Written by: Kevin Berge
Just a pair of weeks into 2019, I can't truly say much of this year. There's much to go on. Sure, the world is slowly but surely imploding in on itself, but that's happening all the time. What really matters is what movies are coming out.
Even though I was born in January and have always liked the month, it is pretty much devoid of good films. There's the occasional good movie now and then, but nobody likes to premiere their films in the first month of a new year.
That's why I'm using this time to catch up on all the good films I missed that came out in December and had wider releases into January. These movies are the Academy Award darlings that also define this time of year.
These reviews will focus on Adam McKay's latest scathing satirical critique of America Vice, the insane period comedy The Favourite, the fascinating historical drama centered on its two main leads Saoirse Ronan and Margo Robbie Mary Queen of Scots, and the beautifully crafted James Baldwin adaptation If Beale Street Could Talk.
Even though I was born in January and have always liked the month, it is pretty much devoid of good films. There's the occasional good movie now and then, but nobody likes to premiere their films in the first month of a new year.
That's why I'm using this time to catch up on all the good films I missed that came out in December and had wider releases into January. These movies are the Academy Award darlings that also define this time of year.
These reviews will focus on Adam McKay's latest scathing satirical critique of America Vice, the insane period comedy The Favourite, the fascinating historical drama centered on its two main leads Saoirse Ronan and Margo Robbie Mary Queen of Scots, and the beautifully crafted James Baldwin adaptation If Beale Street Could Talk.
That is Christian Bale. I know you don't believe me, but it is. (Image Courtesy of: vulture.com)
Vice
Adam McKay went from a good comedic director to one of the defining satirist filmmakers of the modern age real quick. Not to hyperbolize but his work with The Big Short (one of the best movies in recent memory and it's about the stock market) and now Vice is truly remarkable.
Vice may not be the perfect storm that The Big Storm was, but it has just as much bite and effect. Christian Bale is not in this film for one frame. He complete inhabits the role of Dick Cheney in a way that goes far beyond his body transformation. You feel the quiet frightening threat he possesses.
This is a heavily politically slanted movie, and it knows it. McKay jokes about it over the course of the film. There's truth in so much that is here even when the film clearly takes liberties with its biting portrayal of a man who is still alive. It defines a climate that feels even more real now than it did at the time Cheney was Vice President.
It is hilarious when it isn't frightening, and it feels appropriately irate at all times. While Bale is portraying Cheney as a power-hungry villain, Amy Adams is playing a more nuanced and complicated role at Lynne Cheney, who can feel as much like the power behind the marriage as the sane moderator.
The rest of this star-studded cast feel a bit underutilized even if Steve Carell and Sam Rockwell have great roles in the play in the plot. They each play their part in creating a clear picture driven by anger about a Republican move to power that feels quite clear nowadays.
It could have been more crazy or more honest in its portrayals, to make it as clear cut a standout at its predecessor, but there are few rides more engaging from 2018 than watching Bale play Cheney with a frightening malice.
Vice may not be the perfect storm that The Big Storm was, but it has just as much bite and effect. Christian Bale is not in this film for one frame. He complete inhabits the role of Dick Cheney in a way that goes far beyond his body transformation. You feel the quiet frightening threat he possesses.
This is a heavily politically slanted movie, and it knows it. McKay jokes about it over the course of the film. There's truth in so much that is here even when the film clearly takes liberties with its biting portrayal of a man who is still alive. It defines a climate that feels even more real now than it did at the time Cheney was Vice President.
It is hilarious when it isn't frightening, and it feels appropriately irate at all times. While Bale is portraying Cheney as a power-hungry villain, Amy Adams is playing a more nuanced and complicated role at Lynne Cheney, who can feel as much like the power behind the marriage as the sane moderator.
The rest of this star-studded cast feel a bit underutilized even if Steve Carell and Sam Rockwell have great roles in the play in the plot. They each play their part in creating a clear picture driven by anger about a Republican move to power that feels quite clear nowadays.
It could have been more crazy or more honest in its portrayals, to make it as clear cut a standout at its predecessor, but there are few rides more engaging from 2018 than watching Bale play Cheney with a frightening malice.
Grade: B+
Lanthimos really loves this shade of tan. It's his version of white, and I have no idea what to make of it. (Image Courtesy of: screenrant.com)
The Favourite
I have rarely understood the appeal of the work of Yorgos Lanthimos. He writes his work with a dark absurdism that often makes the whole experience unbearable. I have rarely dislikes a well-made movie more than Lobster.
I will admit though that I have a strange fascination with what he will do next. The Favourite wasn't quite as insane on the surface as his previous two films, and it features three women clearly wholly invested in their work. The combination works, and it makes this the first movie from Lanthimos that I genuinely enjoy.
I still find myself occasionally turned off by his absurd quirks, but there's too much to enjoy here. Emma Stone and Rachel Weisz work so well off each other while Olivia Colman is still, far and away, the standout. She leans into his role in such a way that it's hard not to have sympathy for the frustrating Queen Anne.
Together, they create a wildly shifting game of power that was never easy to pin down. It was far from obvious who would come out on top and who should. These are not great people. They lie and manipulate, but motivation is often what makes them stand out for good and bad.
While The Favourite does lean on being a bit too long, it is nonetheless an engaging ride. It is a wonderfully crafted experience that relies on its cast and tells a capable and engaging story of power, love, and ultimately the rewards of success.
Lanthimos makes films in a way no other director does. He has a style that often feels off-putting, but it always had a point. Here it finally feels like he has put all the pieces together and crafted his first true standout piece to define his legacy.
I will admit though that I have a strange fascination with what he will do next. The Favourite wasn't quite as insane on the surface as his previous two films, and it features three women clearly wholly invested in their work. The combination works, and it makes this the first movie from Lanthimos that I genuinely enjoy.
I still find myself occasionally turned off by his absurd quirks, but there's too much to enjoy here. Emma Stone and Rachel Weisz work so well off each other while Olivia Colman is still, far and away, the standout. She leans into his role in such a way that it's hard not to have sympathy for the frustrating Queen Anne.
Together, they create a wildly shifting game of power that was never easy to pin down. It was far from obvious who would come out on top and who should. These are not great people. They lie and manipulate, but motivation is often what makes them stand out for good and bad.
While The Favourite does lean on being a bit too long, it is nonetheless an engaging ride. It is a wonderfully crafted experience that relies on its cast and tells a capable and engaging story of power, love, and ultimately the rewards of success.
Lanthimos makes films in a way no other director does. He has a style that often feels off-putting, but it always had a point. Here it finally feels like he has put all the pieces together and crafted his first true standout piece to define his legacy.
Grade: A-
Speaking of background colors, whose decision was it to go with mustard yellow to sell this film? There are less gross looking yellows, I promise. (Image Courtesy of: museemagazine.com)
Mary Queen of Scots
Mary Queen of Scots attempts to establish a dynamic early that it never truly delivers upon. This was sold at first as a war of two controversial rulers, but it is ultimately a cautionary tale of two women swept up in the whims of those who scheme to dismiss them.
Despite being less than what was promised, this is still a strong film. Saoirse Ronan continues to showcase her ability as one of the best actresses in the world, and Margot Robbie may be better here than she has ever been, transforming more in character and tone than any makeup can do justice.
The two are in top form, and the movie moves when they are allowed control of the story. Queen Mary and Queen Elizabeth command respect in a way that feels constantly overbearing. They tower over the other performers in stature and performance in such a way that it is not surprising when everyone seeks to ruin them.
The history here has always been an enduringly fascinating tale. This film is overly beholden to that story, which occasionally slows the film to a crawl, but ultimately there is too much good not to enjoy.
The entire movie builds to a final moment that would have felt anticlimactic if Ronan and Robbie were not perfect together. It is a moment that reminds just how disappointing it is that the rest of the movie did not lean more into their dynamic.
Historical dramas often feel like they are superfluous as a true, well defined documentary could have accomplished the same but with more gravitas. Mary Queen of Scots though is casted so well that it can almost be forgiven for not being all that engaging.
Despite being less than what was promised, this is still a strong film. Saoirse Ronan continues to showcase her ability as one of the best actresses in the world, and Margot Robbie may be better here than she has ever been, transforming more in character and tone than any makeup can do justice.
The two are in top form, and the movie moves when they are allowed control of the story. Queen Mary and Queen Elizabeth command respect in a way that feels constantly overbearing. They tower over the other performers in stature and performance in such a way that it is not surprising when everyone seeks to ruin them.
The history here has always been an enduringly fascinating tale. This film is overly beholden to that story, which occasionally slows the film to a crawl, but ultimately there is too much good not to enjoy.
The entire movie builds to a final moment that would have felt anticlimactic if Ronan and Robbie were not perfect together. It is a moment that reminds just how disappointing it is that the rest of the movie did not lean more into their dynamic.
Historical dramas often feel like they are superfluous as a true, well defined documentary could have accomplished the same but with more gravitas. Mary Queen of Scots though is casted so well that it can almost be forgiven for not being all that engaging.
Grade: B
I wouldn't even put this movie in my top 10 of the year, and I still find it remarkable it lost at the Golden Globes to Bohemian Rhapsody of all movies. (Image Courtesy of: hollywoodreporter.com)
If Beale Street Could Talk
It's rare that a director ever creates a movie as good as Moonlight, and it's difficult to follow up. Barry Jenkins though is a great director who as an eye behind the camera that works with anything. His followup may not be the best movie of the year critically, but it is among the strongest.
This visually stunning adaptation of one of James Baldwin's lesser known works showcases the cinematic eye of Jenkins and his two-time cinematographer James Laxton. The way this movie frames its world in a vibrant color palate impressively distracts from its storytelling.
This is not much of a story. It's an engaging emotional ride through a fairly realistic scenario, but it could not stand up on its own without its visual aesthetic. Dropping plot threads and rarely adhering to a strict three act structure, it floats through its run time.
This is surprising given just how straight forward the central focus of the story is. It would have been easy to remain focused, but the film intentionally wavers through moments and memories. There's an ethereal atmosphere to proceedings that is both a boon and a detriment to the experience.
As a showcase of Jenkins' ability to tantalize, If Beale Street Could Talk outshines even Moonlight. He also brings out more great performances from his casts though no one massively stand out. It is always good to see an actress of Regina King's caliber recognized, but even her highly acclaimed work here does not stand above the rest.
It would not surprise me if this movie grew in my thoughts with time. There is no doubt it is well created. However, I cannot escape the feeling that it never really settles, allowing its story to waft away. It's still really good and deserves recognition.
This visually stunning adaptation of one of James Baldwin's lesser known works showcases the cinematic eye of Jenkins and his two-time cinematographer James Laxton. The way this movie frames its world in a vibrant color palate impressively distracts from its storytelling.
This is not much of a story. It's an engaging emotional ride through a fairly realistic scenario, but it could not stand up on its own without its visual aesthetic. Dropping plot threads and rarely adhering to a strict three act structure, it floats through its run time.
This is surprising given just how straight forward the central focus of the story is. It would have been easy to remain focused, but the film intentionally wavers through moments and memories. There's an ethereal atmosphere to proceedings that is both a boon and a detriment to the experience.
As a showcase of Jenkins' ability to tantalize, If Beale Street Could Talk outshines even Moonlight. He also brings out more great performances from his casts though no one massively stand out. It is always good to see an actress of Regina King's caliber recognized, but even her highly acclaimed work here does not stand above the rest.
It would not surprise me if this movie grew in my thoughts with time. There is no doubt it is well created. However, I cannot escape the feeling that it never really settles, allowing its story to waft away. It's still really good and deserves recognition.
