Cinephile No. 1,110 “The Holdovers”

Recommendation: 4/5 Stars, SHOWTIME  

Plot: “A cranky history teacher at a remote prep school is forced to remain on campus over the holidays with a troubled student who has no place to go.” -IMDB 

Review: Every student I have ever known circled the holidays on their calendar. The welcome break, custom-built into the calendar, meant time with family, holiday traditions, presents, and a much-needed vacation from school. Then, during my freshman year of college, I had to return to the dorms early. I had a job at a retail bookstore. It being the holidays and the busiest time of the year, I could not convince my supervisor to give me the entire two weeks off.  

Walking around the dorm, much to my amazement, I came to discover I was not alone. The halls were still eerily empty except for the international students who couldn’t make the long flight home, and students, such as myself, forced back to the trenches of holiday retail. It should have seemed so obvious, but I never realized the potential stories that could be told about those left behind.  

The Holdovers focuses on a remote prep academy for boys and their professor who rules with an iron fist, Paul Hunham (Paul Giamatti). With the holidays lurking around the corner and final exams complete, the students dream of hitting the slopes, visiting family and friends, and escaping to exotic locations. For an unlucky group of four students, there will be no reprieve or escape from the hallowed halls of the prep school. No one is coming to rescue them. They are holdovers, and they are stuck spending the holidays with Professor Hunham.  

From this concept, one of the funniest, emotionally rich, and cutting comedies I have seen in years is born. The film explores every facet of the characters who anchor this story. From entitlement to loss and to a closed off life, nothing is safe or off the record. Things get even more interesting when four of the students leave campus with permission to join a fellow student at a mountain escape. This leaves one student standing, Angus Tully (Dominic Sessa), alongside the professor and Mary Lamb (Da’Vine Joy Randolph), the campus cook.  

Heartbroken and disappointed, we find Angus dismayed by his circumstances. Naturally, he tests the limits of his professor. This provides some of the funniest moments of the film, but it also provides moments of emotional breakthrough as each character explores their personal definitions of home.  

While the relationship between Angus and Professor Hunham is fascinating to watch unfurl, it is Mary Lamb, played masterfully by Randolf, that serves as the heart of this film. Angus and the professor are mirror images of each other, but meet Lamb as she works through the complexities of a child lost to war. By every measure, her story colors the background of the film and gives it a richness I did not expect.  

As this movie enters its third act, we escape the stuffiness of campus. Mary heads toward the comforting arms of family. Angus and Professor Hunham turn toward Boston. In these moments, we see the culmination of all we have built toward. It is these scenes where an unshakable truth reveals itself, and we witness a true evolution.  

From the trailer alone, I expected this film to be funny. I did not expect it to be so emotionally gripping and heartfelt. Without a doubt, it is a movie I will return to again and again with the passing of each holiday season.   

Be good to each other,  

Nathan  

Cinephile No. 1,082 “Blue Beetle”

Recommendation: 3/5 Stars, STREAM  

Plot: “An alien scarab chooses Jaime Reyes to be its symbiotic host, bestowing the recent college graduate with a suit of armor that’s capable of extraordinary powers, forever changing his destiny as he becomes the superhero known as Blue Beetle.” -Blue Beetle  

Review: After three phases of the Marvel Cinematic Universe and a stumbling DC Extended Universe, audiences are sending a simple message to Disney and Warner Bros. They are voting with their feet and box office returns are painting a vivid picture of a cinematic landscape that feels formulaic and void of new ideas. Audiences have grown fatigued. Anything that fails to break new ground or doesn’t wow in a way that demands a trip to the cinema is best skipped and saved for a night at home.  

Blue Beetle is evidence of this truth. This is yet another film from the team at DC that collapses under the weight of its own mediocrity. So much so that even centering its story on a Hispanic family, something rare in this space, cannot save it. On the surface, this is a decent film that feels completely average in every regard. It could use 50% George Lopez, but its story is acceptable. But we’ve seen all this before. We’ve seen heroes and villains reckoning with the power that comes with a new suit. We’ve seen a villain lured to the dark side by pursuing power and money. We’ve seen heroes wrestle with purpose and blindly answer the call of vigilantism. We’ve seen this all before and the formula is boring audiences (this critic included).  

The one saving grace for this film is the family surrounding Blue Beetle/Jamie Reves (Xolo Mariduena). In their wishes and hopes for Jaime, we see an immigrant story defined by gentrification, and the power of education to break generational poverty. Their love and support of him gives the film an emotional arc that rivals almost any other story in the DECU, nevertheless, this is not enough. This cinematic event is not a must-see. It is just another superhero film.  

I am fearful of what the future holds for DC and Warner Bros. James Gunn and Peter Safran have an impossible task before them. They must break new ground and they must give people solid reasons to fall in love with these characters and stories. Anything short of that will mean dwindling box office returns continues to be the story.  

Be good to each other,

Nathan  

The Cinephile’s Journey: Birdman or (The Unexpected Virtue of Ignorance)

Recommendation: 4/5 Stars  

The Cinephile’s Journey is an attempt to watch and review every film that has won The Academy of Motion Picture Arts and Sciences Oscar for Best Picture.  

Plot: “A washed-up superhero actor attempts to revive his fading career by writing, directing, and starring in a Broadway production.” 

Review: The first movie I can remember watching in a cinema was Tim Burton’s 1989 film, Batman. That film would forever change me. The spectacle of it all mesmerized me. On that day, I fell deeply in love with the cinematic experience, the art form of movies, and the work of Michael Keaton.  

Since that fateful day, I have seen over a thousand movies in a theater and thousands more at home. I have also closely followed the career of Michael Keaton. Over the last 30+ years, his career has seen triumphant highs and spellbinding lows. Just when it seemed as if Hollywood had forgotten him and moved on, he launched into a decade defined by some of his best work. That work includes the Best Picture winner, Birdman, a film for which he received a Best Actor nomination.  

This film goes beyond just using tracking shots to tell a story - it also has a lot to say about art, consumption, and what makes something relevant. Although any actor could have played the lead role in this story, Keaton's casting added a unique layer of nuance to the film. As an actor who got his big break playing a comic book hero, it feels special and, perhaps, voyeuristic to watch Keaton play an actor who also got the same sort of break. As Keaton’s Riggan turns to the Broadway stage in search of truth and the promise of authenticity, he does so balancing his own truth and fiction masterfully.  

On this journey, Riggan battles ego and relevancy as he works to establish a new artistic voice for himself. Cost overruns, self-righteous actors, and his failures as a father and a husband are ever-present challenges. A haunting, jazz-infused soundtrack that makes the confined spaces of the theater feel claustrophobic underscores these roadblocks and, as if there is no place one can be alone with their thoughts.  

In the end, Riggan needs one brave performance to rise above the criticism, gatekeeping, and doubt. With his back against the wall, Riggan does exactly that, but never in a way you would expect. As he bares his soul on the stage, sure of himself and the heartache he cannot shake, it is Keaton who soars to new heights. Above it all, he shows us he is so much more than an actor in a leather suit.  

Be good to each other,  

Nathan  

The Cinephile’s Journey: The Artist

Recommendation: 4/5 Stars  

The Cinephile’s Journey is an attempt to watch and review every film that has won The Academy of Motion Picture Arts and Sciences Oscar for Best Picture.  

Plot: “An egomaniacal film star develops a relationship with a young dancer against the backdrop of Hollywood’s silent era.” -IMDB 

Review: When Hollywood turns the camera on itself and tells its own story, it often induces eye rolls from the most hardened critics. Not from me, though. Hollywood has told countless stories about people, professions, and creatives the world over. Should it ignore its own story and the people who make movies happen? I do not think so. In fact, when done correctly and with eyes wide open, these sorts of films often rank as some of my favorites. The Artist is one of those films.  

Simply put, this film is a celebration of Hollywood’s silent era. It is also an open invitation to spend some time with these classic films and to deepen one’s understanding of what made so many of them foundational.  

For much of our story, this movie is told with nothing more than orchestral accompaniment and dialogue screens. It is meant to fully transport you to a world where sheer acting and music convey emotion. An actor’s choices gave the words being read on the screen their meaning. But a change was on the horizon, and seemingly overnight, the world did exactly that.  

But this movie does not just turn the sound on to show the monumental change. After brushing aside the coming transition, our lead actor, George Valentin (Jean Dujardin) experiences a cacophony of sound. As an audience member, this is our first-time experiencing sound too. The experience is jarring and earthshaking. It also signifies nothing will ever be the same.  

Because of his refusal to adapt to this new world, George finds himself on the wrong side of has-been. As a relic of the silent era, he can only watch in disbelief as a budding young actress he met on set begins a meteoric rise. Peppy Miller (Berenice Bejo) fully embraces sound and all its possibilities. As she does, we watch her ascend to the greatest heights in Hollywood. Meanwhile, George loses his riches, his wife, and his fame.  

Of course, this would not be a Hollywood movie if it also was not a story about second chances. Using her fame and influence, Peppy extends a hand to George, hoping he will finally hear the sound of change. His choice? I wouldn’t dare ruin that for you.     

I adore this film. It is not controversial. It does not break new ground or tell an unfamiliar story, but it takes a known idea and presents it in a new way. Its technical choices are what I find endearing and keep me coming back for more.  

Be good to each other,  

Nathan

Cinephile No. 1,065 “You Hurt My Feelings”

Recommendation: 3/5 Stars, STREAM  

Plot: “A novelist’s longstanding marriage is suddenly upended when she overhears her husband giving his honest reaction to her latest book.” -IMDB 

Review: You Hurt My Feelings, starring Tobias Menzies as Don and Julia Louis-Dreyfus as Beth, focuses on those harmless little lies we tell each other in our romantic, platonic, and professional relationships. On the surface, these lies are harmless, but when the truth about how Don views Beth’s latest book is overhead, all hell breaks loose. Heartbroken, we watch as the two swim through the complicated and muddy waters of truth.  

For many of us, our work serves as a point of pride. For Beth, she is a wife, a mother, and then a writer. After her memoir failed to reach a large audience, we meet a woman who is unsure of herself. Failing to meet her grand expectations, she adds a greater sense of pressure to her next book. Needing reassurance and some help to rebuild her confidence, she turns to the one person whose support means the most to her.  

In a conversation she should have never heard, Beth overhears Don’s true feelings about the new book. This honest feedback destroys her. Already struggling with her pride, a lack of trust makes its way to the pile. Watching Don and Beth rebuild trust between them, you might think about your own relationships. I sure did.  

Great relationships succeed because of open and honest communication. Those of us who belong to creative fields often tie so much of how we see ourselves to our work. When we seek feedback, it becomes nearly impossible to divorce our ego from criticism. In our romantic relationships, our partners know this. It makes honest feedback a challenging task. This film wrestles with this truth unlike any other film I have watched.  

For all that it gets right about relationships, resolution, and truth, the film has some challenges. The pacing of the first half of the film can feel odd. From the trailer alone, we know we are building toward an overheard conversation. We don’t know how we will get there. For the first half of the film, the story doesn’t know either. This is something I found rather distracting.  

Another challenge for me, were the restraints placed on Julia Louis-Dreyfus’ character. I was not expecting her to reprise a version of her award-winning performance in Veep, but I was expecting the comedic reins to be held a little less tightly.  

Beyond these challenges, I still recommend you spend some time with this film. It has profound things to say about relationships, reconciliation, and aging together. It left me with a lot to consider about my relationship.  

Be good to each other,  

Nathan  

Cinephile (Action Films): Behind Enemy Lines

3/5 Stars  

Plot: “A disillusioned pilot shot down over war-torn Bosnia is ensnared in the conflict in war-torn Bosnia. In the crosshairs of the enemy and an assassin, the spoiled pilot runs for his life as his commanding officer risks all to save him.” 

Review: As Behind Enemy Lines opens on a US Naval air carrier at sea, we watch Owen Wilson as Burnett goes through the routine checks required before take-off. Instantly, I thought, is Owen Wilson about to have a Top Gun moment? With a plot that feels more survival-at-all-cost than beautifully filmed dog fights, the answer comes soon enough.  

Burnett is bored and ready to return home. The war he signed up for has never materialized. Angry and disillusioned, his commanding officer, Reigart (Gene Hackman), is more than happy to oblige the request. But then on a routine reconnaissance mission, Burnett and his pilot enter a no-fly zone over Bosnia. Rebels, angry with the betrayal, launch rockets to bring the plane down. This leads to some of the most intense moments of the entire movie.  

On the ground, the film morphs into a race for survival as Burnett runs through setting after setting while being chased by rebels who want him dead. As the rally point changes, the film forces you to feel the anger, desperation, and search for hope of Wilson’s character.  

The plot of this film is simple enough. Sure, there are some geo-political and line of command dramas that add intrigue to the story, but quickly you will understand what this story is trying to achieve. On the surface, I was on board and loving the idea, but the movie suffers from choices that force it to falter.  

Poor soundtrack choices distract from the action on screen. It can often feel as if the music director just scanned through 90s alternative radio and picked popular songs hoping to bring in a younger and edgier audience.  

Mostly, I love John Moore’s directorial choices in this movie; that is when he sticks to a single style. This film can feel all over the place. It left me wondering why the director made specific choices. An overabundance of quick pans, slow-motion shots, and quick edits left me distracted and not engaged fully in the film.  

And then there is the ending. The ending almost ruins the entire film. It takes place on a frozen lake. Burnett is attempting to turn on a distress beacon attached to the seat ejected from his jet. With the beacon turned on, Bosnian rebels begin an all-out assault, but not far behind comes the U.S. calvary. What happens next can feel Michael Bay-eseque as the screen explodes in an orgasm of bullets and slow-motion pumped with more patriotism than my little American heart could handle. When the dust finally settled, I found myself disappointed the film did not choose a more subtle route.  

Still, this is a film I recommend you watch. The pacing is enthralling. It reminded me of 1917. It never quits and rarely takes its foot off the pedal. With a few different choices, we could have gotten a movie more deserving of recognition, but a fun adventure nonetheless.  

Be good to each other, 

Nathan  

Cinephile No. 1,009 “To Leslie”

Recommendation: 4/5 Stars, Showtime  

Plot: “Inspired by true events. A West Texas single mother wins the lottery and squanders it just as fast, leaving behind a world of heartbreak. Years later, with her charm running out and nowhere to go, she fights to rebuild her life and find redemption.” -IMDB 

Review: The universe has a funny way of introducing me to art at the precise moment I need it. During these rare moments when everything changes and the Earth feels as if it is being thrown off its axis, I encounter a story that lets me know I am not alone. Songs, books, movies, television shows, and/or any of the other countless ways in which people express themselves, it really makes no difference. They all possess the power and potential to be a revelatory experience.  

To Leslie was such an experience for me. For years now, I have struggled with a sibling’s addiction, homelessness, and mental health challenges. Helplessly, I have stood by and watched self-destruction become the dominant force. I have felt powerless, confused, and heartbroken. My family is not unique in this struggle, but the feeling of loneliness and isolation remains.  

When we first meet Leslie (Andrea Riseborough), she is celebrating having just won the lottery outside of a dive bar in her small West Texas town. In that moment of pure joy, everything seems possible. A house, a fresh start, and a better life for her son, James (Owen Teague) feels within reach.  

The next time we meet Leslie, she is homeless, living in a doorway. Surviving and feeding her addiction seem to be the only things that matter, at least on the surface. At this point in the story, it is not abundantly clear how Leslie arrived at such a place. The biggest concern before her is our question to be answered. How much longer can she survive?  

Her son, James, knows the burn of past failures and broken promises at the hands of his mother. Despite his pain, he responds to an innate familial duty and takes his mother in with some conditions. She must make a plan and she cannot keep drinking. Of course, it does not take Leslie long to succumb to her addiction. For me, these scenes are powerful examples of what it means to love an addict and the shame surrounding such a disorder.  

Frustrated and out of options, Leslie returns to West Texas to live with Nancy (Allison Janney) and Dutch (Stephen Root); bikers she knew before everything went south. As we transition into this phase of the movie, the overarching challenge of the film reveals itself. Will Leslie rise above her circumstances? Can she secure a place to live and hold a job, or will her addiction win the war?  

In countless ways, this move feels like a country song personified. Back in her hometown, Leslie confronts the shadows of a former life, a culture where drinking is the social norm, and people who will never let you rise above your worse sins. With this immense pressure weighing on her shoulders, Leslie hits rock bottom. Like so many characters in those country songs, the darkness can consume, or it can show you the light.  

For Leslie, her lowest moment illuminates a path forward. She quits cold turkey, devotes herself fully to a new job as a housekeeper at a local motel, and slowly begins a journey down the road to redemption.  

With a lot of humor and heart, this movie pulls back the curtain and asks the audience to experience life as an addict and as the people who love them. For me, I did not expect this film to hit so close to home, but I am so thankful for the journey. My road to forgiveness begins with empathy and this film provided that opportunity.  

Be good to each other,  

Nathan 

Cinephile No. 1,088 “Going Varsity in Mariachi”

Recommendation: 3/5 Stars, STREAM  

Plot: “In world high school mariachi, musicians from South Texas reigns supreme. Under guidance of coach Abel Acuña, the captains of Edinburg North High School team must turn shoestring and diverse inexperienced musicians into state champions.” -IMDB 

Review: Documentary films possess a rare ability to reveal worlds and characters you never knew existed. Going Varsity in Mariachi introduces a unique high school competition to a new audience. By doing so, we step into a fresh experience that reveals the magic embedded in this approach to filmmaking.  

Co-Directors Sam Osborn and Alejandra Vasquez focus our attention on the competition and the bandleader. We get background information on a select few students. In my opinion, I would have loved to know these students more deeply. Outside of practice and competitions, I believe this expansion of roles and backstory would have provided a more emotionally rich film.  

What we learn about these students feels like glimpses into their personal lives. We grow to understand the sense of belonging and responsibility provided by belonging to this band. But even these glimpses center on preparation for competitions. I wanted to care more deeply about these humans who are dedicating themselves to something larger. I believe this level of understanding would have made their wins and losses so much more profound.  

The filmmakers choose to have the competitions serve as the emotional focal point for this film. In these spaces, we see these students unravel the deeper meaning of losing. We see competition provide adult lessons. And we see them grow, wrestle with second chances, and aspire to greatness. The act of competition provides a level of intimacy that helps this film rise above its shortcomings.  

Ultimately, this is a film about the joy of playing music together and working toward a common goal. Along the way, the students learn, and we witness the power music possesses to convey emotion. If that was the primary goal of the filmmakers, I think they achieved their aim.  

Be good to each other,  

Nathan 

Cinephile No. 1,025 “Chevalier”

Recommendation: 4/5 Stars, SHOWTIME  

Plot: “Based on the true story of composer Joseph Bologne, Chevalier de Saint-Georges, the illegitimate son of an African slave and a French plantation owner, who rises to heights in French society as a composer before an ill-fated love affair.” -IMDB 

Review: As far as biopics go, Chevalier follows a rather predictable and well-worn path. Still, it tells a story that inspires, uplifts, and challenges what we understand about the French Revolution with charm and class.  

Joseph Bologne’s (Kelvin Harrison Jr.) story was brand new to me. Perhaps the most exciting thing about this film is the realization that I may have never encountered his work without a story such as this. That’s also a shame, because how he challenged the established order as a violinist, composer, and as someone under consideration to lead the Paris Opera is a story, we should all know. What cements this is that Joseph was a black man, son to a white father and enslaved mother, who counted Marie Antoinette (Lucy Boynton) a friend.  

Like any excellent biography, our lead needs a source of pain to rise above like a phoenix from the ashes. Abandoned by his father at a school for remarkable children and separated from his mother, Joseph, as the only black kid in the school, does this by adapting, and in part, rejecting a sense of his true self. Despite a world that both accepts his talents and holds him at arm’s length, Joseph conquers expectations with a sense of confidence that matches the false pride of aristocracy. The scenes in this film where he matches wit, strength, and talent with his white counterparts are some of my favorite in the movie.  

As Joseph ages, he becomes accustomed to this world and even embraces it. Believing he belongs in every room he enters are flashes of confidence I will never forget. When he learns of the passing of his father and the subsequent freeing of his mother is when this movie became profoundly interesting to me. His mother's presence in his home confronts him with daily reminders of how different and difficult life could have been.  

Matters are further complicated by Joseph’s pursuit of a singer to lead his opera, Marie-Josephine (Samara Weaving). As a pursuit of her talent gives way to an affair, Joseph plays with a fire that might force him onto a road walked by his mother, but something that he has only experienced in passing.  

By the third act, it's clear that the Paris Opera is unwilling to accept Joseph as their leader, showing society is not ready for a major shift. His affair is also uncovered. Together, these events serve as the dramatic high points of the film and help us understand why t’s name has been lost. With revolution brewing outside his window, Joseph, mired in betrayal, can no longer ignore his choice. He has enjoyed a taste of freedom and the calls to join those building a new France becomes unavoidable. In my estimation, it is this last act that fortifies this film as something you should experience.  

Chevalier tells a powerful story that more of us should know. It also serves as another reminder of the names and stories lost to time because of racism and white supremacy.  

Be good to each other,  

Nathan 

Movie Review: "Flora and Son"

My Grade: A-, currently streaming on AppleTV+

Plot: A single mom at war with her son is trying to find a hobby for him. One day, she rescues a guitar from a dumpster. -IMDB

Review: Writer/Director John Carney is a master of weaving music into the narratives of his movies. The musician lovers of Once (2007) connect and express their emotions through songs, on the streets of Dublin, Ireland. The disgraced music executive and the struggling singer of Begin Again (2013) get a second chance at life, by making an album in the heart of New York City. The teenage boys of Sing Street (2016) in 1985 Dublin form a band to impress a model and break out of their small town. Music is always the common denominator in all of Carney’s projects. That device is the driving force of his latest movie, Flora & Son, which once again displays Carney's uncanny way of expressing the transformative power of music in an entertaining and heartfelt package.

The movie centers on Flora (Eve Hewson) and her troubled teenage son Max (Orén Kinlan). They share a disconnect that stems from Flora’s regrets in life. When music is brought into the equation, Flora’s guitar lessons with the charismatic Jeff (Joseph Gordon-Levitt), via video chat (he lives in Los Angeles), help awaken a sense of self-purpose. Flora and Max (whose skills in music production impress Flora) start to form a missing bond.

Carney expertly incorporates music into the story's narrative in an organic manner. The working-class setting of Dublin lends a sense of authenticity to the movie, which starkly contrasts the lighter fantasy music-related moments. Carney is able to infuse these particular sequences with genuine sincerity, thanks to the lived-in quality of the characters and their circumstances. The honesty of the dialogue and performances help to make the happier moments feel earned and true. Carney doesn’t shy away from depicting the messiness of the characters. He creates a movie that is hilarious and touching in equal measure without ever slipping into maudlin emotions.

The performances are terrific all around, but the standout is Eve Hewson in the title role. Flora is a warts and all type of woman and Hewson infuses her with an unapologetic sass and genuine passion, giving a powerhouse performance that never rings false. She is a natural and exciting talent who deserves all of the praise. I look forward to seeing what she does next. Hewson has playful and romantic chemistry with Gordon-Levitt, who displays his usual charisma and depth in the role, along with a musicality that would make him an excellent lead in a musical. The heart of the movie is the contentious relationship between Flora and her son Max. Kinlan infuses Max with the teenage angst required, but also a scrappy charm. Their scenes are full of humor and heartbreak, thanks to their expert work in the roles. Jack Reynor also does solid work as Flora’s failed musician ex-boyfriend and father of Max.

The original music (songs co-written by Carney and Gary Clark) is catchy and lends to many of the wonderful music-infused scenes throughout the movie, creating a memorable soundtrack. The rooftop scene, in particular, with Hewson and Gordon-Levitt is euphoric in its romanticism. Though the movie does tread familiar storytelling for Carney, no one utilizes music’s power in movies the way he does. His screenplay is full of warmth, humor, and sadness without resorting to sappiness. Thanks to his skillful guidance and a radiant Hewson leading the way, Carney has created another crowd-pleaser that will have you laughing and cheering by the end.

See you at the movies!

Cristian Barros