The octogenarian filmmaker Ridley Scott has been a prolific and influential director for decades, but rarely has his high-powered work ethic been as obvious as within a 30-day window. Scott directed two movies, both aimed at adults and potential awards consideration, and both co-starring Adam Driver in a supporting role, and both as subtle as the outlandish fashions of the 1980s. Scott is not a subtle filmmaker by trade. He favors rousing excess and bold characters making bold decisions. This is not the first time Scott has managed to release two movies in a single calendar year (2017: Alien Covenant and All the Money in the World; 2001: Black Hawk Down and Hannibal) but for both movies to be released within a month, and share thematic similarities, is worth noting. The films also share many of the same artists (editor, composer, director of photography) as House of Gucci was filmed a mere four months after wrapping The Last Duel, which was delayed because of the pandemic. Both movies are based on true stories but go in different directions for artistic impact. House of Gucci veers into tragi-comic camp to its entertainment benefit, and The Last Duel spares subtlety for blunt political points.
The Gucci family has enjoyed nearly a century as fashion royalty. They’re known for their classic look, the care that’s put into their leather, and the long-standing resistance to change. Enter Patrizia (Lady Gaga), an ambitious young woman who doesn’t want to work for her father’s truck-driving company forever. She sets her sights on Maurizio (Driver), the mild-mannered son of Rodolfo (Jeremy Irons) and nephew to Aldo (Al Pacino), the co-heads of the Gucci empire. Their whirlwind romance leads to marriage and Patrizia insisting that her beloved take more control of the family business and make his mark as a Gucci.
The real reason you should go to the theaters for all 150 minutes of gargantuan Gucci drama is because of the monumentally captivating performance by Gaga. I will suffer no fools on this subject: Gaga is flat-out wonderful. As the kids on the social media say, she clearly understood the assignment. Gaga is knowingly broad and hamming it up but she is having the time of her life. I was impressed with her acting in 2018’s A Star is Born and how natural she was onscreen. Now she’s playing a distinctly drawn character and she dissolves into the role, smirking it up and purring with every line. You won’t exactly trust this woman, who is proven to be conniving and ambitious but also effective at manipulating others and earning her position of prominence, but you’ll love watching her onscreen whether alone or dancing circles around her cohorts. Gaga understands completely that this sordid tale plays better intentionally dipping into camp, making bold and outrageous what otherwise could have been underplayed. It’s an outrageous story with outrageous wealth and privilege, and it deserves to be told in an outrageous manner. That doesn’t mean dismiss the drama as minimal, but it recognizes the tone that will best bring out the entertainment value of the soapy plot elements. No one needs this kind of story played miserably strait-laced and absent any light; nobody needs another astoundingly awful The Counselor (sorry, Ridley). Take the sex scene between Gaga and Driver. It is so loud, so obnoxious, so over-the-top, and it stays at that level for a thrust-heavy protracted period, that the movie, and Gaga especially, is inviting you to laugh along. Gaga is the one who fully understands the edict or more-more-more the most and demonstrates it with her charmingly over-the-top performance. She is fully deserving of Academy recognition and to be memorialized as a thousand memes and GIFs.
House of Gucci feels very much like a Ryan Murphy show condensed to a feature-length over-extended special. For those unfamiliar with Murphy’s genre-bending TV work on FX (American Horror Story, American Crime Story) and now Netflix (Ratchet, Hollywood), the provocateur never met a juicy twist or outlandish plot element he didn’t love to use, abuse, and inundate the viewer. He’s like a creative prankster freely celebrating the ridiculousness of the prime-time soaps of old while also providing ironic counterpoints to them. It can be a riveting experience when it all works together and an unmitigated yet often fascinating hot mess when it doesn’t. Subtlety also rarely factors into a Murphy show. He also loves opening up the fabulous lives of the fabulously wealthy, including the heralded Versace family, and the fabulous lives of Hollywood stars in tremendous acrimony, like Bette Davis and Joan Crawford, for our envious guilty pleasure consumption. The House of Gucci feels comfortably pitched in that Ryan Murphy sweet spot, especially if you’re a fan of the populist high-gloss escapism of Murphy’s campy forays.
Because of this tragi-comic tone, House of Gucci keeps things rolling with eye-rolling excess and consistent laughter. It’s essentially watching Patrizia climb the ladder of power within the Gucci family, eliminating her enemies and neutralizing her opposition. She’s so strong-willed, ruthless, and successful, that it’s fun to watch this outsider, who was seen as a gold-digging harlot by some within the cloistered family, systematically tear apart the tut-tutting elites. It’s structured in many ways like a gangster movie with its rise-and-fall narrative and, in its final half hour, it becomes a full-fledged crime story, one whose outcome I had no idea about. If you’re unfamiliar with the Gucci family story and scheming, like me, the movie will play even better with its level of surprise and colorful characters. This is Scott’s most light-footed work since 2015’s The Martian.
Another shocking surprise is how enjoyable Jared Leto (The Little Things) is as clownish cousin, Paolo Gucci. The actor is buried under pounds of prosthetic makeup and is performing on the same tonal wavelength as Gaga; these two know best what kind of movie they’re starring in. Leto is so deliciously, amazingly over-the-top that all of his Method affectations are part of the appeal rather than being a distraction. This character is a riotous naïve hack, a Gucci with the worst ideas in fashion but the inability to recognize his creative shortcomings. He would be set up for tragedy in a different kind of movie, like a Falstaff if you want to go all Shakespearean, but in this version of this story, he’s a buffoon with no self-awareness. Every time he appears onscreen, it’s deserving of a live studio audience applauding like a TV sitcom character that has stumbled into a prestige drama by mistake. This performance is so hugely Italian is practically exhaling mozzarella cheese. He could be the missing Mario triplet. Watching Leto and Pacino go back and forth is like watching a competition over who can chew the most scenery with the most overblown Italian accent, and I gave in and loved every second of it.
The overall length of House of Gucci starts to grate and the indulgence of the lavish lifestyles of the famous family gets repetitive. We don’t need five montages of wealth and luxury when one will do. Once Patrizia and Maurizio rise to control Gucci, the movie seems to coast, so much so that the eventual divide between the two seems arbitrary and undeveloped. When the movie transitioned to this point, I was left wondering what had exactly been their relationship breaking point. Maybe that’s the point and the absence is meant to convey how Maurizio has changed, given into the fast cars and fancy suits of a lifestyle he previously seemed indifferent to. The movie feels long and overly extended for a feature. The content could have worked as one of those glossy Ryan Murphy miniseries, but as a movie it could have used some judicious accounting.
House of Gucci is going to be the most entertaining for people seeking a less realistic, brooding, and contemplative drama about power and corruption and more seeking a delightfully baffling and campy mess of a movie. Lady Gaga and Jared Leto are playing their respective roles to the hilt, and it’s a hoot to watch them have as much fun with such broadly comic characters. Perhaps the tragi-comic tone will feel in poor taste for some (designer Tom Ford, a player in the Gucci resurgence in the 1990s, has said so), but I found House of Gucci to be a ridiculous movie that knew where it should go big and where it should go small, and it favored big early and often.
In contrast, The Last Duel is based upon a true story of the last time France used judicial trial by combat. It’s the 1300s, and Sir Jean de Carrouges (Matt Damon) is a soldier for King Charles VI and looking to repay his mounting debts. He enters a marriage with Marguerite (Jodie Comer) for her dowry and promised land. However, Sir Jean finds his former squire and friend Jacques Le Gris (Driver) the recipient of the land, having been gifted it as thanks from the local lord, the carousing Pierre d’Alencon (Ben Affleck). Sir Jean is outraged by the offense. Then the bombshell hits: Marguerite accuses Le Gris of raping her. Le Gris denies it to his core. Sir Jean challenges his former friend to a trial by combat whereupon only one man will walk away alive.
The Last Duel could have also just as easily been titled, Sucks to Be a Woman: The 14th Century Edition. It’s a blunt assessment of systemic misogyny and the cruelty that was so casual that Church officials were blaming women for tempting men into raping them. This is an upsetting movie by design, and it’s filled with head-shaking arguments like a “real rape” cannot cause a pregnancy (“That’s science,” the court prosecutor says, in a nod to a future Todd Akin), that pregnancy is facilitated if the woman experiences an orgasm, so ipso facto how could the accused rape be in fact a rape if the lady is pregnant because that means she must have enjoyed herself. It hurts me to even type this diseased thinking, and I don’t consider it a spoiler to list some of the absurd arguments that will be unleashed in the name of institutional sexism. You could just as likely come up with your own ridiculous arguments playing a game of sexist Mad Libs and it will likely be featured at some point throughout The Last Duel. This is not a condemnation of the movie but a realization that its main journey is going to be a bleak grind, one that consistently makes you sigh deeply and feel uncomfortable for all the countless millions of women.
I fully believe that there are important lessons to be had in empathy and shattering ignorance when it comes to uncovering history as it is and not history as it is written. For some, the events of The Last Duel will hardly be eye-opening, but that doesn’t mean that it cannot engender greater consideration and thought to not just the historical context of the Medieval period but on the classic tales of chivalry and masculinity that have been passed down verbatim through centuries. The division of character perspectives is almost like uncovering the historical perspective through layers of obfuscation and legend. We see the movie three times, each from the point of view of another. We start with Sir Jean who views his life as abused loyalty, a dutiful soldier who fights for God and country and is constantly attacked by scheming upstarts. This beginning perspective is the most basic one, lacking dimension and keeping to a rigid right/wrong dichotomy. This is the kind of boilerplate that goes into legends. The second perspective, and seemingly longest, presents the villain’s perspective but where he clearly views himself as a dutiful soldier whose loyalty is also abused. He becomes obsessed with Marguerite and dreams of her and is convinced that her evinced kindness is really flirtation. He completely views the rape as a consensual outing. This perspective is more reflective than the first and insightful insofar as it’s meant to convey how men of this society can fool themselves into thinking their abuse is requested and obliged. This perspective is meant to convey the, for lack of a better word, common thinking and confirmation bias of centuries of entrenched systemic misogyny.
Despite its grim subject matter, The Last Duel is assuredly a feminist film and does not condone or dismiss the actions of its sexual predators. In trying to showcase differing perspectives, the movie is not asking us to question whether the rape was real or not, it’s asking us to understand, not excuse, the perspective of the perpetrator to better understand, not excuse, the landscape that produced so many more perpetrators. It’s historical context that some will argue is exploitative. Do we need to have the brutality shoved in our faces to better understand the plight of women? The screenplay is written by Damon and Affleck, their first collaboration since 1997’s Oscar-winning Good Will Hunting, and they made the decision to have Nicole Holofcener (Can You Ever Forgive Me?) to write the feminine perspective from their story.
The third and final perspective is the one more aligned with the truth, and it’s here that we can begin to compare the points of difference between the prior two male perspectives. Early on, Marguerite’s marriage is de-romanticized. She is expected to bear a son at all costs. As time passes without a child, her husband begins to have his doubts about her worth. He didn’t have this problem with his first wife, he adds, to let her know where the problem is coming from. Yet Marguerite is also a natural problem-solver and manager, and when left alone to tend to her husband’s estate, she enacts policies that are clear improvements. Again, it’s another symbolic example of how many capable and intelligent women were intimidated into being primarily child-bearing mares. When she tells her husband she has been raped, Sir Jean takes it as an offense against him first and foremost. He also undresses and insists that Le Gris will not be the last man to “know [his] wife.” When Sir Jean boldly challenges Le Gris to a trial by combat, he fails to mention to his wife that if he were to lose, and thus found unfavorable in God’s eyes, then she will be burned alive as punishment for a false accusation. She asked for the justice of the courts, but that wasn’t good enough for her husband’s pride (to be fair, the courts were also stacked with bias to the liege lord). If the first perspective is the one most likely to be recorded, and the second most likely to be held by the men of this time, then it’s the final perspective that is reality, and one that has been ignored.
This all leads up to a climactic duel that had me rooting for both men to kill each other, unless that forfeited the life of Marguerite somehow through its arcane rules. I felt genuine tension because I was dreading the bloody outcome. I was suspecting the worst, with Le Gris to persevere and the movie to basically say, “Well, that’s what it was like, folks.” It’s a brutal sequence. The extended confrontation is thrilling exactly because the movie has done its work to establish genuine emotional stakes. I feared for the life of Marguerite, trapped in this ridiculous system of narcissistic men hitting each other for God’s favor rather than trusting the voice of the victim. It’s absurd in the same vein as drowning a woman to prove whether she was a witch is absurd. I won’t spoil the ending results, but I think it pays off the grind of the preceding two hours while staying true to the characters and their perspectives until the bitter end.
The Last Duel is not exactly a subtle film, but when the political message is intended to be blunt and alarming, is it better to use the dross of artistic subterfuge or be blunt? The characters are more archetypes than multidimensional figures, and even the extra time with them produces more of the same but at least offers a reflection of their respective reality distortion fields. The symbols are rather obvious throughout, like Marguerite breeding horses (look, that mare is like you!) and the cultural lessons are not exactly revolutionary. But when people need to be shaken, to dramatically rethink their cozy relationship with historical assumptions, then I say you bring a rhetorical sledgehammer rather than a scalpel. One can almost hear a certain political figure of recent prominence flatly echoing, “But he strongly denies it,” as proof of innocence in the face of overwhelming evidence otherwise (“locker room talk” and the like). But this story of toxic masculinity and systemic victimization doesn’t deserve to be told subtle and with brave faces in the wake of quiet indignities. It’s trying to re-contextualize heroes and villains of chivalric legend without losing sight on the human viewpoint. Whether viewers think they need a 150-minute lesson in how awful it was to be a woman is going to be a personal decision, and the reason I think many adults stayed away (sorry Ridley, it’s not we Millennials that this movie was marketed toward). This could have been trimmed down, especially with all the overworked palace intrigue in the middle. It’s an uncomfortable movie by nature, but one with relevant power and empathy and grueling suspense. The Last Duel is an uncompromising movie that asks the audience to think most of the unseen perspective too often overlooked.
House of Gucci is meant for titillation and diversion. The Last Duel is meant for conversations and denied catharsis. Even when the movie ends, you’re left with the underlined impression that this one woman’s plight is the same as so many others who will never know the spotlight. Both movies take clear aim at distinctly different tones and achieve their aims through their devotion and execution. Scott is a brilliantly visual tactician who simultaneously makes the outdoors look their driest and wettest. I cannot say either movie is elevated to another level it would have been unable to achieve thanks to Scott’s able direction, but he feels more committed and invested in both stories, and in particular the performances, than in his most recent output. I’m happy that Hollywood is still making mature moves for grown-ups, even if The Last Duel looks like a costly box-office dud. Both of these Scott ventures are worth watching. It all depends on your desired mood. Do you want to lounge in luxury and laugh it up, or do you want to feel miserable but more educated? Either way, these movies will mostly deliver what they promise for your 150 minutes of attention.
House of Gucci: B
The Last Duel: B+
In 2017, there was a great disturbance in the Force when Star Wars Episode 9 director Colin Trevorrow (Jurassic World) was unceremoniously jettisoned. He had spent over a year developing a script for the concluding film in this new Star Wars trilogy (he’s still listed in the credits for story) and I guess the producers must have had some strong feelings. Trevorrow was out and J.J. Abrams returned to close out the saga he had kicked off with 2015’s The Force Awakens. It felt like a safe choice, the return of an artist best known for dabbling in other people’s established worlds. 2017’s The Last Jedi, written and directed by Rian Johnson (Knives Out), was, to say the least, divisive with the fanbase. It made sense to jump back in with Abrams who had delivered a fun, lively kickstart that made box-office records. Surely Abrams and his army of magicians would steer the franchise into safe territory and provide a satisfying ending to the character he created?
Note: I promise to keep this review free of significant spoilers beyond some minor plot points. If you want to avoid reading anything further until after having seen the film, I understand.
The Emperor (Ian McDiarmid) is alive and well and offering a fleet of planet-destroying starships if Kylo Ren (Adam Driver) will kill Rey (Daisy Ridley). She’s trying to uncover hidden clues about her parentage and still believes she can reform Kylo from the dark side. Finn (John Boyega) and Poe (Oscar Isaac) are chasing after a series of artifacts to find the secret location for the Emperor’s secret planet and rebuild the fledgling resistance. Kylo and Rey are headed for a final confrontation to determine whether they turn to the light side or the dark side.
It is with a heavy heart that I feel like I have to admit that there wasn’t a single storytelling choice that I enjoyed in The Rise of Skywalker. It feels like Abrams and company were in a mad panic after the divisiveness of The Last Jedi and retreated to the safety of nostalgia and fan expectations. This feels like the producers made a list of fan demands and then acceded to them. It certainly feels like an overblown course correction, let alone discarding major changes and characters from Episode 8. Now fan service in itself is not a negative; there is such a thing as good fan service and bad service. The difference is that bad fan service relies heavily on pandering and reference points, leaving an audience unchallenged, and that certainly feels like Episode 9, a movie ever beholden to its calcifying past. My anecdotal evidence already tells me that many fans will love this movie, more than likely the same contingent that found such stinging fault in Episode 8, and I don’t wish them ill. I’m happy for them. For me, Episode 9 is a mess of bad plotting, rushed pacing, truncated character arcs, useless cameos, and a reheated Return of the Jedi climax that was as boring as it was exhausting and dispiriting. It’s supposed to be an end to this new trilogy, and a trilogy of trilogies, but the backwards-looking franchise will never be done paying homage to its cherished past while it eats its own tail until it vomits. This movie is so eager to please as many fans as possible that it feels like an anxious hostage.
I think it was a major mistake for The Emperor to come back into play this late. The very reappearance already cheapens the sacrifice Darth Vader made in Return of the Jedi, and it begs the question what has this evil old man been doing for three decades? Has he just been hanging around his completely empty rock planet sitting on his uncomfortable rock throne? Abrams throws some haphazard lip service that Palpatine was really behind everything, we just never knew it, but that feels cheap. It’s like in 2015’s Spectre when Christoph Waltz emerges and says, “Hey James Bond, while you’ve never met me until this moment, I’m responsible for every bad thing that happened in your life, not those other bad guys, and I just didn’t feel like saying anything.” It wasn’t a satisfying plot development then and it isn’t now. The “boss’ boss” manipulating in the shadows is simply an aggravating shell game. If Palpatine lived even after the second Death Star exploded, then what’s to say if he can ever be defeated? Even if he is toppled in Episode 9, what’s stopping him from being resurrected in Episode 12 to serve as another quick excuse for a major villain? This decision to bring him back to life also taps into a further reverence for bloodlines that The Last Jedi was valiantly fighting against. Star Wars may take place in a different galaxy but it frustratingly feels like only three families populate it. The Last Jedi proposed that you didn’t have to come from select magic bloodlines to be somebody important, that your past was irrelevant, and now Abrams and company sharply reverse course, hugging the concept of the Chosen One until it bursts. It feels creatively starved.
Too much of the movie’s 142-minute run time was devoted to hasty, convoluted plotting that served little else than to fill time. By the concluding movie in a trilogy, there should be no moments left to fill time, nor should we really be introducing new worthless side characters rather than using the people we’ve already established. The first 90 minutes of this movie could be condensed to “get a thing to get a thing.” It’s one superfluous obstacle after another, one item to gain another, that reminded me of video game fetch quests. Even worse, none of it felt like setbacks or difficulties because the movie was rushing through every sequence. If we have to rush through to cover four abbreviated action set pieces, why can’t we consolidate to two really good and developed action set pieces instead? A great way to make your movie forgettable is to cram it full of disposable plotting and short action sequences that never take off. I kind of liked one lightsaber battle along the surf of the ruins of a Death Star (of course there has to be another Death Star!) but that was it for the action. There wasn’t anything onscreen that even came close to replicating the thrills or suspense from Episodes 7 and 8. I felt more suspense in The Last Jedi for Rose’s doomed sister than I did for anyone in Rise of Skywalker. There was space where Abrams and company could have expanded and developed important themes and given characters room to grow, but the pacing feels so breathless in order to distract from the hasty plot retreats.
Characters feel like they zapped to the end of their character arcs because that was what was expected, but why they reached these milestones feels arbitrary from a plotting standpoint. It reminded me of, I’m heartbroken to even say, the final season of Game of Thrones; fans didn’t object on their face to character destinations but the journey to reach these points felt like it was missing key moments to serve as connection. Why redemption now? Why tempted by the dark side now? It plays more like Abrams said, “Well, we ran out of time folks, so let’s skip to the end.” Looking back on the trilogy, it was clearly Rey and Kylo’s story first and foremost, but the supporting characters ultimately feel abandoned and wasted. Finn had a great perspective, a Stormtrooper who defects, but that unique position is cast aside by introducing a new side character that serves no purpose other than to remind you that Abrams must have really not liked Rose (Kelly Marie-Tran). Seriously, Rose is sidelined to study monitors. Abrams tapped an old Lost alum, Dominic Monaghan, for this thankless duty, so why can’t Rose at least be the sidekick? We don’t need another new sidekick this late. Poe is another wasted character. He learns greater responsibility and teamwork in Last Jedi, but he’s really just a Han Solo stand-in, the rakish rogue quick with a quip. Episode 9 gives him an old flame but not much in the way of additional characterization. He feels the same from his first scene in Episode 7. Oh, and all the forced cameos Episode 9 makes time for feels almost like a Star Wars reunion special. That’s including the awkward use of existing General Leia footage to cobble together something for her. I’m wishing more and more that it was Leia that went badass kamikaze in Episode 8 as her exit.
At every point, the movie seemed determined to undercut itself when it came to themes, when it came to character growth, and when it especially came to sacrifices and stakes. There are four fake outs when it comes to deaths. What’s the point of sacrifices when it can just be reversed with little explanation? What’s the point of learning when the Force can just serve as a magic hand-wave solution for anything you need? There are some pretty remarkable leaps in what exactly the Force can do in Episode 9. The Rise of Skywalker even resets some pretty inane things, like Kylo Ren gluing his smashed helmet back together or a certain character getting a long-overdue medal for valor. The themes Abrams works with are extremely broad and lack the questioning of the inerrancy of the Jedi order from Episode 8. It’s also confusing when the theme is that your destiny is not written by your station when the movie repeatedly elevates the mythic at the expense of the nuance and human. It’s like saying your past doesn’t dictate your future while slavishly venerating the past at the expense of the present story.
Given the budget, talent involved, and Abrams’ natural pedigree for blockbuster filmmaking, Rise of Skywalker still has moments of grand spectacle and fun. The actors are still enjoyable to watch and Adam Driver (Marriage Story) is the definite MVP of this new trilogy. His character is, by far, the most interesting and the one that goes on the biggest emotional roller coaster. Abrams slides in some rather pleasing visual compositions. The score by John Williams serves as kind of a greatest hit collection of his many themes over the course of the 40-year saga. The denouement feels right, even if I quibble with the final line spoken. There are things to like, plenty, and I know many fans will find even more, but the good is trounced by the mistakes and miscalculations which just happen to be the really big stuff (plot, resolutions, characterization, action development, structure, payoffs, etc). Abrams himself has joked that he’s really good at starting stories and not so great at finishing them, so maybe choosing to have Episode 9 function as a conclusion not just to three movies but to three times three was overburdening.
I’ve seen it twice now and given some time to think it over, and I think I’ll declare Star Wars: The Rise of Skywalker as my least favorite of the nine core movies. I know these are inflammatory words, and for an easily-inflamed fanbase, but my level of disappointment is immense. I’ve enjoyed both of the previous Star Wars saga installments but I wasn’t quite expecting this. I groaned throughout the movie more than I laughed. Even the much-derided Phantom Menace had less at stake, and that’s why I hold the disappointment of Rise of Skywalker as the more grievous of the two. It had much to accomplish and much to payoff and its missteps cast a shadow over the previous movies. It also reconfirms for me my worry that there will only be a small world for Star Wars, a set of pre-approved parameters that creatives must adhere within, taking the same pieces and delivering variations of the same story. There are definite ideas that could work here with Episode 9, but the rushed pacing, inconsequential plot filler and side characters, and its use of nostalgia as a heat shield (look at that cameo please!) doom its execution. As much as Abrams wants to reject destiny, his Star Wars are still driven by a devotion to destiny. We won’t be getting another Star Wars for several years until 2022 and I think that’s a good thing (also without the Thrones writing team now too). The producers need some distance to determine where to go next. I just hope they understand they have an awfully big universe of untapped stories at their disposal and a wealth of eager storytellers with fresh ideas. Star Wars will always be Star Wars but it can also be much more if it wanted to be.
Nate’s Grade: C
Noah Baumbach is a writer and director most known for acerbic dramas with a very dark, pessimistic viewpoint. That changed somewhat once he began a filmmaking partnership with actress Greta Gerwig that began with 2013’s Frances Ha. Gerwig has since gone on to become an accomplished filmmaker in her own right with 2017’s Lady Bird, which earned her Oscar nominations for writing and directing. The partnership seemed to bring out a softer side for Baumbach and they became a romantic couple who had a child earlier in 2019. Hell, Gerwig and Baumbach are even circling writing a Barbie movie together. This is a changed filmmaker and he brings that changed perspective to Marriage Story. It’s very different from Baumbach’s other movie about divorce, 2005’s The Squid and the Whale. I found that movie difficult, detached, and hard to emotionally engage with. Marriage Story, on the other hand, is a deeply felt, deeply observed, and deeply moving film experience that counts as one of the finest films of 2019.
Charlie (Adam Driver) and Nicole (Scarlett Johansson) are heading for divorce. He’s a successful theater director. She was a successful movie actress who relocated to New York City and has gotten an offer to shoot a pilot in L.A. Both say they want what’s best for their young son Henry (Azhy Robertson) but this will be tested as Charlie and Nicole push one another for what they feel is their best version of their family.
The observational detail in Marriage Story is awe inspiring. I was floored by how involved I got and how quickly, and that’s because Baumbach has achieved what few filmmakers are able to, namely present a world of startling authenticity. There is a richness in the details, small and large, that makes the entire story feel like you’ve captured real life and thrown it onscreen. I wouldn’t pry but Baumbach himself went through divorce around the time he was writing this, and I have to think some of those feelings and details seeped into this screenplay. Baumbach’s direction favors clarity and giving his actors wide berths to unleash meaty monologues or dynamic dialogue exchanges. The writing is sensational and every character is given a point of view that feels well realized. Even the combative lawyers (Laura Dern, Ray Liotta) have perspectives you can see why they’re fighting for what they believe is right. But it’s watching Charlie and Nicole together that brings the most excitement. Watching the both of them onscreen allows for so much study of the little histories behind their words, their gestures, their impulses, and they feel like a great mystery to unpack. It feels like a real relationship you’ve been dropped into and left to pick up the histories and contradictions and all the rest that make people who they are.
It’s very easy and understandable for divorce dramas to essentially pick sides, to present a clearly defined protagonist and antagonist, like 1979’s Kramer vs. Kramer. It’s easier for an audience to have a clear side to root for and a clear villain to root against, someone who they can see is more responsible for this breakdown of the family unit or for the infliction of emotional pain. What Baumbach does is something rare and exceedingly compassionate; he makes us like these two people as a couple in the opening ten minutes so that we can see how they could have shared a loving relationship for so long. The opening is mirrored voice over where each spouse narrates what they love or admire about the other person, and by doing this it’s like we too get to see these people in this adoring light. It’s like a ten-minute love letter and then it gets ripped away. However, by starting with this foundation, Baumbach has invested the audience immediately. We care about both of these people because we’ve seen them at their best, and now as things get more acrimonious and harder, it hurts us too because of that emotional investment. Marriage Story does not adopt a side or ask its audience to choose. It presents both parties as essentially good people but with their flaws and combustibility that point to them being likely better apart. That doesn’t mean they don’t still care for one another or have essential elements of friendship. A simple shoelace tying at the very end of the movie nearly had me in tears because of its everyday act of kindness. These are complex human beings with needs, desires, egos, pressure points, and we watch both of them struggle through a stressful process where they’re trying to do right but that definition keeps morphing with every next step. If there are villains, it’s the lawyers, but even they are given degrees of explanation and perspectives to explain why they fight as hard as they do.
I have read several reviews that disagree with my “no sides” assessment, citing how the movie presents more of Charlie’s perspective during Act Two, and this is true. The extra time onscreen, however, doesn’t erase his faults as a husband. The transition to this handover is Nicole unburdening herself to her lawyer (Dern) in a gorgeous seven-minute monologue. It’s a thrilling moment for Johansson as the character begins guarded and afraid of saying anything too harsh, and then as she starts talking it’s like you watch layer after layer get pulled free, allowing this woman to open up about her untended wants and desires and to legitimately be heard in perhaps the first time in a decade, and it’s so powerful and sympathetic and natural. To then think that Baumbach intends to portray this same woman as a villain seems like a misreading. The second act does involve Charlie being more reactive to the new obstacles of divorce, like being forced to hire a lawyer to officially respond, to start a residence in L.A., and to eventually be observed by an evaluator of the court. He holds to the belief that he and Nicole don’t need the acrimony, don’t need the pain, and that they can be adults when it comes to deciding their end. Whether this is naivety will depend on your own worldview, but holding to this belief gets Charlie playing catch-up a lot and having to roll with changes for fear of being seen as an uncooperative parent, like when Nicole’s friends don’t want to go trick-or-treating with Charlie present so he’s forced into a second later more pathetic outing. We do get to see Charlie beset with challenges but that doesn’t erase Nicole’s challenges too.
For a movie as deeply human as this one, it’s also disarming just how funny it can be. The humor is never cheap or distracting but just another element that makes Marriage Story so adept. While the movie has its lows, it can also find delicate and absurd humor in the moment, reminding the audience that life isn’t always doom and gloom even when things are going poorly. The sequence where Nicole and her sister (Merritt Weaver, wonderful) are bickering over the exact steps to legally serve Charlie divorce papers reminded me of a screwball comedy, how the nerves and fumbles of the characters were elevating the experience into touching the absurd. Nicole’s entire family is a great comedic array of characters including her mother (Julie Hagerty) who says she has her own personal relationship with her daughter’s ex-husband that she wishes to maintain. They even have pet names for one another (this brought back memories for me as I’ve had mothers of ex-girlfriends still want to talk with me weeks after their daughter dumped me). The legal asides are also filled with absurdist moments of comedy about double-speak and the arcane or idiosyncratic rules of divorce and representation in the courts. The sequence of Charlie being watched by the deadpanned court evaluator (Martha Kelley, TV’s Baskets) is a terrific example of cringe comedy. He’s trying to impress her but she’s generally unflappable, to hilarious degree, and it only leads to more miscues that Charlie tries to ignore or downplay to win her favor.
Make no mistake, Marriage Story is also one of the hardest hitting dramas of the year. Because we like both participants, because there is something at stake, watching them tear each other apart is a painful and revelatory experience. There is one gigantic confrontation that, like Nicole’s first confession, begins small and cordial and builds and builds in intensity, to the point where walls are punched, threats are unleashed, and both parties end in tears. It’s a thrilling sequence that feels akin to watching the defusing of a bomb ready to explode. Baumbach never feels the need to artificially inflate his drama, so we stick with that observational and compassionate ethos that has guided the entire film, even during the ugly moments. These are two people with pain and frustrations who both feel they have been wronged and are in the right. They’re both entitled to their pain, they’re both at fault for letting things get to this precipice, and they can both acknowledge that as well. Because even at their worst, Nicole and Charlie are still portrayed as human beings and human beings worthy of our empathy. They aren’t heroes or villains, they’re simply real people trying to navigate a hard time with conflicting feelings and needs.
The acting is outstanding. Driver (BlackkKlansman) is sensational and goes through an emotional wringer to portray Charlie, trying to stay above it all for so long and losing parts of himself along the way. His outbursts are raw and cut right through, but it’s also his smaller moments of ignorance, dismissiveness, or tenderness that linger, providing a fuller picture of who Charlie is, why one could fall in love with him and why one could fall out of love. I fully expect Driver to be the front-runner for the Best Actor Oscar. He even gets to sing a Sondheim tune and uses it as a reflection point. A late moment, when he’s reading a particular letter, drew tears and got me choked up. He’s always been such a visceral actor, a man with a magnetic charisma and animalistic sense of energy that draws your attention. He’s finally found a role that showcases how brilliant an actor Driver can be. This is also easily the best work of Johansson’s (Avengers: Endgame) career. Let there be no doubt – this woman can be a tremendous actress with the right material. She’s struggling with her sense of identity, being tied to Charlie for so long, and “wanting my own Earth” for so long that the dissolution process is both tumultuous but also exciting for what it promises. Nicole can take those chances, her Hollywood viability still alive, and strike out doing the things she’s wanted to do, like direct. Her character has felt like a supportive prisoner for so long and now she gets to make a jailbreak. Johansson is an equal partner onscreen to Driver, trading the tenderness and hostility moment-for-moment.
This is Noah Baumbach’s finest film to date, and I adored Frances Ha. I was expecting a degree of bitterness from the normally prickly filmmaker, and that’s to be had considering the subject matter of divorce. What I wasn’t expecting was the depth of feeling and compassion that flows from this movie’s very steady beating heart. It feels real and honest in a way that a movie simply about the horrors of divorce and breakups and custody battles could not. Baumbach’s characters aren’t just meant to suffer and inflict pain, they’re meant to come through the other side with something still intact. I’d argue that Marriage Story, even with its suffering, is ultimately a hopeful movie. It shows how two people can navigate the pain they’ve caused one another and still find an understanding on the other side. Driver and Johansson are fantastic and deliver two of the finest acting performances of this year. Baumbach’s incredible level of detail makes the movie feel instantly authentic, lived-in, and resonant. I was hooked early, pulling for both characters, and spellbound by the complexity and development. There isn’t a false note in the entire two-plus hours onscreen. It feels like you’re watching real people. Marriage Story is a wonderful movie and I hope people won’t be scared off by its subject matter. It’s funny, empathetic, and resoundingly humane, gifting audiences with a rich portrait. It should be arriving to Netflix streaming by December 6, so fire up your queue and have the tissues at the ready.
Nate’s Grade: A
Two African-American filmmakers, one making his debut and another in his fourth decade of popular storytelling, have produced two of the most uncompromising, entertaining, provocative, and exacting and relevant movies of this year. Boots Riley’s absurdly comic indie Sorry to Bother You was a festival smash, and Spike Lee’s BlackkKlansman is being positioned as a summer breakout. Audiences have often looked to the movies as an escape from the woes of our world, and when the news is non-stop catastrophic woe, that’s even more apparent. However, both of these movies, while enormously entertaining and charged with fresh relevancy, are a reminder of the very social ills many may actively try to avoid. Both films, and their respective filmmakers, make cases why ignorance is a privilege we cannot afford. Also, did I mention that the movies are outstanding, daring, and hilarious?
It’s the early 1970s, and Ron Stallworth (John David Washington) is the first black officer on the Colorado Springs police force. He wants to be a detective and taken seriously, and one day he calls the leader of the local chapter of the Ku Klux Klan pretending to be a white nationalist. He builds a relationship over the phone with the Klan but he can’t meet them in person. Enter fellow officer Flip Zimmerman (Adam Driver) who stands in as the public Ron Stallworth, avowed white supremacist. Problem is Flip is Jewish, a group the Klan isn’t much more favorable with. The two officers must work together to gather enough actionable evidence to stop the Klan before they kill.
This is Lee’s best film since 2000’s Bamboozled and he feels jolted awake by the material. He doesn’t shy away from the film’s relevance and potent power but also knows how to faithfully execute the suspense sequences and police procedural aspects of the story by Charlie Wachtel, David Rabinowitz, Kevin Willmott, and Lee himself, based upon Stallworth’s book. The story alone is the film’s greatest selling point. It feels like a bizarre recreation of that Dave Chapelle sketch about the blind, and black, Klansman. It’s a story inviting irony and bafflement, and it’s ribald and funny for long stretches, buoyed by Washington’s charismatic and forceful performance (close your eyes and he sounds just like his dad, Denzel). The story is so fascinating that you just want to see where it goes. Stallworth is fighting for respect in a still-racist police force, and he’s pushing Zimmerman to feel more invested in their operation from his own maligned status. “I never thought much about being Jewish,” he shares with Ron, “But I’ve been thinking a lot about it recently.” Theirs is a partnership we root for, and each new accomplishment bonds them together and increases their credibility with a wary police chief. It’s a movie that has a steady supply of payoffs and complications, leaving you satisfied by the end but also more than a bit rattled at the uneasy connections to contemporary news.
This is a character-driven suspense film that does so much so well, drawing in thrills and laughs without making either feel cheaper by their inclusion. This is an undercover operation so every scene with the Klan has the electric uncertainty of whether or not Flip will be caught and our heroes doomed. Because you have two Ron Stallworths, we already have a complicated ruse to keep up (though why Flip couldn’t simply also be the voice on the phone is likely just how it happened in real life). Each new piece of information, each new meeting, takes our characters deeper into the Klan infrastructure, including a guided visit from none other than Grand Wizard (a.k.a. head honcho) David Duke (Topher Grace in an outstanding performance). The risk escalates from being caught to thwarting a planned bombing that could kill innocent minority protestors. The movie does a great job of finding new ways to remind you what is at stake, and while the Klansman are set up to be laughed at and ridiculed, they are still seen as dangerous. They still have the direct intent to physically harm others, not just harass and intimidate.
Because of the undercover operation, you’d be right to assume that Stallworth’s personal life and blossoming romance with a collegiate activist, Patrice (Laura Harrier), would be the least interesting part of the movie. It’s not poorly written or acted by any means. She serves as a reminder of Stallworth’s split loyalties, working for the police, which many in his community see as a tool of oppression from racists with a badge (and we too see this in action). He is always hiding some part of himself, be it his racial identity, his personal affiliation, or even what he really feels about his corrupt colleagues. Even with her, he cannot relax completely. It shows the more personal side of the Stallworth character and provides something real for him to lose, especially once the local Klan targets Patrice. I understand the role she serves in the larger story but I’d lying if I wasn’t eager to get out of every one of her scenes and back into the action. That’s the problem when you have one superior storyline; the others begin to feel like filler you’d rather leave behind to get back to the good stuff.
BlackkKlansman also can’t help itself with the political parallels to our troublesome 45th president, but I loved every one of them. A superior officer warns Stallworth about his dealings with Duke, specifically that he might make good on the promise to retire as Grand Wizard and go for political office. “Come on, America would never elect a man like David Duke as president,” he says with thinly veiled incredulity. The characters might as well turn and wink to the camera and say, “We’re talking about Trump,” but I laughed all the same. At one Klan dinner, the participants chant, “America first,” which is a Trumpian campaign slogan, if you didn’t know dear reader, derived from the Klan (Trump’s own father was arrested attending a 1927 Klan rally). These parallels are destined to turn off some viewers, though I think the subject matter and Lee’s name should be enough to know exactly what kind of movie you’re electing to watch. Nobody goes to a Lars von Trier film expecting to be uplifted about the state of humanity.
It’s at its very end where the film reminds you just how sadly relevant it still is today (minor spoilers but I don’t think they will ruin anything for you). While Stallworth has bested the local chapter of the KKK, there’s another late night with a sudden alarming noise, Stallworth on his guard, and a cross is burning out in the distance. Just because our characters have foiled a band of racists doesn’t mean racism has been eradicated. Instead, as the film suggests, it evolves, and Lee concludes with an impactful montage of news footage of the Charlottesville white supremacist rally and President Trump contorting to find fault on “both sides” when clearly one side was murderous and racist. You even see real-life David Duke on the premises spewing his re-branded style of hate. The evolution of white supremacy demagoguery has become political, and it has found cover under the guise of a president eager to stoke racial resentments and divisions to his advantage. He’s normalized the abhorrent behavior and given it mainstream cover. It’s a powerful and lasting conclusion (much in the same way as the montage of Hollywood’s harmful depiction of black people in Bamboozled — including the Klan hero worship in Birth of a Nation, also featured here prominently) that should remind people that the threats of racism and Nazis and the KKK are not a thing of the past. It is very much a staple of the present, and how much it is allowed to remain a staple is up to the moral outrage of voters.
Sorry to Bother You is also sharply cutting and topical about being black in America. In present-day Oakland, Cassius “Cash” Green (Lakeith Stanfield) is struggling to make ends meet, move out of his uncle’s garage, and do right by his girlfriend and performance artist, Detroit (Tessa Thompson). He gets a job at a telemarketer and discovers a new talent when he turns on his “white voice” (voiced by David Cross) and becomes a power caller, crushing his competition. He moves his way up the chain, losing touch with his base of working-class friends looking to strike to unionize. Once at the top, Cash draws the attention of the CEO, Steve Lift (Armie Hammer), who has big plans for a man with Cash’s gifts and seeming flexibility when it comes to corporate moral relativism.
Sorry to Bother You is a wild, hilarious movie bursting with things to say with its shotgun approach to satire, or as my pal Ben Bailey termed, a blunderbuss approach, messy and all over the place and, sometimes, maybe missing its intended mark. I thought the movie was simply going to be about the modern-day struggles of being black and poor in America, and the movie covers those aspects with aplomb. It’s also sized up ample room to satirize consumer culture, labor exploitation and worker rights, male and female relationships, art and media, cultural appropriation, and even memes. Because of all the topics, the movie could run the danger of feeling unfocused, but thanks to the remarkably assured vision and handling of writer/director Boots Riley, it all feels connected by its unique voice operating at a risky but exhilarating level.
There are a lot of bizarre dips into the absurd that had me howling and on the edge of my seat wondering where we would go next. The most popular TV show is just watching a person get the stuffing beaten out of them, and it adopts a pretty simplistic name to go along with this transparency. A very Google or Amazon-esque company is offering “lifetime jobs” for employees to live in their factories and have all their cares taken for by a corporate slaver, I mean kindly overlord. There’s an art show that consists of hurling cell phones at a woman’s body. There’s a corporate video with a female caveman narrator where she is, 1) stop-motion animated, and, 2) topless the entire time, complete with animated swinging breasts. There’s an ongoing thread that seems to trace the life cycle of a meme. A woman throws a Coke can at Cash in protest. She gets plucked form obscurity, gains a talk show, gets an endorsement from Coke and her own video complete with dramatic re-enactment and chirpy jingle, and Cash getting hit becomes its own Halloween costume for white people. There are throwaway lines in this movie that any other major comedy would die for. This is a movie that is impossible to fall asleep to because every moment could be different and you won’t want to miss one of them.
There are moments that strike beyond the immediacy of the onscreen absurdity. One of those moments was when Cash was invited to join the big corporate after party. He’s out of his element, surrounded by rich, relatively young privileged white people. They assume, being black, that Cash will instinctively know how to rap, and they insist that he perform a free-style rap for the assorted group. This ignorant assumption is just the start for Riley, because Cash gets up there and struggles to perform, barely able to scrap together the most elementary of rhyme, and the illusion has become dashed with the crowd. He notices they’re losing their interest with him, so in a desperate ploy, he just shouts two words over and over into the microphone with enthusiasm: the N-word and a profanity. He does this for like a minute, and the crowd of privileged white people shouts it back at him, seemingly lying in wait for some tacit permission by “popular music” for them to likewise use the N-word. It was an indictment that went beyond that scene. Another is ultimately what happens to the big bad corporation by the film’s end. It literally made me guffaw because it felt completely in place with the tone of the movie.
All of this zany and funny stuff would feel passing if there weren’t at least some characters worth our time. Cash is an engaging young man trying to get his life on track. He discovers he has a gift when it comes to coding, to blending into a white-majority community in a comfortable and acceptable manner. It’s a survival technique many African-Americans have had to perfect on a daily basis, and soon to be featured in the upcoming adaptation of the best-selling YA novel, The Hate U Give. Even amidst its more bizarre moments and asides, the movie is about a black man trying to get by with limited opportunities in a society that too often devalues him.
Stanfield (Get Out) has been a strong acting presence for some time, first in the remarkably powerful Short Term 12 and most recently on Donald Glover’s Atlanta. He grabs your attention and Stanfield has a gift for comedy, particularly a nervous energy that draws you closer rather than pushing you away. His character goes on the rise-and-fall path, so we still need to be pulling for him to turn away from his newfound egotism, and Stanfield keeps us rooted. Thompson (Thor: Ragnarok) is Cash’s conscience and her wardrobe and accessories are amazing, from her declarative “The Future is Female Ejaculation” T-shirt to her large earring messages. Hammer (Call Me By Your Name) is confidently smooth and sleazy as a coked-out, venal CEO that is so blasé about his wrongdoing that it doesn’t even register for him as wrong. I appreciated that even with all the wackiness of this cracked-mirror version of our universe, Riley puts in the time and effort to make the characters count rather than be expendable to the satirical aims.
Now, there is a significant turn in the third act that veers the movie into territory that will test how far audiences are willing to go along with Riley’s raucous ride. I won’t spoil what happens but for several of my friends it was simply a bridge too far. For a select few, they even said this turn ruined the movie for them. It worked for me because it felt like an escalation in the dastardly labor practices of the corporation and was finally a visceral reminder of their cruelty. Beforehand, Cash has been making moral compromises to keep his ascending career, excusing the after effects of his success even when it’s selling weapons to foreign countries. That stuff is over the phone, part of his coded performance, and easier to keep out of mind. This escalation finally is too much to pretend to ignore. It’s too much to excuse his own culpability working for the enemy. It’s what pushes Cash back to his circle of friends he had left behind for the corporate ladder, it’s the thing that politically activates him, and it’s what pushes him to make a difference. I can understand, given the somewhat goofy nature of the plot turn, that several viewers will feel like Riley gave up his artistic high ground to self-indulgence. However, I would counter that the line between self-indulgence and an assured vision can be tenuous. The movie is so alive, so vibrant, and so weird, so having another weird detour felt agreeable.
BlackkKlansman and Sorry to Bother You are each unique and fun but with larger messages to say about the black experience and other fissures within our volatile society. You’ll be thoroughly entertained by either film and you’ll walk away with something to ponder and discuss with friends and family and maybe that one racist uncle at Thanksgiving, the one who uses the term “false flag operation” a little too liberally. BlackkKlansman tells a fascinating, comic, and thrilling story about racism of the past, drawing parallels to the trials of today, in particular under the era of Trump. Sorry to Bother You has many targets, many points, and much to say, exploding with thoughts and cracked comedy. Riley is holding up a mirror to the shortcomings and inanities of our own society and the ease we can all feel to turn a blind eye to the difficult realities of systemic racism, capitalism, and worker rights. Lee is a known firebrand and his polemic doesn’t shy from its political relevancy, but it tells a highly engaging story first and foremost, with top acting performances from its cast. In a summer of studios afraid to take chances, here are two excellent movies that take crazy chances and provide bountiful rewards.
Sorry to Bother You: A-
As I stated in my review of Star Wars: The Force Awakens, “The first mission for Episode VII is to reset the course, to wash away the bad taste of the prequels that haunt many.” Mission accomplished, mostly, though the biggest criticism for J.J. Abrams’ resurgent sequel was how all too closely it hewed to the original plot beats of its own past. It was an overcorrection, a swing too far in the other direction and turned a reboot into “a loving homage that approaches facsimile.” I enjoyed the new characters, the next generation of Star Wars heroes, and wanted to see what would happen to them next. I just hoped the franchise could steer a course of its own. Having a talent as unique as Rian Johnson (Brick, Looper) as the writer/director of Episode VIII certainly portends to that. The Last Jedi is a better movie, structurally and even emotionally than Force Awakens, but it’s flawed and definitely less fun and is driving so many fans to the dark side.
The First Order is crushing the last vestiges of the puny Resistance. General Hux (Domhnall Gleeson) is chasing the last ships of General Leia (Carrie Fisher) through the galaxy. Finn (John Boyega) is looking for Rey (Daisy Ridley) who is missing. He is teamed up with Rose (Kelly Marie Tran), a plucky mechanic, to find a master code breaker to thwart the First Order’s tracking system so everyone can safely escape. Meanwhile, Rey has sought out the last Jedi, Luke Skywalker (Mark Hamil), who agrees to train her just to teach her why the Jedi are wrong and he will not help the Resistance. She’s also been psychically linked to Kylo Ren (Adam Driver), who is still struggling with his own identity as a pupil of the dark side. Supreme Leader Snoke (Andy Serkis) has lost his faith in Kylo, who he feels is too weak to embrace his darkest impulses. Kylo believes he can convince Rey to join him, and Rey believes that Kylo can be saved and turned into an ally. The Resistance is looking to survive another day and rebuild their rebellion in the hearts and minds of the downtrodden.
I was hopeful Johnson would be able to tread safely away from the undertow that is the pull of Star Wars nostalgia, and he did so, both to the movie’s great benefit and oddly to its peril at different points. Episode VIII is not a repeat of the plot beats of Empire Strikes Back, though there are some thematic similarities that go along with a middle chapter in a trilogy, like separating the heroes, experiencing losses, etc. Clearly, once Johnson received the handover from Abrams, there were certain Star Wars storylines setup in Force Awakens that he had no interest in continuing. I won’t specify what they are for the sake of spoilers but Johnson definitely undercuts the expectations of extraordinary developments with ordinary, mildly indifferent responses. Certain characters fans may have thought would be more important are gone. It’s as if Johnson is saying to the audience, “Did that thing really matter to you? Who cares?” It’s not Johnson’s fault the fanbase spun off intense theories. He undercuts your expectations throughout. The characters are allowed to fail. The reported saviors don’t want the responsibility. By upsetting the balance of the force, if you will, Johnson has injected a sense of uncertainty into the Star Wars mix, a badly missing element ever since the original trilogy. When a major character looks ready to sacrifice his or herself, you start to believe that this genuinely may happen. When the characters finally fulfill their mission and track down their special contact, they’re denied their goal. You can tell Johnson is having fun with misdirection and, as one character says, “letting the past die.”
However, that same sense can also get Johnson into trouble. From a narrative standpoint, we’re not much further by the end then where we began. From an emotional standpoint, I don’t know if we’re that much farther either. There are elements you can clearly tell that excited Johnson, namely the Rey/Luke/Kylo moments. That relationship, dynamic, and hidden history is easily the best part of The Last Jedi. The decision to psychically link Rey and Kylo seems cheesy at first but works out beautifully, synching up the two force wunderkinds forces them closer and each one looks at the other as a potential kindred spirit. They each think they can save the other, and so it becomes a far more concrete battle over the soul of our characters rather than just a philosophical exercise. It opens up more of a literal dialogue between these opposites and deepens their chemistry. Luke might be following a typical hero’s journey/acceptance of the call, but it’s still an interesting path because he’s bitter and lost his faith in the moral primacy of the Jedi.
On the flip side, there are also elements where you can clearly tell Johnson had less excitement. The middle section involves a side mission onto an alien casino, and it feels like filler, especially with where it eventually goes and what it opens up about the world. I think it’s meant to showcase the exploitation of the underclass, the rich getting richer off war profiteering and the subjugation of civilizations. It doesn’t land and detracts from the other, more interesting storylines. The cutsey comic relief characters inserted to sell toys are not overpowering but they clearly feel like a studio requirement. At least I’m giving Johnson the benefit of the doubt that he didn’t decide that his Star Wars movie needed winged, big-eyed guinea pig creatures. The concluding half hour also could have been eliminated considering the second act break feels like a more climactic ending. The premise of an elongated chase through space that exhausts fuel supplies and where an enemy ship can track light speed jumps is oddly reminiscent of the first episode in the Battlestar Galactica reboot series (maybe Johnson was a fan). There are things the Force is able to do that we’ve never seen before. It begs questions over what exactly are the parameters of this invisible made-up zen power. Also, if you just solve things by saying “new Force powers” then it becomes a Star Wars cheat. There are also nobodies that could have been, and should have been, replaced by other higher-profile characters. There’s a moment of pure unchecked badassery that should have been someone else taking the sacrifice. By cramming in all of this other material, Johnson is trying to find things for his various characters and storylines to do, and not everything is on the same plane. Finn and Poe (Oscar Isaac) recede into the background all too easily. This is the longest Star Wars movie in franchise history and it could have easily been cut down by 20 minutes.
Fortunately for us, Johnson’s eye for striking visuals and strong, punctuated character moments is still alive and well, and The Last Jedi has moments that left me awed. There are a handful of visuals that are burned into my memory. A multi-dimensional shot of action that pans over to a frantic eyeball. A blast of light that cuts through space like a razor, with the sound dropping out for that extra degree of awe. Speeding ships kicking up red plumes. A slow-motion team-up that all but dares you not to pump your fist. Johnson’s unique sense of visual composition is still present an accounted for. He also reveals a strong handle over the coordination of action sequences, an unknown quantity for him until he landed on this biggest stage. The opening sequence is a great showcase for Johnson with multiple points of action both macro and micro. The X-wing fights are snazzy but the simple struggle of pilot trying to reach a detonator is terrific tension. Abrams, and now Johnson, have brought the feel of Star Wars back, where the alien settings are real and not just a green screen warehouse like the prequels. The light saber battles (all two of them) are given personal stakes. The fights matter. Unlike the prequels, we have people that behave and fight like human beings and not cartoons that leap off walls, do thirty flips in the air, and take leaps off 100-foot canopies. The characters and their conflicts don’t get lost among all the special effects wizardry and explosions.
The characters with the best material are also the ones who give the best performances. Hamil (Sushi Girl) is fantastic as the old curmudgeon, the bitter man who’s lost his faith. There are later moments where all of his acting is performed through his eyes and little twitches over his face, and he communicates so many emotions. Ridley (Murder on the Orient Express) continues her flinty determination while being somebody who isn’t as instantly adept at every new challenge. Her one-on-one sessions with Luke and Kylo are made better from her charisma. She’s a star. Driver (Logan Lucky) is still compelling as a villain struggling with being a villain. I enjoy having a bad guy who is sloppy, tempestuous, and not fully immersed in the dark side. It makes scene-to-scene more interesting and it plays better to the film’s theme of trying to save one’s soul from the power of influence. Driver has less “woe is me” moments than Force Awakens and feels more committed to his character’s ultimate journey. Kelly Marie Tran (XOXO) is the newest edition and makes quite a favorable impression as the crafty, thoughtful Rose. She’s got some key emotional moments and Tran nails them. She’s also an eager fan of the heroes of the Resistance, namely Finn, and when the reality doesn’t quite match her fantasy, she mimics the Star Wars fandom in her dejection. While the movie doesn’t find the most useful places for her inclusion, I was happy to watch Rose make her case as a new and valuable addition to the franchise. The actor I felt worst for is Gleeson (Goodbye, Christopher Robin). His character is simply an officious weasel we’re not really meant to take seriously, and this is further accomplished by Gleeson’s screeching voice. I worried the man was going to give himself an aneurysm.
This is also the last time we’ll see Carrie Fisher in the Star Wars universe, barring the misbegotten CGI version of her that resembled a chalky blow-up doll in Rogue One. Fisher died almost a year ago and that knowledge hangs over every one of her scenes. You wonder if there will be any sense of closure with her character in this universe. Johnson provides a scene between Luke and Leia that is so poignant and shot so tenderly that it feels like the perfect sendoff for Fisher. He even kisses her forehead before slowly departing, feeling the urge to stay, while a burst of light halos her face. If you were going to cry at any point in The Last Jedi it will probably be this moment to remind you of Fisher’s passing. Leia does have a couple other appearances after this moment but it’s really this scene that serves as her effective curtain call from this massive franchise.
Star Wars: The Last Jedi is an exciting transitional chapter, and this movement seems to be chaffing many fans, bringing forth the question of whether the fanbase will allow there to be a different Star Wars. This is a movie that discards storylines and characters with the wave of a hand, that subverts expectations and plays with misdirection. This is Rian Johnson’s response to nostalgia in place of genuine emotional responses. As Kylo Ren says, “Let the past die.” It’s not the movie’s fault that people devoted countess hours to speculating about possible film theories that were deemed relatively inconsequential. Johnson refocuses on the characters that matter most, Rey and Kylo, by pairing them up as twin forces. While The Force Awakens definitely has more of a brash sense of fun, I find Last Jedi to be the better movie. It’s not quite up to par with the original trilogy. Johnson gets a little overburdened by trying to add too many things, including a casino subplot that feels like a unsatisfactory side mission in a video game. The new Star Wars films have lacked the bold unpredictability of the original trilogy. There’s nothing quite as seismic as Darth Vader being revealed as Luke’s father or even Han Solo captured and locked in carbonite. Even the major deaths in the new films feel anticipated, like in Episode VII, or less momentous, like in Episode VIII. There are some fake-outs with major deaths that many will deem cheap gambits, and I won’t disagree. I was entertained throughout The Last Jedi. I enjoyed the new characters. I enjoyed the action sequences. I even enjoyed the porgs. This is a movie that is looking for balance between the light and dark, and Johnson establishes a Star Wars that resets the table in exciting and frustrating ways. With J.J. Abrams now onboard of Episode IX, we’ll see how he brings home the characters that he brought into the universe a long time ago in a galaxy far, far away. I imagine the fans grousing this new direction might be more forgiving of nostalgia.
Nate’s Grade: B+
A nearly three-hour movie about Portuguese Jesuit priests facing persecution in 17th century Japan and struggling with the personal demands and costs of their faith sounds like a hard sell for your casual moviegoer. It may seem even stranger coming from the likes of director Martin Scorsese. This is a deeply personal film and perhaps the greatest movie about the nature of spiritual faith, both good and bad, I’ve seen. Two priests (Andrew Garfield, Adam Driver) sail to Japan in 1635 to find their mentor after hearing he has renounced his ties to Christianity and taken up a Japanese wife. Christianity has been outlawed and those caught practicing the religion can be turned in for 100 pieces of silver, and a priest for 300 pieces. The repression forces Christian converts to make difficult choices, especially when their refusal to recant their faith causes suffering for others. The Inquisitor (Issei Ogata) is a fascinating figure who argues that these misplaced missionaries never understood Japanese culture and that this foreign religion simply cannot flourish. The meaning of individual faith is explored beautifully with existential highs and lows. When the priests come across a village of secretly practicing Christians, it’s a powerful example of the goodness of faith, as these people are nourished body and soul, empowered. They can also finally confess their sins and garner a clean slate. However, much of the film is about the internal struggle to retain one’s faith in the seeming absence of confirmation. The priests are eventually caught and ordered to apostate, and their ongoing refusals are met with harder and harder challenges to bear. It’s an ongoing process for many people to square the concepts of a loving God and the horrors and general torment that do not merit said God’s intervention. At one point one of our priests, shaken by his experiences, asks if he is merely praying to silence. In some regard, I think the movie is about coming to terms with the fact that faith is often a relationship with a silent partner. Silence may be the greatest spiritual epic about doubt. It feels like a thriller at times and also the most Christian movie at other times. It puts the simplistic tripe starring the likes of Kirk Cameron to shame. Scorsese’s camera is unmistakably his and the movie is often dazzling to just experience. The pacing is very much a slow burn but the historical context felt increasingly intriguing for my tastes. Ogata is the real star of the movie, embellishing his antagonist with a magnetic power. Every time he was off screen I wished for his return. Silence is not going to be a movie for everyone or for many. It’s too long and airless, but it’s a deeply serious, deeply meditative, and deeply searching film about the power of belief and the price we pay to hold on.
Nate’s Grade: B+
Jeff Nichols should already be a household name after Mud and Take Shelter, and with his new movie Midnight Special, the man has done nothing to break his incredible record of success with making deeply personal, ruminative, thrilling, and brilliant films. Midnight Special is a better and more earnest love letter to the cinema of Spielberg than Super 8 was. A young boy exhibits strange and supernatural powers. The religious compound he came from looks at him as a prophet. The government thinks he might be a weapon. Two different groups are on the hunt for this boy, and that’s where Nichols drops us right into the middle of, respecting the intelligence of his audience to catch up and figure things as they develop. In some ways it reminds me of Mad Max: Fury Road, an expert chase film that establishes its characters naturally as it barrels onward. The acting is wonderful all around and Nichols does a great job of finding small character moments that speak volumes, giving everyone time in the spotlight. The various twists and turns can be surprising, heartwarming, funny, but they stay true to the direction of the story he’s telling and grounded in the simple, unyielding anxiety and love of parents for their child. Michael Shannon (Nichols go-to collaborator) is directly affecting as a humble but determined father risking everything for the well-being of his son. The concluding act left me awed and felt something akin to what I think Brad Bird may have been going for with Tomorrowland. This is a thoughtful science fiction movie that allows its characters space to emote, its plot room to breathe, and yet still thrills and awes on a fraction of a Hollywood budget. It shouldn’t be long before some studio finally taps Nichols to jump to the big leagues of a franchise film, but if he wanted to keep making these small, character-driven indies on his own terms, I’d die happy.
Nate’s Grade: A
May 19,1999 is a day that lives in infamy for legions of Star Wars fans. The day hoped died. I remember trying to convince myself that The Phantom Menace was good but a second viewing confirmed my earlier fears. These movies were not going to be the same as the original trilogy, and George Lucas confirmed that with each successive release. I’ve had debates with teenagers who swear that the prequels are better films. They aren’t. This isn’t a matter of opinion; this is fact. After Revenge of the Sith was released in 2005, you could sense that Lucas was burned out and had no desire to further awaken the ire of the fandom. Then in 2012 he surprised everyone by selling the Star Wars empire, along with other properties like Indiana Jones, to Disney for four billion dollars. Immediately Disney let it be known that they wanted to get new Star Wars movies into production ASAP. They tapped J.J. Abrams to spearhead the first steps in a new direction. No other movie has felt the weight of hype and expectation like Episode VII: The Force Awakens. Fans don’t want to be hurt once more by someone they loved. For millions of fans that grew up on the original trilogy, The Force Awakens will be the Star Wars movie they have long been waiting for. It erases the bad feelings of the prequels and re-calibrates the franchise. However, it is also flawed and seems too indebted to nostalgia. It’s certainly good but I cannot put away my nagging reservations (far, far less than what I felt with the prequels).
Thirty years after the events of Return of the Jedi, the First Order has risen in place of the evil Empire. The First Order is lead by General Hux (Domhnall Gleeson) and aspiring sith lord Kylo Ren (Adam Driver). They’re searching for the droid BB-8 and its owner, Resistance pilot Poe Dameron (Oscar Isaac). The droid has a map that leads to the whereabouts of the last known Jedi – Luke Skywalker (Mark Hamil). A Stormtrooper who adopts the name of Finn (John Boyega) runs away from his mission and joins forces with Rey (Daisy Ridley), a scavenger waiting for her family to return to her world. The duo finds BB-8 and seeks to return the droid to the Resistance. They run into Han Solo (Harrison Ford) and Chewbacca (Peter Mayhew) and a few other familiar faces on their journey to the Resistance base and to escape the reach of the First Order.
Abrams has captured the essential magic of what made the original trilogy so enjoyable and timeless. The prequels carried the burden of setting up characters we had come to love, and so as we watched younger versions of them or characters integral to their development, it was hard to ignore just how little we cared. It didn’t feel like Lucas himself cared that much, more content to direct his green screens than his actors. The special effects had improved but for much of the three prequels it felt like watching disinterested actors recite poorly written lines while they run around fake environments with no semblance of reality. The details that Lucas emphasized were ones that were unnecessary, like treaties and trade tariffs and the notorious midichlorians, which made the force into a blood disorder. The prequels harmed the legacy of the franchise. It takes only seconds for you to feel like you’re in better hands when you read the opening text crawl. No trade disputes. No galactic senate. It sets up its central chase and the important players in three brief paragraphs. And then we’re off and the movie rarely lets up.
We pass the torch to a new generation of characters and it’s here that Force Awakens is able to leave the large shadow of the original trilogy. The characters are great. Finn gives the viewer an entry point into a world we’ve never explored onscreen in any real depth, the life of a Stormtrooper, the cannon fodder of the series. He has moral crises and goes AWOL from the duties he has been raised to do. He doesn’t want to be a mindless killing-machine and forges his own destiny. Watching him embrace a sense of individuality is entertaining. He’s charming and excitable but also fearful of what may catch up to him. Then there’s the hero’s journey with Rey, a plucky heroine who comes of age over the course of the movie’s 135 minutes. Ridley has the presence and poise reminiscent of Keira Knightley, and the screen just adores her. It also helps when her character is easy to root for. Boyega (Attack the Block) and Ridley are terrific and even better paired together. They have a great chemistry and much of the humor is born from the characters rather than lame visual gags like in the prequels. It’s fun to hear characters verbally spar with actual good dialogue. Driver was the first actor hired and it’s easy to see why. If you’ve been watching the man on HBO’s Girls, you’ll know that he has a magnetic presence that separates him from the herd. He plays a villain that so badly wants to follow in Vader’s footsteps but the thing that holds him back is the “temptation of the light.” In one moment, a badass and imposing villain with super force powers had now also become an interesting character wrestling with his influences. Isaac (Ex Machina) is suave and cocksure as an ace pilot. His affection for the other characters is touching, particularly the robot BB-8. This little guy is going to be the toy that every child on Earth demands for the holidays. BB-8 is adorable from its first moment on screen and made me forget about R2D2. The big worry with Force Awakens was that its new characters would be compelling on their own. After one movie I’m looking forward to more adventures with the new kids on the block.
Abrams has restored the sense of fun and awe that resonated from the original trilogy and the biggest compliment is that Episode VII feels like a Star Wars movie (more on which below). The action sequences are quick and filled with great visuals and shot arrangements. For those worried about Abrams’ penchant for lens flairs in the Star Trek reboots, they are completely absent in Force Awakens (Fun fact: for Star Trek Into Darkness, computer effects had to go in and take out lens flairs because Abrams later admitted he had gone a bit overboard). There are some beautifully orchestrated shots and sequences all around here. The first 40-minutes is the best part of the movie, before the older stars come back for their due. The rest of the film is enjoyable, no doubt, but I was more pleased with the original material. The technical expertise has never been higher. Like Mad Max: Fury Road, there’s a joy with watching characters interact with a real world of practical effects. Watching the characters run around real environments and real sets rather than immense green screens just makes it feel more real and vital. I enjoyed how worn and weathered the technology in this world comes across. The special effects are judiciously utilized and are excellent as anticipated. It’s easy to sense the reverence that Abrams and others have for the series as well as their determination to not repeat the mistakes of the prequels. The first mission for Episode VII is to reset the course, to wash away the bad taste of the prequels that haunt many. Abrams has gone back to what works with these movies and recreated the playbook. It’s a movie that will satisfy the hardcore fans and reawaken their love for the series.
And yet it almost feels like Force Awakens is a swing too far in the other direction, an overcorrection to the prequels that turns a reboot into a loving homage that approaches facsimile. I was amazed at just how closely Episode VII follows the plot beats of A New Hope (mild spoilers to follow – for real, if you don’t want to be spoiled in the slightest, and I’m no monster and won’t dare include anything that would substantially deter your viewing, skip to the spoiler safe area). Here goes: once again we start with an escape from an evil starfleet ship, only to land on a desert planet. The hunt is for a droid with valuable information. Our dispirit band of characters collect on the desert planet and flee, only to be eventually pulled back to the evil base of operations, which once again is a giant floating orb that specializes in planet destruction and this orb seems to have the same pesky design flaw that plagued Death Star 1.0 and 2.0. How does this one design flaw still exist? Are there not backups and redundancies? It would be like Titanic 3.0 going down by hitting another iceberg. There are more parallels involving the characters and personal revelations that mirror Episode IV but I won’t go into detail on those (end of spoilers). Suffice to say, it felt like I was watching a cover act remind me how much I enjoyed the first Star Wars release. Perhaps Abrams felt his rabid audience needed to go backwards before going forward, pay homage to what had been built by practically reliving its plot in a galaxy not so long ago as it once was (it still is likely the same distance: far far away). It’s a movie that cannot escape the nostalgia of its predecessors, and so it indulges it instead. In deferring to fan demands, Force Awakens has moments that waver into the dangerous territory of fan service. This will harm its overall staying power once the glow wears off from audiences overcome with relief.
Thankfully, the new main characters are compelling and I’ll be happy to follow their continuing adventures with Episodes VIII and IX and who knows. Abrams and company have set up the next generation of fan favorites that have the chance to grow out of the sizable shadow of the original cast. However, not all elements are given that same nurturing care. The Force Awakens is so briskly paced that it rarely has time to establish the new history of its universe. We get character relationships and reunions but I couldn’t help but feel that the larger plot they inhabited felt rushed. The First Order seems rather vague and their rise to power needed at least some explanation. Instead we’re dropped right into a timeline with an Empire knockoff. It’s just easy fascism placeholder. Why are the Republic and the Resistance two separate entities? The villains with the exception of Kylo Ren are pretty one-note and also callbacks to the bad guy types from Episode IV. Captain Phasma (Gwendoline Christie) is in the movie for a lousy three minutes. I’m also not a fan of either of the two motion-capture performances courtesy of Oscar-winner Lupita Nyong’o (12 Years a Slave) and mo-cap pioneer Andy Serkis (Rise of the Planet of the Apes). I hated Nyong’o’s character and her performance. The character design for both of these creatures is rather weak and weirdly unimaginative. There’s also a habit of characters being naturals at things that would ordinarily require expertise. The worlds we visit and the creatures we encounter are all a bit too similar to earlier sources and distinctly unmemorable. We don’t learn much via our locations and geography and so it feels a tad interchangeable and meaningless, which is a shame.
The Force Awakens is a mostly exciting return to the rich world of Star Wars with characters we care about, old and new, lively action that feels substantial and real, and a sense of fun that isn’t at the expense of your full brainpower. Abrams had two missions: 1) eliminate the disappointment over the prequels, and 2) set up new characters and stories for future installments. Both have been accomplished. Abrams may have been the perfect candidate to restart the Star Wars series as he has a history of making films as loving homage to his cinematic influences. Super 8 was Abrams’ homage to Spielberg, and Episode VII is very much homage to Episode IV. The well-trod story allows for the series to reset comfortably while setting up its new characters to take a greater storytelling burden from here on out. I hope future installments give us more development to make the worlds and the history matter just as much as Rey, Finn, Kylo, Poe, and BB-8. This may be an unpopular opinion but I feel that Abrams’ rollicking 2009 Star Trek reboot is a better Star Wars movie than The Force Awakens. Abrams and company prove you can make a new and good Star Wars movie. Now my own new hope is that writer/director Rian Johnson (Looper) will be able to steer the franchise into a fresher direction with Episode VIII. In the meantime, fans can sleep well once again.
Nate’s Grade: B+
“There’s no success like failure. And failure’s no success at all,” Bob Dylan wrote. He could have been talking about any number of characters in the oeuvre of master filmmakers Joel and Ethan Coen. Losers and has-beens and could-have-beens fascinate the brothers, and their newest film certainly follows this model. Llewyn Davis (Oscar Isaac) is a struggling musician in the 1961 Greenwich Village, New York folk scene. He rotates crashing with various friends, unable to scrounge up enough money to ever pay his own way. His musical partner recently killed himself and Llewyn has been trying to get traction with his first solo record. His world gets even more complicated when Jean (Carey Mulligan) reveals that she’s pregnant; the baby’s father may be Llewyn or Jean’s husband and fellow performer, Jim (Justin Timberlake). Llewyn can’t catch a break.
Inside Llewyn Davis is a classic Coen creation, a character study of a misanthropic loser trying to find direction in a comical universe of indifference. I greatly look forward to every Coen picture and that’s because nobody writes characters like they do. There are no throwaway characters in a Coen universe. Even minor characters like the elevator Attendant or Manager’s Secretary are given sparks of personality, each fully formed figure creating a richer canvas. There is great pleasure in just listening to their characters speak, in natural cadences yet elevated with grace. Inside Llewyn Davis is no exception. Their storytelling is always rife with wonderful comic surprises and pit stops. The Coens are such brilliant technical craftsmen, that every shot is gorgeously composed, even without longtime cinematographer Roger Deakens (to give you an idea how old this movie was, Deakens was busy filming Skyfall). The music, supervised by O Brother maestro T. Bone Burnett, is impeccably performed and quite lovely to the ear, if you’re into folk music arrangements. If you’re not, well, it’s going to be a long movie experience.
But here’s the problem with Inside Llewyn Davis: the film will likely turn off most people. It’s not a comforting movie by any means. We’re stuck following a self-destructive struggling musician bounce around couch-to-couch, chasing dreams that will never seem in reach. And Llewyn is a tough character to love. He’s surly, careless, selfish, egotistical, and also jaded. And he’s just about the only character in the movie. Most of the other famous faces are fleeting supporting players. Only Mulligan (The Great Gatsby) is given a plurality of scenes to expand her perturbed character, and even those may not be enough. Much like Llewyn’s musical direction, this is a one-man show, and he’s not cuddly. But an unlikable protagonist is not uncommon. The Coens tease so many different directions for Llewyn to go that it’s likely that audiences will feel some degree of disappointment where the film does end up. It’s a circuitous path, proving Llewyn is the architect of his own fate, but at that point audiences may not care. They may just be happy to watch Llewyn punched in the face. The plot is pretty light, running into a series of various self-contained scenes, and there isn’t much in the way of closure. I’ve watched the film twice and while I appreciate it more I’m certain that Llewyn Davis will leave a majority of people feeling cold, more so than even A Serious Man.
Unlike former Coen creations, notably in A Serious Man and Barton Fink, our titular character is the architect of his own misery. He is a musician that identifies with an older class of folk artists, something that strikes him as genuine and touching the soul. He cannot stand artistic compromise. He won’t even accept a winter coat from his music manager. He wants no handouts. He chastises Jean about her and Jim’s attitudes toward the business, calling them “careerist” and “a little bit square.” To Llewyn, to sell out is the worst crime. Jean says that they’re just doing what they can to raise up the musical ranks, and maybe the songs aren’t top-notch, like a catchy but instantly dated novelty song about the Space Race (the sure-to-be Oscar-nominated “Please Mr. Kennedy”), but they’re commercial, they’re finding an audience, they’re making inroads, partially as a husband/wife act and partially due to their own physically attractive appearances, and it frustrates Llewyn greatly. A great example is early in the film a young Army vet on leave performs a wonderfully pure song with a beautiful voice. Llewyn scoffs at the mawkish nature of the tune. “He’s a great performer,” Jim advises. Llewyn takes umbrage at the distinction; a performer is not the same as a musician. The people getting ahead are the performers, the sellouts. One of Jean and Jim’s rising hits, “500 Miles,” lyrically suggests it was an old slave song that has been repackaged and homogenized for safe consumption. Llewyn is going to stick to his guns and make it on his own terms, with expected results. Late in the movie, after Llewyn performs before a record exec (F. Murray Abraham), so aching and affecting as he puts it all into the song, the exec simply responds: “I don’t see a lot of money here.” However, the exec offers Llewyn a chance to be in a trio he’s putting together, if he cleans up and knows how to keep to the background. It’s a real opportunity. Just not for Llewyn.
It all comes down to legacy and Llewyn contemplating what his will be. His singing partner is now defined by his death, finding cruel irony in their song, “If I Had Wings.” His father is known for his long dedication to the Navy, but now he sits alone in a nursing home, a prisoner to his own infirmary and defeated mind. A road trip partner, the pompous jazz musician Roland Turner (a royally hilarious John Goodman), seems like a Ghost of Christmas Future visit from a possible future Llewyn, the artist who’s an iconoclast only in his own mind. Throughout the film, Llewyn is beset with choices, different options he could take, one in particular stemming from a revelation involving an old girlfriend. And yet, much like the thematic nature of folks songs, we’re told, Llewyn looks for something new with something old, be they routines, goals, or occupations. The folk music scene is on the cusp of change with a more commercialized pendulum swing, as evidenced by a surprise new performer at the Gaslight in the closing minutes. Llewyn is contemplating his life beyond the world of show business and where he goes next.
And if there is a sad aspect to the Coens’ tale, it’s that Llewyn really is a talented musician. This is a breakout role for Isaac (Drive, Robin Hood) especially when you consider that he did all his own singing and guitar playing. It’s one of the most astonishing musical performances by an actor I’ve ever seen in a movie. The level of craft at command, the different slivers of passion he carefully puts into the performances, the trembling emotion, the merging of himself with the song. There’s a reason the Coens open the movie with Isaac performing the full rendition of “Hang Me, Oh Hang Me.” It crystallizes right away where the man’s talent level is, both the character and the actor. We’re left to then wonder why he hasn’t found his place in the industry, and the rest of the film is the explanation. This is the first film since perhaps 2007’s Once where full-length performances of songs really do move the story forward (I’m obviously excluding traditional musicals). Some have labeled the heavy use of song as lazy, distracting from an undercooked narrative, but I can literally go through every song in the film and justify its existence. Each tune, and the performance and performers, gives insight to character, plot, and state of mind.
Inside Llewyn Davis is an easy movie to admire but a harder one to love, unless you’re a fan of the Coen brothers or folk music in general. The protagonist is unlikable, his struggles his own doing either by hubris or integrity, the plot is rather loose with scattered supporting characters, and the film ends on a somewhat lackluster note that feels inconclusive. But then I keep going back to the richness of this world, the pop of the characters, the lyrical beauty to the unvarnished songs, and the concept of folk music as its own sense of purgatory (here me out, folk fans), the idea that we seek something new with something old, and so we follow in circles, like Llewyn’s onscreen journey. Isaac gives such a strong performance that you almost wish his character could catch a break. Almost. This is another technical marvel from the Coens, filled with their dark humor and their sense of cosmic melancholy, but Inside Llewyn Davis may ultimately find some strange sense of uplift as Llewyn continues to hold to his ambitions even as the world around him is changing, losing sight of artists like him. As long as we have the Coens, the Llewyn Davis’s of this world will get their due in one form or another.
Nate’s Grade: A-