One Battle After Another

One Battle After Another

For writer-director Paul Thomas Anderson, no subject is too unwieldy for a movie.  In his latest film, One Battle After Another, Anderson explores revolution, something most of us have only either read about or experienced from a safe distance.  He wants us to understand what it’s like to be a revolutionary and embeds us within a violent political movement so that we experience the emotional roller-coaster of their daily existence.  In his view, revolutionaries aren’t a faceless group of angry radicals wielding guns, but ordinary people who live and breathe a cause.

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Juror #2

Juror #2

Juror #2 is a movie about difficult choices and how our moral compass tends to shift when our circumstances change.  What we believe in the abstract suddenly becomes untenable when the things we value are at risk.  The difficulties involved with making the right choice despite the consequences has been a reliable subject for drama films, including several of director Clint Eastwood’s best (Unforgiven, Mystic River, Million Dollar Baby, and American Sniper)It also happens to be the theme of Juror #2, which is what I imagine attracted Eastwood to the material.  The movie places the protagonist in an increasingly stressful situation and asks him to be an upstanding, law-abiding citizen.  However, doing so puts him directly at odds with being a good husband and father, which makes “the right choice” not so clear-cut.

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A Complete Unknown

A Complete Unknown

As a biopic, A Complete Unknown is obligated to show us its subject’s humble origins.  Accordingly, the movie opens with a twenty year-old Bob Dylan (Timothée Chalamet) in the back of a station wagon.  He’s hitching his way from New Jersey to Greenwich Village to see his folk music hero, Woody Guthrie.  Dylan works on a song during the ride, scratching out lyrics in a notebook while refining the melody on his guitar.  Dylan’s workmanlike qualities, specifically how he was always working on his music at all times, is a theme the movie returns to again and again.

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The Bikeriders

The Bikeriders

The Bikeriders is filled with memorable scenes, and it opens with that immediately grabs our attention.  Benny (Austin Butler), a biker, is peacefully enjoying a whiskey and beer at a bar in the middle of the day.  He’s approached by two imposing men who angrily tell him to remove his colors.  After looking them over, he says with a smirk that they’d have to kill him first.  The men are happy to oblige and proceed to pummel him.  As the incredibly violent confrontation played out, I found myself asking questions.  Why did those guys want to beat up Benny just because of his jacket?  And more importantly, why does Benny invite the confrontation?

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Killers of the Flower Moon

Killers of the Flower Moon

Having not read the book that Killers of the Flower Moon is based on, I can’t say conclusively that the movie would have worked better if it had also told the story from the Federal Agent’s perspective. I suspect that it would have, because all criminal investigations have a natural propulsive quality to them that pull you in. True crime stories are addictive because viewers want to experience the thrill of the investigation and hopefully see justice served in the end. The problem Scorsese and co-writer Eric Roth reportedly had with using that structure is that it would have relegated the Osage to the periphery and placed white men as the central figures of the story (as both villains and heroes). However, in placing Mollie and the Osage at the center of the events, the story loses nearly all of its dramatic tension as a result. The movie explains who the bad guys are, what they are doing and why from very early on, and the story unfolds from there without any real surprises to it. The audience is asked to witness each killing (or mysterious death) until the federal agents eventually arrive to put a stop to things at the two hour mark.

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Anatomy of a Fall

Anatomy of a Fall

Anatomy of a Fall looks and sounds like a standard courtroom drama.  It opens with a startling scene, where a young boy named Daniel (Milo Machado-Graner) returns from a walk with his dog to find his father dead on the snowy ground outside the chalet where his family lives.  Daniels’ mother Sandra (Sandra Hüller) rushes outside and calls for an ambulance.  When the police arrive, she explains that she was asleep when Samuel (Samuel Theis) jumped to his death.  The police, however, don’t buy her story.  After analyzing the crime scene and digging into Samuel’s past, they conclude that Sandra pushed her husband to his death.  Charges are filed against her, and the resulting trial includes the requisite scenes of prosecutor/witness pyrotechnics.  On this level, the story would serve as a gripping episode of Law & Order: The French Alps.

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Past Lives

Past Lives

Everyone knows a couple who are so perfect for each other that you can’t imagine them apart.  We think of them as soulmates, two people who were destined to be together.  The notion that there is someone out there who is only meant for you is an incredibly romantic one.  You hope that you’ll find that special someone one day, and consider yourself fortunate when you do.  Sometimes, finding your soulmate is incredibly easy.  Past Lives tells the story of Na Young (Moon Seung-ah, Greta Lee) and Hae Sung (Leem Seung-min, Teo Yoo) who, beginning when they were twelve-years old, are obviously meant for each other.  They’re inseparable at school, laughing at their private jokes.  Na’s outgoing and friendly personality and Hae’s quiet and sensitive nature compliment each other perfectly.  When their mothers arrange a playdate, they are immediately convinced that Na and Mae will be married one day.  Unfortunately, fate intervenes when Na’s parents decide to emigrate to Toronto.  This is devastating news for Hae, who is the hopeless romantic between the two of them.  Na is also sad at leaving Hae behind, but she embraces this big change in her life.  She wants to become a writer and tells her classmates that Korea has never produced a writer who won the Nobel prize for literature.

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May December

May December (Netflix)

May December is not merely clever, it’s diabolical.  That’s the best way I can describe a movie that adopts a persona to hide its true intentions–while telling a story about characters who do the exact same thing.  On the surface, Elizabeth (Natalie Portman) is a professional actress who wants to learn everything she can about Gracie (Julianne Moore), the basis of her next role in an independent movie.  Like the real life case involving Mary Kay Letourneau, Gracie seduced Joe (Charlie Melton) when he was in grade school.  Elizabeth says she wants to give a true performance of Gracie and does what actors normally do to prepare for their next role.  She interviews the people involved, scouts locations and scours the media coverage of the incident.   However, it soon becomes evident that Elizabeth’s intentions aren’t as noble as she says they are.  Additionally, understanding Gracie and Joe is difficult, given how they’ve learned to shield themselves with their own performances for the past twenty years.

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The Boys in the Boat

The Boys in the Boat

The Boys in the Boat tells the story of the eight-man junior varsity rowing crew from the University of Washington who, against all odds, made it all the way to the 1936 Olympics in Berlin.  As you may recall, this was the same Olympics where Jesse Owens won four gold medals and single-handedly dealt a crushing blow to the Nazi belief in Aryan supremacy.  I wasn’t aware that the American rowing crew also took home the gold at that same event, but since the movie establishes that it’s an inspirational sports movie from the outset, I was certain that they would triumph in the end.  The only questions remaining were who these boys are and how they would get to that point.

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