Now Playing: Manchester by the Sea

Michelle Williams recently reported that Kenneth Lonergan was in tears while directing at least one pivotal scene in Manchester by the Sea. The actress shared this detail with a touch of awe, noting that she’d never had that experience on a movie set before (and Williams is not exactly reticent to sign on for films that deliver emotional gut punches). Having watched the new film, I have a difficult time imagining any other reaction from Lonergan, and not only because he was watching the film’s most wrenching scene play out before his watering eyes. Overall, Manchester by the Sea betrays … Continue reading Now Playing: Manchester by the Sea

Greatish Performances #29

#29 — Bill Murray as Frank Cross in Scrooged (Richard Donner, 1988) It is entirely reasonable to disagree about the pivot point that moved Bill Murray from an engaging presence to a shrewdly effective actor. Enjoyable as he is in the various onscreen turns in the first portion of his film career, Murray got by on attitude and scampish charm more than honest immersion in his roles. It was a fitting enough extension of his foundational work with Second City, The National Lampoon Radio Hour, and Saturday Night Live, but it also confined his talent. Rather than stretching, he was … Continue reading Greatish Performances #29

Now Playing: Nocturnal Animals

There are many flares of ingenuity in the sophomore directorial effort of Tom Ford, but perhaps the most important and telling is the title he chose. In adapting the 1993 novel Tony and Susan, written by Austin Wright, Ford opted for the title of a work of fiction within the fiction: Nocturnal Animals. Not only is that a far more elegant name to hang on a film, it offers an intriguing insight into the darkness that exist in and around the characters that move across Ford’s meticulous images. The film stars Amy Adams as Susan Morrow, an art gallery director … Continue reading Now Playing: Nocturnal Animals

Dominik, Howard, Junger, Miller, Wolchok

Deadpool (Tim Miller, 2016). And so we’ve reached the point in the superhero era of cinema that allows for a caustically deconstructionist take on the genre to become one of the biggest hits of the year. There might be no better methodology for tracing the chronology of the genre’s takeover than measuring the comparative impact of Mystery Men (a dud in 1999) to Kick-Ass (a solid hit in 2010) to Deadpool (a sensation in 2016). Technically, Ryan Reynolds first played Wade Wilson in the dismal X-Men Origins: Wolverine, release in 2009. Besides the smirking countenance of the actor, that iteration … Continue reading Dominik, Howard, Junger, Miller, Wolchok

From the Archive: Sleepwalkers and White Men Can’t Jump

Here’s another fine example of the strain and struggle I went through to link separate films when I wrote about them for The Pointer, the student newspaper where I attended college.  My only real recollection of this article involves being stopped in the hallway of the Communication Arts Center by a professor who skeptically grilled me on whether or not I’d actually seen Sunset Boulevard. I had. The academic should have given me grief over the ridiculous mixed metaphor in the last paragraph. Writers have long been the undervalued heroes of moviemaking. Films from Sunset Boulevard to last year’s Barton … Continue reading From the Archive: Sleepwalkers and White Men Can’t Jump

Now Playing: Loving

It can be too much of a burden to put on a movie, to insist that it offer a cautionary alarm about the conflicts and risks swarming into modern society, doing so with clarity and firm intent. It is challenging enough to tell a story on screen, especially one based in fact, when the needs of drama and the moral obligation of accuracy can tug on different sleeves, without the pressure of winning a moral argument. And yet that is precisely what certain movies can do. It is not necessarily an obligation, but it is a gift, at least of … Continue reading Now Playing: Loving

The Art of the Sell: Wes Anderson, “My Life, My Card”

These posts celebrate the movie trailers, movie posters, commercials, print ads, and other promotional material that stand as their own works of art.  Wes Anderson is rightly earning a fleet of social media raves for his new Christmas-themed ad for H&M. Thankfully, it’s far better than what he came up with the last time he pointed his camera at Adrien Brody on a train. It also got me thinking about other commercial spots Anderson has directed, including his contribution to the American Express “My Life, My Card” campaign. The meticulous detailing that can swerve towards preciousness can get wearying across … Continue reading The Art of the Sell: Wes Anderson, “My Life, My Card”