An Honest Candidate (2019) ☆☆1/2(2.5/4): Suddenly, she can’t lie!

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I chuckled from time to time as watching the first half of South Korean comedy film “An Honest Candidate”, which could be one of the funnier South Korean movies of this year if it pushed its rather familiar premise harder with more satiric edges. While the movie is held together well by another engaging comic performance from its wonderful lead actress, it begins to lose its comic momentum due to a number of plot contrivances during its second half, and I remained disappointed as phlegmatically watching it eventually arriving at its predictable finale.

Ra Mi-ran, who has been more notable thanks to her hilarious performance in “Miss & Mrs. Cops” (2019), plays Joo Sang-sook, a congresswoman in the middle of her re-election campaign. As shown from a TV debate of her and other candidates, she is your average dishonest politician with some dirty sides to hide behind her back, but she confidently deals with hard questions thrown at her, and everything goes pretty well as before for not only her and others around her including her loyal assistant.

During its early part, the movie generates lots of laughs from its heroine’s shamelessly hypocritical sides. Yes, there was a time when she was an idealistic activist pursuing justice, but she has turned into a jaded and cynical politician willing to lie and pretend for getting more votes from the residents of her district, and her loser husband does not have any problem with that, though it is always inconvenient for them to move back and forth between two very different residences every evening.

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Above all, Sang-sook has been hiding a fact which will certainly ruin her political career if it is ever exposed in public. Several years ago, she told others except her husband and assistant that her grandmother died, and that certainly drew lots of sympathy votes, but, what do you know, her grandmother has been actually alive while hiding in some remote place. When Sang-sook comes to visit her during one dark and stormy night, she does not hide her displeasure with her granddaughter’s hypocrisy at all, but she still cares about her granddaughter nonetheless, and she sincerely prays to her god for her granddaughter becoming honest after Sang-sook leaves.

Of course, something supernatural happens to Sang-sook not long after that. On the very next morning, she is surprised as finding herself saying whatever she feels or thinks without any inhibition, and that surely flabbergasts not only her but also her husband and assistant. Understandably panicked by this inexplicable change of his boss, Sang-sook’s assistant tries as much as he can for damage control, but Sang-sook still cannot help herself just like Jim Carrey’s lawyer hero in “Liar Liar” (1997), and we accordingly get plenty of laughs as she keeps blurting out her thoughts and feelings in front of others.

When Sang-sook’s assistant subsequently seeks help from a prominent political fixer, the situation seems to be under control for a while. Once discerning that Sang-sook really cannot lie at all, that political fixer suggests that they should go all the way with her unflappable honesty, and, to everyone’s surprise, that strategy works a lot better than they thought.

However, as some of you already expected, the mood becomes more serious than before later in the story when Sang-sook comes to realize that she has been inadvertently involved with a massive case of corruption for years. As being pushed toward more honesty and integrity than before, she cannot help but feel conflicted – especially after she comes to learn more of what has been committed behind her back and its ramifications.

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The plot seems to thicken as a stubborn news reporter tries to delve more into this case, but the movie is eventually hampered by its thin narrative and superficial characterization. While it tries to bring some tension into the story during its last act, it only comes to fizzle in the end, and the following finale is too easy and convenient to say the least. In addition, most of characters surrounding Sang-sook are more or less than broad cardboard figures to function as mere foils to interact with Sang-sook, and it often looks like the movie does not know how to utilize them for inducing more laughs from us.

Nevertheless, Ra diligently carries the film from the beginning to the end, and I particularly enjoyed how dexterously she handles numerous expected comic moments. I exactly knew when to laugh everytime, but, mainly thanks to Ra’s natural comic timing, I laughed harder than expected as watching the first half of the movie, and that is the main reason of my dissatisfaction with the second half, which, as far as I could remember, left me and the audiences around me in a less boisterous mood. In case of several notable supporting performers surrounding Ra, they are mostly under-utilized, but Kim Moo-yul did as much as he could do with his thankless role, and Na Moon-hee, who recently drew more of our attention thanks to her strong performance in “I Can Speak” (2017), steals the show as usual.

Directed by Chang You-jeong, “An Honest Candidate”, which is the remake of Brazilian comedy film “The Honest Candidate” (2014), is a lightweight product packed with some good laughs, but it is not funnier than “Miss & Mrs. Cops” or “Secret Zoo” (2019). Mainly because I gave these two movies 3 stars, I give “An Honest Candidate” 2.5 stars, but I assure you that you will not waste your money and time if you just want to laugh and smile.

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Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn (2020) ☆☆☆(3/4): Harley Quinn and other hardcore ladies

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“Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn” is wild, uproarious, and, above all, exhilarating. Cheerfully and irreverently bouncing along with its loony anti-heroine and several other strong, colorful female characters, the movie constantly tickles and excites us via a number of inspired moments to be savored and appreciated, and the result is one of the better products from the DC Extended Universe.

The story opens with the animation prologue scene which gives us a brief but succinct summary of the rocky life and career of Harleen Quinzel/Harley Quinn (Margot Robbie). Despite her poor and miserable childhood years in Gotham City, Harley eventually grew up to become a promising young psychiatrist, but, alas, she came to fall in love with a certain notorious criminal figure at an asylum where she happened to work, and she willingly threw herself in madness and crime as helping her insane lover escape from the asylum and then becoming his partner-in-crime during next several years. Despite going through a number of pretty rough moments as shown in “Suicide Squad” (2016), she remained romantically attached to her man during that period, but then there comes a point where she cannot stand his vicious and abusive aspects anymore, so she decides to end her relationship with him once for all.

However, Harley is not particularly willing to announce this breakup to those denizens of the underworld of Gotham City because she wants to continue to have her own crazy fun and excitement as usual. Nobody wants to mess with her because they are afraid of any possible retaliation from that criminal figure who has been closely associated with her, so she keeps pretending that she is still in a relationship with him as before, and her wild nights are continued as usual.

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Nevertheless, as trying to move onto the next chapter of her criminal life, Harley soon becomes bored and frustrated. She manages to find her own small but cozy private place where she begins to live with an predatory animal pet she happens to acquire, but she still feels something unresolved and unventilated inside her, and then, of course, there soon comes a moment when she comes across a golden opportunity for closure and liberation by chance and then goes all the way without any hesitation at all.

While she surely gets a big dramatic moment of elevation as a result, the consequences of her impulsive action come upon her far earlier than expected. Now everyone in the town knows that Harley is no longer under the protection of her ex-boyfriend, and she soon finds herself targeted by many different criminals just like Keanu Reeves in “Jock Wick” (2014) and its two sequels.

And then things subsequently become more complicated when she gets seriously involved with Roman Sionis (Ewan McGregor), a mean, ambitious, and self-absorbed crime lord who is about to obtain an important object which will enable him to become the most powerful criminal figure in the town. When that object in question happens to be snatched at the last minute, Sionis is quite enraged to say the least, and Harley has no choice but to follow his demand as being threatened by him and his brutal henchmen including Victor Zsasz (Chris Messina), who is ready to utilize his particular set of skills at any moment.

In the meanwhile, the plot thickens as several other main characters enter the picture one by one. Besides a seasoned but strong-willed female cop who is determined to arrest Harley in addition to bringing down Sionis, there are 1) an exceptional lady singer working in Sionis’ bar, 2) a mysterious female figure armed with a lethal crossbow, and 3) a young but artful pickpocket girl who happens to be right in the middle of the situation.

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While it will not be much a spoiler to tell you that Harley and other main female characters eventually come to band together against Sionis and his henchman, the movie often surprises as ecstatically jumping among comedy, drama, and action, and the screenplay by Christina Hodson also throws some sincere moments of female solidarity into its boldly pulpy narrative. Although I must point out that the story becomes more predictable during the last act, director Cathy Yan enthralls us with a series of terrific physical action scenes which feel visceral and impactful while also fully packed with humor, style, and thrill, and she certainly demonstrates here that she is a skillful action movie director as good as, say, Patty Jenkins.

Under Yan’s competent direction, the main cast members of the film function well in their respective parts. As Margot Robbie, who was incidentally the saving grace of “Suicide Squad”, gleefully holds the center with her vibrant mix of charm and lunacy, Jurnee Smollett-Bell, Mary Elizabeth Winstead, Rosie Perez, and Ella Jay Basco hold each own place well around Robbie, and Ewan McGregor and Chris Messina look menacing and loathsome as required while never overshadowing Robbie and other ladies in the film.

Overall, “Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn” is as fantabulous as intended in addition to being a vast improvement compared to “Suicide Squad”, which was the lowest point of the DC Extended Universe along with “Batman v Superman: Dawn of Justice” (2016). I do not know whether we will soon see the next naughty adventure of Harley Quinn, but, seriously, I am already looking forward to that right now.

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My prediction on the 92nd Annual Academy Awards

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So far, this Oscar season has been pretty exciting. At first, “The Irishman” seemed to be the front runner, but then “Once Upon a Time …in Hollywood” went ahead with its considerable victory at the Golden Globe, but then there came “1917” and “Parasite”, a dark horse from South Korea which may make the history considering its possible chance to beat “1917” in the ongoing Best Picture Oscar race.

Meanwhile, many of other major categories have been quite clear during last several weeks. In case of the acting categories, all of the front runners won Golden Globe, SAG, BFCA and BAFTA, and we will be quite surprised if something similar to Olivia Colman winning the Best Actress Oscar in last year happens. In case of the technical categories, I am convinced that “1917” will garner 3 or 4 awards at least, and I think most of other Best Picture Oscar nominees will not be empty-handed in the end, though “The Irishman” will probably suffer the same humiliation “Gangs of New York” suffered 17 years ago.

Anyway, folks, here is my ever-incorrect Oscar Prediction, and let’s see how inaccurate my prediction is – and how much you can outsmart me. I am ready to be surprised, you know.

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Corpus Christi (2019) ☆☆☆(3/4): The Priest with Tattoos

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Polish film “Corpus Christi”, which recently got nominated for Best International Film Oscar, turns out to be more solemn and serious than I expected from its absurd premise. Although it may be a little too dry for general audiences out there as your average arthouse drama film, the movie mostly works as an intense and intriguing tale about faith and redemption, and I appreciate its thoughtful storytelling coupled with an electrifying lead performance at its center.

At the beginning, we are introduced to Daniel (Bartosz Bielenia), a young man who has been held in a youth detention center since he committed a serious crime some time ago. While he is not exactly a model case of rehabilitation as shown from the opening scene, he also seems to be quite serious about becoming a priest, so he tells Father Tomasz (Łukasz Simlat) about his growing desire to attend a seminary when he is about to be released on parole, but Father Tomasz flatly reminds him that he cannot be a priest due to his criminal record, though he genuinely cares about Daniel’s future in contrast to other guards and supervisors in the youth detention center.

Anyway, Father Tomasz has already arranged a job position for Daniel, and Daniel is soon sent to a sawmill located near some small rural town, but he does not see any future from that drab place at all. When he subsequently goes to the town and then enters a local chapel, he comes to pass himself off a young traveling priest recently ordained to priesthood in Warsaw, and his impulsive disguise works better than he thought mainly thanks to a clerical collar he stole before getting out of the youth detention center.

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Daniel’s plan is simply staying at the residence of the town priest just for a few days, but then he comes to stay longer than expected when the town priest suddenly has to spend a long time at a certain medical facility outside the town. Daniel certainly feels quite nervous about becoming an acting priest, but, what do you know, he quickly gets accustomed to his new circumstance. For example, he quickly does some Google search for learning the protocols of those religious services including listening to the confessions from a bunch of parishioners, and we get a small moment for laugh when he gives one of them a practical advice on the misbehavior of that parishioner’s son.

In case of routine sermons, Daniel mostly depends on what he has absorbed from the Bible and Father Tomasz’s sermons, but then he begins to do some improvisations. As he continues to preach about many things including faith and redemption, the mood amidst the parishioners becomes livelier than before, and he soon comes to function as someone to console many people in the town, who have been grieving a lot over a recent tragic accident which led to the sudden early death of several young town people.

Watching these people frequently holding a vigil in front of a makeshift shrine near the chapel, Daniel decides to do as much as he can for leading them to healing and closure, and there is a humorous scene where he has them go through a rather silly act of therapy, but he also comes to learn about how people can be quite cruel because of tragedy. Everyone in the town blames a dead man who is presumed be responsible for the accident, and his widow has been harassed a lot by others in the town even though she has nothing to do with the accident.

When Daniel attempts to rectify this unjust circumstance for that widow, he instantly finds himself clashing with many people in the town. The mayor of the town, who is incidentally a businessman who owns the very sawmill where Daniel was supposed to work, does not welcome much the disturbance caused by Daniel’s attempt to give a proper burial to that widow’s dead husband, and he sternly warns Daniel not to go further at one point, but Daniel, who has been quite more confident than before as more comfortable with his disguise, shows some defiance when he holds a ritual of blessing at the mayor’s sawmill.

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However, he also feels more conflicted as becoming more sincere and passionate about his self-ordained vocation – especially when he faces that lingering possibility of getting exposed at any point. While the mood becomes more tense as he gets cornered by a certain supporting character later in the story, the movie wisely does not overplay that part, and the same thing can be said about Daniel’s growing relationship with Lidia (Aleksandra Konieczna), a young woman who becomes slowly attracted to Daniel after their first encounter at the chapel.

In the end, there comes an inevitable narrative point where Daniel has to make some crucial choices (Is this a spoiler?), but Mateusz Pacewicz’s screenplay surprises us with the finale which does not give an easy way out for its complex hero, and director Jan Komasa sticks to his austere storytelling approach till the very final scene. As often closely observing its hero, the movie depends a lot on the presence and talent of its lead actor, and Bartosz Bielenia is quite captivating in a performance which may be regarded as a major breakthrough in his nascent acting career.

Overall, “Corpus Christi” may look plain compared to its fellow Oscar nominees including “Parasite” (2019) and “Pain and Glory” (2019), but it is still an engaging religious drama film with good moments to reflect on. To be frank with you, I think you will appreciate it more especially if you are a Catholic churchgoer like some of my acquaintances, and I would love to hear their opinions on the movie.

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Uncut Gems (2019) ☆☆☆1/2(3.5/4): Adam Sandler on full throttle mode

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The hero of Josh and Benny Safdie’s new film “Uncut Gems”, which was released on Netflix this Friday, is probably one of the most incorrigible characters I have ever seen during recent years. Constantly and helplessly driven by impulse and temper, he keeps making his desperate situation worse and worse, and it is often horribly fascinating to watch how he gets himself tumbled into one bottom after another as struggling and squiggling to find any possible way out.

During the early part of the movie, we gradually come to gather how messy the circumstance is for Howard Ratner (Adam Sandler), a Jewish-American jeweler running his own small jewel shop in the Diamond District of New York City. While his relationship with his wife Dinah (Idina Menzel) seems to be beyond repair, he is not particularly good to his girlfriend/employee Julia (Julia Fox) either, and his mind is usually occupied with how to solve his dire financial problem. Due to his gambling addiction, he has recently borrowed lots of money from a local loan shark named Arno (Eric Bogosian), and Arno’s henchmen are ready to squeeze Howard as hard as possible despite a close personal connection between Arno and Howard.

After being threatened by Arno’s henchmen, Howard promptly borrows some money from others, but, not so surprisingly, this borrowed money is soon spent for another gambling of his, and he is confident that he will succeed this time just because of one accidental encounter. When his associate Demany (Lakeith Stanfield) brings a certain famous basketball player of the Boston Celtics into Howard’s jewel shop, that basketball player shows considerable interest on a rare Ethiopia opal which Howard has just acquired, and Howard comes to borrow the opal to that basketball player for a while as it may bring some luck to him as well as that basketball player, who will soon participate in a big game on which Howard bets lots of money.

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I will not go into details on the outcome of that big game, but it is not much of a spoiler to tell you that Howard finds himself in a far messier circumstance than before as facing several unexpected setbacks, and the movie becomes darkly amusing as observing his following frantic attempt to get things under control at least for a while. No matter how much he tries, his situation does not get better at all, and he only comes to face bigger troubles after making a series of unwise choices on impulse and frustration. In addition, Arno and his henchmen become more impatient and exasperated than ever, and that leads to an absurd scene which results in lots of humiliation for Howard.

Although it feels relatively less quick and urgent than the Safdie brothers’ previous film “Good Time” (2017), the movie patiently accumulates its suspense and narrative momentum under their skillful direction, and it also shows some morbid sense of humor from time to time. I particularly like the opening title scene which starts from a big opal mine in Ethiopia and then ends with a certain medical procedure, and I was amused a bit by a brief scene between Howard and his older son, who turns out to be an apple not falling that far from its tree.

The technical aspects of the movie are top-notch. While cinematographer Darius Khondji establishes well a vivid urban atmosphere on the screen, the editing by the Safdie brothers and their co-editor/co-writer Ronald Bronstein is smooth and efficient as steadily increasing narrative pacing, and the electronic score by Daniel Lopatin, who previously collaborated with the Safdie brothers in “Good Time”, adds more propulsion to what is being unfolded on the screen.

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Above all, the movie is strongly anchored by the very compelling lead acting by Adam Sandler, who demonstrates here that he can be quite serious and effective under right condition. Although he has frequently wasted his time and talent on many disposable comedy films, Sandler has sometimes shown the more serious side of his talent through a few notable drama films such as “Punch-Drunk Love” (2002) and “The Meyerowitz Stories (New and Selected)” (2017), and he surely throws himself into full throttle mode here in this film without any compromise. Not making any excuse on his pathetic character’s abrasive sides at all, he constantly keeps us on the edge as exuding sheer intensity generated from accumulating desperation and frustration, and we come to pay more attention to his character’s worsening situation even while watching him from the distance.

Sandler is also surrounded by a number of various good performers. While Julia Fox and Idina Menzel hold each own place well as two different women in Howard’s crumbling life, Eric Bogosian, Lakeith Standfield, and Judd Hirsch are also well-cast in their respective supporting roles, and the special mention goes to the aforementioned basketball player, who has some wry fun with playing a fictional version of himself.

In conclusion, “Uncut Gems” is another superbly intense genre piece from the Safdie brothers, and Sander gives a supremely entertaining performance which is indubitably one of the best works in his career in addition to being one of the most powerful performances of last year. Like Robert Pattinson did in “Good Time”, he boldly pushes himself into challenges as taking a lot more chance than usual, and I sincerely wish that he was not serious at all when he recently said that he would make more bad films if he failed to get Oscar-nominated for this film. Seriously, he is too talented to be wasted like that.

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Waves (2019) ☆☆☆1/2(3.5/4): From implosion to healing

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Trey Edwards Shultz’s new film “Waves” grips us hard during its overwhelmingly stylish first half and then moves us a lot during its surprisingly sensitive second half. I must confess that I was quite annoyed and baffled at first, but the movie eventually engaged me more than expected via its quieter emotional scenes, and I came to appreciate how deftly it handles the rocky emotional journey of its main characters from the beginning to the end.

The story mainly revolves around one affluent middle-class African American family living in a suburban neighborhood of Florida. Ronald (Sterling K. Brown) has raised his two children Tyler (Kelvin Harrison Jr.) and Emily (Alexa Demie) with his second wife Catherine (Renée Elise Goldsberry) for many years, and a number of early scenes in the film show how hard Tyler has been pushed by his domineering father. As a self-made man who started his business from the bottom, Ronald believes in hard efforts and strict principles, and Tyler, who has been a prominent member of his high school wrestling team, certainly feels lots of pressure as demanded to do more and more by his father everyday.

Not so surprisingly, Tyler often throws himself into fun and excitement recklessly as shown from the opening part of the film, and he also gets some comfort from his girlfriend. When they are together on a nearby beach, the mood becomes less intense for Tyler, and it looks to him like everything will be fine as long as he keeps trying his best for advancing further with his athletic career.

waves04And then there come two different troubles which throw Tyler into lots of confusion and conflict. During his latest physical examination, it turns out that he has a serious shoulder injury which may end his athletic career forever, and his doctor advises to him that he must have a surgery right now, but he chooses to hide this fact from his coach as well as his father. In addition, he keeps taking painkillers behind his back as usual, and he also comes to drink more often than usual.

Meanwhile, it also turns out that Tyler’s girlfriend has been pregnant for several months. Although she initially agrees to have an abortion as wanted by Tyler, she subsequently comes to change her mind, and that consequently leads to a big quarrel between her and Tyler, who becomes quite upset in front of the possibility of taking the responsibility of his pregnant girlfriend and their baby.

Around that narrative point, the film dials up its level of intensity and suspense, and Shultz, who also edited the film along with Isaac Haby in addition to serving as a director/writer/co-producer, and his crew member pull all the stops as Tyler heads toward the eventual arrival point of his destructive fall. While cinematographer Drew Daniels provides a series of visually bold, stunning moments which are further accentuated by the dramatic changes in screen ratio, the soundtrack often alternates between a number of loud pop songs and the abrasive electronic score by Trent Reznor and Atticus Ross, and the overall result often feels like sheer sensory assault to say the least.

As entering its second half, the movie becomes relatively calmer while observing the devastating ramifications of Tyler’s irreversible act. Filled with guilt and grief, Catherine becomes angry and distant to her husband, and Ronald, who belatedly comes to realize his errors, does not know what to do for himself as well as his family now. At one point, he and Catherine happen to argue on what went wrong for their family, and Catherine bitterly reminds him of how much she hates him for what happened.

waves03Meanwhile, the movie comes to focus more on Emily, who has also struggled with her own grief and guilt but then finds an unexpected source of solace and comfort from a boy named Luke (Lucas Hedges), who was one of Tyler’s teammates. Although their first encounter was not exactly pleasant, they come closer to each other when they later meet again, and we soon get several lyrical moments a la Terrence Malick as they spend some good time together here and there.

Gently letting its main characters rolling along the progress toward healing and forgiveness, the movie knocks us down with a number of poignant scenes filled with understanding and empathy. I particularly like a scene where Ronald reluctantly but honestly admits his regret and sadness, and I also appreciate how the movie sensitively depicts a part associated with Luke’s estranged father, which feels rather contrived at first but turns out to be quite more effective than expected.

The movie is also supported well by its good main cast members. While Kelvin Harrison Jr., who previously collaborated with Shults in “It Comes at Night” (2017), shows another side of his considerable talent as he recently did in “Luce” (2019), Sterling K. Brown and Renée Elise Goldsberry are solid in their respective roles, and newcomer Alexa Demie is effortless in her several intimate scenes with Lucas Hedges, who humbly stands besides Demie without overshadowing her at all.

On the whole, “Waves” is tough and difficult to watch at times, but it is another terrific work from Shults, who drew my attention for the first time with his remarkable debut feature film “Krisha” (2015). In short, this is one of better drama films of last year, and I will certainly continue to observe Shults’ advancing filmmaking career with more enthusiasm.

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Motherless Brooklyn (2019) ☆☆☆(3/4): An offbeat neo-noir film from Edward Norton

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“Motherless Brooklyn” often frustrated me but engaged me enough at least. Although I sometimes struggled to gather what is exactly going on around its inherently flawed detective hero throughout most of its running time, I enjoyed a number of offbeat qualities mixed into its laid-back narrative, and I observed its increasingly complicated mystery plot with some care and attention even while recognizing its weak aspects.

Edward Norton, who also directs and co-produces the film in addition to adapting Jonathan Lethem’s novel of the same name, plays Lionel Essrog, a private investigator operating in New York City in the 1950s. Although he has frequently struggled with Tourette syndrome since his childhood, Lionel is pretty good at remembering things he sees and hears, and that is the main reason why his mentor/boss Frank Minna (Bruce Willis) took young Lionel under his wings many years ago. Because Frank saved him from his miserable time in an orphanage after his single mother’s early death, Lionel has been always loyal and grateful to Frank, and Frank has always trusted Lionel more than three other guys in his detective agency, who were also orphans just like Lionel.

At the beginning of the story, Lionel and one of his colleagues are assisting Frank for some important meeting between Frank and his latest client, but things soon go horribly wrong during the meeting. Lionel and the aforementioned colleague, who have been monitoring the meeting from the distance, try as much as possible for saving Frank, but, unfortunately, Frank is murdered in the end, and Lionel and others in the detective agency are certainly devastated by that.

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Haunted more and more by how he could not save Frank at the last minute, Lionel becomes quite determined to find why Frank was killed, but, of course, the task turns out to be more demanding and challenging than expected. While a number of seemingly important clues including Frank’s last words are in front of him, Lionel does not have any idea on how they can be fit together to give him the answer, and he also suffers more from Tourette syndrome as his mind often becomes more agitated than usual. Whenever he becomes too nervous and excited, he involuntarily utters meaningless words, and that certainly causes awkwardness between him and others around him.

And then, of course, things become a little clearer to Lionel as the plot thickens. It is subsequently revealed that Frank tried to blackmail his latest client via something he recently discovered through his investigation, and that seems to be involved with a young African American woman named Laura Rose (Gugu Mbatha-Raw), who also happens to be associated with a man running a certain jazz bar in Brooklyn which seemed to draw Frank’s attention for some unknown reason.

In addition, Laura has worked as an activist fighting against the upcoming urban renewal plan of the city administration. This plan looks beneficial for those poor residents of Brooklyn on the surface, but many of them, who are incidentally colored people, are not so pleased at all as they are forced to leave their impoverished neighborhoods without any benefit, and those high-ranking officials including Moses Randolph (Alec Baldwin) do not give much damn about the angry protest from these people, while quite determined to push the plan forward by any means necessary.

After meeting and then talking with a mysterious guy who seems to know more than he tells, Lionel comes to discern that everything in the case is pointing toward Randolph and his powerful (and insidious) government agency, but there are still several questions remaining around him. For example, what is Randolph exactly trying to hide at any cost? Where did Frank hide what he found and then decided to use for blackmail? And, above all, how does Laura, who gradually becomes closer to Lionel along the story, fit in this very complicated picture?

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Although it comes to lose some of its narrative momentum during its middle act, the movie keeps us engaged as having a number of various colorful figures popped out here and there around Lionel. While his three colleagues are depicted with each own personality, we get some amusement from a humorous scene between Lionel and Frank’s cynical widow, and there is also a slick jazz musician who happens to befriend Lionel and then comes to help him more than expected. As leisurely flowing from one offbeat character moment to another, the movie generates its own mood and rhythm, and that aspect is accentuated further by Daniel Pemberton’s score, which freely swings from jazz to electronic music for our extra entertainment.

Wisely not overplaying his character’s disability, Norton gives us an engaging noir hero we can care about, and he also assembles a bunch of talented performers around him. While Gugu Mbatha-Raw is effective in her intimate scenes with Norton, Alec Baldwin has a juicy fun with his evil and ruthless character as much as John Huston did in “Chinatown” (1974), and I certainly delighted to see other dependable performers in the film including Willem Dafoe, Cherry Jones, Bobby Cannavale, Leslie Mann, Ethan Suplee, and Michael K. Williams, who has been one of the most interesting character actors in our time since his breakout turn in HBO TV series “The Wire”.

On the whole, “Motherless Brooklyn”, which was a passion project for Norton for nearly 20 years, is not entirely without flaws, and I think it could be improved by shortening its rather long running time (144 minutes), but you may appreciate the admirable efforts from Norton and his cast and crew members. It is imperfect just like its hero, but the overall result is still as distinctive as other recent neo-noir films such as Paul Thomas Anderson’s “Inherent Vice” (2014), so I will not grumble for now.

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Miss Americana (2020) ☆☆☆(3/4): Taylor Swift on her life and career

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Netflix documentary film “Miss Americana” attempts to give us a close and intimate look into the life and career of Taylor Swift, who has been one of the most popular pop stars in the world since she suddenly rose to the top in 2006. Although it occasionally looks like your average fan service, the documentary mostly succeeds in its earnest presentation of Swift’s personal and professional struggles, and you will probably come to admire how much this talented singer/songwriter has tried to go on in addition to being true to herself and her artistry.

After showing Swift being disappointed with her sixth album “Reputation” not getting nominated for Grammy in 2018, the documentary gives us a brief summary of the early years of her career. Shortly before entering her adolescent period, Swift went to Nashville, Tennessee along with her encouraging parents for pursuing her nascent music career, and, thanks to her considerable musical talent, it did not take much time for her to draw lots of draw attention from the media and public as a young promising country music singer/songwriter to watch. In 2006, she released her first album although she was only 17, and its huge popularity was just the prelude to bigger successes to come for her.

However, like many female pop music stars out there, Swift soon came to deal with lots of pressures and obstacles here and there. While getting more popularity and success as expected, she found herself frequently scrutinized and criticized by the media and public, and then she was ambushed by that humiliating incident which happened at the 2009 MTV Music Video Awards. When she was delivering the acceptance speech for an award she had just received on the stage, Kanye West rudely disrupted the scene and then claimed that the award should have gone to Beyoncé, and Taylor tells us about how much she felt hurt and embarrassed as believing the following boos from the audiences were directed at her. While West got away with that boorish deed as only getting a slap on his wrist (He even made a song about it several years later, by the way), Swift had no choice but to suppress her bad feelings in front of many reporters asking for her opinion on the incident, and that certainly reminded her again of how sexist the industry she belongs is in many aspects.

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In front of the camera, Swift frankly confides to us on how much she had been occupied with presenting herself well enough to be liked by her fans and audiences out there as usual. Although she does not delve that deep into those dark moments of hers, she tells us about a moment when she came to realize the importance of eating well for her health and career, and that was when she began to be less concerned about how she looks to others.

As being true to herself more than before, Swift decided to become more active in public, and that is why she came to express her political position on the Internet in 2018. When she showed her objection to the Republican candidate for a US Senate seat representing Tennessee due to the bigoted social/political position of that candidate, she certainly drew lots of public attention as expected, and she was happy to see some positive effect from openly expressing her social/political belief, though the eventual result of the election turned out to be pretty disappointing for her.

Nevertheless, Swift kept moving on as before, and the documentary sometimes shows her working on her next album “Lover” along with her close colleagues including Joel Little. I must confess that I am not that familiar with her music career, but I could clearly sense that she is indeed as good as I heard from others, and, as a guy approaching to 40, I wanted to tell her not to worry a lot about being 30. Yes, she surely has gone some ups and downs, but she has fortunately endured and prevailed in contrast to Amy Winehouse, and I am sure that she will eventually survive the consequence of appearing in “Cats” (2019).

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The documentary also focuses a bit on Swift’s personal relationships, but I must point out that it does not provide anything particularly revealing to us. While her relationship with her parents is affectionate to say the least, we only come to learn a few things about them including her mother’s recent health problem. In case of her current romantic relationship, Swift chooses not to talk about her current boyfriend much, though you may recognize him when the camera briefly captures his face during one scene. To be frank with you, the most memorable figure in the documentary besides Swift is probably her pet cat, which cannot help but steal the show whenever it appears in front of the camera.

Anyway, director Lana Wilson, who previously made “After Tiller” (2013) and “The Departure” (2017), did a competent job of conveying to us Swift’s humanity and personality, though I think she could go further for making the documentary more revealing and enlightening. Like Lady Gaga did in documentary film “Gaga: Five Foot Two” (2017), Swift has a full control on how to present herself in the documentary, and it sometimes looks like she does not go all the way for revealing more of herself, but I guess that is understandable, considering how much she values some privacy for herself.

Overall, “Miss Americana” is a mild but fairly engaging documentary, and I was entertained enough despite recognizing its weak aspects from time to time. As far as I can see from the documentary, Swift is talented enough to advance further during next several decades, and I am sure that she will have more things to show and tell in front of the camera after going through her life and career a lot more than before.

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The Cave (2019) ☆☆☆1/2(3.5/4): A doctor’s struggle in the Syrian Civil War

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Documentary film “The Cave”, which won the People’s Choice Award for Documentaries at the Toronto International Film Festival in last year and recently received an Oscar nomination a few weeks ago, is often difficult to watch to say the least. As closely observing one brave and dedicated doctor and several other equally courageous people trying their best for saving people in the middle of the ongoing Syrian Civil War, the documentary gives us a series of tense, harrowing moments to strike us quite hard, and it eventually works as another vivid presentation of the horror of the Syrian Civil War and the desperate human struggles against that.

The title of the documentary comes from an extensive network of underground tunnels below Eastern Ghouta, a suburban area not so far from Damascus, Syria. As mentioned at the end of the documentary, this area was under siege for around 5 years by the Syrian government army and its allies including the Russian Air Force, and many civilians living this area fled into those underground tunnels for their survival as their neighborhoods were constantly ravaged by air strikes day by day.

While the documentary initially shows a bit of the glum underground environment of these desperate people, it soon moves its focus to a bunch of makeshift hospital staffs trying to help people below and above the ground. Led and managed by Dr. Amani Ballour, they are always busy and alarmed whenever their area is attacked again and then many injured people are hurriedly sent to their hospital, and there are a number of difficult moments where they must be very resourceful as they do not have enough medicine or food. In addition, their hospital has been in the constant danger of being bombed by those Russian bombers, and they and others in the hospital cannot help but become nervous whenever they hear loud sounds from the outside.

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Nevertheless, Dr. Ballour and her colleagues keep going as usual. We see some of them busily handling their latest emergency surgery, and the mood becomes a bit more relaxed as the head surgeon has a classic piece of music played in the background. When she comes down into that stuffy underground tunnel at one point, Dr. Ballour tenderly comforts a little girl as spending some time with her, and that is one of the most poignant moments in the documentary.

As we watch more of her work, it is clear to us that Dr. Ballour is a valiant woman quite determined to help many people out there as much as she can, but she is frequently frustrated as facing numerous obstacles from not only outside but also inside. When she tries to explain to a man that her hospital cannot help his wife for not having the medicine his wife needs, the man blatantly expresses his sexist view right in front of her, and that certainly exasperates her, though a male colleague of hers instantly defends her and then points out that she is well-qualified for her job more than anyone else in the hospital.

While often getting quite exhausted, Dr. Ballour does not let herself easily discouraged at all. Although she sometimes receives messages from her concerned parents who sincerely urge her to leave for safety, she cannot simply walk away from her duty, and we come to sense the strong professional bond among her and her colleagues including several women employed by her. In case of a nurse named Samaher, she often complements the more serious attitude of Dr. Ballour via her spirited personality, and one of the few humorous moments in the documentary comes from when she tries to prepare a meal for her colleagues with a relatively small amount of cooking materials.

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In the meantime, things continue to get worse outside, and Dr. Ballour and his colleagues find themselves against the wall especially when the Syrian government army begins to use chemical weapons. When it looks like some of their latest patients were exposed to chlorine gas, the situation becomes more urgent and perilous than before, and everyone wears a mask when it seems their hospital is also exposed to chlorine gas, though that will not help them much if their worst fear turns out to be true.

These and other harrowing moments in the documentary are already full of raw emotional power to shake us hard, but I think the documentary goes a little too far as adding an intense score by Matthew Herbert, which is fairly effective on the whole but feels rather intrusive whenever it makes a big dramatic gesture on the soundtrack. Fortunately, that is merely a minor weak point at least, and the documentary still works very well mainly thinks to its undeniable verisimilitude and the palpable humanity generated from Dr. Ballour and her colleagues, who admirably show us how we can show our best sides as struggling under worst circumstances.

In conclusion, “The Cave” deserves to be mentioned along with other recent notable documentaries on the Syrian Civil War including director Feras Fayyad’s previous Oscar-nominated documentary film “Last Men in Aleppo” (2017) and Waad Al-Kateab and Edward Watts’s “For Sama” (2019), which was incidentally Oscar-nominated along with “The Cave”. They all urgently remind us of what has been going terribly wrong for many innocent people in Syria, but, considering the ongoing political circumstance around the world, I am really afraid that we will not help them much in the end.

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Suicide Squad (2016) ☆☆(2/4): Not villainous enough

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As many of you know, some movies go through considerable subsequent re-evaluation despite getting heaps of negative reviews at first, but, in my inconsequential opinion, David Ayer’s “Suicide Squad” is definitely not one of such cases. Although I decided to skip it when it was released in August 2016, I recently came to watch it just because of the upcoming film “Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn” (2020), and now I can attest that it is indeed the most disappointing product from the DC Extended Universe besides “Batman v Superman: Dawn of Justice” (2016).

The movie starts at the time point not long after what happened in the end of “Batman v Superman: Dawn of Justice”, and its early part mainly revolves around how a bunch of different supervillain characters happen to be assembled together by Amanda Waller (Viola Davis), an ambitious government official who is the director of a shady secret agency. In front of a bunch of high-ranking government and military officials in Washington D.C., she strongly argues on why they need to use these supervillians for handling unexpected dangers in the future, and she is eventually authorized to supervise these supervillains, who are currently incarcerated in a special imprisonment facility located somewhere in Louisiana.

When these supervillains are respectively demanded to get together under Waller’s command, they are not so amused to say the least, though it is clear to all of them that they have no choice from the beginning. While Floyd Lawton/Daedshot (Will Smith), an infamous mercenary who was recently caught by a certain superhero operating in Gotham City, comes to join the team mainly because he wants to see his dear little daughter, Dr. Harleen Quinzel/Harley Quinn (Margot Robbie), a former psychiatrist who was turned into a deranged and dangerous criminal after being seduced by the Joker (Jared Leto), simply cannot resist a chance to go outside for having any naughty fun, and she is certainly more delighted to learn later that her diabolical partner-in-crime is ready to help her escape.

suicidesquad02We also get to know a bit about the other members of the team. While George “Digger” Harkness/Captain Boomerang (Jai Courtney), a thief equipped with a deadly boomerang as well as Aussie accent, is as loony as Harley Quinn, Waylon Jones/Killer Croc (Adewale Akinnuoye-Agbaje) is an aggressive mutant guy covered with thick reptilian scales, and Chato Santana/El Diablo (Jay Hernandez) is a Latino criminal who has adamantly tried to suppress his volatile side which is the main source of his superhuman ability to generate big fire around him.

And there is Dr. June Moone (Cara Delevingne), an archaeologist who happened to become the human host of an old but powerful magical spirit named “Enchantress”. While Moone is supervised mainly by her lover Colonel Rick Flag (Joel Kinnaman), Waller has had Enchantress under control via a certain weak point, but, of course, Enchantress soon manages to find a loophole, and then she embarks on her fiendish plan for destroying the human civilization as wreaking a havoc on the downtown area of Midway City.

For rescuing a certain important figure stuck in the city and then stopping Enchantress, Colonel Flag and his merry band of supervillains are quickly sent into the middle of Middle City, and it does not take much time for them to realize how powerful Enchantress really is. In addition to having the whole city under her destructive power, she has already turned many civilians and soldiers into a horde of indistinguishable CGI soldiers, and we accordingly get a series of bland and mindless action sequences not so far from what we endured as watching “Resident Evil” (2002) and its several dreadful sequels. Compared to those intense action scenes of Ayer’s previous films such as “End of Watch” (2012) and “Fury” (2014), these sequences are seriously deficient in terms of intensity and impact, and that is one of many reasons why the eventual climax part does not work much without any cumulative narrative momentum to hold our attention.

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Above all, Ayer’s screenplay seriously fails in character development and plot progress. The half of the running time is wasted as the movie clumsily tries to introduce and then juggle its many main characters together, and, to make matters worse, the screenplay does not provide much space for characterization as hurriedly hopping from one narrative point to another. As a result, most of its main characters come to us as one-note cardboard figures, and we come to observe these superficial caricatures from the distance without much interest and care.

The main cast members try as hard as they can, but only a few of them acquit themselves on the whole. While Viola Davis and Joel Kinnaman manage to play straight to the end, Will Smith, Jai Courtney, Cara Delevingne, Jay Hernandez, Adewale Akinnuoye-Agbaje are totally wasted, and Jared Leto unfortunately gives us a glaring example of bad acting, which will make you wonder why the hell he tried so hard on the set. In case of Margot Robbie, she is surely the saving grace of the movie, and I am certainly ready for watching more of her delightfully villainous performance in “Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn”.

In conclusion, “Suicide Squad” is a dreary failure which is not even enjoyably bad, but, fortunately, the DC Extended Universe has moved onto better things since this mess. After “Wonder Woman” (2017), there came “Aquaman” (2018) and “Shazam!” (2019), and we will get “Wonder Woman 1984” (2020) in addition to the aforementioned Harley Quinn movie this year. Nothing is certain yet, but they will probably not be worse than “Suicide Squad” at least.

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