The Favourite

First Hit: A stark, intense musical score underscores the bizarre and tension filled interrelationships between the queen and her court.

The film is bizarre in that it always feels like it’s on the edge of chaos in both the way the film is presented and in its content. There are a couple of dance scenes, where it appears that the dancers are doing very traditional 18^th century dance, then there are moves that are contemporary in nature.

Would one really believe that a queen would purposefully throw herself on the floor, cry and scream, in front of her government? Would the queen purposefully fall down and fake a fainting spell while addressing Parliament because she doesn’t know what to do?

These on the edge of reality scenes are mixed with scenes that reflect the time period. Yet the costumes are angularly odd in their accurateness, restrictiveness, and color. The use of blacks and dark colors in odd angles for the Queen and her immediate court were inspired and pointed in the feeling they created for the audience.

Under it all was this music. Sometimes it was just two notes, one sounding like it came from a keyboard and a dissonant one from a violin in a scratchy intense tone. Back and forth these notes went while growing in volume creating tenseness.

Queen Anne (Olivia Coleman) is a mixed-up individual and leader of England. She’s ill-informed, helpless, petulant, inquisitive, always  feels victimized, a baby, and a physical wreck.

In odd scenes we see her stuffing her mouth with cake, throwing up, all while playing a game of solitary. Or deciding to build a huge palace for her right-hand woman Lady Sarah (Rachel Weisz). The palace she wants to build for Sarah is huge and in celebration of winning the war with France. When Sarah indicates that England has only won a battle not the war, the queens states “oh, I didn’t know that.”

Sarah cares about the government, makes most all the decisions, is strong willed, cares for the queen, driven to keep the queen’s childish ways from ruining England, and sleeps with the queen providing her with sexual pleasure.

Abigail (Emma Stone) enters the court early as a kitchen worker. She was once a Lady of fine standing, but her family fell on hard times, and since then she’s been tossed around the country as sort of a homeless rag doll. She's all about self-preservation. She knows Lady Sarah from her prosperous earlier times and when Sarah discovers that Abigail is part of the queen’s home, Sarah decides to keep tabs on Abigail by making her a personal servant.

Abigail, we learn early on, is out for herself and discovers that she likes the queen, sees that the queen is manipulable, and knows that if she can get in the queen’s good graces, she will make a better life for herself. When Abigail manipulates the queen into letting her marry one of the queen's court, we see how interested she is in loving her new husband on their wedding night as she services him while dreaming up new ways to cement her relationship with the queen.

The battle lines are drawn between Abigail and Sarah; who will become the queen’s favourite?

Coleman is unbelievable. Her ability to show compassion, petulance, chronic illness, being uninterested, and all the time being head of state was fascinatingly amazing. She will get an academy award nod for this performance. Weisz continues to show me, time and time again, how powerful she is at carrying an underlying tones and feelings while outwardly showing something different. Her performance here is outstanding and deserving of an award nod. Stone is sublime in this quirky role of self-preservation. She is both raw and sweet while being kind and conniving. Another award-winning performance. There are many other actors in this film, all giving wonderful performances. The wildly quirky and strangely interesting screenplay was created by Deborah Davis and Tony McNamara. Mixing this brew of a bold visionary story, powerful music, and a cast of gifted actors was the clearly deft hand of direction by Yorgos Lanthimos.

Overall: This was a strange brew of color, sound, and dialogue in scenes that seemed to always teeter on the edge of sanity.

Shoplifters

First Hit: Wonderfully engaging film about a Japanese family who chose each other while fighting to stay nourished and together.

This is a view into a Japanese family consisting of husband Osamu Shibata (Lily Franky), wife Nobuyo (Sakura Ando), grandmother Hatsue (Kirin Kiki), Daughter Shibata (Mayu Matsuoka), and son Shota (Jyo Kairi).

The family lives somewhere in Tokyo. They are very poor. Osamu occasionally works as a laborer. Nobuyo works in a laundry facility. Grandmother receives a monthly pension. Shota goes out with Osamu and steals from stores all around town. He’s has a special thing he does with his hands before he steals an item. Sort of his good luck motion. Sometimes he steals alone.

Shibata is grandma’s favorite. She works as a erotic dancer by dancing in front of one-way glass and pretending to masturbate while wearing school girl clothing. She does have a favorite customer 4 ban-san (Sosuke Ikematsu) whom she meets in a conversation room and this scene is extremely touching and heart felt.

The family lives in a very small home that appears to have a very small bathroom, a living space that converts to the sleeping space, and a kitchen space and possibly one other room. They eat together while sharing their adventures of stealing, working, playing and sneaking through society and its laws - openly.

One evening while walking home from stealing, Osamu and Shota hear a young girl crying. Yuri (Miyu Sasaki) is sad, alone, and cold. Osamu picks here up and takes her home. They welcome her into their home and family. Hatsue looks at Yuri’s arms and see signs of physical abuse. Yuri follows Shota around town and in the house – inseparable.

Then grandmother dies which makes their home tenuous because the home is in grandmother’s name and the government who supplies the pension, doesn’t know the rest live there.

Then Shota gets captured stealing from a store, to keep Yuri from getting caught trying to steal. Next thing we know the parents are in jail, and the real story comes out that the family is a chosen family.

This is a story about love and love of the lost ones, about how poverty creates a motivation to steal, and how society and government rules are part of the problem.

The open intimacy of this film is amazing as we watch the family be together in their home and at the beach.

Franky is wonderful as the father, who longs to be a father but really doesn’t like working but likes stealing. His philosophy is that when an item is in the store it doesn’t belong to anyone yet, so it isn’t stealing. Ando is amazing as the mother who loves her husband because of his caring kindness. Matsuoka is sublime as the “daughter” who has a heart of gold and uses her beauty to help the family survive. The scene with 4 ban-san is so touching. Kairi is equally sublime as the young boy who does his best to survive, grow and learn. Kiki is amazing as the grandmother. Her wisdom and conniving ways are hilarious to watch. Sasaki is extraordinarily amazing as the young girl. I felt for her from the moment she appeared on the screen. So sweet. Sosuke Ikematsu as 4 ban-san, the man who watches Shibata was excellent as the non-communicative admirer. Hirokazu Koreeda wrote and directed this incredibly insightful and thought provoking film.

Overall: This engaging film is worth seeing again and again.

Creed II

First Hit: For something that started in 1976 and having 7 previous films, it holds together well enough.

Rocky (Sylvester Stallone) is getting long in the tooth, still wears that funky round hat that makes his head a roundish funny shape, and is managing Adonis Creed (Michael B. Jordan). He managed Adonis in the last film as well.

As champion, Adonis is having a good life and decides to ask his longtime partner Bianca (Tessa Thompson) for her hand in marriage. What makes this set of scenes so good is that he asks Rocky how he asked Adrian, his now deceased wife, for her hand in marriage. For those who saw the Rocky series of films, we can always recall the way Rocky worked up his nerve to ask for her hand. It was hilarious then and it brought up a wonderful memory now.

Adonis’s father Apollo was killed by a Russian fighter called Ivan Drago (Dolph Lundgren) and Rocky, in a fit of rage, fought Ivan and beat him. Ivan’s loss made him become a disrespected person in Russia. So much so that his wife Ludmilla (Brigitte Nielsen) left him for a high-level government official. Raising his son Viktor (Florian Munteanu) alone, he trains Viktor to fight to get the championship belt back and to make the name Drago great again.

Rocky doesn’t want Adonis to fight Viktor because he’d be doing it for the wrong reason. Ignoring Rocky’s advice Adonis fights Viktor.

The fight and boxing ring shots were very good. The story is way to telegraphed which takes away from the film. The nice touch is Rocky reconnecting with this son Robert and grandson Logan.

Stallone is strong as Rocky, a character that he created and enhanced over the years. I loved him bringing the bouncing ball back into a couple of the scenes. Jordan is excellent as Adonis. His softness with Bianca belies the way he makes a living. Thompson is very good as a hearing-impaired musician. Lundgren was very good reprising his role as Ivan. Munteanu was excellent as Ivan’s son Viktor. He showed a great sense of loyalty to his father and it came through during the film. Nielsen was fun to see and she still commands the camera with her powerful look. Phylicia Rashad reprised her role as Adonis mother and Rocky’s close friend. Juel Taylor and Sylvester Stallone wrote a good and predictable screenplay. Steven Caple Jr. did a good job of directing this predictable story with finesse.

Overall: I wasn’t enthralled with this version of the Rocky series.

Green Book

First Hit: Excellent acting, engaging story, and both funny and thought-provoking make this film fun to sit through.

The story starts out having to show the ability of Tony Lip (Viggo Mortensen) to manipulate a situation to his benefit and then his questionable racist views. The first by absconding a hat of a big time crime boss and the other putting glasses in his kitchen trash can after being used by two African American plumbers after fixing his sink.

The first event closes the Copacabana Club because of destruction caused the by hat owner where Tony works as a bouncer. This leads to his unemployment. Weighing a job option from the hat owner because he finds the missing hat (the one he stole) or a possible job driving for Dr. Don Shirley (Mahershala Ali), who is “not a real doctor” but a three-time Ph.D. in music and related areas.

As a driver for Dr. Shirley, he’d be driving him to concerts throughout the south. As a sophisticated classically trained black musician in the 1960’s, he will not be well received by some of the people they may run into during the tour. Tony sees this as an opportunity to make good money and he knows Dr. Shirley will need protection. The “Green Book” is giving to Tony and lists African American friendly hotels and restaurants in the south to help his navigate the south.

The film really defines the differences between these two men and the deep truth they both believe about how people need to be treated. During the film their friendship unfolds in glorious ways; during the long drives, over meals, and over drinks. To watch each, unpeel their veneers and support each other during the tribulations each finds themselves in was truly engaging.

The letters Tony writes, as dictated by Dr. Shirley, to his wife Delores (Linda Cardellini) are both funny and sweet. The ending scene when Dr. Shirley meets Delores was perfect.

What stood out for me was the ways each of the characters learned and grew from their relationship during this trip. In true life they stayed close friends for the rest of their lives and died within months of each other.

Mortensen was phenomenal as Tony Lip. Yes, his accent slightly changed during some of the scenes, but his spirit and acting made this small error a non-issue. He was great and may be up for an award during awards season. Ali was no less phenomenal than Mortensen. The ability to capture his character's schooling and skills in a character in such a reserved, yet engaging way, was sublime. Cardellini was wonderful as Tony’s wife who shared her husband with Dr. Shirley. Nick Vallelonga and Brian Hayes Currie wrote an outstanding script. The dialog between Tony and Dr. Shirley was filled with quips and a subtle unfolding of two very different people to each other. Very well done. Peter Farrelly did a wonderful job of setting up scenes and sets that reflect the time and era of the 1960’s.

Overall: This was a very entertaining and thoughtful film filled with moments of sadness and joy.

Widows

First Hit: Despite all the strong actors, just didn’t think this film held together very well.

In the attempt to put complexity in this story, director Steve McQueen mishandled this screenplay. The issue with the story is that to make the wives of thieves the heroes, they create a story about a crime boss wanting stolen money back from the wives who, for the most part, knew little of their husbands ventures. I don’t think the story needed to be this overly complicated to make a film about four women who become heroes of a heist. The story tried to make us care and it didn't work.

Veronica (Viola Davis) is married to Harry Rawlings (Liam Neeson) who heads up a group of guys he pulls jobs with. Florek (Joe Bernthal), Carlos (Manuel Garcia-Rulfo), and Jimmy Nunn (Coburn Goss) are killed, along with Harry, during a job when they rob Jamal Manning (Brian Tyree Henry) a Chicago crime boss. Their significant others, Veronica, Linda (Michelle Rodriguez), Amanda (Carrie Coon), and Alice (Elizabeth Debicki) are being pressured to return the money by Jamal and his strong arm son Jatemme (Daniel Kaluuya). The supposed reason is that this money was going to be used by Jamal to finance his campaign to become alderman.

Jamal is running for alderman against a family dynasty, the Mulligans. Outgoing Tom (Robert Duvall) is very much the prototypical version of an Irish Chicago alderman; controlling, suppressing anyone or anything that takes his control away and wanting to keep his meal ticket in place by having his son Jack (Colin Farrell) run for the office.

Pressed by both Jamal and his strong arm lackey son, Jatemme , Veronica needs to find a way to pay back the $2 million. She finds a detailed plan that Harry created to make a heist that will net them $3 million after they pay back the $2 million their husbands stole from Jamal.

There are amusing times when the women have to buy a getaway car and guns, but the planning and getting everyone on the same page it was the seriousness of Veronica.

There are other complications, including one of the widows is hesitant to participate, and when Veronica and Harry’s driver, whom she recruited to drive their getaway car, gets killed by Jatemme, they hire Belle (Cynthia Erivo) who is Linda’s babysitter.

There’s a twist with Amanda and why she doesn’t participate in the robbery with the other widows and it is an odd reveal.

Davis was OK as the lead widow. I didn’t sense or feel a real connection with her husband Harry. Neeson was mediocre as the double-crossing husband and thief. Rodriguez was strong as the woman who wanted to show up and make things happen. Debicki was excellent as the woman tired of being abused and taking charge of her life and becoming a critical part of the widows team. Erivo was very good as the babysitter pressed into action as driver. Duvall is strong as a character he embodies in many roles, controlling, mean, and cantankerous. Kaluuya was excellent as the over the top, mean, strong arm enforcer. Coon was OK as the widow that doesn’t participate in the robbery and has a secret. Henry was good as the crime boss wanting a piece of the semi-legitimate pie the alderman’s post would give him. Farrell was OK as the reluctant son who was being pressed into running as alderman, thereby keeping the family tradition alive. Steve McQueen and Gillian Flynn wrote this somewhat misguided screenplay. The misguidedness led to McQueen’s mediocre direction.

Overall: Some of the scenes didn’t fit together well and seemed pressed, while the overall film lacked cohesiveness.