Sunday, May 20, 2018


Original caricature by Jeff York of Ethan Hawke in FIRST REFORMED (copyright 2018)
 Ethan Hawke has given many brilliant performances in his 33-year film career, including standouts like GATTACA, BEFORE THE DEVIL KNOWS YOU'RE DEAD, BOYHOOD, and the BEFORE SUNRISE trilogy. Now, with FIRST REFORMED, written and directed by Paul Schrader, he tops himself in his most accomplished screen work to date. In this intense drama, Hawke plays Pastor Ernst Toller, a minister in the middle of a crisis of faith and he ensures that we feel every high and low of the cleric’s pained journey to redemption. His portrayal should be remembered come awards season, as should this provocative film.

Toller is a well-meaning minister who oversees a small group of parishioners at the First Reformed Church in upstate New York. It survives as a place of worship due to two things: it’s a historical landmark, and the local mega-church Abundant Life takes care of all of its upkeep and needs. Abundant’s Pastor Jeffers (Cedric Kyles, AKA Cedric the Entertainer) has hired Toller to shepherd First Reformed, thinking it’s the fresh start he needs after a personal tragedy. Toller, you see, was a former military chaplain who encouraged his son to enlist only to see him return home from the Middle East in a body bag. That’s when the pitying eye of Jeffers took Toller under his wing hoping to help him find the good in life again.

The gig should be easy for Toller. His flock is small and showing off the historic church to the local tourists is a piece of cake. But the pastor has more demons to battle than those written about in the pages of the Bible. Toller’s still mourning his son, and his uncertainty about God’s mercy has driven him to drink. All of his angst is eating him up inside, literally and figuratively, and the dyspeptic reverend tries to soothe his ulcers by mixing Pepto-Bismol in his whiskey. 

Toller also carries around the guilt of a misbegotten affair with a co-worker, and he’s not sure his sermons on Sunday have any effect on the smattering of people who come to hear him preach. As he starts to circle down the drain, Toller decides to chronicle all that he’s feeling in a journal. But as he scribes more and more, his entries start to sound like those of a ranting madman; one who’s spiting God and questioning his divine plan.

Then one day, a form of salvation approaches Toller. A young, pregnant parishioner named Mary (Amanda Seyfried) needs his help, and her purity of heart touches him. She’s worried about her husband Michael (Phillip Ettinger) as he agonizes over bringing their child into a world whose citizenry is so blithely destroying the planet. Toller tries to help him see the light and the grace of God around him, but Michael’s darkest fears take a toll on Toller. Soon, the pastor is as obsessed with saving the environment, and he becomes radicalized against the local industry blatantly polluting the community’s land, air, and water. It doesn’t help that they’re also subsidizing the upcoming anniversary celebration of First Reformed, an event that Toller is forced to manage. No wonder he can’t sleep at night.

Despite the able supporting cast, including a deftly dramatic Kyles, Hawke is left alone onscreen for most of the movie, and he runs with it. He’s held the screen similarly before, as in 2012’s SINISTER where he spent most of the time in that frightener acting all by his lonesome. Hawke knows just how to use each of the tools in his actor’s arsenal – eyes, body language, breath control - to convey every ounce of what his character is feeling. And as Hawke has gotten older, his voice has coarsened, and it works wonders here in expressing all the uncertainty in Toller when he speaks.

Schrader reaches a career high too as both writer and director. His FIRST REFORMED screenplay is right up there with his landmark scripts for TAXI DRIVER and RAGING BULL. FIRST REFORMED is not only a rich and detailed character study, but it also serves as a timely and scathing critique of politics, the church, and society’s middle finger to the environment. At times, Schrader’s storytelling plays like a no-holds-barred editorial condemning corporate America and its rape of God’s green earth. Yet, the film remains an uplifting work too. Schrader finds hope in mankind to halt their ruin, particularly when two people can still come together and soar above their problems as Toller and Mary do in a fantasy sequence that utterly dazzles.

FIRST REFORMED is a stunning work, chock full of powerful messaging and indelible images. A couple levitating above the floorboards, a suicide’s remains being discovered in a wintry park, the lines on Hawke’s forehead getting deeper and deeper with worry – these are just some of the potent visuals Schrader and his cinematographer Alexander Dynan serve up. Both haunting and hopeful, FIRST REFORMED is not only Hawke’s best work as an actor, and Schrader’s best work as a director, but it’s one of 2018’s most captivating and wondrous works of cinema.

Tuesday, May 15, 2018


In celebrity interviews on television, Margot Robbie comes off like “the girl next door.” On screen, however, her persona is more like the girl who will end up putting you in jail or worse. Robbie purred and slithered all over Leonardo DiCaprio in THE WOLF OF WALL STREET. She stole SUICIDE SQUAD with a Harley Quinn characterization as lethal as she was lovely. And now, in the stylish new noir TERMINAL, she plays such a man-eater that she might as well be an anaconda. Costars Simon Pegg, Max Irons, Dexter Fletcher, and Mike Myers are swallowed whole by her femme fatale. And she does it all without once smearing her lipstick. 

In TERMINAL, Robbie plays Annie, a dangerous woman out for revenge. As the film starts, she is contracted to take out a local gangster, and her bravado clues us in that she’ll rub him out as surely as he applies her green lipstick. Annie never blinks, her voice never falters, and the vixen manages to walk in 4-inch heels like she was born in them. She’s so expert at her lethal skills, she probably could’ve walked up to Thanos in AVENGERS: INFINITY WAR and stolen his stones before he raised a glove to her.

Annie’s vengeful ventures will send her into the dark underbelly of London, albeit one lit like it’s a tantalizing perfume commercial. The film is too sultry by half, even when Robbie isn’t in the frame. Never has the criminal underworld of Cockney thugs glistened with such glamour. Annie fits right in with her extraordinary allure as well as her determination to dominate the criminal element she’ll encounter. 

During her efforts to best the bad men who cross her path, Annie loves to play dress-up. In one scenario, she dolls herself up like a Chinatown dragon lady. In yet another, she takes on the guise of a kittenish stripper who brags about showing clients her tail. Even her diner waitress uniform looks like one of those sleazy adult costumes they sell at Halloween Spirit stores. She is dressed to excess in every scene, but it robs her of some of her menace. 

Writer/director Vaughn Stein has learned a lot from the genre, culling bits off of everything from BODY HEAT to SNATCH to SIN CITY, but it feels like he’s riffing more on noir style than hardboiled Hammett prose. Neon lighting bathe every scene, all the pavements gleam from the rain, and his dialogue is so loaded it probably should carry a permit. It’s all such a “movie-movie” that it never becomes quite the thriller it wants to be. 

Veteran comic Simon Pegg brings a heavy dose of pathos to his suicidal teacher Bill, but he feels like he belongs in a more serious film. Still, his scenes with Robbie crackle with tension as he holds his own with her. Fletcher and Irons, as two quippy cons at odds with Annie, don’t succeed as strongly. They’re capable actors but their bitchy repartee isn’t nearly as clever as it should be, and they are far too milquetoast to be proper foils for Annie’s homicidal harpy. Most shockingly, the film fails to add real heat to Annie’s flirtation with Max. For such a sexy looking film, where’s the sex?  

The film is shot exquisitely, and it’s deftly edited, but its stylization keeps it at arms’ length. That becomes especially apparent in how Mike Myers plays the critical role of Clinton, the mysterious terminal custodian. Myers plays the deceptively salty old coot in heavy make-up, and it can’t help but draw unfavorable comparisons to the likes of “Fat Bastard” in his AUSTIN POWERS parodies. The ruse makes this film feel like even more of a lampoon rather than a legit noir. 

Even the framing and lighting in TERMINAL borders on caricature. Ace cinematographer Christopher Ross buttresses pinks and reds jauntily up against lime greens, but it looks like panels from a graphic novel too much of the time. Its look can’t help but draw comparisons to how “Creepshow” was lit in 1982 to give it a comic book feel. Because TERMINAL is photographed with such a heightened theatricality, the story’s grit tends not to stick. The body count piles up, but we know who’s going to be standing at the end. 

What does stick is Robbie. With the previously mentioned films from her resume, as well as her Oscar-nominated turn in I, TONYA, she’s proven to be the real deal as an actress and a movie star. She utterly commands the screen in her naughty vamp role and helps gloss and gleam over some of the more problematic parts of the story. And with as much gleaming neon as there is all around her in every frame, to shine more says a whole lot about her formidable talent. 

Monday, May 14, 2018


Margot Kidder, who achieved worldwide fame playing reporter Lois Lane in SUPERMAN: THE MOVIE, has died at 69. She was an underrated actress, one who could do comedy as easily as drama. Kidder defined the word "spunk" and brought intelligence and wit to almost every role the actress played. Some of the best parts of her career may have been sidelined by addiction issues, as well as unfortunate bouts with mental illness, but she nonetheless leaves behind some truly incredible film work. And for most Man of Steel fans, she will always be Lois. 

In the late 60's and early 70's, she was one of the up and coming ingenues, often popping up on television series like HARRY O and BARNABY JONES. I remember her as a sassy foil to George Peppard's cool sleuth in an episode of BANACEK. She was always sassy, even way back then. Of course, not long after that, Kidder got her big break when she was cast as Lois for Warner Bros' big-budget tentpole that carried the tagline "You will believe a man can fly." It was a ginormous critical and commercial hit, and suddenly, Kidder was everywhere. 

There were many outstanding attributes to Richard Donner's comic book adaptation, including one of John Williams' best scores, and Gene Hackman's cheekiest villains, but it was Christopher Reeve and Kidder who propelled that movie into classic status. She had palpable romantic chemistry with Reeve in his Man of Steel garb, and the scene where they fly together on their date is one of the most exhilarating and poignant love scenes ever captured on film. 

During it, Kidder's voice-over narrated the song "Can You Read My Mind" playing as they soared over Manhattan. As lovely as that song was, it probably wouldn't have become such a romantic ballad hit for songstress Maureen McGovern if Kidder hadn't made it so intimate and sexy while ogling her new 'boyfriend' amongst the clouds. 

Of course, where she really shone in that film, and the sequels she participated in, was in the comic interactions with all of those around her. Not only did she and Reeve conjure up the feeling of Katherine Hepburn and Cary Grant in their schtick, but she batted banter with Jackie Cooper as crusty editor Perry White and Marc McClure as the naive Jimmy Olsen as well. Yet, even though Lois could be selfish and crude, Kidder kept us in love with her. She was a tough cookie, albeit one with a soft, gooey middle. 

There were other acclaimed films or starring roles, mostly in indies after that, though she did help make THE AMITYVILLE HORROR a hit, as well as HALLOWEEN II. Her best work, outside of the SUPERMAN franchise, was probably her starring turn in the Canadian sleeper HEARTACHES. She even won the Genie award in 1982 for Best Actress for that one.

Then her career got sidelined by personal problems that took her off the big screen and plopped her down on the gossip pages. She came back a few times after that, doing a lot of TV work, but her star never rose quite so high again. Hollywood is tough on actresses, especially those that develop a reputation for being "problematic." But Kidder persevered and has quite the lengthy IMDB biography.

My original caricature of Margot Kidder in SISTERS (copyright 2011).
Among those listings are some other films that have stood the test of time and became classics in addition to her SUPERMAN work. She was incredibly scary in the 1972 horror movie SISTERS written and directed by Brian De Palma. There, she played conjoined twins who are separated and have a great deal of difficulty letting go of their, ahem, singular relationship. It became a cult classic when first released, and its reputation has only grown since. 

I had a celebrity encounter with her in 2009 when she appeared at the Wizard World comic convention out in Rosemont. Kidder was signing 8" x 10" glossies for fans, as many celebs do at such things. After a quick lunch break, she returned, and I found myself the first one in line. I did not choose a pic of her as Lois to sign, but rather one of her as the twins Danielle and Dominique from SISTERS. As I approached her with that photo, she remarked that I was the first fan to choose something from that movie for her to sign. 

My autograph of Margot Kidder on the 8" x 10" glossy from SISTERS. 
"That's a shame," I commented. "I suppose it's because some of your fans aren't aware of the film." She nodded, but then added, "Or maybe they found me too scary in it." I laughed and told her that her scene in that film where she stabbed her date with a cake knife still gave me nightmares. Kidder confessed, "Brian (De Palma) wrote that script for me when we were dating. He said he wrote the two sides of me." I asked her if he wrote it for her before or after celebrating his birthday. She laughed in that hearty, distinctive way of hers and signed my picture. It remains a cherished memento of mine as Margot was one of my earliest crushes. 

My interaction with her was small but perfect, capturing all that I loved about her. Both sweet and coarse, sentimental and dark, sensitive and resilient, Kidder was an actress who could juxtapose those disparate emotions right up against each other. She made over 135 appearances on the big and small screen in her vast, 49-year career. And if she could have read the minds of her fans, she'd have known the permanent place she would always have in our hearts. 

Monday, May 7, 2018


As many of you are aware, I am now writing reviews for Creative Screenwriting magazine (, so bookmark it as there may be reviews of mine there that will not be duplicated here. That's particularly true when it comes to television content. The Establishing Shot doesn't review TV shows or miniseries with regularity, but at Creative Screenwriting magazine, such critiques will be frequent. 

To save you time this week, might I refer you to my two latest movie reviews? They are the new film DISOBEDIENCE from filmmaker Sebastian Lelio, who won the Oscar for Best Foreign Language Film a few months back with A FANTASTIC WOMAN. This new love story stars Rachel Weisz and Rachel McAdams. Here is the link:

The other new review that is up is that of the French romantic comedy called LET THE SUNSHINE IN. It stars the ever-luminescent Juliette Binoche working for director Claire Denis in a very dark tale about middle-aged dating that is hardly the type of romantic comedy they do in the States. Here is the link to that review:

Both films are fascinating works with strong women at the center of each. Thank you again for following me here at The Establishing Shot, and I hope you'll follow me at Creative Screenwriting magazine online as well. 

Tuesday, May 1, 2018


Frank Lloyd Wright once said, “Turn the world over on its side and everything loose will land in Los Angeles.” That’s definitely true in the new film FISHBOWL CALIFORNIA where oddball characters bounce off each other like billiards in a pool hall. The comedy contains plenty of universal truths, but make no mistake, this is a very particular film about the very unique types of eccentrics who populate La La Land. It’s both hilarious and moving, a little gem of an indie dramedy that is available now on VOD.

So, just what kind of LA eccentrics can be found in the landscape of FISHBOWL CALIFORNIA? Start with Rodney (Steve Olson), the lead character, a jobless writer trying to break into the entertainment industry who thinks that his quick quips and bemused attitude about everything are enough of a resume. Rodney walks around, chattering about, running his mouth with almost a stream-of-consciousness commentary as he goes. He’s old enough to be more mature, yet he clings to his man-child tendencies and his inability to reckon with the fact that even in the surface-obsessed LA, work earns rewards. 

His laissez-faire approach to everything has opened the door for his hottie girlfriend Tess (Katrina Bowden) to grow tired of him and look for a way out. She’s an ingenue-type in her late 20’s, who will likely become a stylist after more casting rejection, and she’s looking for a life raft out of the dead sea of their relationship. She finds that in Keith (Jared Kusnitz), a pilot who still wears his cap during their trysts. Tess casually tosses Rodney out and, with nowhere to turn, he starts living out of his run-down car.  

Rodney is the kind of guy who is so used to rejection that he blithely accepts his beleaguered fate, even as he becomes a vagabond. Rooting for such a schlemiel could quickly start to grate but what keeps the audience on his side is Olson’s comic chops. He makes Rodney consistently funny, mumbling his bon mots and reacting to all of life’s indignities with his Buster Keaton-esque deadpan facial expressions. Too bad Rodney wasn’t around during Hollywood’s silent era; he might’ve been able to get a job in front of the camera. 

The desperate doofus starts stealing power through an extension cord for his daily needs from the electricity outlet outside a stranger’s home. The house belongs to June (Katherine Cortez, in the film’s slyest performance) and she is a piece of work herself. An ailing widow who forgets to take her med’s, she finds solace in the bottle and being a shrew to all who cross her path. She particularly likes busting the balls of her fussy neighbor Woody (veteran character actor Tim Bagley) who complains about how she’s letting her place go to seed and drive down the resale values of the other houses on the block. But when June discovers the thieving Rodney, she finds an even better punching bag.

She puts him to work, mowing her lawn, painting the fence, and lo and behold, Rodney becomes quite the handyman. He even strikes up a contentious, yet flirtatious relationship with June’s brittle daughter Olivia (Jenna Willis). She is on edge from her job as a nurse, and her angst is compounded by her cranky mom and the new interloper. Still, as played by Willis, Olivia shows signs of thawing. She is a nurse, after all, and the fiery redhead does have a big heart.

The apple doesn’t fall far from the tree here as June is shown to be all goo underneath her hard shell too. The scene which introduces her to us showcases her thwarting a convenience store robbery when she shames the potential stick-up artist into stopping because she recognizes him from the neighborhood. Cortez does an excellent job making her character wholly believable, swinging from cranky to cutesy on a dime, very often from line to line. 

June is like so many of the old guard hanging around the City of Angels, from West Hollywood to Los Feliz to Echo Park and the like. She’s let herself go, shambling around with greasy hair and a bedraggled wardrobe, yet there is still a spark and passion present in almost all she does. Some would throw her away, but June won’t let them. She knows the city burns a lot of people, and indeed, it has beaten June into submission, but it can’t extinguish her inner spark. The senior is a survivor, even a fixture in the community, and won’t go quietly. And she cares. It’s her rapport with all those in her orbit that keeps her going. June enjoys the bitchy banter with Woody, not to mention the moments when she can showcase her motherly tendencies, like when she counsels convenience store clerk Quinton (Rad Chad) and all comers…including Rodney.

One of the great things about FISHBOWL CALIFORNIA is how it makes all of the peripheral characters specific and worthy of admiration. It reflects the utmost respect that director Michael A. MacRae and his fellow screenwriters Jordan Hodges and Wyatt Aledort have for such types. They understand that for most everyone in LA, it’s a daily struggle to matter, to make rent, to keep their heads above water, and to exist in a town that rolls out the red carpet for the rich and celebrated, but no one else. The filmmakers love actors too as they’ve given strong roles to veteran performers like Kate Flannery and Richard Riehle as well. 

Even when you can see where the movie is headed, it charms by treating every character with respect, giving them lots of business to showcase. Even Keith gets a lot of screen time and is able to round out what could have just been a shallow villain. Ultimately, FISHBOWL CALIFORNIA argues for inclusion, courtesy, and consideration of every soul who makes up a community, even the utterly misbegotten. Rodney becomes a friend to June and grows into an ersatz member of her family. Even Woody comes around in the story, suggesting that he and June’s squabbling is more of a comedy routine the two have been running forever than the loathing it appeared to be at first. 

Characters change and grow, mostly protagonist Rodney of course, without ever becoming 180-degree different versions of where they started out. This is a grounded and more realistic comedy than most, striving to keep it honest in how it presents the fringe of LA. Even though everyone’s life here is a little desperate, made all the darker by the constant gleam of the Southern California sun, none of these are “garbage people.” There’s a quiet nobility to these has-been’s and never-was’ on display in FISHBOWL CALIFORNIA. This little indie that could will put a lump in your throat, in between laughs. The movie is quite the Valentine to the town and its lovable eccentrics. It knows that all you need to overcome the daily indignities of LA are friends, a few breaks, and a functioning car. 


Now that Marvel Studios’ ginormous, star-studded, all-hands-on-deck, tentpole “Avengers: Infinity War” has opened and broken worldwide box office records with a take of $630 million worldwide, plot spoilers are everywhere. Thus, this review can critique the whole of the movie, not just its basic premise, and more wholly address the controversies and shocks dominating most of the chatter across social media. The funny thing is that most of the spoilers have been out there since 1991 already when the six-issue “Infinity Gauntlet,” on which it was based, was published. As if that wasn’t enough, the Marvel Cinematic Universe (MCU) has been trumpeting the pending slate of films on their docket all over TV and online, defying some of what this new film would have us believe about various characters’ fates. In a way, this is a movie that must be doubly critiqued – for what appeared onscreen and all that swirls around it offscreen as well. 

For starters, bringing the onscreen and offscreen issues into one, this is a movie that does not stand alone as its own entity. It will be lost on an audience that isn’t familiar with the previous 18 Marvel Studios films that set up all the characters, conflicts, and various plots that have led to this epic showdown. Ten years in the making, waiting for all of the origins stories to fall into place in the MCU, “Avengers: Infinity War” is not for the uninitiated. It brings together over a dozen superheroes, almost 40 major characters, and 31 returning stars. Good thing their names don’t appear onscreen until the end credits, otherwise the film would take infinity to get started. And it’s the first of two parts, with its conclusion making its way onto screens in the spring of 2019.

Even with all that to squeeze in, and wait on, this film does a spectacular job of getting going right off the bat, bringing all those heroes and stories together quickly and deftly. The movie also immediately starts mixing up the combinations of characters with cross-overs happening with many heroes who’ve never met each other. Tony Stark meets Dr. Strange, Thor meets the Guardians of the Galaxy, and so on. This film expertly blends the fresh with the familiar. And in an expansive running time of 149 minutes, the film rarely drags. It also manages to juxtapose comedy right up against tragedy with ease. Despite the fact that most of the discussion everywhere concerns the film’s last 10 minutes, it is the previous 139 that deserve the most conversation. That is where the film succeeds spectacularly. 

“Avengers: Infinity War” is truly at its best with those unusual character combos coming together. What brings them together is an intergalactic villain named Thanos (a motion-captured Josh Brolin) who is steamrolling through the universe collecting Infinity Stones to help him conquer all the cosmos. The collision course with this baddie makes for strange bedfellows on the Avengers side. Watching narcissistic brainiac Stark (Robert Downey Jr.) match wits with the equally cerebral Strange (Benedict Cumberbatch) is a treat not only because their needling banter turns to begrudging respect, but because of the subtext of seeing two Sherlocks go toe-to-toe with one another. And adding Tom Holland’s Spider-Man into the mix, trying to keep up with these two sparring adults, makes their scenes brim with all the more ego and cheeky humor. 

Equally as amusing are the scenes where Thor (Chris Hemsworth) joins forces with the Guardians of the Galaxy. He manages to fit into their merry band of misfits, cracking wise and busting balls, like he’s the missing Marx brother. Watching the insecure Peter Quill (Chris Pratt) fret as his team gushes over the new he-man in their midst yields some of the film’s biggest laughs. Gamora (Zoe Saldana) coos, “It’s like his muscles are made of Kryptonite fibers.” Take that, Star-Lord, and while we’re at it, you too, Superman of the DC Universe!

As various groups form to battle Thanos in his stone quest, the film starts to take on a bit of the feeling of “It’s a Mad, Mad, Mad, Mad World.” All these stars, all these arguing characters, reluctantly forming partnerships, isn’t that far off from Sid Caesar, Jonathan Winters, Ethel Merman, and the dozen other comic characters coming together in similar ways to find stolen loot in that classic 1963 farce. This film brings a ton of comedy, but it also juxtaposes its pathos effectively up against all the laughs. 

With over two dozen characters gallivanting about in this one, it’s inevitable that some get shortchanged, forced to recede into the background. Captain America has a supporting role at best this time out, with little to do until the finale. The same goes for his compadres Black Widow (Scarlett Johansson) and Falcon (Anthony Mackie). Other characters fare better, including some that pack a wallop like never before. Paul Bettany and Elizabeth Olsen, as Vision and Scarlett Witch, are standouts here, shouldering a significant portion of the story’s emotional heft. Saldana carries even more, what with Gamora’s relationship to her step-father Thanos and the actress runs with her character’s devastating arc. 

And considering that Thanos is a big CGI behemoth, the character comes off as entirely believable alongside his human scene partner. He’s easily one of the best villains put on the screen in some time, and probably MCU’s best since Loki. Kudos to writers Christopher Markus and Stephen McFeely, directors Anthony Russo and Joe Russo, a wisely underplaying Brolin, and oodles of computer graphics artists for making Thanos so worthy. He’s not only an understandable villain, but he gets the most screen time of any character in the film as well.

Thanos has an ax to grind because he saw his home planet of Titan destroyed by overpopulation and when he attempted to save its resources and citizenry by suggesting a lottery that would mercifully take out half the population, his planet elders balked. His idea was genocide, of course, but Thanos’ justification is not some crazed rant. Rather, he’s a calculating politico looking at the bigger picture, even if it’s incredibly harmful to get there. Learning from his attempt at winning over others, he has changed tactics and will now merely brawl his way to gain the gems that will help him put his plan into action. Once he has the six stones - Mind, Soul, Space, Power, Reality and Time – he will be unstoppable. 

Those are some ridiculously high stakes, and many Avengers here will fail in trying to thwart him. The film doesn’t pull punches, starting right off the bat with Thanos destroying the Asgardians who escaped on spacecraft at the end of THOR: RAGNAROK. A few more minutes into the movie, the villain than disposes of Heimdall (Idris Alba) and Loki (Tom Hiddleston), and it’s devastating. It’s one thing to kill off a beloved character, but it’s something entirely horrific to watch Thanos strangle the life out of Loki. It seems especially incongruent after the farcical tone of the previous film, but ace thespians Hiddleston and Hemsworth make it work. In fact, Hemsworth sets the tone brilliantly in that first scene by expertly showcasing the comedy and tragedy inherent in his character and the MCU. He ends up giving the best performance in this film and has become the most compelling and watchable of all the Avengers.  

Yet of all the shocks, and all the action set-pieces, including some very good skirmishes throughout like the extended battle on Wakanda where Black Panther (Chadwick Boseman) and his people nobly join the Avengers, it’s the ending that packs the biggest wallop. And it’s the one that has all the tongues wagging and fingers clacking away on social media threads. In the end, Thanos wins and obliterates half of the universe’s population with the snap of his fingers. Watching some beloved characters disintegrate into ash is devastating, for sure, but it’s also confounding, and more than a touch irritating. 

Why? For starters, any audience member, even those who are not aficionados, knows that it’s a bit of a ruse. We know that second part of the story is coming. Also, anyone who knows anything about Hollywood and commerce knows that Marvel isn’t going to kill off half of its golden geese. Finally, talk of the latest sequels to Doctor Strange, Black Panther, Spider-Man, and the Guardians of the Galaxy have been all over the news lately, especially with the staggering success of “Black Panther” these past few months.

Thus, that lump in your throat is very, very temporary. And to add a bit of insult to it, the post-credits sequence confounds even more by having Captain Marvel be the recipient of a distress call as earth starts to lose half its citizenry. The story of Carol Danvers comes out in 2019, a month before the second part of “Infinity War” and will now have a lot of explaining to do. For starters, her origins story is slated to take place in the decade of the 1990’s, so how she figures in this contemporary tale remains to be seen. Also, the salvation in the original comic six-parter comes from other characters, but then the MCU has often rewritten backstories and characters. Who will fix the universe? My money is on Stark and Strange putting their two brains together and coming up with some sort of plan involving time travel. 

Considering that that ending reveal is the spoiler that MCU has put all of its Sturm und Drang around, it isn’t quite the shocker it’s designed to be. By now we know that any tragedy befalling the Avengers, or any superheroes for that matter is far from permanent. (Hello, the resurrection of Superman in “Justice League.”) And with that, the MCU underlines a problem with its franchises – they’re never really going to kill off their main characters. It’s a flaw that mars this otherwise sterling tale because it takes us out of the movie while the movie plays before our eyes. Best to not obsess over all this too much, however, especially when there are a thousand fan theories out there to chew over how Captain Marvel is going to fit into all of this. 

Monday, April 30, 2018


Original caricature of Charlize Theron and Mackenzie Davis in TULLY

It’s very early in the year, but the Oscars very likely have their first Best Actress nominee. Charlize Theron gives such a commanding, blistering, and raw performance in the new dramedy “Tully” that the Academy would be fools to ignore it. The rest of the film is almost as strong as she is but make no mistake this is one complex and affecting film about motherhood. Directed by Jason Reitman, it’s the third film he’s made with screenwriter Diablo Cody after “Juno” and “Young Adult", and it’s clearly a sublime partnership. Their latest triumph explores the overwhelming job that motherhood is and showcases all sides of it, from the hilarious to the harrowing to the heartbreaking. 

Theron plays Marlo, a New York suburban mom with two kids who’s about to give birth to a third. She’s already struggling mightily to hold it all together. Every day there’s more to do, less time to do it in, and the ginormous stress starts eating at her soon as her swollen feet hit the floor. It doesn’t help that her husband Drew (Ron Livingston) is of the old school variety, the kind of man who thinks he doesn’t have to do much around the house because he’s the breadwinner. That means most of the cooking, cleaning, and caring for the kids falls on Marlo’s shoulders. And it’s wearing her down, mind, body, and soul.

Marlo is at her emotional rope’s end because of it, and she’s always on the verge. Theron’s performance walks that razor’s edge, showing every frustration, each harried moment, and all the fatigue dragging down her character. Marlo is also a physical wreck, a woman who doesn't get enough sleep and is chronically fatigued. She shuffles around in sweatpants and baggy sweaters as the house gets dirtier, the kids get noisier, and her husband gets lazier. She’s about to give life to a new baby, and yet her own life force is slowly draining out of her altogether. 

Complicating matters further is the fact that son Jonah (Asher Miles Fallica) is one handful and a half. He’s got emotional issues and may even be autistic. Marlo doesn’t know what to do about all his erratic behavior. Instead, she tolerates his kicking of the back of her seat while driving until she explodes at him. She also lets him scream at all of life’s petty irritations, but barely can summon the strength to soothe him. Marlo and Drew describe their boy as “quirky,” but he’s got real problems. He’s disrupting school as well as their lives on a daily basis.  

Everything becomes a battle for Marlo – keeping Jonah in school, putting a meal on the table, finding time to bathe, even getting her husband to talk to her. He shuts her out at night, retreating to the bedroom to play video games with headphones on. Drew’s brother Craig (Mark Duplass) only adds to her consternation. Craig and his wife are wealthy, over-achievers who can’t help but look down at Marlo’s messy mothering. She always seems just one step away from having a total meltdown, and Theron lets her character’s eyes hint at the traces of madness seeping through the fatigue. 

Then her world changes after she gives birth to her third child. Craig generously pays for a nanny to come by each evening to help her out and it is a godsend. The 26-year-old nanny’s name is Tully (played by Mackenzie Davis of “Halt and Catch Fire” fame), and she’s a free spirit, albeit one with a serious work ethic. Tully instantly takes over the house, manages Marlo’s baby effortlessly, and starts taking care of mom too. Not only does she give her the precious “alone time” she desperately needs and craves, but Tully ends up becoming a sort of therapist to her, along with a best friend, muse, and a regular shoulder to cry on.

Tully seems too good to be true when she quickly organizes the home, cleans it from top to bottom, and finds a place for all the errant toys as well. She even makes cupcakes for Marlo to take to Jonah’s school as a peace offering. Ultimately, Tully becomes the ‘spouse’ Marlo really needs, and they even have a simpatico banter together, quipping back and forth in sharp, pithy dialogue the way only Cody can write for her characters. 

In Tully, Marlo starts to see the kind of caretaker she wants to be, and their bond becomes what keeps her going. As much as Tully turns into a super nanny, the real job she does is help return Marlo to a functioning, whole person. With the aid of Tully, Marlo learns to love her life again, live and let live each day, and kick the postpartum depression to the curb.

The movie struggles some in its third act, as everything is percolating, and Tully helps Marlo even bring Drew around to becoming a more active husband and father. The drama starts to wane until a shocking, out-of-left-field rug-pull occurs towards the very end that may leave audiences feeling a bit stymied. Still, the whole of this film is a smart and involving study of American motherhood, and it’s great that the story never tries to turn the two women against each other. That Hollywood cliché may have helped launch a number of thrillers and Lifetime movies, but it has no place here. This film is far more feminist and humanist. 

Cody’s writing and Reitman’s direction ensure that all the characters are vivid, and the performers excel. And in Theron, they have one of the best actresses in the world working at the top of her game here. Marlo is right up there with Theron’s best work, like that of Mavis Gary in “Young Adult,” Aileen Wuornos in “Monster,” and Imperator Furiosa in “Mad Max: Fury Road.” And it sets the bar very, very high for any other actresses hoping to figure in film awards competition this year.