Daily Archives: November 29, 2019

Motherless Brooklyn (2019)

I remember reading this novel back in college, so it’s been a long road for Jonathan Lethem’s crime story to find its way to the big screen. Motherless Brooklyn is a decade-plus passion project for star/adapter/director Edward Norton, and it’s easy to see why an actor would want to latch onto the lead role. Lionel Essrog (Norton) suffers from Tourette’s syndrome and is given to verbal and physical tics he needs to indulge or else his brain feels like it will explode. He’s our eyes and ears into a criminal world that views him as a freak. It’s an intriguing vulnerability given sympathy, forethought, and it’s an intriguing way to make something old new again through a disadvantaged lens. Norton is great in the lead and Lionel feels like a companion portrait to Joaquin Phoenix’s Joker, another struggling man given to unconformable physical outbursts that make him feel isolated from society. The book was fascinating from being inside this unique headspace and understanding how Lionel’s brain operated with obsessions and various pressure valves. The movie, which Norton rewrote completely and set in the 1950s, is an acceptable film noir, but without that specific perspective it would get lost. It’s handsomely made and has plenty of enjoyable actors in supporting roles. There’s an intelligence to the storytelling and power dynamics, but the movie is also a bit too smart for its own good, losing its way in a convoluted mystery where the pieces don’t so much add up as they’re just given to you after a long enough wait. And the wait is long. This is 144 minutes and takes its sweet time, applying more and more layers of intrigue and period settings like Norton is checking a list of Noir Elements to include in his first directing work in 19 years (Keeping the Faith, anyone?). The world itself is surface-level interesting but the main character is the real hook, so getting more of the world without going deeper on the character, or expressly placing him in different predicaments where he can utilize his unheralded abilities, feels like wheel spinning. Motherless Brooklyn is strictly for genre fans or those who don’t need much more from their movies than a high-concept quirk.

Nate’s Grade: B

Charlie’s Angels (2019)

Where exactly did this go so wrong? The rebooted Charlie’s Angels is based on a property that the general public has little investment in 2019 and it seems like nobody was aching for another movie. The early 2000s Angels movies were fun and had some big names attached and it was the debut for music video director McG, a guy who knew his way around visual decadence. I think the first wrong step was hiring Elizabeth Banks to both write and direct. Banks has been a highly successful actress and recently directed Pitch Perfect 2, but a fizzy spy thriller is another matter entirely, and the end results of the new Angels doesn’t help. Scene to scene, timing and shot selections just feel off, and there’s one sequence I’ll use as an example of the whole. Sabina (Kristen Stewart) is chasing after a bad guy. He’s in a car and she’s on a horse. You would naturally think, given that dynamic, you’d want to showcase the speed and fluidity of the horse with wider shots, the horse getting closer, and yet the camera jumbles between awkward close-ups, clumsily edited together, sapping all energy from the action and making me wonder if there were logistics challenges to cut around. The action is so lackluster but the story is also needlessly convoluted and unclear, with things meant to be revelations that I thought were obvious, and things that the movie thought were explained that were very much inexplicable. Sabina and Jane (Ella Balsinka) just assume Elana (Naomi Scott), a tech engineer roped into an adventure, will just pick up on things without explanation. They leave her a package of mints that aren’t really mints but she, and we, don’t know what they’re for. The rules are unclear and there are so few setups and payoffs. At no point does the movie give me anything to grab onto, whether it’s a interesting set piece, a villain with a colorful personality, or some surprise turn. This is a very thoroughly bland movie that seems to serve its empowerment message above all else, sacrificing action, comedy, and good plotting along the way to beat the drum. I’m on Banks’ side here, but there were moments that just made me roll my eyes with how heavy-handed the “girls can do it too” message was, like a montage of women across the world doing things like science and sports and friendship; it felt like I was watching a hacky campaign commercial. I will say there is a refreshing lack of male gaze even as the Angels are dressing up in sexy outfits to entrance weak men. The cast is the real highlight and they have a charming chemistry together, enough that given a stronger script or a more adept director I could envision this trio really succeeding. The end credits present Elana going through a series of Kingsman-style trials to enter Angel Academy, and that’s when I yelled, “This is the movie I should have been seeing! Angel Academy!” The 2019 Charlie’s Angels reboot is a wash. The humor is strained, the high-tech gadgets and spy set pieces are so haphazard, the plot is convoluted without being intriguing, and there just isn’t a feel for the genre material from Banks as its leading creative vision. It doesn’t fail because it’s too woke, or whatever the self-pittying Men Rights Activists of Twitter claim, but because it didn’t know how to be the movie it wanted to be. Turns out everyone can do mediocrity.

Nate’s Grade: C-

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