CVIndependent

Sat11282020

Last updateMon, 24 Aug 2020 12pm

Some movies are made to make viewers miserable. It’s what they set out to do, and if done well, cinema geeks such as myself will tip our hats to them.

The Devil All the Time is one of those movies. It’s an ugly film—and it’s supposed to be. I understand that a lot of people do not need this sort of movie in their lives right now. I, for one, found it a mildly rewarding viewing experience, even though I had to take two showers afterward.

The film starts in World War II, where soldier Willard Russell (Bill Skarsgard) makes a discovery that will pretty much fuck him up for the rest of his life. Upon returning stateside, he tries to live the American life: He gets married to Charlotte (Haley Bennett) and has a boy named Arvin (Tom Holland, when the character grows up). Try as Willard might to live a good, pious life, tragedy strikes multiple times.

Arvin grows up with a decent-enough head on his shoulders despite the trauma, and has a strong bond with his stepsister, Lenora (Eliza Scanlen). When a creepy preacher (Robert Pattinson) moves to town, things—rather predictably—go bad again.

Meanwhile, in another subplot, a sadistic couple (Jason Clarke and Riley Keough) drives around picking up hitchhikers and asking them to do some strange things. There’s also a corrupt sheriff (Sebastian Stan), the brother to the woman doing the strange hitchhiking things. There are a lot of other characters in the mix as well.

Bottom line: The film has way too much going on. It needed to be a miniseries rather than a single 138-minute film. That said, Holland and Pattinson are especially good, and the film is worth seeing for them. Skarsgard, Keough, Clarke and Scanlen all do just fine, but the movie is way too crowded.

To reiterate: If you are looking for a good time, this movie won’t provide it. It’s bound to go down as one of the film year’s biggest bummers—intentionally, of course.

The Devil All the Time is now streaming on Netflix.

Published in DVDs/Home Viewing

There have been a lot of Little Women film adaptations. Most of you who go to the movies or watch them on TV are probably most familiar with the 1994 adaptation that starred Winona Ryder; the little vampire from Interview With the Vampire; and Batman. I recall liking that one. I mean, it had Batman and Vampire Girl in it, for God’s sake. And the girl from Beetlejuice!

Now comes the umpteenth adaptation of the classic Louisa May Alcott novel—and it’s safe to say this one is the best adaptation of the story. Ever. Directed by rising directorial juggernaut Greta Gerwig (the magnificent, ultra-fantastic Lady Bird), who has a vision with her films that declares, “Hey, we aren’t screwing around here!” her third feature effort is a stunner across the board.

It’s a beautiful thing to look at due to some of the year’s best art direction and camerawork. It’s chock full of tremendous performances, and it’s written and directed by Gerwig, whose vision makes this an admirable update of a precious work.

Saoirse Ronan, who also starred in Lady Bird, headlines as Jo March, eldest sister of the March clan, which also includes Meg (Emma Watson), Amy (Florence Pugh) and Beth (Eliza Scanlen). Ronan, not surprisingly, makes the intrepid character of Jo her own; she’s a budding writer who is trying to get her ideas past a crusty editor (Tracy Letts, who had a damn fine 2019).

Gerwig, in a departure from past adaptations, focuses more on the girls as adults, with flashbacks to their younger days. As a result, she has chosen not to cast Amy with two different actresses. Pugh, who is well into her 20s, plays Amy at every stage, even falling through the ice as a pre-teen. I’d say that was an odd choice, but the other choice would have meant less screen time for Pugh, and I say a big “no” to that. She doesn’t look like she’s 12, but who cares? She’s a master in every scene.

Timothée Chalamet steps in for Batman as Theodore “Laurie” Laurence, and there couldn’t have been a better choice for the role. His first dance with Jo, where they go a little crazy outside on a porch alone during a party, is as timeless as movie dancing gets. Chalamet has such skill and charm with every line delivery that not a single second of his movie time is wasteful.

My one minor quibble with the film: Gerwig is so damned ambitious with the way she shows the many timelines—out of chronological order—that there were definitely moments when I was a little confused. Again, it’s a minor quibble, because even though Little Women is occasionally confusing, it is always enjoyable.

Filmmakers: This is how you do a period piece, dammit. It’s a fresh take that makes you feel like you are seeing a story for the first time, even when you’ve seen that story multiple times before. This Little Women also transports you to another time—and it doesn’t hurt to have Meryl Streep (as Aunt March) in your period piece. Always a good thing.

Driving it all home are characters you root for, played by one of 2019’s greatest ensembles. All hail Greta Gerwig for bringing this group together in delightful, superbly entertaining fashion.

Up next for Gerwig? Possibly a Barbie movie with Margot Robbie. I am curious to see how that one pans out. It’s going to be interesting if it moves forward … because films are always interesting when Greta Gerwig is at the helm.

Little Women is now playing at theaters across the valley.

Published in Reviews