Movie Review - Nocturnal Animals

Nocturnal Animals (2016)

Starring Amy Adams, Jake Gyllenhaal, Michael Shannon, Aaron Taylor-Johnson, Isla Fisher, Ellie Bamber, Armie Hammer, Andrea Riseborough, Michael Sheen, and Laura Linney

Directed by Tom Ford

There's a line in Nocturnal Animals in which a character mentions that a book was disappointing because she found her mind drifting elsewhere whilst reading it.  The same could be said for the movie Nocturnal Animals, a film that tells a story within a story with neither tale being quite compelling enough to stand on its own and neither tale meshing together in a way that proves to be an all-around satisfying whole.  In his second film, writer-director Tom Ford (a fashion designer in his other line of work) continues to prove that he's got an eye for the visuals, but that he still hasn't quite grasped the storytelling aspect of cinema.

We're first introduced to Susan Morrow (Amy Adams), an art gallery owner in Los Angeles, as she morosely mopes around her huge house dealing with an obviously unhappy marriage to her husband (Armie Hammer) who himself is facing some financial troubles.  Soon after, Susan receives a manuscript for a new novel from her ex-husband Edward Sheffield (Jake Gyllenhaal) and she escapes into the book which features a main character who seems an awful lot like her.  As Susan reads, the novel plays out onscreen -- Tony Hastings (Jake Gyllenhaal) is driving along a deserted Texas roadway with his wife Laura (Isla Fisher) and daughter India (Ellie Bamber).  A group of frightening men headed by the skeezy Ray Marcus (Aaron Taylor-Johnson) run the Hastings off the road and then kidnap the family.  Tony manages to escape but is unaware of where his wife and daughter are being kept so he finds a small-town cop (Michael Shannon) to set out and try to find his family and enact revenge those who committed this crime.

I'm sure that somewhere in the midst of the two tales there are solid connections -- either via visual similarities or storytelling allusions -- but things never came cohesively together for me.  Plus, the Amy Adams side of things is oddly uncompelling in any way.  It doesn't help that Adams shows nary an emotion throughout, presenting an ice queen persona that doesn't allow the viewer to feel sympathy for her despite her mundane life.  The "novel" storyline fares a little better with Gyllenhaal giving a nice performance as the beleaguered father.  Michael Sheen and Aaron Taylor-Johnson were nominated for an Oscar and Golden Globe respectively for their roles here (and Taylor-Johnson even won), but their characters seemed a bit too one-note to garner any real attention for me.  Frankly, the same could be said for the film itself -- it doesn't really deserve to garner any real attention.  I continue to think that Tom Ford has the potential to be something great, but his two films thus far haven't landed him there.  Maybe sticking to lensing things as opposed to writing them is his road to a better directorial future.

The RyMickey Rating:  C-

Movie Review - Genius

Genius (2016)

Starring Colin Firth, Jude Law, Nicole Kidman, Guy Pearce, Dominic West, and Laura Linney

Directed by Michael Grandage

***This film is currently streaming via HBO Now/GO***

As the words of Thomas Wolfe were read aloud and his mellifluous prose lyrically opened Michael Grandage's film Genius, I was drawn into this tale about the unique author (played by Jude Law) and his publisher Maxwell Perkins (Colin Firth).  However, as I imagine I'd feel attempting to read one of Thomas Wolfe's lengthy tomes, lovely descriptive verbiage can only get you so far -- story also has to have some importance.  Unfortunately, Genius begins to falter as it enters its second half, failing to really take its characters on any type of journeys that weren't obvious from the film's opening scenes.

In 1929 New York, Perkins is reading Wolfe's first attempt at a novel with much aplomb.  Shot down by innumerable other publishers, the hickish-sounding, though verbose Wolfe was taking one final shot, going out on a limb by giving his novel to Perkins who edited and published works by F. Scott Fitzgerald (Guy Pearce) and Ernest Hemingway (Dominic West).  When Perkins agrees to publish Wolfe's work, a parental-type friendship is formed with Perkins seeing Wolfe as the son he never had.

There is something compelling in the opening act of Genius -- rarely do films translate the art of writing to the screen successfully and this film was working...at first.  However, as it progresses, it falls into stereotypical traps that don't allow its characters to feel fresh.  Its script also grows repetitive -- Perkins continues bickering with Wolfe about editing down his tomes, Perkins' wife Louise (Laura Linney) wants her husband to spend more time with his five daughters, Wolfe's lover Aline (Nicole Kidman) resents Wolfe spending all his time with Perkins -- failing to advance its characters in any substantial way, reiterating the same story notes over and over again.  Director Grandage with his first film has a fantastic cadre of actors at his disposal, but with the lukewarm script, he's unable to really pull anything substantial from any of them.

The RyMickey Rating:  C-

Movie Review - Sully

Sully (2015)

Starring Tom Hanks, Aaron Eckhart, Mike O'Malley, Jamey Sheridan, Anna Gunn, and Laura Linney

Directed by Clint Eastwood

I have long criticized that as a director Clint Eastwood doesn't create films that garner an emotional connection between the characters and the audience.  There's a disconnect that Eastwood often isn't able to overcome even in films where the kinship should be palpable (ex: American Sniper).  I'm happy to report that isn't the case in Sully, a film that retells the tale of pilot Chesley "Sully" Sullenberger and his successful attempt to land a passenger aircraft on the bitterly cold Hudson River on January 15, 2009, after a massive engine failure.  Credit is certainly due to Eastwood for crafting a briskly edited film and capturing a fantastic performance from Tom Hanks as the title character.

The film places Sully in a bit of a predicament, opening not by showing the audience the Hudson River landing, but instead in the midst of the build-up to an evidentiary hearing debating whether Captain Sullenberger could've landed his plane at one of several nearby airports as opposed to on the water.  Most of the film is spent doubting Sully's abilities (by both the NTSB and Sully himself) while at the same time the media touts his heroic effort, and this juxtaposition causes the title character to question his actions -- is he really as good of a pilot as he thought he was and does he deserve the praise he's receiving nationwide despite the fact that he saved all 155 souls onboard the plane.  This conceit of placing Sully under fire does wonders for creating a well-rounded title character in that it allows the fantastic Tom Hanks to play someone largely doubting himself throughout the entirety of the film, a man haunted by a frightening event that, for all intents and purposes, ended positively.  Rather than just be portrayed as a outright hero, Hanks is allowed to layer his performance with humility, anger, confidence, weakness, and strength.  Tom Hanks has always been known as the modern-day Jimmy Stewart -- cinema's everyman, cinema's "normal guy."  While there may seem to be a simplicity with playing a regular joe character like Sully, Hanks creates an effortlessly humbling performance which, to this moviegoer, isn't necessarily easy to achieve.

Kudos must also be given to Eastwood whose tautly directed film (which clocks in at a speedy 96 minutes) creates suspense out of a 205-second plane landing and its aftermath -- the results of which we in the audience already know the outcome.  In a successful effort to keep our interest, Eastwood (and the screenwriter, presumably) has his film jump around in time and while we in the audience never question where we are in the chronological timeline, we at least are given a bit of a puzzle to piece together from this admittedly well-known story.  While it gets a tad repetitive towards the end (we essentially get a complete redo of the plane landing sequence which we had already seen less than thirty minutes prior), Eastwood successfully creates a tension-filled movie and doesn't disappoint with his lensing of the initial landing sequence -- a moment we in the audience are waiting for from the outset.

Along with a nice supporting turn from Aaron Eckhart as Sully's co-pilot Jeff Skiles (who is a real-life person I didn't know about in the slightest), Eastwood has created a winner with Sully.  Color me surprised as I didn't think the aging director had it in him, but he proved me wrong with this one.

The RyMickey Rating:  B+

Movie Review - Mr. Holmes

Mr. Holmes (2015)

Starring Ian McKellan, Laura Linney, Milo Parker, Hiroyuki Sanada, Roger Allam, Frances de la Tour, Hattie Morahan, and Phil Davis 

Directed by Bill Condon

Sherlock Holmes (Ian McKellan) has retired to the English countryside in his old age and has hired a housekeeper named Mrs. Munro (Laura Linney) to look after his abode.  Her curious young son Roger (Milo Parker) befriends the rather crotchety Holmes who finds himself now dealing with early-onset dementia as he tries to remember his final case that didn't quite turn out the way the well-known detective had planned.

Unfortunately, Mr. Holmes sounds a lot better in theory than in execution.  Take an aging famous detective, have him solve one final case, and get the fantastic and charming Ian McKellan to play him.  The cards were certainly in director Bill Condon's favor with this one.  The film, however, doesn't quite click, never finding its footing between a mystery, light comedy, and drama.  McKellan is certainly game in the role and the young Milo Parker in his first major film role is charismatic and immensely watchable, but the film is filled with too many genres and unimportant stories meshed together to really work.

It's a bit of shame, quite frankly, because I wanted to really like Mr. Holmes, but I found myself uninterested and rather blasé about the whole affair...which is perhaps why it's taken me more than a month to write this simplistic and utterly basic review about the flick.

The RyMickey Rating:  C

Movie Review - The Other Man (2008)

The Other Man
Starring Liam Neeson, Antonio Banderas, Laura Linney, and Romola Garai
Directed by Richard Eyre

I watched this little movie solely because of Liam Neeson and Laura Linney. Going into it, the only thing I knew about The Other Man was that Neeson and Linney played a married couple and, one night, Linney disappears. Neeson's character Peter soon discovers that his wife was having an affair with a sexy Spanish guy (Banderas, who I guess is the "go to" guy when the script calls for "sexy" and "Spanish" despite the fact that he's nearly fifty and he mumbles his English dialog in a nearly incomprehensible fashion). Much like his "kick-assery" in Taken, Neeson gets hellbent on undertaking a mission to kill his wife's lover.

Now, the plot for the first half is fairly straightforward, but it's boosted by an impressive turn from an angry and heartbroken Neeson. Unfortunately, about halfway through, there's a twist that comes out of nowhere and throws a kink into the whole shindig. Twists built on camera trickery and editing rather than story-driven surprises are always disappointing and it's no different here.

It's a shame, really, because it's nice to see a drama with adults acting as adults. This one just doesn't make the grade, however.

The RyMickey Rating: D+

Movie Review - Love Actually (2003)

Christmas Movie a Day #7
Love Actually
Starring Hugh Grant, Liam Neeson, Colin Firth, Laura Linney, Emma Thompson, Alan Rickman, Kiera Knightley, and Bill Nighy
Directed by Richard Curtis

I understand that this isn't a perfect movie, but I really can't help but love it. There's just something so charming about this flick that wins me over every single time that I watch it.

Richard Curtis (writer-director of the recent Pirate Radio) crafts a movie full of interweaving tales of romance -- some of which end positively and others of which of conclude less than perfect. With the exception of the tale of the young Englishman who travels to the U.S. to work his British charms on unsuspecting American ladies and the story of the naked body double couple, there's not a bad story in the bunch. Particularly winning are Liam Neeson as a grieving widow dealing with his young stepson's first love and Emma Thompson as a wife who suspects her husband (Alan Rickman) of cheating on her with a hot office colleague. Hugh Grant as the new prime minister is also at his best here. Throw in Colin Firth, Laura Linney, and a hilarious Bill Nighy as an aging rock star and you've got one heckuva cast.

What's particularly enjoyable is that Richard Curtis is able to make many of these stories connect without ever seeming the least bit unbelievable. None of the relationships/interconnections ever seem forced even it's just as simple as a character sitting in the congregation at another character's wedding. That's a difficult task and Curtis was definitely up to it.

Once again, I realize this film isn't perfect, but it's one of my favorites, for sure. A new holiday tradition, perhaps, even if it's not the most "Christmas-y" movie around.

The RyMickey Rating: A-
The Christmas Spirit Scale: 6/10
(The Christmas Spirit Scale is a totally pointless rating that is simply my feeling about how "Christmas-y" the movie felt to me)