Colette

First Hit: With the empowerment of women being in the forefront, it was great to watch Colette take charge of her life.

Colette (Keira Knightly) becomes enamored by Willy (Dominic West) who is somewhat of a blowhard male chauvinist who disrespects everyone except anyone who has more money or prestige than him.

He contracts with people to write stories, books, and plays for him and because of his spending and gambling habits, he's always in debt. After their marriage he continues to have affairs with scores of women in Paris, which infuriates Colette but more for the lying than the affairs themselves. Because they are pressed for money, he locks Colette into a room to make her write for him.

She writes books that become the talk of Paris. Everyone loves the books and Willy, the supposed author, becomes the talk of the town. Setting social and artistic trends, Willy and Colette become enamored with their life. But, tension begins to percolate because Colette is the real author of the books and no one knows.

What I really liked about this movie is that Knightly, as Colette, is definitely in her element. Her natural wit and intelligence was never a match for Willy or Georgie Raoul-Duval (Eleanor Tomlinson), Collette’s first lesbian relationship.

Knightly was superb. Her airiness and ease of sharing a strong Colette was sublime. West was excellent as the overbearing chauvinistic husband and ego driven writer. Fiona Shaw was perfect as Colette’s mother supporting Collette’s independence. Denise Gough playing Missy, Colette’s supporter and romantic lover. Tomlinson was wonderful as Colette’s first lesbian lover who was also Willy’s lover. Richard Glatzer and Wash Westmoreland wrote a pointed and well-defined screenplay. Westmoreland did a good job of setting up wonderful scenes and sets that exemplified the era of the late 1800’s.

Overall: Using Knightly was inspired casting choice as she brought a lot of life and intelligence to this role.

Beautiful Boy

First Hit: A very personal film about a parent’s deeply felt and dark journey through his son’s addiction.

Despite excellent acting, especially on Timothee Chalamet’s part as the son Nic, this isn’t a joyful film. For anyone who has experienced addiction or has been a parent of an addicted child, it is not an easy film to watch. Its title comes from a John Lennon song about his son Sean.

The story is from the perspective of David Sheff (Steve Carell), Nic’s dad. The film jumps time confusingly but it is clear when we are watching their relationship grow and Nic is a child. David is married to Karen (Maura Tierney) but she’s not Nic’s mother. David divorced his first wife Vicki (Amy Ryan) who ended up moving to Los Angeles. There are telephone conversations between Vicki and David that are realistic in that each parent is blaming the other for not doing enough for their son’s struggle.

Confusingly we dance forward and backward in time through instances of Nic’s addiction behaviors and fiascos. I’m not sure why it was done this way, but when I have to figure out what point in time the scene is referring to, I’m not engaged and dislike having to piece the story together. I get turned off.

However, on the up side of the film, Chalamet does a great job of being an addict. His arguments and persuading his family and others to do what he wants, including giving him money, is spot-on.

There are numerous scenes that expose everyone’s engagement and caring for Nic and this is commendable.

Carell is strong as the father that will do anything to help his son. When he learns to let go, I breathed a sigh of relief because, to survive he had to let go. Chalamet was excellent. His scenes of sliding back into wanting to use again were perfect. Ryan was fantastic as the mother who cared, yet knew nothing about what to do, or how to do it. Tierney was sublime. She showed empathy towards David, cared about Nic, and loved her children. The scene when she follows Nic and his girlfriend after robbing her home, was wonderfully developed and executed. Luke Davies and Felix Van Groeninger wrote a good, if at times, confusing script. Groeninger’s direction needed to be better given the times shifts that caused confusion.

Overall: Deeply personal film that will not be everyone’s cup of tea.

The Oath

First Hit: Compelling and oddly interesting story about what happens to a family when they disagree about a restrictive mandate by the government.

I do think the idea around this film was interesting and one that would spark a host of anger and division in our country. The program, as defined here, was to have everyone in the country sign a loyalty oath to the United States and the current President. The government attempts to make clear that there will be no retaliation to any individual if they don’t sign it, but if you do sign you will be rewarded, including tax breaks. Because this is such an important issue, the President allows people nearly a year to make their decision by giving them until the day after Thanksgiving, Black Friday, to sign The Oath.

Chris (Ike Barinholtz) and his wife Kai (Tiffany Haddish) are adamantly opposed to such government intrusion in their lives and join campaigns designed to reject The Oath. Time passes, and Chris’ support and engagement continues to grow. He’s always looking at the news and getting upset as government troops tamp down protests against The Oath. Kai, supports her husband’s actions of support, but is less engaged to make a big deal of the oppression.

As Thanksgiving approaches and Mason and Kai are expecting all of Mason’s family to join them, tensions  and anticipation rise. After the parents arrive. Dad is hard of hearing and is technologically challenged, and when Chris asks him to turn down the television, hilarity ensues.

Then his sister Eleanor (Nora Dunn) arrives with her husband (Jay Duplass) and children. The husband is sick and is in bed through the entire film, until the end. Eleanor has many of the same beliefs as Chris. Family animosity arrives when Chris’ brother Pat (Jon Barinholtz) and his girlfriend Abbie (Meredith Hagner) come to the door. The arguments begin when Chris calls Abbie “Katie” because that was the name of Pat’s previous girlfriend.

Both Abbie and Pat have signed the Patriot Oath and are ultra conservative. The characters are made to have the look and feel of conservative Trump surrogates. This causes the dinner conversation to be both hilarious and pointedly filled with anger. All during the erupting fights Kai is attempting to calm Chris down so that they can make it through Thanksgiving. All the while, watching the news, Chris learns people are getting killed during protests against The Oath.

Then on Black Friday, agents from the CPU (a government investigative agency) come to the door to ask Chris why he’s not signed The Oath. Because everyone else in the house has signed the paper, he’s adamant he’s got a right to not sign it and without a warrant order’s them out of the house.

The agents Mason (Billy Magnussen) and Peter (John Cho) are sort of a good cop bad cop team. Peter tries to keep the situation calm while Mason is highly jacked up on conservative right-wing righteousness. When Mason’s aggression really elevates to a high level, all hell breaks loose in the home and the story and film gets very dark.

Ike Barinholtz comes off as acting his role, versus being the role. Starting with the initial scene, the tone of this pressing of this role starts and stays all the way through. He seemed to overact the part. I think another actor would have made this role and film more compelling. Haddish, on the other hand, was excellent. I loved her dance through her maniac husband's issues with the government and his family, with her love for their daughter. Magnussen was excellent as the very right-wing conservative maniac. His intensity created most all the film’s tension. Cho was excellent as the mediator CPU agent. Jon Barinholtz was very good as the conservative brother that supported and protected his brother in the end. Dunn was excellent as the sister who mediates the brothers differences while being a calming voice through the film. Hagner was wonderful as Pat’s conservative girlfriend. Ike Barinholtz is a better writer than actor and his direction of everyone except himself was strong.

Overall: In this highly charged political environment and with a President who likes loyalty, this film is very poignant.

Bad Times at the El Royale

First Hit: An oddly strange, yet engaging, film.

The El Royale is a hotel that is split down the middle between the Nevada and California borders. There is a red line that runs through the parking lot and through the middle of the lobby with some rooms in Nevada and the remaining rooms in California. The rooms in California are more expensive because they’re in California.

Father Daniel Flynn (Jeff Bridges) arrives just as Darlene Sweet (Cynthia Erivo) is parking her car. He introduces himself and assists her carrying two very large blanket covered foam rolls into the lobby.

In the lobby we have Laramie Seymour Sullivan (Jon Hamm) waiting for someone to come to the front desk so that he can check in. The three of them make some light chatter until Darlene bangs on a door and out comes Miles Miller (Lewis Pullman) who is the desk clerk and appearing to be the only hotel employee.

They each select a room. In the rooms each person does something that tells you why they’re at the El Royale. Sullivan is removing bugs previously planted there by the FBI. Flynn is really a bank robber from years ago and his partner brother stashed a bag full of money under the floor of a room. Sweet is there with foam to cover the walls so she can practice singing before heading to Reno for a gig. And Miller? He's a junkie.

The El Royale has a single access hallway behind all the rooms. Miller can view and listen in to each room from this hallway. For sound there is a switch under a one-way mirror that is in each room. There is a camera and we learn that Miller used this camera to film people for blackmail purposes.

However, Sullivan learns of this secret hallway and watches, through the one-way mirror, as Emily Summerspring (Dakota Johnson) checks into one of the rooms dragging her sister Rose (Cailee Spaeny). Tying her sister up in a chair, he’s puzzled.

Rose gets away and calls her cult leader boyfriend Billy Lee (Chris Hemsworth) who is a Charles Manson like leader that pontificates what he believes to be the truth. He drives up to collect Rose and find out why Emily kidnapped his prize pupil.

With all seven players engage, the story is about how everyone learns about each other’s reason for being at the El Royale.

Bridges is good as Father Flynn. However, the voice he uses is much like the voice he used for Hell or High Water. It’s sort of a gruff slurring voice that isn’t pleasing at all. Hamm is, at times, hilarious playing up the role as traveling salesman. Pullman is wonderful as the only hotel employee who is looking for absolution for the horrible things he’s done in life. Erivo is fantastic as the singer who is also clearly on her path with purpose. She suffers no fools and I enjoyed her singing – a lot. Hemsworth was strong as the cult leader who felt empowered by his good looks and charisma. Johnson was excellent as the protective sister who wanted to steer Rose away from Billy Lee’s clutches. Spaeny was excellent as the younger sister caught up in Billy Lee’s belief system and his good looks. Drew Goddard wrote and directed this film. His story was oddly interesting and engaging and use of 1960’s music was sublime.

Overall: It was interesting how the disparate reasons for each person in this ensemble  to be at the El Royale worked into a single storyline.

First Man

Fist Hit: Compelling reenactment of an audaciously brave time in the 1960’s where we were challenged by President Kennedy to go to the moon.

When the first man walked on the moon I was packing my bags and heading to Vietnam from Alameda Naval Air Station in San Francisco Bay. Our walking on the moon was an amazing accomplishment. This film gives us a rendition of the challenges these men faced while we made mistake after mistake learning how to build rockets, space suits, and all the other paraphernalia required to send three men in a rocket ship all the way to the moon and return them safely.

I don’t have any point of reference to what Neil Armstrong (Ryan Gosling) was like in real life, but Gosling brought a stoic, determined, quite man to the screen. The back story to his quietness seemed to be made up of two things; it was his default way of being in the world and that he was heartbroken when his young daughter, Karen, died of a brain tumor. He didn’t speak about the loss, but it did not deter him from following orders and doing what he needed to do to be prepared for the event of the century. It was his wife Janet (Claire Foy) that kept his family life and home life grounded and together.

The film begins in 1961 when Neil flying an experimental rocket plane called the X-15 bounces off the atmosphere. He manages to land the plane safely on a dry desert lake bed, however the people he works for think he’s distracted by his daughter’s plight. What struck me about the scenes inside the X-15 cockpit was how basic and utilitarian all the switches and instruments were. The rattling in the cockpit was enough for me to lose faith in man's ability to create a safe rocket.

Armstrong applies to and gets accepted into the Gemini program based in Houston. This program is what NASA has put together to attempt to send someone to the moon as ordered by the President. The family consisting of Neil, Janet and their oldest boy Rick, pick up everything and move to Houston. Arriving in Houston, Claire gets pregnant and they have another boy named Mark.

During the development of these rockets some of the selected astronauts are killed in plane crashes and testing of the equipment. In fact, Neil wasn’t originally part of the fist Apollo crew, but when Ed White (Jason Clarke), Gus Grissom (Shea Whigham), and Roger Chaffee (Cory Michael Smith) are killed inside a capsule during a plug test, the Apollo program leader, Deke Slayton (Kyle Chandler), informs him that Armstrong will head up the first crew to land and walk on the moon. The first crew to go to the moon was Neil, Buzz Aldrin (Corey Stoll), and Jim Lovell (Pablo Schreiber).

There are numerous amazing scenes in this film; from Neil’s boys roughhousing and playing in the pool, to space capsules spinning uncontrollably in space, to the awe of standing on the moon.

Gosling was excellent in this role. His natural air of solitude worked perfectly for a man driven by adventure, duty, danger, and precise engineering. Foy was fantastic as the woman holding everybody and everything together in their lives. The scene when she instructs Neil to tell the boys that they may never see him again is powerful and poignantly clear. Clarke, Whigham, Smith, Chandler, Stoll, and Schreiber were excellent as part of the Gemini and Apollo teams. Josh Singer wrote an excellent screenplay. Damien Chazelle did a magnificent job of bringing the look, feel, and the technology of the 1960’s to life. The artistic shots against the front reflective face shields of the space helmets were hypnotizing.

Overall: This film is a wonderful interpretation of how we achieved an, almost, unthinkable goal.