CVIndependent

Tue08042020

Last updateMon, 20 Apr 2020 1pm

The Best!

1. Once Upon a Time … in Hollywood: Quentin Tarantino said a lot of interesting things while promoting this movie, including a threat that he would only be directing one more film after this (and he’s backing away from that being his R-rated Star Trek idea, to the surprise of absolutely no one). So … depending on what he does next, this could be the last “big” movie from QT. If so, I’d say it’s a fitting finish. It’s also the best movie of the year.

2. Uncut Gems: Adam Sandler goes full-throttle nuts in what is easily the best performance within the best film of his career.

3. Midsommar: The horror genre had a banner year thanks in part to Ari Aster, who took terror out of the night and put it in broad daylight for this warped breakup movie. Florence Pugh—who gets my vote for Performer of the Year thanks to this, Little Women and Fighting With My Family—has established herself as a sure bet.

4. The Lighthouse: While this is more of a psychological thriller, there’s plenty of horror in watching farty Willem Dafoe and squirmy Robert Pattinson driving each other crazy on a remote island during a lighthouse-watch stint.

5. Marriage Story: Scarlett Johansson and Adam Driver break hearts in Noah Baumbach’s best movie to date, courtesy of Netflix.

6. 1917: Director Sam Mendes delivers perhaps his best film yet, about two British World War I soldiers trying to save 1,600 men before they advance into a German trap. It’s done to look like one continuous shot … and done well. This won a couple of Golden Globes, and while the Golden Globes are idiotic, 1917 is definitely award-worthy.

7. Waves: Startling performances all around and a tremendous visual flair make Waves a solid step forward for director Trey Edward Shults (It Comes at Night). Taylor Russell and Kelvin Harrison Jr. (also great in this year’s Luce) sparkle in this film.

8. A Beautiful Day in the Neighborhood: The year’s most heartwarming story, with Tom Hanks playing Fred Rogers, and director Marielle Heller creating sweet vibes.

9. Honey Boy: Shia LaBeouf returned with a vengeance this year, supplying both the screenplay and a gripping performance as his own dad in this autobiographical take on his pre-adolescent and teen years. Talk about public therapy. (The film was produced by Amazon and will be streaming soon.)

10. Us: As I said above, horror had a nice year, and Jordan Peele continues his march away from comedy toward scariness with this chilling doppelganger thriller.


The Worst!

1. Star Wars: Episode IX—The Rise of Skywalker: The Force Awakens was written by Lawrence Kasdan, the guy who wrote The Empire Strikes Back. This one was co-written by J.J. Abrams and the meathead hack who penned Batman v Superman. That’s right: They handed the storytelling power for one of cinema’s all-time-great storylines to the man who crapped that monstrosity out of his computer. You thought the Return of the Jedi Ewok hoedown was a bad conclusion to the first trilogy? Well, say hello to Palpatine’s Hellraiser Disco Rave Extravaganza.

2. Rambo: Last Blood: It’s been fun seeing Rocky again in the Creed films. As for Sylvester Stallone’s other HGH-enhanced alter ego, the last two efforts in the series have seen … let’s say, diminishing returns, as his hair got shorter (just like Samson in the Bible!).

3. Glass: Just when M. Night Shyamalan was starting to restore my faith in his abilities, he unleashes this, a case study in how not to invent a movie franchise on the fly.

4. Cats: So I was watching this and just trying to survive. Suddenly, things picked up a bit when a song that actually contained a pretty melody sprang from the speakers. Turns out it was the song Taylor Swift wrote, a blossoming flower in the middle of Andrew Lloyd Webber’s sewage dump. Taylor came out of the sky later in the film as a CGI human-cat monster and tried to save the movie, but all was lost by then.

5. Yesterday: I just couldn’t get behind this movie. The central character is a plagiarist asshole, and I hated his renditions of Beatles music. Stay home, and listen to the reissue of Abbey Road.

6. Dumbo/The Lion King/Aladdin: While Aladdin was just slightly bad, Dumbo was terrible, and The Lion King was a complete waste of time. Disney, I love you, but you have to stop with this nonsense. Don’t worry; you will still make money. Hell, the amount of dough I drop on coffee mugs in your souvenir stores rivals what these stupid movies made.

7. Hellboy: Maybe they should’ve let David Harbour be funnier in the title role? He kicked comedy ass when he hosted Saturday Night Live. But here, he’s a total dud as Ron Perlman’s replacement.

8. Mary Magdalene: Jesus was a lot of things, but super-boring wasn’t one of them. This pretentious slog was just an excuse for Joaquin Phoenix to hang out with girlfriend Rooney Mara and get paid.

9. The Dirt: The only thing cool about watching this shitshow was the knowledge that Mötley Crüe was over as a band. Now comes the news that those fucksticks will be touring again, which takes away any good vibe that could be experienced watching this.

10. The Man Who Killed Hitler and Then the Bigfoot: Some critics had the audacity to call this Sam Elliott film one of the year’s best. To those folks, I say: Mushrooms can apparently be a fun recreational drug sometimes, but you shouldn’t take them when you are writing your reviews or operating a band saw.

While they didn’t make the year’s Top 10 worst list, boos go out to Godzilla: King of the Monsters for being soul crushingly dull, and Joker, perhaps the year’s most overrated mediocre film. I was very excited for both … almost as excited as I was for the new Star Wars.

Screw you, J.J. Abrams!!!

Published in Previews and Features

A Beautiful Day in the Neighborhood, based on the real-life friendship between Fred Rogers and journalist Tom Junod, is a beautiful film. It’s whimsical, sweet, complicated and full of warmth—just like that polite guy who used to put on his cardigan for children for many years on PBS.

Who plays Fred “Mister Rogers” Rogers in this movie? Why, Tom Hanks, of course. You don’t get more perfect casting than the world’s most likable actor playing one of history’s most likable guys. The recent reveal that Hanks is an actual sixth cousin of Rogers is no surprise.

Hanks plays Rogers in an honorable way. He doesn’t impersonate the man so much as adapt some of his mannerisms, his winning smile and that slow, concerned cadence in his voice. The performance stands as a terrific homage to a wonderful person.

Actually, Fred Rogers is a supporting player (albeit a mighty important and present one) in this heartfelt movie from director Marielle Heller (Can You Ever Forgive Me?). The main protagonist is Lloyd Vogel (Matthew Rhys of The Americans), a troubled journalist (loosely based on Junod) who grumbles upon getting an assignment to do a profile on the PBS icon—the guy with a “hokey” TV show—for Esquire.

The two at first talk on the phone, but Lloyd eventually journeys to WQED in Pittsburgh, home of the beloved TV show, to see the master in action. Rogers instantly starts interviewing the journalist as much as the journalist is interviewing him, and Lloyd bristles at first. But over the course of the film, Rogers and Lloyd become friends, and Rogers helps Lloyd in his dealings with a dying father (an excellent Chris Cooper); his wife, Andrea (Susan Kelechi Watson of This Is Us); and his newborn son.

Heller brilliantly frames her film as an episode of the TV show, starting with Hanks delivering the famous welcome song, and then introducing Lloyd Vogel as a friend who needs help. As the characters travel to different cities, those cities are depicted like the train sets that had a presence throughout the TV show. It truly does give one the sense that an episode of Neighborhood is playing out.

Much of the film is indeed fiction; for starters, there is no evidence of the father-son relationship at the center of this film in Tom Junod’s original article, “Can You Say … Hero?” Fictional or not, the handling of the father-son relationship is heart-wrenchingly good, and Junod has acknowledged that the friendship Heller displays in her movie is much like the one he had with Rogers.

I have a new appreciation for Fred Rogers as an adult. He always weirded me out when I was a kid; I was more interested in being entertained by The Electric Company and Sesame Street than by the guy with the sweater. Still, I did watch a lot of his shows before and after my favorites. In retrospect, I realize that Mister Rogers taught me more about life and my fellow human beings than any of those other children’s shows ever did. There was a warmth to the show—a warmth that made a bullied, antisocial younger kid such as me a little uncomfortable, just like Lloyd Vogel in this movie. As I grew older, I lightened up a bit … just like Lloyd Vogel in this movie.

I think a lot of people will feel similarly after seeing this movie. It’s going to open up heads and hearts, and perhaps even make you cry a bit. It’s going to make you love Tom Hanks even more than you do now, if that’s possible. And it’s going to fortify your precious remembrance of Fred Rogers—the sweet guy in the sweater who talked right at you from the TV screen, be it with his haggard puppets or ever-present smile.

A Beautiful Day in the Neighborhood is now playing at theaters across the valley.

Published in Reviews