Uplifting GBLTQIA+ love stories free of melodramatic or tragic tropes aren’t always easy to find; sometimes you have to go to western South America for a really good one. Omar Zúñiga Hidalgo’s Los Fuertes (aka The Strong Ones) (B+) is a thoughtful and engrossing romantic drama about love that emerges between just the right people at almost exactly the right moment. Samuel González plays a student buying time in Southern Chile before graduate studies in Canada who meets a mysterious fisherman (with a most uncommon side hustle of historical battle reenactments in local fortresses) played by Antonio Altamirano. This is a film of wisely observed episodes in which there’s not a huge sweeping plot, just a swoon-worthy coastal courtship and the onslaught of potential longing and loss. Both ruggedly handsome actors are excellent in portraying men letting down their guards. They commit fully to authenticity on screen. Hidalgo wisely foregoes heavy-handed symbolism or amped-up high stakes and simply captures this love in bloom in sequences of joy, yearning and consequence. The gorgeous scenery and surroundings lend a lived-in quality to the proceedings equally interpreted as epic or fleeting, and the reality of the relationship that plays out is worth exploring.
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Talk about a son possessed – and often obsessed – with the topics fascinating his famous father! Director Brandon Cronenberg’s Possessor (B) follows in the footsteps of his filmmaker dad David Cronenberg, with both men specializing in intellectual tales of psychological trauma played out against the human body as a bloody and phantasmagoric canvas. Expect rage and repercussions. Andrea Riseborough is ostensibly the star of the film although her character is largely inhabiting the mind and body of Christopher Abbott, who gets the real juicy part, in a film that also features Sean Bean and Jennifer Jason Leigh in effective small parts. The plot involves assassinations carried out through a diabolical mind control process, but it’s largely style over substance as memories and intentions collide in some epic suspense showdowns. Wall to wall with hallucinogenic imagery and graphic violence, the film is catnip for fans of thriller and horror genres. The set-up is strong, set pieces superb and stakes high throughout. The film can’t quite bear the weight of both its protagonist and parasite, but it’s boldly audacious nonetheless. The auteurist apple doesn’t fall far from the tree, and it’s rotten to the core in the best possible way.
Kornél Mundruczó’s Pieces of a Woman (B-) is a devastating and uneven glimpse at a tragedy befalling an American couple soon after bringing a child into the world. The performances are so stunningly good that it’s a shame there wasn’t a more compelling or urgent through-line to maintain the interest generated in a searing prologue. The film will undoubtedly be remembered for the hook of a prolonged childbirth sequence magnificently filmed in a single take and the central performance by Vanessa Kirby, whose acting is incredible especially as she has to show viewers her interior struggles. Shia LaBeouf is good in an underwritten role as her husband, but the other acting powerhouse here is Ellen Burstyn in the kind of fierce role that begs for its own movie. The film’s autumnal elegance and grace is maintained throughout, but its plot and pacing keeps viewers at a slight distance just when you want to find out more about what’s driving the relationships and maternal instincts. It’s a tough watch, recommended mainly for awards season completists because the female performances are peerless.
Writer/director Emerald Fennell’s debut film Promising Young Woman (A-) is an absorbing hybrid dark comedy thriller with an unforgettable storyline and a fiercely focused central performance by Carey Mulligan as a one-woman avenging force. As the wronged protagonist, Mulligan shape shifts into a variety of show-stopping personas in stunning episodes to underscore her poignant points, and the themes are never preachy or pedantic. In fact, the satire is so sharp, the movie continually blurs lines between genres and leaves viewers fairly unsure of what’s coming next. The film’s unconventional, entertaining script helps showcase and sell a story which otherwise might have been marginalized into well-meaning long-form essays or flash-in-the-pan hashtags. Fennell’s creative, symmetric, candy-coated aesthetic is countered and complimented by some of the most unhinged and provocative dialogue set to film about toxic male culture. Escaping the main character’s burn book (bit parts include Adam Brody, Christopher Mintz-Plasse and Max Greenfield) is Bo Burnham’s character who gives a fleeting glimmer of hope into the male psyche. The filmmaker also employs phenomenal music choices ranging from pop tunes to Broadway anthems to punctuate the proceedings. This will go down as a definitive movie about the ramifications of sexual assault on both victim and perpetrator and will surely speak to a generation to think twice before being complicit in micro-aggressions and beyond. It’s a smart and sneaky surprise and not for the faint of heart.
Talk about a throwback: raiders of a lost artifact are romancing an ancient stone capable of granting its owner worldwide domination, but despite a few footloose flashdances of frivolous fun and a flurry of war games capable of shifting the def con, this comic strip bonanzarama devolves quickly into an aggressively tone-shifting eclectic boogaloo. Patty Jenkins follows up her original solemn Wonder Woman with an off-the-rails sequel, WW84 (C), set in the excess of the eighties, and it’s largely a lasso of lunacy. The DC Universe settles in D.C. as the protagonist quietly works in the museum antiquity business while side hustling with crime fighting on The Mall and at the mall. Despite her gorgeousness and swell stunts, Gal Gadot looks like she has a migraine for most of the movie as her plucky naiveté transforms into full warrior mode. She’s still the best thing about the film and adds pomp, pageantry, grace and grandeur to even the most throwaway lines. Kristen Wiig fares poorly as an underwritten friend turned rival (it’s like her SNL “Penelope” character says, “I can be a CGI character too, and mine is a fierce cat!”). Pedro Pascal is also adrift as a villainous megalomaniac whose intentions vary scene by scene. It’s like you get two villains for the effect of one. Only Chris Pine in an extended cameo retains a bit of dignity. Nearly everything earthbound in the story including a prolonged wish fulfillment conceit is a relative dud; but when characters take flight, including in the famous invisible jet, the film mildly soars. Action sequences, more infrequent than expected, largely deliver on the storyboard. But most of this anticipated blockbuster is a clunky cacophony, and even nifty nostalgia can’t save it.
Writer/director Eliza Hittman’s Never Rarely Sometimes Always (A-) is a film of quiet dignity and grace, with ambiguity around the edges which gives the central plot even more immediacy and universality. Sidney Flanigan is stunning as Autumn, a soulful, forlorn teen protagonist. Faced with an unintended pregnancy and a lack of local support, Autumn and her cousin, Skylar (also amazing Talia Ryder) travel across state lines to NYC on a fraught journey of friendship and compassion. Hittman has a tremendous observational lens for capturing the details propelling a few days in the life of these brave girls. Her combination of vérité and character study is absorbing and affecting. Time and again, Hittman gets the story beats right, prompting viewers to hang on every word and feel the characters’ emotions deeply.
George Clooney directs and stars in The Midnight Sky (C+), an often frosty outer space slog with gorgeous visuals, an inert plot-line for most of its duration and a final act that almost rights the ship of all that came before. Clooney’s lone protagonist is a frail Arctic scientist who, along with a nearly mute child stowaway, must contact a crew of astronauts returning home from a Jupiter moon to catastrophe on a future earth. The action of this oddly paced odyssey occurs in fits and starts and is workmanlike, but the bifurcated drama rarely feels as ambitious as intended. A star-studded cast including Felicity Jones and David Oyelowo gets little interesting to do aside from a spontaneous third-act singalong and meteor shower adventure. The special effects provide some lovely spectacles to behold including some technological and lunar marvels and some all-too-human foibles with gravity amidst dueling stories in the North Pole and aboard the spacecraft. Themes about global/interplanetary cooperation were covered more successfully in The Martian, and adult/child survival dystopian stories were better in The Road, but some final moments of poignancy nearly rescue the film from weightlessness.
Somewhere jammed between “all the feels” and “being very satisfied with itself,” this jazzy riff on purpose is semi scat-tat-tacular. No, it doesn’t explain the meaning of the universe per se, but Pete Docter and Kemp Powers’ cerebral entry in the Pixar pantheon, Soul (B), is often illuminating in its exploration of the ways of the world, its presentation of an iconic Black acting ensemble and its depiction of the magical and musical syncopation of Manhattan life. This animated opus told in a minor key keeps a tight grip on its voice cast, with Jamie Foxx and Tina Fey in prime positions as band teacher Joe and surly spirit 22, respectively. They’re both serviceable in rather ho-hum parts. When Joe experiences a freak accident whisking him into an overly complicated purgatory, he soon returns to NYC to hone his mentorship skills and be reminded of the sensory and interpersonal elements of city life that matter most. The real revelation here is not the complex universe the film paints nor the rote race against time propelling its winsome plot but rather the quality of the earthbound animation, what with the natural lighting and lens flairs adding sparks to bustling urban streets, brotherly barber shops and intimate music dens. Characters honestly get short shrift compared to the artisan craft at work here; and if it all falls a little short of the franchise’s best, it still finds ways to tickle some idiosyncratic ivories.
A luxury movie theatre whose time has come has opened in Midtown Atlanta’s revitalized Colony Square, and if anything could lure folks back into the cinema, it’s this epic IPIC. Atlanta’s IPIC boasts nine high-tech screens and 426 seats in a variety of configurations, including two-person pod options in auditoriums of as few as 18 seats and as many as 72. A pioneer of the dine-in theater concept, IPIC Theaters’ mission is to a create an unforgettable experience for guests. IPIC Atlanta will program the latest Hollywood blockbusters and select films in 4K digital projection, chef-inspired cuisine, signature cocktails, including personalized touches from the moment guests arrive. Guests can enjoy elevated food and beverage service delivered seat-side by “ninja-like” servers for a dine-in-the-dark viewing experience, while relaxing in premium reclining leather seats. IPIC’s curated food and beverage menu focuses on seasonally inspired dishes and signature plates, shareables, and keto and vegetarian-friendly options. A few favorites at the VIP preview night were the spicy tuna, red velvet waffles with chicken wings and popcorn laced with churro spices. Guests can also expect quintessential movie favorites such as classic and gourmet popcorn flavors, candy and innovative treats, plus a kid’s menu. Alcoholic options include a variety of wine, beer, and signature cocktails. The decor is museum-like with modern paintings and artwork of iconic movie stars, and there were a variety of sitting areas pre-show to enjoy food or drinks with small groups. Colony Square, the 50-year-old mixed-use destination, is currently undergoing a $400 million redevelopment by North American Properties. In early 2021, IPIC will also open a 6,635-square-foot destination bar and restaurant, Serena Pastificio next door to the theater. The adjacent eatery specializes in authentic, handmade pasta with simple and fresh ingredients. IPIC offers memberships with benefits, plus its auditoriums are available for special occasions and private screenings (two events got booked before it even opened). All seats may be reserved ahead of time on IPIC’s reservation system online or available on the IPIC app. Additionally, IPIC’s layout naturally reduces capacity between 24% and 57% per auditorium compared to traditional theaters. The layouts organically allow for social distancing between parties with pod-style seating that separates guests, wider rows and individual aisles leading to seats as well as smaller auditorium sizes. IPIC Atlanta is located at 1197 Peachtree St. Suite 350 NE in Atlanta. For a full list of showings and times, please visit: IPIC.com/Movies.
It’s not a certified fact that Deon Taylor watched too many ‘80s Showtime After Dark films growing up, but judging by his latest directorial product for the big screen, Fatale (D), he leans into a bygone genre crafting a guilty pleasure with more of the guilt than the pleasure. Like Zalman King’s secondhand princely protégé, Taylor summons Dante Spinotti’s glossy L.A. cinematography and Geoff Zanelli’s aggressively on-the-nose score for a convoluted story of adultery and double crosses. This mild orchid of a noir features a flat-out terrible performance by Michael Ealy as a sports industry business mogul and a committed but bonkers piece of acting by Hilary Swank as the titular femme with her share of secrets. It’s not entirely obvious which of this dreadful duo is the protagonist; they’re both pretty significantly flawed and jawdroppingly inconsistent. There’s scant chemistry in the love scenes, little suspense in the thriller moments and nearly zero believability in the way the characters generally behave. Still, the single audible scream one sequence invoked in this moviegoer signaled that some of the proceedings held a hint of intrigue. Overall though, this is definitely not the forbidden film worth seeking out in a pandemic.
Cue the catchy overtures, swirling footlights and confetti cannons because the unhinged and hilarious musical movie event of the year is hoofing its way into the streaming services of Middle America. Down-on-their-luck Broadway stars shake up a small Indiana town as they rally behind a teen who wants to attend the high school dance with her girlfriend in director Ryan Murphy’s joyous musical TheProm (A-). Luminous newcomer Jo Ellen Pellman is the friend of Dorothy at the film’s center whose big-hearted journey down the mellow brick road to the year’s big party involves larger-than-life troubadours who imbue the townsfolk with star quality, bravery, tolerance and a beguiling Bob Fosse tinged talent called “zazz.” Casting for the ensemble is simply inspired, including delicious diva Meryl Streep, foppish godmother James Corden, oblivious blowhard Andrew Rannells and spunky day-drinking chorus girl Nicole Kidman. Murphy deftly balances a tender central tale with acerbic showbiz insider antics for a film entertaining, uplifting and heartbreaking in equal doses. If anything this celebrity goodie bag may be overstuffed with too much, but it’s hard to resist a singing and dancing variety show packed with ample doses of genuine homespun love. The themes of acceptance and reconciliation are a well timed clarion call to the better angels of our national consciousness, and it’s all gift wrapped in glitter for the age of Twitter. The glorious music, clever lyrics and fabulous choreography come together with precision especially in the youthquake euphoria of tunes such as “You Happened,” “Time to Dance,” and “Unruly Heart.” Keegan-Michael Key as the high school principal gets a lovely grace note in an ode to theatre called “We Look to You,” earning the first of many tear-jerking vignettes. For musical lovers, this Prom is a punch bowl of sweet and tart ingredients sure to rouse, stupefy and please.
A punk rock duo drummer and former addict must reckon with loss of hearing and learns profound lessons about life’s crafty way of altering the rhythm in Darius Marder’s powerful drama The Sound of Metal (B+). The film is a marvelous showcase for the prodigious talent of Riz Ahmed in the lead role, and he is riveting in his painful and touching journey. The ensemble is roundly terrific, from Olivia Cooke as the other half of the protagonist’s band as well as his gypsy love interest, plus Lauren Ridloff and Paul Raci as supportive hard knocks teachers in the deaf community and Mathieu Amalric who makes a superb final act impression. Marder handles the story sensitively without ever devolving into movie of the week level melodrama. The film’s stunning sound design and lived-in performances provide the story with fresh resonance, and not every plot point goes exactly as planned. Expect to be moved by the percussive force of this earnest and engrossing human story and to witness Ahmed at the top of his craft.