice string of work as a more cynical and savvy counterpart to the naive Frances. But as you may expect, it’s Huppert as the unassuming but deranged Greta who steals the show as she tiptoes and terrorizes her way through a story that isn’t quite deserving of her abundant talents.

The script, co-written by Jordan with Ray Wright, does not feel as fresh as it should for a film of this genre and creates moments that inspire dubious questions in the minds of audience members. For example, if one was alerted to being watched in a crowded public area, why would he or she leave that area to walk alone down a dark alley? Also, if a kidnapper restrained her captive in a bed, why would she place the bed post up against a wall so that visitors could hear the commotion from said bed post? It’s a shame that the plot folds under basic scrutiny from common sense questions like these because a little fine tuning could have eliminated these errors.

Aside from the reckless plotting and glaring issues with many of the decisions made by the characters, there are small delights from a technical aspect that piqued my interest at various points. I appreciated the way Javier Navarrete interpolated the familiar tune of Lizst’s “Liebestraum,” which is played by Greta during her first meeting with Frances, into his tense musical score. Jordan also captures a side of New York that feels more isolated and lonesome than the bustling metropolis we typically see on-screen. Unfortunately, touches like these are simply grace notes to a melody that feels all too familiar and make Greta a fluffy and forgettable thriller.

Score – 2.5/5

Coming to theaters this weekend:
Captain Marvel, starring Brie Larson and Samuel L. Jackson, is the latest Marvel movie about an Air Force pilot who gets caught in an intergalactic conflict between two alien worlds.
Arctic, starring Mads Mikkelsen, tells the harrowing story of a man stranded in the Arctic after an airplane crash who must decide whether to remain in his makeshift camp or to embark on a deadly trek through the unknown.
Opening at Cinema Center is Song Of Back And Neck, starring The Office’s Paul Lieberstein and Rosemarie DeWitt, in which a man with chronic muscle pain begins to find relief when new romance enters his life.

Reprinted by permission of Whatzup

Iconic Dutch painter Vincent Van Gogh has been the subject of several biopics over the years but none have captured his unique artistry more vividly than the excellent new film At Eternity’s Gate. The Diving Bell and the Butterfly director Julian Schnabel has rendered a portrait of the troubled visionary that is appropriately impressionistic and experimental in ways that Van Gogh himself may well have appreciated. Filled with vibrant landscapes and illuminating dialogue, this is a film that constantly searches for beauty and purity as it investigates the final years of a man who took a similar approach to crafting his own masterworks.

Willem Dafoe lends a committed and impassioned performance as the tormented artist, to whom we’re introduced in 1880s Paris where his impact in the local art community is almost nonexistent. On the suggestion of his pontifical peer Paul Gauguin (Oscar Isaac), Van Gogh relocates to the rural town of Arles in the south of France, thanks to the financial support of his benevolent brother Theo (Rupert Friend). There, Vincent rediscovers the natural landscape and is inspired to create some of his most remarkable paintings but the insurmountable loneliness inevitably takes its toll as his inner demons threaten to get the best of him.

The most bold artistic choices from At Eternity’s Gate come courtesy of cinematographer Benoît Delhomme, who uses unconventional angles and point-of-view shots to share Van Gogh’s perspective with the audience. This unorthodox style may frustrate those looking for a more standard biopic but for me, the use of subjective camera to get inside the headspace of Van Gogh was both engrossing and enlightening. For example, a trip to an art museum, during which Van Gogh confesses in voiceover his reverence for his contemporaries as he gazes upon their works, is shot exclusively from low angles to illustrate how daunted he feels by his peers.

Schnabel, who is credited as a co-writer for the screenplay, also uses thoughtful dialogue to uncover aspects of Van Gogh’s psyche that seem applicable to artists working in any medium. Vincent conveys his compulsion to create to one of his subjects when he remarks “the faster I paint, the better I feel” and while not everyone who makes art does so with as much fervor as Van Gogh, the impulse nonetheless feels universal. In a conversation with a priest played by Mads Mikkelsen, he laments that he feels like a man out of time by suggesting “maybe God made me a painter for people who aren’t here yet.”

Portraying such a towering figure in the art history is an unenviable task and despite the age difference between Dafoe and the real-life subject, he crafts a performance that is effortlessly engaging from start to finish. Even though the actor’s portrayals of rage on-screen would seem compatible for an artist prone to fits of madness, Dafoe does an excellent job of sublimating outward anger into a more nuanced form of melancholy that unquestionably inspires empathy from the audience. At Eternity’s Gate is sensitive and exquisite depiction of a troubled master that is made both by artists and for artists.

Score – 4/5

Also coming to theaters this weekend:
A Madea Family Funeral, starring Tyler Perry and Cassi Davis, is the 11th and reportedly final entry in the popular Madea film series about a Georgia funeral that erupts into chaos as family secrets come to light.
Greta, starring Isabelle Huppert and Chloë Grace Moretz, tells the story of a young woman who becomes intertwined with an eccentric French piano teacher after a chance encounter.
Opening for a limited IMAX engagement is Apollo 11, the documentary that scored rave reviews at Sundance last month which documents the 1969 space mission that landed man on the moon.

Reprinted by permission of Whatzup

Screening this weekend only at Cinema Center, the new drama Palace is the remarkable feature debut from Taylor University graduate Andrew Paul Davis about the strength of communal bonds among turbulent times. Shot entirely in Indiana (Grant County, specifically) with a $10,000 budget, the film has a clean and professional look that maintains a grounded aesthetic while also finding the unexpected beauty in its surroundings. With a tapestry of richly realized characters, Davis creates an authentic and vivid portrait of Hoosier life that is rarely seen clearly in either independent or mainstream cinema.

The narrative circulates around numerous locals with whom we spend varying amounts of time but the story predominantly centers around three central figures. We first meet Chris (Todd Bruno), an aimless auto mechanic trying to overcome the hang-ups of everyday life by creating a political movement within his community. Then we spend time with Chuck (Joe Martyn Ricke), a lonely retiree who drowns the sorrow of insurmountable medical bills with nightly beer pitchers at his local bar. We’re also introduced to Alexa (Emily Sweet), a music education major at a local college who has trouble finding an audience for her up-and-coming hip-hop trio.

What I appreciated most about Palace is the way that Davis uses his ensemble cast to place characters in settings where we may only see them once but the possibility of seeing them again is always in play. For instance, we first meet a character who is rude to Chris at his job but when that same character is the only person to attend Chris’ political meeting, their relationship is completely recontextualized. Much like the work of Terrence Malick, Davis lets the trajectory of the story ebb and flow with the feelings and mood of the characters, which can take things into territory that is darker at times and more light-hearted in others.

The screenplay, also written by Davis, investigates the ways that all of these characters with differing backgrounds and circumstances are trying, often desperately, to form connections with one another. Whether it’s Chris posting videos online trying to convey his political affiliations or Chuck sitting down with a table of strangers in a bar to start conversation, there is an inescapable loneliness that permeates most of the film. Amid this heartbreak, however, there are notes of humor that balance the tone, as can be found in the back-and-forth banter between Chris and his co-worker as they shoot a game of HORSE during sunset.

The use of music, both diegetic and non-diegetic, is varied in terms of the genres that it invokes but this mixture allows for different insights into whichever character is in focus at the moment. Though their musical performance styles couldn’t be more different, both Chuck and Alexa have found comfort in expressing themselves through their music and their passion gives the film an extra layer of soulfulness. With plenty of heart and compassion at its core, Palace is a bittersweet love letter to rural Indiana from a promising young filmmaker who will no doubt have a prolific career ahead of him.

Score – 4/5

Also coming to theaters this weekend:
Alita: Battle Angel, starring Rosa Salazar and Christoph Waltz, is the latest special effects spectacle from Spy Kids director Robert Rodriguez about a scientist who brings a human cyborg hybrid to life.
Isn’t It Romantic, starring Rebel Wilson and Liam Hemsworth, follows a young woman who is hit in the head and wakes up in a world that mimics the tropes of a PG-13 rated romantic comedy.
Happy Death Day 2U, starring Jessica Rothe and Israel Broussard, revisits the Groundhog Day-esque slasher in which a young girl keeps reliving the same day repeatedly after being killed by a masked assailant.

Reprinted by permission of Whatzup

When The Lego Movie was released in 2014, it was an overwhelming success with both audiences and critics which used the popular toy line as a jumping off point to tell an amusing and visually inventive story. 5 years and 2 spin-offs later, a direct sequel is now upon us but unfortunately, The Lego Movie 2: The Second Part does not recapture the lightning-in-a-bottle success of its predecessor. Despite investigating childlike concepts of creativity and playtime, the first film felt relatively mature in its ideas and execution. While there’s nothing inherently wrong with the sequel’s attempt to cater more to younger audiences, it’s a creative decision that undoubtedly weakens the film’s comedic thrust.

Set 5 years after our hero Emmet Brickowski (Chris Pratt) saves Bricksburg from the evil Lord Business (Will Ferrell), the Duplo invaders have since turned their idyllic city into a post-apocalyptic wasteland renamed Apocalypseburg. A new alien threat emerges as General Sweet Mayhem (Stephanie Beatriz) kidnaps Emmet’s girlfriend Lucy (Elizabeth Banks) along with other citizens of their town and takes them far away to the Systar System. After Emmet crosses paths with intergalactic hero Rex Dangervest (also voiced by Pratt) and his crew of talking velociraptors, they launch a rescue mission to recover their friends from the shape-shifting Queen Watevra Wa-Nabi (Tiffany Haddish).

The Lego Movie‘s directing duo of Phil Lord and Christopher Miller have returned to write this follow-up but in the director’s chair this time around is Mike Mitchell, who helmed the Dreamworks hit Trolls a few years back. This change might seem inconsequential but the impact is evident, as the overbearingly bright color palette and more juvenile tone of that film seems to be on full display for The Lego Movie 2. The story is generally one-dimensional until the third act, during which its message about altruism amid trying circumstances is laid on so thick that I felt like I was getting sprayed with a pathos fire hose.

With their work on the Cloudy with a Chance of Meatballs and Jump Street films, Lord and Miller have established their own brand of meta humor that pokes fun at the tropes of their respective franchises. They use the same approach with the screenplay this time around, as when Rex Dangervest unveils his heroic tools like the CPD (Convenient Plot Device) and the Implausitron. While they do occasionally land some nice one-liners in the process, the jokes on a whole just don’t seem as fresh as in Lord and Miller’s previous work. Perhaps I’ve grown a bit weary of self-aware humor as of late but it’s also possible that the writing duo just didn’t put quite as much effort in this time around.

The film also relies more heavily on pop music and musical numbers to keep the energy high but nothing quite matches the infectious exuberance of The Lego Movie‘s “Everything Is Awesome.” There is an attempt to recreate the first film’s earworm in the appropriately titled “Catchy Song” but its claim that “this song is gonna get stuck inside your head” feels like more a threat than an invitation. Beck and the comedy trio The Lonely Island fare better on an end credits song that may be the film’s peak in terms of comedic innovation. Sadly, it’s a reminder of the lost opportunities that precede it which make The Lego Movie 2: The Second Part a mild disappointment.

Score – 2.5/5

Also coming to theaters this weekend:
Cold Pursuit, starring Liam Neeson and Laura Dern, tells the tale of a vengeful snowplow driver up against a drug cartel after his son is murdered in their Rocky Mountains hometown.
The Prodigy, starring Taylor Schilling and Jackson Robert Scott, centers around a mother who begins to suspect that her brilliant young son may be possessed by supernatural forces.
What Men Want, starring Taraji P. Henson and Tracy Morgan, is a gender-swapped remake of the Mel Gibson film What Women Want that follows a woman who is able to hear men’s inner thoughts.

Reprinted by permission of Whatzup

Moonlight director Barry Jenkins brings magic to the screen once again with If Beale Street Could Talk, a spellbinding and sensuous portrait of young love flourishing amid tragic circumstances. With disarming close-ups and a warm, autumnal color palette, Jenkins creates a world that’s both inviting and illuminating while fully acknowledging and exploring the darker corners that reside within it. Every sensation experienced by the characters — from longing to sorrow to jubilation — is poetically rendered by Jenkins to tell an entrancing story that feels deeply human and lastingly resonant.

Based on James Baldwin’s 1974 novel, Beale Street is primarily a love story centered around 19-year-old Tish (Kiki Layne) and her older boyfriend Fonny (Stephan James), who started as childhood friends but became closer as time progressed. We soon discover that the young and un-wed Tish is pregnant with Fonny’s child, much to the delight of her mother Sharon (Regina King) and father Joseph (Colman Domingo) but to the chagrin of Fonny’s mother (Aunjanue Ellis). As the narrative continues, we learn that Fonny has been wrongfully incarcerated and we track Tish’s journey to prove his innocence before their child is brought into the world.

Jenkins utilizes his world cinema influences to weave a tale of injustice and intimacy with a loose chronological perspective; he tends to linger around what he finds alluring within a certain time and place. Striking sequences, like one in which Tish outlines the way different customers approach sampling a new perfume scent, give an evocative sense of context and setting without strictly adhering to the main storyline. There are certain characters, such as the ones played by Brian Tyree Henry and Dave Franco, whose time on-screen is short but their emotional impact lingers throughout the film.

Faithfully adapting both prose and tone from Baldwin’s book, Jenkins fills his script with moments in which characters quietly assert their dignity during the peak of their own personal struggles. During an early scene in which a trepidatious Tish is breaking the pregnancy news to her family, her sister Ernestine comes to her support by saying “unbow your head, sister” and every opportunity for empowerment is beautifully realized. The inverse of this are the lines that remind us of the heartbreaking strife at the core of the story, as Tish narrates “I hope that nobody has ever had to look at anybody they love through glass.”

Collaborating again with Jenkins for the film’s music is Oscar-nominated composer Nicholas Britell, whose achingly beautiful score is so potent that just hearing the first thirty seconds of it had me on the verge of tears. Also returning with Jenkins from Moonlight is Oscar-nominated cinematographer James Laxton, who often uses close-ups of actors looking directly in the lens to engage with the audience and draw us further into the story. The sum of these artistic contributions makes If Beale Street Could Talk an utterly engrossing mood piece that sways to its own rhythm and invites us to join along with it.

Score – 4/5

Coming to theaters this weekend:
Glass, starring Samuel L. Jackson and Bruce Willis, is the latest from M. Night Shyamalan that brings together characters from Unbreakable and Split to tell a new kind of superhero story.
Destroyer, starring Nicole Kidman and Sebastian Stan, follow an LAPD detective who revisits an undercover case from years ago to solve a gang-related murder in the present.
Also playing at Cinema Center is Roma, the acclaimed film by Alfonso Cuarón that has already won multiple awards this month (including 2 Golden Globes) and will likely be up for several Oscar nominations next month.

Reprinted by permission of Whatzup

Greek director Yorgos Lanthimos turns the costume drama genre on its head with The Favourite, a wickedly hilarious and delightfully idiosyncratic vision of royal life in early 18th century England. With lavish costume design and exquisite set design, the film excels in areas typical of period pieces but it goes beyond that by pairing those aspects with a thoroughly engaging and entertaining story. Lanthimos has channeled his mordant perspective on human behavior into a bracingly original tragicomedy which proves that not every movie with corsets has to be restrained by the trappings of its respective genre.

Olivia Colman gives a brilliant performance as the depressed and erratic Queen Anne, who has effectively relinquished most of her governing ability to her advisor and confidant Sarah Churchill (Rachel Weisz). Though the relationship between the two is strong, Sarah’s efforts to control the Queen are periodically disrupted by haughty Parliament member Robert Harley (Nicholas Hoult). Upon the arrival of her cousin Abigail Hill (Emma Stone), Sarah’s political influence is undermined further as Abigail insinuates herself into the Queen’s daily life. Soon enough, a war of attrition develops between the two cousins as they vie for permanent power.

This marks the first time Lanthimos has worked with a script which he didn’t have a hand in writing himself but fortunately, his darkly comic sensibilities seem to be in lock-step with those of screenwriters Deborah Davis and Tony McNamara. Loaded with biting wit and profane exchanges that will keep audience’s ears perked up, the screenplay also does a superb job at developing these three female characters in such a way that we can sympathize with them one minute and loathe them the next. Perhaps the film’s defining line is a self-aware and droll observation from Abigail: “as it turns out, I’m capable of much unpleasantness.”

Another audacious aspect of The Favourite is how many stylistic chances are taken from a visual standpoint. The camerawork by Robbie Ryan is boldly unconventional in its frequent use of low (extremely low, in some cases) angles and fish-eye lenses to throw the audience’s equilibrium off balance. He also adapts to the challenges of shooting in low light settings brilliantly — comparisons to Kubrick’s Barry Lyndon are both inevitable and deserved. The costume work from Oscar-winning designer Sandy Powell embraces all of the film’s eccentricities while also staying true to the film’s sense of time and place.

Bringing the entire production together are three outstanding performances calibrated perfectly with one another. Colman modulates layers of sadness for both comedic and dramatic effect while Weisz brings a calculating brilliance to Sarah as she weighs cruelty against compassion in nearly every conversation she has. Stone utilizes her deadpan and self-effacing abilities to masterful effect and also carries through a believable transformation in her character. The Favourite is a bold and distinctive work from a director at the pinnacle of his powers and perhaps it’s not a surprise that it’s my favorite film of the year.

Score – 5/5

Coming to theaters this weekend:
Escape Room, starring Taylor Russell and Deborah Ann Woll, pits six teenagers against a trendy new escape room that they soon discover has deadly traps at every turn.
If Beale Street Could Talk, starring Stephan James and KiKi Layne, is the latest from Moonlight director Barry Jenkins about a young African-American woman looking to clear her husband’s name after he’s falsely convicted of a crime.
On the Basis of Sex, starring Felicity Jones and Armie Hammer, tells the life story of Supreme Court Justice Ruth Bader Ginsburg starting with a gender discrimination case that would pave the way for the rest of her career.

Reprinted by permission of Whatzup