The Pale Blue Eye

 

Score:  B

Directed by Scott Cooper

Starring Christian Bale, Harry Melling, Lucy Boynton, Toby Jones

Running time: 128 minutes

Rated R

Long Story Short:  Christian Bale stars as the detective in this gloomy period mystery that, for most people, is a Netflix-only streamer.  Bale's co-star, Melling, gets the famous role of Edgar Allen Poe, and not only are both of them great, but the acting all round is impressive.  Unfortunately, the pacing of the film is not great and some of the movie's potential - in story and character development - is lost as a result.  Still, it's worth taking a shot on it at home, as long as you're not looking for fast-paced or action-packed.

In 1830, the hanging of a cadet at West Point brings detective Augustus Landor (Bale) out of retirement to find the culprit.  He soon finds the crime is even more unusual than first observed, and the military academy is soon on edge.  Another cadet, by the name of Edgar A. Poe, takes interest in the case and offers his help to Landor.  While Poe is very bright and has essential institutional and personal experience, Landor becomes increasingly frustrated as he finds much silence and deceit, and little evidence.  After another murder, however, the urgency of the case grows as well as the danger to both Landor and Poe.

The Pale Blue Eye is a solid, suspenseful period mystery, highlighted by its actors, but it's held back from the top tier by a plodding pace and character and story development issues.  One of the film's strengths is its atmosphere, provided by nice cinematography that has a (literally and metaphorically) chilly feel and a tone that provides a sense of foreboding yet not outright horror (though a warning, there are a few gruesome shots).  Unfortunately, the movie starts out quite slowly; it really could have used a nice opening hook to pull the audience in more quickly.  The intrigue does build steadily, though, especially once all the main characters are introduced, but in the final third of the movie, the pace actually gets a little too quick in a few important spots.  Even as the quality of the central mystery ebbs and flows, though, the acting is a pleasure throughout.  Christian Bale, the lead as the detective, is great, of course, in a fairly spare yet still entertaining way.  Harry Melling (nasty cousin Dudley from Harry Potter) is the surprise standout as the famous Poe, just a lowly cadet in this film.  His accent, style of speech, and subtle body language are all great and he strikes the right balance of being utterly confident in his intelligence yet at times reluctant or passive due to his low social standing.  There are plenty of fun supporting roles, too, from an at-the-breaking-point matriarch (Anderson) and her sought-after but independent daughter (Boynton) to the head officers at West Point (McBurney and Spall).

A good mystery reveals information - evidence, characters' relationships, etc. - at just the right times, to build suspense and keep the audience as highly engaged as possible.  Unfortunately, The Pale Blue Eye fumbles this a bit.  For example, there is a major twist at the end of the film and while surprising (to me), it both makes sense and has the potential for an emotionally impactful ending.  The problem is that we are given only the tiniest clues about this twist earlier in the film and, more importantly, insufficient personal development to prepare the audience and "earn" that final twist.  And while the Landor-Poe relationship is developed well, certain side characters - some of whom become crucial to the mystery - are introduced too late and their development is taken as a given when it really isn't, leading to that "did I miss something?" feeling.  The running time of just over two hours is in theory ideal, yet it seems both drawn out and rushed at times thanks to the pacing issues.

***

For the first (and probably last) time ever, I got to see a movie that was playing "only in select theaters" - thanks to the fact that part of it was filmed in my neck of the woods (including on the college campus where I work!).  So I must admit that I was a little distracted while watching it, since I was on the look out for scenes in places personally familiar to me.  When the movie ended, I felt rather disappointed but my opinion of it has improved as I've thought about it more.  Ultimately, I'd say it's worth watching, primarily for the really good acting, but a Netflix viewing is probably sufficient (even though I still am very much in favor of going to a theater to see a movie rather than at home...).  After this, I'm hopeful that Oscar movie season will finally get in full swing - and in fact, a major awards contender is coming to my theater next week!  So stay tuned, and check this one out if you get the chance.

* By Netflix - Netflix., Fair use, https://en.wikipedia.org/w/index.php?curid=72253321

Spirited

 

Score:  A

Directed by Sean Anders

Starring Will Ferrell, Ryan Reynolds, Octavia Spencer

Running time: 127 minutes

Rated PG-13

Long Story Short:  Funny guys Ferrell and Reynolds team up in one of the starriest Christmas movies in years, a new Christmas Carol adaptation.  It's a shame this was not produced as a wide theatrical release (I got lucky it was in my local theater), as it's a great cinematic experience.  The stars are on their game and, with a wildly creative script behind them, everything falls into place.  Highly recommended, even if (*sigh*) you have to stream it.

Not content with their work on Mr. Scrooge, Jacob Marley and the Ghosts of Christmas Past, Present, and Yet-To-Come are still at work in the world, helping one "perp" at a time.  Christmas Present (Ferrell), who has worked well past retirement age, finds one last perp, named Clint (Reynolds), he wants to turn around, despite Marley's objections.  Clint soon turns out to be one of the most challenging cases yet, though, and the annual pattern of redemption soon falls apart.  The spirit world and the living world begin to intertwine, and more is changed than just one rotten soul.

Spirited is an excellent new holiday movie, its acting, humor, creativity, and themes coming together for one of the more truly magical experiences to come along in years.  The story is, of course, a variation on A Christmas Carol - but only the broadest elements (the Ghosts, tale of redemption) remain alongside a fresh, modernized plot.  Some adaptations/reboots just make a mess of things when they try to do that, but the creativity of Spirited's world and the quality of its development are top-notch.  Much of the film's considerable humor comes from its stars' talent, but a good part of it comes from winking at or poking fun of itself ("not another song!!").  While the songs and the dancing are not quite as spectacular as some other recent musicals, they are still very impressive, with both Ferrell and Reynolds performing well alongside plenty of professional background players.  Spirited also, in my view, makes better use of its musical scenes to further the narrative - and I found it much easier to understand what they were singing, too!

Along with the showy musical numbers, there is some neat effects work, particularly as the characters quickly move through time periods and locations.  However, it's the characters and acting that hold the most interest, as the best movies do.  Will Ferrell and Ryan Reynolds are perfectly cast, to start, and have great chemistry.  It's been some time now since Ferrell's heyday, and this is a great transition role in his career.  He still gets the lead (he's 1A, Reynolds is 1B) which means he plays a bit more of the straightforward role, yet he's still got plenty of quirks, allowing his comedic sensibility to flourish; a little Elf here, a little Anchorman there.  But he also shows impressive dramatic range too, as he has in Stranger Than Fiction and others.  Reynolds, the star here who's in his prime, provides the wattage needed for his role - a big, confident, um, asshole.  Yes, Reynolds is an unusual star who can convincingly play an anti-hero but still be sympathetic.  Octavia Spencer gets the top supporting role, and good for the filmmakers to finally move her away from her typical characters; she's much more balanced here, though not a major presence.  And the rest of the cast is stuffed with good performances, especially Patrick Page's Marley, Sunita Mani's Christmas Past, and a few hilarious surprises (don't spoil them for yourself!).  The movie is well-paced, with plenty of "action" (simply meaning, "things happening") and great dialogue.  And while the themes and messages are similar to what you've seen before, of course, they are very well focused and developed, leading to a conclusion that earns its emotional pay off.

***

I'm glad that I got to see Spirited in theaters at all, since I thought that this would only be streaming.  Hopefully you'll have a chance to see it that way, too, as it's definitely worth the trip!  Rotten Tomatoes gave this, along with fellow holiday movie standout Violent Night, positive but underwhelming scores: don't listen to the critics!  These are very different approaches to the genre, of course, but both are very worthy additions to the Christmas canon (Spirited will have a broader audience thanks to its lack of bloody violence).  Well, this may be it for me for the holiday season at the movie theater, a much different one than usual.  First, I saw not one but two holiday genre movies (which is rare), but I also may not see any blockbuster movies (also rare; the one that is available this year is the Avatar sequel, but I thought the original was way overrated and I don't want to contribute my money to James Cameron's ego).  Hopefully movies with Oscar buzz will soon make their way to theaters as we get closer to awards season.

* By Apple TV+ - http://www.impawards.com/2022/posters/spirited_ver5_xxlg.jpg, Fair use, https://en.wikipedia.org/w/index.php?curid=71831081

Violent Night

 

Score:  A-

Directed by Tommy Wirkola

Starring David Harbour, John Leguizamo, Leah Brady

Running time: 112 minutes

Rated R

Long Story Short:  Violent Night brings out the Yippee-Ki-Yay in Santa Claus in a holiday film you never expected.  Combining bloody action and non-stop humor with - somehow - Christmas cheer, the director, writers, actors, and all involved somehow make it work brilliantly.  This Santa's favorite beverage is definitely not milk, but it goes down just as smooth.  Possibly a new Christmas classic - highly recommended (if you can stomach it).

Santa (Harbour) is getting tired of his job.  Despite the milk, cookies, and booze he consumes at each household, he is depressed by some childrens' increasing demands, usually for cash or the newest video game.  However, one Christmas Eve, he flies down a chimney to find himself in the middle of a hostage situation.  A wealthy matriarch has brought her adult children and grandchildren home, and their domestic tensions are exacerbated by a carefully planned, violent heist.  Even with his advanced age and apathy, Santa still has a little magic left, though - and he's ready to give both the nice kids and the naughty kids on his list what they deserve.

Somehow, Violent Night is both exciting, hilarious - and, yes, full of holiday spirit - and just maybe a new Christmas classic.  As a friend described to me, it's essentially a mash up of Die Hard, Home Alone, and John Wick (the first two are Christmas movies, at least!).  There are so many ways that this concept could have gone wrong, ranging from plain dumb to grossly offensive.  However, the direction, writing, and performances are all very good and in sync, leading to an experience that's more than the sum of its parts.  With that said, I still have to warn that this is not for everyone due to several scenes of gore and brutal violence (although, if you're on the fence, I recommend trying it on streaming - and fast forward when needed).  Yes, this movie somehow seamlessly combines the very different tones of Home Alone, a silly heart-warmer, and John Wick, a hardcore actioner with some sadistic humor.  It avoids the pitfalls of either of those two tracks: it's neither nihilistic or celebratory in the bloodshed nor overly sappy or sentimental in the family scenes.  And coming in at a little under two hours, the pacing is very good with an effective intermixing of its nice and naughty elements.

David Harbour, of Stranger Things, was a great choice as the grizzled Santa, and he seems to thoroughly enjoy himself.  To start with, he simply is physically convincing in the role, but he also achieves a nice, delicate balance between the cynical side and his love for children and the job built over (???) years.  The supporting cast is also great, with good guys, bad guys, and some in between.  A black-white couple and their daughter are the core trio, with dad still trying to overcome his toxic upbringing and the young girl providing an adorable and crucial dose of innocence.  The in-laws have fun hamming it up, nastily greedy and selfish; their fates vary, with some surprises.  And the bad guys are good, too, led by veteran evil-doer John Leguizamo.  The action is very well conceived and choreographed, particularly Santa's first two fights in which he is essentially a regular fat guy in a ridiculous costume.  The main battle royale is over-the-top, yet clever and doesn't drag on too long.  And a Home Alone tribute scene is just brilliant, with significantly more blood than its predecessor but just as many laughs.  Humor is consistent throughout the film, the laugh rate and variety very impressive.  The script is much better than most of Hollywood's recent comedic efforts, rock-solid even in the slower parts and sprinkling in some great recurring signature lines.  Finally, there are also some great needle drops, although I feel they missed an opportunity when, with Santa chasing the bad guys on snowmobiles, they failed to play Here Comes Santa Claus!

***

Violent Night definitely came as a surprise for me; in fact, I saw it with friends on the spur of the moment. I hadn't seen a new Christmas movie in theaters for years, as most of them are usually rom-coms or otherwise dull-looking or pandering.  I'm glad I gave this one a try, though, as it most certainly breaks out of the usual holiday film mold.  Yet it is far from content to simply subvert expectations; it does a damn good job in the details, execution, and perhaps most importantly, tone.  I will be following this up with yet another Christmas movie, in fact, since, to my pleasant surprise, Apple's newest streamer Spirited is coming to my local theater.  Once again, Violent Night is not for everyone - but if you can handle it, you'll find that it's one of Hollywood's most fun gifts this year.

* By Universal Pictures - https://m.imdb.com/title/tt12003946/mediaviewer/rm1186005505/?ref_=ext_shr_lnk, Fair use, https://en.wikipedia.org/w/index.php?curid=71761396

Devotion

 

Score:  C

Directed by J.D. Dillard

Starring Jonathan Majors and Glenn Powell

Running time: 138 minutes

Rated PG-13

Long Story Short:  Based on a true story, Devotion focuses on a rare set of wingmen in Jesse (Majors) and Tom (Powell), sent to battle during the Korean War.  The set up, combining fascinating historical events in desegregation of the military and the ("forgotten") Korean War, are sidelined in this extremely generic, predictable, and artless war movie.  The script writers and many of the actors here are clearly Hollywood's "B" team, at best.  Skip this.

In 1950, shortly after the desegregation of the United States armed forces, Navy aviator Lieutenant Tom Hudner (Powell) joins a new squadron that includes a single Black man, Jesse Brown (Majors).  The two struggle for the same objectives - the respect of their team and a chance to serve their country - in different ways, and soon get the chance to do so when the squadron is deployed at the dawn of the Cold War.  Despite coming from much different backgrounds, the men develop a bond, one that is both tested and cemented in the cauldron of war.

Devotion is a flop of a war movie, due to poor filmmaking and a lack of artistic creativity and vision.  It's particularly unfortunate, too, because the movie's premise is quite intriguing:  a focus on a Black and white friendship just as the armed forces desegregated (but still several years before the Brown decision) and dealing with an extremely neglected event in the Korean War.  Now, there are some worthy elements in the movie.  The fighter plane action and aerial stunts are engaging (though put to shame by the Top Gun sequel) and much of the production (costumes, sets) feel authentic and believable.  The best scene in the movie is one of the few that's both artistic and moving:  Jesse, preparing himself for a crucial test flight, looks directly in a mirror, and you see only his face, morphing from rage, to despair, to determination in a clever illustration of his background and experiences.

Unfortunately, even with this great premise and a talented actor in Jonathan Majors, the movie feels slapdash, extremely straightforward and lacking in artistry, resulting in an unusually dull experience.  I see war movies, oddly, similar to sports movies: both have an inherent "action" element to them that can be very tense and riveting but can also easily go either overboard (see - rather, don't see: Hacksaw Ridge) or numb the audience to it.  They are also quite vulnerable to predictability: there have been so many of each, with well-worn structures, that you really need strong, specific elements or to overturn convention in some way.  Devotion, its war scenes taking place mostly in the (bloodless) sky, falls more towards numbness, made much worse by an extremely predictable story - not just in what happens, but in the way the movie presents it.  It's maddeningly by-the-book, hitting all the familiar beats.  Digging deeper, the script and acting don't do it any favors, either.  Majors is pretty good, though he's limited by the writing, and there are some downright painful performances, particularly the squadron's commander (distractingly played by Life in Pieces' Matt) and a ridiculous Liz Taylor "cameo".  There are a few interesting side elements introduced here and there - such as Jesse's concerns about a new plane design - but they are either resolved or disappear before you know it.  That brings us full circle, in that Devotion also pays shockingly little attention to the two major historical events previously mentioned (desegregation and Korean War).  Those who don't much about them before seeing the movie will know very little more, and in fact might be even more confused.

***

I went to Devotion hoping to see a movie that combined elements of both an exciting blockbuster with the high quality of an Oscar contender - and got neither.  Bewilderingly, it has an 82% on Rotten Tomatoes; I think the critics saw a different movie than I did.  Sometimes I realize my disagreement is a matter of taste, but this is an objectively poor movie.  It's also somewhat interesting to compare it to Top Gun: Maverick from earlier this year.  I don't know Devotion's background, but based on the way it turned out, I can imagine that the studios just wanted to cash in on Top Gun's success with another fighter plane-based movie.  Well, even if you've already seen Top Gun a few times, I'd recommend watching it again instead of seeing this one.  Hopefully there will be much better things coming to theaters soon.

* By http://www.impawards.com/2022/posters/devotion_xxlg.jpg, Fair use, https://en.wikipedia.org/w/index.php?curid=71442144

Black Panther: Wakanda Forever

 

Score:  B+

Directed by Ryan Coogler

Starring Letitia Wright, Danai Gurira, Angela Bassett, Lupita Nyong'o, Winston Duke, Tenoch Huerta

Running time: 161 minutes

Rate PG-13

Long Story Short:  The long-anticipated - but painfully so, due to star Chadwick Boseman's death - sequel to Black Panther has arrived.  It pays homage to the fallen young man very well and also moves on, showcasing the intriguing Shuri, played again by Letitia Wright.  The rest of the cast also ranges from solid to excellent but the plot unfortunately prevents it from being a truly worthy successor.  The world of Wakanda is ripe for amazing new stories but I hope that they don't get so distracted next time.  Still, this is an entertaining time to spend at the theater.

One year after the death of T'Challa, king of Wakanda and the Black Panther, the advanced yet hidden nation finds itself under increasing pressure from the outside world to reveal its secrets - and weapons.  An American naval research expedition detects vibranium on the ocean floor, the alien substance that has enabled much of Wakanda's spectacular technology.  The discovery, however, awakens an ancient force that is fiercely protective of the vibranium.  Under Queen Ramonda's (Bassett) leadership, Wakanda feels pressure both to prevent outsiders from accessing vibranium - but also to protect those same people from a dangerous new threat.  Meanwhile, Shuri (Wright), T'Challa's sister, can't get past her brother's death - yet also questions the direction he had set for his people.

Black Panther: Wakanda is a solid Marvel entry, particularly with its appropriate handling of star Chadwick Boseman's untimely death and turn toward his character's sister, Shuri; however, the plot and new elements are a significant drag on the film.  Mirroring real life, T'Challa, aka the Black Panther, dies at the beginning from an illness.  The Wakandan mourning process is powerful and poignant, as is a quieter tribute near the end of the film.  The sequel then turns to Shuri as the new lead.  I feel this was a good choice, both because Shuri was among the most interesting of the great characters introduced in the 2018 original as well as her more conflicted nature and influences.  She is as strong as her brother, yet feels the temptations that brought down her cousin, N'Jadaka (Michael B. Jordan's villain in 2018).  Being the lead does dull her character's sharper edges, unfortunately, and Boseman's absence is felt often, but Wright does great work.  Angela Bassett's Queen Ramonda and Danai Gurira's general/bodyguard Okoye are also extremely welcome returnees; if anything, I wish Okoye in particular had a bit more screen time.  M'Baku continues to be a nice comic presence and newcomer Riri, a young American, is also fun with her handful of moments.  Rounding out the cast are CIA agent Ross (Martin Freeman) and boss Valentina (Julia Louis-Dreyfus), who are a fun side track and reveal a new connection.

Unfortunately, the plot of Wakanda Forever holds it back, going too big and too out-there, similar to 2019's Captain Marvel.  Rather than little green men from space, this film features a powerful, turqoise-colored race of mutants called Talokan, led by Namor.  Partly because I'm jaded by the underwater people thing by Avatar and Aquaman (both highly overrated, IMO), this did not impress me; and for all the time spent on their backstory, a lot of important things are left frustratingly vague.  The worst part to me, though, was the suspension of disbelief.  I'm usually pretty good at this - I do love superhero movies, after all! - but when characters' actions and decisions don't align with the powers involved, I quickly lose my connection.  Here, the Talokan and especially Namor are just ridiculously powerful.  They seem to greatly fear being discovered by the "surface world", which they hate - yet to all appearances, they could wreak utter devastation on humanity with little trouble.  It also sinks the potentially interesting plotline of an alliance with Wakanda - both of them are hidden outcasts in the world.  Yet for all the similarities the film wishes to show, the two are never anything but mortal foes.  Some modest tweaks could have made this plot much more intriguing, realistic, and suspenseful.  But I'd go even further and drastically shrink/ eliminate the Talokan's role altogether, focusing on the more interesting Wakandans, their evolving relationship to the outside world (which gets passing, simplistic mention at the beginning then forgotten), and simply cut down on the way overlong running time.

Still, even with my plot complaints, there is much to enjoy in the Black Panther sequel beyond the Boseman tribute and the cast.  The production quality remains spectacular, seamlessly recreating and expanding the fictional Wakandan nation; even the Talokan, despite my distaste, get some pretty awesome visuals.  There's also some good action, especially a scene in the first half involving the rescue of Riri, escape from conventional authorities, and an intense Okoye vs. Talokan fight.  The rest of the action is encumbered by the power imbalances I wrote about, but are still entertaining.

***

Black Panther: Wakanda Forever is a bit disappointing, suffering in comparison with a modern classic. It also marks the end of the so-called "Phase 4" of the Marvel Cinematic Universe - in other words, the movies that have come out since the epic Avengers Endgame.  Some interesting new characters have been introduced, and the movies themselves have maintained a high level of quality, Spider-Man: No Way Home being the highlight to me.  There was also, though, little attempt at the familiar narrative-building we'd gotten used to, and no mention of reassembling a new Avengers team.  But perhaps the biggest development was the start of the Disney+ TV series - eight of them already.  They've been quite strong so far, with great variety.  I want to review them in some form, eventually...  For now, hopefully the fall movie season will continue along well.  I may even try some things that I usually skip - stay tuned!

* By http://www.impawards.com/2022/black_panther_wakanda_forever_ver2.html, Fair use, https://en.wikipedia.org/w/index.php?curid=71373844

The Banshees of Inisherin

 

Score:  A-

Directed by Martin McDonagh

Starring Colin Farrell, Brendan Gleeson, Kerry Condon, Barry Keoghan

Running time: 114 minutes

Rated R

Long Story Short:  Director McDonagh reteams with In Bruges stars Farrell and Gleeson in a quiet drama with big ambitions.  Farrell and Gleeson are great, as are co-stars Condon, and Keoghan, and it's very well done from the script to the scenery.  What starts as a simple and amusing tale, however, gradually evolves into a bleaker picture of a country friendship gone horribly awry; I much preferred the opening tone, but the ending isn't bad enough to spoil the experience.  Highly recommended.

On a tiny Irish isle during the 1920s and right next to the Irish civil war, life is slow and repetitive but generally content.  That's the case for local nice guy Padraic (Farrell), until one day he is spurned by his pub mate Colm (Gleeson).  Padraic is shocked by the sudden, inexplicable turns of events, and neither his sister Siobhan (Condon) nor another pal Dominic (Keoghan) can console him.  This simple act soon begins to have larger effects through the sleepy isle, and Padraic and Colm's once simple lives turn in directions they'd never expected.

The Banshees of Inisherin is a very well-made film from top to bottom, a realistic drama in many ways that is nevertheless unique and even surrealistic at times.  The film focuses on the simple character of Padraic, his day-to-day life and his relationships.  Plotwise, the most important of these is with (former) friend Colm, but plenty of time and attention is given to others as well, particularly Padraic's sister, Siobhan, and local scamp, Dominic.  The setting is beautiful and open, thanks to great photography and gorgeous scenery, yet also literally and symbolically confined within the little island, bouncing from Padraic's home, to Colm's, to the local pub, and back again (with a few exceptions).  To me, the particulars of the plot are also mostly a vessel to explore not only the interesting characters but, through them, a tension between outlooks on life:  is it better to live a simple, modest, yet contented life focused on loved ones, or to focus on achievements that will outlast your own life, happiness and loved ones be damned?

Like the its conflicting themes, the film itself can be split in two - a quietly remarkable first half, and a disquieting second half.  Banshees starts in a clever way - by jumping right into the main plot, with no character introductions or scene-setting, leaving the audience to piece it together (which doesn't take long, and is kind of fun).  The audience, then, is just as bamboozled as Padraic, at least at first, and it leads to some great humor.  Along with the laughs, the film provides some intriguing insights into the nature of friendship and the way we try to puzzle out what others are thinking and why they act as they do.  Padraic and Siobhan are both great characters, and played superbly by Colin Farrell and Kerry Condon (whom I recognized but couldn't remember where - she's Mike's daughter-in-law in Better Call Saul).  Padraic is so sympathetic and likable, simple yet nuanced and relatable; Siobhan is strong and brilliant, caring yet refreshingly willing to look out for herself; she's the MVP (and an aspiring librarian, no less!).  Things turn suddenly darker when Colm begins to take drastic measure in the friendship conflict; it's gruesome, but thoughtfully done and an interesting turn.  What I do not like is the way Padraic is transformed, especially in the last third or so.  The film seems to side with his life outlook, yet the conflict brings him down, anyway.  I feel sure that it could have gotten the same points across without "killing" Padraic, in a sense.  It was a disappointing development, to me.  Still, the film's quality is undeniable, and others may feel differently about the ending than me.

***

The Banshees of Inisherin, which I found out about just last week, is a welcome theatrical surprise as we head further into the fall and closer to Oscar season.  It is certainly much different than the last film I saw, Amsterdam, and interestingly opposite in some ways: Amsterdam is somewhat flawed from a technical standpoint but it nails the right feeling and ending (for me), whereas Banshees is outstanding filmmaking but has an ending that holds it back from greatness (for me).  I'll certainly be happy to see more dramas with quality like this in the months to come, though first, I'll be returning to superhero fun with the much-anticipated Black Panther sequel next week.  If you haven't already, I encourage you to get back out to the theater now!

* By http://www.impawards.com/2022/posters/banshees_of_inisherin_xxlg.jpg, Fair use, https://en.wikipedia.org/w/index.php?curid=71458552

Amsterdam

 

Score:  A-

Directed by David O. Russell

Starring Christian Bale, Margot Robbie, John David Washington, Robert de Niro, et al

Running time: 134 minutes

Rated R

Long Story Short:  Amsterdam is the latest film from lauded director David O. Russell, a wartime dramedy murder mystery (yes, all those things).  The three main stars, Bale, Robbie, and Washington, carry it with spectacular performances, and there all lots of fun side parts.  The script isn't perfect, but Russell gets the drama-comedy balance just right to create both an entertaining and touching experience.  Highly recommended.

During World War I, Army medic Burt Berendsen (Bale) makes a pact of protection with Black soldier Harold Woodsman (Washington) and, with the help of nurse Valerie Voze (Robbie), the pair survive the horrific conflict.  The newly-formed trio goes on to enjoy a well-earned European holiday, but their past lives soon pull them apart.  Fifteen years later, Burt is called on to perform an autopsy on an old comrade, thanks to suspected foul play.  Harold accompanies his old friend on the adventure and the two are forced to confront history - both personal and global - as they discover a whole new world.

Amsterdam is a very good work of historical fiction; while it can be a little rough around the edges, its strengths and overall tone more than compensate.  I was expecting a considerably different film from its director, David O. Russell, whose movies like The Fighter and American Hustle I enjoyed a lot but had much different tone and style.  Amsterdam is a dramedy, like Silver Linings Playbook in that sense, which might seem unusual for a wartime murder mystery plot.  However, it makes for a good balance: serious enough for some of the themes involved, but not depressing; plenty of chuckles, but not a parody.  The plot itself, and I don't want to give away many more details, is fairly involved, but the dialogue - and there is near-constant talking - explains it all and prevents confusion, if you're paying attention.  I will admit that the script is uneven in quality, sometimes a bit too direct or just awkward.  A little more editing could have helped, as this feels more like a two-hour movie.

The main strength of the movie are the characters and their bonds, though, and the warmth and even uplift they provide makes up for any other weaknesses.  The three main characters, who meet during WWI, provide a strong foundation, and the movie is at its best when they're all together, from bonding in Europe right after the war to the more strained - at first - reunion in the 1930s.  Christian Bale, the main main lead, is the standout.  Bale is probably my favorite contemporary actor and he proves his skill here yet again, creating a memorable personality that is gruff yet quirky, independent yet altruistic, and overall just very likable and sympathetic.  Robbie is great, too, in a surprisingly complex role, and Washington, although his part is not as juicy as the others.  The star-studded supporting cast also deserves recognition, especially Malek and Taylor-Joy's eccentric rich couple, Mike Myers' hilarious MI6 agent, and Robert de Niro, perfectly cast as an incorruptible Marine hero.  Speaking of which, Amsterdam does a great job, in my view, of honoring veterans, particularly those who are disabled, using that dramatic-comedic balance effectively.  Finally, the "extras" finish the job of creating the historical atmosphere via set design and costuming; and even more importantly, a great soundtrack (and poignant theme) is a perfect accompaniment for the characters and story.

***

I'd been looking forward to Amsterdam since seeing the trailer over the summer, and it was worth the wait.  What shocks me is the critical reception:  a terrible 33% score on Rotten Tomatoes.  I haven't read any specific reviews yet, mostly to not influence my own, but I'm very disappointed that they've disregarded it.  Don't listen to them!  Unfortunately, if you haven't seen it yet, you might not get the chance to see it in theaters now - but I highly recommend it for streaming when available.  As we move further into the fall, hopefully more high-quality dramas like this will make their way to theaters.  It's been a boring few months, one of my longest (non-pandemic-related) theater droughts.  I know I'll definitely be watching the Black Panther sequel in a few weeks, though.  For now, put this one on your list!

* By http://www.impawards.com/2022/posters/amsterdam_xxlg.jpg, Fair use, https://en.wikipedia.org/w/index.php?curid=71241791