Cold War (Zimma wojna)

First Hit: I liked the quality of sets, the black and white photography, and the feel they gave for the time this film covers.

I like good period pieces, and the timing of this story is smack dab in my childhood days. Although it begins before my birth, in the 1940s, it moves through into two additional decades in Poland, Russia, and France.

The feel of the stage shows, the night clubs, and the music really stood out for me. The oppression of the Polish and Russian governments are what the characters played against in choosing their path and livelihoods.

The story is about a Zula (Joanna Kulig) who finds herself auditioning to become one of the state-sponsored singers in a Polish youth group.

The beginning is touching in that a small team of people is combing the countryside looking for authentic voices to sing traditional songs. We follow them as they record these untrained voices in their homes and the fields.

Zula is not one of these country voices. We learn that she has been recently released from jail because she took a knife to her father. And paraphrasing her words when she speaks to Wiktor (Tomasz Kot), one of the school’s music teachers, about why she was in jail; he was mistaking me for my mother, so I took a knife to him to remind him of this.

This statement along with the way Zula teams with another girl to sing a traditional song shows something about her will to survive and the myriad of ways she’ll do it.

Wiktor is the pianist for the music dance school and is impressed with Zula, her voice, and mostly her extra special something. He supports choosing Zula to become part of the stage act. He’s also attracted to her and begins to fall for her romantically. She, in turn, during a walk in the countryside, falls for him as well and here begins their love story for the next twenty or so years.

The film then shows how the stage show moved from being a taste of traditional Poland to a tool used by Stalin and the Polish quasi-government to promote communism. Wiktor cannot take it and decides to defect to France where he can use his musical talents in arranging and musicianship to make a living. He hopes that Zula goes with him.

However, she’s playing it safe and stays with the group but they both pine for each other.

Their love, how they meet up multiple times throughout the film, and the inability to keep their love alive is what this film is about. The oppressiveness of the Cold War is the backdrop for the challenges Zula and Wiktor navigate to stay together.

What didn’t work for me in this film was the editing. Scenes end abruptly, and a new scene begins with little context. It isn’t that the scenes are not within the scope of the film, it was the harsh and jarring way it was cut from one to another.

Kulig was excellent as the strong, apparently aiming to survive, girl/woman who loved Wiktor more than anything because he supported her. Her passion for him on the screen was palpable. Kot as Wiktor was outstanding. His performance as a musician was perfect. I fully believed him as a pianist and his love for Zula. Borys Szyc as Kaczmarek the promoter who was always looking for the angle while being politically on the side that was winning was perfect. He carried the right look and feel for the role. Paweł Pawlikowski wrote and directed this film. As I mentioned, I didn’t like the scene edits, but the writing and overall look and feel to the film was outstanding.

Overall: I can see what this was an Academy Award nominated foreign film from Poland.

Films that rose above the fray in 2018

This was a particularly good year for films. At first I didn’t think so but after I reviewed the films I watched and wrote about this past year, I was pleasantly surprised. I was entertained by outstanding acting, strong and poignant films about racism, and out loud laughs. My next post will be about the Oscar nominations.

Game Night: This film was funny from the get go and I laughed out loud all the way through.

Leaning Into the Wind: Andrew Goldsworthy: If you liked the film River and Tides, you’ll love Leaning....

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

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

Red Sparrow: Although long at 2h 19min, it had enough twists, turns, and detail to keep me fully engaged.

You Were Never Really Here: Beautifully shot scenes, dynamic soundtrack, but this oddly paced film tells a story of redemption, salvation or deeper despair.

Beirut: I really liked the way this film was put together and came to fruition.

A Quiet Place: Well done film and the silence of the actors made all the difference in the world.

Deadpool 2: First Hit: This film is fun, irreverent and filled with out-loud laughs.

RBG: Excellent film about a woman who lives within her strength and defined and changed U.S. law.

Disobedience: Extremely well-acted film about how antiquated thinking can split families and a loving relationship.

Hotel Artemis: Who says Hollywood cannot create a unique and well-acted film.

Blindspotting: Extremely powerful and pointed film and raises the bar for Best Picture of the Year. In my view this unnominated film is by far and away the best film of 2018.

Don't Worry, He Won't Get Far On Foot: A unhurried film revealing the power of how forgiveness of others and self, can make one’s life different.

Three Identical Strangers: A truly amazing story about how sciences’ curiosity didn't take into account the effects on human beings.

Sorry to Bother You: What I liked about this film is that it is funny, unique, and unlike any other film I’ve seen.

Leave No Trace: Sublimely acted and evenly paced film about a man and his daughter living in a public forest.

Puzzle: I thoroughly enjoyed this poignant film about a woman finding herself through a passion.

BlacKkKlansman: Fantastic film about race relations in the United States while reminding the audience about how far we have to go.

Eighth Grade: Outstanding acting and script gives us an insightful view of what it is like to be in the Eighth Grade today.

Fahrenheit 11/9: Covers a lot of stuff but I think it was mostly about Presidents and people in power managing and acting poorly.

Pick of the Litter: It was an fantastic and interesting way to learn about how guide dogs are taught to be amazing caretakers for the blind.

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

The Hate U Give: A fantastic film about the existence of racism and, as indicated here, in our police departments as well.

Green Book: Excellent acting, engaging story, and both funny and thought-provoking make this film fun to sit through.

Boy Erased: Outstanding cast delivers sublime performances in a powerful story about LGBT conversion programs.

A Private War: Rosamund Pike (as Marie Colvin) gives a deeply complex performance of a war correspondent who brought personal stories of war victims to the forefront.

Bohemian Rhapsody: Accurate or not, this film was fun, well-acted, engaging, and joyful.

Can You Ever Forgive Me: Excellent acting about a caustic, friendless author that finally finds her voice.

Mary Queen of Scots: Saoirse Ronan (Mary Stuart) and Margot Robbie (Queen Elizabeth 1) give powerful performances in this adaptation of how Mary Queen of Scots tried to claim her title to the throne of England and Scotland.

Vice: I liked this oddly created film about a powerful yet enigmatic man who really ran our country for a period of time.

Ben is Back: Extremely well-acted story based on 24 hours of a mother and her addicted son’s return for the holidays.

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

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

Shoplifters: Wonderfully engaging film about a Japanese family who chose each other while fighting to stay nourished and together.

If Beale Street Could Talk

First Hit: From a visual and craftsmanship point of view this film was outstanding; however, the story languished in its beauty.

The crafting of beautiful scenes and moments was enhanced by an instrumental soundtrack and excellent camera work, but the story lost its impact as it unfolded.

As the book’s author pointed out, this is a story about anyone growing up black in America. He felt that Beale Street, New Orleans, was representative of any street in any city where black suppression existed.

Tish (KiKi Layne) and Fonny (Stephen James) are shown as childhood friends taking a bath. As their lives grow, the film conclusively shows how they’ve grown up together as friends, and there is an underlying affection towards each other.

As the film dances between Fonny in prison for a crime of rape, he did not commit, and their beginning of an intimate relationship, we see the back stories of how their relationship grew and their respective families.

Tish’s family is supportive of a nineteen-year-old Tish being pregnant with a twenty-one-year-old Fonny’s child. They are happy and want to embrace this new addition. However, Fonny’s strongly religious mother and daughters are not. The scene when Tish invites Fonny’s mother, father and two daughters to her parent’s home to share the news that she’s pregnant with their son’s child was exceptionally well done.

The power of different points of view between the two mothers was very well staged. To the ends that Tish’s mom Sharon (Regina King) worked to find Fonny’s accuser to help the case to free Fonny from prison, was juxtaposed with Fonny’s mom, Mrs. Hunt (Aunjanue Ellis), not being involved in assisting Sharon in releasing Fonny. This aspect of the film was very telling.

The film makes it a point to show discrimination by showing and discussing the difficulty of Fonny and Tish finding a place to live, before his being incarcerated. There was also the policeman that placed Fonny at the scene of the supposed rape, who was looking to get back at Fonny for another encounter. These and other scenes showed how blacks were racially discriminated against.

The difficulty in this film is sharing this story in the way that the novel was created because it languishes as it goes from scene to scene. I’m not sure how it could have been done differently.

Rivers was excellent as Tish. She was both strong and vulnerable in many scenes. The tomato shopping store scene and her telling her family she was pregnant are great examples. James was excellent as the creative artist and Tish’s lover. I loved how he continually showed his love for Tish through his words and eyes. King was fantastic as Tish’s supportive mother. Her willingness to find Fonny’s witness was powerful. Ellis was great as the religious fanatic mother. This small but pivotal role was felt throughout the film, especially at the end when Tish and her son visit Fonny in prison. Michael Beach and Colman Domingo as Fonny’s and Tish’s fathers respectively were fantastic. As men sitting in a bar discussing how to care and provide for their grandchild to be wonderfully realistic. Barry Jenkins wrote and directed this film. Although this is a compelling story, at times, it was not as engaging as it needed to be.

Overall: This was a good film, and many of the actors were superb, but on the whole, it didn’t quite work.

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.

Widows

First Hit: Despite all the strong actors, just didn’t think this film held together very well.

In the attempt to put complexity in this story, director Steve McQueen mishandled this screenplay. The issue with the story is that to make the wives of thieves the heroes, they create a story about a crime boss wanting stolen money back from the wives who, for the most part, knew little of their husbands ventures. I don’t think the story needed to be this overly complicated to make a film about four women who become heroes of a heist. The story tried to make us care and it didn't work.

Veronica (Viola Davis) is married to Harry Rawlings (Liam Neeson) who heads up a group of guys he pulls jobs with. Florek (Joe Bernthal), Carlos (Manuel Garcia-Rulfo), and Jimmy Nunn (Coburn Goss) are killed, along with Harry, during a job when they rob Jamal Manning (Brian Tyree Henry) a Chicago crime boss. Their significant others, Veronica, Linda (Michelle Rodriguez), Amanda (Carrie Coon), and Alice (Elizabeth Debicki) are being pressured to return the money by Jamal and his strong arm son Jatemme (Daniel Kaluuya). The supposed reason is that this money was going to be used by Jamal to finance his campaign to become alderman.

Jamal is running for alderman against a family dynasty, the Mulligans. Outgoing Tom (Robert Duvall) is very much the prototypical version of an Irish Chicago alderman; controlling, suppressing anyone or anything that takes his control away and wanting to keep his meal ticket in place by having his son Jack (Colin Farrell) run for the office.

Pressed by both Jamal and his strong arm lackey son, Jatemme , Veronica needs to find a way to pay back the $2 million. She finds a detailed plan that Harry created to make a heist that will net them $3 million after they pay back the $2 million their husbands stole from Jamal.

There are amusing times when the women have to buy a getaway car and guns, but the planning and getting everyone on the same page it was the seriousness of Veronica.

There are other complications, including one of the widows is hesitant to participate, and when Veronica and Harry’s driver, whom she recruited to drive their getaway car, gets killed by Jatemme, they hire Belle (Cynthia Erivo) who is Linda’s babysitter.

There’s a twist with Amanda and why she doesn’t participate in the robbery with the other widows and it is an odd reveal.

Davis was OK as the lead widow. I didn’t sense or feel a real connection with her husband Harry. Neeson was mediocre as the double-crossing husband and thief. Rodriguez was strong as the woman who wanted to show up and make things happen. Debicki was excellent as the woman tired of being abused and taking charge of her life and becoming a critical part of the widows team. Erivo was very good as the babysitter pressed into action as driver. Duvall is strong as a character he embodies in many roles, controlling, mean, and cantankerous. Kaluuya was excellent as the over the top, mean, strong arm enforcer. Coon was OK as the widow that doesn’t participate in the robbery and has a secret. Henry was good as the crime boss wanting a piece of the semi-legitimate pie the alderman’s post would give him. Farrell was OK as the reluctant son who was being pressed into running as alderman, thereby keeping the family tradition alive. Steve McQueen and Gillian Flynn wrote this somewhat misguided screenplay. The misguidedness led to McQueen’s mediocre direction.

Overall: Some of the scenes didn’t fit together well and seemed pressed, while the overall film lacked cohesiveness.