by Eurocheese
It’s that time of year! Los Angeles screening season is in full gear, with Oscar hopefuls sending out invites right and left. Here are my comments and rankings (by preference order)on the last batch of 10 films (!) with more to come soon.
One Battle After Another – A+. Paul Thomas Anderson’s brilliance can be hit and miss, but this is among his very best works. DiCaprio capitalizes on the comedic energy he’s brought to Tarantino films, bringing frenetic energy to this sprawling, action-packed epic. Teyana Taylor’s popping introduction, newcomer Chase Infiniti’s grounding steady hand and an insanely madcap villain from Sean Penn are all nomination-worthy, with even the smaller parts for Benicio del Toro and Regina Hall packing a punch. The must-see of the season...
It Was Just an Accident – A. Jafar Panahi’s follow up to his gut punch No Bears turns a potential dark revenge plot into a comedy of errors. Sharp direction allows the film to bounce between moments of intensity and levity, with an always palpable sense that any plot twist can turn the result on a dime. The stakes are never lessened, though, and once again he finds a way to end on a perfect moment. Excited to see his well-deserved awards attention play out this season.
Blue Moon – A-. The buzz on this film was that it was reminiscent of a play, but Ethan Hawke is marvelous here, carrying his protagonist’s fate on his shoulders. In a Q&A after the film, he spoke eloquently on feeling early in his career that being authentic meant staying close to his own personality, only realizing later in life that who we are is much more decision and culturally based, opening doors for him as a character actor. The film’s witty dialogue leaves a memorable portrait of a fall from grace.
Tessa Thompson is HEDDA
Hedda – B. High energy and willing to experiment, Hedda also has the feel of a play, and at times leans into dramatics too easily. Tessa Thompson is up for the challenge of playing the complicated central character, but it’s Nina Hoss who steals scene after scene, nailing her bewilderment, guile and descent as the evening progresses. The melodrama can be overwhelming but since everyone is game, the final result is worth the journey.
Train Dreams – B. Beautifully shot, this haunting story slowly unwinds the pace and longing of a life removed from loved ones in the early 1900s Old West. The loneliness of a work life separating the central family is only deepened by the joyful images of time spent together. A quiet meditation on our need for love from each other.
Eleanor the Great – C+. June Squibb returns with another leading role in her 90s, this time as a lonely woman moving in with her daughter after her lifelong friend passes away. The story becomes controversial when she falls in with a Holocaust survivor group and begins telling her late friend’s stories as if they are her own. The story sidesteps the moral issues of this identity theft, making it difficult to fully get on board with its message. There are some touching moments, but in the end, it doesn’t come anywhere near the heights of Squibb’s performance in Thelma last year.
Anemone – C. Two reasons to watch this movie – some gorgeous imagery and a few monologues that Daniel Day-Lewis (predictably) knocks out of the park. Outside of that, the characters are more types than fully fleshed out human beings and the plot is not particularly compelling. Are the monologues enough for a nomination? It’s possible, but the material doesn’t rise to the leading actor’s level.
The Mastermind – C. Usually Kelly Reichardt films reel the audience in over time as we learn about the characters, but instead, this locks in quickly as we see ideas come together for an art heist. Josh O’Connor is entertaining to watch early on, but the film soon meanders, and the second and third acts can’t maintain the level of initial intrigue. By the end, it’s difficult to maintain interest in where things are headed.
Julia Roberts in AFTER THE HUNT
After the Hunt – D. Confusing messaging hinders this film, and unfortunately it overshadows some great performances, especially a muted turn from Julia Roberts. It’s not just a likeability factor with these characters; it becomes hard to believe any of these people would have interactions along these lines. It’s a film worth discussing, but not one that seems to actually care about its own characters.
The Smashing Machine – D. Johnson and Blunt give fine performances, but after trying too hard to get us to like its protagonist, the script pushes towards one note characterizations. Oscar has loved many boxing movies, but this doesn’t bring anything new to the conversation. I would like to see Johnson attempt more challenging work and am always happy to see Blunt, but this film simply isn’t memorable.