There’s a lived-in performance at the center of Bradley Cooper’s latest opus about a troubled artist, even if the film’s construction doesn’t capture its subject quite as closely or precisely as the moviemakers would like to think they do. Cooper stars in and directs Maestro (B-), a quasi-biopic about the complicated composer Leonard Bernstein, especially seen through the lens of the heterosexual love of his life and mother of his children, Costa Rican TV actress Felicia Montealegre, played with grace and charm by Carey Mulligan. The film toggles between black and white and color largely to match the chronology of its time periods, with magical monochrome origins giving way to a more murky, rusty “Hollywood in the 70s” aesthetic. The two central actors are superb, but their soapy plot and tragic trajectories don’t reveal much about them as artists. The humanity of how they bond when the stakes are highest makes for some of the most affecting sequences. The film will largely be remembered for the intimacy of several loving conversations and one bombastic sequence of the master musician conducting. Otherwise it’s caught in a kind of middle ground with impressive performances at not much service of a theme.
A rambling Rorschach Test of psychological perceptions takes the spotlight as characters experience the twisty limits of Method Acting in the peculiar new Todd Haynes dark comedy May December (A-). Natalie Portman plays an actress visiting Savannah, Georgia on an indie film research mission to study a real-life woman played by Julianne Moore and her much younger husband portrayed by Charles Melton the details of their notorious tabloid romance which started when he was underage. The movie presents an escalating series of off-kilter sequences, bombastic music and brazenly theatrical conceits ranging from melodramatic monologues to acting in front of mirrors to speaking about technique to acting classes. Portman’s character finds herself going deeper and deeper into the rabbit hole of intrigue and investigation, with increasingly thorny and unnerving results. She gets an iconic moment when she describes what filming an intimate scene in a movie is like and loses herself in the notion that sometimes it’s highly technical and sometimes you don’t want to admit you felt a little chemistry. All three primary actors are fabulous with the women trading secrets and lies and an increasingly similar appearance and relative newcomer Melton providing an object of unusual sympathy. Moore plumbs great depths of her sex offender character loosely based on the true story of Mary Kay Letourneau the audience may think it knows. Haynes has built a career on opulent domestic stories often with subtext of social persecution, and his latest is a brilliant remix of some of his most austere and audacious themes. This won’t be everyone’s cup of tea, but it will undoubtedly keep viewers guessing where one person’s scandal starts and another’s art fills in the gaps.
Behold the island of misfit goys stuck together over the 1970 Christmas break at a New England prep school campus in Alexander Payne’s snappy and sentimental The Holdovers (A-). A grumpy instructor brilliantly inhabited by Paul Giamatti, a brainy student troublemaker beautifully portrayed by Dominic Sessa and the school’s head cook, a grieving mother flawlessly played by Da’Vine Joy Randolph are among the sterling ensemble of this seriocomedy about the unlikely bonds formed between surrogate families. Payne is a preeminent chronicler of the American experience, and he finds pockets of marvelous introspection in the seeds of the Me Decade as the cynical denizens who populate his story reflect on loneliness, loss and the lies people sometimes tell themselves to cope. That said, the film is often riotously funny amidst the piercing insights. This is the curmudgeon role for which Giamatti was born to play, as viewers watch the blowhard soften up over time. Sessa and Randolph provide the lead actor magnificent foils at two different generations and are vital contributors to one of the most endearing trios to share the screen of late. The skillful production design and mellow music capture a lovely innocence juxtaposed with the movie’s smartly sketched characters. The story could have used some tightening in a few key passages, and there are times when Randolph’s glorious character gets mildly sidelined and missed; but Payne’s picaresque with indelible characters is one for the history books.
Mountains of moral dilemma loom large as the secrets of an isolated family living in the French Alps become the sprawling stuff of courtroom drama in director/co-writer Justine Triet’s gripping masterpiece Anatomy of a Fall (Anatomie d’une chute) (A+). In a magnificent role and meticulous performance, Sandra Hüller stars as a steely novelist trying to prove her innocence in the mysterious circumstances of her husband’s death. Samuel Theis plays her troubled spouse, largely depicted in creative flashbacks; and the talented child actor Milo Machado-Graner portrays their pensive visually impaired son. The boy and his dog were the lone witnesses to the tragedy in the snow-capped terrain. Also very effective in their roles are Swann Arlaud as the protagonist’s wily lawyer and Antoine Reinartz as the hard-charging prosecutor, and the labyrinthine particulars of the complex French judicial system prove surprisingly entertaining and insightful. Triet consistently plays with point of view, with what she shows and what she doesn’t, as she spins the plates of austere human drama and confounds audience expectations about the table stakes and motivations of the film’s unconventional family. The fact the central character is a German who speaks English and attempts to speak French further clouds the issues at hand, creating layers of confusion and complexity around her outlook. Fans of crime thrillers will enjoy the procedural elements of the story, and the voyeuristic camera work and exacting pace leave lots of room for revelations and interpretations about the trappings of matrimony and the motivations of artists. Hüller’s bravura performance in particular anchors the family drama in cerebral shades. There are also some chilling implications for the role of perspective in determining the outcome of justice; and viewers are certain to have hot takes on Hüller’s icy character. This is brilliant, twisty human drama and among the best films of the year.
Who better to deliver both the deliberate and the deadpan than director David Fincher, who finds his match in phenomenal actor Michael Fassbender as the titular assassin of The Killer (B+)? A master of meticulous procedurals, Fincher places his latest antihero at the helm of tidy chapters in successive global cities with a droll voice-over narrating the nuances of what it means to be a hitman. After an intriguing inciting incident, the main man must maneuver through an episodic series of entertaining gauntlets to untangle a violent labyrinth. There’s a consistent tone of the unexpected in both the action and the humor, and although there’s not a lot of straight-up dialogue, there’s a wonderful sequence opposite the splendid Tilda Swinton that crystallizes the film’s themes. The protagonist’s creative techniques are met with marvelous camera work and music. If the noirish film suffers from any fault, it’s a little too cold and consistent (imagine that from Fincher!) but it’s never tedious or boring. In fact this gritty, graceful feature film is as efficient as a bullet in making its mark.
Bringing a little-known real-life story to the screen, George C. Wolfe’s Rustin (B) is an effective and rousing biopic that just misses taking viewers completely under the surface. Bayard Rustin, played with virtuosity by Colman Domingo, is advisor to Martin Luther King Jr., and dedicated his life to the quest for racial equality, human rights and worldwide democracy. However, as an openly gay Black man, he is all but erased from the civil rights movement he helped build. The success of the film rests largely on Domingo’s shoulders, and he is clever and creative in capturing the mannerisms and intensity of a character organizing the historic 1963 March on Washington. Aml Ameen is also fantastic as MLK, and many of the film’s best sequences involve his engaged banter with the title character about various techniques to mobilize society and the machinery of government to see things their way. The screenplay shortchanges an exploration of Rustin’s most complex contours and instead focuses on by-the-books highlights. Wolfe is a renowned stage director and, despite overseeing a polished production, doesn’t much overcome the general talkiness of the material. Expect Domingo and Lenny Kravitz’s closing credits song to garner awards attention and audiences to rejoice in getting to encounter a tremendous historical hero.
The country crossover whirling dervish who has overtaken much of modern pop cultural consciousness appears to stop all space and time for an epic concert film that feels like an interplanetary transmission of what it feels like to come of age while expressing highs and lows through multi-genre sonic storytelling. Sam Wrench’s concert documentary Taylor Swift: The Eras Tour (A-), filmed during the L.A. leg of her landmark U.S. tour, largely captures this sensation in action with a smorgasbord of mini-sets from the artist’s albums spanning nearly two decades; and Swift’s singing, dancing, emoting, comic asides and fan-servicing are dynamite in close-up. A Zapruder film examination of millions of cameraphone TikToks and Insta posts seen over a past year culminates in a widescreen masterclass in heavy-duty camera work and sound mixing to capture the live experience and artist/fan interaction in an urgent way. You may think you’ve seen all of this already, but it’s hardly been rendered before in any way like this supersized format. After a bit of a slow open with pleasant singles from the “Lover” album, the film gains momentum with the hit songs of “Fearless,” the crafty tunes from mellow pandemic record “Evermore” and fierce bursts from hard-slapping “Reputation.” The concert repeats a cycle of more typical concert fare with mainstream songs from albums “Speak Now,” “Red,” and ultimately “1989” interlaced with indie deep cuts from the more experimental “Folklore” and “Midnights.” The film’s storytelling succeeds most wildly when the artist interacts in Broadway style stage productions such as the heavily choreographed “Last Great American Dynasty” set in a seaside home with festooned revelers or aboard the illuminated chess board of “Mastermind” with other dancers as pawns she has slyly controlled. The depth of field in the film format also enhanced intimate narratives such as “Tolerate It” depicting a dissolving relationship between two lovers across a long dining table — with lots of glass to break. Much of the spectacle is truly like an expanded halftime show style greatest hits extravaganza as dancers joyfully move to the grooves of “22, “Love Story,” or “Shake It Off.” The zigs and zags make the through-line a little labyrinthine to follow for the casual fan, but you get your money’s worth plus there’s plenty of room for a bathroom break when non-Swiftie guests just need to calm down. Taylor also delights in confessional piano numbers like “Champagne Problems” and “You’re On Your Own, Kid,” evoking superstars who can command a Madison Square Garden type atmosphere. Some fan favorites like “Delicate” and “All Too Well” didn’t benefit as much from more straightforward staging but still provoke a reaction. The musicians and dancers shine brightly, and so do the fans, who are in an unspoken (actually sometimes spoken) dialogue with the singer on stage. This unexpected documentary is a chronicle of an artist at the height of her power and enters the pantheon of legendary concert films.
Epic odysseys featuring protagonists traversing earth’s vast waters can add another legend to maritime mythology as Annette Bening assumes the titular role of Diana the sixtysomething marathon swimmer in Elizabeth Chai Vasarhelyi and Jimmy Chin’s Nyad (B+). Bening is a fascinating force of nature in the role of a real-life iconoclast who harbors the dream of completing an aquatic journey from Cuba to Florida despite the incredible odds of advanced age, scant resources, wily weather and unpredictable wildlife. Jodie Foster gives a wonderful performance as Bonnie, her longtime companion and coach, a warm hug of a character opposite the acerbic braggadocio of the natator. Rhys Ifans is also wonderful as the crusty, trusty boat captain who helps the ladies keep course; he’s a marvelous grounded foil to the dogged dreamers. The film logs quite a few nautical miles showcasing futile attempts at conquering the perils of the sea; and although often riveting and gorgeously filmed, the submerged sequences are not as entertaining as the story strands depicting the central women intertwined in their own strangely codependent relationship dynamics. The highest highs and lowest lows of Nyad’s Quixotic endurance test are secondary to the power of the two superb actresses supporting and sparring with one another. This sports drama is a singular showcase of steely women with resolve; it projects power and pride. There are quibbles with how some of the flashback are handled, but mostly the filmmakers triumph with an entertaining you-are-their vibe. Audiences will be spellbound to float with this G.O.A.T.
John Carney’s music-infused films – Once, Begin Againand Sing Street– chronicle lost souls tuning into one another via the art of song, and his latest, Flora and Son (B), sticks close to his finely tuned formula. Eve Hewson and newcomer Orén Kinlan are fabulous as the titular characters, a single mother and a troubled teenager looking for meaning in hardscrabble Dublin. Flora, estranged from her bassist husband (Jack Reynor’s charm makes him hard to hate) and in search of a higher calling, finds a California-based virtual guitar teacher, the roguish and rhythmic Joseph Gordon-Levitt, and soon the central quartet of characters gets its groove back through common craft. Despite the strength of the performances, the story and song quality aren’t quite up to the Carney measure of excellence, and the brisk tale somehow feels awkwardly truncated. Still, the way these characters connect has mountains of magic in it. Full of acerbic wit and Irish sting, Hewson is singular in her role and quite irresistible. She and Gordon-Levitt have undeniable chemistry. It’s now abundantly clear what to expect from a Carney film, and fans of the auteur should have plenty of humor and harmony to enjoy. (Sept. 29 on Apple TV streaming service)
Packing for Molly Gordon and Nick Lieberman’s vision of Theater Camp (B) may involve contraband supplies such as throat coat (for maintaining those satin vocals) or the occasional tear stick (because crying on cue takes real range), but mostly the characters in this mockumentary come equipped for the summer with dry wit. Fresh from this year’s Sundance Film Festival, this comic lark written by the co-directors along with actors Ben Platt and Noah Galvin, showcases faculty and budding performers at the fictional New York State ”AdirondACTS” sleep-away camp. After the program’s indomitable founder (Amy Sedaris) falls into a coma, her clueless “crypto bro” son (Jimmy Tatro) is tasked with keeping the thespian enclave solvent while long-suffering teachers played by Platt and Gordon (both believable in their bickering) endeavor to ensure the end-of-summer musical show must go on. There are some fantastic quips and acts of acerbic comedy, largely featuring Tatro’s character’s basic misunderstanding of the theatre kids. Galvin shines when explaining the rituals of the bohemian Rent kids versus the finger-snapping Fosse friends. Ayo Edebiri is also a supporting VIP as a counselor who lied on her resume but still has to muster up classes on mask theory and fight choreography. There are plenty of sassy sight gags, biting observations and creative asides to reward those who work in the performing arts milieu; tricking kids into being restaurant servers by convincing them it’s an exercise in immersive theater is one of the standout sequences. Other times the tone is too slight to have much bite. The saggy middle act rallies in the finale though, when a show-within-a-show comes brilliantly together. The movie’s creators are clearly caught up in the craft, and it’s all just campy enough to yield a few bonfires of hilarity.
Talk about “formula” racing! Neill Blomkamp’s true life wish fulfillment drama Gran Turismo (B) starts out so color-by-numbers it seems destined to lap endless circles; but polished production values, brisk action and a touching set of mentor/mentee performances lift the film into true crowd-pleasing territory. In fact, it’s the late-breaking sit-down-and-cheer underdog movie of the summer. This is basically a real-life update of ‘80s adventure The Last Starfighter; this go-around the film’s protagonist is obsessed with the titular PlayStation racing simulation game and is recruited into the world of actual professional race car driving. The movie has an ample supply of Top Gun and The Karate Kid tropes stuffed into it too but ultimately finds its own modern lane. Relative newcomer Archie Madekwe gives a winning performance playing real-life hero Jann Mardenborough, and David Harbour is a delight as his grizzled trainer Jack Salter. Less successful is Orlando Bloom in a thankless and underwritten role as the auto executive who hatches the notion of leveraging sim players to become real drivers. Djimon Hounsou and Geri Halliwell spice up their scenes with a few sensitive moments as the hero’s parents, although the plot doesn’t completely explain their sometimes odd detachment. The movie does a good job guiding casual sports fans into its racing milieu with pop-up graphics, and the directorial choices including nose-dives into the action on a variety of international tracks provide a propulsive you-are-there vibe. The movie’s assertion of believing in yourself plus its largely clean content (save for some final act profanity) make it an imminently watchable choice for family viewing.
