Author: Jack Giroux (Page 4 of 14)

Movie Review: “American Honey”

Starring
Sasha Lane, Shia LaBeouf, Riley Keough, McCaul Lombardi
Director
Andrea Arnold

Andrea Arnold’s “American Honey” is a nearly three-hour film that, on the surface, doesn’t add up to a lot. This coming-of-age tale is extra light on plot, but it has no shortage of energy or passion. This is the kind of movie where every shot and scene is tangible. The director behind “Fish Tank” and “Red Road” has crafted a hypnotic experience, presenting a world and characters that keep your eyes glued to the screen for 163 minutes.

Star (Sasha Lane) is an 18-year-old girl who’s looking for a new life, and she might just find it with Jake (Shia LaBeouf) and his crew, who travel the country selling magazines. One day while out with her younger brother and sister, she spots Jake and his young gang out and about, doing whatever they please – sing, dance, or whatever else would draw attention – as they shop. Their sense of freedom, and Jake’s charisma, catches Star’s eyes. Jake offers her a chance to travel the country with him and the rest of the team, going from motel to motel, town to town, trying to sell enough magazines to get by. Star agrees to go with them and embarks on the first big journey of her life. Along the way, maybe she’ll learn an important lesson or two, but Andrea Arnold isn’t the kind of storyteller that’ll tell you if she does; she’s the kind of filmmaker that shows you.

Arnold avoids most narrative conventions. Because of that, her movies tend to truly live and breathe. There’s rarely any doubt they’re authentic. In “American Honey,” she’s even less interested in a three-act journey, although her script and Star’s journey clearly has a beginning, middle and end. Most of “American Honey” feels like the most personal and cinematic home videos you’ve ever seen. There’s always an immediacy and intimacy to what we’re watching, and that’s partially because the actors are so present.

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Movie Review: “Miss Peregrine’s Home for Peculiar Children”

Starring
Asa Butterfield, Eva Green, Samuel L. Jackson, Ella Purnell, Terrence Stamp, Judi Dench, Chris O’Dowd
Director
Tim Burton

Author Ransom Riggs’ “Miss Peregrine’s Home for Peculiar Children” is right up director Tim Burton‘s alley. Riggs’ story is about a loner trying to find his place in the world – a story that the filmmaker behind “Edward Scissorhands,” “Big Fish” and “Ed Wood” is certainly no stranger to. It should come as no surprise, then, that Burton works up some small, charming wonders with this heartfelt piece of spectacle.

Jake’s (Asa Butterfield) grandfather, Abraham Portman (Terence Stamp), was a great man – an adventurer and soldier who battled fantastical beasts. These stories, according to Jake’s dad (Chris O’Dowd) and everyone else at school, were nothing but fairytales and lies, so Jake stopped believing they were real a long time ago. One night, the teenager goes to visit his grandfather and discovers his body outside the house with his eyes removed. Although everyone tells Jake that he’s crazy for supposedly seeing the mystery man and beast that ripped out his grandfather’s eyes, he wants answers. Remembering the stories his grandfather told him, Jake goes searching for Miss Alma LeFay Peregrine (Eva Green) and her orphanage for peculiar children in Wales, where he uncovers a “loop” created by Miss Peregrine that allows her and the children to live the same day in the 1940s over and over again. Later on, a threatening figure played by Samuel L. Jackson enters the picture, but up until then, “Miss Peregrine’s Home for Peculiar Children” is a character-driven tale with a nicely intimate scope.

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Movie Review: “Snowden”

Starring
Joseph Gordon-Levitt, Shailene Woodley, Zachary Quinto, Melisssa Leo, Tom Wilkinson, Joely Richardson
Director
Oliver Stone

Oliver Stone has been more hit than miss as a filmmaker over the past few years, but even his most successful work sometimes leaves a little more to be desired. Stone is a filmmaker that likes to take big swings with his movies – the ending of “Snowden” being a perfect example – and sometimes they don’t always payoff. In the case of “Snowden,” however, most of them do, making this biopic/thriller the director’s most consistent movie he’s made since 1999’s “Any Given Sunday.”

With this true story, Stone tackles one of recent history’s most divisive figures: Edward Snowden (Joseph Gordon-Levitt), the man who exposed the NSA’s illegal surveillance of American citizens. The film opens several years before those events, when he was a proud Republican and patriot who wanted to fight in the Iraq War, only to be discharged after breaking his legs in basic training. In 2006, Edward meets and falls in love with Lindsay Mills (Shailene Woodley), and shortly thereafter, begins working in the CIA’s global communications division, where he immediately questions his orders. For a while, he keeps his mouth shut and his concerns to himself, but after working on the NSA’s massive cyberforce project, Edward can no longer keep what he’s doing a secret while unsuspecting Americans are spied on by their own government. In 2013, Edward travels to Hong Kong with a hard drive containing classified documents exposing the NSA, which he shares with Guardian journalists Glenn Greenwald (Zachary Quinto) and Ewen MacAskill (Tom Wilkinson), as well as the documentary filmmaker behind “Citizenfour,” Laura Poitras (Melissa Leo). Once the story breaks, Snowden becomes a fugitive without a home.

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Movie Review: “The Hollars”

Starring
John Krasinski, Anna Kendrick, Richard Jenkins, Margo Martindale, Sharlto Copley, Mary Elizabeth Winstead
Director
John Krasinski

Actor John Krasinski returns behind the camera with “The Hollars,” the follow-up to his 2009 directorial debut “Brief Interviews with Hideous Men,” an adaptation of David Foster Wallace’s novel of the same name. Although that film was greeted with mostly negative reviews, Krasinski’s sophomore effort is a compelling and kind-hearted, albeit familiar, tale about returning home.

After learning his mother is sick, John Hollar (Krasinski) has to fly back home, away from his unsatisfying job and his pregnant girlfriend, Rebecca (Anna Kendrick). Upon his arrival, he’s greeted by his brother Ron (Sharlto Copley), who was recently fired by their dad, Don (Richard Jenkins), from the family store. After his divorce, Ron is still living at home, doing considerably worse than his younger brother, who once dreamt of what he thinks is a better life as a graphic novelist. Once he arrives home, he’s forced to confront past mistakes, rebuild relationships, and be there for his family, most notably his mother Sally (Margo Martindale), who’s been diagnosed with a massive brain tumor.

That plot summary tells you exactly what you’re in for. In one subplot, John even has dinner at his ex-girlfriend’s (Mary Elizabeth Winstead) house with her husband Jason (Charlie Day), who comedically hovers around to make sure nothing happens between them. It’s an overly broad scene that speaks to “The Hollars” biggest problem: it tries a little too hard with the laughs. Screenwriter James C. Strouse often goes big with the gags, and sometimes at the expense of the drama. It feels like almost every dramatic scene has to end with a laugh or some kind of gag to provide levity. The jokes are sometimes more calculated than a natural mix of the good (the laughs) and the bad (the drama) in these situations.

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Movie Review: “The Intervention”

Starring
Melanie Lynskey, Jason Ritter, Cobie Smulders, Natasha Lyonne, Alia Shawkat, Clea DuVall, Vincent Piazza, Ben Schwartz
Director
Clea DuVall

With “The Intervention,” Clea DuVall leaves a striking impression with her feature-length directorial debut. The actress, who starred in the far too short-lived HBO series “Carnivale,” has written and directed an observant, funny and sometimes moving relationship film. Its similarities to famous old-friends-getting-together-for-the-weekend movies are apparent, but since DuVall’s story is driven more by honesty than conventions, its familiar qualities are not a problem.

Putting together an intervention often comes from the right place. And as misguided as Annie’s (Melanie Lynskey) idea of a marriage intervention may be, her heart is in the right place. Annie and some other longtime pals are tired of seeing two of their closest friends, Ruby (Cobie Smulders) and Peter (Vincent Piazza), remain stuck in a seemingly loveless marriage. They’re not the only couple on this getaway having problems, though. In an effort to try to resolve Ruby and Pete’s issues, Sarah (Natasha Lyonne) and Jessi (Clea DuVall), Jack (Ben Schwartz) and Lola (Alia Shawkat), and Annie and Matt (Jason Ritter) end up confronting their own relationship problems.

All of these conflicts unfold naturally, and that naturalism is inherent in DuVall’s thoughtful script. As the story progresses, the characters slowly reveal themselves to be more than what they initially appeared to be. Every single one of them, including a character that easily could’ve been reduced to a one-note caricature (Lola), is so well-drawn in DuVall’s script – each with their own problems, fears and motivations. These are fully-realized characters, and rarely does a simple conversation or confrontation ring false in “The Intervention,” except for maybe one of its broader scenes.

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