The Kitchen

The Kitchen (2019)

Starring Melissa McCarthy, Tiffany Haddish, Elisabeth Moss, Domhnall Gleeson, James Badge Dale, Brian D'Arcy James, Margo Martindale, Bill Camp, Annabella Sciorra, and Common

Directed by Andrea Berloff

Written by Andrea Berloff

Click here for my Letterboxd review

The RyMickey Rating: C-

The Little Stranger

The Little Stranger (2018)

Starring Domhnall Gleeson, Ruth Wilson, Will Poulter, and Charlotte Rampling

Directed by Lenny Abrahamson

Written by Lucinda Coxon

Click here for my Letterboxd review

The RyMickey Rating:  C-

Star Wars: The Last Jedi

Star Wars: Episode VIII - The Last Jedi (2016)

Starring Mark Hamill, Carrie Fisher, Adam Driver, Daisy Ridley, John Boyega, Oscar Isaac, Andy Serkis, Lupita Nyong'o, Domhnall Gleeson, Anthony Daniels, Gwendoline Christie, Kelly Marie Tran, Laura Dern, and Benicio del Toro

Directed by Rian Johnson

Written by Rian Johnson

Summary (in 500 words or less):  The Star Wars saga continues in this eighth installment of the original series.  Here, Rey (Daisy Ridley) trains with a forlorn and unpleasant Luke Skywalker (Mark Hamill) on a secluded island where she tries to learn how to utilize the Force for good.  Meanwhile, Kylo Ren (Adam Driver) is becoming more powerful among his ranks, utilizing his commanding of the Force to communicate with Rey to try and convince her that the Resistance headed by General Leia Organa (Carrie Fisher) is a group she should want no part in.  

• I'm a relative newbie to the Star Wars films and I've yet to see Episodes I-III, but I wholeheartedly enjoyed Episode VII upon its release a few years ago.  The Last Jedi doesn't fare quite as well, but it still adds pieces to the overarching story that I found believable (even if several of the long-time fans were extremely disappointed).
• That disappointment stems from a development with Luke that many found antithetical to his character, but I found a welcome character trait that adds legitimate depth to his character.  Some found this plot twist casting quite a pall over this heretofore "flawlessy" good character, but I thought it worked quite well.
• Unfortunately, several other aspects of the film didn't work quite as well.  A ridiculous "space scene" involving Leia was laughable even for this Star Wars newbie.  Several characters introduced in the last film -- Finn (John Boyega) and Poe (Oscar Isaac) -- are given very little worthwhile to do and their subplots just unnecessarily pad the runtime.
• The final battle sequence is a powerful visual experience and ends things on an up note, but this film -- much like my apparently sacrilegious opinion of the original trilogy's middle film The Empire Strikes Back -- takes a downturn.

The RyMickey Rating:  C+

mother!

mother! (2017)

Starring Jennifer Lawrence, Javier Bardem, Ed Harris, Michelle Pfeiffer, Domhnall Gleeson, and Kristen Wiig

Directed by Darren Aronofsky

Written by Darren Aronofsky

Summary (in 500 words or less):  A woman known only as "mother" (Jennifer Lawrence) has recently moved into a large under-renovation home with her husband, a struggling poet known only as "Him" (Javier Bardem).  When a man (Ed Harris) shows up on their doorstep, Him invites the man only much to the chagrin of mother.  The man overstays his welcome, in fact inviting his wife (Michelle Pfeiffer) to the home where their sexually charged repartee doesn't sit well with mother.  Eventually more members of the man's family show up causing much chaos.  Eventually, mother becomes pregnant...which opens up a whole other can of beans and sets the story reeling in all kinds of directions.

• Had I not known the allegorical nature of this piece prior to watching it, I would've undoubtedly hated it.  However, knowing what writer-director Darren Aronofsky was going for made me appreciate it much more.  So then that begs the question -- if the writer/director hasn't explained things enough that you need background before you go into a movie, is the movie a success?  My rating below showcases that I'm not sure I know the answer to that question.
• mother! is an allegorical retelling of Earth's creation, Adam and Eve, and how temptation changes the landscape of all our lives.  Not exactly a story that would appeal to the masses in a cinematic manner and the film proved to be an epic failure at the box office in part because it was marketed as a horror film -- while it certainly has all the markings of a horror film, it's not "scary" in a jump-out-of-your-seat kind of manner.  What's scary is Aronofsky's tension-filled direction as we see this story unfold through the eyes of "mother" and the chaos that's slowly tearing her world apart.  
• Jennifer Lawrence is by no means my favorite actress -- in fact, I think she's a bit overrated -- but she's perfectly capable here and held my attention throughout.  It's also quite nice to see Michelle Pfeiffer onscreen again in a surprisingly sultry, sexy role that she more than adequately tackles.
• mother! is the type of movie that I may watch again a few years down the line and appreciate even more in large part because I think that what Aronofsky is trying to do here is utterly unique.  That said, it certainly isn't going to appeal to the masses and it gets a bit too messy in its final act to really pull me in completely.  However, for those who call themselves cinephiles, I'd give this one a go if you passed on it in theaters like I did.  You're in for, at the very least, an interesting experience.  My recommendation, however, is to google "darren aronofsky mother allegory symbolism" before you do so and prep yourself with what each actor is signifying.  It'll be tremendously beneficial if you do.

The RyMickey Rating:  either a B or a D

Movie Review - The Revenant

The Revenant (2015)

Starring Leonardo DiCaprio, Tom Hardy, Domhnall Gleeson, Will Poulter, and Forrest Goodluck

Directed by Alejandro González Iñárritu

This is a frustrating review to write.  There are so many scenes in The Revenant that I found myself loving.  So many beautifully crafted shots both visually appealing and cinematically difficult.  Such good performances that couldn't help but make me feel as if I was placed squarely in the 1820s America fur trade.  So why is director/co-screenwriter Alejandro González Iñárritu's film such a chore to sit through?  Why did I find myself checking my watch twenty minutes in...and then forty minutes in...and then an hour in...and then I had to stop myself from checking every ten minutes.  Something doesn't quite gel and while I understand the director's methodical approach in terms of helping to understand our main character's horrific plight, the film can't help but feel tedious and almost a tiny bit episodic as we simply move from one torture porn-esque scene to the next.

Inspired by a true story, The Revenant is the tale of frontiersman Hugh Glass (Leonardo DiCaprio) who is left for dead by his fellow trappers after being mauled by a bear.  While the party's Captain, Andrew Henry (Domhnall Gleeson), wants the incapacitated Hugh (who has been invaluable to the trappers) to be watched over until he passes, most men in the party (which has already been depleted due to a vicious ambush by the Arikara Indians) feel hauling Glass to safety is harming them all.  With the promise of money from the Captain, rough and hard-nosed John Fitzgerald (Tom Hardy) agrees to wait with Hugh until he dies.  The young Bridger (Will Poulter) and Hugh's half-Indian son Hawk (Forrest Goodluck) stay around with John, but they soon discover that John may be motivated more by the promise of money than keeping Hugh alive and what John does next sets a still-debilitated Hugh to seek revenge on Tom who has truly done him terribly wrong.

For the film's first forty and last twenty minutes, there's a palpable sense of excitement and tension with some of the most brutally realistic and intense fight and battle sequences since Saving Private Ryan.  Grabbing me right away, I found myself questioning the critiques I'd heard that The Revenant is a slow burner.  And then Glass is left for dead and the film just became less and less interesting story wise as Iñárritu seemingly mimics the hazy, dreamlike sequences of Terrence Malick and leaves actual plot behind.  Perhaps I'm being a little too harsh there as we're certainly given "a story" -- it's just that the episodic torturous events that Glass finds himself getting into on his trek to seek revenge on Fitzgerald begin to feel repetitive particularly seeing as how they're interspersed by endless images of babbling brooks or leafless trees or memories of his Pawnee Indian lover.

Leonardo DiCaprio is very good here and his inevitable Oscar win is at least being awarded for a quality role.  While not his most layered performance or his best (that certainly goes to the tour de force turn in The Wolf of Wall Street which I still say is one of the finest film roles I've seen in ages), he conveys everything necessary with his physicality (or lack thereof at times) which is extremely important seeing as how Hugh Glass barely talks for nearly two-thirds of the film.  Tom Hardy continues the trend of creating a difficult-to-comprehend voice for his grizzled character, but Hardy is also strong here in what may be the best role I've seen him undertake thus far.  His motivations, though certainly lacking in morals, are surprisingly understandable given the circumstances of the time and while he's absolutely in the wrong, Hardy makes his character perfectly believable.

Unfortunately, despite many good things -- the film will likely pop up in certain RyMickey Award categories -- The Revenant is simply too long and lacks excitement and momentum.  Much like last year's lauded Birdman (which I overrated with a C+), The Revenant has been incorrectly lauded by many of the Hollywood Elite.  It's got good parts, but it doesn't quite add up to a good whole which is a shame because the positives here are so darn excellent.

The RyMickey Rating:  C+

Movie Review - Brooklyn

Brooklyn (2015)

Starring Saoirse Ronan, Emory Cohen, Domhnall Gleeson, Jim Broadbent, Julie Walters, Jane Brennan, Fiona Glascott, Jessica Paré, Eva Birthistle, Eileen O'Higgins, Eve Macklin, Emily Bett Rickards, Nora-Jane Noone, and Jenn Murray 

Directed by John Crowley

Brooklyn is a lovely romantic piece that not only takes place in the 1950s, but feels as if it could've been made then, without frills and bells and whistles -- simply a heartwarming story with great performances. Here we have decent, good people trying to earn a decent, good living by doing decent, good things.  It's not always easy for folks, but the story of hard work and perseverance rings true in this story of Irish immigrant Eilis (Saoirse Ronan) as she moves to Brooklyn, New York, to try and better her life. Director John Crowley does a nice job balancing some wonderful comedic moments with an incredibly compelling love story, forgoing flashiness for simplicity thereby allowing screenwriter Nick Hornby's script to really come alive with charming performances from an all-around wonderful acting ensemble.

Leaving behind her mother Mary (Jane Brennan), her older sister Rose (Fiona Glascott), and her closest friend Nancy (Eileen O'Higgins), young Eilis Lacey decides to take the plunge of many during the 1950s and move from Europe (in this case Ireland) to America.  With the help of Father Flood (Jim Broadbent), an Irish priest living in NYC, Eilis is set up with a job working at a fancy department store under the watch of the tough Miss Fortini (Jessica Paré) and given a place to stay in a small woman's boarding home headed by the hilarious Mrs. Kehoe (Julie Walters).  Depressed and unable to get out of her funk of homesickness, Eilis has a tough go until she meets the charming and very Italian Tony Fiorello (Emory Cohen) at a local dance held by the Catholic Church.  The sensible and considerate Tony slowly begins to soften the hardened exterior of Eilis and the two begin to fall for one another.  Unfortunately, Eilis soon receives word of a life-changing situation in Ireland which makes Eilis question whether her loyalties should lie in her old homeland or her new one.

Anchoring Brooklyn and perhaps the greatest reason for its success is the performance of Saoirse Ronan as Eilis.  I have not been the biggest fan of Ronan in the past.  Looking back over my reviews of some of her works, I've called her "bland," "unemotional," and, perhaps most damning of all, "one of the most overrated actresses working today."  Well, that has changed with Brooklyn.  Here, she's finally given the chance to play an adult facing grown-up issues and she proves to be utterly captivating.  There's a sullenness and solemness at the start of the film as Ronan fully conveys Eilis's fear and trepidation about starting a new life in America.  As the layers of Eilis slowly unfurl, we find ourselves becoming mesmerized by her happiness.  Although the story of Eilis's journey may seem simplistic, Ronan adds depth and substance -- her eyes, her moments of silence, her ever-so-slight reactions say so much here --  creating a character who the audience roots for and fully embraces.  I obviously must change my tune about Ms. Ronan and I can only hope that the success of Brooklyn and the raves she's receiving open the doors for more adult roles in her future.

Ronan is surrounded by an extremely talented ensemble that add so much to the film.  Emory Cohen brings a believable charm and innocence to Tony.  As soon as he appears, the connection between Tony and Eilis is immediately palpable and from that moment on, I couldn't help but find myself grinning whenever the two characters interacted.  Julie Walters is a scene-stealer as a no-nonsense boarding house matron.  There are multiple scenes in Brooklyn that take place around dinner tables -- and all are hilariously wonderful -- but when Walters anchors her scenes, they really take flight and become adorably amusing.  Eve Macklin, Emily Bett Richards, Nora-Jane Noone, and Jenn Murray also take part in a good many of these dinner table discussions that are brought to life by this quartet of ladies who add much exuberance to the film.  Back in Ireland, Jane Brennan and Fiona Glascott are a huge part of the heart of the film as the mother and sister of Eilis who long for her to have a better life, but also want to see her travel an ocean away.  Domhnall Gleeson is also good in a quiet, understated role as a young Irish man who also pines for Eilis.

Although the stunning costume design by Odile Dicks-Mireaux and lovely production design by François Séguin could certainly count as such, there are no bells and whistles here as director John Crowley creates a rather straightforward classic romance.  But it's that word "classic" that's the key here.  Charm, elegance, simplicity -- all descriptors for this wonderful film.  For a film that could've absolutely been made in the era in which it is set, Brooklyn is oddly timely today given the current political landscape, although it is certainly not in any shape or form a political piece.  Instead, it's a romance for the ages that not only gives homage to the immigrants that formed our country, but also honors our country as a whole for the opportunities it can provide if you strive to work hard and be the best you can be.

The RyMickey Rating:  A-

Movie Review - Star Wars: The Force Awakens

Star Wars: Episode VII - The Force Awakens (2015)

Starring Daisy Ridley, John Boyega, Oscar Isaac, Adam Driver, Harrison Ford, Carrie Fisher, Mark Hamill, Lupita Nyong'o, Peter Mayhew, Andy Serkis, and Domhnall Gleeson

Directed by J.J. Abrams
***viewed in 3D***

You must remember that I come at these Star Wars films as a complete novice, having only watched A New Hope a mere 30 hours ago for the first time as I type this.  And it's true that I've yet to watch (or subject myself to) Episodes I-III.  However, at this point in time, I'm going to just state the following:  Star Wars: Episode VII - The Force Awakens is, without question, the best Star Wars flick I've seen thus far (and likely the best that has been created if others' trashing of the newer trilogy holds true for me).  Nothing I've seen so far can compare in terms of story, acting, directing, and special effects (which, granted, have a leg up on the 1970s/80s predecessors in terms of capability).  It's a pretty darn good popcorn movie and while I certainly wouldn't consider myself a huge fan by any means, The Force Awakens has at least got me excited about what Disney has in the pipeline for this iconic series.

With the least amount of spoilers possible, the film opens with our typical scroll telling us that Luke Skywalker (Mark Hamill) has vanished and that a new villainous regime -- The First Order --has taken on the Empire's dastardly doings and will stop at nothing to find Luke whom they presume to be the last Jedi.  Now a general for the Resistance, Leia (Carrie Fisher) is desperate to find her brother and save the galaxy.  In an attempt to determine his location, Leia sends pilot Poe Dameron (Oscar Isaac) to Jakku to do some research.  Poe's one of the good guys as is Rey (Daisy Ridley) -- a scavenger who may be a more important figure in the fight against evil than even she realizes -- and Finn (John Boyega) -- a Stormtrooper who sees the error of the First Order's ways and has a change of heart.  Our heroes along with returning favorites Han Solo (Harrison Ford) and Chewbacca (Peter Mayhew) set out to fight the bad guys, headed this time by Supreme Leader Snoke (Andy Serkis), General Hux (an over-the-top Domhnall Gleeson), and Kylo Ren (Adam Driver) who, like Darth Vader who came before him, carries off a black cloak and face mask complete with voice digitization quite well.

Director J.J. Abrams has created a film that obviously harkens back to the original trilogy, but also stands on its own as a jumping off point to further tales in the Star Wars landscape.  He eschews the light flares that he's been well known for (and well criticized for) as a director and has created a flick that looks beautiful.  The film moves along at a quick pace and although I still think, like its predecessors, some of the action scenes are a little muted in terms of excitement (light saber battles don't do it for me), Abrams has created a film that flows much better than those films that immediately preceded it.  (Although I will say Abrams only uses about two or three transitional scene-changing wipes.  I missed them a bit...)

It helps, of course, that the film is well-written, certainly with homages to the past, but standing on its own as well.  (Kudos to Lawrence Kasdan, Michael Arndt, and Abrams himself.) Filled with moments of wry humor and some taut drama, The Force Awakens doesn't really have wasted scenes which I feel hampered Episodes IV-VI a bit.  Abrams also, without a doubt, has found a cast that is quite adept, nicely walking a line between action, drama, and comedy without missing a beat.  With one exception in the aforementioned Domhnall Gleeson whom I usually really like but feel he was directed to go a bit manic, all of the newcomers were captivating, drawing me in to their own stories while also breathing new life into the stories of the "old regime" of Han, Leia, and Luke.

Rather nicely, Abrams doesn't overextend himself with the special effects.  Yes, there are a ton of them here, but they seem more natural and composed than the effects in IV-VI.  Obviously, this is partly due to advancements in technology over thirty years, but some of it also has to do with knowing the limitations of what looks organic onscreen and what doesn't and Abrams is right on target visually.  The addition of an incredibly amusing ball-shaped robot BB-8 - which most of the time is a practical and non-CGI effect - showcases the positive manner in which Abrams utilizes his visual effects to their fullest potential.

Needless to say, Star Wars: Episode VII - The Force Awakens should not disappoint.  Fanboys should love the homages to the past, while non-fanboys should appreciate the new story lines that work surprisingly well.  This is a pretty great start to the reinvention of the Star Wars franchise.

The RyMickey Rating:  B+

Movie Review - Ex Machina

Ex Machina (2015)

Starring Domhnall Gleeson, Alicia Vikander, and Oscar Isaac

Directed by Alex Garland

It's always special when a movie really makes you ponder things while watching and Ex Machina does just that as I found myself questioning whether technology is advancing too rapidly for humans to really comprehend its effects on our culture.  Here, young computer whiz Caleb (Domhnall Gleeson) is chosen by his reclusive boss Nathan (Oscar Isaac) to come to his remote home to meet with him.  Unsure of the reason for the visit, Caleb soon discovers that Nathan would like him to test the effectiveness of a female A.I. he has created to see if it would be possible for her to pass as a human.  Through a series of tests over the course of a week, Caleb gets to know Ava (Alicia Vikander) who, despite a lack of skin over most of her body, seems to be reacting to his questions in incredibly humanistic ways.

The issue then raised -- and which is certainly the basis for much conflict within the film -- is whether or not Ava is too human in that she has the ability to manipulate real humans into believing everything she says.  Caleb finds himself confused by Ava's responses at times, and although Nathan feels fairly confident that he knows Ava's true being since he programmed her, Caleb begins to question his boss's motives and sanity as the days progress.

There's an overarching sense of uncomfortableness that pervades the atmosphere of Ex Machina, a film that isn't so much a thriller as it is a thinking man's horror film.  As I write this review right now, there is a legitimate news item circulating the web about the fear of man-created robots utilizing their artificial intelligence to wreak havoc on their creators.  Of course, the Terminator franchise treaded this water long ago, but Ex Machina ponders these same questions with a more science-minded thought process that I found absolutely intriguing.

The film is anchored by three fantastic performances by Gleeson, Isaac, and Vikander who essentially have the only three speaking roles in the piece.  Each character has its own distinct personality that the actors vividly capture with all three really grabbing hold of the hefty parts they've been written.  I found each member of the trio compelling in their own ways and as the film progresses I found their character arcs and changing mindsets to be believably portrayed.

In his debut film as a director, Alex Garland is exceedingly successful, crafting a film that while slow paced never feels plodding or as if it's overstaying its welcome.  Having also scripted the film, Garland doesn't shy away from the "talky" moments of exposition which admittedly on first glance seem a tiny bit tedious as the story unfolds.  However, I imagine on a repeat viewing (which I will likely give before next year's RyMickey Awards), the detailed dialog will come together with a little more purpose.  Garland also excels at making the film feels expensive despite a relatively low budget in its luxurious production design and nice special effects.

Overall, Ex Machina is a winner - a science fiction film that makes us question the lengths to which machine is helping man.  Are we overstepping our bounds and will technology do us more harm than good?

The RyMickey Rating:  B+

(Although I must admit that I'm awfully close to an A- on this one...it just felt a little too "talky" on the first watch.  I'm sure on repeat viewings this feeling dissipates, but I will have to wait until then to up the grade.)

Movie Review - Calvary

Calvary (2014)

Starring Brendan Gleeson, Chris O'Dowd, Kelly Reilly, Aidan Gillen, Dylan Moran, Isaach de Bankolé, M. Emmet Walsh, Marie-Josée Croze, Domhnall Gleeson, David Wilmot, Pat Shortt, and Gary Lydan

Directed by John Michael McDonagh

I'm going to be honest with you.  Despite having an English degree, I had to look up the definition of "calvary" as I was really only familiar with the term "cavalry," dealing with a military force.  "Calvary" is either "a sculptured representation of the Crucifixion, usually in the open air," or "an experience or occasion of extreme suffering, especially mental suffering."  Needless to say, by the end of Calvary both of those definitions will make sense to the viewer.

Now with that out of the way, if you look at the cast list above, you'll notice a lot of names -- most of which you're likely unfamiliar.  However, I felt the need to include them all because Calvary is an ensemble piece of a film with Brendan Gleeson at its center as Catholic priest Father James as he struggles to deal with the fact that in a closed confessional a member of his parish tells him he was abused as a child by a priest and plans on killing Father James in one week's time as recompense for the Church's abuse.  As Father James struggles with whether to inform the authorities, attempts to confirm the identity of the confessor, and also determine if there's any veracity to the threat, the priest travels throughout the small Irish town talking about a variety of things with his parishioners.

Despite the heaviness of the overarching (and always present) death threat, Calvary is more about the inhabitants of the town itself.  More than three-quarters of the film is simply Father James visiting his people and discussing their sins, problems, and aspirations.  Therein, unfortunately, lies Calvary's biggest problem -- rather than feel like a fully realized film, it feels like a series of vignettes.  I realize that overall they all contribute to Father James' emotional state in what could possibly be his final days, but the film lacks a really important "through line" with which all of the tortured lives of the Irish town's residents really come together.  It feels more episodically play-like than a well-rounded film.

I appreciate director-screenwriter John Michael McDonagh's ambition here.  The simplicity of the film is interesting and the overall concept is unique with several of the townsfolk's stories proving to be emotionally stimulating.  Still, while Calvary is better than McDonagh's first film The Guard, I couldn't help but find myself teetering on boredom multiple times with the film not quite equalling the sum of its many, many parts.

The RyMickey Rating:  C

Movie Review - Unbroken

Unbroken (2014)

Starring Jack O'Connell, Domhnall Gleeson, Miyavi, and Finn Whitrock

Directed by Angelina Jolie

The courage and sheer will to survive of Mr. Louis Zamperini is incredible and, considering how thematically inspirational it is, I'm surprised his fascinating story hadn't been brought to the screen prior to director Angelina Jolie's Unbroken was released in 2014.  Here's a guy who went from being a misfit child to an Olympic runner to a soldier whose plane was shot down near Japan after which he spent 45 days floating on the ocean with two of his fellow heroes...only to be captured by the Japanese and taken to a prison camp where he found himself the target of a vicious general.  You can't write something like that and make it seem believable if it didn't really happen...but since it did really happen, you can only be in awe of the willpower of Zamperini.  Unfortunately, Jolie's movie doesn't quite find itself firing on all cylinders, wasting most of its gas in the film's admittedly very good first half and petering out in the end.

Jolie crafts a perfectly adequate film in Unbroken and it's obvious that she has the utmost respect for Zamperini (played in the film by Jack O'Connell), but despite the crisp look of the piece, the film feels oddly empty.  For all of this guy's struggles, I never found myself emotionally invested in the character in the way that I wanted to be.  Jolie is absolutely at her best in the scenes after the plane crash in the riveting time at sea on two small yellow rafts with Zamperini and his two fellow soldiers Phil and Mac (Domhnall Gleeson and Finn Whitrock).  When her focus shifts to the Japanese war camp headed by the sadistic Watanabe (played by Miyavi) in the film's final hour, the emotional struggle to survive so present in the film's first half fades away when it should've become perhaps even more relevant.  Unable to carry this important emotional aspect through the entire piece is a bit of a disappointment.

With great technical aspects all around -- cinematography, score, costumes -- and solid acting, the potential for Unbroken seems disappointingly untapped.  This is the first film I've seen directed by Jolie and I appreciate her eye behind the lens.  Considering the obvious admiration she holds for Mr. Zamperini, it's a shame the film didn't resonate as emotionally impactful as it should have.

The RyMickey Rating:  C+

Movie Review - Frank

Frank (2014)

Starring Domhnall Gleeson, Michael Fassbender, Maggie Gyllenhaal, and Scoot McNairy

Directed by Lenny Abrahamson

***This film is currently streaming on Netflix***

There was something so promising about the quirky (yet not too quirky) and whimsical opening thirty minutes of Frank that I was hoping the inner smiling that was going on in me would continue as I watched director Lenny Abrahamson's film unfold.  That was not to be, however, as the second thirty minutes of Frank felt simply like a rehash of the first thirty minutes (with no real significant changes) thereby causing me to check out of the film as a whole just as it decided to get serious during its final thirty minutes.  Unfortunately, Frank only works a third of the time -- and that just doesn't cut it.

Domhnall Gleeson is Jon, a struggling young artist who wants nothing more than to have a successful career in music.  While walking along the British shores one afternoon, he sees a man attempting to drown himself in the ocean.  The saved man happens to be a keyboard player for the weird alternative band The Soronprfbs and Jon is invited on a whim to join them for the evening and replace the suicidal pianist.  When Jon arrives at the gig, he discovers that the lead singer is a guy named Frank (Michael Fassbender) who wears a large papier-mâché head which he never removes.  While certainly odd, Jon joins the band as they embark on an odyssey of creating their next album.

Gleeson is one of the decade's most promising rising stars for me and he doesn't disappoint here either.  From the very beginning of the film, he exudes a natural charm that makes it impossible not to root for his character.  Taking a more comedic turn than we're used to seeing from him, Michael Fassbender also proves to be compelling as the title character, bringing a surprising amount of heart, humor, and expression to a role that hardly ever allows us to see his facial expressions at all.

Unfortunately, despite these two rather good performances, Frank flounders as it progresses which is a shame because it starts so very promisingly.

The RyMickey Rating:  C

Movie Review - About Time

About Time (2013)

Starring Domhnall Gleeson, Rachel McAdams, Bill Nighy, Lydia Wilson, Lindsay Duncan, and Margot Robbie

Directed by Richard Curtis

For some reason, I thought Richard Curtis was a much more prolific director than he actually is.  The helmer (and screenwriter) of one of the best romantic comedies of all time -- Love Actually -- has actually only gone behind the camera one other time since that 2003 flick with the disappointing ensemble comedy Pirate Radio.  Needless to say, I found myself a bit excited when I discovered he had a new film on the horizon, but About Time came and left the theaters very quickly in November and, admittedly, its trailers featuring a time-jumping main character left me a little perplexed (and, based off the poor grosses, left other moviegoers befuddled as well).

I'm quite happy to say, though, that About Time is a charming piece, lovingly crafted with humor and heart, and features some very nice performances from its cast.  While the film does definitely place an emphasis on time travel, the premise is actually easy to understand.  When we first meet the twenty-one year-old Tim (Domhnall Gleeson), he has had a disastrous evening at a New Years' Eve party at his parents' home in rural England.  While at the party, Tim's father (Bill Nighy) takes him aside and tells him that the men in their family have an unique ability to travel in time to places and times they have been before (hence, no jumping ahead).  The whole process takes some getting used to for Tim, but he eventually grows to utilize it to his advantage in order to achieve success in all aspects of his life including the romance department, particularly when he meets the American Mary (Rachel McAdams).  The two click fairly instantly and their romance blossoms.

Rather surprisingly, the film doesn't throw tons of obstacles in Mary and Tim's way, nor does it really prolong their courtship.  Instead, we look at their loving relationship and how Tim's time travel helps certain aspects of their life.  However, as Tim soon realizes, not every time traveling moment works to his advantage and just because he changes his actions in a "reboot" doesn't mean others around him will react to situations any differently.

The film succeeds on charm and humor and most of that stems from Domhnall Gleeson whom I vaguely remember from the Harry Potter films, but not much else despite being in several flicks over the past few years.  He's charismatic, quite adept at balancing the comedic and dramatic aspects of the plot, and completely sold me on the fact that his character would be a guy someone like Rachel McAdams would fall for.  McAdams' character is admittedly somewhat left on the back burner and, despite this being a film about their romance, About Time ends up focusing moreso on the relationship between fathers and sons -- a rather odd concept in a romantic comedy, but one that (perhaps because I'm a guy) I found refreshing and rather touching.   Bill Nighy is funny as always, but he's a bit more subdued here than in Love Actually or Pirate Radio and it's a nice change of pace.

I've been sitting on this review for awhile because About Time is one of those films that I really liked, but couldn't quite spit out why I liked it so much.  This review didn't really do it justice, but I strongly recommend this one.

The RyMickey Rating:  B+