Ready Player One

First Hit: Entertaining visual story into a possible future filled with a decayed reality and virtual fantasy.

Steven Spielberg knows how to create complete stories on the screen. I never leave a Spielberg film with questions, and this film does the same. He always provides a full story. This is one of his strengths and much of the time it is the small details that ties the knot on the bow. Spielberg also knows how to relate with young actors to get the best out of them. However, his obvious strength is the visual rendering of the story in an impressive pictorial way, and he does it again in this film.

This story takes place in 2044 and the world and its resources are falling apart. This is rendered impressively by the vertical stacking of mobile homes in a way that shows both ingenuity of the owners and slum like conditions in which they exist. Most people have given up hope and the few scenes displaying this poverty is enough. To escape their lives, people put on virtual reality (VR) headsets. In their VR world, their lives are given a new level of purpose and dreams. Through their avatars, they can be what they want to be and participate in the games and different worlds as they wish.

Halliday aka Anorak (Mark Rylance) is the creator and maker of the most popular game, Oasis. He’s a bookish man, who does not relate well with people although his business partner Ogden Morrow, aka OG, (Simon Pegg) seems to create a place and space for Halliday to flourish.

Before Halliday’s death, Halliday decides to create a contest that, when a gamer finds the three keys hidden deep within Oasis, the winner will receive the golden egg. This golden egg includes owning and running the company that makes Oasis as well as unfounded riches.

A competitor company IOI (Innovation Online Industries), run by Nolan Sorrento (Ben Mendelsohn), wants the golden egg so that his lagging company can reap the fruits of Halliday’s work. To do so he hires lots of people to be avatars with one goal; to help him find the three keys and to obtain the golden egg.

The film’s main character and hero is Wade Watts, aka Parzival, (Tye Sheridan) who is smart, kind, thoughtful, and an excellent Oasis player. Wade’s parents died years ago and he lives with his aunt and her wildly erratic husband. In the VR world Parsival’s best friend is Aech, aka Helen, (Lena Waithe). On his trek to find the first key, he helps out Art3mis, aka Samantha, (Olivia Cooke). He does this because he thinks her avatar is beautiful and believes they connect at a deeper level.

Together Parzival, Art3mis, and Aech work to solve the puzzle's problems and find the three keys. Along the way they are joined by other players who carry the same ideals.

This film spends more time in the VR mode than reality mode, however the switches between the worlds was done in a wonderful way. The switches make sense. There are also scenes when there is a belief that a character thinks they’re in reality mode, when they aren’t.

The best part is that the team working with Parzival are strong and interesting in both reality and VR modes. Both worlds created by Spielberg are wonderful in that they are realistically flawed and complete. The visuals are not so overladen and overdone that they overwhelm the film and story.

Sheridan was excellent as Parzival, the films main hero. He makes an excellent Clark Kent type character. Waithe as Aech was so much fun. As a male avatar, she was wonderfully strong and compassionate which reflected her deeper reality character as well. Cooke was great as Art3mis. Her bad-ass avatar character belied her reality character of being insecure. Pegg was wonderful as OG and his kindness carried through the film. Rylance was sublime as the quirky, lost, smart creator of Oasis. His social ineptness was perfect. Mendelsohn was very good as the villain running IOI and wanting to be the top dog. Zak Penn and Ernest Cline wrote and engaging screenplay effectively rendered by the inimitable Spielberg.

Overall:  This is a film the audience can sit back and simply enjoy the ride.

Isle of Dogs

First Hit: I liked the premise and animation a lot, however, there were scenes that were not needed which made this film longer than needed.

Director Wes Anderson creates quirky and interesting films. Here, Wes uses stop-motion animation to create a world that, at times, reflects current events. The film references earthquakes and a power plant failure that spread radiation. All events that happened in Japan.

The general plot is that Mayor Kobayashi (voice by Kunichi Nomura), mayor of Megasaki, is a cat person as are his immediate family and his ancestors. However, dog lovers have been ruling Megasaki and therefore dogs reign supreme in Megasaki. Coming into power Megasaki sends all the dogs to “Trash Island,” a place where trash is piled up.

The reason he states is because the dogs have a disease that cannot be cured and eventually it will affect humans.

Atari Kobayashi (voice by Koyu Rankin) is a young twelve-year-old boy who wants his dog Spots back. He commandeers a small plane and crashes it on Trash Island. He runs into a pack of dogs Chief (voice by Bryan Cranston), Rex (voice by Edward Norton), King (voice by Bob Balaban), Boss (voice by Bill Murray), and Duke (voice by Jeff Goldblum, who decide to help him find Spots.

Many of the scenes were fun to watch and extremely well developed. However, scenes like when the dogs in the overhead lift going through a destruction and crushing building were not needed. It added little to the overall suspense and only created a unneeded scene and added to making the film longer.

The personalities of the dogs were great and a wonderful combination of animal and human points of view. This held up well. The focus of a boy’s love of his dog works. And when it comes forth that all dogs love twelve-year-old boys was perfect.

Rankin, Balaban, Norton, Cranston, Murray, Goldblum, and Nomura were wonderful in their voice characterizations. Anderson and Roman Coppola wrote a wonderful script although there were scenes that could have been cut to make the film crisper. Anderson’s direction was excellent although some scenes were unnecessary.

Overall: A strong and entertaining film in a format we don’t see very often.

Leaning Into the Wind: Andrew Goldsworthy

First Hit: If you liked River and Tides, you’ll love Leaning....

I first heard of Andrew Goldsworthy when I happened to see Rivers and Tides in 2001. I was blown away by how this artist sees, feels, and engages with nature.

In this film, we’ve seen the growth he’s had to where the difference between him and nature is blurred even more. Scenes where he revisits old haunts and even a creek where an old Maple has fallen turns into an adventure in visual sensory amazement.

An added delight is the addition of his daughter Holly who is now working with him on these pieces of art.

The film takes us to various places around the world where he explores how nature creates itself and how amazing it is. As a lay person, I see what he’s seeing but as he shares his visual and inner reflections, the audience sees a far greater beauty than was seen before the narration.

His stone work is amazing and as we visit his inspirations and then his art based on the inspiration they meld into one amazing picture.

Being fortunate enough to live in, and now near, San Francisco, I’m able to see some of his work in the Presidio and Golden Gate Park. The logs and tree spire are things of beauty, but I’m always taken aback and follow the cracked rock outside the DeYoung Museum.

The ending scene is perfect, and as a boy and grown up, I recount my time of leaning into the wind.

Goldsworthy is delightful and venerable in his narration and discussions during the film. Thomas Riedelsheimer must have an excellent collaborative relationship with Andrew to get this close and to give us this experience.

Overall: If you want a visual spiritual experience see this film.

The Death of Stalin

First Hit: There are very funny moments, but I couldn’t help but wonder was his regime filled with that much personal corruptness? Probably.

One of the beginning scenes has Stalin’s chief calling the radio station asking Andreyev (Paddy Considine) to call Stalin directly in 17 minutes. The ensuing discussion between Andreyev and Sergei (Tom Brooke), his co-producer, about when the 17 minutes are up was hilarious. Was it when the phone rang? Was it when he said call him back in 17 minutes? Was it when he hung up the phone?

This dialogue sets the stage about the power Stalin (Adrian McLoughlin) wielded in Russia. Everyone jumped at his every word and wanted to do no wrong or they’d be shot or sent to prison never to be heard from again. They had to get it right.

When Andreyev does call back and Stalin says he wants a recording of the live program he just heard them broadcast, they panic because they didn’t record the concert. So he rushes back into the concert hall, makes everyone sit down in their seats, and perform the concert all over again. Hilarious and pointed in that it notes the fear Stalin put into everyone.

Stalin’s governing group includes his Chief of Staff and second in command Georgy Malenkov (Jeffrey Tambor), Lavrenti Beria (Simon Russell Beale), Vyacheslav Molotov (Michael Palin), and Nikita Khrushchev (Steve Buscemi). This small group with a couple others are all vying to be the next in line and try to create power plays.

When Stalin has a stroke because of a note Maria Veniaminovna Yudina (Olga Kurylenko) sends him, the film then goes to additional funny scenes including Stalin’s governing group kneeling and not kneeling next to Stalin’s body as it lay there on the floor because he had pissed himself was hilarious.

The rest of the film deals with who will get control of the country and how will they do it. It plays through a funny set of scenes around Stalin’s lying in state and his funeral. There are so many funny bits in this film, I’d have to see it again to take it all in, but one thing is clear, what was portrayed was totally possible.

Considine was perfect as the befuddle producer who wanted to make sure he did what Stalin wanted. His questions to his co-producer and then the scenes of how he made the audience go through the performance again was priceless. Brooke was excellent as co-producer who knew well enough to only provide an opinion but not take any responsibility for the concert recording. McLoughlin was wonderful as Stalin. He even looked like some of the pictures I’d seen of him. His casual cruelty was clearly apparent. Tambor was particularly funny as second in command. Always walking a fine line and choosing many different sides as the film went on. Beale was perfect as the plodding technocrat looking for a leg up on the others in the ruling party. Buscemi was sublime as Khrushchev. His slow plotting a takeover obviously worked because he became the President of The Soviet Union. Kurylenko was wonderful as the piano player who instigated Stalin’s demise. Andrea Riseborough as Svetlana, Stalin’s daughter was wonderful. Armando Iannucci, David Schneider, and Ian Martin wrote an engagingly smart funny script. Plenty of history thrown was thrown into this mix of pointed funny scenes. Iannucci did a great job of directing this excellent comedy.

Overall:  This film has enough historical references to make it relevant and by adding comedy a fun way to see history.

Flower

First Hit: The acting lifts this bizarre storyline to funny, engaging and entertaining levels.

Before seeing this film, I was hard pressed to think that it would be well acted and funny. Why? The first scene has a young seventeen-year-old girl giving oral sex to a police officer, then blackmailing him for money so that she can bail her father out of jail.

We learn that Erica (Zoey Deutch) has been doing this often because the bail is over $15,000. She has two friends, Kala (Dylan Gelula) and Claudine (Maya Eshet), that assist by videotaping the oral sex events. This is how they blackmail the offenders.

What makes it funny is the matter of fact, open, and deliberate way the engagements are talked about and happen.

Erica has an odd and permissive relationship with her mother Laurie (Kathryn Hahn). Laurie is desperate for a relationship and finds Dale (Eric Edelstein) who also has an overweight son Luke (Joey Morgan) about Erica’s age. However, Luke has been in rehab for over a year because of opiates.

When Luke gets out of the rehab he stays with Laurie, Dale, and Erica. He’s a sad soul and clearly troubled. Erica does her best to engage him including offering oral sex. "It's not like we're related" and "I'm an expert at oral sex." The way these lines are delivered are priceless.

What we discover is that Luke hides his feelings and emotions through eating and drugs because he indicates he was sexually assaulted by Will Jordan (Adam Scott) a grade school teacher.

Erica, Kala, Claudine and Luke set out to expose Will and in this way, get some revenge for Luke and blackmail Will for money that Erica can use to get her father out of jail.

When we get to the end, we find out the truth and the characters find out their own truth.

The events and the way this story unfolds is amusing and quirky. The characters are odd, believable, and fun.

Deutch is excellent. Her laissez faire yet intelligent approach to getting through her life was amazing. I loved watching her be this character on the screen. Morgan was wonderful as the young man attempting to do right at the detriment of his own health. Gelula and Eshet were perfect as the supportive friends. They wonderfully added to this comedic adventure. Hahn was wonderful and the supportive yet exasperated lonely mother. Edelstein was good as the new man in Laurie’s life. Scott was strong as the accused former teacher who loves bowling.  Alex McAulay and Matt Spicer wrote a funny and engaging script. Max Winkler did a wonderful job of making this film work.

Overall: I was pleasantly surprised at the acting and the funny bits in this film.