The Revenant

First Hit:  Strong in many ways because of DiCaprio's performance and in the beautifully interesting way it was shot, however, it also felt a little too long.

Director Alejandro Gonzalez Inarritu is an expert in creating wonderful visual pictures and scenes to watch.

Many of them are awe inspiring. Here, some of the long sequences enhanced the film and, in some ways, hurt the film. There were times that I just didn’t think I needed to sit through another sequence of seeing the rugged cold terrain.

After a couple of these I found myself thinking about something else instead of being totally involved in the film. However, on the converse side watching Leonardo DiCaprio being Hugh Glass was a treasure. It is very possible that his performance wins the Oscar and the film does not. This is because I really felt there were better films (see other recently posted reviews).

This story is about a man being betrayed by his fellow man in three ways: First, his son’s mother was killed by a group of Indian village raiders. Second, his son (Hawk – played Forrest Goodluck) was killed in front of him by John Fitzgerald (Tom Hardy). And finally, Fitzgerald dumped him into a shallow grave, threw some dirt on him and left him to die in the middle of nowhere.

As you might imagine, Glass is pissed and filled with revenge. The bear mauling scene is amazing in that it isn’t just a short quick event, it is elongated just as one might expect as it would have happened.

This is what Inarritu is great at filming; long scenes shot eloquently that feel real. Just like the bear scene, the scene of the Indians attacking the fur trappers just felt real. The way the arrows just come into the picture frame hitting or missing their target is absolutely amazing.

Like Spielberg did with the scenes of the Normandy Beach landing in "Saving Private Ryan", these scenes are punctuated with a realistic sounds giving the audience a feeling as if you are there.

The other thing Inarritu is unafraid to do is to be creative in the story: The scene where Glass uses a horse carcass to warm and protect himself from the cold – ingeniously thought of and executed.

The palpable feeling of being in a subzero and cold environment came across clearly through the panoramic shots and close ups of the characters.

The only thing that didn’t work for me was that the film seemed long and I’d be hard pressed to say what could have been cut, except some long landscape shots .

Leonardo DiCaprio was amazing in this role and I also have to give kudos to the makeup artist because I believed every wound on his body seemed real. Tom Hardy was appropriately self-serving, mean and thoughtless as his role needed him to be. He was really strong. However I struggled to place or understand the accept he used. Goodluck was really good as the half white and Indian boy who loved his father. Domhnall Gleeson as Captain Andrew Henry, the leader of the tappers group, was effective and strong as the responsible person. Mark L. Smith and Inarritu wrote a very strong compelling script. Inarritu was masterful in his direction and used the camera effectively to portray this amazing story.

Overall:  This film was an amazingly visual adventure of a man's quest for revenge.

The Hateful Eight

First Hit:  A very well shot film that had out loud moments of laughs punctuated on all sides with gore.

Violence is one thing you can depend on in a Quentin Tarantino (Writer and Director) film.

There is no disappoint in this film on that note. Everyone in this film gets a bullet or two. There are also moments of out loud laughs. Some of those laughs come at the expense of absurdity (John “The Hangman” Ruth speaking with Daisy Domergue) while others driven by outlandishly pointed dialogue (Major Marquis Warren speaking with General Sandy Smithers). However, my favorite set of laughs were the issues with closing the door – laughed each time even when I knew it was coming.

There are moments in the dialogue where it seemed that it was being pushed out by the actors and therefore I lost engagement, however those moments were few and far between. Most of the time, the dialogue was so strong, good, and well executed that I was totally immersed in the play of the words.

There is no faulting in any way, shape, or form, the absolutely beauty of the pictures presented on the screen. Even if you don’t like seeing violence, one cannot fault the beautiful way it was shot.

The outside shots of Wyoming, spectacular. The cabin’s close quarters could have felt small and confining, however the film’s format allowed for the real feeling of one large open room for eight people to the interact in and you were there voyeuristically. The storyline around the use of the word "nigger" was OK, not great, as I keep hoping we’ve moved beyond the derogatory use of this term.

Here is it used emphatically to make a point and to paint the connotation of its ugliness when used. The story didn’t hide itself well because both Ruth (Kurt Russell) and Major Warren (Samuel L. Jackson) telegraphed the problem about why all these people were in the cabin without the cabin’s owner being present.

Although there were a number of “Acts”, I’m not sure why the 3rd was so long in comparison. There was an obvious break part way through the third.

Lastly, I’d heard that the film was designed to be shown with a 10 – 15 minute intermission. Our theater did not do this and ran the 187 minute film straight through. Not that I needed or wanted an intermission – I personally don’t like them – despite its length, time went quickly while allowing each scene to breathe and develop.

As Major Warren said at one point:  “… let’s slow it down… let’s slow it way down.”

Jackson was bombastically present in this role as if it was made for him. When he’s laying out a lengthy discourse about his being on the right side of justice, he’s perfect. His eyes telegraph his intense nature. Russell was effortlessly and gruffly suspicious. Wrapped up in a large coat, hat lowered on his forehead, and a face full of hair he was an impeccable rendition of a lone bounty hunter. Jennifer Jason Leigh was oddly amazing as a wanted woman being brought to justice by Ruth. Like a caged cat, her defiance of her keeper, and her hatred towards blacks spewed forth in hisses. Truly a remarkable performance (Oscar worthy). Walter Goggins as newly appointed Sheriff Chris Mannix was very strong as he vacillated between being weak to get an advantage or strong when he was in control of varying situations in the cabin. Demian Bichir as Bob, the suspicious Mexican holding down Minnie’s, was very good stirring the soup of dialogue from time to time. Tim Roth as Oswaldo Mobray the man who hangs people dispassionately was very strong. Interesting that his take so reminded me of Christoph Waltz, that it was a bit eerie. The part could have been done by Waltz but his power would have been too much for the film. Michael Madsen as Joe Gage the quite brooding man with semi-hidden agenda was wonderful. Bruce Dern was great as the old Southern General Sandy Smithers. James Parks as stage coach driver O.B. Jackson was very good especially in the scene when he comes back from the outhouse after dumping the guns in the hole.  Channing Tatum as Jody was great to see. It isn’t often that Tatum plays a heavy and he did this well. Tarantino wrote a mostly wonderful fleshed out script. There were a couple of times where it felt forced or a little stilted coming from the actors, but overall it was very strong. The direction was superb. The camera angles, the broad vista shots, mixed with the wide 70mm lens showing the dance of each of the characters was perfect. The dark humor mixed in with intense situational dialogue was great.

Overall:  This is a strong 8th film by Tarantino and helps his resume.

Carol

First Hit:  One of the most lusciously beautiful well-acted films I’ve ever seen.

The detail in this film set in 1952 is beyond perfect. The storyline captures the mood and feel of the times while painting beauty, struggle, and joy with intentional and pointed elegance.

Unlike Point Break (the previously reviewed film) which didn’t have a real story to tell, this film was all story. That might have been enough but the director made every frame a piece of art. The wall-paper I recognized from my grandmother’s house. The painting of a ship at sea, I’d seen somewhere when I was a small boy. The attitudes of all the characters were perfectly aligned with the times. The delicious detail in each car all sitting on top of incredible dialogue.

The two main characters Carol Aird (Cate Blanchett) and Therese Belivet (Rooney Mara) were amazing in how they portrayed their roles. Carol, a wealthy beautiful woman who gets what she wants, is not romantically attracted to men and finds herself in the middle of a difficult divorce.

Although her husband loves her dearly, because of this lack, her husband sees this as a reflection of his manliness. Therese is somewhat naïve, enjoys being around men but not intimately, works in a large department store, and almost appears to be waiting for life to happen to her.

Very early in the film, these two meet while Carol is shopping for something for her daughter. The rest of the film is a beautiful patient unfolding of their discovery of each other and themselves. The end of the film is so strong and subtle that it was arrestingly remarkable.

Both of these women deserve to be nominated for best actress awards during awards season.

Blanchett is amazing as woman willing to do what she needs to fill the empty place in her heart. Her outfits, movements and the way she expressed herself were fearless and of wonder. Her portrayal as a caring mom while in difficulty of meeting society's standards was incredible.  One of her most powerful scenes, which displayed her love of her daughter and  her wanting a life of happiness transpired when she and her husband met at a lawyers office to discuss terms of their divorce. It showed her character in so many ways. Mara was sublime. Her look and expressions were so mesmerizing that I couldn’t take my eyes off her. To watch her unfold so slowly and beautifully was like a butterfly coming out of cocoon in real time. Watching her discover herself and what she wanted was almost voyeuristic in the most intimate beautiful way possible. It is rare we get to be this close with a character. Phyllis Nagy wrote a real women’s script that captured everything about the time, attitudes, and feelings. Todd Haynes directed these actors through this script with a touch of magic.

Overall:  An extraordinary film in all ways.

Point Break

First Hit:  A couple great visuals do not make a film worth watching.

The two major surfing scenes were great (the waves not the acting in and around them being found and surfed) as was the wingsuit flight the actors take in the alps. Outside of these scenes, this film is poorly constructed with a dull tired script and tries to entice people with action.

But as George Lucas stated in a recent interview with Charlie Rose; you cannot make a good film by doing cool things and build a story around it.

A good film has a great story as its underpinnings and the cool things are only there to help tell the story. This film is full of cool things these guys do while attempting to complete the Osaki 8 which is suppose to be a way to reach enlightenment. Through this back ass wards way we are supposed to be tempted into being interested in a story about fighting crime.

The other part of the Osaki 8 is to create balance with the earth by giving back to it what was taken from it. What makes it even worse is that the latter part (balance) is a stupid premise because to do what they do, they will (and do) hurt others in the process, which cannot create balance.

The film tries to convince you that balance will be achieved by spilling a billion dollars floating down to earth in the Mexican jungle. If this last sentence is confusing – then go waste your time and see this film to understand what I mean. But don’t tell me I didn’t warn you. The Osaki 8 are challenges like: Emerging Force, Birth of Sky, Awakening Earth, etc.. These innocuous terms have been interpreted by the group to mean do something with enlightenment.

Like Birth of Sky was jumping from a plane and diving into the deepest hole in the earth while the balance comes from pushing a billion dollars out of the same plane they jumped from and letting all the money flutter to the ground. Johnny Utah (Luke Bracey) once a renegade risk taker knows about this legend of the 8. But because of a risk he took with his best friend years before, he ends up working for the FBI. He’s given a mission to find out who robbed a slew of diamonds and gave them away and who dumped all the money from the plane.

The way the events take place leads Utah to believe it is being done by a group of guys trying to complete the Osaki 8. He infiltrates the group by risking a ride on 60 foot waves (Life of Water). The group thinks he may be up doing the 8 with them to it so they indoctrinate him into the group.

Through the group’s leader Bodhi (Edgar Ramirez), Utah meets Samsara (Teresa Palmer) Osaki’s widowed partner. If you haven’t noticed the references to spirituality; the writers used character names that are spiritual based. “Samsara” and “Bodhi” are both Sanskrit. Samsara is Sanskrit for the struggle and cycle of life and death (reincarnation) while Bodhi means understanding and enlightenment.

Then the writers used "Osaka 8” which is very analogous to Buddha’s 8-fold path to enlightenment term. Give me a break – this was a waste of time.

Bracey is a good looking young man and in this film that is about all he brought. Ramirez overacted as someone who drank too much of the Osaki Kool-Aid. Palmer was cute and flighty enough to be an embodiment of Samsara. Kurt Wimmer wrote a mindless screenplay and Ericson Core gets some kudos for some great action shots but that’s all.

Overall:  It is very sad that this film got made, except that the waves were really cool.

Joy

First Hit:  Wonderful story about a woman who learned to understand her creative inventive power and used it to change her life and the world around her.

This is the story about Joy Mangano. Yes, dramatic license was taken in presenting this story, however the essence and path of the story is true.

Joy (Jennifer Lawrence) married the wrong guy Tony (Edgar Ramirez), who lives in her basement because he cannot afford to live anywhere else. Her mom Terry (Virginia Madsen), lives in her house and spends all her time watching soap operas from her bed.

Her Dad Rudy (Robert DeNiro), helps to pay the mortgage because when he’s not living with a girlfriend he’s living in her house as well. Then, like bookends, also living in her house are her two children who require her time and attention and her grandmother Mimi (Diane Ladd).

Mimi keeps pushing her to get back to the creative person she was as a child so that she can become the true successful matriarch of the family. Joy's life is filled with one problem after another. She addresses and deals with them in a robotic way so that she can take just one more step. Resignation is the sign she carries in her eyes and in her spirit.

Finally, the creative inventive person she was when she was young perks back to the surface when she cuts herself cleaning up wine and broken glass with a mop. This event pushes her to invent a mop which revolutionizes the mop and cleaning.

The rest of the film is about the difficulties of getting the product sold. She sells the head of QVC Neil Walker (Bradley Cooper) that this mop can be a success on his network. He takes the chance, it fails, but her perseverance gets her another opportunity. The interaction between Lawrence and Cooper is magnetic. They work so well together.

Another one of my favorite scenes is preceded by her admitting defeat and then with all being lost, she digs into the paperwork and agreements and shows up in Texas (think showdown on main street) with someone who claims he owns a patent on her product. The dialogue in the hotel room – perfect.

This film is about perseverance, belief, and the ability to find one’s inner strength to explore what might be next.

Lawrence gives another top-notch performance. It will be considered for possible selection in the Oscar race. De Niro is strong as the flighty unfocused father. Isabella Rossellini’s performance as Trudy, De Niro’s latest girlfriend, was inspired. Madsen was funny and oddly interesting as the soap opera watching mom. Ladd was sweet as the solid motivating family matriarch grandmother. Ramirez was great as the ex-husband who supports his former wife’s plans. Cooper was fantastic. He fully embraced the role as guide, cheerleader and occasional heavy. Dascha Polanco was outstanding as Joy’s supportive friend Jackie. David O. Russell wrote and directed this team of actors with originality, focus, and clarity.

Overall:  I loved the inspiration that emanates from this film.

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