Elvis

 Elvis (2022)

Starring Austin Butler, Tom Hanks, Olivia DeJonge, Helen Thomson, Richard Roxburgh, and Kodi Smit-McPhee

Directed by Baz Luhrmann

Written by Baz Luhrmann, Sam Bromell, Craig Pearce, and Jeremy Doner

Click here for my Letterboxd review

The RyMickey Rating:  B

Movie Review - The Great Gatsby

The Great Gatsby (2013)

***viewed in 3D***
Starring Leonardo DiCaprio, Tobey Maguire, Carey Mulligan, Joel Edgarton, Elizabeth Debicki, Jason Clarke, and Isla Fisher

Directed by Baz Luhrmann

The Great Gatsby is distinctly a Baz Luhrmann film and your initial like or dislike will largely hinge on your feelings towards the eclectic auteur.  I was a big fan of Romeo + Juliet upon its release in my junior year of high school, but a revisit in 2011 didn't sit so well with me.  Similarly, I was a huge admirer of Moulin Rouge upon its release simply for its unique take on the movie musical and I rewatched it last year certain that it would land in my Personal Canon, but that didn't come to fruition this time around.  (The less said about Australia the better.)  It's not that Lurhmann suddenly became an incompetent director in my eyes, it's simply that he is a bit of a one trick pony (similar to Quentin Tarantino in that respect).  He does what he does well, but when you already know what you're going to get with him, there aren't as many surprises around the corner.

This isn't to say that is take on The Great Gatsby doesn't provide a solid experience, but the quick cutting, bombastic music, and focus on "love" (all Luhrmann staples) overshadow the other aspects of F. Scott Fitzgerald's work.  And I say that as someone who finds Fitzgerald's so-called masterpiece a fine read, but nowhere near the perfection that others espouse it to be.  [I finished a re-read of the novel mere hours before I went to see the movie.]  To Luhrmann, Gatsby is nothing but a tragic love story between the title character (played by Leonardo DiCaprio) and his long lost love Daisy (Carey Mulligan), the Midwest gal he's been pining over for the decade since he headed off to war and had to leave her.  Any semblance of Fitzgerald's take on the decline of American morals is brushed aside solely to focus on a love story.  Granted, I will admit that upon reading Gatsby again, I was quite surprised how much the Gatsby/Daisy love story was made a focus in the novel, but Luhrmann trains his camera (and script) right in on it, failing to leave the confines of the lovers' embrace for an exceedingly long time in the film's middle act.

Much like the book, the film is told through the wide eyes of Nick Carraway, played here by Tobey Maguire in the same dorky, oddly reflective way Tobey Maguire plays every single role he's ever undertaken.  No one was more surprised than me to discover that Maguire is a perfect fit for the role.  I realize that may not be a universally accepted opinion -- in fact, I've heard much derision sent Maguire's way -- but having recently read the novel, Maguire totally embodied my vision of Carraway.  That isn't to say that the actor did anything overly ambitious or out of his comfort zone, but Carraway is a part the oftentimes dumbfounded-looking former Spiderman was made to play.

Joel Edgarton and Elizabeth Debicki also aptly personified my visions of, respectively, the womanizing Tom Buchanan and the cynical Jordan Baker.  In her first major film role, I found myself unable to take my eyes off of Ms. Debicki who captivated me despite her character's bitter edge.  Mr. Edgarton continues to be an actor to watch as of late.  I could see how some might find his portrayal of Tom as a bit of a caricature, but he perfectly exemplified the hypocritical arrogance and machismo that comes across in Fitzgerald's work.

If anything, the problem with The Great Gatsby is with Gatsby himself and his paramour Daisy.  DiCaprio plays Gatsby much more fey and weak than I expected.  Yes, I realize once he lays eyes on Daisy, he essentially becomes a child again, but even in moments where he is supposed to exude strength and charisma, I found him a bit empty.  In the novel, Gatsby was a character whom I found passionate about a great many things, but none of this vigor comes to the surface in the film.  There's part of me that wonders if Luhrmann pushed DiCaprio in this direction in order to make the title character more sympathetic and appealing to women -- but that probably just comes off sounding sexist.

Gatsby's counterpart, Daisy, has always been an enigma to me.  She spouts lines that don't make sense to me in the novel and don't make sense to me in the movie either.  I don't understand who this woman is and why Gatsby fell head over heels for her.  Carey Mulligan didn't help my confusion.  Her character's arc is one that doesn't feel fulfilling for me and the film does nothing to change that.

I say all this and I realize the review comes across a bit more bitter than I intended it to be.  For the most part, I enjoyed The Great Gatsby while I was watching it.  However, like Baz Luhrmann's previous films, it hasn't lingered as well in my mind as time passes.  There's something alluring and even invigorating when watching Gatsby (at least in the first and final acts...the less said about the love story-fueled lengthy middle act the better), but when you peel back the visual and aural cacophony, there sometimes isn't enough there.  Then again, there aren't many directors that do visual and aural cacophony with the punch and pizzazz Luhrmann brings to the table.  And for that, The Great Gatsby is worth a view.

The RyMickey Rating:  C+

Movie Review - Moulin Rouge

Moulin Rouge (2001)

Starring Ewan McGregor, Nicole Kidman, John Leguizamo, Richard Roxburgh, and Jim Broadbent

Directed by Baz Luhrmann

As I sit here thinking back on my first viewing experience of Moulin Rouge in probably close to eight years, I'm hemming and hawing about whether this film belongs in my Personal Canon.  I very much appreciate director Baz Luhrmann's "throw everything at you" manic-style direction and insanely quick editing, but at the same time, it's that non-stop sensory overload (particularly during the film's first act) that takes the flick precariously close to cheesiness.  Once he calms down the bombastic nature of the whole affair and gives the film a chance to breathe, Moulin Rouge is a lovely musical that remains surprisingly "hip" and cutting edge over a decade after its initial release.

The doomed tale of a Parisian courtesan named Satine (Nicole Kidman) and her lover Christian (Ewan McGregor), a bohemian poet who treasures "truth, beauty, freedom, and above all else, love," Moulin Rouge is a simplistic tale wrapped up in truly gaudy paper.  Tasked to create an elaborate musical in order to turn the dance hall -- The Moulin Rouge -- into a more prestigious "theater," Christian quickly falls for Satine, the star of the burlesque , but Christian and Satine's love affair is doomed right from the start as the Moulin Rouge's proprietor, Harold Zidler (Jim Broadbent), has promised Satine in marriage to "The Duke," the play's investor (Richard Roxburgh).

Utilizing pop songs in rather unique ways -- forming medleys, creating dance mixes, and more -- Moulin Rouge doesn't have a single original tune in its repertoire.  Sure, the lovely ballad "Come What May" hadn't been heard before this film, but it was in fact not written for this movie (hence the reason it wasn't nominated for an Oscar for Best Song...although the film itself was nominated for eight Oscars, deservedly taking home two for its exquisite set design and beautiful costuming).  Admittedly, it's a bit odd at first, hearing such iconic songs as Elton John's "Your Song" or The Police's "Roxanne" in a different manner than what we're used to, however, any odd feelings we have quickly vanish when the lovely voices of Ewan McGregor and Nicole Kidman croon to each other.

That isn't to say that the music works entirely.  As I mentioned, the manic nature in the film's opening half hour throws more songs at you than you can register...and it's a bit off-putting at first.  And, unfortunately, as the film continues, we're treated every now and then to the occasional odd scene that simply doesn't work.  For example, the "Like a Virgin" number featuring Zidler and The Duke makes me cringe.  It stops the film dead in its tracks just when the love story was picking up steam.  And the uncorked champagne symbolizing "sexual release" is childish and laughable.  Still, there's more good than bad when it comes to the music and there are some truly magical moments (the aforementioned "El Tango de Roxanne" stunned me the first time I saw it and still resonates today...but I'm a sucker for stringed instruments and this tango lets the orchestra shine).

Certainly lifting Moulin Rouge up beyond the sporadic silliness are three fantastic performances.  For the first time while watching the movie, I greatly appreciated Jim Broadbent's role as Zidler, who outwardly is the hard-edged boss, but inwardly truly cares for the ladies working at his establishment.   Ewan McGregor and Nicole Kidman give some of their best performances of their careers.  McGregor is sweetly charming as the lovesick Christian -- it's easy to see why Kidman's Satine would fall for him.  Kidman is surprisingly sexy, but full of heart.  Sure, it's that typical "prostitute with a heart of gold" character we see often in movies, but it works here...I mean, the whole movie is filled with characters who are broad archetypes, but with the insanity of the visuals, it's surprisingly rather pleasant to have characters that aren't bogged down with anything more than basic traits.

In a way, Baz Luhrmann is like Quentin Tarantino in that I'm not exactly certain either director has any original ideas themselves.  Instead, they take their vast knowledge of film and create loving homages to movies they adore, honoring them while crafting something unique unto themselves.  Filmmakers like Luhrmann and Tarantino are tricky for me to critique in that sometimes I'm great admirers of them and then other days I may think of them as hacky auteurs.  And it's that very reason why I'm not sure if Moulin Rouge belongs in the Personal Canon.  I appreciate its insanity, but there are moments where that craziness is a directorial crutch that impedes the evolution of its story.  Nevertheless, this is still a film I admire greatly...even though I'm completely cognizant of its faults.

The RyMickey Rating:  B+

Movie Review - Romeo + Juliet

Romeo + Juliet (1996)

Starring Leonardo DiCaprio, Claire Danes, John Leguizamo, Harold Perrineau, Pete Postlethwaite, Paul Sorvino, Brian Dennehy, and Paul Rudd

Directed by Baz Luhrmann
***This film is currently streaming on Netflix***

Despite your feelings towards the film, no one can deny that director Baz Luhrmann has crafted a unique, modern take on William Shakespeare's classic tale of the two lovers Romeo and Juliet.  As their families fight each other, the two young amours become enamored of one another and refuse to deny their love up until their dying days (oops...did I spoil the tale for someone?).

I remember going to the movie theater to see this when I was sixteen and thinking that it was pretty darn cool.  At this point in time, Luhrmann wasn't known at all and his crazed, schizophrenic visual style was oddly compelling and unlike anything I had ever seen before.  Placing the Bard's "old school" dialog in a completely contemporary setting was riveting to me.

Cut to fifteen years later and I'm not so sure that I'm as much of a fan.  Don't get me wrong, Luhrmann has certainly crafted a distinct take on the material, but there are (several) moments where there is just too much going on visually.  Because of the bombardment of images, the words sometimes get lost in translation and the story becomes a secondary afterthought to the film's appearance.  A decade-and-a-half after the film's release, rather than being riveted I found myself laughing at an early scene involving a showdown between members of the Montague and Capulet families simply because of the way Luhrmann utilizes his camera.  The "wild west showdown" atmosphere he creates just didn't set well with me.

The aforementioned scene is one of several that just had me clamoring for a more straightforward (or at least less crazed) take on the material.  Maybe I'm just becoming a fuddy duddy in my old age, but the film as a whole was a bit of a disappointment.

Luhrmann does manage to get a decent performance out of Leonardo DiCaprio, but Claire Danes' Juliet felt a bit wooden to me at times (although, if I'm being honest, I'm not sure the character of Juliet is all that interesting of a person to begin with).  Most of the other supporting roles didn't really strike my fancy either this time around.

All that said, I can't deny that this is a different spin on the classic tale, but it's one that I don't need to revisit any time soon.  As I was watching it (and not loving it), I wondered to myself what my take on Luhrmann's Moulin Rouge would be so many years later.  Seeing as how that film has the same visual style of Romeo + Juliet, I can't help but think it will have faded from my initial praises as well.  Might be time to take another look at that one...

The RyMickey Rating:  C

DVD Round-Up

Here's a trio of "foreign" flicks...some of which are better than others...

I've Loved You So Long (2008)

If only this movie were a little shorter, it certainly would've ranked in the top five of 2008 movies I had seen. Nevertheless, this French film is definitely a winner because of two great female performances. Kristin Scott Thomas is Juliette, a woman who was imprisoned for fifteen years for murdering her son, and Elsa Zylberstein is Lea, Juliette's sister who longs to create a relationship that has been missing for so many years. These two actresses are really just amazing...how neither of them got Oscar nominations is beyond me. Like I said, it certainly lulls in parts, but the revelation that occurs at the end was shocking to me and threw a whole new perspective on the movie and Thomas's performance in particular.

The RyMickey Rating: B+

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Let the Right One In (2008)

I don't know if I've ever seen a Swedish movie before, but I can be certain that I've never seen a Swedish vampire movie. Definitely different, the film is good, but not as great as the raves it was getting at the end of 2008 (it showed up on many Top Ten lists). Oskar (Kåre Hedebrant) is a twelve year-old boy who is constantly bullied at school and finds some solace in Eli (Lina Leandersson), an odd girl who just moved into his apartment complex. Perhaps the reason she's so odd is that she's actually a vampire. The film focuses on some vampire lore that I've never seen before in movies and it's certainly not the least bit scary (although there is bloodsucking, but what would a vampire flick be without bloodsucking?). Although the two young leads are stellar (I really can't say enough about the two of them...they were great), the relationship set up between them feels way too adult. There were scenes between the two of them that made me incredibly uncomfortable...they were much more, for lack of a better word, sensual than anything I've seen in any American flick. Add to that uncomfortableness, the director paces the film incredibly slowly. There were definitely whole scenes that could've been removed to make it flow better. Nevertheless, not a bad movie and certainly a different movie. Worth a rental if the general idea of the film intrigues you at all.

The RyMickey Rating: B-

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Australia (2008)

This is likely the only one of these three movies that most people have heard of and it's by far the worst of the three. Unfortunately for the film, I'm liking it less and less the more time passes after watching it. Nicole Kidman is awful in this. Wide-eyed and oddly theatrical, I laughed at her when I shouldn't have. As far as Hugh Jackman goes, he was serviceable in his role, but he was nothing special. I (used to?) appreciate Baz Luhrmann as a director, but his goal to produce an "epic" film fell tremendously flat. The film veers from over-the-top in the first thirty minutes to way too serious in the last hour (with a crazed villain thrown in for good measure) and he never finds an appropriate balance. The film is a simple love story between two unlikely people and there's not enough story to last 165 minutes. Plus, the film seriously could've ended an hour earlier. The whole war saga at the end was completely and utterly unnecessary. I remember that when we first got the movie at the theater, the film broke, we had to pass the theater, and people asked me, "How much of the film was left?" I said, "At least an hour," and they said, "Really? It seemed like it was ending." Well, it could've ended after 105 minutes...in fact, Baz even throws in a montage and voice-over narration that you might expect to see at the end of a movie, but he then makes it go on for over an hour more. My appreciation for Baz certainly lessened after watching this one.

The RyMickey Rating: D+