Tag Archives: Sarah Paulson

Glass

Glass tries to be a different type of superhero movie, it really does. M. Night Shyamalan’s concept of real-world heroes is a solid one. Unbreakable proves that. As far as I’m concerned, Unbreakable is Shyamalan’s best, one of only two very good (i.e., not quite great) movies he’s made. By making Glass an explicit sequel to Unbreakable, Shyamalan invites me to compare the two, and Glass doesn’t measure up. Call it a Glass that’s about a quarter empty. Of course, that’s still three-quarters full.

32ef47e0-1afb-11e9-b6e9-9c4bb39de67fMuch of Glass is an extended superhero therapy session for Unbreakable’s David Dunn (Bruce Willis) and Elijah Price (Samuel L. Jackson) along with Split’s Horde (James McAvoy), after the three are apprehended and institutionalized at the start of the film. These therapy scenes, led Dr. Ellie Staple (Sarah Paulson), are very slow. We know something is going to eventually happen, but the pace seemed wasteful because every minute in therapy is a minute less for the showdown between Dunn and the Horde that I’ve been waiting for since the last minute of Split. Even with their slow pace, the therapy scenes are still enjoyable, though, in large part because of McAvoy’s amazing performance as he gives us 24 distinct personalities without falling into ridiculousness.

When the showdown between Dunn and the Horde finally comes, it feels like an afterthought. I wish that Shamalan’s previous movies had been better, not only so less of my time had been wasted watching that trash, but also because it seemed a lot of the missing flash in the showdown was due to Glass’s limited budget. Since realism is an essential part of the film, I didn’t expect fireballs or eye lasers, but I did expect to see something special, even before Price expressed a desire to have the fight televised to show the world that superheroes were real. The YouTube footage of Spider-Man from Captain America: Civil War made me feel like I was watching something amazing. Glass’s footage just wasn’t up to that level and it needed to be for this movie to have a satisfying payoff.

The lack of a satisfying payoff is particularly disappointing once we see how the story plays out. Without getting too spoiler-y, I think it’s safe to say that Shyamalan’s ending pisses away any goodwill left over from Unbreakable. Which is a shame because Shyamalan clearly intended to leave room for more sequels, but in getting there he shattered my desire to see any of them.

 

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Bird Box

Imagine threatening very small children with their lives. Imagine threatening your own children with their deaths, their painful deaths, by your own hands if necessary. Can you even imagine a situation so dire that you would tell your kids you would kill them IF?

If you’re a fan of Josh Malerman’s post-apocalyptic horror novel, Bird Box, the good news is,  you can always reread it. Netflix has adapted this “unfilmable” book (how many books have we said that about now?), and turned it into something bibliophiles will scarcely recognize. But that doesn’t meant it’s bad.

Malorie (Sandra Bullock) is in the impossible situation. She’s pregnant at the end of the world. This particular nightmare is the inverse of The Quiet Place – they had to stay silent in order to not die, and in Bird Box, they have to not see. The sight of something is causing people to almost immediately become homicidal and ultimately, suicidal. It’s a plague killing millions, killing billions, killing everyone around the world. The only way to survive is to not see, to never see. But food and water and resources inside are finite. MV5BMjE5Nzk1ODgwMV5BMl5BanBnXkFtZTgwMjU5MTE2NjM@._V1_SX1500_CR0,0,1500,999_AL_Malorie is living with a small group of people, strangers, really, who don’t always agree on the best way to exist together, or how to stay alive. Malorie’s not even the only pregnant one – Olympia (Danielle Macdonald) is expecting too, right around the same time. The house’s other inhabitants (Trevante Rhodes, John Malkovich, Jacki Weaver among them) will have to make all kinds of hard choices to ensure the group’s survival. As you probably guessed, ultimately, Malorie will need to leave the relative safety of their shared home – and worse than that, she may have to sacrifice one child to save another. Doesn’t that sound like a fun little jam to be in?

Yeah, this is a horror movie, in case you’re not picking up on the obvious. The unknown, horrible, unseeable things remain unseen by us, but they’re a constant threat. Director Susanne Bier understands it’s way creepier to only suggest the worst, and let our own imaginations prey on our fears. A newborn baby is of course the most vulnerable creature in the world. What else could heighten a dangerous situation like a helpless baby? But what else would pose a greater danger? A baby, unable to look away, unable to understand, a baby who will only need need need, and take take take, and attract attention while putting everyone at risk. A baby, two babies, normally a blessing, but in this scenario, the worst possible thing.

Bier creates a tense atmosphere and Bullock keeps us riveted. Rather than jump scares, Bier gives us a character study, and Malorie’s humanity and the children’s inherent weaknesses gives some real meat to the film’s anxiety. But the film strays quite far from the book, and to no real advantage. Since this film streams for “free” on Netflix, it’s a no-brainer if you can take the heat (or rather the chill, the frisson). Squeeze your eyes half shut.

Martha Marcy May Marlene

Things that start out seeming like a commune can actually end up more like a cult in the end. The movie starts at that end, with Martha (Elizabeth Olsen) running away from it, and being pursued, which is a good way to know for sure that it wasn’t ever a commune. She’s been gone for years so her sister Lucy (Sarah Paulson) and brother-in-law Ted (Hugh Dancy) are pretty surprised to get her call, but they welcome her into their home though she keeps her past whereabouts on the downlow.

Lucy and Ted have a very nice life and an idyllic home, but Martha can’t really relax. She wonders if she’s far enough away, if she’s safe. She’s haunted by flashbacks of the cult that kept her captive. And Lucy is still a little hurt that her sister was just out MV5BYTZkZmM4ZjYtOGM5Mi00YzllLTk4OTgtNTJlODhmMzIwY2NjXkEyXkFqcGdeQXVyMDQzMDYzOQ@@._V1_SY1000_CR0,0,1500,1000_AL_of contact for so long – she might have empathy if only she knew the truth. But the two sisters have only each other for family, and now they’re struggling to readjust to each other. And truthfully, Martha is a little frustrating with the tight lip thing.

John Hawkes plays the charismatic cult leader who rapes the girls but then writes them a lovely ballad the next morning. It’s an interesting role for him. I love John Hawkes, he’s so unassuming but he’s got this massive range. In this he straddles this character, dangling him between ordinary Joe and insidious monster. And of course it’s the monsters who look normal who are the most scary, aren’t they? That’s how they catch you.

Christopher Abbott, Julia Garner, and the wonderful Maria Dizzia round out the cult cast, giving it some flavour, because not everyone gets to be the tyrannical messiah.

Leaving is hard. Staying isn’t easy. Sometimes it seems impossible to do either/or. Director Sean Durkin creates a real psychological quagmire; it goes down relatively smoothly but leaves a drop in your stomach so you remember – yeah, now that was a movie.

Rebel In The Rye

J.D. “Juvenile Delinquent” Salinger gets thrown out of schools just to piss his father off. It’s his mother who encourages him to enroll in a writing class, while his dad doubts there’ll be a single paycheque in his future. In his writing program he meets professor Whit Burnett, a hard-ass he grows to love. “Jerry” writes because he’s angry and he needs to express it somehow. Burnett shows him how to do this without alienating his reader. He’s also the one who encourages him to turn Holden Caulfield into a novel, and the one who worries him when he goes off to war.

Salinger (Nicholas Hoult) returns from war a better writer perhaps, but messed up in other ways, unsurprisingly. Catcher In The Rye is an enormous hit. That messes him up lead_720_405too. I wondered how I’d come to miss this movie, with notable subjects and stars, but I didn’t have to wait long to figure out the why if not the how: Kevin Spacey. He co-stars as the beleaguered, bloated professor, which means the accusations against him would have left the producers scrambling, and they buried it in a shallow Hollywood grave.

But to be fair, Spacey’s involvement isn’t the film’s only problem. It’s too neat, too well-packaged, perhaps even too kind to the author, who no doubt was an interesting, tortured recluse. Hoult is fine as Salinger, and he plays well against the likes of Sarah Paulson, Zoey Deutch, and even Spacey. But this is a pretty ordinary, banal biopic that’s a little starry-eyed about its subject, which dilutes its power and keeps us at arm’s length from the real artist, a man who loved writing but gave it up to live privately, to meditate for his mental health, and to avoid press at all costs.

It’s also, if we’re being honest, hard to reconcile a beloved and important work with so much pain. This movie is both too much (too broad) and not enough (no depth). Rebel in the Rye is more like Mediocre at the Movies.

Ocean’s 8

The Metropolitan Museum of Art in New York City has an annual gala to celebrate its epic costume exhibits. It’s the most exclusive party in town, and guests compete to see which top-tier designer will outfit them. It’s a parade of jaw-dropping gowns and over the top accessories worn by the biggest celebrities who don’t mind being incredibly uncomfortable for an evening. It’s paparazzo heaven, and whoever dons the most shocking and exquisite dress WILL make the front page of every magazine and newspaper the next day. I live for this shit: the shoes, the jewels, the blatant disregard for theme. The MET gala is an institution. And it’s a fucking lot of fun to watch some badass women rob the damn thing.

Sandra Bullock plays Debbie Ocean, Danny’s sister who’s fresh off a 5-year stint in the slammer. That’s 5 whole years she’s had of dedicated heist planning, so on the day of her release, she hits the ground running, and the first place she runs to is her old friend and MV5BMzk0M2Y0YWQtZWVlYy00MGU2LTk1NmQtOGRlYWM4ODhlYjkwXkEyXkFqcGdeQXVyNTc5OTMwOTQ@._V1_SY1000_CR0,0,1502,1000_AL_partner Lou (Cate Blanchett) who doesn’t need much convincing. The plan is not to rob the museum, but to rob the neck of famous actress and red carpet savant Daphne (Anne Hathaway) of the 6lbs\$150 million dollars worth of diamonds that will be hanging there ever so tantalizingly.  Who could resist? Debbie and Lou assemble a crack team including a jeweler (Mindy Kaling), a hacker (Rihanna), a soccer mom fence (Sarah Paulson), and a master of the sleight of hand (Awkwafina) to pull off the ultimate crime.

When Ghostbusters got an all-female reboot, sad little cockmuppets cried that their childhoods had been ruined. It seemed like there was less vitriol for an all-female version of Ocean’s, perhaps because the Ocean’s fans are adults rather than manbabies suckling at the teat of nostalgia. Still, I couldn’t help but be sad when Debbie herself justifies her all-female team: women are far more likely to be overlooked.

Ocean’s 8 is good but not great. It’s a heist movie and you’ll never question where it’s going, but the fun is how it gets there. And there is some fun here. Helena Bonham Carter, splendidly cast as a kooky designer, has the time of her life. Anne Hathaway, who I normally cannot stand, earns some laughs with her starlet parody. And Cate Blanchett, hooo-eeee, let’s just sit here and ignore the fact that I’m about to objectify her, big time. Those bangs. Wispy blonde bangs that fall into her eyelashes just so. She’s constantly blinking under their weight, and I’m constantly imagining how I might sweep them away for her. Knock me over, knock me right over.

But with nearly every ensemble, my complaint is similar: just not enough time with all of my favourites. Sarah Paulson is a working mother conwoman, a criminal type we do not often glimpse in Hollywood’s depiction of the underworld, and Paulson’s talent is so enormous she maximizes her screen time and paints her character with charisma and relatability. Mindy Kaling is effervescent but underused. Newcomer Awkwafina has clearly got star power, but she’s not exactly getting equal screen time with the Oscar winners on either side of her. Even though you only need 8 women to do the job of 11-13 men, the movie still feels crowded and the cast just doesn’t always get what it deserves. There are way too few female characters in this genre, and the 8 here are still just a drop in the bucket. We need to see a lot more lady (crime) bosses to even up the score, but maybe next time a lady boss behind the camera might also be in order – you know, if you want it done right.

The Post

In 1971, Kay Graham was the first of her kind, a female newspaper publisher, but she was never supposed to have the job. The Washington Post was part of the family business but her father passed it down not to her, but to her husband. But when her husband committed suicide, she stepped into shoes that had always been loafers, not heels.

Then, something amazing happens: someone leaks top secret documents that detail the Vietnam cover-up that spanned 4 U.S. presidents including the current one, Richard Nixon, who’s kind of a dick. The NY Times gets ahold of them but gets shut down by Tricky Dick and his cronies. The papers then filter down to The Washington Post, and Kay Graham has to decide whether she’s going to risk her little empire AND a serious prison sentence.

Interesting facts about Mrs. Graham: she was not a powerful business person, or used to MV5BMTg5Nzg3NjUzNV5BMl5BanBnXkFtZTgwNTY5NzA1NDM@._V1_SX1500_CR0,0,1500,999_AL_being in charge. She’d never had another job. She was naturally meek, and kind of nervous. She was surrounded by assertive men, some of whom weren’t crazy to have her among their midst and certainly didn’t see her as an equal never mind a boss, and none of whom were shy about voicing their opinions. She was, however, an accomplished socialite, which in the city of Washington, means she counted many prominent politicians among her friends – and the particular politician at the epicenter of this scandal was among her closest. These facts are not to diminish her but to illustrate just how courageous she truly was to take the stance she did.

Newsflash: Steven Spielberg is a good director. Yeah, we already knew this, but this film had me noticing all kinds of little details that I admired greatly. This movie has the feel of a smart and sharp little indie; it’s taut and thrilling and lots of fun. It gets a little heavy-handed at times but its best moments are when it’s showing, not telling.

Maybe Spielberg’s greatest asset is his incredible ensemble cast. Tom Hanks is the fevered editor, and he’s flawless. Bob Odenkirk is stupendous as a hard-working investigative journalist. But of course it’s Meryl Streep who steals the show as Kay Graham. It’s not a showy role. Mrs. Graham is never the biggest personality in the room. She’s not commanding, but we are nevertheless riveted by Ms. Streep. Her shaking hands, her tremulous lip – we see how hard this for her, and so we admire her all the more for doing it.

You are not contractually allowed to write a review of this film without using the word “timely”. About a year ago, Nixon was down-graded to only the second most douche-baggiest president in history. Truth matters. The press belongs to the governed, not the governors. Support journalism. Subscribe to a newspaper, even if you read it online. One day they’ll be making movies about this time. But this is not just a news story, it’s also, of course, a nod to feminism. Mrs. Graham walks through a sea of secretaries before she’s admitted to the all-male floor of the New York Stock Exchange. She faces a Supreme Court that has never had a female Justice and wouldn’t for another decade. When someone says that Mrs. Graham’s father willing the family business to Kay’s husband says a lot about the man, Tom Hanks replies that actually, it says more about the time. So yeah, this is the movie we all need right now. It’s essential viewing. But even if wasn’t so “timely”, it’s so thoroughly peppered by exceptionally talented people that The Post is an easy recommendation and a damn fine film.

New Year’s Eve

New Year’s Eve is one of those movies that has half a hundred characters and fourteen dozen plot lines and they all “intersect”, the story like a patchwork quilt, but a really ugly quilt where the squares don’t match and some of them aren’t even square.

A random sampling:

Ingrid (Michelle Pfeiffer) has just quit her job, and hires bike messenger Paul (Zac Efron) to help her check off as many of her old resolutions as possible before the clock strikes midnight.

Laura (Katherine Heigl) is catering a huge New Year’s Eve party and is under a lot of stress when her ex, a rock star named Jensen (Jon Bon Jovi), who disappeared on New Year’s last year, shows up wanting a commitment.

Claire (Hilary Swank) is producing the Times Square ball drop.

Randy (Ashton Kutcher) and Elise (Lea Michele) are trapped in an elevator together.

MV5BMTc3MzgyMzg3NF5BMl5BanBnXkFtZTcwNTM1MzAxNw@@._V1_SY1000_CR0,0,1503,1000_AL_Hailey (Abigail Breslin) desperately wants to go downtown with a boy, but her mother Kim (Sarah Jessica Parker) insists that she stay home with her.

Tess (Jessica Biel) is really hoping to induce labour so she can give birth to the first new year’s baby and claim the 25K in prize money – but Grace (Sarah Paulson) is also in the running.

Stan (Robert De Niro) is dying, though he’d like to delay until midnight if possible, and his nurse  Aimee (Halle Berry) is prepared to stick it out with him.

Sam (Josh Duhamel) is trying desperately to get back into the city after pulling best man duty at a wedding. He’s hitching a ride with with a family in an RV, hoping to meet up with the mysterious women he met and fell for last year.

In a movie so overstuffed, of course some of the segments are undercooked. Nay, they’re all undercooked. Some of them are downright raw. But lots of them are not even interesting enough that I wished I knew more.

The best, and saddest part, is when Penny Marshall briefly plays herself. But 3 seconds out of 113 long minutes is an agonizing success rate. New Year’s Eve is overly sentimental and oh so shallow. If you don’t have any auld acquaintances to forget this New Year’s Eve, I know where you can make over 100 new acquaintances, and they’re all perfectly forgettable – guaranteed. Random acquaitances may include New Kids on the Block’s Joey McIntyre, voice of Lisa Simpson Yeardley Smith, Cary Elwes,  Common, Hector Elizando, Russell Peters, Sofia Vergara, Matthew Broderick, and more flash-in-the-pan stunt casting than you can shake shake one of those New Year’s Eve noisemakers that you blow in and the little ribbon inflates and unrolls at.

Having just returned from Mexico, Sean and I might be housebound (and by housebound I inevitably mean hot-tub-bound) tonight, and I’m not a bit sad about it. What are your plans? Do they include this movie and its exhausting cast of characters?