Women Talking

Women Talking

The women in Women Talking live in an isolated colony of Mennonites.  (The story is based on events that took place in Bolivia in 2010.)  They’ve accepted a subservient role in their male-centered society without question.  They are illiterate and their education consists solely of the tenets of their religion.  Their responsibilities consist of tending to the household, bearing and raising children.  Anything else is the exclusive domain of the men.  For a long time, the women in the colony have accepted their lot in life with an unwavering faith.  They have also placed their complete trust in the men as the leaders of their colony and their religion.  Women Talking examines what happens after the women learn that their trust has been horrifically abused.

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The Whale

The Whale

Sympathy for the Fat Man

Charlie (Brendan Fraser) is a pathetic figure.  How pathetic is he?  Initially, only his voice is heard on a web conference with his students, who see him as a black square.  (He claims that his webcam is broken.)  Immediately afterwards, Charlie is revealed to be a morbidly obese man, sitting alone in a drab apartment, masturbating to a pornographic video on his laptop.  The activity is too strenuous for him, and he starts coughing violently.  He grabs a printed essay from an end table and tries to read it, but cannot because he is having trouble breathing.  (As you may have guessed, The Whale is a love it or hate it experience.)

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Emily the Criminal

Emily the Criminal

To paraphrase the late Charles Bukowski, nobody suffers like the working poor.  Emily (Aubrey Plaza), the eponymous character of Emily the Criminal, is a perfect example of that truism.  She works for a food delivery service, making just enough to afford her car and room in someone else’s apartment.  Emily is a heads-down, hard-working type, and needs a better-paying job to do more than exist.  Unfortunately, an old felony conviction for aggravated assault keeps her shackled in place.  That incident ended her college career and left her on the hook for $70k in student loans.  Basically, Emily is trapped.  She can’t get an office job because of the felony on her record, and without a better paying job she can’t pay off her debt.

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Where The Crawdads Sing

If Where The Crawdads Sing was only about a girl living in the North Carolina marsh who, after being abandoned by her entire family, learned how to survive and grew up to become a successful nature illustrator, the movie would have been a compelling one.  Unfortunately, the story doesn’t have anywhere near the confidence that Kya (Daisy Edgar-Jones) has in herself.  Instead of following through on the themes of independence and self-reliance, the story chooses a safer approach by including a plethora of subplots that are under-cooked and unconvincing.

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CODA (2021)

Ruby (Emilia Jones), a high school girl in Gloucester, Massachusetts, gets up every morning before dawn to help her father Frank (Troy Kotsur) and brother Leo (Daniel Durant) with the daily catch.  She loves to sing and does so very well, but she also happens to be the sole member of her family who can hear, a Child of Deaf Parents (or CODA).  A spur-of-the-moment decision to join the school choir helps her realize her true potential, and the help of her teacher Mr. V (Eugenio Derbez) could land her a college scholarship to study music.  

However, if Ruby’s dreams come true, that would mean leaving her family without a translator for the hearing world.  Will Ruby abandon her dreams of going to college to stay home and continue to help the family business?  Or will her family let her go and find a different way to earn a living?  CODA certainly follows the tried-and-true formula used by many coming-of-age movies that have preceded it.  The difference being that the moving, realistic performances more than make up for the lack of originality of the story.  CODA will definitely tug at your heart strings, but it does so honestly, without relying on melodrama or sentimentality.  The movie is a big win for inclusive storytelling on several fronts.  First, Ruby’s family is portrayed by actors who are deaf in real life.  Second, its honest depiction of Ruby’s family members shows how, contrary to cinematic cliches, they act just like normal people.  (They enjoy drinking beer, smoking and having sex.)   Finally, and most importantly, CODA serves as a prime example of how, with a modicum of effort, people with disabilities or impairments can participate in society just like everybody else.  Highly Recommended.

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The Card Counter (Quick Take)

Stop me if you’ve heard this one before.  A lonely man who lives on the fringes of society seeks to atone for his sins by helping someone else.  This is Paul Schrader’s bailiwick, and with Taxi Driver, First Reformed and other screenplays he’s written throughout his career, he’s created a genre of films all to himself. (His body of work could be called a “franchise”, a commercial connotation that I’m sure he would find darkly humorous.)

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Pig

Pig may be about a man’s search for his stolen pig, but its much more than that.  The emotions evoked by Nicolas Cage are universal, and anyone who has lost a beloved pet would immediately sympathize with his plight.  Under the surface, Pig is a deft examination of tragedy and grief.  Robin, as portrayed by Cage, leaves his former life behind for a (nearly) solitary existence in the woods.  Unfortunately, humans are defined by our connections to others, and those connections are unpredictable.  Cage’s acting is some of the best he’s done in years and should be in the conversation for Best Actor.  Highly recommended.

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