MOVIE REVIEW: Richard Jewell

Posted on by Caless Davis.

“Richard Jewell” tells a story that needed to be brought to the silver screen. Based on true events, this film follows one man as he goes from a national hero to a potential suspect overnight. Clint Eastwood returns to solid form as the man behind the camera after leaving little to be desired with his last two projects, “The 15:17 to Paris” and “The Mule”, in this stark retelling of the infamous 1996 Centennial Park Bombing that killed 2 individuals, injured over 100 others, and mentally scarred the nation and prestige of the Summer Olympics. Outside of the bombing, Eastwood focuses on the role of the mass media and federal government agencies, such as the FBI, who attempted to railroad one man’s life and perception to the greater society just for doing his job.

Paul Walter Hauser gives a heavyweight performance as the titular character that will impress many unknowing eyes who have not had the chance to see him do magic as a supporting character in films such as “I, Tonya” and “BlacKkKlansman”. He hits every mark necessary to carry the film while making the viewer sympathetic to the hellish plight he endures. An everyday man who is so passionate about becoming a part of law enforcement that he studies the penal code every night, Jewell shows ambition by taking on any kind of security job that could potentially get him recognized by a police agency. It’s all the more tragic once he is stamped as the main suspect in the eyes of the same federal agency he dreamed about joining. The stress and pain he goes through is not just endured by him but also by his strong mother Bobi (Kathy Bates). Bates is powerful in depicting the collateral damage that a mother deals with when it comes to their child being seen as a monster instead of the sweet and caring person she has seen all her life. She delivers a powerful monologue in the final act that drives home her heartache of seeing what society has done in painting Richard as a “frustrated white man prone to carrying out a bomb threat”. Sam Rockwell finally breaks the pattern of being in a film where he comes across as a flaming racist or Nazi by giving a commendable performance as lawyer and friend to Jewell, Watson Bryant, who keeps him from falling victim to the deception and mind games of the FBI’s investigation and his circle of family and friends.

For all of its great performances, there is one character depiction that does not sit well with me. Olivia Wilde’s role as reporter Kathy Scruggs, shown as willing to be somewhat “sensual and promiscuous” in order to gain information about who the FBI is targeting in the bombing case, is not what I have an issue with. The issue lies in that the character was not written or portrayed accurately to the real-life Kathy. I have a big problem when filmmakers take liberty in defaming people while retelling historical events. There is a difference between a director leaning into an alternate history for the sake of entertainment and wrongly depicting a real-life person to make a statement about the scandalous nature of the media. It is not fair to that person (especially one like Kathy who is deceased and cannot defend herself) or their loved ones and serves as an elephant in the room that cheapens the realism of this compelling narrative.

The role of the media and the FBI in the witch hunt and railroading of Jewell is thoroughly examined. Throughout history, there have been cases of innocent people who fall victim to being unfairly accused and sentenced to prison for crimes they did not commit. In the last decade, a big movement has started in opening up old cases files, retrying court cases, and using DNA evidence to free many people who have been locked away under the jurisdiction of correctional facilities and the federal government. The importance of a dramatic film like this is that it provides a way to look back on a dark time in society and encourage us to work towards not letting events like this happen again. A man’s life was forever changed by an act of good faith, instead of being lauded as a hero he was questioned and scrutinized by the media looking for a headline and the FBI looking for a scapegoat. At times, Eastwood drills this message in so hard that it could be considered “preaching”. The media and the FBI seem to have no redeemable traits and are painted as straight villains. Both are certainly guilty in this case, but every scene seems to take a thinly veiled shot at the government and the media, looking to undermine their integrity at every corner.

“Richard Jewell” is an important and sobering look into how mass media and the federal government’s need for a villain affected the life of a man who should have been immediately recognized as a national hero to admire. The film moves at a brisk pace and is always engaging, with the exception of some time confusion in the middle act. Supported by strong performances, this mostly accurate retelling of the 1996 Centennial Park bombing is a drama that will open a lot of eyes to an area of American history that needs to be shown to the world.

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Caless Davis is a Seattle-based film critic and contributor to the Feelin’ Film Podcast. He loves any discussion of film and meeting new people to engage in film discussions on any subject. You can follow him on Twitter and Instagram.

MOVIE REVIEW: Marriage Story

Posted on by Caless Davis.

When you are with someone in a romantic partnership, it never really comes as a thought about how it will be to lose all of your love and happiness through a painful separation. It would be unorthodox to enter a relationship and not hope for the best, living out those vows to be together through the good and bad. Everybody wants to find that person that they feel completes them and is willing to call them their man/woman through the good and the noticeable flaws that rise to the surface here and there. Sometimes, these promises don’t end up with a fairy tale ending; instead, you feel the agony and suffering of a dream unfulfilled and the symptoms of a broken heart. Noah Baumbach’s “Marriage Story” delves into a marriage breaking apart. It is based on his real experience with actress Jennifer Jason Leigh but also can be a mirror into any point in our lives when we had a failed experience of love lost.

Charlie (Adam Driver) and Nicole (Scarlett Johansson) are a married couple who live in the bustling metropolis of New York City. Charlie is the owner of a celebrated theater company that gives Nicole a chance to follow her passion for acting, which has been a part of her life since her upbringing in Los Angeles. She had a chance to have a promising career in the City of Angels as a potential leading lady, but she ditched that dream to help Charlie build up his theater company and they ended up having a young son together. Over time Nicole feels that Charlie is not being open to her ideas, happiness, and wishes to go back to LA so she can be close with her family and friends. Charlie feels that with all the time he has dedicated to putting on works that can potentially go to Broadway, and dealing with all of the pressure and prestige that comes with it, he is giving everything he has for his family. Eventually, Nicole feels that the relationship has no more value with her having no autonomy and feeling a low sense of self-worth. She wants to jumpstart the process of a divorce. Charlie is shocked and painfully thinking over a world in which he loses the one person who he thought understood him for who he was, as well as losing the chance to be an able father to his child, due to a custody battle looming that will determine if he has to uproot his life in NY and move to the West Coast away from the home.

Baumbach brings his real-life pain to the screen with an intricate focus on the different dilemmas that arise during the process of divorce. Getting an attorney, custody battles, having to pay out of pocket (which can become expensive and potentially place you in debt or financial ruin), who keeps the apartment or houses, relationships between in-laws becoming fractured, a trial which can be taxing mentally, getting rid of special mementos that remind you of said person, and the feeling of your heart breaking into pieces are all captured here. There is nowhere to hide from seeing the pain on both Charlie and Nicole’s face in most scenes while they try to remain amicable and cordial during a time of emotional heartache. Even with trying to remain friends, Charlie and Nicole are swept into the system of divorce court which only rewards “bad behavior,” pushing them to look for any secrets or dirty ammo that can be used to help secure a resolution that each one wants. It’s a dirty game that spares no expense in leaving you embittered and broken down to the core.

The performances of Driver and Johansson are nothing more than extraordinary. Driver has etched his name right onto the Best Actor statue with a portrayal full that makes audiences feel the pain and anger over his life-changing dilemma. At times, Driver brought me near tears because of how involved his performance was; nothing felt put on for melodrama as you’d expect of a stereotypical scorned ex-husband. He played this role with feelings, sensitivity, masculinity, and fear. This is what a star turn looks like. Johansson gives the best performance of her storied career and it’s not even close, leaving it all on the floor with every line reading, every display of strong drama, and even the humorous yet compassionate little moments that populate this film. The amount of dedication she exudes is a wonder to watch and it’s inevitable that her name will be called on Oscar night along with Driver. They both share natural chemistry that shines during scenes of argumentative chaos; the tears are flowing, insults flying, and they both exhibit goosebumps-inducing body language that is extremely realistic and is amazing to watch. Laura Dern as Nicole’s lawyer has the confidence and charisma to stand out amongst the drama and carve out her own place for award nominations. She gives a strong and snarky supporting performance that may be dwarfed by the efforts of Driver and Johannson but nevertheless makes a mark long after the credits pop up.

Randy Newman’s score is pleasant with its echoes of somber reflection, expressing itself with beautiful piano notes and violins that speak their own language. It supports the dramatic arc of the story without overstaying its welcome or becoming forceful in its magnitude, and is one of the few cases where a score feels like a compliment to the scenes and moods expressed by the characters.

The production design is a treat. Interiors are simply constructed yet feel down-home with their minimalism. Both New York and Los Angeles are treated with idealized versions of the hustle and bustle of city life. You have the cold and wintery streets of New York compared with the sunny and outgoing showmanship of Los Angeles, which also presents a parallel of the divide between Charlie and Nicole. Sublime editing is on display with the array of wonderful quick edits that show themselves during conversations. It gives the film a certain kind of rhythm that makes this story easier to tolerate and deal with the sadness of its message. Costume design is a big plus, too, with honorable mentions going to Driver’s Invisible Man costume and Johansson’s David Bowie, as well as Beatles-influenced wardrobe in some moments toward the end.

“Marriage Story” is a high mark of storytelling that will affect and impact many viewers with its realistic depiction of a marriage turning into a divorce. Intense and compassionate with its own sense of feel-good and hilarious moments to break up the heartache, Baumbach and Netflix have an Oscar darling on their hands.

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Caless Davis is a Seattle-based film critic and contributor to the Feelin’ Film Podcast. He loves any discussion of film and meeting new people to engage in film discussions on any subject. You can follow him on Twitter and Instagram.

MOVIE REVIEW: The Report

Posted on by Aaron White.

“The Report” is a mandatory and sobering look into the numerous unlawful violations and devaluing of humanity that occurred in the CIA’s Detention and Intelligence Program during the United States’ post-9/11 “War on Terror.” Daniel Jones (Adam Driver), a Senate staffer, is tasked with the job of investigating the CIA and uncovering their countless injustices, which tests his own emotional fortitude and belief in the hierarchy he occupies. The film offers an inside look into the dirty game of politics and how distrustful our own government has been about being forthcoming with their own citizens.

Scott Z. Burns, who served as both writer and director, holds nothing back in exposing the truth, while also pacing this story in a fluid manner that will command your attention. “The Report” plays out more like a documentary than a feature film thanks to an engrossing sense of realism and the rock-solid acting performances all-around. Adam Driver is having a tour de force of 2019, and this film just adds to his immense hot streak by way of a commanding performance steeped in determined heroism. Annette Bening, Jon Hamm, Michael C. Hall, Tim Blake Nelson, and Maura Tierney round out an excellent supporting cast and each adds nuance and credibility to the story being expressed on screen.

“The Report” will likely make your blood boil over how the federal government has operated in the name of “protecting our country”, but films like this should be championed for telling the stories that many would rather be kept in the closet.

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Caless Davis is a Seattle-based film critic and contributor to the Feelin’ Film Podcast. He loves any discussion of film and meeting new people to engage in film discussions on any subject. You can follow him on Twitter and Instagram.

MOVIE REVIEW: The Irishman

Posted on by Aaron White.

By the end of director Martin Scorsese’s newest crime epic, we are not treated to the eventual comedown of an underworld criminal’s flashy lifestyle; instead we see an old man beaten by Father Time, knocking at the door of impending death, remembering his life while facing past sins and regret of how he let his illicit lifestyle destroy the connection he could have had with his children. “The Irishman” is more than the usual gangster treatment we have gotten in films such as “Goodfellas” or “Casino”. This experience feels more grounded in morality and marks the end of an era for Scorcese, Robert DeNiro, Al Pacino, and Joe Pesci.

The film’s narrative spreads across many eras, featuring important figures and the evolution of politics throughout the twentieth century. The transitions between the present day and flashbacks are handled seamlessly, making this three-hour journey a breeze to take in. Editor Thelma Schoonmaker has never been better at her occupation and she should be expecting another golden Oscar trophy to place on her storied mantle. Don’t be afraid by the long runtime, and take an intermission if you must, but “The Irishman” is one of the most compelling times you can have watching a film for 219 minutes.

DeNiro, Pesci, and Pacino are all at the pinnacle of their acting brilliance. It’s so hard to pick a standout among the trio, but my choice goes to Pacino who grabs this film in the palm of his hand and doesn’t let up with his penchant for delivering strong emotional bits of dialogue. DeNiro is an old soul with the heart of a lion, hitting all the right marks to bring home how much this one character has seen and done in a lifetime. Pesci plays against type from his usual fire cracking supporting performance, blending into the heart of the film as a quiet but powerful figure. This film should be seen by all the promising actors who want an example of how to be consistent with your profession over a span of decades, as this trio of men have achieved in their legendary careers.

The trademark masterclass direction from Scorsese is also on display. The older he has gotten, the more mature, refined, and improved his approach behind the lens has become.  His consistency is special, and he is one of the only directors I could see continuing to make projects at his age without suffering a quality drop.

The production design prides itself on careful attention to detail; the costumes, music, sets, and depictions of real life figures all feel perfectly lifelike and true to the time period and source material that inspired this story. Everything about this film speaks to the true language of cinema. It is one of 2019’s best and will go down as one of Scorcese’s most accomplished works of his career.

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Caless Davis is a Seattle-based film critic and contributor to the Feelin’ Film Podcast. He loves any discussion of film and meeting new people to engage in film discussions on any subject. You can follow him on Twitter and Instagram.

MOVIE REVIEW: Queen and Slim

Posted on by Aaron White.

Imagine having to live every day with fear and paranoia just for existing in the environment, taking a walk down the street, driving in your car, or playing in a park with your kids. But this isn’t just something faced by people in a third world country or a location ruled by a government running on the fumes of dictatorship; the sad reality is that I’m talking about the United States of America which inhabits a group of people who are gripped in this nightmare: African Americans. We have seen over the last decade countless videos of African Americans gunned down, beaten, handled aggressively, and having their mere presence treated as a crime by not all (but a substantial amount of) police officers. This unjust treatment has sparked the Black Lives Matter movement and a large group of non-African Americans finally coming to understand just how much police brutality has been an ongoing disease in our communities. Melina Matsoukas’s “Queen and Slim” is not the first film to tackle this issue head-on cinematically, but instead of making it a central focus, the film emphasizes the humanity and pride that is in abundance among the black population.

Slim (Daniel Kaluuya) and Queen (played by newcomer Jodie Turner-Smith) are enjoying themselves in a restaurant on a first date made possible by Tinder. You can see the spark being born and the normal awkwardness present on first encounters is slowly replaced by conversations on black-owned businesses and film, like “Love Jones”. The good times are abruptly ended by a traffic stop based on the pretense of a missing turn signal and a minor swerve. The cop comes out aggressive and is not willing to answer the questions that Slim poses as to why he was pulled over; eventually, tensions between Queen and the police officer reach a terrifying climax. Queen is shot, and as Slim wrestles with the police officer, another bullet takes the cop’s life – leaving the newly acquainted couple likely sentenced to death, never to see their once-peaceful existence again. Labeled as fugitives, their story is one of running from the law while seeking elusive asylum and unlikely freedom.

Matsoukas has been a prominent figure in the last few years, working on music videos with artists such as Beyonce, Rihanna, and Jennifer Lopez. She has also directed episodes of award-winning shows such as “Master of None” and “Insecure”. For this film, she brings over the high-energy aesthetic of her music videos and combines it with a seasoned approach to create spellbinding cinema of riveting relevance. Plenty of wide shots display the gorgeous down-home vibe of the American South; cities such as New Orleans and Savannah are treated with the respect they deserve, highlighting their historical architecture, lush trees, winding roads, and summertime flavor. Vignettes of everyday black people fill up this world in a respectful manner, far from harmful and limiting stereotypes. The film flows with the speed of the Nile River. Sequences don’t overstay their welcome nor drag to the next flashing plot diversion. Everything moves smoothly, keeping the viewing experience a pleasant one. Tat Radcliffe’s cinematography supports the direction like a dedicated best friend with the use of beautiful color contrast that is reminiscent of a stylish late 70’s film. The lighting complements the skin of black characters phenomenally and daytime scenes shine bright as though we are in the same environment as these characters.

Daniel Kaluuya is officially a bonafide superstar. Some thought that “Get Out” would be the pinnacle of his acting prowess, but this performance blows it out of the water. He displays the fearful and scared demeanor that comes with making a mistake that ruins your life, as well as sensitive but very manly energy that compels you to walk in his traumatic shoes and feel the pain radiating from his soul. He shines in comedic and dramatic moments alike, with a spark of brilliance. Jodie Turner-Smith is electric in a breakout performance that will have many in the industry talking. She plays Slim as strong and fierce, a woman who doesn’t panic, and who is intelligent, ambitious, and dedicated. These two leads share a firecracker chemistry that feels unique and is a beautiful representation of natural black love. It truly felt like a couple that was willing to risk it all for one another unconditionally.

Lena Waithe is going to have a long and illustrious career if she continues to write at the amazing pace she is exhibiting. Already in the history books for being the first black woman to win an Outstanding Writing Emmy Award in 2017 for her work on “Master of None”, she has gone to be the creator of a television series (“The Chi”) and starred in Steven Spielberg’s “Ready Player One”. Her screenplay is one of the best of the year in the way it handles the beauty and darkness that surround the lives of black Americans. There are times where she creates moments for these characters to get away from being in constant stressful escape mode and let their hair down, which allows viewers to connect with them. Character development is a strong component of what made me fall in love with this film. The film also features great supporting characters that have a place and purpose to the ongoing narrative and are part of setpieces that show immense humanity. “Queen and Slim” is rife with tension and central parallels that callback to the injustices African Americans face in everyday society. It is told in an engaging manner full of showmanship, not as a Dateline NBC special. It would have been easy for this film to fall into preachy territory, but it’s much smarter and more creative than that; all shades of the best qualities of storytelling are present and alive. It would also be very unfair to try and subject this film to a “cop-killing fantasy’ piece when it does not glorify or celebrate violence of any kind. There is a horror that lies underneath the surface of every scene showing how divided the relationship is between African Americans and members of the police community. There is a disconnect that has not been mended and painfully looks to not be getting any better. Waithe knows that and wants the audience to be confronted with police brutality, systemic racism, and how the divide between police and African Americans will continue to fester without intentional action to make change by both sides coming together.

Tragic, beautiful, compelling, and exhilarating, “Queen and Slim” is one of the finest films of 2019, and a masterclass of a cinematic narrative told entirely from the African American perspective.

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Caless Davis is a Seattle-based film critic and contributor to the Feelin’ Film Podcast. He loves any discussion of film and meeting new people to engage in film discussions on any subject. You can follow him on Twitter and Instagram.