Wildlife

First Hit: Finely crafted story about a young man coming into his own while witnessing a failing marriage.

This was actor Paul Dano’s directing debut and he nailed it. When creating a complex, stylistic, story that depends on his actors' ability to convey a story, it’s important that the director get the most out of subtle yet powerful story.

It also is a benefit if the director has actors that can make the story come alive. In Wildlife, we watch Carey Mulligan (playing wife Jeanette Brinson), Jake Gyllenhaal (playing husband Jerry Brinson), and Ed Oxenbould (playing son Joe Brinson).

Jeanette and Jerry are a struggling to survive couple in Montana. It’s in the 1960s and they’ve moved there in hopes of bettering their life. Jerry has had problems keeping jobs and here he works for a golf course, but the owner thinks, as an employee  he’s overstepped his boundaries with customers. They fire him, and his despondence is in direct conflict with his natural ability to be friendly, optimistic, and ability to look for the upside. He's confused and hurting.

He and Jeanette help Joe with his homework because the moving from place to place has made it difficult for Joe to find traction in school. But as this story evolves Joe gets to grow and learn about himself and in this film, we see this slow, sure transition.

Jeanette, who has the second most screen time must find her place in life. When Jerry leaves them to fight fires because he needs to find some work. The tension in the family starts to really show when Jerry leaves to go fight fires. Jeanette, unhappy with his decision, finds work for herself and also begins to change her unsatisfied life. While teaching people to swim she becomes close with Warren Miller (Bill Camp) who is one of the more successful men in town. Looking for some security in her life, she begins to flirt with Warren.

Joe, watching all this, is confused. Getting a job as a photographer’s assistant, he begins to learn something about himself and his place in the family. Some of the conversations with his mom are very revealing in that they show how unsure Jeanette is about what to do as a parent and what will make her happy. When she asks Joe, if he likes his name, I thought the question alone was revealing.

The pacing of this film could use some help, but because the acting was so strong by all four main characters the uneven pace was easily overlooked.

Mulligan was excellent. This was a wonderful and revealing role for her. It showed extraordinary depth. Gyllenhaal was wonderful as the husband. His internal agony and outward optimism was wonderfully balanced. His loud outburst in the kitchen during one of their fights was jarringly perfect. Oxenbould was amazing as the young boy watching his family fall apart. His concern for his father, and love and support for his mom were wonderful. But watching his subtle growth in this story was perfect. Paul Dano and Zoe Kazan wrote a strong script, capturing small town 60s perfectly. Dano got excellent work from his actors.

Overall: This was an excellent, strong, and delicate film.

The Sisters Brothers

First Hit: This film had drama, comedy and interesting moments that were really strong, but overall it was an odd film.

The title alone will tip you off that this is an unconventional film. It opens with Eli and Charlie Sisters (John C. Reilly and Joaquin Phoenix respectively) in a night time fire fight with some hombres in a cabin. The brothers are deadly and kill everyone and because the barn catches fire as well, the horses burn. One of the scenes that stuck with me throughout was when one of the horses runs out of the barn, on fire. This scene led me to believe that this film could have some difficult to watch scenes, and it did.

Think spider. Think horse mauled by bear. Think suicide. Think chemical burns. Think amputations. Yes, this film has large number of overtly horrible scenes, but there are also thoughtful scenes.

The Sisters Brothers work for the Commodore (Rutger Hauer). They are his hit men. When he wants someone killed, he sends them. After the initial scene, there are a few scenes that attempt to show the brother’s dynamics. Charlie is the younger and wilder of the two brothers. His back story, of killing their father, is briefly explored. Charlie also, like his father, drinks and gets drunk a lot. Eli works at being more thoughtful and progressive. Watch his look in using a toothbrush for the first time. Yet, when push comes to shove he’ll do anything and kill anyone to protect his brother and himself.

Their latest job for the Commodore is to track down Hermann Kermit Warm (Riz Ahmed) who has created a secret formula that, when poured into water, highlights the gold. It makes the gold glow and thereby easy to pluck out of the water bed. Warm is being tracked by John Morris (Jake Gyllenhaal) for the Sisters brothers. He leaves them letters at towns along the way telling them where they are headed.

In one town, Mayfield, named after the town owner, Mayfield (Rebecca Root) the brothers run into a little trouble. She is controlling and decides she can make a name for herself if she kills the brothers. Sending groups of men after the Sisters, they all find their demise at the end of the Sisters Brothers' guns.

When the brothers finally catch up with Warm and Morris, they’ve a change of heart about their plans of working with the Commodore and together with Warm and Morris decide to create riches for themselves and move on.

The ending was a nice surprise and it did complete an odd and interesting story.

Reilly was fantastic as the older more thoughtful but loyal brother. I enjoyed his thoughtful dialogue about his life. The bit with the shawl and the hooker was interesting and moving. Phoenix was strong as the slightly touched, yet smart brother. The intensity of the brother’s dinner conversation in a San Francisco restaurant was excellent on both actor’s part. How their conversation elevated was wonderfully done. Gyllenhaal was wonderful as the bookish, thoughtful tracker and writer for the Commodore. Ahmed was wonderful as the chemist and dreamer of an egalitarian society. Root was strong as the matriarch of the town named after her. Hauer had a minor, yet pivotal role. Carol Kane (as Sisters Brothers’ mother) was great. Loved seeing Kane in a role again. Perfect casting decision. Jacques Audiard and Thomas Bidegain wrote an odd, yet interesting and thought-provoking script. Audiard made some amazing choices about scenes and the scenery that this movie was shot in. I thought the San Francisco city scenes to be interesting as well as the Sisters’ dialogue while in the city.

Overall: Despite some difficult scenes to watch, this was an odd film, but the chemistry between the actor’s characters was amazingly wonderful.

Stronger

First Hit:  I was very surprised at how much I like this film, it had heart.

Jake Gyllenhaal is one of my favorite actors. I can tell he puts in a lot of work to each role to make it real for him and the audience. Here as Jeff Bauman, the young man who lost both legs in the 2013 Boston Marathon bombing, Jake does Jeff proud. He shows Jeff’s humanity and the cycle of up and downs that he had to go through after the event.

Jeff and his family are true blue collar Boston loving people. Jeff works at Costco (a shout out to them for their unending support of Jeff) and, as most Boston people do, loves his Red Sox. He spends a fair amount of his off time in bars with his buddies and family.

The one early scene when he tells his drunk mother, Patty (Miranda Richardson), to F#%& off in the bar is indicative of the family’s love and bickering with each other. His father Big Jeff (Clancy Brown) is a self-proclaimed know it all but doesn’t always know very much. His attempts to control situations was evident in the hospital waiting room.

The family dynamics are perfectly matched with Jeff’s inability to grow up. It is exemplified in his off and on relationship with his girlfriend, Erin Hurley (Tatianna Maslany), whom has just broken up with him again. He loves her and you can tell she loves him but she tires of his childish behavior and for not showing up to events with and for her. To convince her he needs another chance, he tells her he’s going to be at the finish line of the Boston Marathon with a sign he’s going to paint for her. And as we all know, that isn’t where you wanted to be that day.

This film then moves through Jeff’s struggle to deal with the event, losing his legs, and how is he going to be someone in the world. Erin commits to him, but Jeff does his usual flaking out and finally, after she tells him she’s pregnant with his child and he says he cannot be a part of this, she leaves for good.

Avoiding his internal bombing traumatic issues, he finally meets up with and talks with the man who saved him from death by putting tourniquets on above his knees to keep him from bleeding to death. After Carlos (Carlos Sanz) tells him his story, Jeff gets real and starts to take charge of his life.

It is a sweet, heartfelt story. The in-hospital scenes and staff were real. By using these hospital staff and a hospital, it felt solid and true to the story. The visuals of showing Gyllenhaal without legs was extremely well done. The film felt real through many of the scenes.

Gyllenhaal was amazing. When the doctor is taking off the bandages and dressings for the first time in the hospital, I felt his pain all the way to my seat in the theater. Excellent work. Maslany was amazing. Her ability to share so many feelings of love and doubts with her eyes and mouth were spot on. Great work. Richardson had me totally believing she was an alcoholic self-serving mess. She gave a very strong performance. Sanz was sublime. The way he told the story of his two sons to Jeff was ethereal. Brown was perfect as Jeff’s father. Proud, boisterous and overly confident of his ability to process and manage situations. John Pollono wrote a wonderfully expressive screenplay. David Gordon Green caught the magic of the story and brought it to life by guiding his great actors through the feeling vision.

Overall:  Far better film that I’d thought it would be. I love being surprised.

Life

First Hit:  This film tried to be a horror thriller in the science fiction genre, but ended up being lifeless.

The film starts a little confusingly but with some interest. For some reason there wasn’t enough clear back fill as to how a space probe left Mars, heading for Earth and a space station had to catch it or…. Once I got past this unsolved puzzle, watching the team’s pilot Rory Adams (Ryan Reynolds) move a space arm to catch this thing in space was cool. However, any probe coming from Mars would be traveling much faster than it shows here, another puzzle to solve.

After bringing the soil samples into a sealed (not really because there were vents) bio-testing chamber, British biologist Hugh Derry (Arilyon Bakare) starts fiddling with the samples and finds a living one cell protoplasmic entity. Adjusting the mixture of oxygen and stuff, it grows. As Dr. Miranda North (Rebecca Ferguson), Quarantine Officer states; “…all muscle, all brain, and all eye.” It is named “Calvin” by some school children. I liked the reference in some ways because “Calvin and Hobbs” was one of my favorite comic strips and the character Calvin was a handful.

Hugh is like a child with this discovery and Rory states “there’s going to be a huge custody battle over this”, mostly because the space station has multi-national people working on board and it is the “International Space Station” (ISS).

To give some character to the team, Sho’s (Hiroyuki Sanada) wife gives birth while he watches it on a personal video device. Commander Katerina Golovkina (Olga Dihovichnaya) is Russian and is ultimately responsible for the safety of the crew. Dr. David Jordan (Jake Gyllenhaal) is the medical officer and has been in space longer than anyone 400+ days. He likes it there because being on the ISS it is a controllable environment for him.

So what happens? Calvin gets loose and attacks people because humans are filled with the type of liquid nutrients it needs to survive. As Hugh states at one point, it is just trying to survive. All havoc breaks loose, Earth loses communication contact with ISS and decides to send a Soyuz capsule up to push the ISS into deep space forever, killing everyone and everything on the ship. However, when this plan fails, the last two living humans make a decision to try to save Earth from Calvin.

Part of the problem, is that Calvin wasn’t interesting, I didn’t care about the characters, and it seemed like a fight in futility from the get go. Then there were the logistics issues that I pointed out above.

Reynolds had little screen time and maybe the film would have done better with his presence extended. Bakare was OK, but a bit too inquisitive in trying to make Calvin respond to stimuli, which wasn't scientifically stringent enough if this were real. Ferguson was bland and didn’t really add much to the film. Dihovichnaya was OK, but didn’t seem to be controlling her team much, which caused part of the problem. Gyllenhaal was good and one of the better parts of the film because you can tell he pours himself into each part. Sanada was OK and didn’t add much to the overall picture. Writers Rhett Reese and Paul Wernick were both probably aiming for an “Alien” type film but ended up alienating this audience – some actually walked out during my viewing. Daniel Espinosa had some great photography, and visual effects, but the weak script and story deflated the overall presentation.

Overall:  This film will not get reviewed well and just didn’t work

Nocturnal Animals

First Hit:  Outstanding acting in a film that lives to the feeling of its name.

The opening credits are viewed on the backdrop of one of the oddest art displays I’ve ever seen. The display is of very large and overweight naked women dancing live. The rest of the exhibit is of live heavy women in various positions on platforms in the gallery.

The art gallery owner is Susan Morrow (Amy Adams) who lives with her husband in an amazingly large modern house in the LA/Hollywood hills. Her husband Hutton (Armie Hammer) is distant from her, appears to be wealthy, but also indicates there’s money trouble. His illusive and distant behavior points to something else going on in his life and then he abruptly tells Susan he has to go back to New York for business.

Susan receives a package from her ex-husband Edward Sheffield (Jake Gyllenhaal) and it is a book he’s written. She opens the book and sees that it is dedicated to her and the title, “Nocturnal Animal”, was Edward’s nickname for her. As she lies awake in bed, she begins reading the book hoping to help her sleep. However, the story is very intense and it peaks her interest immediately.

From here the film slips in and out of the book’s story, the present time of her reading the book, and past reflections of her former husband and their life together. The past story is about how much she loved Edward and finding that her mom, Anne Sutton (Laura Linney), may have been right that eventually Susan would seek out someone more financially successful and strong than Edward.

The book’s story is very intense as it describes Tony Hastings (Jake Gyllenhaal in a different role), his wife Laura (Isla Fisher) and daughter India (Ellie Bamber) being driven off the road during a road trip through Texas. The men shoving them off the road Ray, Lou and Turk (Aaron Taylor-Johnson, Karl Glusman and Robert Aramayo respectively) are local miscreants known for having a slightly troubled past.

The story continues where they give the Hasting family a hard time and end up separating Tony from his wife and daughter. Eventually finding assistance, Sherriff Bobby Andes (Michael Shannon) takes the case to help Tony find his family. Finding them raped and killed, Tony is crushed while Andes makes it his focused mission to find the killers.

As the film slips from the present of Susan reading the book, to her memories of her relationship with Edward and then to the intense book she’s reading, you can tell that she’s unhappy with her current lot in life, and wants to accept an invitation offered to her by Edward to meet for dinner.

She says yes to the dinner invitation and doesn’t seemed surprised by the outcome.

I really liked the way this film moved between the three different sets and scenes. The coolness and sadness of the current time, the intensity and fury of the book’s story of Tony, and the ideal and joy in Susan and Edward’s budding relationship of the past. These stories and their settings were wonderfully choreographed and  delivered. Additionally, the  transitions between them were wonderfully done.

Gyllenhaal continues to deliver top notch performances. The way he delivers his two characters which have a common theme was excellent. This is an Award worthy performance. Adams, is divine. She’s perfect as the hauntingly beautiful “Nocturnal Animal”. Sitting in the theater, I could feel her struggle. Just as with her role in “Arrival”, Adams is showing everyone why she is so good. Shannon is really on his game here. I’ve really come to appreciate his work and here as an intense, "I don’t give a fuck" sheriff, he’s wonderful. He is this role. Fisher and Bamber were wonderful as Tony’s wife and daughter. I also loved how director Tom Ford used their red hair to tie in Adams’ character as well. It created connections and a tie between the book and Susan’s current life. Hammer was perfect in this small role. Taylor-Johnson, Glusman and Aramayo were great as the books antagonists and the way for Tom to express his rage and gain strength in the end. Linney is perfect as Susan’s well-healed mother. Her look and use of language was great. Ford wrote and directed this film with a clear vision for what he wanted. His effort is worthy for Award consideration to say the least.

Overall:  This is a dark moody, thriller that really worked.