Roma

First Hit: Outside of the beautiful black and white photography and languid movement of the story, I left the theater with little.

This is a personal story. It is one from Director Alfonso Cuaron about his youth and for the person who raised him. Cuaron, raised in Mexico, opens the film with Cleo (Yalitza Aparicio) cleaning up a large home in the Colonia Roma neighborhood of Mexico City.

Cleo is one of two live-in housemaids for Sofia (Marina de Tavira) and Antonio (Fernando Grediaga), the mother, and mostly absentee father of four children. Cleo cares about the house and loves the children.

She meets a young man Fermin (Jorge Antonio Guerrero) who is part of a martial arts group. They spend intimate time together and she gets pregnant. He doesn’t want anything to do with a child and walks away from the relationship.

With Antonio deciding to leave his family, Sofia trying to hold the family together, and Cleo pregnant, the film drops in and out of the stories while framing each of the shots in very well framed sets.

The beach scene, the scene where Cleo visits Fermin’s martial arts class, and the last hospital scene are extremely touching and encapsulate the power of choices and situations of consequence.

Aparicio is excellent as Cleo. Her quiet demeanor and steadfast devotion to the family were wonderfully portrayed. Tavira as the mother was good. The moments of giving up and the moments of taking charge were subtle, yet palpable. Grediaga was OK in his small but pivotal role. The scene of him parking the car in the garage was wonderfully shot. Guerrero was strong as the boyfriend who disowned his relationship with Cleo. Cuaron created a powerfully visual film, but I had difficulty caring about the film in the end.

Overall: This movie seemed like a creation of love, although the audience to feel it might be small.

Vox Lux

First Hit: Intense film that’s different in its presentation as it echos a generation who’s losing touch with their heart while holding little hope.

There’s an eeriness that arrives as soon as the film begins. Not only do we see most of the credits before the film begins, which is a throwback to older times, it starts with a young man parking a truck, leaving it next to a building, then stalking away in the cover of darkness and wearing a hoodie.

With Willem Dafoe providing a narrative voice to set stage for each scene, the film moves through Celeste’s (played by both Raffey Cassidy as the younger Celeste and Natalie Portman) life. The first encounter is with the young man in their classroom where he walks in, shoots and kills the teacher,while attempting to set off a car bomb planted from the night before. Because the bomb fails to do the damage he’d hoped for, he starts shooting wanting to kill everyone in the classroom.

The film’s distinctive eeriness continues with how this film is shot. The scenes are elongated. This is demonstrated in the shooting scene with the response by the police and the haunting sound and flashing of the alarm penetrates the audience for much longer one would expect. This technique continues to the end of the movie with extended songs being sung by Celeste. These long scenes help to breathe life into a character that is somewhat devoid of life.

Affected by the shooting and after rehabbing to walk again, the film follows Celeste (Cassidy) and her sister Eleanor (Stacy Martin) as they write a song about the incident. Catching the ear of crusty and wizened Manager (Jude Law), they sell that song, along with others, to a record company.

Becoming famous, Celeste loses touch with reality and liveson the road. The only touch she has with her former life, as a young innocent God believing person, is her sister who takes care of her, is her only real friend and tries to protect her.

Jumping time, we meet Celeste (Portman) as a mid-thirties star, still singing pop songs that lack real meaning and messages but are popular. We learn that she’s had alcohol and drugs issues that were pranced in front of the public. She has a daughter named Albertine (Cassidy playing this role as well), and has other problematic public incidences including the death of a fan.

As Celeste bounces around in her chaotic life, it’s clear she has little touch with anything other than her own fame. She takes little responsibility for what she’s created around her.

This film makes a point that the younger generations are seeing a uselessness in the structures and institutions built from the past. There is a devaluation of life and there is a hollowness in the film and performances that reflect this disassociation with life.

Portman was excellent, for the most part. Her portrayal of this narcissistic deva with a level of hollowness was sublime. However, my hesitation of her performance is around her overly pronounced Long Island accent. The young Celeste has little or no accent, while the grown-up Celeste has a pronounced accent. I didn’t understand this and it plagued me as the film unfolded. Martin was excellent as the older sister. I liked how she moved through the film, providing support and guidance to Celeste, while supplicating herself to Celeste’s peculiarities. Cassidy was outstanding as both the young Celeste and then Celeste’s daughter Albertine. Law was strong as the pushy, crusty manager who looked out for himself more than Celeste. Brady Corbet both wrote and directed this film. There was an, interesting, detached, and modern feel to this story and film.

Overall: Days after seeing the film, I’m still processing the story and performances.

The Front Runner

First Hit: I liked the feel of the film in that it felt almost documentary like versus a deep dive into the character(s).

Like Gary Hart (Hugh Jackman) the candidate himself, the film didn’t go into his feelings or into the deeply personal aspects of the main character. Gary, as portrayed here, only wanted it to be about good ideas, a government that runs well, a government that focuses on people, and a strong ethical honest government.

The problem is that he didn’t think the public's opinion about his ethics towards his marriage and wife mattered. Gary comes across as if the big picture of what he represented for government was the only thing worth discussing and everything else he was above discussing. This was his downfall, because as we know, people must also relate to a Presidential candidate at a personal level as well and if they cannot, any flaws that are publicly played out will find a life of their own and possibly doom the candidacy.

His wife, Lee Hart (Vera Farmiga), liked her life living on a Colorado ranch and didn’t like engaging with and traveling with Gary as he campaigned for President. The scenes where Gary and Lee are together, were strong in how they related to each other at a level that worked for them and maybe it wasn’t typical.

In one scene, Lee states, “I only asked that you not embarrass me.” He did embarrass Lee and did so by attending a gathering of supporters on a boat called “Monkey Business” where he met a young woman named Donna Rice (Sara Paxton). The press then, and a little in the film, made fun of where he met Donna Rice, a young beautiful blonde and smart (graduated “summa cum laude”) woman. Hart’s disdain for the party and the people on the boat, except Donna, is aptly shown.

In press interviews, like on the boat, Gary only wanted to talk about the important stuff and this philosophy was echoed by his campaign manager Bill Dixon (J.K. Simmons). They didn’t want to appear on food shows or go to fairs in Iowa. He didn’t want to be asked about what he liked and, on the occasion, where he’d show up to a public event, like the lumberjack contest, he wanted to be seen as honest, strong, and the man with the answers who could also throw an axe.

The film floats, with distance from all the characters, from scene to scene. We pop into press briefings, strategy sessions, team meetings, telephone calls, press interviews. Everything is done with some distance except when Donna and Irene Kelly (Molly Ephraim) spend time together as Donna gets moved out of Washington DC, where she had a tryst with Gary, and back to Miami FL.

The scene when Donna goes down the escalator in Miami’s airport is heartbreaking because she’s alone and Irene can no longer help her. Irene sitting at the bar, is so telling.

With a slight distance, we watch newspaper editors discussing covering Hart and reporters doing their job of digging up stories that either support or do not support the candidate. The Washington Post reporter Roy Valentine (Nyasha Hatendi) interview with Gary and the press interview where Roy asks very poignant questions were very powerful scenes. The breakdown of Gary’s façade was perfect.

When his team learns, that Gary is leaving the presidential race, the team, who so believed in him, are disappointed, and it shows.

Jackman was excellent as the handsome, smart politician with great hair, Gary Hart. His ability to keep people at a distance, while drawing them in with his ideas was perfect. Farmiga was wonderful as Lee Hart. Her hurt was appropriately displayed while showing her strong independent nature as well. Hatendi was outstanding as the reporter learning the ropes of asking the hard questions. Loved the scene in the final press briefing Gary gave. Ephraim was sublime as the key woman on Gary’s campaign team, who also had a heart. When she asked Gary at dinner about how Donna was doing, his response showed so well on her face. Simmons was great as Gary’s campaign manager. His distaste for making it personal was perfectly aligned with Gary’s view of the world, until it didn’t. Paxton was wonderful as Donna. I loved her telling Irene about her previous boyfriends over drinks. Matt Bai, Jay Carson, Jason Reitman wrote a strong telling script that was well executed by director Reitman.

Overall: I liked how story played out on film.

At Eternity's Gate

First Hit: I both learned something about Vincent van Gogh and enjoyed the film's journey about this amazing painter.

I love van Gogh’s work. Next to Mark Rothko, he’s my favorite artist. Early in this film, van Gogh (Willem Dafoe) is shown walking towards a young woman tending her flock. He says he wants to draw her, then we fade into scenes where we watch Vincent in nature looking for something that grabs him, so he can stop and paint.

The film emphasizes that van Gogh liked to paint in one swoop – meaning what he saw and felt internally in that moment had to be completely documented and painted in one attempt.

The film also noted that Vincent ate poorly, sometimes only existing on bread and booze. He also drank heavily possibly to quiet the raging internal voices.

Often, van Gogh states that painting was the only thing he knew how to do. At one point he claims that when he paints, it's the only time, he finds internal peace and mental quiet. It was, as one told him, his meditation. He stated there were occasions where he didn’t remember events and what happened to him, and as a result of these events, he found himself in trouble or a mental hospital.

The film gave a significant amount of time towards his friendship towards fellow painter Paul Gauguin (Oscar Isaac), who was discovering some success. Although their styles were different and they argued a lot, there was a friendship between them. Vincent was more dependent on the relationship. Gauguin pushed van Gogh to take his time, consider the canvas and how the paint adheres to the canvas while painting, while van Gogh kept saying, one must work quickly to catch the feeling given the artist in that moment. Use color and paint to show the power being shown the artist.

Theo (Rupert Friend), Vincent’s brother, supported Vincent by sending him money each month. Vincent would spend the money on painting supplies because as later shown, Vincent was a prolific painter. He created some 2,100 pieces of art and 860 of them oil paintings.

As he delved into his style of bold expressive colors, painted impulsively and dramatically. His brother tried selling his art as his agent, but nobody wanted to buy the paintings. He also drew drawings in an accountant’s ledger book, which according to the film wasn’t found (discovered) until 2016.

The film gets back to the opening sequence with the young lady with her flock. The encounter doesn’t end well and was one reason he found himself in a sanitorium or hospital. Vincent had internal demons it was situations, such as these, that he didn’t remember, that caused him to be a scary person to others.

For someone who was rejected by his fellow artists and the world back then, today his paintings can demand in excess of $50m each.

There has been some controversy about how Vincent died. It’s been said and written that the gunshot stomach wound he had was self-inflicted, however, the film has it that he was shot by one of the two young men that were robbing him of his supplies while he was out painting one day.

Dafoe was very strong as van Gogh. His rough angular face looked much like van Gogh’s might have looked like. But it was Dafoe’s eyes that shared the intensity and other worldly nature of artist. Isaac was strong as Gauguin. Friend was very good as Vincent’s brother Theo. Jean-Claude Carriere and Julian Schnabel wrote this interesting dialogue. Schnabel did a wonderful job of creating scenes that kept me visually and mentally engaged.

Overall:I felt like it must have been very difficult to be Vincent van Gogh – if he only knew how his great work would finally be accepted.

The Favourite

First Hit: A stark, intense musical score underscores the bizarre and tension filled interrelationships between the queen and her court.

The film is bizarre in that it always feels like it’s on the edge of chaos in both the way the film is presented and in its content. There are a couple of dance scenes, where it appears that the dancers are doing very traditional 18^th century dance, then there are moves that are contemporary in nature.

Would one really believe that a queen would purposefully throw herself on the floor, cry and scream, in front of her government? Would the queen purposefully fall down and fake a fainting spell while addressing Parliament because she doesn’t know what to do?

These on the edge of reality scenes are mixed with scenes that reflect the time period. Yet the costumes are angularly odd in their accurateness, restrictiveness, and color. The use of blacks and dark colors in odd angles for the Queen and her immediate court were inspired and pointed in the feeling they created for the audience.

Under it all was this music. Sometimes it was just two notes, one sounding like it came from a keyboard and a dissonant one from a violin in a scratchy intense tone. Back and forth these notes went while growing in volume creating tenseness.

Queen Anne (Olivia Coleman) is a mixed-up individual and leader of England. She’s ill-informed, helpless, petulant, inquisitive, always  feels victimized, a baby, and a physical wreck.

In odd scenes we see her stuffing her mouth with cake, throwing up, all while playing a game of solitary. Or deciding to build a huge palace for her right-hand woman Lady Sarah (Rachel Weisz). The palace she wants to build for Sarah is huge and in celebration of winning the war with France. When Sarah indicates that England has only won a battle not the war, the queens states “oh, I didn’t know that.”

Sarah cares about the government, makes most all the decisions, is strong willed, cares for the queen, driven to keep the queen’s childish ways from ruining England, and sleeps with the queen providing her with sexual pleasure.

Abigail (Emma Stone) enters the court early as a kitchen worker. She was once a Lady of fine standing, but her family fell on hard times, and since then she’s been tossed around the country as sort of a homeless rag doll. She's all about self-preservation. She knows Lady Sarah from her prosperous earlier times and when Sarah discovers that Abigail is part of the queen’s home, Sarah decides to keep tabs on Abigail by making her a personal servant.

Abigail, we learn early on, is out for herself and discovers that she likes the queen, sees that the queen is manipulable, and knows that if she can get in the queen’s good graces, she will make a better life for herself. When Abigail manipulates the queen into letting her marry one of the queen's court, we see how interested she is in loving her new husband on their wedding night as she services him while dreaming up new ways to cement her relationship with the queen.

The battle lines are drawn between Abigail and Sarah; who will become the queen’s favourite?

Coleman is unbelievable. Her ability to show compassion, petulance, chronic illness, being uninterested, and all the time being head of state was fascinatingly amazing. She will get an academy award nod for this performance. Weisz continues to show me, time and time again, how powerful she is at carrying an underlying tones and feelings while outwardly showing something different. Her performance here is outstanding and deserving of an award nod. Stone is sublime in this quirky role of self-preservation. She is both raw and sweet while being kind and conniving. Another award-winning performance. There are many other actors in this film, all giving wonderful performances. The wildly quirky and strangely interesting screenplay was created by Deborah Davis and Tony McNamara. Mixing this brew of a bold visionary story, powerful music, and a cast of gifted actors was the clearly deft hand of direction by Yorgos Lanthimos.

Overall: This was a strange brew of color, sound, and dialogue in scenes that seemed to always teeter on the edge of sanity.