TOLKIEN (2019) – Unimaginative Look At Imaginative Author Tolkien

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For a bio pic about imaginative author J.R.R. Tolkien, TOLKIEN (2019) isn’t all that imaginative.

In fact, it’s slow moving and often dull, but it sure looks good!

Director Dome Karukoski, who hails from Finland, has made a handsome elegant production that hearkens back to the Merchant-Ivory classics of yesteryear, at least in appearance anyway. It’s well-acted by its principal leads, but its script lacks the necessary emotion and imagination to carry its audience through to the end. In short, its 112 minute running time seemed much longer.

TOLKIEN tells the story of author J.R.R. Tolkien, known of course for the epic fantasy novels The Hobbit and The Lord of the Rings, and it does this by focusing on three phases of his life: his childhood, his time at school where he developed close friendships with a small group of students, and on the battlefields of World War I. While the film intercuts between all three of these periods, the bulk of the movie is spent on Tolkien’s time at school.

It’s at school where Tolkien (Nicholas Hoult) meets his three closest friends, Robert Gilson (Patrick Gibson), Geoffrey Smith (Anthony Boyle), and Christopher Wiseman (Tom Glynn-Carney). The group becomes friends as youths where they declare they will change the world through art, and they stay together as they move on to Oxford where they continue to develop their “fellowship,” a word and feeling that will linger in Tolkien’s mind and heart long after he has finished school.

At home, Tolkien becomes friends with Edith Bratt (Lily Collins) who plays piano for their adoptive benefactor. The two become very close and eventually fall in love.

With the start of World War I, Tolkien finds himself on the battlefield, a brutal and unforgiving place that changes his life forever.

I guess.

That’s the thing about TOLKIEN. Its story never really resonates. Part of it is it’s not that captivating a story in the first place. Sure, Tolkien suffered on the battlefields of World War I, and friends were lost, but it wasn’t for these reasons alone that he wrote The Lord of the Rings.

The film hints that this is the case but never really hammers the point home. I mean, there are times on the battlefield where Tolkien hallucinates about dragons and other mythical creatures, but these images are shown fleetingly, and the connections to his later literary work are only implied.

I had a funny reaction watching TOLKIEN. I liked the main characters and enjoyed watching them, but the conversations and situations were so subtle, lifeless, and dull, that in spite of this I was rather bored throughout. It was akin to spending time with people you like but man, was the conversation flat.

Which is ironic since Tolkien was all about words, and here, the screenplay by David Gleeson and Stephen Beresford is superficial at best. It tells its story but without energy, imagination, or inspiration. And as I said, it’s also not much of a story. Tolkien was an orphan, yes, but the film paints a picture of a decent childhood, and he and his friends at school enjoyed quality times together. There didn’t seem to be much adversity.

The World War I scenes make their point regarding the brutality of trench warfare, but it’s all rather sanitized and doesn’t provide the necessary impact to show that such horrific warfare scarred or shaped Tolkien in any major way.

The love story between Tolkien and Edith Bratt is a good one, but again, there wasn’t a lot of adversity to overcome.

I did enjoy the acting, though. A lot.

Nicholas Hoult, who’s been playing Beast in the recent X-MEN reboots, and he’s been doing an excellent job in the role, is superb in the lead here as J.R.R. Tolkien. In spite of the script limitations, he captures Tolkien’s love of words and the arts, and he makes the author a likable person. He embodies Tolkien’s love of learning and quirky intellect, and at times Holt channels a Benedict Cumberbatch vibe with this performance.

Hoult’s performance was one of my favorite parts of the movie. Hoult was also memorable in last year’s THE FAVOURITE (2018).

Lily Collins was also excellent as Edith Bratt. In fact, Collins, who’s the daughter of singer Phil Collins, was probably my favorite part of TOLKIEN. In the film, Edith Bratt is portrayed as probably the person who influenced Tolkien the most. She’s a strong and articulate presence, and Collins does an outstanding job bringing these qualities to life and also being adorable as well. It’s easy to see by Collins’ performance why Tolkien fell in love with her.

For a movie that was strangely devoid of emotion, Edith Bratt was one of the few characters whose scenes were frequently moving, and Lily Collins’ performance was directly responsible.

Strong emotions were few and far between in TOLKIEN. One of the more powerful scenes in the movie comes near the end, when Tolkien sits down with the mother of one of his slain friends, and she admits she never really knew her son. The way Tolkien explains her son to her is one of the more emotionally charged sequences in the movie.

It was fun to see Colm Meaney in the movie in a key supporting role as Father Francis, a priest who Tolkien’s mother left in charge of her sons’ welfare. Meaney of course played Chief Miles O’Brien on both STAR TREK: THE NEXT GENERATION (1987-1994) and STAR TREK: DEEP SPACE NINE (1993-1999).

And Derek Jacobi shows up briefly as language Professor Wright.

There also just wasn’t a whole lot of connections between Tolkien’s life story as told here in this movie and his novels The Hobbit and The Lord of the Rings. Sure, things are hinted at, and connections are made peripherally, but you have to connect the dots, which isn’t a bad thing, but what is bad is there simply aren’t a lot of dots to connect.

I enjoyed TOLKIEN well enough because I liked the performances and the look of the film, but for a story about J.R.R. Tolkien, it was all rather lackluster and subdued, and not at all an imaginative take on its very imaginative subject.

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THE BEST OF ENEMIES (2019) – Racial Drama Has the Best Intentions

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THE BEST OF ENEMIES (2019) has its heart in the right place.

Its tale, based on the true story of civil rights activist Ann Atwater taking on KKK leader C.P. Ellis in Durham, North Carolina in 1971 over the issue of school integration, in which Atwater succeeded in converting Ellis to shed his KKK beliefs and see things her way, is a good one.

And its message of bringing two opposing sides together to hear each other out and learn from each other is an important one for the times in which we now live. For this reason alone, it’s worth a look, even if it’s not successful in everything it sets out to do.

It’s 1971, and Durham, NC is dealing with racism. The black community struggles to have a voice, as local officials are heavily tied to the KKK, who continue to promote racist attitudes and policies. When the issue of school integration arises, the Durham legislature calls in Bill Riddick (Babou Ceesay) to mediate the two sides, and when he calls for Ann Atwater (Taraji P. Henson) and C.P. Ellis (Sam Rockwell) to be co-chairs, it’s seen as a crazy move. Neither leader is interested, and Ellis can’t understand why he’s even being asked, but the local officials encourage him to take part, because they fear if he’s not there, then his spot will be filled with liberal voice, so he might as well be there to stop school integration from happening.

As the process continues, and Ann and C.P. eventually engage in a dialogue, each begins to see things from the other’s perspectives, and eventually C.P. changes his mind about the way he views black people.

This story might seem too farfetched if it were not based on a true story.

THE BEST OF ENEMIES has the best intentions. It shows both sides almost to a fault. I was uncomfortable watching parts of this movie which spent much time on a KKK leader, often showing how much the Klan meant to this man. The idea of anything positive associated with the KKK I find repulsive, yet this film gets into how it made a positive impact on C.P. Ellis’ life. Of course, C.P. eventually experiences a conversion, which wouldn’t have happened if he hadn’t had the opportunity to listen to the other side, which is the point—- and it’s a valuable one— that this film is making. For divisions to be overcome, both sides need to come to the table and need to be able to listen to each other.

Sam Rockwell does a fine job as C.P. Ellis, although I enjoyed his performance as George W. Bush in VICE (2018) more. Here, Rockwell plays Ellis as a man who was drawn to the Klan for a sense of belonging. He needed a place to fit in, and it didn’t hurt that he shared their same views of white purity and supremacy. As he listens to Ann Atwater, he is struck by some of the true things she says, like when she points out that he’s as poor as the black folks in town and economically speaking he has more in common with them than with the white lawmakers. And later when she helps his son who has Down’s syndrome, it strikes a chord deep within him.

Rockwell successfully captures this conversion, spending a lot of time looking confused and introspective, and as his eyes become open to the other side, he brings the audience in with him and allows them to know just what it is he his thinking and feeling.

Working against Rockwell here is he played a similar role in THREE BILLBOARDS OUTSIDE EBBING, MISSOURI (2017). In THREE BILLBOARDS, Rockwell played a racist cop who also undergoes a type of conversion, although not as clear-cut as the one C.P. Ellis experiences. Of course, Rockwell won the Academy Award for Best Supporting Actor for his work in THREE BILLBOARDS, which is a better movie than THE BEST OF ENEMIES since it had a livelier script and did a better job covering its controversial issues with nuance and gray areas, whereas THE BEST OF ENEMIES plays as more conventional straight-forward drama.

So, as I watched Rockwell here in THE BEST OF ENEMIES, I was reminded often of his work in THREE BILLBOARDS.

Taraji P. Henson is excellent as Ann Atwater, and for my money she gives the best performance in the film. She loses herself in this character, and having seen Henson in other movies, like HIDDEN FIGURES (2016), watching her here in THE BEST OF ENEMIES I often forgot I was watching her and instead believed I was watching the real Ann Atwater.

Unfortunately, as the film goes on, Atwater plays second fiddle to C.P. Ellis, as he gets more screen time than she does. I get the reason, since he’s the character who undergoes the conversion, but it’s a decision that’s not completely successful. For one, it keeps Henson off-screen, which is not a good thing, and two, it presents yet another story where the white guy is responsible for saving the blacks. That being said, the story told here remains a worthwhile one, but it’s a pattern in movies which is noticeable, and it’s not refreshing, and so it works against the movie.

Babou Ceesay is agreeable as mediator Bill Riddick, and Anne Heche, who I haven’t seen in a movie in ages, plays C.P.’s wife Mary, and she’s very good.

John Gallagher Jr., an actor who has impressed me in a variety of roles in such films as 10 CLOVERFIELD LANE (2016) and THE BELKO EXPERIMENT (2016), has a small but important role here as Lee Trombley, a hardware store owner who is sympathetic to black people, and who represents one of the swing votes at the table.

Writer/director Robin Bissell lets the story of C.P. Ellis’ conversion speak for itself. The production, pace, and tone of the film are all rather subdued. There are very few radical moments, places where the film has an edge and makes its audience uncomfortable. We barely see the true ugliness of racism.

The emphasis here is on seeing C.P. Ellis as a real person, and understanding his background and motivation. He is portrayed as a sympathetic character, which for me, for most of this film, was in itself disturbing. Why am I watching a positive interpretation of a KKK leader? And of course, the answer is so we can understand how and why he changes.

The sanitization of the issues does not work to the film’s advantage, however, and at times, especially towards the end, the film lacks oomph when it should have been pulling at its audience’s heartstrings with its story of racial division and conversion.

THE BEST OF ENEMIES means well and ultimately has a positive message and rewarding story to tell, and that is, if people from opposite view points sit down at the same table and listen to each other, good things happen.

It’s a message that needs to be heard, and THE BEST OF ENEMIES at the very least has no problem sharing it.

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THE HIGHWAYMEN (2019) – Costner/Harrelson Pairing Low Key and Lackluster

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The pairing of Kevin Costner with Woody Harrelson immediately piqued my interest and had me tuning into the premiere of THE HIGHWAYMEN (2019), Netflix’ latest original streaming movie release.

Costner and Harrelson play Texas Rangers who are called out of retirement to hunt down Bonnie and Clyde in this period piece drama based on a true story.

It’s 1934, and Texas governor Ma Ferguson (Kathy Bates) is fed up with the elusive Bonnie and Clyde. She accepts the advice of prison warden Lee Simmons (John Carroll Lynch) to hire former Texas Ranger Frank Hamer (Kevin Costner) to  do what the current slew of FBI agents are unable to do: track down and kill Bonnie and Clyde. Hamer agrees to take the job, and helping him is his former associate Maney Gault (Woody Harrelson).

To do the job, Hamer and Gault have to dust off the cobwebs of retirement and deal with being a lot older, but once they feel they are up to speed, they’re hot on the trail of the infamous outlaws.

I was really into seeing THE HIGHWAYMEN because of the pairing of Kevin Costner and Woody Harrelson, but surprisingly the two actors share little chemistry onscreen together.

Costner is very low-key as Frank Hamer, and as such, he just never really came to life for me. I never quite believed he was the infamous Texas Ranger who had killed so many people in the line of duty.

Woody Harrelson fares better as Maney Gault, and Harrelson’s scenes and lines of dialogue were among my favorite in the movie. But his character plays second fiddle to Costner’s and the story never really becomes about him.

And Kathy Bates, John Carroll Lynch, and Kim Dickens all have limited impact with very small roles.

There’s also not a whole lot that’s cinematic about this one. It plays like a mediocre TV movie of old, and watching it at home on Netflix only added to this substandard feel. Director John Lee Hancock even keeps the R-rated violence somehow tame.

Hancock’s previous film THE FOUNDER (2016), a bio pic on McDonald’s controversial “founder” Ray Kroc, which starred Michael Keaton in the lead role, was a much better movie than THE HIGHWAYMEN. In THE FOUNDER, Hancock pushed all the right buttons, including capturing the look and feel of the 1950s. Here in THE HIGHWAYMEN his take on the 1930s is less impressive.

Hancock also directed the critically acclaimed THE BLIND SIDE (2009).

The screenplay by John Fusco focuses completely on Hamer and Gault and strangely spends hardly no time at all on Bonnie and Clyde. In fact, the infamous pair are barely even seen here. It’s a decision that doesn’t really help the story, because even though Hamer and Gault continually talk about how monstrous Bonnie and Clyde are, and even though we see the pair commit murder, because so little time is spent on them we never really feel their menace.

As a result, Hamer’s and Gault’s quest is largely one-sided. It’s hard to join them in their passion when we never see the object of their manhunt.

The dialogue was average, with most of the good lines all going to Woody Harrelson.

I also was looking forward to watching these two characters deal with their advanced years as they hunted down the younger Bonnie and Clyde, but the script doesn’t play up this angle very effectively either.

All in all, I found THE HIGHWAYMEN to be lethargic and lackluster. It never really ignited any sparks, and the two leads surprisingly never really connected.

At the end of the day, THE HIGHWAYMEN was more roadblock than highway.

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HOTEL MUMBAI (2019) – Brutal Re-Telling of Mumbai Terrorist Attack

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In 2008, terrorists stormed the famed Taj Hotel in Mumbai, India, killing and wounding hundreds of people. With only a miniscule police force outside the hotel, and special forces units hours away, it fell upon the hotel staff to protect the hotel’s guests. HOTEL MUMBAI (2019) tells their story.

Unfortunately, it also tells the story of the actual terrorists, as the film attempts to point out that the terrorists were young men who were obviously duped by their unseen leader to carry out these vicious attacks. This part of the movie, although minor, doesn’t work as well as the rest.

The best part of HOTEL MUMBAI is the stories it tells of the victims hiding inside the hotel.

Arjun (Dev Patel) is married, has a young son, and his wife is pregnant with their next child. He works at the hotel, and money is tight, and so he desperately needs this job. When he forgets his shoes, he’s scolded by the head chef Oberoi (Anupam Kher) and told to go home, but he begs to stay, and Oberoi relents and offers him a spare pair of shoes in his office.

David (Armie Hammer) and Zahra (Nazanin Boniadi) are a multicultural couple. He’s American and she’s Indian. They’re at the hotel with their baby and baby’s nanny Sally (Tilda Cobham-Hervey).

Once the terrorists storm the hotel, head chef Oberoi is the one who pretty much organizes the resistance, helping to move as many guests as possible into the most secure area of the hotel.

As the terrorists move freely about the building, with special forces hours away, the story becomes more harrowing as the guests gradually begin to run out of options. There are only so many places they can hide, and the gunmen, armed with assault rifles and grenades, continue their onslaught with frightening persistence.

The scenes of death and carnage in HOTEL MUMBAI are brutal and difficult to watch. Some have suggested that these scenes border on the exploitative. I wouldn’t go that far, but I will say that watching the gunmen march boldly through the hotel killing innocent people indiscriminately, taking their time about it because law enforcement was nowhere in sight, was wince inducing. But it also bolsters the story. The film makes clear the awful fate that awaits the guests if they’re spotted by the terrorists.

HOTEL MUMBAI works best when following the plight of the survivors, the frightened guests, and the brave hotel staff who did their best to protect them. Writer/director Anthony Maras and screenwriter John Collee flesh out the characters in a relatively brief time. I really cared for all of these folks, which made the movie that more effective.

And the cast also helps. Oscar nominee Dev Patel comes closest to playing a lead character, as the main story is framed around Arjun. Patel, who was nominated for a Best Supporting Actor Oscar for LION (2016), and who also starred in SLUMDOG MILLIONAIRE (2008) and CHAPPIE (2015), is as expected excellent here. Arjun is both a sympathetic and very brave character, putting his life on the line for the hotel guests.

Armie Hammer, who we just saw in ON THE BASIS OF SEX (2018) where he played Ruth Bader Ginsburg’s husband Martin, is very good here as David. The scenes where he makes his way back up to his room to rescue his baby and Sally are extremely compelling.

Nazanin Boniadi is equally as good as David’s wife Zahra. She too has to brave the bloody corridors of the hotel to find her family. And Tilda Cobham-Hervey, who spends most of the movie protecting Zahra’s and David’s baby is excellent as the terrified Sally.

I also enjoyed Jason Isaacs, who recently played Captain Gabriel Lorca on STAR TREK: DISCOVERY (2017-18), and who also starred in the impressive horror movie A CURE FOR WELLNESS (2016). Here he plays a Russian operative named Vasili who’s a guest at the hotel and befriends Zahra once the terrorists attack. Not only does he get some of the best lines in the film, but he’s the only character in the movie inside the hotel with any kind of military experience.

My favorite performance in the film however probably belongs to Anupam Kher as head chef Oberoi. He makes Oberoi the ultimate professional, and when he’s tasked with protecting the guests, he accepts the challenge and does what he can. What I particularly liked about this character and Kher’s performance is that he doesn’t suddenly become an action hero. He’s a chef, and what he can do to help these people is limited. The help he can offer is based on his knowledge of the hotel, knowing where the safest place is to keep the guests, and also his cool demeanor as head chef serves him well in keeping the people calm.

Kher was also memorable in SILVER LININGS PLAYBOOK (2012) and THE BIG SICK (2016). He’s a character actor who makes his mark every time I see him in a movie, even if he’s playing a relatively small role.

As I said, HOTEL MUMBAI also portrays the terrorists as young men pretty much brainwashed by their unseen leader who speaks to them on the phone and coldly encourages them to kill as many people as possible, all in the name of Allah. While the film should be commended for taking this approach— it’s always a good idea to present as many sides to a story as possible— it didn’t really win me over. Watching them brutally murder people, I didn’t really want to know anything about them, nor did I feel sympathy for them. In fact, I probably would have enjoyed the movie more had it not featured any background on these killers at all. Intellectually, I understood the approach, but emotionally I rebelled against it.

The film does a better job pointing out that the Muslim terrorists do not represent all Muslims. Zahra is also Muslim, and her confrontation with one of the terrorists, one of the most riveting scenes in the movie, is symbolic of this difference.

The other subplot that also really works is the small security force which realizes that even though they are outmanned and outgunned, they have to do something to fight back, and so they venture back into the hotel in an attempt to commandeer the security cameras so they can at least get a fix on the terrorists’ positions inside the hotel. Theirs is also a harrowing story.

HOTEL MUMBAI is a riveting and oftentimes disturbing re-telling of the deadly terrorist attack on the Taj Hotel. I hesitate to say I enjoyed this film because it’s not a comfortable movie to sit through, but it succeeds in telling its edge-of-your seat story of a small group of hotel guests and staff who banded together to fight for their survival against a merciless group of vicious gunmen.

While I may not have “enjoyed” it, I highly recommend it.

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GREEN BOOK (2018) – Oscar Contender Worth A Trip to the Theater

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It took a while for GREEN BOOK (2018) to make it to the theaters in my neck of the woods, and so I was only able to see it recently.

This Oscar contender, nominated for Best Picture, Best Actor, Best Supporting Actor, and Best Original Screenplay is both worthy of these nominations and a trip to the theater. Had I seen this movie before I had comprised my List of Top 10 movies for 2018, it most certainly would have made the cut.

GREEN BOOK (2018), based on a true story, takes place in 1962 and chronicles the unlikely friendship between an eccentric African-American classical pianist Dr. Don Shirley (Mahershala Ali) and a rough and tough Italian bouncer from Brooklyn, Tony LIp (Viggo Mortensen) who are brought together when Shirley hires Tony to be his personal driver on a concert tour which will take him into the Deep South.

In terms of story construct, the one told in GREEN BOOK is one you’ve seen many times before. Yes, it’s a “buddy story,” that plot where two very different characters spend time together, especially on the road, and eventually they form an unlikely friendship.  It’s been done a million times, from classics back in the day like MIDNIGHT RUN (1988) and PLANES, TRAINS, AND AUTOMOBILES (1987) to more recent fare like DUE DATE (2010) and THE HEAT (2013).

But what makes GREEN BOOK different and a cut above the standard “buddy movie” is its dueling themes of racism and racial acceptance.

Shirley’s concert tour is bringing him to the Deep South, as far as Mississippi, not a safe place for a black man in 1962. And that’s where the titular “Green Book” comes in, as it refers to The Negro Motorist Green Book, a publication which listed places which were safe for blacks to visit. Hence, on the road in the south, Shirley and Tony stay at separate hotels, as Shirley has to stay at hotels which accept Negroes, and these are usually poor decrepit places.

And when Shirley is performing inside the elegant establishments of the wealthy white audiences, who give him rousing applause, he is not allowed to use the bathroom inside these places, nor can he dine there.

Tony Lip, while not from the south, initially holds views that are just as racist. He and his fellow Bronx Italians use racial slurs when speaking of blacks, and when his wife hires two black repairmen, and Tony observes  her giving them something to drink after they’ve finished their job, he takes the empty glasses they drank from and tosses them into the trash.

Yet, when asked by Shirley if he would have trouble working for a black man, Tony says no, and since Tony is a man of his word, it turns out to be true, and as the story goes along, and he observes the way Shirley is treated, he becomes more and more protective of his employer.

The story also takes things a step further. Don Shirley is a man alone. He’s wealthy and educated, and he doesn’t identify with what he sees as his fellow black brethren. He’s more similar in class to the wealthy whites he plays music for, but he certainly doesn’t identify with them.  And then there’s his sexual orientation. By all accounts, Shirley is alone and he’s miserable, and in one of the movie’s best scenes, he breaks down and laments to Tony that he hasn’t been able to find any community that wants him in it.

The script, nominated for an Oscar, by Nick Vallelonga, Brian Hayes Currie, and Peter Farrelly does a masterful job at showing not only the racism Don Shirley faced but also the pain he felt at being so isolated from seemingly all walks of life. It also makes Tony Lip the face of white acceptance. At first, Tony may have suppressed any racist feelings just so he could take the job, but later, he truly comes to like and accept Shirley as a person, and his words and actions back that up.

The script also gives Tony the best moments in the film, especially the laugh out loud ones. Indeed, why this movie is also listed as a comedy has to do entirely with Tony. He’s got the best lines in the film, such as when he tries to quote JFK’s “ask not what your country can do for you—” speech, but completely botches it and finishes with “Ask what you do for yourself,” and he has the funniest scenes, like when he introduces Shirley to Kentucky Fried Chicken.

The best part of the script is that none of it comes off as superficial or preachy. It makes its points on race simply by allowing its story to unfold. Likewise, the bond between Shirley and Tony is not forced or phony. It’s convincing and natural. The whole story works.

As I said, Mahershala Ali has been nominated for Best Supporting Actor for his portrayal of Dr. Don Shirley, and it’s certainly a powerful performance.

However, GREEN BOOK belongs more to Viggo Mortensen and his portrayal of Tony Lip. Tony is the larger role, and the story mainly focuses on his reaction to racism. In terms of acting, it’s one of the best performances I’ve seen Mortensen give. He plays the Bronx bouncer so effortlessly. And like Ali, Mortensen has also been nominated, for Best Actor.

GREEN BOOK has also been nominated for Best Picture, although it’s not expected to win. Of its four major nominations, according to the experts, Mahershala Ali has the best chance of winning Best Supporting Actor.

GREEN BOOK was directed by Peter Farrelly, of Farrelly Brothers fame. He successfully captures the 1962 setting. There’s a nice contrast of colors, between the bright and opulent upper class white southern establishments and the dark and dreary poverty-laden black establishments.

And one of my favorite scenes brings both worlds together, when Shirley takes Tony into a black friendly restaurant, and Shirley is invited to play piano and ends up jamming with the jazz musicians there. It’s one of the liveliest scenes in the movie, and it allows Shirley for the first time to feel some camaraderie with a culture he had thus far felt alienated from.

I really enjoyed GREEN BOOK. It has a lot to say about racism, using the south in 1962 as its canvas, and it makes its point while not always being heavy-handed. In fact, its tone is quite the opposite. For most of the movie, thanks to Viggo Mortensen’s performance as Tony Lip, you’ll be laughing. Tony is a likeable character who may not be as skilled and as polished as Dr. Don Shirley, but his heart is in the right place, as is his head. He befriends Shirley not only because he likes him but also because deep down he knows that the color of Shirley’s skin has no bearing on what kind of person he is.

GREEN BOOK is a thoroughly satisfying movie that speaks on racism and entertains at the same time. It’s not to be missed.

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STAN & OLLIE (2018) – Nostalgic Look at Comedy Duo’s Final Tour Together

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STAN & OLLIE (2018) is a pleasant homage to the work of the classic comedy duo Stan Laurel and Oliver Hardy.

It tells the bittersweet story of their final tour together, long past their superstar years. The film is driven by two top-notch performances, Steve Coogan as Stan Laurel, and John C. Reilly as Oliver Hardy.

The movie opens in 1937, at the height of their film career.  Stan (Steve Coogan) is the more business savvy of the two, and he wants a larger contract from studio head Hal Roach (Danny Huston). When it’s clear he’s not going to get it, he tries to convince Ollie (John C. Reilly) to leave the studio with him and sign a contract elsewhere, but it’s a decision that is far more difficult for Ollie to make, since he’s still under contract with Roach. As a result, Ollie stays with Roach. And when Ollie makes a movie without Stan, things hit rock bottom for the duo.

The action switches to 1953, where Stan has convinced Ollie to join him for a European tour as a promotional tool for a new movie he’s writing for the two of them. When financing for the film falls through, and they’re met with small audiences on the tour, the realization hits them that this could be the end of their career.  But as the tour continues, the crowds grow, until once more they are playing to sold out theaters.

But all is not right for the comedy duo. Ollie’s health is fading, and the two men squabble about their friendship and loyalty to the each over the years, causing a rift that they may not be able to overcome.

STAN & OLLIE is a very enjoyable movie. It’s well-made and is a rich looking period piece. Director Jon S. Baird convincingly transports his audience into the film, stage, and personal worlds of Laurel and Hardy.

The screenplay by Jeff Pope squarely focuses on their friendship, as these are not good times for the two men. They’re aging, they can’t get financing for a new movie, they’re playing to small crowds, and there’s a lot of tension between them. Their friendship is pushed to its limits. And yet when they look back at their years together, they realize the value of their friendship, and it’s this realization that is the best part of the story.

The comedy, on the other hand, while light and humorous— and it’s certainly fun to see some of Laurel and Hardy’s best comic bits recreated here— is never flat-out hilarious. And so it’s not the strength of the film.

The best part of the movie by far are the performances by the two leads. They’re both excellent, which is a good thing since they’re in nearly every single scene.

Steve Coogan captures both Stan Laurel’s comic genius as well as his drive to constantly write gags for the duo. Laurel is portrayed here as a man who is almost addicted to writing, so much so that he really has time for little else. And during one of their arguments, Ollie accuses Laurel of being flat-out cold, robotic, a writing machine who has no sense of friendship or humanity.

Coogan also plays Laurel as a man carrying a lot of hurt with him, as he still feels betrayed by Ollie’s decision years earlier to make a movie without him.

John C. Reilly is just as good as Oliver Hardy. During the tour, Hardy is ailing, and Reilly does a nice job capturing the comic who continues to drive himself to perform, even against doctor’s orders. Ollie is portrayed here as a man with more balance in his life than Stan, as he’s interested in other things besides work, and while he says he doesn’t need Stan, he really does feel lost without him.

Coogan and Reilly really do make this movie, and they easily carry it along for its 98 minute running time.

Rufus Jones adds fine support as Bernard Delfont, the man responsible for arranging the European tour. He goes back and forth between sounding like a con man and a legitimate agent.

Shirley Henderson is excellent as Ollie’s wife Lucille, who is fiercely protective of her husband, and Nina Arianda is memorable as Stan’s wife Ida Kitaeva, a former dancer who doesn’t let anyone forget it.

At times, STAN & OLLIE is emotionally flat. The best scene in the movie is when Stan and Oliver finally have their huge argument, and that’s the one scene that packs a powerful punch. Other than this sequence, it’s all rather mild.

And in spite of this being a movie about Laurel and Hardy, there’s a sense of sadness that permeates the film.

That being said, I still really enjoyed STAN & OLLIE. It definitely succeeds in reacquainting modern audiences with the classic comedy duo.

—END—

 

Best Movies 2018

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Here’s my list of the Top 10 Movies from 2018:

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10. BOOK CLUB – I really enjoyed this comedy starring Diane Keaton, Jane Fonda, Mary Steenburgen, and Candice Bergen about four friends who decide to read 50 Shades of Grey for their monthly book club, and it changes the way they think about sex and relationships during their senior years. Also starring Andy Garcia, Don Johnson, Richard Dreyfus, and Craig T. Nelson. My favorite comedy of the year.

9. WON’T YOU BE MY NEIGHBOR?  – in a banner yeary for documentaries, this one was my favorite. Its recounting of the life of Fred Rogers, TV’s Mister Rogers from Mister Rogers’ Neighborhood, resonates deeply today, as Rogers’ message of inclusion and gentle understanding is sorely missed in today’s antagonistic and deeply divided society.

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8. ANT-MAN AND THE WASP – I enjoyed this Ant-Man sequel more than the original. Story is better, jokes and situations are funnier, and Evangeline Lily adds a lot as the Wasp and is a nice complement to Paul Rudd’s Ant-Man. Oh, and then there’s that after-credits tie-in with AVENGERS: INFINITY WAR which produced audible gasps from the audience.

7.BOY ERASED – Joel Edgerton wrote and directed this film which exposes gay conversion theory for the dangerous procedure that it is. Fine performances by Lucas Hedges, Nicole Kidman, and Russell Crowe, and by Edgerton himself as an unqualified leader of the conversion camp.

6. THE FRONT RUNNER – Sure, I’m partial to political movies, but this tale of Gary Hart’s fall from being the Democratic front runner in the 1988 presidential election to dropping out of the race entirely due to an exposed extra-marital affair pushed all the right buttons for me. The film asks relevant questions which are still being asked today. Hugh Jackman is terrific as Gary Hart, as is Vera Farmiga as his suffering wife Lee.

5. EIGHTH GRADE – Awesome film which completely captures what it is like to be an eighth grader. On target writing and directing by Bo Burnham, especially the dialogue, and a fantastic lead performance by Elsie Fisher as eighth grader Kayla Day.

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Elsie Fisher in EIGHTH GRADE (2018)

4. THE GUILTY – From Denmark, this claustrophobic intense police drama is as compelling as they come, the type of film Alfred Hitchcock would have made. All of the action takes place inside a police dispatch office as an officer relegated to the emergency dispatch receives a call from a woman being kidnapped, and he has to deal with the situation in real time. You’ll swear you’ve seen all the action scenes, but that will be your mind playing tricks on you, as the camera remains focused on the police officer throughout. Excellent movie, and lean, as it clocks in at a swift 85 minutes.

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3. AVENGERS: INFINITY WAR – It was an outstanding year for Marvel, as three of my top ten films this year come from the Marvel Universe. This was the biggie, the ultimate showdown between the Avengers and their most dangerous adversary yet, Thanos. Amazing superhero movie, with a big bold ending which is no longer a spoiler, which is, the bad guy wins in this one. One of the most emotional endings to any superhero movie, causing audible gasps and groans multiple times as the film races to its inevitable conclusion.

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2. ROMA – An extraordinary movie, ROMA was unlike any other film I saw this year. Unassuming simple tale of a maid working for a family in Mexico in 1970-71. Features some of the best camerawork of the year, all of it in mesmerizing black and white. Slow at first, but stick with it. The final 45 minutes is among the most emotional moments on film I saw all year.

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1. BLACK PANTHER –  My pick for the best movie of the year is another Marvel gem. This one takes the superhero movie to a whole other level, dealing with racial issues as well as any mainstream drama. My favorite superhero film since THE DARK KNIGHT (2018). I loved the conflict between hero Black Panther (Chadwick Boseman) and villain Erik Killmonger (Michael B. Jordan),and one of the rare times in a superhero movie where the hero admits he’s wrong and the villain is right.  Outstanding in every way, easily my favorite movie of 2018.

So, there you have it, my picks for the Best Films of 2018.

Thanks for reading!

—Michael