Song to Song

First Hit:  Although I’m generally a fan of Director Terrence Malik’s work, especially the visualizations, this film felt lifeless and unmoving all the way through. A Malik film like Knight of Cups, touched me deeply and at that moment, I think I’m aligned with Malik’s vision. However, other films he does I might end up liking the pictures and the theme is lost on me.

In this film, few of the pictures were good and I wondered what the point was. Could it have been that if one takes a bite of the apple (signed to a music record deal) then the world opens up. However it only seemed to opened up with increased opportunities for sexual encounters? If so, then I was left thinking; so what. If the point of the film was viewing how the music life in Austin (Malik went to school in Austin) exists and the people in it are just intimately experimenting with others, and they seem to live in a Song to Song way, then so what. I didn't get the point of the film.

Ryan Gosling plays BV who is a musician who gets signed to a record label run by Cook (Michael Fassbender) who is living the big life, filled with things, women, and connections with bands and rock stars. He's pulling the strings, at least around Austin. One of the women he’s linked with is Faye (Rooney Mara).

Faye meets BV at one of Cook’s parties and they begin to have a relationship. However, because they don’t tell each other the truth and they mostly live through their sexuality and what they can feel, the relationship gets convoluted. Faye still has sex with Cook and BV spends time with his old girlfriends Lykke (Lykke Li) and Amanda (Cate Blanchett).

Cook marries Rhonda (Natalie Portman) but has sex with Faye and Faye has sex with Zoey (Berenice Marlohe). There is a lot more of this that goes on in the film, but because it is a Malik film, it is very stylized, virtually no conversational dialogue, and it jumps from place and scene to a different place and scene frequently.

The pictures around Austin were nice and, to me, better than the actual place as I found it more Texan than shown here.

Gosling was good in many sections but the lack of story direction seemed to make him more lost than usual. Mara was one the better parts of this film. Her face and looks are so filled with questions, depth, and searching energy that it fit well in this film. Fassbender was good as the guy who liked money, power, and the things it allowed him to do. Portman was interesting as her intelligence and darkness shined through her scenes. Marlohe was OK as the attractive woman who seduced Faye. Blanchett was OK as this role didn’t really take advantage of her conversational abilities. Holly Hunter as Rhonda’s mom was intense. Malik did the screenplay and it would be interesting to see what it was and how he scripted the scenes. His direction was muddied if what he wanted was the audience to feel something.

Overall:  This film just didn’t work well for me and I found myself sitting there wondering when it would be over.

The Zookeeper's Wife

First Hit:  Very well made and crafted film that tells a compelling story. This story is impactful because of its significance in WWII. As Warsaw falls to Nazi Germany the Warsaw Zoo, being managed by Antonina and Jan Zabinski (Jessica Chastain and Johan Heldenbergh respectively) comes under the control of Lutz Heck (Daniel Bruhl) who was head of Berlin’s Zoo. However, now he’s under Hitler’s spell of supremacy.

The early scenes are set up to show just how much Antonina loves her animals. Later on we learn why she’s drawn to the animals and it solidifies the early part of the film. This is great direction of a strong script. The reaffirming of the story as it moves along.

Another time I thought this film did this well was when Jan and Antonina were lying in bed, and he subtly indicates that Antonina must really work her friendship with Heck to make their lives and the lives they want to save, easier. What is interesting is that I interpreted this to mean that she was given a level of freedom to use her sexuality. Antonina hears this as well, but when Heck washes her hands and Jan sees this, he gets really angry and she doesn’t understand why, she thought she was supposed to do this. This is great and interesting filmmaking.

The story is that after the Germans took and killed all their zoo animals for meat, Jan and Antonina started hiding young Jewish children and some adults in the basement area (some cages) below their home. They would then connect these people with others who were getting them out of the country or into other safe houses.

Jan would pick them up in trucks collecting food garbage from the ghetto Jewish area of the city, tuck people under the garbage and bring them into their home, feed them, supply them with legal paper forgeries and send them on their way. One day Jan sees two German soldiers sexually attack a young girl named Urszula (Shira Haas), so he gathers her up and takes her back to his house. She is in shock and with gentle kindness is slowly brought out of her shock by a rabbit, painting and other young children who are hiding out.

The story evolves to shortly after the war and with this ending, there is some happiness and of course sadness. The amazing thing is that they saved over 300 Jews from being shipped  to a concentration camp and their probable death.

Chastain was superb. She captured vulnerability, strength, and persistence. Her ability to hold and be Antonina’ heart was wonderful. Heldenbergh was amazing. His ability to be tough, yet have the kind of compassion he shows in this role is amazing. Bruhl was very strong in an unenviable role. He clearly carried the appropriate level of following orders. Haas was sublime. She was so strong and believable in this role that I couldn’t image it being done any better. Her evolution from shock to engaged with others was perfect. Val Maloku as Jan and Antonina’s son was excellent. The scene when Heck questions him in the kitchen was amazing. Angela Workman wrote an incredible screenplay from the true story by Diane Ackerman. Niki Caro did an amazing job of directing this film and telling this story.

Overall:  Seeing the trailers, I didn’t really expect to like this film, however, I was deeply touched by the story and the way it was delivered.

Ghost in the Shell

First Hit:  Interesting to watch but not very engaging. This is one of those films that with the right use of computer generated graphics and a great story we’d have a wonderful film. However, I think the script failed to create the sense of urgency this film can create.

A couple of the questions this film brings are: Will we all become a brain inside a hi-tech mechanical robotic body? Will the brain be able to embrace all our memories and our souls while operating without the rest of the body and all the other cells that hold memories of their own?

Here we have Major Mira Killian (Scarlett Johansson) waking up from a procedure that implanted her brain into a cyborg body. She struggles with memories because the lines between humans and robot are becoming blurred and therefore, she is as well. She was built to be a weapon.

She’s not the first and one of her predecessors Hideo Kuze (Michael Pitt), has become an enemy of the company manufacturing both him, Major, and other robotic cyborgs. He foils many of the company’s plans and when Major does a “deep dive” into a robotic that had been compromised by Kuze, she learns something about Kuze and has a stronger desire to find him.

Major’s support comes from District 9 Chief Daisuke Aramaki (Takeshi Kitano), friend and solider Batou (Pilou Asbaek), and her direct creator Dr. Ouelet (Juliette Binoche). Additionally, she learns of her real history when she meets Motoko’s (Kaori Yamamoto) mother. She learns and figures out that she is Motoko.

Most of the film is shot at night or in very dark scenes which made this film more difficult to watch in that there was little in the way demonstrating light and hope. However, from a filmmakers point of view, they couldn’t create the interesting CG figures that are as tall as buildings that grace the skyline if it wasn't dark.

In general, there wasn’t enough digging into the issue that's behind the story, the issue of combining mankind and machines into one unit. The film just danced around the subject.

Johansson was good but she lacked a great story, poor direction or, more than likely, both. Knowing her capabilities in roles like this (think “Lucy”), in this film she felt lifelessness. Pitt’s role was supposed to be intelligent and dark. It was dark but didn’t really work in the intelligence arena as the script was limited. Kitano was one of the best pieces of this film. He was clear in his role and delivered aspects of what this film could have been. Binoche was almost out of place. She's fresh and alive, and although I bought her role, I’m not sure she couldn’t have known more about her boss’s intention. She doesn't do naive well. Yamamoto was exquisite. I loved how she related the story of losing her son and daughter. Asbaek was great as Major’s friend and fellow soldier. Jamie Moss, William Wheeler, and Ehren Kruger wrote a mediocre screenplay as the dialogue did not create much interest. However, the direction by Rupert Sanders was as much to blame for the failure of this film as well.

Overall:  This film comes from great stock, but fails to really engage the story and therefore the audience.

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

Wilson

First Hit:  At times out-loud funny but I wouldn’t have called it a comedy.

This film was a study of a man who was socially inept, neurotic, and brazenly honest with his comments to and about people. We find Wilson (Woody Harrelson) living in a messy apartment filled with paperback books. He’s got a sweet dog with whom he talks to and allows to run and act freely around the apartment. When he walks the dog, and people want to speak to the dog in a doggie voice, he insults them by mimicking the doggie voice the people use.

He despises technology and continually interrupts people who are wearing headphones. His only friend is moving away and Wilson blames his buddy's wife. Wilson gets a call from the hospital telling him his father’s heart is failing and dying. He visits the hospital and we see that Wilson didn’t get much acknowledgment or love growing up and although his father, lying there, was unconscious, the audience gets that Wilson’s statement was probably true. Then his dad dies.

Cloaked in confusion because he has no family his best friend is gone, although his dog sitter Shelly (Judy Greer) likes him well enough, he seeks to find his ex-wife Pippi (Laura Dern). There are some very out-loud funny scenes as he makes his way to find Pippi, including speaking with her co-worker. After a drink together, Pippi and Wilson start talking and as they talk, it becomes obvious why they were a couple and why they split up. When he asks her about the reasons for aborting their child, she tells him that she had the child and gave it up for adoption.

With a new mission to spend his energy on, he searches for and finds his now 17 year old daughter, Claire (Isabella Amara). Convincing Pippi to join him, they follow her to a mall where they introduce themselves.

His continued, no filter, behavior eventually gets him in trouble with the law when he takes Claire to meet Pippi’s sister Polly (Cheryl Hines). In this interaction we see part of the reason why Pippi struggles with her family as their judgmental ways are tough to be around.

Harrelson was good but I didn’t like the character much. I liked some of Wilson’s ideas and his directness, but cringed at the level by which his unfiltered communication with complete strangers (the bathroom urinal scene). Greer was wonderful and represented a calm place and person in Wilson's life. Dern was great. She embodied the frustration of not having the kind of life she wanted while acknowledging her own failures. Amara was wonderful as the confused daughter. Hines did a good job of being the perfect, antagonistic sister. Daniel Clowes wrote this screenplay from his own graphic novel and there is some speculation that Wilson’s behavior occasionally mirror’s his own. Craig Johnson’s direction was clear but the issue was it was neither funny enough to be a comedy nor was it dramatic enough to be just a drama.

Overall:  This film is entertaining enough, but it is mostly a study on how a maladjusted man finds he way through life.