Motherless Brooklyn

Motherless Brooklyn (2019)

Starring Edward Norton, Bruce Willis, Gugu Mbatha-Raw, Alec Baldwin, Willem Dafoe, Bobby Cannavale, Cherry Jones, Michael K. Williams, Ethan Suplee, Dallas Roberts, and Leslie Mann

Directed by Edward Norton

Written by Edward Norton

Click here for my Letterboxd review

The RyMickey Rating: C-

The Cloverfield Paradox

The Cloverfield Paradox (2018)

Starring Daniel Brühl, Elizabeth Debicki, Aksel Hennie, Gugu Mbatha-Raw, Chris O'Dowd, John Ortiz, David Oyelowo, Zhang Ziyi, Roger Davies, and Clover Nee

Directed by Julius Onah

Written by Oren Uziel

***This film is currently streaming via Netflix***

Click here for a link to my Letterbxd review

The RyMickey Rating:  D+

Movie Review - Miss Sloane

Miss Sloane (2016)

Starring Jessica Chastain, Mark Strong, Gugu Mbatha-Raw, Alison Pill, Michael Stuhlbarg, Jake Lacy, David Wilson Barnes, Dylan Baker, Christine Baranski, Sam Waterston, and John Lithgow

Directed by John Madden

***This film is currently streaming via Amazon Prime***

There's certainly an undeniable anti-gun tone that squirms its way through Miss Sloane, a seedy look at the art of lobbying in Washington, D.C., but even this conservative is okay with that as I tend to agree that we need some greater from of oversight when it comes to our firearms in this country.  So while I was personally able to look beyond the slant, others may be less inclined.  With that in mind, Miss Sloane does take us inside the cutthroat world of lobbying, but it's a tad too emotionally detaching to really succeed at sucking me in.

That lack of emotional connection comes from the sheer brittleness of its headstrong, ballsy, and determined titular character Elizabeth Sloane played by Jessica Chastain.  Sloane is emotionally attached only to her job -- every relationship is sidelined, every waking minute is spent trying to advance what she's lobbying for at the moment.  Chastain is an actress who has the strength to take on a role like this -- a role where emotions are waylaid for gritty steadfastness.  Yet, as is the case with many of Chastain's roles, the lack of warmth in the character of Miss Sloane makes it almost difficult to really become invested.  Chastain is always an admirable performer, but the brittleness she brings to Miss Sloane is a bit disarming and admittedly harmed the film a bit for me.

(Sidetrack:  Would I say this about a male in this role?  Is it unfair that I make this comment about a female performance?  Maybe it's time to be a bit introspective, because I'm honestly not sure.  Do I need a female lead to have a more emotionally resonant character because I'm used to females being a little more emotional onscreen?)

That isn't to say that Chastain isn't successful in creating an interesting character -- she, along with Jonathan Perera's screenplay do just that.  The problem is that Perera's screenplay has one too many manipulations and oneupmanships by Sloane and her adversaries to really feel truly believable despite a game cast doing their best.  Sure, I'm certain underhandedness runs rampant throughout our nation's capitol, but that doesn't mean it always translates into a believable cinematic experience.  There's a convoluted nature to the film that director John Madden isn't able to wrangle and the flick suffers from a lack of brevity.

The RyMickey Rating:  C+

Movie Review - Free State of Jones

Free State of Jones (2016)

Starring Matthew McConaughey, Gugu Mbatha-Raw, Mahershala Ali, and Keri Russell

Directed by Gary Ross

Unfairly maligned upon its release last year, Free State of Jones isn't without its faults, but thanks to strong performances by Matthew McConaughey, Gugu Mabatha-Raw, and Mahershala Ali, it's a solid look at a revolt against the Confederacy in the mid-1800s.  McConaughey is Newton Knight, a battlefield medic helping the Confederate Army who secretly returns home after he witnesses the death of his young nephew in battle.  His desertion won't sit well with those fighting against the Union, so with the help of his wife (Keri Russell), Newton hides out at various places in the area before finally having to take up residence in a swamp with several escaped slaves including Moses Washington (Ali) whom he befriends.  While in the swamp, he also comes to know Rachel (Mbatha-Raw), a literate slave, and their friendship leads to a romance.  Eventually, after several failed Confederate battles, more white men come to the swap to hide after desertion and Newton begins to rally these men along with the escaped slaves to form a militia to fight against the Confederate Army's forcible raids of Southern homes for livestock, food, and supplies.  Together, they form the Free State of Jones County and set out to battle the Confederate Army themselves.

The biggest reason Free State of Jones works so well is because of the cast.  McConaughey gives a great performance as the beleaguered Newton, worn down by the death of his nephew and the raiding of the homes of his family and friends.  You can palpably feel his disgust with the Confederacy and their actions and his vigor to try and fight the regime builds crescendo-like throughout the film's second half.  Gugu Mabatha-Raw and Mahershala Ali's characters are slightly less well-rounded, but they nevertheless make their roles captivating.  Mbatha-Raw, in particular, is saddled with the "romance" aspect of the plot and not given a whole lot else to work with, but she's still a great addition here.

The film falters a bit in the pacing by director Gary Ross -- its nearly two-and-a-half hour runtime feels it at times, particularly towards the beginning -- and the fact that a weird time jump to the 1950s that occurs multiple times throughout the piece is strongly out-of-place and unnecessary.  However, this is a better film by far than the somewhat similarly themed The Birth of a Nation which also came out the same year.

The RyMickey Rating:  B-

Movie Review - Beauty and the Beast

Beauty and the Beast (2017)

Starring Emma Watson, Dan Stevens, Luke Evans, Josh Gad, Ewan McGregor, Gugu Mbatha-Raw, Audra McDonald Stanley Tucci, Kevin Kline, Hattie Morahan, Nathan Mack, Ian McKellan, and Emma Thompson

Directed by Bill Condon

Although I stopped my Disney Discussion before I got to their fantastic 1991 animated classic, it should be noted that the original Disney Beauty and the Beast is my second favorite film of all time.  (Only Psycho tops it.)  Needless to say, I was not avidly looking forward to Disney's live-action remake.  Much like the 1998 nearly shot-for-shot remake of Psycho which proved to be a waste of time when the infinitely superior original exists, I was extraordinarily hesitant heading into a theater to watch the remake of Beauty and the Beast.  While I'd love to say that this 2017 version is a glorious take on the classic animated film, I can't in the slightest.  Instead, I found myself asking the the following question throughout:

Why does this film exist if its creative team is not going to make a single thing better than the original?

Here's the thing about this 2017 version of Beauty and the Beast -- the story still holds up incredibly well.  I was never bored as I watched the tale of Belle (Emma Watson) and the Beast (Dan Stevens) unfold with the layers of their distrust in one another changing to love blooming in its place.  The nuances of Alan Menken's music and the late Howard Ashman's lyrics still paint a lovely picture in song and add pivotal characterizations to the film's core ensemble.  Yet despite a few new songs and some odd and misguided changes to the story, director Bill Condon has assembled a film that hews much too close to the original to have a feeling that it's its own unique piece.  If the only purpose of this film is create the same exact tone and feel of its animated predecessor but to do so in live action, what was the point other than to simply be a major cash grab for the Walt Disney corporation?

Frankly, it's obvious that there was no other point.  This is a cash grab through and through, moreso than any of the previous Disney live action remakes of the past few years.  Despite its epic failure, Alice in Wonderland at least was manically what it was.  Maleficent took on the Sleeping Beauty story from a different perspective.  Cinderella gave us more well-rounded and deeply developed characters.  The Jungle Book provided a sensory special-effects experience that was visually enticing.  This Beauty and the Beast does none of that, instead insisting on staying so close in tone to its predecessor that its reason for existence proves moot.  Sure, the film attempts to give us a little more backstory to Belle and the Beast (hence its 30-minute-plus longer runtime than the richly developed, yet concise original), but that exposition proves to be silly most of the time rather than insightful.  (As an example, one of the few unique moments of the piece -- a journey back in time to when Belle was a child -- seems aggravatingly unnecessary despite its attempt at character development.)

I realize my last parenthetical comment seems contradictory to my biggest qualm with the film.  Here I am complaining about this iteration's lack of originality and yet I'm berating its attempts to be different at the same time.  I was all for "difference" here, but there has to be a reason for it and I found most of the film's changes disappointingly uncreative.  Frankly, the best change is one that's been widely criticized in a large chunk of the reviews I've read.  Following their dance to the titular song (which is a huge let-down in and of itself in both visual and aural execution), Belle runs home to her father who she discovers is being harmed by the maleficent Gaston (Luke Evans -- the one shining aspect of the piece).  The Beast is in emotional shambles, destitute that his one true love (and his one chance of overcoming the horrible spell that's been placed upon him) has run away.  He sings a desperately emotional plea in the new song "Evermore" which, while not quite as emotionally heartbreaking as Broadway's equivalent version of this number "If I Can't Love Her, still succeeds in cluing the viewers in to the Beast's psyche at the time.  This unique moment is what I wanted more of from this film and instead director Condon, writers Stephen Chbosky and Evan Spiliotopoulos, and the Disney corporation have just regurgitated nearly everything that made the animated film so fantastic.  The second time isn't always the charm, however, and that's the case here.

Emma Watson is lackluster (though serviceable) as Belle.  She lacks the charisma present in the animated character and while Watson's Belle is perhaps a bit more assertive and "feminist" (in a good way), there's an emotional blankness behind her eyes in many of the scenes.  I'll also never understand why one's singing voice isn't always a top priority when casting actors in a musical.  Sure, some musical films -- La La Land, as an example -- can skate by on the charm of the characters whose less-than-perfect singing actually adds a layer to their cinematic personas.  I simply don't think that works in a movie like this which sets itself up as an old-school stylized musical.  Being able to sing is important here and with the exception of a few adequate moments in the song "Something There," Watson lacks the emotional phrasing needed to succeed when starring in a movie musical.  Dan Stevens as the Beast fares a little better with the aforementioned "Evermore" number granting him an opportunity to give his character some hefty gravitas.  Granted, his performance is essentially crafted by motion capture special effects experts, but I found the Beast to be a well-animated effect at least.

Unfortunately, that's more than I can say for many of the other special effects-created animated supporting cast who take on the forms of candlestick Lumiere (Ewan McGregor), teapot Mrs. Potts (Emma Thompson), clock Cogsworth (Ian McKellan), feather duster Plumette (Gugu Mbatha-Raw), armoire Madame Garderobe (Audra McDonald), and piano Maestro Cadenza (Stanley Tucci).  None of these performers (with perhaps the exception of Mbatha-Raw) do a thing to exceed their marvelous vocal predecessors who came before them and their gothic, dark design is almost always visually unappealing.  Essentially all doing voice-overs, the heart and charm of the animated film is lost in this version's characters.  Pivotal moments like "Be Our Guest" and "Beauty and the Beast" are disappointingly staged, poorly re-enacted, and oddly paced and sung by the likes of McGregor and Thompson, creating emotional vacuums where there should've been charm and heart.

The funny thing after writing all of the above which should seemingly yield a scathing rating below is that inherently the story behind Beauty and the Beast is still a successful one and since this version hardly deviates from the original, it's not an all-out failure.  While nothing in this go-around is better than the original -- although Luke Evans interpretation of Gaston comes awfully close as he fully embraces the hammy machismo that shaped that character in the animated version -- it's tough to say this film is unwatchable.  What I can't understand, though, is why anyone would want to watch this version when a perfect version of this same story is available.  Inherently, I do have problem with Disney reaching back into its animated vault to create live action versions simply to pad its coffers (albeit with boatloads of money if this film's success is any indication).  However, it they're going to have to do it, they need to at least be willing to deviate somehow from the original especially if it's one as perfect as Beauty and the Beast.

The RyMickey Rating:  C

Movie Review - Concussion

Concussion (2015)

Starring Will Smith, Alec Baldwin, Albert Brooks, Gugu Mbatha-Raw, Mike O'Malley, Eddie Marsan, Hill Harper, Luke Wilson, and David Morse

Directed by Peter Landesman

In better directorial hands, Concussion would've been a great film.  As it stands with second-time director Peter Landesman at the helm, it's simply a good film that can't quite overcome some schlocky sentimental visuals that hamper the important and intriguing true story at its core.

Nigerian-born Dr. Bennet Omalu (Will Smith) is a forensic pathologist for the city of Pittsburgh's coroner's office.  When former Pittsburgh Steelers' football player Mike Webster (David Morse) is found dead in his pick-up truck after a prolonged mental break-down that left him in a disoriented, woeful, and suicidal state, Omalu happens to be the coroner on hand to do the autopsy.  During his work, Omalu discovers that Webster had severe brain damage consistent with repeated blows to the head.  In subsequent years, additional football players follow a similar mental break-down to Webster and Omalu is able to perform the autopsies on these individuals as well, discovering a consistent pattern of brain damage.  Certain of his findings, Omalu decides to write an article in a medical journal, but this sets up a war between the doctor and one of the most profitable organizations on the planet -- the National Football League -- a group that, as Omalu's boss Cyril Wecht (Albert Brooks) says, "owns a day of the week."

Dr. Omalu is a fascinating figure, tremendously smart, well-mannered, and strong, and Will Smith portrays him with much dignity.  While I'm not quite sure he deserved that Oscar nomination that his wife deemed appropriate, Smith is a captivating presence here alongside Gugu Mbatha-Raw who portrays his friend-turned girlfriend-turned wife.  Their scenes together are poignant, albeit a little treacly at times.  That sentimental mushiness comes on too strong accompanied by some generically obvious visual cues from the director that mar the film particularly in its latter half when the tension between Omalu and the higher-ups in the NFL should be at its most enervating.  It's the second half that disappoints the most with the film sometimes shifting to an odd thriller aspect (unknown men following Omalu's wife, threatening phone calls, etc) that simply doesn't fit well with the heavier (and better executed) dramatics of the film's first half.  Still, Concussion works as a film and is worth seeing as it exposes a side of the NFL that they wished to stay hidden for years.

The RyMickey Rating:  B-

Movie Review - Beyond the Lights

Beyond the Lights (2014)

Starring Gugu Mbatha-Raw, Nate Parker, Minnie Driver, and Danny Glover

Directed by Gina Prince-Bythewood

From a young age, Noni always had some strong vocal chops and her mother Macy Jean (Minnie Driver) took full advantage of trying to exploit them at local talent shows around London.  As time passed, that exploitation found itself being amplified many times over and twentysomething Noni (Gugu Mbatha-Raw) finds herself on the cusp of superstardom after having been featured in the successful songs of a famous rapper.  After winning a Billboard Music Award for her collaboration, Noni finds herself devastated as opposed to happy as her industry is simply pushing her sex appeal rather than her talent.  Saddened, Noni attempts to commit suicide by jumping off her hotel balcony, stopped only by the valiant efforts of a young cop named Kaz (Nate Parker).  Regular guy Kaz reminds Noni that she's worth more than the music industry is making her out to be and, much to her mother's chagrin, Noni begins to question her calling in life.

Beyond the Lights certainly has something to say about the music industry's incessant push to sexually exploit its female stars and director-screenwriter Gina Prince-Bythewood places this misogynistic tendency front and center in the film's less successful first half.  While I certainly understand the importance of setting up Noni's sexualization, these attacks of the industry as a whole seem too obvious and sometimes over-the-top.  As the film progresses, though, and Noni begins to question the true price of fame on her psyche, Beyond the Lights blossoms into something with much more depth than we're used to seeing.

At the center of the film is a nice performance from Gugu Mbatha-Raw who shows us a complicated woman in Noni.  The allure of fame, the need to please her mother, the vulnerability she feels when she discovers she may want something different for herself -- all mix together to create a complex creation that really comes alive in the film's second half.

Similarly, Mbatha-Raw's performance is matched by Minnie Driver whose role as Macy Jean could've simply been that of a typical stage mom, but instead is a smart woman whose drive for herself and her daughter was never meant to be destructive, but may well just be that.  While Macy Jean may see Noni falling apart at the seams, she pushes these issues away in order to travel on the road to success.  Macy knows that her daughter's got a set of pipes, but she also knows that the only way to stardom is through the lens of the male gaze coupled with female objectification.

Beyond the Lights is much more successful in its second half as Noni comes to grips with leaving behind her fame, disappointing her mother, and falling in love with a man who has drastically changed her outlook on life.  It's in this part of the film that I feel Prince-Bythewood gives us a taste of something we don't often see in films, abandoning some of the stereotypical tropes of the first half and allowing us to glimpse the slow unveiling of Noni's true self beyond the lights of fame.

The RyMickey Rating:  B

Movie Review - Belle

Belle (2014)

Starring Gugu Mbatha-Raw, Emily Watson, Tom Wilkinson, Sam Reid, Tom Felton, James Norton, Miranda Richardson, Penelope Wilton, Sarah Gadon, and Matthew Goode

Directed by Amma Asante

Belle is by no means a bad movie, but I'm flabbergasted that this British period piece sits at an 83% Fresh rating on RottenTomatoes.  While it's true that it tells a story we haven't seen before (not easy when it comes to this genre), the film is quite simplistic, lacking a fervent bite that I feel like it could have had.

Belle tells the tale of Dido Elizabeth Belle Lindsay, the daughter of Captain John Lindsay (Matthew Goode), a well-respected British naval officer who falls in love with a black woman while in Africa who ends up having his baby.  Upon her mother's death, Captain Lindsay takes Dido to England where he asks his uncle Lord Mansfield (Tom Wilkinson) and his wife (Emily Watson) to look after Dido while he's off at war.  Much to their initial chagrin for fear of how this mixed race child will appear to the rest of society, they agree to raise Dido (Gugu Mbatha-Raw) as a free woman along with their other niece Elizabeth (Sarah Gadon).  Years later, Captain Lindsay dies and leaves Dido a significant amount of money.  This dowry is quite appealing to some English men despite the impropriety that stems from the possibility of marrying a black woman.  Although Dido and Elizabeth were quite close growing up, Dido's bequeathment is more substantial than what Elizabeth can offer which sets up much tension amongst the Mansfield's nieces.

Ultimately, this PG-rated film tells an interesting tale -- one that next to no one is familiar with -- but it fails to lift itself to something truly appealing.  The acting is all quite good -- Gugu Mbatha-Raw makes the best of what I think is a surprisingly underwritten role -- but with the exception of one or two scenes, the flick lacks any drive or excitement.  What could've been a somewhat interesting take on racism in the late 1700s devolves into a love triangle that just doesn't carry the same weight as the story deserves.  A nice effort -- with well-done below-the-title craftsmanship and adequate direction -- but Belle misses the mark a little bit.

The RyMickey Rating:  C