Clemency

First Hit: The slow eruption of sorrow by Alfre Woodard as Warden Bernadine Williams is formidable.

Make no mistake, this is Woodard’s film from beginning to end. As the warden of a prison that executes the individuals on death row, she faces up to her harrowing job with a commitment, strength, and affected vulnerability.

The film begins with Warden Williams presiding over an execution. The medical orderly botches needle insertion attempts. The camera focuses on Williams’ face almost the whole time, and by reading the barely visible changes in expression, we know she’s a percolating pot of unexpressed feelings.

Williams is married to Jonathan (Wendell Pierce), who is a high school teacher. We only find out about his work late in the film, but the scene where he’s reading to his students provides a good indication of the depth and quality of the man he is.

There are moments during the fill that explore their relationship at home, and what we see is a man doing his best to reach out to his wife, and she is barely able to respond.

Bernadine is loyal to her job. She knows it is essential, but her own awareness that the job is eating her alive is minimal. When she’s engaging prisoners, especially Anthony Woods (Aldis Hodge), she is both competent and caring.

The focus of this story is between the time of the early botched execution and the execution of Woods. The story uses Major Logan Cartwright’s (LaMonica Garrett) difficulty after the botched execution to portray the struggle of doing one’s job when that job is to push the buttons of death. There is a side story of  Chaplain Kendricks (Michael O’Neill), who is the assigned Chaplain there to assist the doomed prisoners. There is the anti-execution attorney Marty Lumetta (Richard Schiff) pleading to stay Woods's execution because evidence shows he probably wasn’t the killer and because of the previously botched execution. Then there is Woods's own story and the effect of discovering he has a son just before his day of execution.

All of these stories are etched in Williams’ face as she painfully goes through her duties of Warden.

The scene with Woods in his cell, trying to hurt himself, is painful to watch. I had to turn away for part of it.  When Woods meets up with the mother of his son, her story of why she did what she did was compelling. Deputy Warden Thomas Morgan’s (Richard Gunn) support of Williams is shown in several scenes. The bar parking lot scene in which he asks for keys is reflective of his caring, help, and support.

The film, because the subject is dark, is mostly shot in darker tones. The Williams’ home is not infused with light, the prison and prison walls are realistically portrayed in generic faded government colors. The yellow lines bordering each hallway in prison, guiding prisoners where they can walk, is poignantly shown.

However, the film is very slow-paced, and at times, I did want it to jump forward, but I also understand why it was done this way.

Woodard gives a career-defining performance. The subtle movements in her expressions, eyes, and body movement tell a compelling story, and it surely deserved an award nomination. Garrett was terrific as this hulking strong guard that had to succumb to his inner voice about participating in another execution. Pierce was extraordinary in his role as Bernadine’s husband. Schiff was terrific as the prisoner rights attorney. O’Neill was perfect as the Chaplain. Hodge was remarkable and fantastic as the prisoner wrongly accused of murder facing death by execution. Gunn was excellent as a caring Deputy Warden. Chinonye Chukwu wrote and directed this film with both heart and intention. When the state takes a life, it affects everyone involved, including our society.

Overall: This was a study in outstanding acting by Woodard.

The Irishman (I Heard You Paint Houses)

First Hit: An in-depth introspective and a sliver of a story into the mob world’s connection to Jimmy Hoffa.

This was a historical storytelling film of the life of “The Irishman” Frank Sheeran (Robert De Niro). Accordingly, the movie begins and ends with Frank sitting in an old folks home telling the story of his life.

The young Frank starts his tale when he has just returned from his WWII stint in Italy, and is now a truck driver delivering meat. He finds that he can skim some of the carcasses off and sell them for extra side money. In doing so, he slowly begins to sell to mobsters who appreciate a good deal. A chance meeting, followed by a more formal introduction with rising mobster Russell Bufalino (Joe Pesci) begins a lifelong friendship. Russell gets Frank odd jobs including painting houses (which is a mob euphemism for murder) as needed by the mob.

When the trucking company catches Frank as he arrives at a store that purchased the meat with an empty truck, wants to convict him for theft. What happened to the meat? Frank sold it to gangsters but acts as if he’s no idea what happened to the beef in the truck. It is one of the few amusing scenes in the film.

Frank knows the value of keeping his mouth shut, and this trait along with his support of the International Brotherhood of Teamsters run by Jimmy Hoffa (Al Pacino) gets him a new job as Hoffa’s chief bodyguard.

The movie generously uses CGI to move these characters back and forth through at least 50 years of life, from young men in their 20s and 30s to old men in their 70s and 80s. For the most part, it works well.

We follow these three gentlemen through their lives, including mob family wars for power.

We watch them fight with the government about expanding to Cuba and the Castro regime. We watch them struggle with John F. Kennedy’s election and subsequent assassination. We see how Bobby Kennedy tried to bust up the unions and Hoffa in particular because of how Jimmy loaned the mob millions of dollars, interest-free, in union pension funds. In fact, the film makes a point of indicating that mob-controlled union pension funds built Las Vegas.

There are softer moments in the film like how Frank’s daughter Peggy (Anna Paquin as the older Peggy) visibly disliked Russell but liked Hoffa. The story also has a few tender scenes with Frank and his second wife, Irene (Stephanie Kurtzuba).

The scenes are shot with an authentic and matter of fact feel to them, not splashy. One-shot that stuck with me was when Russell takes Frank to a small airport to get on a plane to meet Hoffa in Detroit; the camera looks out the tiny private plane window to see Bufalino sitting in the Lincoln. Russell will wait in the car until Sheeran returns after meeting Hoffa. There was something about this shot that brought the craft of making even the small things to the forefront.

De Niro was excellent as the Irishman turned mob strong arm and Bufalino confidant. The scenes with the priest towards the end were powerful. De Niro skillfully expressed his character's refusal to deeply go into making amends. Pesci is terrific as mobster Bufalino. The scene which he and Frank are just getting to know each other, speaking Italian with Russell, and asking him how he learned to speak Italian is very engaging. Pacino as Hoffa was convincing. I’ve no idea who Hoffa is privately, but the way Pacino portrayed him here made it feel real. Paquin as Peggy is perfect. She knew deep inside who her father was and what he did, and her way of keeping her distance and her looks of disapproval are excellent. Harvey Keitel is sublime in his brief scenes as mobster kingpin, Angelo Bruno. Steven Zaillian wrote a strong and in-depth screenplay from the book “I Heard You Paint Houses.” Martin Scorsese showed his strength in using actors he knows and trusts to bring another compelling Italian mob film story to the screen.

Overall: Although very informational, it was a long film.

Just Mercy

First Hit: A compelling and moving story about overturning injustice.

This movie is based on the true-life story of Bryan Stevenson (Michael B. Jordan), who, after finishing law school at Harvard, moved to the deep south to help death-row prisoners in Alabama.

Although he was offered prestigious positions in other law firms, his mind was made up while during an internship, he interviewed death-row prisoners. He is deeply touched by these prisoner's stories and, after reviewing their files, learned that many of these men were unjustly accused and incarcerated.

Upon graduating from Harvard and passing the Alabama Bar, he moved to and opened a federally funded group to represent prisoners on death row. Arriving at their new offices, he is informed that he and his office manager Eva Ansley (Brie Larson), wouldn’t be able to rent the offices because of the type of work they were doing. Holing up in Eva and her husband’s home, they begin their quest to represent wrongfully convicted death-row inmates. The three touched upon in this film were different types of cases.

One of the stories is about Herbert Richardson (Rob Morgan), who was convicted of killing someone by a bomb he planted on the front porch of a house. Yes, he made the bomb, but what wasn’t taken into consideration was that Richardson had PTSD from his time in Vietnam and had struggled by being in and out of mental health facilities for over 30 years. His story is wonderfully mixed into the overall film by following his appeal process and subsequent death by electrocution. The latter is such a powerful scene, that it had our entire Saturday afternoon audience audibly crying.

The main story is about Walter McMillian (Jamie Foxx), a man convicted of killing a young 18-year-old girl. The fact was that at the time of the victim’s death, he was surrounded by his entire family preparing food for a local fish fry. The testimony that got him incarcerated was given by Ralph Myers (Tim Blake Nelson), who was a convicted felon that made up the story to get off of death row. In other words, he made a deal to lie for the local police and DA so that he would have a more comfortable life in prison.

The storyline follows how Stevenson and Ansley, jump through enormous hoops put forth by the Alabama criminal justice system, to let the truth be known. The resistance was there in order to keep the criminal justice system from having to say it was criminally wrong and did not hand out justice to everyone equally under the law.

The film does a great job of mining the stories of the key players and how they ended up where they are. It also points out the discriminatory nature of many people and areas that still exist in the South.

This is a moving film, and I know that anyone seeing it will be impacted by the excellent acting and story behind the characters. The scene where Richarson is put to death is so powerfully well done even though you never see the actual execution. You’d be hard-pressed to not be affected by this scene.

Jordan was terrific as Stevenson. He plays this character with kindness and driven compassion which is outwardly kept under wraps. Larson is lovely as a mother and woman who is driven to do the right thing regardless of the impact on her family. Foxx was sublime. I loved the way he slowly let his guard down with Stevenson as time passed. It’s a powerful performance. Nelson, as Myers was terrific. His critical role in the story was only outshone by his ability to draw the audience into his persona and how he got to be the person he was. You cannot take your eyes off him when he’s on the screen. Morgan was phenomenal. I loved his character and maybe because I am also a Vietnam Veteran. I’ve met numerous street people who are vets that got lost along the way. His story touched me deeply. Destin Daniel Cretton and Andrew Lanham wrote an outstanding script and dug in where it needed to. Cretton got incredible performances from the entire cast and needs to be commended for bringing this subject to film.

Overall: A film worth seeing as the story it tells helps us learn who we are and what we need to change.

1917

First Hit: Although many of the camera angles and shots were engaging, the flaws in the storyline kept me out of entirely falling into this movie.

I do my best to ignore hoopla, reviews, and articles about films before seeing them. It causes and creates preconceived ideas that are rarely met, along with providing filters that have to be ignored.

Such was the case with this movie. So much noise about how great this film is.

Granted the effect given by the one-camera one-shot concept was good. This concept was ambitious, but the action wasn’t really shot with one camera and didn’t really happen during one long shot. Therefore, I found myself guessing which were the one-shot moments which were the ones they edited to make it look like one-shot one-camera.

If I’m watching a movie and my mind is dancing with these questions, it just means I’m not fully ensconced in the story and presentation, and that isn’t good.

Besides the camera stuff, the other aspects that didn’t work for me were: A scene when Lance Corporal Schofield (George MacKay) gets shot at from the German sniper soldier in a building after he crossed a destroyed bridge. Why did they simultaneously shoot each other and Schofield fall back downstairs, as if he were hit, and end up with no injuries? The German, as we expected, was hit and died. Then, how did Schofield not get hit as he was chased through the burning buildings being pursued by multiple German soldiers shooting at him? How did the wounds he did received appear and disappear, yet the bandage on his right hand from a barbed wire wound early in the story consistently appear in later shots? How did Schofield and Lance Corporal Blake (Dean-Charles Chapman) not hear any of the trucks or men marching near the farmhouse where the plane crashed? One moment, the stillness and quiet of the farm are interrupted by a plane crash. Then Blake fights with the surviving German pilot, then within minutes, a whole battery of trucks and men are swarming on the same farm. Noise from the vehicles made in 1917 and the men of the advancing regiment, would have been heard long before the plane crash and certainly after it. However, here they are not heard. They just appear like ants scurrying around the farm.

When these many questions are running through my mind as I watch the scenes unfold, It’s hard for me to be a fully engaged fan of the film.

The movie’s story is about two men, Schofield and Blake, being ordered to locate and warn an English regiment that is pursuing the German Army that the Germans have set this pursuit up as a trap to destroy the following regiment. Blake is given this assignment because General Erinmore (Colin Firth) has learned that Blake’s brother is a lieutenant in the pursuing regiment. To me, this was a questionable motivational strategy by the General. Blake was asked to select another soldier to be his companion, and he chose Schofield because they were close friends. However, the overall goal and motivation to save some 1,600 men were not in question.

The difficulties that Schofield and Blake endured as they cross the previous battle lines are for the most part engaging. However, none of the scenes were pointedly unique when compared to scenes in other films, like Peter Jackson’s “They Shall Not Grow Old,” or Steven Spielberg’s “Saving Private Ryan,” or Christopher Nolan’s “Dunkirk.” In fact, the section where they pass through the destroyed German Artillery appeared too staged.

MacKay was excellent as Blake’s reluctant partner. As we know he would, he showed up with strength and compassion when needed. Chapman was perfect as Blake, who was going to save his brother’s regiment no matter what happened. His scene after being stabbed by the German pilot he saved, was excellent. Sam Mendes and Kristy Wilson-Cairns wrote this interesting screenplay. Mendes did a terrific job of splicing together individually-shot scenes to create the exciting momentum of a single-shot movie.

Overall: Thought that I’ve seen better films are telling this sort of story.

A Hidden Life

First Hit: A long and beautifully shot study about how one man wouldn’t compromise his beliefs.

Terrence Malick creates and makes statements in his films. Often, the films are long, always beautifully shot, and require the audience to think about the point he’s making.

In this movie, the focus is on living and acting on your beliefs. Franz Jagerstatter (August Diehl) was profoundly religious and had a personal relationship with his idea of God,  Christ, and what was right and wrong. He was faithful to the Catholic church in his tiny Austrian hillside village, called St. Radegund. As part of his commitment to the church performed duties at the church almost every day.

Married to Franziska, Fani (Valerie Pachner), they began their life together, farming and then having two children. They farmed their land by hand and were an integral part of their small community. During harvest season, the community worked together to bring in and store the harvested crops. The town felt like it was a long way from the war that Hitler was bringing to the world. However, when the war started turning against Hitler, the army drafted all eligible men to serve the Third Reich. This included Franz.

A requirement for serving the German Army was to sign a pledge of allegiance to Hitler and the German government. Franz couldn’t do this. He could not live with himself if he signed something that was against what he believed, and after the army attempted to persuade him with physical and verbal abuse, they threw him in jail. The German officers even solicited the assistance of his local priest to convince him to sign the oath of loyalty. In essence, the priest was saying that God would overlook his signing the document to save his own life and the life of his family.

He couldn’t and wouldn’t sign the oath and therefore spent years in jail. But Franz wasn’t the only one who paid the price, so did Fani. In scenes back in the village, Fani and the girls are depicted being shunned by almost everyone in the village because her husband Franz was giving their town a bad name in the eyes of ruling Germany.

The film spends time going back and forth between Franz in prison being harassed and beaten into signing a loyalty oath and the village where Fani and the girls were continuing to be harassed by the people in her town.

The immense pressure building up in Franz didn’t break him down and his wife, despite the immense movement to ostracize her and the girls, continued to support him and his decision despite what she was going through.

This film shows the cruelty of people when someone stands up for their beliefs. Because the people, including the priest, are unwilling to stand for their true feelings, they make Franz and Fani the enemy.

The physical beauty of the area of the village was well captured by the cinematographer. The integration of archival footage of Adolf Hitler and the huge parades he commanded was well done.

Diehl was terrific as Franz. His ability to show his internal struggle in a contained, in prison, way was perfect. Pacher was sublime. Her looks of intensity and passion towards other characters , amazing. Michael Nyqvist’s performance as the local Bishop that tried to persuade Franz to sign the document was excellent. Alexander Radszun’s performance as the judge that sentenced Franz to death was very good. You could see that he understood and struggled but had to follow his own loyalty oath. Malick wrote a script that was too long. I think the film could have had a stronger impact if it was more crisp in its presentation.

Overall: Long and pretty, it needed to be tightened up to make its point even stronger.