Alfonso Cuarón’s family drama set in a middle class Mexico City neighborhood in the early 1970s, Roma (B), is an elegiac tribute to his family’s real housekeeper who was a steady presence as the family slowly splintered. Told with a sweeping tableaux of intimate and epic moments, photographed in black and white 65 millimeter glory and using rich natural sounds without an underscore to accompany several Spanish language dialects, the film is a roaring technical achievement. Tracking shots of bustling city life, a youth revolt and an ocean vista are among its most stunning. The burden of narrative is carried largely on the shoulders of first-time actress Yaritza Aparicio, and she is marvelously revelatory and relatable. A lot happens and also not very much. There’s a long stretch of cleaning house and talking to the dog. There are multiple sequences of the family children talking but not saying much. But then the protagonist is hoisted into a world of opulent cityscapes, profound joy and grief and even a moment or two of genuine action against the backdrop of rising political unrest and tension. Cuarón beautifully and fully recreates the squalor and splendor of his semi-autobiographical childhood memories with his camera floating through its settings and subjects as if caught up in a dream. The storytelling is spare and lacks dramatic characterizations and fully realized linkages to match the power of the visuals. See it in theatres if you can, but even on Netflix, prepare to behold the panoramas of gorgeous moviemaking.
There’s a whole new convention for comic book aficionados, and it arrives in the form of a brilliantly conceived and rendered animation style and congregation of fringe superheroes. Bob Persichetti, Peter Ramsey and Rodney Rothman’s Spider-Man: Into the Spider-Verse (B) is a triumph of visuals and tone, capturing comic book aesthetic and tongue in cheek escapism. The story sputters out a bit midway amidst the kaleidoscopic New York set pieces, layered characters with text bursts and eye-popping swirls and swatches of dimensional color. The inclusive film explores a multiverse of Spider-Man personas converging, which gives us a half African-American/half Puerto Rican protagonist, female fighter, film noir hero and anime Spidey in the mix for confrontation with audacious baddies. Shameik Moore, Jake Johnston, Hailee Steinfeld, Mahershala Ali, Nicolas Cage are among the voice talents. It’s fun for both purists and first-timers to the arachni-phile adventurer pantheon with an awesome message true to the late Stan Lee’s vision that everyone can be a hero.
In a year of breakthrough films by African-American directors, of black excellence, panthers and klansmen, of Beale Street scuttlebutt and warrior widows, an unlikely white director has also hopped on the race relations bandwagon, helming a durable and crowd pleasing vehicle that’s worthy of more than a footnote. In fact, there’s something about director Peter Farrelly, best known for gross-out comedies, that yields a consistently bright and triumphant tone for Green Book (A-), elevating a true story to modern classic status. This 60s-set dramedy features Viggo Mortensen as a white nightclub bouncer who takes a job as driver and security for a black piano prodigy played by Mahershala Ali on a multi-state concert tour, guided by the titular journal about how to stay on a straight and narrow path through the segregated Deep South. The central performances are authentic and lived in, with Mortensen chewing the scenery and any food in sight as a portly pugilist with buckets to learn and Ali lending delicate dignity swirled with a worldly virtuoso to a lonely character who finds himself a multiple outcast in his own skin. The buddy comedy elements of the film are fittingly amusing and often revelatory, so it’s heartening when Farrelly resists most hamfisted impulses even when the narrative takes dramatic detours. Combined with lovely music, impeccable art direction and two of the most iconic performances of the year, it’s old-fashioned Hollywood manipulation that’s hard to resist. While film historians may claim one must choose between the likes of a more traditional tale such as Driving Miss Daisy or a gut-punch of modern cinema such as Do the Right Thing to chronicle the racial reconciliation agenda, there’s spotlight aplenty for multiple lenses addressing America’s most complex questions when it bubbles up from the right spirit. Farrelly’s film is more Miss Daisy/Hoke Colburn or Andy Dufresne/Red territory on the moviemaking map, but even a familiar road to redemption filled with such grace notes so gorgeously played is well worth treading.
If you’ve self-selected as curious about Bryan Singer’s Queen rock and roll biopic Bohemian Rhapsody (B), you will undoubtedly find yourself floating around in ecstasy at how the troubled production turned out. A star is reborn onscreen and his Gaga is radio ready as Rami Malek fully inhabits the role of flamboyant lead singer Freddie Mercury. This “behind the music” style melodrama is too often color by numbers, but Malek – a power ballad powerhouse in every frame – helps the film transcend the limitations of the form and, well, break free. The story dispenses with a series of greatest hits moments such as band origin story, early studio time, world tours and setbacks and is equally enjoyable in moments of grandeur and intimacy. Told with a lack of sentimentality and with pleasurable details and detours, the film strips down myths and legends and aptly showcases how some of the best songs surfaced. It’s fun to see how some of the zanier tunes emerged and how on trend this unconventional band was during its brief life as a quartet of outcasts. There are a few music tracks such as “Who Wants to Live Forever?” and “Another One Bites the Dust” which take on added poignancy given Mercury’s struggles with relationships and fading health. By the time the film culminates in a reenactment of the band’s famous Live Aid reunion performance, the audience is bought in completely. The ensemble is solid with no extraordinary standouts except Malek who transforms body and voice and should emerge an awards season champion. Malek’s Freddie is certainly somebody to love in a surprisingly deft crowd pleaser.