Genius

First Hit:  Strong acting and intense scenes made this film “Genius.”

I loved the intensity Jude Law put into defining Thomas Wolfe as a wildly imaginative and talkative man.

I’ve no idea how Wolfe actually was, but there was a believability in the constant flow of non-stop dialogue that really worked for me. His verbose and expressive nature supported the extremely large manuscripts he brought in to Max Perkins’ (Colin Firth) office.

Perkins who was editor for F. Scott Fitzgerald and Ernest Hemingway was clearly the kind of person who could manage Wolfe. Imagine supporting this verbose author to edit down a five-thousand-page manuscript by cutting over 90,000 words into something both printable and readable.

Perkins, being very centered and with five daughters, found Wolfe both interesting and almost like his son. Wolfe was living with and being supported by Aline Bernstein (Nicole Kidman) who fed him and helped him in a muse type way all while she was producing plays. This film set in the late 1920s – mid 1930s, was well staged.

The sense and feel of Max’s office, the street scenes, and the view from Wolfe’s first apartment were spectacular and reflective of the times. The intense dinner with Perkins, his wife Louise (Laura Linney), Bernstein, and Wolfe was filled with forceful possessive dialogue and ended up defining all four characters.

Louise, a playwright on her own, being shunted aside while the jealous Bernstein and flamboyant self-serving Wolfe monopolizing the discussion and Max, as usual, being peacemaker. I fully bought into the script and thought the direction of the characters was superb.

Firth was fantastic. I loved that he wore a hat most of the time as it was very reflective of his style and the times. Law was intensely amazing. He had me believing the forceful and penetrating inner life Wolfe was leading. Kidman was perfect. I love how she can express so much in such a controlled way. Linney was sublime as Firth’s wife and keeper of their home while supportive of Max’s drama filled client’s lives. John Logan wrote an excellent screenplay. Michael Grandage did a wonderful job of keeping the film moving along and allowing the characters to breathe.

Overall:  I thoroughly enjoyed the interplay of all the characters in this film.

Love & Friendship

First Hit:  Definitely funny and well-acted, however a bit more telling than showing.

This was a clever take on life in the late 1700’s. Women of a certain societal stature were to be taken care of by their wealthy husbands or their families.

Lady Susan Vernon (Kate Beckinsale) has had a few dalliances in her life and is currently engage to Reginald DeCourcy (Xavier Samuel), while having an intimate affair with a married Lord Manwaring (Lochlann O’Mearain). She’s looking for a way to both secure her future income while also securing the future of her daughter Frederica Vernon (Morfydd Clark).

They are basically homeless and stay at the homes of friends and relations until marriages are arranged and settled. Assisting Lady Susan, by being a sounding board to her manipulative plans, is American Alicia Johnson (Chole Sevigny) who continues to be threatened to be sent back to Connecticut by her husband (Stephen Fry) for colluding with Lady Susan.

At first Lady Susan was attempting to marry Frederica to a Sir James Martin (Tom Bennett), who was rich, quite talkative, and very odd in his speaking and thought patterns. However, Frederica cannot stand him. From  here the story takes off.

The strongest aspects of this film were how they kept in the period, how it was shot and by clearly showing how manipulative people can be. However, this film did a lot of telling through the dialogue which got a bit monotonous at times.

Beckinsale was excellent as the intelligent manipulative Lady Susan. Clark was correspondingly strong as the daughter. Sevigny was great as Lady Susan’s confidant. Bennett was the hit of the film by stealing every scene he was in. Whit Stillman did a wonderful job of writing and directing this adaptation of the Jane Austen novella called “Lady Susan”.

Overall:  This film, especially Bennett, was very funny while also keeping a serious tone.

Holmes

First Hit:  A slow meandering beginning that builds momentum towards being a more interesting film at the end.

This film is about forgiveness, aging, kindness, facts and uncovering the real story of Sherlock Holmes.

We meet Sherlock (Ian McKellen) when he’s 93 years old. He’s retired, has difficulty remembering things, his housekeeper Mrs. Munro (Laura Linney) and her son Roger (Milo Parker) are his only touch with the outside world.

He thinks that Mr. Watson reimagined his detective exploits into interesting books/stories. He’s hung up on his last case, what happened, and why he quit being a detective.

The film traces brief memories of what happened and when we do the film transports us back to that time. McKellen plays both parts and it almost works. Him being the doddering forgetful old man and the younger Sherlock who is logical and only thinking about and using the facts to deduce his actions. When he realizes the times in his life he could have been more compassionate, the film softens and lands beautifully.

McKellen was great as a 93 year old man whose faculties are failing him. His covering up his forgetfulness (looking at his sleeve for the boy’s name) juxtaposed with the times he’s feeling full of himself (swimming with Roger) was really good. Linney did great in a very restrained role where she eventually embraces her lot as Holmes rewards her loyalty. Parker was very strong as the curious, inventive, thoughtful, and independent boy and friend of Holmes. He was the best part of the film. Mitch Cullin and Arthur Conan Doyle wrote a up and down script, which at times was too doddering. Bill Condon did a great job of sharing the beautiful English countryside and some of the interior shots were very effective. The story was too slow to start which I think he could have made different.

Overall:  A strong good film, but not in the upper echelon.

Maggie's Plan

First Hit:  Oddly interesting story about love, marriage and life through three very different personalities.

The three are Georgette (Julianne Moore), her husband John (Ethan Hawke) and Maggie (Greta Gerwig).

Georgette is a precise, egocentric professor that is focused on her career. She works at a prestigious university (Columbia) and her career path is to be well known and a department head. She has two children with John and abdicates most household care to him.

John works as a part time professor at a lesser college while also working on a novel. He’s famous for some of his anthropological work, but his heart is on writing a novel. On the campus he teaches, he meets fellow professor Maggie who believes she can only have relationships that last 6 months.

Because she wants children, she decides to get pregnant by asking a friend (mathematician) to give her his sperm that she can insert. However, she engages John in conversations and begins to give the attention he’s not getting at home. The relationship starts with John giving her sections of his book to review and ends in a marriage. However, things go array, the relationship changes and realizing that there needs to be a change she creates "Maggie’s Plan".

Moore is very solid as the precise, smart and career focused Georgette. Hawke is very good as the guy who continues to succumb to an illusion of what he wants and what love is. Gerwig is great as the main character who has a clear idea of what she wants and how to get it. Travis Fimmel and Maya Rudolph are very good as friends of Maggie. Rebecca Miller wrote and directed this quirky independent film in a sure handed way.

Overall:  I enjoyed the way this film played out.

Now You See Me 2

First Hit:  Very convoluted and moderately interesting story to show large scale illusions.

I would have settled on a film that had big magical illusions by tricking banks, Wall Street, a crooked company or something of that nature. In other words, more like the first film.

The story attempts to make a computer chip have the power to get past any security on any computer. Insurance tycoon Arthur Tressler (Michael Caine) wants this chip badly because anyone breaking into his computers will find out he’s committed fraud. He enlists Walter Maybry (Daniel Radcliffe) to do what it takes to get the chip that the four horsemen have stolen.

Just to get here, the horsemen J. Daniel Atlas (Jesse Eisenberg), Merritt McKinney (Woody Harrelson), Jack Wilder (Dave Franco) and new horseman Lula (Lizzy Caplan), are in hiding from the last film and being chased by the FBI including the horseman’s insider Dylan Rhodes (Mark Ruffalo).

The film spends too much time making as issue of Atlas’s wanting to be in charge of the horseman, trying to make a connection with the mysterious “Eye”, and how they got to China.

Then there is the questionably antagonist Thaddeus Bradley (Morgan Freeman) who appears to be against the horseman but more specifically, Rhodes, but is he?

The film does come together in the end but the magic and illusion (the reason I wanted to see the film) of the last trick was telegraphed and I knew it was coming. In other words, it didn’t work on me.

Caine was appropriately stoic and arrogant. Radcliffe didn’t help his resume any. I didn’t think he was powerful enough to make his role work. Eisenberg was OK but not his best stuff. Harrelson had two roles, his twin and Merritt. I enjoyed their (his) interplay from time to time. Franco had a more minimal role in this film and I’m not sure that was the best move. Caplan as the new horseman was good and brought a more positive energy to the cast. Freeman was his ever present steady self. Ed Solomon wrote a convoluted uninteresting screenplay from his own story. Jon M. Chu probably did his best with this film but the story was weak.

Overall:  My guess there will be another film but if it is based on a story like this one, it will be a not be very good.