Monthly Archives: January 2021

Reel Views, Review

Palmer

What does Justin Timberlake want? Not yet 40 years old, the pop icon has sold tens of millions of albums in his solo music career alone, resulting in ten Grammy Awards, and performed at two Super Bowl halftime shows, one of which gave birth to the dreadful phrase “wardrobe malfunction.” Though he’s dabbled in the movie industry throughout the years with films like The Social Network and the Trolls franchise, his latest project Palmer would suggest that he wants to be taken seriously as a dramatic leading man. Since a future Tony Award seems inevitable given his undeniable music talent, it makes sense that he would want to refine his acting chops to secure EGOT status but starring in hoary pablum like this latest offering from Apple TV+ won’t do his career or his Oscar aspirations any favors.

Timberlake stars as Eddie Palmer, a soft-spoken Southern gentleman who’s just been released from prison after a 12-year stint for attempted murder. He returns to the rural Louisiana home of his grandmother Vivian (June Squibb), who takes him in on the condition that he finds a job and joins her for church every Sunday. After finding out just how difficult it is for convicted felons to land even a minimum wage gig, he’s eventually hired as a janitor for the local elementary school, where he meets a charming young teacher named Maggie (Alisha Wainwright). One of her students Sam (Ryder Allen) is also taken in by Vivian after being abandoned by his delinquent mother Shelley (Juno Temple), which causes Palmer and Sam to strike up an unlikely friendship with one another.

Beyond Timberlake’s apparent desire to win respect within the acting community, it’s difficult to know what drew anyone to make Palmer. Director Fisher Stevens is best known for his work on socially-conscious, nature-based documentaries like the Oscar-winner The Cove and Before the Flood but his narrative instincts on display here are about as pedestrian as it gets. “Ex-con mentors troubled youth” isn’t exactly the most promising starting point but I was hoping that Stevens would be able to add some sort of depth or nuance as the story progressed. Not only does he refuse to have an original take on this tired material, he leans into nearly every cliche that we’ve come to associate with this overwrought brand of melodrama that’s barely above the level of a Hallmark movie.

The script by Cheryl Guerriero is packed with characters so one-dimensional that they more closely resemble a line-up from a geometry textbook rather than an assemblage of people who actually exist in the real world. It evokes a simplistic and stereotypical view of Southern culture that’s so obvious and unsophisticated that it’s borderline insulting. This is one of those movies that seems to have been created by pulling from a hat filled with the most trite scenes imaginable, from a pack of good ol’ boys drunkenly regaling each other with stories from their glory days to a tear-filled custody hearing where the judge demands order from the courtroom. I can’t readily recall a screenplay more complacent and safe than the one that Guerriero offers here.

In the midst of a streaming war that gets more competitive every year, Apple TV+ is still in the relatively early phases of developing their original content. Though they have yet to create a series that makes their service indispensable, they’ve moved the meter a bit with offerings like Servant and Ted Lasso. From the film side of things, their partnership with A24 yielded successes last year like On The Rocks and Boys State and promises more winners in the future. Beyond those, their movies have ranged greatly in terms of quality and style, which makes it difficult to tell what kind of brand they’re trying to establish. Regardless of what the future holds for the emerging streaming service, they’ll need to do better than utterly bland fare like Palmer to command the attention of couchbound audiences.

Score – 1.5/5

Also new to streaming this weekend:
Arriving on HBO Max is The Little Things, a crime thriller starring Denzel Washington and Rami Malek about a feud between a deputy and a detective during the investigation of a serial killer in 1980s California.
Debuting on Netflix is The Dig, a period drama starring Carey Mulligan and Ralph Fiennes about an archeologist who discovers and begins excavating the Sutton Hoo burial site in 1930s England.
Out for digital rental is Supernova, a romantic drama starring Colin Firth and Stanley Stucci about a pair of longtime partners who reunite with friends and family after one of them is diagnosed with early onset dementia.

Reprinted by permission of Whatzup

Reel Views, Review

The White Tiger

Based on the 2008 New York Times bestseller of the same name, The White Tiger tells the spirited story of Balram Halwai (Adarsh Gourav), a successful young businessman thriving in modern-day Bangalore. Narrating his own tale in voiceover, we flash back to Balram’s early life fighting to survive in an impoverished Indian village after losing his father to tuberculosis. After a fortuitous run-in with a wealthy landlord, the resourceful Balram becomes a full-time driver for the solicitous Ashok (Rajkummar Rao) and his free-spirited wife Pinky (Priyanka Chopra). The arrangement seems to be going well, until a night of recklessness forces Balram to reassess his relationship with his rich employers and the unequal society that keeps its most affluent citizens immune from consequences.

The film is written and directed by Ramin Bahrani, who made a splash in critics circles during the mid-2000s with acclaimed independent features like Man Push Cart and Chop Shop. While those two movies just barely broke the 80 minute mark, The White Tiger comes in at a much heftier 125 minute runtime and more often than not, its length can be felt. Though he has an accessible and exciting story in his hands, Bahrani seems slavishly devoted to each of the novel’s plot points and its dense themes involving social classism and globalization. The stylistic touches, like its evocation of the eye-rolling “you’re probably wondering how I got here” trope at the film’s opening, make the theatrics of Danny Boyle’s films seem like the stuff of genius by comparison.

Fortunately, Bahrani is adapting some sturdy material and Aravind Adiga’s novel gives the film plenty of hearty fodder to feed this robust rags-to-riches story. Its title, a reference to a rare and magnificent beast to which Balram is compared at a young age, is just one of the animal-based metaphors that is used to symbolize the perils of a seemingly impenetrable caste system. Balram explains India’s poor class as existing in a “rooster coop”, waiting at the market to get slaughtered one at a time, yearning for freedom while being unable or unwilling to escape from their daunting enclosure. But the tone of Balram’s narration doesn’t resemble that of a maudlin requiem for upward mobility; he often peppers in dark humor and irony to affably recontextualize his struggles and those of his people.

As the savvy protagonist, Adarsh Gourav lends a stirring mixture of down-and-out pathos and cheeky resilience to his compelling lead performance. Rajkummar Rao is equally winsome in his portrayal of a well-to-do tech mogul who takes Balram under his wing and gets closer to him than even he suspects. In a role that could have been one-dimensional and cloying, Priyanka Chopra conveys layers of conflict for a young woman torn between her roots in the United States and her charmed life in India. Each of the main three actors have an easy chemistry with one another, gratifying in times when affinity brings them together and heartbreaking in the moments when discord draws them apart.

With its story of a desperate driver looking to get in with a rich family, The White Tiger bears thematic resemblance with last year’s outstanding Best Picture winner Parasite but it lacks that film’s propulsive sense of narrative urgency. Since Bahrani gives us glimpses of both the film’s climax and ending within the first 10 minutes, there isn’t very much suspense built into how things play out. Even though this is more of a coming-of-age drama than a tongue-in-cheek thriller like Parasite, stakes still matter and I would have preferred to have been kept in suspense rather than waiting for the inevitable denouement. Netflix recently announced they’ll be releasing at least one new movie every week in 2021 and if The White Tiger is any indication, they’d do well to focus on quality over quantity.

Score – 3/5

Also new to streaming this weekend:
Available to rent digitally is No Man’s Land, a modern Western starring Frank Grillo and Andie MacDowell about a young man who flees to Mexico after accidentally killing an immigrant along the Mexico-Texas border.
Also available to rent digitally is Our Friend, a dramedy starring Jason Segel and Casey Affleck about a couple who finds unexpected support from their best friend after they receive life-changing news.
Debuting on Hulu is In & Of Itself, a filmed version of illusionist Derek DelGaudio’s Off-Broadway one-man stage show which explores themes of identity and illusion.

Reprinted by permission of Whatzup

Reel Views, Review

One Night In Miami

Based on the smash stage play by Kemp Powers, the enthralling new biopic One Night in Miami depicts a fictionalized meeting between four burgeoning icons in the mid-1960s. We meet the first of the four, Cassius Clay/Muhammad Ali (Eli Goree), in the ring during the opening scene as he whales on a fellow boxer in Wembley Stadium. This victory leads to a title match in Miami against then-champion Sonny Liston, where Ali shocked the world by becoming the youngest fighter at the time to win the heavyweight belt. To celebrate his win, Ali invites his friends Malcolm X (Kingsley Ben-Adir), Jim Brown (Aldis Hodge) and Sam Cooke (Leslie Odom Jr.) over to his hotel room to share drinks and reflect on their past successes along with their future challenges.

One Night in Miami is the directorial debut by Regina King, the Academy Award-winning actress who most recently headed up the acclaimed HBO series Watchmen. Behind the camera, King establishes herself as a true actor’s director, bringing out the very best in each of the four talented performers despite the majority of the film’s “action” taking place within the confines of a single room. Films based around plays, like the fellow Oscar contender Ma Rainey’s Black Bottom, typically face issues translating the limited settings of their source material to the screen but King proves that you don’t need to punch up the material to make it compelling. The way that she vividly catalogs the convictions and concerns between these four dominant male personalities is especially impressive for a first-time effort.

Adapting his play, screenwriter Kemp Powers (who also co-wrote Pixar’s Soul) considers the positions of each of the four legends at this point in history and how a hypothetical conversation between them might go. Their dialogue is vibrant and revealing, finding the quartet playfully ribbing at each other one moment and more sternly questioning one another the next. There are many topics covered during their all-night hangout but many of the exchanges center around each of the famous figures’ responsibility towards their race during the Civil Rights Movement. As to be expected, Malcolm X is the most confrontational towards each of his cohorts, pressing them explicitly on what they are doing in their respective crafts of music and sports to further progress for African-Americans.

With limited settings and dialogue as the primary driving force, the performances are critical for the film to operate and each of the actors brings something special to bring out the most in their real-life icons. Ben-Adir brings both the righteous anger and thoughtful introspection that we tend to associate with Malcolm X but also adds a dimension of childlike exuberance when he brings out his camera to capture the moment. Goree lends tremendous physicality and the obscene confidence that define Ali’s persona but he peels back the layers to reveal a young man who isn’t as sure-footed as he seems. Hodge is portraying who is arguably the least well-known of the four characters but feels right at home with an easy charisma and warmth.

Best of all is Odom Jr., who broke out when Hamilton hit Disney+ last summer and follows through with a deeply soulful and moving performance. As Cooke, he comes across as an easy target for Malcolm X’s repudiation but turns the tables in rope-a-dope fashion on the activist, whose life was cut short a year after the events of the film. We know that Odom Jr. is a talented singer but the way that he conjures the legendary singer’s tender timbre is magical, particularly in the film’s concluding moments. One Night in Miami is a stylish rumination on race and responsibility through the eyes of four larger-than-life figures whose human qualities are brilliantly presented.

Score – 4/5

Also new to stream this weekend:
Making a last-minute debut on HBO Max is Locked Down, a pandemic-set heist film starring Anne Hathaway and Chiwetel Ejiofor about a quarreling couple of diamond thieves who put aside their differences to pull off a lucrative new job.
Debuting on Netflix is Outside the Wire, a sci-fi action movie starring Anthony Mackie and Damson Idris about a drone pilot who is sent into a deadly militarized zone and must work with an android officer to locate a doomsday device.
Available to rent on demand is MLK/FBI, a documentary that explores the investigation and harassment of Martin Luther King Jr. by The Federal Bureau of Investigation through newly declassified documents.

Reprinted by permission of Whatzup

Column, Reel Views

My Top 10 Films of 2020

Well, we made it. Every single columnist summing up the past 12 months will note just how challenging it was for us collectively and individually but I still feel the need to acknowledge and echo the sentiment. Even though theaters were closed, the movies were still open for business and thankfully, there was no shortage of superb entertainment to consume at home. I watched just over 170 films that were released in 2020; here are my 10 favorites:

  1. Boys State (streaming exclusively on Apple TV+)
    Released in the middle of the most contentious election year in modern American history, this entrancing and supremely entertaining political documentary examines how we got here and embraces how we move forward together. No matter which side of the aisle you find yourself on, this look at Texas teens creating their own government from scratch will fascinate and surprise at every turn.
  2. Minari (coming to theaters February 12th)
    After releasing the magnificent The Farewell last year, A24 follows up with another thoughtful and tender portrait of the Asian-American experience. Featuring a jaw-droppingly gorgeous musical score from Emile Mosseri, this autobiographical story from writer/director Lee Isaac Chung recounts his family’s search for the American Dream in 1980s Arkansas. The entire cast is terrific but Steven Yeun’s performance as the idealist father should garner Best Actor support.
  3. American Utopia (streaming exclusively on HBO Max)
    Spike Lee released 2 great films in 2020 and while his Da 5 Bloods is likely to scoop up more awards, his filmed version of David Byrne’s Broadway concert is a joyous experience and proper companion to 1984’s Stop Making Sense. From both creative and technical perspectives, it’s an unbridled triumph of conviction, imagination and world-class wireless audio performance. The rousing rendition of Janelle Monáe’s “Hell You Talmbout” is a clear highlight.
  4. Nomadland (streaming on Hulu and coming to theaters February 19th)
    The recent winner of Best Film by Indiana Film Journalists Association –with many more awards likely to follow– Chloé Zhao’s meditation on transience and trauma is captivating in every sense of the word. Frances McDormand is expectedly outstanding as a wayfarer looking to find herself amongst America’s heartland. I hope to see this in a theater when it’s safe again, mostly to fully take in the breathtaking, golden hour vistas by cinematographer Joshua James Richards once more.
  5. Sound of Metal (streaming exclusively on Amazon Prime)
    This debut by director Darius Marder about a heavy metal drummer battling permanent hearing loss starts off rough around the edges but transitions into something more sensitive and soulful than what it appears to be at first. Riz Ahmed turns in his best work yet as the hearing-impaired protagonist and the sound design flawlessly immerses us into the changing inner world of the main character.
  6. Small Axe: Lovers Rock (streaming exclusively on Amazon Prime)
    Amid the towering achievement that is Small Axe, Steve McQueen’s 5-film anthology series, his depiction of two lovers who meet at a West London reggae house party is a high point. The partygoers spontaneously belting out Janet Kay’s “Silly Games” in unison is cinema’s defining music moment in 2020, a year that took away our ability to sing joyously and off-key with other people in public spaces.
  7. The Nest (available to rent digitally)
    Writer/director Sean Durkin emerges from a 9-year hiatus and delivers another excellent slow-burn of a not-quite horror movie. His agonizing depiction of an affluent family on the verge of financial tumult is dreadfully transfixing and brilliantly rendered. Carrie Coon and Jude Law both do career-best work as the feuding husband and wife dancing dangerously around a divorce.
  8. Palm Springs (streaming exclusively on Hulu)
    In a year where the concept of time became fuzzy and days blurred together, this hilarious Groundhog Day variant benefited from the unexpectedly apt context of world events. Andy Siara’s remarkably clever script and Max Barbakow’s assured first-time direction are in perfect harmony with one another. Andy Samberg and Cristin Milioti sport world-class chemistry and J. K. Simmons is a hoot in his supporting role.
  9. The Assistant (streaming on Hulu and available to rent digitally)
    It’s not exactly an easy watch but Kitty Green’s day-in-the-life tale of a young assistant at a film production company where dark secrets lurk is chillingly compelling and exceedingly well-observed. Ozark‘s Julia Garner is a revelation as the morally conflicted young professional at the story’s center. Aside from the scene that gives Never Rarely Sometimes Always its title, Garner’s visit to the HR director’s office may be 2020’s best stretch of film.
  10. Soul (streaming exclusively on Disney+)
    Pixar delivers yet another life-affirming masterpiece about the passions that drive us and the preciousness of every moment of life that lies before us. Director Pete Docter and the entire crew behind him craft an existential fantasy that bursts at the seams with beauty and humor. The heartfelt jazz compositions by Jon Batiste and heady musical score from Atticus Ross and Trent Reznor compliment each other exquisitely.

Reprinted (with a couple list variations due to current film availability) by permission of Whatzup

Podcast

Ep. #52 – Soul

I’m joined for the first time by my parents Julie and Keith Leuthold as we break down Soul, the latest animated marvel from Pixar that’s currently streaming on Disney+. Then we go over some belated holiday streaming options, including The Christmas Chronicles 1 and 2 (both available on Netflix) and The Kacey Musgraves Christmas Show (streaming on Amazon Prime). I also make a pitch for The Flight Attendant, the comedy-drama thriller series whose entire first season is up on HBO Max. Find us on Facebook, Twitter and Letterboxd.