1. The Lost Daughter - I was super excited about this movie - Olivia Colman, Dakota Johnson, directed by Maggie Gyllenhaal. That's some serious potential right there. And I'm so happy to report that I really, really loved it. It felt like a serious meditation on motherhood in a way that is not often explored. It's summed up nicely with the pivotal line "
children are a...crushing responsibility". While, overall, this movie is getting consistently strong reviews, I have seen some criticism about it being such a negative take on motherhood (and that the main character shouldn't be "celebrated" for abandoning her children...but...she's not...did you watch the same movie?? Some critics really just say anything nowadays), but I sort of love the honesty behind it. And you can still find the main character's actions disgusting, selfish, and utterly heartless, but still be invested in the story being told - and I definitely feel like that's the case here. And I don't think it's "celebrating" anyone, instead I think it's more of a story of finding compassion for new mothers who might be struggling and need support (so they don't just give up?). I literally can not think of a harder job than being a mother, and the truth of the matter is, there are
many women who aren't capable of doing it well. And I think this compassion aspect can also extend to women, in general, because the whole "motherhood or non-motherhood" aspect is inherently part of our existence. Whether we have kids that we want, have kids that we didn't want, don't have kids that we do want, or don't have kids and don't want them. It's a question that's asked of us every day. "Do you have children?" and now that I've hit 40, it's turned into more of a statement "It's not too late!". And it's harder for the women who want them but can't (one of my co-workers is also 40, desperately wants kids, but due to a medical condition can not have children, and she gets the same statement all the time "It's not too late!"). Anyway, I've gone on a tangent, but I have a few more personal thoughts on my connection with this movie - one, my maternal grandmother abandoned her 5 children so I do think this woman is disgusting, selfish and utterly heartless, just like my grandmother (my mom forgave her later in life, but I wanted nothing to do with the woman) and two, my mother had me as a teenager and was not very motherly. She gets really upset over that fact, but it is what it is. I do think she tried her absolute best and she sacrificed so much for me, but when I see, like, actual
good mothers, it makes me incredibly sad. Okay, enough of my sidetracked thoughts, my point is that this movie brought out a lot of emotions and thoughts, and that's always a wonderful thing. Olivia is stunning (but surprisingly
not my favorite performance of the year - more on that next in this post). Dakota Johnson is perfect in this role because she has this natural naivete about her, it's very charming and lovely. Jessie Buckley, as a younger version of Olivia's character, is really great casting - and the best I've seen Buckley since
Wild Rose. There is also such a beautiful, quiet restraint in every scene - it's never over dramatic, instead it feels natural and raw. It's very well done, especially for a debut directorial effort.
2. The Eyes of Tammy Faye - I'm stunned by Jessica Chastain's performance here. And I'm even more stunned that she's
not the front-runner for the Oscar race (but now that Stewart missed the SAG nomination, who is the front-runner? Olivia Colman? I'm definitely ok with that). I think it's partly due to the fact that it seems like a lot of people aren't very familiar with Tammy Faye? I sifted through several critic reviews and almost all of them said they weren't (two factors: age & non-American). Well, let me tell you, as someone who grew up with a fascination for Tammy, Chastain is absolutely incredible. I'm more impressed by interpretations than performances that try to copy or mimic someone, and this feels more like an interpretation, and it is just perfect. Religious or not, Tammy and Jim Bakker were EVERYWHERE. Subject of tabloid gossip, SNL sketches, and talk show guests, they built an incredible brand. I always felt a tinge of sadness for Tammy. I only really remember her
after the drug use, loopiness, and overwhelming makeup, but she
always talked about loving
everyone and that was much different than other religious zealots of the time (the gays of the 90s absolutely LOVED Miss Tammy Faye). I have a hard time believing that she didn't know about the money laundering and fraudulent activity, because she's not stupid. I think she made a conscious decision to be "ignorant" of what was happening around her, but ultimately she had a good heart (and I think she also believed that God wanted her to have all of her success). Anyway, as far as the movie goes - it is very cut and dry in the way it tells her story, but her life is so interesting, so it works ok for me. But I saw someone mention how this would have made an incredible musical and, honestly, that would have made this movie so much better. I also would have preferred less makeup on Chastain - not the actual makeup that Tammy is known for (that is recreated very well), but the prosthetic cheeks aren't necessary.
3. The Tender Bar - This is exactly what I was expecting, but that's sort of disappointing because I would have loved to be surprised by this. Instead it's a fairly cliched coming-of-age story. There's really nothing new or memorable about this or Ben Affleck's performance which seems to be weirdly praised (I love Affleck, but the film industry is so weird when the decide to praise something that is mediocre and then everyone just hops on the same train...). This does feel more confident in its direction than previous Clooney movies, but I still don't feel Clooney has a clear voice. And while I do think this is a
fine movie, there are quite a lot of things about it that I either didn't like or are just very weird. The film focuses a lot of this kid having an absentee father, as if his life is out of the ordinary, but even back in the late 70s/early 80s that wasn't an unheard of thing. They also stress the point that his name is J.R and it's not initials for something it's for "junior", but because he doesn't have a father his name is apparently a big deal? SO MANY PEOPLE ask him about his name, and I just can't imagine that would happen in real life. If someone told me their name was J.R. I would just call them J.R., I wouldn't question it??? Also, this film follows in the footsteps of many films before it, in which a fatherless child has to suffer some sort of father/child activity at school and I just don't believe that those exist (father/daughter school dances, father/son school breakfast?? I never had such a thing and I don't know anyone who has). Then there is a series of events that just don't make any sense - this kid gets invited to his girlfriend's house for Christmas, she has loud sex with him in her house with her parents home, and then dumps him and says she's seeing someone else, and then he continues to have a meal with her and her parents?? Um...what? Wouldn't you just leave? And her motivation makes...no sense. A few other quick points: 1. It could have easily cut the narration (and it probably would have been better). 2. It cuts too quickly to him getting into Yale - the anticipation is non-existent. 3. The credits scene with him hanging out with his uncle and his friends should have been in the actual movie - to further enhance their bond to the audience. 4. The ending untangles pretty quickly - just a befuddled mess. 5. Why on Earth did they not just make this film set in Boston. It's clearly filmed in Boston, and everyone struggles with a Long Island accent. Ben is synonymous with Boston so having him choose between the Mets and the Yankees just takes the audience out of the story (and obviously he chose correctly). And 6. Ultimately it comes down to the fact that someone who has lived the least exciting life in existence maybe shouldn't write a memoir? That may sound mean, but it's just so narcissistic to believe that someone else wants to read about your boring life.
4. Venom: Let There Be Carnage - Wow. I'm pretty speechless. I enjoyed the first one way more than I was expecting to. It's just simple fun, and ridiculously cheesy, but ultimately very entertaining. This one is just such a misfire. First, it's not funny. Like at all. Rave Venom is probably the best "idea" within this, and
could have been really funny, but instead I just sat there watching a car crash. I did laugh once (the "tomato, tomato" scene with the ketchup), but otherwise it's just all so in-your-face obnoxious. Second, it moves
very quickly. Which is usually a good thing for me, but this is
too quick. It has no beats or moments to absorb, it's all very choppy and it just moves with no clear direction other than kill the bad guy. Third, I would love to say that the acting is, at least, tolerating, with the likes of Naomi Harris and Woody Harrelson but they take campy to an unbearable level. I do love the use of another Eminem song during the credits, it's hilarious that he's the go-to Venom rapper. It just feels right. Also, *spoiler* the after-credits scene is pretty important...huh? Nicely merging all of the storylines with the multi-verse plot (I haven't seen the new
Spider-Man yet, but I knew he would appear in this because if you google the cast of this, Tom Holland comes up first! WHY??!).
5. The Father - Second movie in a week starring the incredible Olivia Colman, and this one is just as incredible. I knew that this movie was about aging and possibly dementia, so I was in no rush to watch it as I assumed it would be incredibly depressing. And it is. However, the way that this film tells the story is so fascinating and a bit breath-taking, which I definitely wasn't expecting. I kind of don't want to give it away, you just have to kind of experience it for yourself. So, the only thing I will say is that acting living legend, Sir Anthony Hopkins, without a doubt, deserved that Oscar. He portrays the anger, paranoia, confusion, and isolation of aging with such heartbreaking resonance. It's an unforgettable performance. Along with the Oscar for Adapted Screenplay, I would have given it the Editing Oscar as well (the transition between scenes and actors is seamless). Also, the line "
I feel as if I'm losing all my leaves" will stay with me forever. Just perfect.
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