MOVIE REVIEW: Darkest Hour

Posted on by Aaron White.

DARKEST HOUR (2017)



Going In

Before 2017, I had never heard of the Battle of Dunkirk. But thanks to Hollywood, we’ve all had quite the history lesson this year, with two films (Their Finest and Dunkirk) addressing that particular event in some fashion. Now a third film enters the mix, set during the same time period but not dealing with the battle specifically. Instead, Darkest Hour focuses primarily (see what I did there?) on one man – newly appointed British Prime Minister Winston Churchill. As Hitler’s forces close in on England, Churchill must make difficult decisions that would affect the outcome of World War II. Playing Churchill is Gary Oldman, and he is already receiving an incredible amount of critical praise for his portrayal of the famous statesman. It will be interesting to see how his performance compares to that of John Lithgow, who just a few months ago won an Emmy for his own depiction of Churchill in the Netflix drama The Crown.  Also a curiosity is whether director Joe Wright will rebound from his underwhelming 2015 remake of the Peter Pan story. Wright’s experience with period pieces such as Atonement, Pride & Prejudice, and Anna Karenina point toward this type of material as being perfect for him, and that provides me with a lot of hope.


COMING OUT

Darkest Hour is my kind of biopic. Joe Wright’s film is a little less of a period piece than I expected, though. With only a few scenes of deep melodrama, it unfolds more like a fast-paced political thriller. Wright directs with a dazzling electricity that moves the film forward at a tremendous pace. Dario Marianelli, composer of the wonderful music in Kubo and the Two Strings, provides an incredible audible energy that matches the intensity of Churchill’s fiery personality and the wartime tension felt at the time. The result is a film that, despite being almost entirely dialogue driven, has the ability to put you at the edge of your seat. Since this story is about the great orator Winston Churchill, it is extremely fitting.

The story is also mostly true and I’d encourage viewers to read up on exactly what took place during these important months in 1940. Although Darkest Hours adds a few dramatic elements toward the end of the film, it mostly does justice to the primary players: Churchill (Gary Oldman), King George VI (Ben Mendelsohn), former Prime Minister Neville Chamberlain (Ronald Pickup), and Lord Halifax (Stephen Dillane). Anthony McCarten’s script covers only the month of May – Churchill’s appointment through his famous “we shall never surrender” speech. As Germany draws closer each day, Churchill must weigh the pushing of peace talks from the likes of Chamberlain and Halifax against the proposition of seeing the entire British Army wiped out while continuing to fight back. The Battle of Dunkirk does feature prominently here and Christopher Nolan’s Dunkirk will make a perfect complimentary film for a twin bill.

What elevates the film into greatness, however, is Oldman. He is nearly unrecognizable as Churchill, buried under the hefty weight of prosthetics. But where he succeeds most is selling the idea that Churchill truly did use language and words to turn the tide of English thinking toward resistance of Hitler’s regime. Wright and McCarten do a fantastic job of building this up, giving us little moments of Winston’s oratory brilliance, so that when he walks into Parliament for the final speech we fully believe his words will have the power they need. Oldman’s performance feels like a total immersion into the character, his veins seemingly about to pop at any time, and his stutters and pauses perfectly capturing the enormous pressure weighing Churchill down. I’m not sure whether two actors have ever won an Emmy and an Oscar within six months of each other for playing the same character, but Lithgow and Oldman definitely have that chance.

Verdict

Winston Churchill is a fascinating figure. Historian and politician, but also extraordinary leader. His actions within that first month as British Prime Minister changed the course of world history. Had he sued for peace, who knows if Hitler would have been stopped from overtaking Europe (and beyond). Darkest Hour is as thrilling as it is dramatic in telling this very important story of how a leader used words to inspire a nation. A fabulous film in all respects, consider this a must-see and a rival to the title of best film about Dunkirk in 2017.

Rating:

Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: Only the Brave

Posted on by Aaron White.

Only the Brave (2017)


Going In

You had me at… Taylor Kitsch. The All-American boy is back. Having already starred in roles as a high school football star, a Navy SEAL, and a Civil War veteran, Kitsch excels at portraying the everyman. In Only the Brave, Kitsch is Chris “Mac” MacKenzie, one of the elite wildfire specialists who made up the Granite Mountain Hotshots. The film tells the story of the Hotshots and how they risked their lives to fight off the Yarnell Hill Fire that threatened to overtake the city of Yarnell, Arizona in 2013. Directed by Joseph Kosinski (Oblivion, Tron: Legacy), and also starring Josh Brolin, Jeff Bridges, Miles Teller, Jennifer Connelly, and Andie MacDowell, this biopic is one of my top five most anticipated movies of Fall 2017. With this collection of talent and a director whose visual style is often spectacular, I’m expecting to be awed and entertained. But this is a true and tragic story, so I’m also hoping to be moved.



COMING OUT

Only the Brave is not a perfect film. It has somewhat of a clunky beginning, jumping time periods without much notice as to how long has passed, and the opening quarter of the film is largely spent introducing characters through a series of quick moments. As we flash from one to another it’s not entirely certain how they’ll be connected, or when, but when the film does make that clear it improves significantly. I state these minor annoyances up front because, frankly, Only the Brave is a tremendous film and I’d rather tell you why than nitpick its small faults.

At the center of Only the Brave is its beating heart, Supervisor Eric Marsh (Josh Brolin). Marsh is the leader of the fire crew and embodies the personality traits of the men who put their lives on the line to fight these immensely devastating wildfires. When he is with his men, he is almost always 100% on point, but it’s when he is at home with his wife that his vulnerabilities come through the most. Through this relationship we see the effects that a career spent away from your spouse can have, its emotional toll bubbling beneath the surface of routine pleasantries. Brolin captures this balance of emotions perfectly and commands every single scene he is in. His performance is captivating and the biggest compliment I can give is that for two hours I simply saw Supervisor Eric Marsh and forgot that Josh Brolin was acting the part.

The other primary character in the Hotshot crew is Brendan McDonough (Miles Teller), the newest member of the team and a recovering drug user trying to better his life so that he can care for his newly born (and completely unexpected) child. It is mostly through Brendan’s eyes that we see the other Hotshots and learn about how they live. What Kosinski does that I really appreciate is showing us imperfect heroes. These men make inappropriate jokes, struggle in their relationship, and bully one another. But they are also a close brotherhood who stays in incredible physical shape, are ready at any moment to rush into danger, and have each other’s backs. The firefighters reminded me of my time in the Navy, when for 6-12 months at a time I had no one to rely on but my fellow Sailors. It is a hard life and one that is presented very honestly here, in all its messiness. The Granite Mountain Hotshots accomplished many things and saved many lives during their years of service, but exploring the grounded nature of what their daily routines might have been like was refreshing to see.

As for Kosinski and the visuals of the film, he delivered as expected, but I was also impressed with his restraint. Sure, there are scenes of powerful flames sweeping across mountains and devouring everything in their path, equally majestic and terrifying. There are also great aerial shots as helicopters transport the Hotshots and planes dump payloads full of water onto the burning masses. But unlike Kosinski’s previous films, Only the Brave focuses first and foremost on the men themselves, and in that lies its great impact. By the end of the film, we care about the Hotshots. We care about their futures. We care about their families. And when we care, we become able to respect their sacrifice on an entirely different level.

Verdict

Only the Brave begins with a few flickers, but like a wildfire it catches hold and swells into something so emotionally powerful that it overtakes you in a rush. The determination and sacrifice of the Granite Mountain Hotshots are handled with reverence for what these men put on the line to protect their families and town. This ensemble cast does a fantastic job with Brolin and Teller doing some of their best ever work, and Kitsch and Connelly being memorable as well. To answer the most burning question… Yes, this is the best firefighting film since Backdraft. Be prepared to ugly cry, but definitely see it, because Only the Brave is one of the year’s best films.

Rating:

Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: Marshall

Posted on by Aaron White.

Marshall (2017)

Chadwick Boseman as Thurgood Marshall, the first African-American Supreme Court Justice. Honestly, this film didn’t need more than that to get me interested and it should have your attention, too. Boseman’s star is rising and he is no stranger to playing heroes, having already embodied sports great Jackie Robinson and Marvel superhero Black Panther.

Marshall follows an ambitious young Thurgood Marshall in the early stages of his career as a hotshot attorney representing the National Association for the Advancement of Colored People (NAACP). Not knowing the history behind his rise to becoming a judge in the highest court in the land, I was hoping to get a history lesson along with some cinematic enjoyment, and to some extend I did. This story focuses on a single case in 1941, the rape of a wealthy white woman (Kate Hudson) by her black chauffeur Joseph Spell (Sterling K. Brown from This is Us). Marshall is brought in to assist the local counsel, Sam Friedman (Josh Gad), but is denied the ability to speak in court by the judge and therefore must rely on Sam more than he intended. At the heart of Marshall is a strong reminder that fighting for civil rights has never been easy and that as a country we haven’t come as far as some might believe. It’s also a reminder that this is a fight the oppressed side cannot win on its own, but one in which it needs allies. It’s also not just Marshall and Spell that experience discrimination, but as he becomes further involved, Sam (a Jewish immigrant) too becomes the target of hate. Throughout the film Marshall is strong, intelligent, and respectful, even in his defiance. His unwavering fight for justice becomes something easy to root for, and his ability to lead and teach Sam bring about a change of character that is a real strength of the film. Perhaps it is somewhat a matter of my own perspective, but by the time the credits rolled, I was as invested in Friedman as I was Marshall and was inspired to take his words to heart myself

With regards to the Spell case, I am a bit concerned at the unfortunate timing of Marshall‘s release. Currently Hollywood is in a tailspin as sexual assault and abuse cases come bubbling to the surface. At a time when we should all be standing with women and acknowledging our trust in accusations they make, the case depicted here presumes the possibility of a woman who has lied about being raped. That being said, defending African-American men accused of rape was an enormous part of Thurgood Marshall’s career and was a huge problem for much of the 1900’s. Of the 455 men executed for rape between 1930 and 1972, 405 were African American, so it’s no surprise that Marshall would have had his hands full fighting for fair trials in this area.

The performances in Marshall are excellent across the board. Josh Gad stands out the most, bringing more than just his usual comedic tones to a role that requires nuance and has emotional weight. I came away incredibly impressed. Dan Stevens plays the prosecuting attorney perfectly, his smarmy and smug demeanor both captivating and enraging. And Chadwick Boseman is Chadwick Boseman. Folks, this man is going to be a superstar.

What I don’t understand is the film’s tone, or should I say tones. Director Reginald Hudlin seems to be all over the place. At time this does feel like a superhero origin story. There are brief moments of film noir and comedy, and then the sections where it appears to be a hard-boiled courtroom drama. The unevenness was distracting for me and it all can be summed up by an oddly included scene where Marshall is having lunch with Langston Hughes and they are joined by Zora Neal Hurston. For a moment I thought that I was watching Midnight in Paris. It’s a scene meant to show Marshall’s connection to other visionaries of his time, but in truth it just felt out of place and awkward. Perhaps expecting a true dramatic turn from a director best known for House Party, Boomerang, and The Ladies Man was unfair. Regardless, it was a major disappointment and I would have preferred a more documentary-like telling of Marshall’s accomplishments. Instead Marshall feels like something you could just as easily have watched on cable television and not a story that needed a theatrical telling.

“It all means nothing, unless you stand up for something.”
Verdict

Marshall feels incredibly relevant right now and in some ways it better evokes a conversation around race relations and civil rights than Kathryn Bigelow’s Detroit did earlier this year. Strong performances from the lead cast and highlighting the importance of Sam Friedman were strengths of the film, while its tonal inconsistency and almost mythic framing of Thurgood Marshall were distracting at times. Marshall ended up not being the film that I wanted it to be, but it did serve as a solid introduction into the life of Thurgood Marshall and inspired me to learn more. For that alone, it is worth recommending and has to be considered a success.

Rating:

Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: Battle of the Sexes

Posted on by Aaron White.

Battle of the Sexes (2017)


Going In

In 1973, a tennis match between Billie Jean King and Bobby Riggs became the most watched televised sporting event of all time. Riggs was past his prime and in an effort to regain the lost spotlight, he claimed that even at the age of 55 he would be able to easily beat the best female tennis player. Billie Jean King (one of the women he challenged), was both extremely successful and an outspoken advocate for gender equality. This biopic starring Emma Stone and Steve Carrell covers the famous match as well as the effect it had on their personal lives. I truly believe that Emma Stone can do no wrong, and in recent dramatic performances Carrell has proven to me that he is more than just a comedian. It feels like a movie year where Hollywood has embraced empowered female characters and this film should join that list. I love biopics. I love sports. And I expect that I will love Battle of the Sexes.



COMING OUT

Can we just take a moment to recognize the incredible talent of Emma Stone? Every year she seems to wow me more.  Her career has skyrocketed recently beginning with her wonderful supporting role in Birdman , then her Oscar-winning leading performance in La La Land, and now she has equaled that with her portrayal of Billie Jean King in Battle of the Sexes. From her fiery, outspoken strength on gender equality to her passionate, awkward confusion over her feelings for a same-sex lover to her determination and physical dominance on the tennis court, Stone captures every quality of BJK perfectly. Though the eventual famous tennis match between 29-year old BJK and 55-year old Bobby Riggs may give the film its central plot, make no mistake that this is truly King’s story.

The film’s retelling of Billie Jean King’s fight for equal pay and equal rights was very insightful. In getting back to the core of what feminism truly is about, we repeatedly hear BJK expressing the strengths that women can bring to the tennis association (and in other aspects of life) without ever speaking ill of men. She fights with facts, and the comedic way in which the film displays a widespread chauvinistic response to her logical claims is uncomfortably realistic for the time. Riggs, played wonderfully by Steve Carrell, is an excellent contrast. Generally known as a hustler with major gambling problems, even BJK acknowledges at one point that his extreme chauvinism is more likely for show to help sell the spectacle of their match than truly how he feels about women. We get to explore some aspects of his home life like a broken relationship with his son, a reliance on drugs to keep his body in top shape, and a failing marriage as they lead him down the path to the main event.

But again, Battle of the Sexes is really all about King, and very little about tennis. Despite the titular match being incredibly well shot and riveting, there wasn’t much other tennis. The film focuses greatly on BJK’s exploration of a same-sex relationship resulting in a love affair that would affect her deeply.  This wistful romance, however, occurs while King is still married to her husband Larry, and this is where the film lost me. I watched closely, waiting for the moment when consequences would come, but ultimately the movie has nothing good to say about commitment in relationships, and instead promotes a message of “love who you love” without being ashamed. That’s all well and good, if you’re single, but BJK wasn’t.

BATTLE OF THE SEXES (2017)
Emma Stone
Photo Credit: Melinda Sue Gordon/Twentieth Century Fox
Verdict

Battle of the Sexes is a compelling and hilarious biopic that will keep viewers engaged and interested for its entire runtime. It is also a welcome history lesson and reminder that though we’ve come far in women’s rights, there are still more bridges to cross. The film’s romanticizing of King’s affair, coupled with showing no attempts at marriage reconciliation, was a real downer for me despite the beautiful way in which the relationship with her lover was depicted. Its cinematography and stellar score by Nicholas Britell  are also major positives and create a solid all-around picture. BJK was a pioneer of her time and everyone should know her story.

Rating:

Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: First They Killed My Father

Posted on by Aaron White.

First They Killed My Father (2017)


Going In

Netflix’s latest original film to simultaneously release in theaters and on its streaming service is this foreign film directed by Angelina Jolie, adapted from the memoir of Loung Ung. I know very little outside of the fact that it tells the story of Cambodian genocide in the 1970’s and centers on a young girl who becomes a child soldier. While it’s not completely fair to compare, I’ve been unimpressed with Netflix’s original films released this year. That lingering memory coupled with my disappointment in Jolie’s incomplete telling of another true story in Unbroken leave me quite unenthusiastic about this picture.


COMING OUT

Gosh, what a story! This incredible retelling of Loung’s memoir is a captivating and yet painful experience all at once. Jolie has clearly arrived as a filmmaker, with this effort being her career-best. Despite having a relatively small filmography she has shown natural talent and gradually grown with each picture. It is also evident that Jolie enjoys celebrating the lives of unknown survivors and she directs in way that is respectful of the trauma they endured.

The discovery of young actress Srey Moch Sareum, who plays the 5-year old Loung, could be one of this film’s greatest accomplishments. Sareum has an incredibly difficult task providing a central viewpoint throughout. She captures the slow deterioration of innocence heartbreakingly well, as her family is uprooted from their near-perfect lives and forced into servitude by the invading Khmer Rouge. Soldiers strip their fellow Cambodians of all possessions and individualism while preaching equality through the removal of a class system. Their atrocities grow worse and worse, with the Khmer Rouge eventually “teaching” its prisoners that “It’s better to make a mistake and kill an innocent person than to leave the enemy alive.” In a film with so little dialogue, these words sting especially hard.

At times the film feels like a cinematic documentary due to its serious nature combined with gorgeous cinematography by Anthony Dod Mantle. Of specific note are the many aerial views throughout the film. These shots were spectacular and among the best I’ve seen all year.  My biggest complaint may be that its methodical pace lingers a little too long at times. Still, it’s a minor quibble among many things I loved.

Verdict

It didn’t take long for me to realize that this film was going to be special. I was thoroughly engaged in Loung’s haunting struggle for survival, but was not prepared for how emotionally affecting this film would be. Loung’s life was not an easy one, and it’s both tragic to feel her loss so viscerally and inspiring to know that she’s emerged such a strong woman. While the film can be seen streaming on Netflix, I highly encourage a theater viewing, if for the visual splendor alone. First They Killed My Father is also Cambodia’s entry for Best Foreign Language Film and will be a strong contender if it garners an Oscar nomination. It is always a treat to have your expectations exceeded. First They Killed My Father certainly accomplished that for me.

Rating:

Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.

Feelin’ It: The Zookeeper’s Wife Review

Posted on by Aaron White.

Rating:

The Zookeeper’s Wife, baed on the novel by Diane Ackerman, recounts the true story of Antonina and Jan Żabiński, and how they secretly used the Warsaw Zoo to save over 300 Jews who had been imprisoned during the German invasion of Poland in 1939. Tackling the Holocaust is no new thing for Hollywood, as dozens (if not hundreds) of films and documentaries exist, telling the stories of those who suffered in the world’s greatest genocide. It might be easy, in fact, to brush aside The Zookeeper’s Wife, and assume it cannot reach the greatness of films like Sophie’s Choice, Schindler’s List, Life is Beautiful, or The Pianist. But that would be a mistake.

The first thing you’ll (hopefully) notice, during the credits, is that this film is written/adapted and directed by women. Niki Caro helms the co-written project by original author Diane Ackerman and Angela Workman. Considering the story is based on the discovered journals of Antonina Żabiński and told mostly from her perspective, these are fantastic choices. If you haven’t heard, Hollywood has a real problem when it comes to opportunities for women, and The Zookeeper’s Wife is a perfect example of the great movies we can get when talented female artists are provided the chance to shine.

What makes The Zookeeper’s Wife stand out in a crowd of Holocaust-themed films is its blend of genre and style. A large portion of the movie’s opening is spent getting to know Antonina and Jan Żabiński. We are given the chance to connect with why this zoo is so important to them and really get a feel for their character – the same traits that will eventually lead them to caring for needy Jews instead of animals. The movie’s focus on the zoo early on will make animal lovers very happy. As the film progresses it has sections that feel very biopic in nature, while others are dramatic, and yet other scenes capture a real sense of war (with some stunning cinematography by Andrij Parekh). One gorgeously shot scene of note has a family being surprised by the snow they notice on a hot summer’s day, only to realize as it falls around them that it isn’t snow at all, but ash, something indicative of a nearby tragedy. This powerful, emotional moment is one of several in the film where its iconic imagery will become burned into your mind as you recall the feelings you experienced when seeing it on screen. The film also does not shy away from the horror of what Nazi Germany did to the many Jews of European nations. There are a few gasp-worthy moments but nothing too bloody. Be warned – animals do perish, and sometimes in heartbreaking manner, so young viewers who may be affected by seeing this should probably avoid this film.

Jessica Chastain leads a slew of great performances and exhibits an elegant strength that is perfect for this period setting. Her male co-stars are all up to the task, Daniel Brühl displaying a selfish disregard for both animal and human life while trying to outwardly proclaim that he has a soul, and Johan Heldenbergh tortured by his need to help others and fear of what this strain may do to his marriage.

The Zookeeper’s Wife is an incredible story. It’s portrait of empathy for the marginalized and oppressed comes at a time when the world really needs to see it. The Żabińskis were not Jews themselves, but sacrificed greatly to fight against injustice simply because it showed up on their doorstep one day. Their efforts saved many lives and the film captures the emotional swings of this so well. This is an inspirational film well worth seeing and learning from, just don’t expect a dry eye while doing so.

Emotional Takeaway: RADICAL COMPASSION

Khen Lampert identifies compassion as a special case of empathy, directed towards the “other’s” distress. Radical compassion is a specific type of general compassion, which includes the inner imperative to change reality in order to alleviate the pain of others. This state of mind, according to Lampert’s theory, is universal, and stands at the root of the historical cry for social change. This is exactly what we see from Antonina and Jan Żabiński in The Zookeeper’s Wife. It is tragic and rage-inducing to see the what Nazi Germany did to Poland, but the takeaway here is that when people step up and forego their own safety and comfort to put others first, lives can be saved and history can be changed. See this film because it is a very well-made movie that tells a compelling story through great performances and technical mastery, but walk out of it with a renewed purpose and outlook on life outside of your personal bubble.

Download the Audio Review Here